fur trappers

Needed to draw Jack’s sick flow after reading this post by @halfabreath

Cuz hot damn.

<3

(I wonder if Jack like….ever wants to do historical role-play because with a beard he could probably pull off a sweet 19th century Fur-Trapper look)

Links:
My actual art blog
My fanart of another queer sports series (All For the Game stuff)

More Check, Please art to come here later ;A; <3

Jason Momoa Talks ‘Frontier’ and Lisa Bonet, His ‘Dream Woman’

By Donna Freydkin

You wouldn’t be far off in saying Jason Momoa’s latest role is tailored for him.

The guy has a way with a needle and thread. He was raised by a single mom who taught him how to sew, and Momoa made the majority of the 18th century garb he wears as a fur trapper in the Netflix series Frontier, which streams Friday.

“I love that time period. I have a weird collection of stuff from that time period. Rusty blades and tomahawks and arrows. I have an affection for that kind of stuff,” he says, adding with a laugh that “if this [acting stuff] doesn’t work out, I’ll move to Paris and become a designer.”

Plus, he has an affinity for subzero weather. “I love the cold. I grew up in Iowa. I love hockey. It’s filmed in Canada, so it’s awesome and everyone is nice, and it’s filmed in Ireland, so it’s awesome and nice. I can bring my kids up there and they can play in the snow. They cruise up there and get to be young for a month,” he says.

Momoa has a son and daughter with his wife, Lisa Bonet. If you follow his Instagram, you see Momoa’s ongoing odes to his spouse. Talk about #couplegoals.

“We love each other. We’re obsessed with each other. I found my dream woman. It’s ups and downs. It’s hard being away from my family. I want to be home. But my career’s taking off,” he says.

At the moment, Momoa has “a little flu going from the kids. I’m a little under the weather.” But he’s in great spirits, promoting Frontier, a show that truly is a labor of love. He spent about two months creating the clothes and says he’s a regular at flea markets, looking at stuff that inspires him.

“I made all that stuff I wear. I made everything with my friends, with the help of our costume designer. We put the whole character together. We started making our own knives. I flew to Texas and we started building the knives. We made tomahawks. The coat is old Carhartt canvas. We had furs to make the vests. The leather on me is old horse leather,” he says.

Next up for Momoa is Justice League, co-starring Ben Affleck and out in November, and his own superhero vehicle, Aquaman. “I’m excited for it to come out,” he says of Justice League. “That’s everything I can tell you. I’m going to be down in Australia for Aquaman. I read it. I love it. It’s kind of like — finally. That’s what it feels like for me. A big ahhh. I’m stoked.”

He still doesn’t feel like he’s made it, though.

“Things didn’t start picking up until now. I’ve known about Aquaman for about four years, five years. I couldn’t say anything. Nothing’s really happening yet. I love doing Frontier. It’s just started to pick up. I just got tired of doing stuff I didn’t want to do. I started directing my own stuff. I want to tell stories. Work gets work. Put your hustle on,” he says.

it makes me sad, and sick to my stomach to see people selling multiple packages of bulk  “coyote fangs” or “bobcat toes” and claiming they are somehow Cruelty Free

really? you regularly find 100 dead coyotes with fully intact teeth and 100 or so dead bobcats with no signs of roadkill damage? really?

its really unfortunate when people are dishonest

I struggle to keep things in stock because my supply is actually found bones (i dont buy from breeders/fur farmers/trappers or any other source that involves killing animals purposely to use the parts).

I work so hard to be honest about how the bones i use were found and to Actually BE as Cruelty free as i can…

perhaps i shouldn’t even bother.. does anyone even actually care?

[ edit : Eff that, sorry about the momentary pity party.. i know there are lots of amazing people who do care. I thank you from the bottom of my heart. sometimes i just get discouraged <3 ]

Seedskadee National Wildlife Refuge in southwest Wyoming is an important habitat for more than 250 species of resident and migratory wildlife. The area was used by nomadic Indian tribes, fur trappers and early pioneers. It is rich in history and natural beauty, as you can see from this stunning winter scene. Photo by Tom Koerner, @usfws.

Disappearing Village

In 1930, over 2,000 occupants of an Inuit village located on Lake Anjikuni in northern Canada disappeared, and none of them were ever found. A fur trapper named Joe Labelle went to visit the village. He had been there before, and knew it to be a thriving village of fishermen. When he got there, however, the place was deserted. There was one fire, with a ruined stew left over it. No footprints were found, their dogs were buried under a snow drift and had perished, and their provisions were still in their huts. And, finally, the ancestral graves of the people had been emptied. No trace of them was ever found, and their disappearance remains a great mystery.

Even more Fightin’ Daphne AU headcanons:

 Both sides of Shaggy’s family trace their lineage back to before the Revolutionary War. His mother’s side first got their fortune with French fur trappers in the north, then made even more money in land sales, and have heavy Métis and Ojibwe blood in them, but his Dad’s side of the family is…pretty bad and mostly have their origins in the south. Shaggy has a great Uncle Beauregard who owns an antebellum mansion in South Carolina where Shaggy spent his childhood summers. The place always scared the shit out of Shaggy, who says the place is nothing but ‘bad vibes’ and “I don’t know man, like, horrible things have happened there. You can feel it.” The place probably is actually haunted. As a result, Shaggy is way more sensitive about ghosts and ghouls and the supernatural than most of the group.

 While Fred largely concerns himself with the people who are being negatively affected by the ghosts or monsters they encounter, Velma has a scientific interest in the phenomena, and Daphne just wants to fight a ghost, Shaggy is the the one who doesn’t really want to mess with forces they don’t understand and who, along with Scooby, tends to have the best intuition about danger. Shaggy is the member of the group who will get a bad feeling, grab the back of your hoodie and pull you back before you fall through a rotten part of the floor.  The main issue is that he has a lot of trouble telling his gut feeling apart from his anxiety.

 It’s not really an outright superstition so much as an “I am not going to be a dumb white kid in a horror movie” gut sense. Like, if a group of ‘hip teens’ came up to Shaggy like “We’re going to the abandoned asylum with a Ouija board! Wanna come?” Shaggy would be like, “um, no. If I was like born in 1908 I like probably would have been one of the people they locked up in there. I’m like, not messing with that place.” 

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reincarnation!au + college!au I guess?

August squatted to get a better look at the miniatures in the Roman diorama. “Gaius Octavius..,” he mumbled to himself right after he saw the miniature of Octavius. “..Augustus Caesar.” He sighed at the thought of his parents naming him after a Roman general. August got up and moved on to the Wild West diorama. There,he saw the miniature of Jedediah Smith. August had forgotten what Smith was famous for. In fact,his knowledge in American history was bad as he had originated from Italy.

“Jedediah Smith.. was a hunter, trapper, fur trader, trailblazer, author, cartographer, and explorer of the Rocky Mountains,” came a man’s voice from behind him. August turned around and the first thing he saw was a pair of shiny blue eyes. A blond man around his age was grinning at the sight of the diorama. “I just said what was written on Wikipedia. Funny thing is,my mom named me Jedediah after him as well,” he laughed.

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Look at that badass bae. Scene-stealer. Adorable af. U r killing me. I AM OF COURSE TALKING ABOUT THE DARLING MULE

This pure cinnamon has been shared by obviiii (The Revenant first assistant director Scott Robertson) on Instagram.

Here’s me with some fur trappers in the early 19th century after we escaped from an Indian attack. It’s a great movie, I’m very proud, go see it. #therevenantmovie

Shuswap actor plays Leonardo Dicaprio’s wife in The Revenant

Gracey Dove (Canim Lake Indian Band) will be playing Leonardo Dicaprio’s wife in his new movie ‘The Revenant’ which will be released on December 25th. The movie is about a 19th century fur trapper named Hugh Glass, played by DiCaprio. After he is mauled by a bear, his hunting team leaves him for dead. Glass vows revenge on the men who abandoned him.

The movie also features Duane Howard (Nuu-chah-nulth),  Melaw Nakehk'o (Tlicho) and Forrest Goodluck (Dine, Mandan, Hidatsa and Tsimshian).

Gracey also hosts the APTN adventure sports TV series underExposed. 

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The Revenant | On Location

The RvN team, photos shared by Scott Robertson.


@obviiii “Here’s me with some fur trappers in the early 19th century after we escaped from an Indian attack. It’s a great movie, I’m very proud, go see it. #therevenantmovie”
@obviiii “Another photo of me, Alejandro and Chivo with the cast after we finished a tough couple of days. #therevenantmovie #chivo”

The Revenant and Iñárritu: A Study in Images That Define the Soul

Alejandro González Iñárritu’s The Revenant reaffirms how exploring new frontiers in terms of ways to tell cinematic stories can be as equally impacting as an epic portrayal of survival and frontier justice. A Western set in the frontier of the uncharted American wilderness in 1823, Iñárritu presents the story of legendary frontiersman Hugh Glass as portrayed by Leonardo DiCaprio. After a bear attack that gruesomely almost takes his life, Glass witnesses fellow fur trapper John Fitzgerald played by Tom Hardy murder his son, only to be buried alive and abandoned by Fitzgerald and the rest of his unaware hunting team. Glass is left with the only choice he instinctively deems necessary and one that establishes a key theme in the film: justice motivated by the loss of love. What ensues is a style of cinematic storytelling that harmonizes the monumental and intimate while delving into the possibilities that the language of film offers to immerse audiences into the poetry of a story about the triumph of the human spirit.

If poetry is an awareness of the world, a particular way of relating to reality, then Alejandro González Iñárritu certainly creates poetry–a goal he himself says to have pursued–with The Revenant. Limited to natural light and remote wilderness, the visual narrative takes on an active role and carries the viewer on a physical and emotional ride. We are at once immersed in nature as we are in the inner lives of the characters. To learn more about this poetic making of an epic film, The Revenant and Iñárritu: A Study in Images That Define the Soul offers filmmakers an enriching study into the ideas and creativity behind The Revenant and the insights discovered during the process of achieving the film. The in-depth examination sheds light on the art of cinema in a three part video presentation: 1) Alejandro G. Inarritu: “We Are Made to Communicate and Express. That’s What Film is About” from The Hollywood Reporter 2) The Revenant Featurettes from 20th Century Fox 3) and The Revenant DGA Q&A with Alejandro González Iñárritu and Michael Mann from Directors Guild of America.

Alejandro G. Inarritu: “We Are Made to Communicate and Express. That’s What Film is About”

Seated among other directors like Quentin Tarantino and Ridley Scott for THR’s 2015 Director Roundtable, Iñárritu shares with us personal perspectives on the production of The Revenant, the current state of film, and the significance filmmaking has to him. Filmmaking will forever have its complications due to its process–from budget constraints to restricting variables that unexpectedly occur–however these complications often define the filmmaker. Obstacles surmount, and the director has to adapt with the mind of a creative problem solver. Iñárritu shares, To make it right, we have to fight…Problems came, we had to deal with that. 

The director also admits that the immediacy of entertainment and engaging work in today’s technologically driven culture necessitates from audiences a reason to see films on the big screen. Unfortunately, this too creates an industry where there are high budget and small budget films with little chance for those in between. However, a solution to this state of filmmaking comes through the unique voice of the filmmaker him/herself and relationship he or she shares with the audience. As Iñárritu expresses, If tomorrow an atomic bomb finishes humanity and I’m the only one staying alive, would I make a film to see myself? I don’t think so. The bottom line, we are made to communicate and express. That’s what film is about.

The Revenant Featurettes

Journey through the creation of The Revenant with featurettes on the directing, writing, shooting, and more. With his poetically cinematic storytelling style and epic story of the human spirit, Iñárritu places the art of cinema under a spotlight to reveal the magic of the art form: that it allows us to physically and spiritually go to places we would never have been able to visit. We learn that at its heart The Revenant pays homage to “pure cinema”: a focus on the elemental characteristics of the medium to create an experience formed through the use of film’s devices such as visual composition and motion, the relationship between sound and image, and rhythmic editing.

In approaching the narrative with little use of dialogue, Iñárritu and team create an immersive experience by placing importance on “detail.” While the screenplay depicts the physicality of the brutal things that occur to Hugh Glass and at the same time captures his spiritual nature, sets and locations submerge the viewer into the arc of Glass with Iñárritu and Emmanuel Lubezki’s specific and precise use of the camera, wide lenses, and natural light; meanwhile, costume and makeup further engage viewers in the particularities of history and the events of the film, and the actors achieve a realness to their performances by being thrown into the reality of what it was to be a fur trapper in the remote wilderness. Art is in the details, and it is through an excellence in details that Iñárritu achieves The Revenant’s theme, The theme of the film is survival and spiritual growth through physical pain.

On Directing:

On Story and Screenplay:

On Cinematography:

On Acting and Performance:

On Production Design, Costumes, and Makeup:

The Revenant DGA Q&A with Alejandro González Iñárritu and Michael Mann

Michael Mann sits with Alejandro González Iñárritu to discuss The Revenant in an in-depth Q&A that is a must-see for filmmakers. Iñárritu shares many filmmaking gems such as the great impact rehearsing and location scouting months and years before production had on the film, allowing for the narrative to carry the specific tones and emotional states he wants audiences to experience. Mann states, Talking about the film grammar, one of the things that is so unusual about this–when a director is asking himself how should the story tell itself in every conceivable aspect of it–what’s so unusual about this is that there’s an emotional core and there’s this vast scale at one and the same time, and you’ve pulled that off brilliantly because the film impacts as at one and the same time as being as large as this world and simultaneously intimate. It is through Iñárritu’s approach to the language of film that he is able to present the audience with a relentless and active visual narrative that immerses the audience in a “360 degrees emotional experience.” Echoed is the essential use of pure cinema in The Revenant.

While taking advantage of digital technology to shoot faster in natural light with a constraint on time, Iñárritu touches upon a fascinating definition of filmmaking: Cinematically, one of the things that this project allowed me, as a filmmaker, was to tell the story with very few dialogue and a lot of cinematic moments. To tell the story with images…like the filmmakers I really love. And through those images, to try to understand Hugh Glass, who he was through his dreams, through his memories, through his feelings, but with images that belong to not anything else but his subconscious…What images can define someone’s soul. As Alejandro González Iñárritu and Michael Mann bring up how the more one shoots a film the more one discovers it–for example, the spiritual sequences came about as Iñárritu worked with Leonardo DiCaprio and the idea for the ending came later in production as well–and how one way to achieve the objective of a scene is through action verbs that could guide the actor’s interpretation of the scene, the director of The Revenant shows a clear reverence for pure cinema, one that ought to challenge and push filmmakers to further explore the language of film:  When there are no words available to express ideas or feelings or situations or plots…when you lack of that tool narratively, you have to really get to the bottom with images, and that’s really a beautiful, essential exercise for filmmakers…That’s what Buster Keaton and Charlie Chaplin did…That’s why they were great filmmakers.