most of this is going off the cast recording and my memories of the show

Legit- (Dylan O‘Brien)

Originally posted by teenwolfmazerunnerunited

Characters: OC’s, Dylan O’Brien and (Y/N)

Word Count: 1219

Warnings: none

Pairing: idk man I got bored I guess some Dylan x Reader

Summary: an interview with your fellow cast mate Dylan goes totally aloof 

(Y/C/N)- your character name


“Run!” (Y/C/N) yells into the darkness of the hospital. Lights flash, the elevator opens. A shadowed figure starts laughing. Stiles grabs (Y/C/N)’s hand and starts dragging her down the hospital corridors, the running is slow motion. The lights shut off. Silence. 

The hospital scene fades away on the large screen behind me and the audience begin to clap and cheer. Dylan and I grin at each other, already knowing what happens after that scene. 

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Ben Platt x Broadway actress reader headcanons

This has only just been requested but I couldn’t stop thinking about it?? And its a lot longer and and more ramble-y than anyone ever asked for, sorry!

Also this is my first real person fic (well set of headcanons) so please let me know what you think and what I can improve on!

~

- You were currently starring in The Great Comet whilst Ben preformed in Dear Evan Hansen. Being main characters, and being instinctively hard workers who were dedicated to your roles, meant that you had incredibly busy schedules so you spent every second not preparing or preforming with each other. 

- The Imperial Theatre and The Music Box Theatre are literally next door to each other which just made the separation a bit worse. 

- But you definitely tried to sneak away between performances to see each other without being caught by your stage managers. There’s been more than one occasion where you’ve fallen asleep cuddled up in Ben’s dressing room  and Laura has had to wake you up to get back for the evening performance (not without snapping a picture first though). 

- Sometimes you come out of stage door at the same time and you see each other, and Ben always blows a kiss to you and tries to convince security to let him go over the barrier to get to you. 

- One of your favourite memories was the 54 Below show you had done together which was literally just the two of you singing your favourite songs. You made your friend record it and you and Ben loved to rewatch it together. 

- Ben always tries to be as quiet as possible on his day off to help his voice, and despite wanting to sit and talk with him for hours you understand and support his decisions. You had decided to get little whiteboards to carry with you on the days when you really couldn’t speak to one another and you’d just write cute messages to one other or draw little pictures. Whenever one of you would start to talk, the other would cut them off with a kiss. (Sometimes Ben starts talking just so you’ll run across the room to jump on his lap and cut him off with a kiss).           {I have a lot of feelings and headcanons about Ben on vocal rest and I don’t want to bore you with them here}. 

- You both wake up and go to sleep at the same time because you have the same show schedules and this makes for the best morning cuddles from Ben (who you just know is the most snuggly person ever). But, one day he’d woken up earlier as he had extra rehearsals and he had left you a long note about how much he loved and appreciated you. 

- You’re friends with all the DEH cast and you encourage Ben to go out with them more often - even if it is just for one drink before he returns to his vocal rest. 

- You’d try to warm up together when you had the chance but it just involved more make-out sessions than either of your voice coaches would think was healthy.  Either that or laughing at the weird new techniques you would try to get warmed up. 

- You never really got to see each other shows since they were on at the same time. You had only seen DEH twice, both at the very start of its run on broadway. So, without telling him, on one performance a few days before the Tony’s you took the day off to watch Ben. Despite him saying that he wanted to be warned if there was a surprise guest in the audience you didn’t tell him you were coming. However, considering you would be sat in the front row, you had asked Will to tell him you were in the audience before he went on so he wouldn’t be shocked - you didn’t want him to mess up the performance he puts everything into but you still wanted it to be a surprise for him. 

- You think you cried the hardest in the audience. You cried seeing how much effort he put into the role, and his physical ticks that he put on for Evan (but that were starting to creep into his normal life), not to mention his (and the rest of the casts) incredible acting and the amazing story which knocked you breathless. 

- At the curtain call Ben couldn’t help but kneel on the stage, leaning down into the audience to kiss you which earned a lot of applause from the crowd.    

- On the rare occasion when Ben is not on vocal rest you sing all your favourite songs together whilst you cook. Your twitter page is full of little videos of covers of show tunes that you and Ben have sung together. The most popular one is definitely ‘You and Me (But Mostly Me)’. People loved Ben reprising his role as Elder Cunningham and thought it was especially cute when he changed the lyric from “my best friend” to “my girlfriend”. 

- He tried to plug your show and your incredible performance at any opportunity (and you did the exact same). He succeeded in mentioning your name, as well as the fact that he was a Jew, in every interview. 

- You definitely accompany him to the Tony’s but because you (and your show) are also nominated you can’t sit with him, having to be on the aisle in case you win. This means he sneaks over to you during all the ad-breaks (despite the organisers warning him not to) and texts you throughout. When he wins he runs down the aisle to you and kisses you until you force him to go onstage to actually collect his award. 

- You’re both so supportive of one another and you know opportunities like yours don’t come about often, especially at such a young age, but you both can’t wait until you can see each other more often.

~

This is so long but I also want to do a part two??

Notifications

A/N: this is the second imagine I have posted on this account and I am planning on many more to follow. Reviews/criticism are highly encouraged, so please don’t be shy in my messages, asks, or in the tags! Requests are always open and I love a good prompt, so please don’t hesitate to send one in. Here’s “Notifications.” 2.7k+


I’m not wallowing. Really, I’m not! It’s just that I happen to be sitting alone in my loft on a Thursday night while Shawn is very noticeably absent. It’s just that, the last time we spoke (which was definitely several days ago, at this point), he told me he would be barricading himself in the studio to get some recording done for the upcoming album so I’m sorry, in advance, if I don’t text back for a while. And fine, okay, I totally understand the creative process. Maybe I don’t? But either way, it’s starting to feel like a little too long since I last heard that familiarly deep tenor, even over the phone.

 I roll my eyes at myself because I really shouldn’t be this bothered, is the thing. When my hot musician friend goes to work, you know, for his job, I’m supposed to do my own thing too, right? Right. And my own thing certainly does not include moping around, waiting desperately for his return. I thumb aimlessly through at least a dozen Buzzfeed lists and take just as many quizzes before I give in to my obvious despair. I decide to carve out some time to reply to the texts and Snapchat notifications that have piled up for me throughout the day, all ignored in my current state of petulance induced by being neglected by Shawn.

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Torture in Fiction: Captain America, The Winter Soldier

With its superb fight scenes and stand out performances by a talented cast, this movie is a fan favourite and cornerstone of the Marvel Cinematic Universe.

I don’t think you’re going to like what I have to say about it.

So I’m going to start with the little disclaimer I have for this series as a quick reminder.

Once again I’m rating the depiction and use of torture, not the movie itself. I’m trying to take into account realism (regardless of fantasy or sci fi elements), presence of any apologist arguments, stereotypes and the narrative treatment of victims and torturers.

If you are in any way upset by my analysis of this movie or its characters I advise you to consider both the impact fictional depictions of torture have in real life and Rule 6 before you respond.

On to the movie-

The relevant plot details are, well, most of the film. I’ll try to be as brief as I can.

Steve Roger’s (aka Captain America) boss at SHIELD (Nick Fury) is assassinated by a mysterious man known as ‘The Winter Soldier’. Before dying Nick tells Steve that SHIELD itself has been compromised and gives him a usb.

On refusing to hand over the usb Steve is attacked by a large group of his former colleges in a lift.

He escapes and teams up with Natasha Romanov aka the Black Widow. Together they discover that SHIELD has been infiltrated by Hydra, a Nazi organisation who are particularly interested in SHIELD’s latest weapons project which they could use to kill millions.

The Winter Soldier, a character who is heavily coded as mentally ill, is ordered to assassinate them by Hydra.

Steve and Natasha track down a SHIELD/Hydra agent and threaten him with death or grievous bodily harm unless he gives them information. They get the information they want.

They clash with the Winter Soldier and during the scuffle he is unmasked and revealed as Steve’s long lost wartime friend Bucky Barnes. Steve, Natasha and their friend Sam are all captured by Hydra.

The audience is told that Bucky, apparently now a super-soldier, was captured by Hydra, tortured and brainwashed. He has been their best assassin for decades. A scene of his memory being ‘wiped’ follows with props that are heavily reminiscent of ECT machines.

Steve, Natasha and Sam stage an assault on SHIELD HQ in an effort to stop the launch of the new weapons. In the process Steve takes over the comm system and announces Hydra’s plan to the entire base.

Two sympathetic characters are shown resisting Hydra demands when threatened with death. One of them dies for his trouble.

Steve and Bucky fight until the last weapon is disarmed. With the threat of civilian casualties gone Steve refuses to fight Bucky and tries instead to appeal to his humanity, asking him to remember their friendship. Bucky beats him unconscious but stops short of killing him.

I’m giving it 0/10

The Good

And well that really is the problem: with regards to torture I cannot think of more than one good thing about this film. Usually I’d throw the movie at least one point for a single good scene, but in this case I think the scene is part of a larger entirely negative trend in the narrative.

1)      The scene I’m thinking of is the attack on Steve in the lift. About eight or nine people, all armed in various ways, attack Steve at once. His arms are pinned by several people each while he’s repeatedly shocked with a device a bit like a cattle prod. This basic set up is extremely true to life for many cases of police brutality, although a Taser would have been a more likely weapon.

The Bad

Where to begin?

1)      Every major ‘good’ character in this movie engages in torture.

Our heroes Steve, Sam and Natasha torture a Hydra agent for information by threatening to kill him, then throwing him off a building (Sam catches him before he falls to his death).

This is not just portrayed as good and reasonable but it is played for laughs. The scene is used to extend a joke about Steve’s dating life.

2)      The ‘good guys’ obtain accurate, timely, relevant information through torture. This never happens in real life. Torture cannot force someone to give accurate, timely or relevant information. And it’s a stereotype in fiction that I particularly despise because it has been linked to the justification of and practice of torture in real life.

3)      The ‘bad guy’ they torture does not resist once they have tortured him. This is extremely unlikely. The data we have at the moment suggests that torture makes people far more likely to resist.

4)      This stands in contrast to the way ‘good’ characters act when threatened with death or torture. The film consistently shows ‘good’ people resisting torture and ‘bad’ (or in Bucky’s case mentally ill) people complying under torture. This is not only wrong; it’s frankly sickening and perpetuates extremely harmful stereotypes about victims and torture.

5)      Brainwashing does not work and is a central, important plot device in the film. The story simply does not work unless violence, torture and pain can ‘force’ a victim to change sides.

6)      Torture cannot change hearts and minds. It cannot force someone to support or work for a cause they are strongly against.

7)      Memory really does not work in the way the film suggests. Anything that could remove old, strongly held memories, such as those of childhood or the victim’s name, would also have removed their memory of how to drive a car, fight hand to hand, use a gun or virtually anything else Bucky does in the film.

8)      Even accounting for the sci-fi idea of removing specific memories, torture and pain would not force a victim to comply with their captors. In fact it makes resistance more likely. A Bucky Barnes without the memory of his friends or the war would still almost certainly resist Hydra simply because they caused him pain.

9)      There has never been a recorded case of ECT machines being used to torture. They have been used as a form of abuse in some hospitals but they have never been used by military or terrorist organisations such as Hydra. This is another inaccurate stereotype: the idea that torture is ‘scientific’ or ‘high-tech’.

10)  The film assumes that a victim of systematic abuse over decades would be physically and mentally capable of complex assassinations. Instead the sort of damage to both physical and mental health this would inflict means that Bucky and Natasha should both be noticeably less capable than their colleagues. Instead they are more capable than their colleagues, implying that abuse made them ‘better’ at committing wanton acts of violence.

11)  Both this film and other Marvel films state that Natasha has both suffered and committed abuse, yet she shows no severe symptoms. This seems to be narratively linked to the idea that she is ‘strong’. And I detest the notion that a basic, bodily reaction to trauma makes victims weak.

Overview

I think the word for this movie’s use of torture is ‘dire’.

It’s not just consistently wrong.

It’s not just based around an impossible, trope laden premise.

It’s not just running through a check list of every harmful stereotype that regularly turns up in fiction.

The movie supports the notion that the torture of ‘bad people’ does not ‘count’.

It shows ‘heroes’, particularly individuals that the audience is supposed to think are morally above reproach, engaging in torture and the plot supports and justifies their doing so. It tells us that really ‘good’, ‘pure’ characters, such as the titular hero, threaten ‘bad guys’ with torture and then stand back to watch their friends do the torturing.

It shows victims (ie Bucky) as dangerous and violent and without other symptoms. It shows torturers like Natasha as without symptoms. It shows torture as a successful interrogation tactic and shows torture fundamentally changing hearts and minds.

Even accounting for sci-fi elements, the movie’s attitude to and treatment of torture is consistently false, dangerous and fundamentally against the basic principles of human rights.

Human rights are not for ‘good people’. They are for everyone. Whatever their race, gender, creed, politics, or crime. Torture is never justified.

And for that reason this movie’s treatment of torture is quite possibly the worst I’ve ever seen. It is a shining example of how much torture apologia pervades popular culture.

This, readers, is how not to write torture.

Disclaimer

Epic Movie (Re)Watch #189 - Spy

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #358

Format: Blu-ray

1) So the movie starts by introducing us to a sort of typical white guy spy. A James Bond type, but without the British accent (for some reason). It starts with the familiar, the usual tropes, before really fucking them over when Jude Law (who for some reason is trying to do an American accent and he’s not doing it well) sneezes and accidentally kills a guy.

Originally posted by foxmovies

Which is an excellent joke to introduce is into the film’s wonderfully strong sense of humor. If you think you know how a trope is going to play out, you’re probably wrong. In fact, the entire opening sequence is a strong representative of how the film blends quality action with quality humor which will be consistent throughout the film.

2) Melissa McCarthy as Susan Cooper.

Originally posted by replicants6

McCarthy is the foundation on which the rest of the film is built. From the very first minute we spend with her character she is established as not only good at her job but incredible at it. It is easy in spy spoofs for the main spy to be a bumbling idiot, but Susan’s continued competence is in fact one of the key factors which makes this film as incredible as it is. Especially considering the fact she does have some insecurities at the beginning, insecurities which are largely unfounded because she is fucking good at her job. McCarthy is able to have incredible warmth, heart, and vulnerability as Susan which she doesn’t always show in her film roles. But also when the script calls for it she can have this amazing brashness and humorous loudmouth/angry quality. Susan goes through an incredible transformation from the moment we meet her to the moment we leave her and McCarthy is able to play that absolutely perfectly. It’s HER story, it’s HER movie, and we are just along for the ride in an amazing way.

3) “Who Else Can You Trust?” is abbreviated in the film’s opening credits (I own the full version found on the album) but feels like a real Bond song with the opening credits feeling like a real Bond opening credits. This is part of the reason Spy is able to differentiate itself from other spy comedies like Austin Powers. It takes the genre, action, and stakes seriously throughout. This is real danger and true villains who are trying to get their hands on a nuke. It’s not like “oh, it’s funny because the spy is stupid and the bad guy’s want to kill all cats” or something like that. This sort of silly comedies can and have worked in the past, but Spy’s comedy is born out of its strong sense of characters and performances from the actor. Not by making fun of the genre, but embracing it in a wonderfully fun and funny way.

4) Jude Law’s Bradley Fine often times steps over the line which divides nice guy from Nice Guy™.

Susan: “Could you imagine me as a spy?”

[Fine, who has seen how badass she was in training, laughs at the idea.]

He’s an idiot and kind of a jackass. He may not actively be trying to belittle her but that’s what he does in pretty much 99% of their conversations. He’ll talk about how great she is but he gives her chores which she is overqualified for like picking up his laundry. It’s frustrating but then it’s supposed to be. It’s one of the key conflicts in the film that Susan is underestimated and belittled by all those around her because she’s not what a spy is “supposed” to be like.

Originally posted by summersroot

5) This film is pretty freaking great, but it could’ve used a little more Morena Baccarin.

Honestly, everything could use a little more Morena Baccarin.

6) What the fuck is this bullshit? He’s secretly SLEEPING with this bad guy and yet…

Fine [upon being caught by villainess Rayna with a gun]: “An awfully big gun for such a little girl.

Originally posted by mulder-scully-gifs

7) Allison Janney is someone who I love in literally everything I’ve seen her in. Even when she’s pretty much the straight man in this, the CIA director, I am just drawn to her. I just really fucking love Allison Janney.

8) Jason Statham as Ford.

Originally posted by gendrybaratheonn

Holy fucking shit. Somehow Jason Statham is in a movie with modern day comedic legend Melissa McCarthy and ends up being the funniest person in the film. He is totally committed to Ford’s arrogance, jackass qualities, intensity, and hyper masculinity in a way which is 100% hysterical! It’s a tricky business because Ford doesn’t think he’s funny. Ford doesn’t think he’s weird or an idiot, and Statham plays it like that knowing it will derive the most laughs. Ford is basically the super testosterone filled action hero in every movie ever and Statham doubles that while stealing every single fucking scene he’s in. And his chemistry with McCarthy is off the charts funny! Melissa McCarthy is the bedrock this film rests upon but Jason Statham is the fucking cherry on top (I think I’m mixing my metaphors but whatever), he is absolutely amazing.

9) I love this because it makes me angry.

CIA Director Elaine Crocker [about why Fine pressured Susan to stay out of the field]: “Yeah, he sniped you.”

Originally posted by simplybridal

THIS IS REAL! THIS IS FUCKING REAL! MEN IN CHARGE KEEPING WOMEN DOWN BECAUSE THEY’RE WOMEN, WHETHER THEY KNOW THAT’S WHAT THEY’RE DOING OR NOT! GAH! I mean, the film including it is fucking awesome and handled really fucking well but holy shit it pisses me off that this is even a thing.

10) I find it endlessly frustrating (and I think I’m supposed to) that all of Susan’s aliases and spy gear are not the “sexy” stuff but things which could be considered “frumpy”. Why can’t she be a gorgeous baroness with a super slick ride and men on her shoulders? Have you seen Melissa McCarthy? She’s fucking gorgeous.

11) Melissa McCarthy has a very strong chemistry with Miranda Hart, who plays Susan’s best friend Chummy in the film. Their relationship in many ways is much more important than the ones Susan has with any other character in the film, including Fine. And you understand how good friends they are with each other as the movie continues. It’s really great.

Originally posted by ludi-lin

12) Ugh.

Ford [after McCarthy points out he didn’t even like Fine]: “It’s called the rivalry of men!”

Originally posted by samisoffthewall

As a man I can say, “The rivalry of men,” is the equivalent of, “who’s dick is bigger,” because society has convinced us that we’re not a “real man” unless we’re the “biggest” man in the room. It’s fucking stupid.

13) One of the key things that makes Susan as strong a character as she is are her motivations. You understand what is driving her VERY clearly: her memory of Fine. It evolves into more than that as the film goes, it evolves into her just doing her job, but you understand why she does things which are outside of her norm. It’s because she is in pain over Fine’s (supposed) death and needs to make right by him. It’s clear and powerful and helps make the film as good as it is.

14) Aldo - as portrayed by Peter Serafinowicz (legendary character actor who can be found in Shaun of the Dead, Guardians of the Galaxy, the voice of Darth Maul in Star Wars: Episode I, and most recently “The Tick” on Amazon) is incredibly funny. Every overly sexualized moment with him & just his general chemistry with McCarthy makes him a worthy addition to the already stellar ensemble cast.

Originally posted by foxmovies

15) As I mentioned in note #10, I don’t understand why McCarthy is given all the frumpy gadgets and covers when she can pull this off:

She’s fucking gorgeous.

16) I’ve mentioned this with a few pairings before, but McCarthy and Statham have this intense/incredible comedic chemistry which is born out of their strong bickering. This is most plainly seen when they’re both at the hotel/casino arguing and I think the fact I’ve mentioned it so often is just a sign of how well put together this fucking cast is.

17) There is an incredible sense of tension that plays through most scenes (for example: when Chummy is trying to kill power to the casino) which ties into what I mentioned in note #3: it helps elevate the film over silly spy spoof into this engaging and riveting action comedy.

18) Rose Byrne as Rayna.

Originally posted by spiderliliez

Rayna was apparently originally written as a 19 year old girl (this according to IMDb’s trivia section), which makes a LOT of sense considering how much of a BRAT she is. Don’t get me wrong, Byrne is absolutely excellent at giving of the appearance of this elegant and sophisticated socialite. But that’s where the humor is from. The juxtaposition between what you expect from her (a refined Bond villainess) and what she actually is: a moronic spoiled brat. Byrne plays the humor and juxtaposition perfectly. The key part is that - like Statham - she’s not actively going for laughs. She’s not hyping up the stupidity or the silliness, acting like Rayna knows she’s stupid, but instead trusting the script and playing it in a way where Rayna takes herself seriously. And THAT’S the gag! And it’s great!

19) At this point Rayna has called Susan a child multiple times, compared her to a depress homeless clown, and insulted her ability to address herself.

Susan [to Rayna]: “Why are you being so nice to me?”

Originally posted by yourreactiongifs

20) I’m starting to sound like a broken record but McCarthy’s ability to hold her own against how Byrne plays Rayna’s horridness is a testament to her talents as an actress and the chemistry between the pair. God, this movie is just so fucking funny.

21) I mentioned earlier that McCarthy gets the chance to play Susan as both more reserved and brash. It is when McCarthy is acting like “Amber Valentine” (the cover Susan uses to make Rayna trust her) that she gets to show off this aggression WONDERFULLY. It’s also wildly cathartic because a lot of people - including Rayna - have just been consistently putting Susan down for the ENTIRE film. Now she gets to go off on them and it’s amazing.

Originally posted by myawesomeblog99

22) I’d like to point out that very few women die or get “fridged” in this film, not when compared to the men. I think during the entire movie only one woman dies but that’s a nice proportion swap to most male dominated action films. (How many women have died on Bond movies versus the men?)

(GIF source unknown [if this is your GIF please let me know].)

23) The Budapest car chase scene is one of the strongest action set pieces in the film. It’s filled with this intense and enjoyable action, sprinkled with just enough jokes to make it hysterical, it’s well choreographed, and just altogether a fun ride.

Originally posted by spy-it

24) But even the Budapest car chase can’t compare with the kitchen fight.

Originally posted by fuckyeahnargisfakhri

The action is INCREDIBLY well done. The fight choreography and energy throughout is just truly kinetic and it just grabs your attention and NEVER lets go. It’s just insanely well done and by far the best scene of the film.

25) I would like to point out - similarly as I did in note #4 - that Fine is kind of a jerk to Susan. He attributes her continued success to Rayna’s inexperience just casually, like it’s no big deal, not realizing he just undermined all the amazing things she just did in this film. Meanwhile the creepy sexpot of Aldo supports Susan and reminds her she’s been doing an incredible job in this film.

Originally posted by findreactions

26) When Susan learns that Fine is alive, her entire initial motivation for going the distance of being a spy is gone. But that doesn’t matter because she’s not doing this for any man anymore. She’s doing this because it’s the right thing to do and because she knows she CAN do it. I love that. And when Susan embraces this and kicks some serious ass, Fine sees her for who she is.

27) Wait…I just realized that Ford didn’t actually DO anything in this film. He just kept getting caught and screwing up.

Originally posted by spymovie

I love that! It’s so much funnier for me that way! :D

28) I love that it’s Chummy who saves Susan in the end. Not Fine, not Ford, but her best gal pal. Friendship over romance/sexual attraction is something I really appreciate.

29) And by the time the film ends, all three of the main guys - Aldo, Fine, and Ford - want Susan now. But she doesn’t chose a guy, she choses Chummy. She choses a night out with her girls instead of even Fine, the guy she’s been pining over FOREVER. I love that.

Originally posted by my-harry-potter-generation


Spy is an incredibly funny and heartfelt film with a powerful message about competence/self worth. Melissa McCarthy gives an absolutely stellar performance and is surrounded by a just as strong supporting cast, with Jason Statham being a particular stand out. The action is crazy, the humor is spot on, the characters are well developed, and the relationships are pure. All in all, it’s just a really freaking good movie I think everyone should see.

I saw finally Great Comet last night

I was momentarily confused when “There’s a war going on out there” began and I heard someone scream “NO!” - I guess that was Denee as Natasha protesting Andrey’s departure?

Helene’s costume at the ball, lordy lord! I know Natasha and Anatole are the focus of that scene but I couldn’t take my eyes off Amber Gray with those wings!

I knew Marya D (or the actress) was in a leather cat suit at some point but GODDAMN WHAT AN EXPERIENCE, EVEN FROM THE CHEAP SEATS

The Club scene was actually a rave! I knew dancing and strobe lights were involved but I didn’t expect all that awesomeness!

Anatole smacked Dolokhov on the butt at some point

I was curious how the dynamic between the Kuragin siblings played physically, knowing the bits and pieces I do about the original text. “I wish Helene were not my sister,” indeed!

The Opera is even weirder and more puzzling in person! (Grotesque AND amazing!) The quizzical faces of Sonya and Natasha when the lights return were just brilliant.

Drawn out scenes for comedic effect: Princess Mary and Natasha awkwardly putting stools among the theatre-goers, and Lucas as Anatole basically had the room waiting on his word twice (one of which was during Abduction)

Abduction was raucous and delightful and after Pierre’s WHOOOAAAA halted the chaos, the entire theatre clapped and WOULDN’T STOP for at least a minute. So most of the cast was frozen in place, waiting for it to die down to continue: in Oak’s case, he was hunched over and it felt like FOREVER until he could resume.

I loved seeing the different vocal performances compared to the OBC recording. Like Grace McClean as Marya D for “In My House” started off firm and cold and clear and THEN began raising her voice as she berated Natasha.

Speaking of, Marya is still cold as fuck to Sonya after all that? Can’t that girl get a break?

I had seen someone here before mention that Helene wears Anatole’s green coat after he leaves, but seeing it I noticed she wears it with what look like her undergarments. Which, given that she spends the rest of the show off to the side and missing her brother, was a very interesting way of showing her emotional vulnerability.

My only ‘complaint’ is that Pierre put his coat on at the end despite singing about being “unable to find the sleeves”? Maybe it was a muscle memory thing, or a conscious choice to keep the seriousness of the moment uninterrupted by audience laughter. A very very minor thing in the long run.

I wish I lived closer to NYC so I could try and see this show again.

SERVAMP Festival Fanreport (2/5) (Noon)


Now that I’m finally back home I can reorganize my points and write the full report! Take note this report contains only the noon session. Night session can be found HERE. And since it will be made into a DVD (that will be released on 28th June), it will be considered spoilers if you are intending to get the DVD so you don’t have to read it if you don’t want to! My report may or may not be a little Kimura Ryohei/Greed pair-centric since I unconsciously focus on them most of the time.

I should also mention that it might not be 100% accurate as it is based off from memory, so sorry if I mess up! I’ll only write what I can remember.
And also because I fail at English and suck at writing a report it probably turned out being messier than I thought it would be…….sorry.

It’ll get pretty lengthy so I’m placing everything under a cut!! ↓↓

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Sakura Fest 2017

I went to Sakura Fest 2017 in Tokyo today!  It was a really amazing event and has already left both the Japanese and International fandoms buzzing!

Perhaps the biggest and BEST surprise was the reveal of the trailer for the Original Animation DVD coming out with the Special Edition of Volume 3 in September.

You can watch the trailer for the OAD here.

The rest of my rundown is below the cut. :) Most of it was posted on Discord earlier tonight in #ccs-general as well, so if you missed it and are curious, please have a look.  I added in a few extra details as they came back to me.

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Memory P2 [Lin-Manuel Miranda X Reader]

Request/Inspiration:

Anon- “Your writing is absolutely amazing, never doubt yourself I love all you have written and your newest piece memory is great and you should write a part 2 maybe, if yo want your amazing and talented never forget that”

Anon- “AHHHH MEMORY WAS AHHH SOO GOOD BUT THE ENDING”

@5secondsofhamilton “Are you going to continue Memory?! I NEEEEEED MOREEEEEEE”

@nobeatnomelody “THIS IS BEAUTIFUL BUT I CANT BELIEVE”

@marquisdebaguetteandham “MAKE ANOTHER ENDING OR I WILL DIE”

@ilovebands101 “IM SCREAMING I NEED ANOTHER ENDING AAAAHHHHH”

@favriotefightingfrenchmeme “You HAVE to do more memory please btw you are so so so awesome at writing”

Summary: Continuation of Memory.

A/N: Wow…a whole lot of you wanted either more or an alternate ending. Y’all are so sweet! You are way too kind to me. I didn’t want to say anything or any warning. I’d like to thank you! No matter if you reblog, like, or comment. I appreciate every single one of y’all. Thank you! I also made the last name Evans so…. LET’S JUST SAY THAT ALL OF THE CAST MEMBERS ARE STILL THERE EXCEPT LIN. COOL.

Word Count: 800

Part One

Part 2.5

Masterlist

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Bonding Over Rocks [Prince Sidon/Reader][REQUEST]

Title: Bonding Over Rocks
Pairing: Prince Sidon/Reader [gender neutral]
Summary: You are a geologist who accompanied Link to the domain to study luminous stones. The only thing more exciting than that was the Zora Prince’s keen interest in you.

FAN-FICTION MASTERPOST

A/n: Anon requested this, hopefully it’ll suffice. If you enjoyed reading, please consider leaving feedback and supporting!


“My dearest friend! Welcome, welcome! It’s been quite sometime!”

Buoyant laughter surrounded them as your blond companion was snagged from your side into the eager embrace of the Zora Prince, lifting him far enough where his boot-clad feel desperately reached for the solidness of the ground below.

Following suit of many of the other zora and merchants, you stifled a laugh and a broad smile behind the fingers you curled across your mouth. You had only been in the domain for but mere minutes, yet you already felt as though you had a grasp on the cultural differences between your races. Link mustered a smile albeit a brittle one as he struggled in the prince’s embrace, whereas the tall man was seemingly oblivious, arms tight as a vise.

“My, oh my, I didn’t know that the zora greeted in such a way,” you announced your presence rather loudly, something you felt betrayed innate personality yet you ventured on. “I’m glad to see we can enjoy the existence of one another again. Perhaps that will make my job much easier.”

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vocaloiderutauer  asked:

Hm... I'm enthralled now. How did you come to do voice acting? Was it a sort of, spur of the moment? Or was it more so like a passion you wanted to pursue after highschool/college? I've also begun to wonder. What do you specifically do to change the timbre of your voice? I assume its different for every voice actor out there and, given your experience, you've most likely developed a method no? Lastly, how do you land jobs? Do you need a specific talent or is it more so fitting the voice color?

January 2007 

I discover that voice acting is a thing. My time spent on Neopets noticeably dwindles for the moment.

(Also none of these are specific moments that I think made or broke my career, I am just offering all relevant moments in time)

Feb/Mar 2007 

A man by the name of Deven “Mac” notices my frequent postings on Newgrounds - my fervent spamming, more like - and informs me about Voice Acting Club. Kira Buckland, 10 years younger, is finishing up school soon and has begun plans for moving out of Alaska to pursue life in Cali

March 2007 - 2008

Amateur Voice Acting AHOY! I audition for a shitload of projects, mostly fandubs. Mostly Newgrounds. my voice is terrible but my enthusiasm and energy is unyielding. Mac helps me with basic tenets of voiceover techniques and I also exhibit some pretty shitty behaviors (delaying submitting lines for weeks because I’m nervous about ‘doing them wrong’).

September 2008 

I get accepted into Western Michigan on a scholarship. I decide to major in Film/Video/Media studies because it’s ‘the most similar to what I want to do’ (Voiceover) and decide to put more personal interests in as minors (Journalism, Japanese, Psychology).

The actual curriculum itself did jack shit for my career but it’s what I did during my time there that matters more.

2008-2012

Four years of college. I make friends within my interest groups but nearly all of my time is spent either in class or in my dorm room on my PC. OMGPOP is king of my time until Maplestory releases the Evan class.

More importantly, it was also the formative years of my freelance career.

I sign up for Voice123 membership. It goes horribly. Low ratings nearly all the time. I take on an audiobook job and deliver over-estimate by 7 goddamn months. Client is PISSED.

A site called VoiceBunny also crops up; more suited for quick one-off jobs that don’t need 'the perfect voice’, just a suitable one. Extremely reliant on being at your computer at a moment’s notice.

I have no social life.

This meshes well.

Within college, I am constantly involved in things related to acting/voiceover.

- On-campus Sexual Health Peer Education group (skits and lectures) all 4 years of attendance. This also gave me opportunities to record voiceover for segments needing 'voice of god’
- local radioplay group All Ears Theater (2 productions every 2-3 months, included a formal audition process and live performances in front of audiences for later broadcast via radio/web)
- Audio Production class (as part of my Major) quick-learns me basic editing techniques, directly translates to my ability to do quickfire editing and turnaround now as a freelancer.
- Continuing to do auditions for stuff for Voice Acting club. This is probably the most similar to many ‘Tumblr phase’ performers on here.

Over time, constant exposure + guidance from peers/my mentor helps me to hone my skills. I still tend to 'loud-act’ things, IE using an unnecessarily loud/forceful voice for simple business narration,but I’m beginning to understand the intricacies of different styles (Commercial vs. Promo vs. character, etc)

January 2009

During winter break, on a ski trip with family, I learn about Anime Expo’s AX Idol competition. I tell my dad the one thing I want for my birthday present is funding to help go to this convention and compete. He obliges.

Summer 2009

I go to Anime Expo and compete in AX Idol for voiceover.

https://www.youtube.com/watch?v=oUQpkyfVYog

https://www.youtube.com/watch?v=G-PwvyeM1jw

Things go well.

Fall 2009 - sometime 2011

Things DO NOT GO WELL. My victory at AX causes me to feel like I know what I am doing, leads to an almost 2 year stint of godawful delivery choices as I 'phone in’ performances like they’re just going to be good on foundation. My mentor is frustrated with me and at least one peer of mine actively thinks I don’t deserve the kinds of opportunities I’ve had over how hard he himself has worked.

2012

I graduate from college, determine that the only way I’m going to make progress is by forcing myself into the community where the industry exists. If I’m going to get workshops and studio auditions and actual non-online work, I need to be where the work is.


Summer 2012, 2 months after graduation

I move from Michigan to California

I have enough savings to cover about a year of rent if everything goes horribly horribly wrong (including losing every single freelance client I’d slowly built relationships with during college), but it’s obvious I need to find work to continue to stay out here.

I take a Graveyard shift job at Stanley security. It sucks my fucking soul out.

Meanwhile by day, I am still doing my freelance thing. I let BangZoom know I am now local. I work with my mentor on piecing together a demo both from good bits I’d done before and fresh content written for the demo, something I can show off to clients that is good enough to be worth listening to but that I can admit “I am new to the area and aiming to get my foot in the door for more professional work so that I can update my portfolio accordingly”

2012-2014

The Workshop Grind

Workshops with BangZoom, with Crispin Freeman, with VoiceTrax West, etc.

Through character archetype classes, I begin to understand where my inherent strengths lie (I already had an idea from my freelance side, but now I was able to confirm those strengths by having actual professionals go “You made great choices”)

BangZoom, meanwhile, SLOWLY works me up the chain of trust. I get called in for unpaid walla sessions just to see if I can meet appointments on time and follow directions.

Then unnamed 1-time characters in a crowd.

Then unnamed characters you can hear.

Then a recurring unnamed character.

Then at some point I get audition sides for something called Sword Art Online, for Kirito and Diabel. I initially only plan on auditioning for Kirito (dem Protagonist dweams) but have a last-minute Skype Workshop with Crispin about my auditions and get feedback from him.

He recommends I still try out for Diabel because it plays into my strengths and “why the hell not?”

I do.

2013-2014

Pretty much my ONLY studio work is coming from BangZoom, and it’s not frequent. I quit my job at Stanley only because I had some extra savings now and wanted to force myself to 'git gud’ instead of letting a safety net of money keep me from pursuing more.

But slowly, SLOWLY, through BangZoom auditions and the occasional booking, web strings begin to attach.

Out of personal interest, I do a brief stint as a QA tester for NIS America. This also happens around the time BangZoom is casting for DanganRonpa and Fairy Fencer F. My employment didn’t affect my audition chances, but it did solidify NISA’s knowledge of me as a voiceover artist.

I do some work for Ys: Memories of Celceta for a company called XSEED. Nothing comes of it until almost 3 years later, when a new localization lead named Brittany recalls my performance from Ys and says “I think he could be a really good fit for this dude named Rean Schwarzer”.

I land work on Killer Instinct through BangZoom. The director of that LOVES my performance, proceeds to slowly bring me back now and again for recurring roles on stuff like Gundam IBO and other projects.

Back to XSEED.

I land my lead role in Trails of Cold Steel. Recording is at PCB Productions, who now knows I exist.

Everyone has a good time, I send my samples/demos to PCB (now updated further), they begin sending me THEIR audition sides as well.

At one point, a director for PCB I know well is collaborating with a studio called Cup of Tea on Akiba’s Beat. Kira has been working with Cup of Tea for YEARS but I had never had an opportunity to get in touch with them before now.

Director puts me in touch with Cup of Tea, who now knows I exist. Session goes decently, I tell them I am very interested in pursuing future work/auditions and would like to share my demos with them. They accept.
For sake of time I will leave that thread where it is because I imagine you can understand what the underlying theme is.

Just a sporadic but progressive timeline of preparedness + Opportunity allowing me to expand my options.

Back to Workshop Side:

I continue actively pursuing workshops for other companies, especially VoiceTrax west. I sign up for “meet the pros” evenigns where I have a chance to perform + get feedback.

The workshop actively disclaimers that there is no expectation of getting work + it is intended to be a learning experience, but I go in with the mindset of “I’m going to leave them WANTING to work with me”.

With a much more thorough understanding of my strengths by now, I tend to do a formula of picking 1-2 characters I know I can do well, and one that is within my range but is relatively challenging. Worst case scenario I still leave a good impression, best case I completely surprise myself (and the host) and leave a lasting one.

This works out well. Said method greatly interests a representative from Mattel and one from Disney Parks (not the animation side, just the theme park side). I thank them for their time, ask if I can share demos with them/get their contact email, contact them and express interest in receiving audition opportunities.

Through one of these same workshops, I also meet my future agency, SBV Talent’s lead person Mary Ellen Lord. I do the same thing. Mary proceeds to circumvent SBV’s entire policy of “Referrals Only” representation to ask me to come to their offices to record an official application demo.
Note that none of these workshop outcomes, or the workshops themselves, were things pointed to me by studios I was working for. This section was all self-driven/pursued (and also required me to be local).

Since then, I’ve been continuing the routine of doing freelance work from home, sending out auditions for studio-hosted projects when the sides are provided to me, and generally working with my mentor when I have questions about approaching a certain character. Either because of personal growth or recent portfolio additions (or both), my success rate with booking new roles has kind of shot up; I’m hoping this trend continues for the foreseeable future.

Episode 53! Hot date action!

Yugi is worried about Yami and asks Anzu if she would mind spending some time with him, since he won’t talk to Yugi very much. 

“Of course, given that for most of the time I’ve known him, ‘being himself’ has consisted of aggressively playing card games and dabbling in light pyromania, maybe a period of quiet reflection is a positive step…”

Amusingly, he doesn’t tell Yami his plan, and instead just tries to dress himself like he thinks Yami should dress on a date with the girl he, not Yami, has a crush on. Oh, Yugimuffin.

… He doesn’t change, though. (In fact, he _adds_ silver bracelets, presumably operating on Yami’s advice from before!)

Yami, adorable socially-awkward dork though he is, would have to be completely oblivious to miss that something’s up:

(HE’S TOO BEAUTIFUL, EVEN WHEN I CAN SEE YUGI’S REALLY QUESTIONABLE TASTE IN HOME DECOR THROUGH HIS INCREDIBLY STUPID HAIR)

I just really like seeing them interact with each other and their surroundings “normally”, like, not with one of them hovering ghostlike near the other, but both just sitting or standing as they like. I hope they do it all the time when they’re alone. Yami especially needs more “normal” time.

Anyway, Yugi tells him that he’s arranged to meet Anzu, but not that he intends to make Yami be the one to hang out with her, and Yami, Number One Puzzleshipper [edit] Peachshipper is delighted to the point of tragedy, since we know it’s not actually happening the way he thinks.

HE JUST WANTS YUGI TO BE HAPPY OMG BUT YUGI JUST WANTS HIM TO BE HAPPY WHY WON’T THEY STOP MAKING ME FEEL THESE FEELINGS

… Actually maybe Yami _is_ completely oblivious. Dammit Yugi he’s looking right at you and he’s literally the only person here, DON’T WINK.

So Yugi runs to meet Anzu and switches places at the last minute and no matter which version I see of this (dub, sub, abridged) I just fall around laughing.

Real smooth.

After sitting awkwardly in silence for some time in a coffee shop, Anzu desperately casts around for anything at all to say and suggests they go to the Ancient Egypt exhibition at the museum. I guess in their universe it was big news with that live press conference on the news and everything.

Plus she notices that one of the photos is of a carving of the same Millennium Eye that’s on Yugi’s Puzzle. She’s a smart kid, really.

But all Yami cares about is Yugi; that Yugi won’t go on a date except to set up his ghost buddy with an inexpensive therapist, and won’t dress up in the clothes he likes except to dress up his ghost buddy for his therapy-date.

And of course, because it’s THESE TWO, they’re both more worried about the other than they are about themselves.

“I mean, just because I’m a teenage spirit with no body or memories who lives in his jewellery, he acts all weird about it and asks all these questions!”

Anzu is also concerned about Yami. But she’s rebooted and is starting from square fucking one.

HOW MANY TIMES DO WE HAVE TO GO OVER THIS, WOMAN?!

And then this is what she comes out with. Look, generally speaking, when someone is telling you a problem, it _can_ be helpful to normalise it, but it depends on the context. Think about the difference between “Yes, don’t worry, everyone gets anxious sometimes, you’re not crazy to want to double-check!” to someone who’s a bit worried and “Everyone gets anxious sometimes! I double-check the oven is off before I go to bed!” to someone who’s suffering from debilitating panic attacks with their obsessive-compulsive disorder. I’m going to say “I haven’t figured out if I’m going to be a dancer!” in response to “I’m a literal ghost with no memories” is the latter.

Despite all of that, they decide to make the most of their date.

“Don’t worry, Yami, you’re totally fitting in!”

“I only listen to music recorded by people with an alarming similarity to myself!”

“Yeah, that’s probably not going to work for me, Anzu…”

“Whose fucking idea was this?!”

“SERIOUSLY WHEN YOU SAID WE’D FEED THE BIRDS IN THE PARK I WAS IMAGINING FUCKING ROBINS AND SPARROWS AND SHIT NOT THESE FUCKERS WHO HAVE NO FEAR OF HUMANS DON’T JUST SIT THERE wait what are you even doing, Anzu, are you okay?”

“What the fuck is a Space Legend when it’s at home?”

“Yes, I see the cloud, Anzu. I just don’t think it looks like a kitty.”

“So then I said Honda if you mention your penis one more time I’m – hey why aren’t you listening? Oh no the card game shop!”

“Awwwwwwww yeah.”

The card shop is the first time Yami brightens up, Anzu and I both noted that, and then when he’s bought his cards;

HE ONLY WANTS TO SHARE THEM WITH YUGI AND SHOW YUGI THE COOL CARD HE GOT OMFG PUZZLESHIP IS KILLING ME

And finally, they wind up in the arcade.

“Duel Monsters, Anzu. I want to play fucking Duel Monsters. And mark my words, I will find a way to turn this arcade experience into a Duel Monsters game if it kills me.”

And he does! Next post!

My Hamilton Story

So, I’ve been fairly absent (alright, REALLY absent) from tumblr since Hamilton got so insanely big. Not something I expected. I started this blog after I saw the show (a few weeks before the soundtrack was released) to express my obsession with this thing that still seemed so small (hard to believe).  But, I thought if anyone is still around, you might be interested in hearing my take on seeing the show on Broadway with the entire original cast before it got big, before it got flipping HUGE.

My Hamilton journey/love/obsession? started with a wedding. A good friend was getting married in Boston in September of 2015. So, it seemed obvious that my friend M and I would spend some time in NYC after the wedding. Now being the recently graduated theater majors that we were, we certainly weren’t going to the city and not seeing a show on Broadway. And, being the recently graduated, drowning in debt, theater majors that we were, we were flat broke. 

We floated the idea of several popular shows. Matilda has a great run in the West End and had good reviews. Finding Neverland was an effing Oscar nominated movie-turned-musical! However, this show… Hamilton, was it? (we had to look up reviews) certainly seemed promising. The main problem was, it was sold out. Now, tickets were readily available on StubHub and my friend M was all for it. But I balked. $150 per ticket?!? That’s DOUBLE the actual, ticketed price. Insane!!! But, after some cajoling, I agreed to spend what seemed like an astronomical amount to see the well reviewed, if little talked about, musical Hamilton (the irony is not lost on me).

The day of the show (September 8, 2015) was grotesquely hot. To put it in perspective, I had a friend visiting relatives in Tehran, Iran and it was COOLER there than it was in New York City. Nevertheless, we were determined to make the best of our few days in New York. We got brunch with a friend in Brooklyn, we visited the MET and finally that evening we rolled up to the Richard Rogers Theatre. Honestly, my only thought at that time was how bad I felt for whoever was sitting next to me, because I’d spent the entire day walking around NYC in 102F heat and no way way I going back to Brooklyn to change before the show (sorry nice lady sitting next to me!).

Honestly, I had no idea what to expect. I didn’t know really what the show was about. I mean I’d heard of A. Ham but didn’t really know anything about him beyond long forgotten high school history classes. Now, for our $150 black market tickets, M and I were towards the back of the Richard Rogers, but let me tell you, the beauty of Broadway is that space is pricey so most of the theaters are small. That means there isn’t a bad seat in the house. Despite being about 6-8 rows from the very back of the theater, we still had a great view. 

The lights dimmed, Leslie took the stage to start Alexander Hamilton and we were entranced. I knew nothing about the story. I knew nothing about the show. I remember desperately trying to commit My Shot, The Ten Duel Commandments, and the Cabinet Battles to memory. I remember thinking I will never see staging as brilliant as Satisfied. I remember thinking, “I need to take every single person I know to see this show”. The lyric I left with stuck my head for every minute, hour, and day, until the Original Broadway Recording was released, was: “I’m just like my country, I’m young, scrappy, and hungry.”

One of my biggest regrets was brought about by the Big Apple and Mother Nature herself. I am a child who grew up in a predominantly cold state and who’s ancestors came from predominantly cold countries. So my cold weather blood did not do well with the excessively warm NYC weather. While I was able to thoroughly enjoy most of the first act, by the time the end of Act 1 rolled around I was terrified I was going to be sick in the audience. In fact, it wasn’t until the cast album came out that I had any clue what happened to Angelica (too busy trying not to be sick). I was very confused how she came to be in London in Act 2. 

On a whole, when it comes to movie audience vs concert audiences vs theater audiences, the latter is almost always, in my experience, much kinder. But when it comes to getting to the bathroom once intermission has hit, all bets are off. So whether you’re about to vom or not, no one is letting you cut in line to the bathrooms. Unfortunately the Richard Rogers Theatre in New York only has one set of bathrooms…and they’re in the basement…which is a long way from the nosebleeds where our seats were. I made my way as quickly as the other patrons would allow, down to the bathroom line, but unfortunately, by that time it stretched through the lobby back into the main level of the theater almost to the stage. 

I got in line and began some deep breathing exercises, willing myself not to vomit in line. Then, I heard a voice I recognized behind me. Lena Dunham. I am/was a fan of Girls and this was my first celeb sighting in NYC and all I could think was “I am going to vomit in front of an HBO star”. Thankfully, despite the fact that the Richard Rogers only has one bathroom, there are a lot of stalls, so I was able to get in, be sick, and be back to my seat before the start of Act 2 (glamorous, I know). 

Act 2 was just as enchanting as Act 1. I was utterly STUNNED that Alexander cheated on Eliza with Maria Reynolds. Then Philip’s death and the aftermath was one of the most heart-wrenching things I’ve ever seen on stage. I’m not sure if it was the combination of coming in completely blind to the story, the talent of Lin, or a combination of both (ok, ok, obviously it was a combination of both) but it was one of the most incredible experiences of my life. 

I do still laugh at the fact that M and I immediately discussed the stage management aspects of Eliza actually burning the letter onstage and what anxiety that must have cause the crew. 

After the show, M and I ran out to the stage door for autographs. M was a big In the Heights fan and one of our college professors had worked with Lin before, so we were excited to meet him. I’d lived in London for a year during college and studied theater there. A huge benefit of being a theater nerd in London is that a ton of incredible actors perform almost constantly in town. So you learn quickly the best way of navigating the stage door. My biggest recommendation is buying a show poster. I can’t tell you my regret at having Judi Dench’s autograph INSIDE a playbill. So buy a poster if you want to display the autographs you get. 

I’d made sure M and I bought posters before the show and zipping out to the stage door was no problem. We were two of maybe 10 out there. I couldn’t believe our luck when I saw photos and videos a few months later of hundreds upon hundreds mobbing the Hamilton stage door. We got to meet every single cast member (minus Groffsauce, but considering we saw Lea Michele and Darren Criss go in the stage door, wasn’t a surprise), as well as Alex Lacamoire. 

It was clear the second the show was done what a phenomenon Hamilton would be. Hearing every song, every note, it was obvious how wide-reaching and how appreciated this show and this music would be. 

So thank you Lin. For one of the best experiences of my life. For making people who never really “got” music theater, or theatre in general, learn to love a whole new medium. And I hope I get to see your show sometime when I am not on the verge of vomiting.

xox

A

Our Times 我的少女時代 (2015)

Background
Release date: 14 August 2015
Director: Frankie Chen
Cast: Vivian Sung, Darren Wang, Dino Lee
Genre: Romance, comedy


Plot
Lin Zhen Xin - your average Taiwanese schoolgirl struggling through the awkward years of pubertal adolescence - secretly pines after the most popular and perfect guy in school, Ouyang Extraordinary. Meanwhile, the school’s resident gangster and notorious badboy, Hsu Taiyu, harbours a secret crush on the school’s prettiest and most popular girl, Tao Minmin. Zhen Xin and Taiyu strike up a deal and decide to work together to help each other win the hearts of their dream dates. However, as the two grow to become unlikely friends, they begin to discover what true love really means and how growing up is never how one expects it to be.


Review
My first impression of Our Times was how much it reminded me of You Are the Apple of My Eye. A coming-of-age film - set against the backdrop of a humble Taiwanese high school - and featuring the ever-present badboy (that has since become a staple in all teenaged films) who, against all odds, falls in love with the school’s prettiest and most perfect girl. Of course, the protagonist of this film here happens to be an ordinary, if socially awkward, run-of-the-mill teenager instead of the gloriously flawless Shen Chia Yi of You Are the Apple of My Eye.

Both films feature somewhat similar storylines about young love, growing up and receiving a hard knock on the head courtesy of reality - but it’s a theme that everyone can relate to, so it’s something that works. With its flashbacks to the 90s, Our Times creates a sense of nostalgia as it allows us to reminisce on the days without Internet, without mobile phones, without computers - where life was simpler, relationships were harder and love was as evasive as ever. Of course, this non-linear timeline and retro recollections is something that You Are the Apple of My Eye coined first, but Our Times does a lovely job of recreating and paraphrasing it.





The protagonist of the story is the loveable Lin Zhen Xin - with her dorky spectacles, tousled locks and bumbling clumsiness, she’s the epitome of the awkward adolescent girl and you can’t help but secretly root for her as you watch her mature from her schoolgirl naivete and blossom into a capable, functional adult. Vivian Sung does an excellent job in creating a character that all of us can love and cheer for, in spite of what seem like insurmountable odds and her character’s apparent mediocrity.

But the star of the show, really, is Hsu Taiyu. Can I just shamelessly admit up-front that I do not think that the movie would be half as enjoyable if it hadn’t cast such a good-looking lead actor? Where does Frankie Chen even find such people!!

You know how mothers and well-meaning friends always tell you to avoid badboys at all costs, because we all know how badboys and broken hearts have such an excellent track record together? Well, Hsu Taiyu is the exact reason why you should just throw all that advice out the window. As the school’s most notorious gangster, he skips classes, engages in mini turf-wars with other gangs, flirts outrageously with girls, drinks way too much beer, doesn’t seem to give two hoots about his future or education  - the list goes on and long story short, you wouldn’t want your daughter to go near Taiyu with a ten foot pole.  

However, as the plot unfolds, we realise that beneath Taiyu’s hardened exterior lies a softer, more sensitive side of him that has been swept into seclusion by a terrible accident involving his best friend several years earlier. From the little gestures and thoughtful presents that he procures for Zhen Xin, it’s not difficult to figure out that beneath his bravado, Taiyi is just this big ol’ softie. I guarantee you that by the end of the movie, you would have fallen hopelessly in love with Taiyu and you will leave the cinema disgruntled and discontent with the world and its apparent lack of real-life Taiyus.



Taiyu and Zhen Xin are utterly adorable together - watching them fumble through the beginnings of their awkward friendship and wade through the ambiguous seas of young love, there’s that “Will they, won’t they?” feeling that keeps you guessing about whether or not they will FINALLY acknowledge their feelings for each other and get together already. It’s rare to care so much about a couple but these two really are characters that you grow to love over the course of the show and by the end of the movie, you’ll be smiling, laughing and crying along with them.







An honourable mention goes to Dino Lee, who plays Ouyang Extraordinary (LOL - I swear his name doesn’t sound so stupid in Chinese) - the school’s valedictorian and the most perfect, clean-cut boy you could ever imagine. For a first timer, I have to say that he does a pretty decent job of providing a worthy rival in love against Hsu Taiyu and it’s a good effort as his debut performance. I think he could live off doing toothpaste commercials for the rest of his life because he has the most brilliant smile EVER.



In spite of the excellent casting, fantastic cinematography and sharp, witty dialogue, Our Times does fall a little short of You Are the Apple of My Eye in terms of character development and its plot. While I enjoyed seeing Jerry Yan pop out of nowhere as future Hsu Taiyu, the jump in the timeline (THIRTY YEARS) is way too large for anyone to form any sort of attachment to the grown up versions of Zhen Xin and Taiyu. Over the course of the movie, we’ve grown to love the actors Vivien Sung and Darren Wang and their electric chemistry together - something that Jerry Yan and Joe Chen (who plays the older Zhen Xin) clearly lack because they only had like 3 minutes of screen time together. You Are the Apple of My Eye understood the importance of continuity and while the film did jump a few years into the future, it chose to retain its original actors and make them appear older and more mature so that we could see for ourselves, how the characters had grown up over the course of the years. And this sense of continuity is so important because it creates a sense of finality as we watch all the loose ends get wrapped up, as we see our favourite characters with the same faces (if older looking) get the endings that they deserve. Throwing in new actors to represent the old characters that I had grown to love just made me feel like I was watching an entirely different movie altogether and this really cheapened the ending of Our Times, leaving me feeling a tad bit unsatisfied. 

In terms of plot, Our Times can be a little bit draggy in the sense that it focuses a little too much on the blossoming romance between Taiyu and Zhen Xin to the extent that the supporting cast drifts off into the backseat and becomes more of background noise than anything else. I’m never one to complain about romance or the excess of it, but I loved how You are The Apple of My Eye was a story about friendship as well as love; because this made it all the more relatable. Aren’t the best memories of our high school years mostly about the friendships that we form in boring, stuffy classrooms; the buddies that slogged with us through agonising exams, the classmates that we giggle with as we spy on the cutest boy in school? Because really, unlike Zhen Xin, how many of us have had the privilege of being chased by the hottest, baddest boy at school?



Nevertheless, Our Times definitely has a stronghold over You Are The Apple of My Eye in terms of its happier, simpler ending (Although in my opinion, You Are The Apple of My Eye has a better ending - while it may not be fairytale-happy, it’s realistic, mature and really makes you reflect on your youth and how you’ve grown up since then). Our Times does well in borrowing some of our favourite elements from the latter - the nostalgic feel of dusty, rudimentary classrooms, the simpleness of life in the 90s and its lack of technology, the understanding that young love - no matter the era - will always remain as frustrating and as heart-breaking as it always has been.

Our Times is one of those feel-good movies that no one (not even the older folk I think) will regret watching. It’s funny, it’s warm and it’ll pull at your heartstrings even - just don’t expect it to be realistic or logical and you won’t be disappointed. If only young love could be as simple and as rewarding as Our Times makes it out to be!



Rating
How good the movie was: 7/10
How much I enjoyed it: 9/10


Favourite scene (spoiler alert!)
At this point in the movie, it’s evident that Taiyu and Zhen Xin have begun to develop feelings for each other but neither of them has the balls to admit it. Zhen Xin continues to openly chase Ouyang and Taiyu pursues Tao Minmin with an almost resigned sort of vengeance.

In this scene, Ouyang sprains his ankle in the middle of one of his ever-famous basketball practices and hobbles over to the side bench, nursing his swollen ankle. Zhen Xin, who happens to be in the little provision shop just behind the bench, procures a popsicle stick from the store in hopes of offering it to Ouyang for him to ice his ankle. But instead of going up to him, she remains in the doorway just out of Ouyang’s sight, clutching the popsicle to her chest and hesitating to approach him.

Taiyu, who happens to be eating his favourite seasame noodles within the provision shop at the time, sees the entire sequence of events unfold and understands that Zhen Xin is way too shy to approach Ouyang on her own. He gets up, gives Zhen Xin a little push towards Ouyang and flashes her his trademark smirk, as if encouraging her to go for it. 

As Zhen Xin happily offers the popsicle to Ouyang, Taiyu turns his back to her and we see that his eyes have welled up with tears and he’s trying his best not to cry as he watches the love of his life walk away from him towards another boy. :(


Someone hand me a tissue already!

from the “things to imagine your otp”
good things indeed :’)


one of them falls in love first before the other and has to try and be super chill and casual around them but oh fuck they just brushed hands.

Shinichi was super chill.

Of course he was. He was the coolest detective in the world (as claimed in his fan letters), very composed in dangerous situations (as mentioned by a few reporters when he was interviewed), and eerily impassive when dealing with dead bodies (as much as he was criticised for it by Inspector Megure).

It wasn’t like he was entirely emotionless. He choose to hide his anger and sadness for the death of the victims, and he thought they would appreciate it more if he solves the murder rather than being apathetic over their tragic ends. Emotions would hinder his sense of logic, and he didn’t see a reason for him to fret or panic about anything before…

And then it happened.

It began when he was in junior high, but he wasn’t sure when it exactly started. But after eliminating all the impossibles, the only probable truth left was that it happened because of Ran. His heart would start to race when she was around. His palm would sweat when she leaned in to talk to him. He was undeniably, foolishly nervous around her. And he always tried to reason himself about the causes, until the day when Ran’s hand brushed against his.

Many thoughts raced across his head, and he felt his emotions jumbled like a ruined jigsaw puzzle…

Emotions hinder logic. Emotions hinder logic. Suppressed it, suppressed it-

“Shinichi?” Ran, oblivious to the reason for his turmoil, squeezed his hand in concern. “Are you okay?”

His face bloomed to their favourite colour, much to his displeasure.

“Nothing.”

“Are you sure?”

“Very.”

Ran cast him a last quizzical look before taking his hand and pulled him again. “Anyway let’s go! The movie is going to start soon!”

He stared at their intertwined hands, his face refusing to go back to its normal colour as they skipped down the busy streets.

Oh boy. I’m in some deep trouble. 


one of them is by themselves but throughout the day they see little things that remind them of the other and they just randomly start smiling

“Thanks.” The man lifted his glass and walked away from the bar counter.

“I can’t believe anyone would order ginger ale in a bar.” Kaito muttered as he watched the man trudge back to his pool table. He glanced back at Jii, who was giving Kaito a slightly amused look.

“You did order that before.” Jii reminded him casually.

Kaito scowled. “That’s because Aoko insisted on it.”

JIi nodded thoughtfully. “Perhaps.”

“She has an odd taste.” Kaito mindlessly continued.

“And you?”

“…only when she’s around.”

Kaito steered the conversation back to its original flow. He reminded Jii about sending the heist note in his placement for one last time before jumping off his seat and bade his goodbye. He still had lots of work to do at home.

Two hands tugged inside his pockets, he walked out onto the busy streets, swerving past fast-paced passersby and skipping over cracks on the pavement.

During the fifteen minutes walk home, it was nothing close to boring. He saw a dog and imagined Aoko’s squeal ringing in his ears. He walked past the recent horror movie poster and was reminded of Aoko’s constant tight hug around his arm in the cinema. He took the flyer from an employee of a cake shop and kept it safely in his pocket, faintly smiling to himself at the thought of how Aoko’s reaction would be once he showed it to her.

Besides those decade-old memories that Kaito re-lived when he missed his father, he rarely bother reminiscing about anything. But Aoko, and perhaps only Aoko, was capable of breaking that curse, and always gave him a memory to treasure and remember. 

And no matter how far he was, those memories would make him smile all the way back home.


trying to make a gift or do something special for the other but getting super embarrassed when giving it to them so they just leave it on a table and run away

Heiji was good at kendo, great at solving crimes, and definitely best for his reckless behaviour. But sadly, he wasn’t any better for shopping, much less choosing and buying a gift.

He’d spent the past one hour roaming the department store, sniffing perfumes and looking at weirdly-coloured scarfs. In the end, he didn’t get either (because Kazuha smelt great without anything and she wasn’t a scarf person). There was nothing in the store that best fit as Kazuha’s birthday gift this year, although comparably, it wasn’t hard to beat whatever he gave her those previous years (He treated her Okonomiyaki last year, and the last last year, and the last last last year…).

This year, he wanted a change. He needed something good, something great and make it the best out of all the years he ever lived. And after another two hours of loitering around the department store, he walked out empty handed, but with a plan in mind…

“Are we going to eat Okonomiyaki?”

Heiji looked up, nonplussed. “Huh?”

Kazuha glanced at him before looking back at her desk mirror to retie her hair. “Aren’t you going to treat me Okonomiyaki?” She beamed into the mirror (Heiji never thought anything could replace the brilliance of Kazuha’s smile, until now. Her reflection was sure as beautiful as the real one).

“Why Okonomiyaki?” He muttered and glanced away, pretending her bed was the most interesting thing he’d ever seen. 

Kazuha blinked and looked at him. It was her turn to be confused. “We always eat it on my birthdays.”

He was hoping she’d expected more from him, although it was still the truth. “Change of plan.” Heiji said solemnly as he turned to her. “I have a gift for you.”

She blinked again and stood up, but more surprised this time. “A gift?”

Heiji felt the said item in his pocket.

It was just a stupid, old-schooled yet miraculously working tape recorder, which he found in a secluded thrift shop in town. Not something fancy like necklaces or designer bags, though he was sure Kazuha wouldn’t appreciate those things too. But besides everything in the world, he really couldn’t think of anything else that would be as special and personal than this

For the past one week, he had spent his time searching for Kazuha’s favourite songs, like the one she hummed on their train to Tokyo, or the one she sang during their walk back home; just those times he heard her singing when they were together. He thought of asking her straight-out for the answer, but looking at her curious, fluttering eyelashes, he was glad he didn’t.

But the more she looked at him so earnestly, the more nervous he was. He caressed the tape recorder in his pocket and took in a deep breath before fishing it out for her to see.

“H-Here.”

Kazuha widened her eyes. “Heiji?”

For once in his entire life, he turned wimp, and started regretting everything. Maybe it was a little too late to back out on the gift idea (since he’d already bought the recorder, taped himself singing over a dozen of songs, and even wrapped it with the most girly gift wrapper he ever found), but at least he could still back out from this entire scene- 

“Happy Birthday.” He muttered, dumping the tape on her desk and leaned forward to smack his lips onto her head before running out of her room.

B.Y.O.B.

Summary: After a party featuring obscene wrapping paper, even more obscene gifts, and drunk pranks, Clarke and Bellamy finally get to count the damage, and then count the kisses.

A/N: This took two years for me to finally complete, but I really can’t care because this fic is just fun.

Chapter 3 of 3 on ao3!


Clarke thought it was the pounding of a hangover headache that woke her up until the actual moment that she did wake up. The pulsing sound hadn’t been her blood beating in her head, complaining about how much she’d drank that night—that morning, really—but instead the pulsing of a phone on vibrate, rattling off her nightstand. Eyesight a blur and her bed too warm to move more than a single, flailing arm, Clarke reached for her phone.

It wasn’t buzzing.

Clarke sighed and tucked her arm back into her blanket, rolling over to shove her face back into her pillow. Except, her blanket felt too heavy and strange to be an actual blanket. Except, her pillow didn’t feel quite like a pillow, and she was quite certain it had a heartbeat.

Clarke blinked and found herself staring at the worn navy-blue cotton of a t-shirt. She wiggled into her bed and found it was an arm draped over her and a chest she’d tucked herself against. The body beside her was breathing, steady and sleeping. But that phone was still erratically buzzing, making it impossible for the lull of warmth and touch to pull her back asleep.

If Clarke felt the smallest bit guilty about waiting to nudge Bellamy awake, she didn’t really care.

Keep reading

anthem (2/3)

There’s a crack in everything. Olivia’s never asked Zaeed what he means by that, but she wants there to be a hopeful second half to the phrase. Eight months is a long time without Garrus. 

(they’re stuck, all of them; it’s hard to move forward when you can do nothing)

Previously on: Part 1

PG, this part ~7k; Olivia/Garrus, Hannah/Zaeed, Olivia+Liara friendship, Liara+Garrus friendship, Olivia+Zaeed friendship. Vague references to PTSD.

Garrus sits down in the mess opposite Ashley, datapad in hand.

“I don’t want to hear it,” she grumbles. She looks at him, deep hollows under her eyes, and sips at her coffee. After a moment, she sighs, pushes her hair out of her face, and gestures for him to go ahead.

“Long-range communication, FTL drive, stealth drive, and the main guns are all offline. They’re not…” he grasps for the colorful phrase James used, and comes up empty, “completely destroyed, but they took significant damage.”

Ashley frowns. “And we have negative repair supplies.” She sighs heavily. “What else?”

Garrus scrolls through his list. “Daniels and Donnelly have been working nonstop on EDI, but they said it’s like her program is just gone. There are also multiple severe hull breaches.” At her raised eyebrow, he explains, “From crashing into a pile of rocks.”

Ashley nods and covers a yawn. “Oh, right.”

“Slightly less destroyed:” he continues onto the next section. “Sublight engines are offline, but Tali and Adams think they’re salvageable with enough time and effort. Liara thinks navigation would probably work if we could figure out where we are,” and we sure could use Shepard for that, he adds silently. “Short-range communication is twitchy at best, and Traynor’s exact words were ‘my toothbrush has more reliable reception.’ She had a similar opinion about our long- and short-range scanners.”

She stares at him over her coffee cup. “What is working?”

“Life support.” That’s it. Ten days of diagnostics and emergency triage repairs, and the only thing they’ve managed to get working is life support. And they crashed on a planet with breathable air and drinkable water.

“Well, at least there’s that.” She takes another sip of coffee.

“And other minor systems with varying degrees of functionality.” He may not be a very good turian, and he may technically be nowhere near her chain of command, but Garrus knows how to give a complete report to his ship’s CO.

Ashley exhales slowly and closes her eyes for a moment. “How are you?” she asks quietly.

Garrus stills. They’re all feeling Shepard’s absence, and he doesn’t want to claim more grief than anyone else. But since he kept her name off the memorial board, refusing to consider her another casualty, he’s noticed most of the crew going to great lengths to avoid speaking even her name around him. He’d be lying if he said he didn’t appreciate it.

He suspects Ashley put him in charge of overseeing repairs for more than just his ability to give a report. He’d be lying if he said he didn’t appreciate that, too. For most of the day, he can throw his focus and efforts into other problems, tangible problems. Problems that are largely - ah, shattered to shit, that’s the phrase, but problems that can be solved.

It’s only the few hours before sleep, when he’s alone in their quarters with nothing to distract him, that despair tugs at the edges of his mind. He tried simply going to bed earlier, but that was worse - lying awake in their bed alone, as her scent on her pillow disappears a little more each day.

He’s taken to working his way through her extensive media library. And sleeping on the couch.

“The fish didn’t survive the impact,” Garrus says, instead of voicing just how much it hurts to not have her here. “But her hamster’s still alive.” The little guy has even started coming out of his box to sniff at his fingers when he feeds him.

Ashley nods, and takes his words as a valid answer. She reaches over the table and plucks the datapad from his hand, and scrolls through it for herself. “Let’s talk repair schedule.”

Keep reading

2010: IN TOBY’S OWN WORDS….

TOBY ON TOBY

“I’m not naturally competitive. I wasn’t great at sport at school. I don’t understand the idea of going up against someone and trying to annihilate them. It’s just not me. I am very ambitious for myself, though.”

“Illness is like a shadow.  My mother had cancer a while back.  She is of that generation that won’t burden other people with worry.  On one level it was extremely admirable but on another it made me anxious because I wasn’t sure I was getting the whole story.  I’ve lost my father and my stepfather and several friends to illness so you think, ‘oh God here we go again’.  Thankfully she’s in the clear and fingers crossed will remain so.”

“I haven’t been hospitalised for 20 years.  On that occasion it was self inflicted.  I lost my temper after an argument with a girlfriend and punched a door.  I thought it was hollow, but it was solid.  I broke knuckles and fingers and had to have pins inserted.”

“I was bullied at school.  I had red hair and freckles, so it was inevitable.  I moved schools a fair bit as well and I became very adept at fitting in.  I made friends easily.  Everyone gets the piss taken out of them in some way at school  You learn to roll with it.”

“I don’t understand therapy.  If people could learn to be more objective about themselves it would be of huge benefit.  If you can detach yourself and think hard you can alter your behaviour.  Too often we employ someone to do it for us.  Clearly there are some people who need help desperately, but for most why not try and work out what the issue is?”

“Lying awake worrying is awful and like most of Britain it’s money worries that are usually responsible.  Half of the country is writhing around wondering how to pay the mortgage and its draining.  That the only time I reach for pills - herbal or chemical sedatives I don’t care as long as I can knock myself out.”

“My wife swears by manuka honey.  If I’m coming down with something she reaches for a pot.  Apparently it has strong antibiotic properties.”  

“I like to run with nothing in my head but if I need a boost it has to be heavy with lots of power chords.”

“I can’t live without sugar.  Since I stopped drinking I have developed a sweet tooth.  Before Id only have savoury things, now I love cakes and sweets.”

Source: ‘The inside track’,  Mike Pattenden.

“Yes, there was.  The first time I thought I might have something; might be able to express myself this way was in a school poetry competition. All the other kids were just reading out the longest and most complicated poems they knew. I chose “Dulce et Decorum Est” and, rather than recite it, I just instinctively performed it. I didn’t understand exactly what it was about, but I felt it. The teachers seemed almost shocked and I won the competition. They made me do it again the next day.’ 

Source: ‘The Seriously Handsome Toby Stephens’, Spectator,  Mary Wakefield

"I think we all as human beings go through periods of disillusionment with life, with humanity”

“I suppose I would like to be remembered as a decent human being who represented humanity truthfully. In a nutshell!” 

“Death’s an abstracted idea until a certain point where it begins to become more focused and more real and more concrete. I think the older you get, certainly in our civilisation here, the more people you experience dying. It’s just the way it is. And so it makes it much more real.” 

Source: ‘The Big Interview: Toby Stephens’, Official London Theatre, 

"I blub all the time, in the most weird situations – not in the ones that should make me cry. Music makes me very emotional. I think I cried yesterday, in fact." 

Source: ‘This Much I Know, Toby Stephens’, Guardian, July 2010

"Well, I turned 40 recently and I can understand how the confidence of one’s youth disappears. There’s a Talking Heads song called ‘Once in a Lifetime’ that has the line: ‘Where is my beautiful car?’ It communicates a lot of those feelings. Luckily, I spent my 40th birthday at a lovely dinner with very good friends – no dramas!" 

Source: ‘Keeping It Real’, Lucillehowe.com, 2010

"I wish I could do something else, I really do, but this is the only thing I’ve ever been any good at." 

Source: ‘Of Course I’d Act with My Mother’, London Times, 2010

My wife did it once [googled his name] and it freaked us out so much that I don’t any more.  I have a friend who does it a lot and he’s just constantly being upset.  Ignorance is total bliss.  I like going around pretending everybody loves me.”

Source: ‘A Big Ask’, Gabriel Tate 

“I’m pathetic and I’ll cry anywhere, any time.  Its the cause of great embarrassment.”

“Most afraid of not working.”

“My big hatred is littering so I would impose an one the spot punishment and make litterers wear a sign saying I am a lazy slob.”

Last listened to:

“Brian Eno’s ‘Plateaux of Mirror’, which I put on when I’ve drunk too much coffee.  Its very mellow.”

Save from a fire: 

“My heavily pregnant wife Anna-Louise and my two kids.”

Most like wearing:

“My double breasted navy coat from Tin House in Norfolk.”

“I’m in Norfolk at the moment and we’re staying in an old lighthouse.  I recently took my wife to Paris for a romantic break and we spent last Christmas in Venice, which is so atmospheric when the sea mists are rolling in.”

“I was recently in a lift with a mother and her daughter and they were complimenting me on my work.  Just before we got out they said, ‘And what’s your wife Helen doing’.  They thought I was Damian Lewis who is married to Helen McCrory.  In the end I went along with it and just said ‘She’s very busy at the moment’”.

“Got arrested in LA for stealing bubble gum when I was about six.”

Source: ‘My London’ : Toby Stephens, Hannah Nathanson, 

“I try to avoid travelling with my children.  They’re at that age when it’s a nightmare.  My wife and I are good at creating time away - even if its just a weekend - we have to for our own sanity.  Venice is our favourite destination.  We spent our honeymoon at the Hotel Cipriani.”

“I am obsessed with really good colognes and scents.  I like to smell nice after a long flight.  I love anything by Comme des Garcons.”

“I don’t have a huge skin regime but I do like Aesop facial oil, because its natural.  The older you get the rougher you look so you need to take care of yourself.”

“Running is great because you can do it anywhere.  So I always pack my new balance trainers.  The only place I didn’t manage a run was India - everyone thinks your insane.” 

“My wife gave me a Bell and Ross watch for my 40th birthday.  I’m never without it.  It’s made by the same company that creates dials for French fighter jets.” 

“On a flight I catch up on my reading.  It’s mainly fiction - I loved the ‘Line of Beauty’ by Alan Hollinghurst but I’m very selective.”

Source: BA In flight magazine

"If I ever read that actors know what they’re doing, they are either immensely successful movie stars or they are just lying.”

Source: Western Mail

“I absolutely support the Standard’s campaign [Dispossessed Fund]. I live in Tower Hamlets, which is one of the poorest boroughs in London, and it is also very near Hackney, where there is knife and gun crime. Anything that remedies it, or seeks to remedy it, is a good thing.

“I’ve never been in court. My father-in-law is a criminal barrister and I’ve been to watch him once but that’s the only experience of it so it was fascinating to act in front of the great and the good of the legal profession.”

Source: Evening Standard

TOBY ON LONDON:

“Home is East London near Spitalfields.  Earliest memory is being taken for walks by my nanny in Battersea Park and looking up at the huge blue gas towers and smelling the malt from the brewery that used to be there.”

“Walk as much as possible to avoid the Tube which is terrible and overpriced.”

“I go to John Sa doe in Chelsea for books because it’s like something out of a Dickens novel with its little corridors.  Folk, in the Old Truman Brewery, for unusual but well made shirts.  A lovely perfumery in Belgravia called Les Senteurs for unique colognes and perfumes that don’t take your head off.  St John Bread and Wine for Eccles cakes and brownies.  I like to browse the records in Rough Trade East.”

“Galvin La Chapelle, off Bishopsgate.  During the week its filled with obnoxious bankers, but its lovely and quiet at the weekend.”

“Triple shot lattes in small cups from Nude Espresson on Hanbury Street E1”

“Cheshire Street off Brick Lane.  I go window shopping there with my son and we stand outside the toy shop and fantasise over which mechanical robot wed like to take home.”

Most romantic place:

“Two temple place by the Inns of Court.  Its where we had our wedding reception.”

Best kept secret:

“Bunhill Fields Cemetery, off Old Street,where William Blake is buried.  Its an oasis of peace.”

Little known fact:

“My neighbour, the historian Dan Cruickshank told me that the Shakespearean actor Richard Burbage is buried in a vault in a church on Shoreditch Hight Street.”

Source: ‘’My London : Toby Stephens, Hannah Nathanson, 

TOBY ON HIS FAMILY

“At the moment, I’m working and she’s working and we have 2 children so it’s complicated but often one of us isn’t working.”

“My parents didn’t actively discourage me, but that was a different time.  If my children showed an interest I’d push them towards university so they’d have a back-up.  Acting is overpopulated now and everything is precarious.”  

Source: ‘Acting the part’

“I don’t live life in the public eye.   That’s why I’ll never act with my mother.  I’d maybe do a film, but not a play, because much as I’d love to work with Mum - she’s an amazing actress - it would become about something other than acting and I find all that a bit naff.”

“I didn’t really know her at drama school.  I mean, she’s six foot one with curly hair so you couldn’t exactly miss her, but I had my head up my own arse then.  I only cared about what I was cast in, whether I’d get an agent and so on.”

“There are worse things, and it forced me to watch my mother as a performer and understand that she is two people, the mother I know in a domestic situation and the one who does what I do now, who is somebody else.  Any child who goes into a parent’s workplace has to realise that.”

Source: ‘Toby or not Toby’, Metropolitan Magazine, Eurostar

On take his son Eli to the Old Vic Theatre where Stephens was playing in ‘The Real Thing’:

“He was totally mystified. He thinks work is digging holes.“ 

"I was obsessed by the fact that she was dressed up in odd outfits, kissing some strange man. It was embarrassing, very disconcerting.”

“It’s not very healthy, as I’m sure my mother would testify." 

"I would hate to feel that I had some sort of innate right to belong. My parents’ world, that old school hierarchy, has gone. Everyone’s all mixed up now, and, because of that, theatre is finally exciting again. People want to see something real. As an actor, you take your humanity and you put it on stage. You make people look at themselves and say, 'Thank God I’m not alone.’" 

"Sir Laurence Olivier was sweet to me, but later he was struggling and couldn’t remember who anybody was. He had been close to my mother and my father, then got fed up with them both. He was frightened of people coming up behind him or stealing his limelight. He saw both my parents as a threat." 

"We occasionally visited the Oliviers on a Sunday. There’d be loads of people there. I was always so terrified, I would just clam up. I wasn’t swanning around being precocious, I was hunkering in the corner. People would have thought, 'Who’s the spotty kid with the red hair?’ I wasn’t doing myself any favours." 

"People talk about my family as if it were a dynasty. But it was never like something out of a Noel Coward play, with everyone going, 'Oh, dahling!’ and serving up theatrical anecdotes for breakfast." 

"I don’t worry about not being as good as them. All I can aspire to do is to have the same incredible drive as my mother, never sitting back on great reviews, always seeking to improve. All people tell me about my father is how amazing he was in things they saw, but that’s not a pressure. It’s lovely never to hear anyone say a bad word about him.”

"I told him it was fine for an older, more sophisticated actor, but in our production Coriolanus had to be a young man. He did accept it in the end, after a bit of harrumphing." 

Source: ‘Home and Dry’, London Times, July 2010

"Now I have children I live the most domestic mundane life." 

"I sort of dread them doing it. I guess my parents must have been the same about me; there’s no guarantee you’re going to be any good at it or that the industry is going to be kind to you. My instinct is to protect them and say, do something else. But then if that’s what they want to do I’m not going to stop them.” 

"Naff. She really is amazing. I’m so immensely proud of her as an actress, she is extraordinary. Also what I love is that I have two separate lives. I have my professional life and I have my personal life and I really like that separation.” 

"My brother only took a stage name because there was a male stripper in Holland who was a member of Equity who had the name Chris Stephens, so he was forced into choosing another name. No, I didn’t. I certainly didn’t want to hide away from it.” 

"When we found out about it, it was … I mean obviously you immediately go 'oh my God, that could mean, you know …’ Luckily it wasn’t, she is in the clear. But obviously you go, that death is one of the possibilities and she must have gone through that process as well.”

Source: ‘The Big Interview: Toby Stephens’, Official London Theatre, 

"I’ve learnt an enormous amount from my children. Mostly that my agenda isn’t the most important thing in the world. For a while I was trying to squeeze them into my life. And it was such torment! It makes you realise how selfish you are." 

"The smallest audience I’ve ever performed to is my three-year-old son on the way to nursery. I’ll be babbling to myself in the car and he’ll suddenly say: 'Daddy, are you running lines again?’" 

"I didn’t know my blood father that well, but my parents taught me that what I do is a job. It’s a craft, something you have to work at. My mother taught me that you never deliver a perfect performance. I’m constantly tweaking and fiddling with roles.”

Source: ‘This Much I Know’, Toby Stephens, Guardian, July 2010

"It’s not something you’d do lightly. It would be a … situation. I’d love to learn from her. I also would be very seriously intimidated. I wouldn’t flatter myself that it would be enough, but if that’s what got her back on the stage, I’d do it in an instant." 

I’d be going, 'Why is she talking like that, why is she dressed up, who is she kissing?’ Looking back I am as amazed by her as everybody else. She had the most incredible, rarefied time of it on stage.” 

"It was terrifying for all of us. Your foundations go.” 

“I was completely lost. Having lost two fathers I kept saying: 'Oh God, please, not yet, just a little more time.’" 

"I was very lucky. Beverley was my mother’s sweetheart from an earlier time and a wonderful father in ways that Robert, bless him, just could not be.” 

"Robert was very ill, it’s no secret, with alcohol. I watched him die in the most … the most gradual … I mean it was not an easy process. But his legacy is sometimes incredibly reductive. Actors come up to me going: 'God, your father could drink.’ And I say – 'I am aware. Yet you neglect to say that he did things nobody else can do with Shakespeare.’ He was extraordinary. He was many things, and he influenced me enormously." 

Source: ‘Of Course I’d Act with My Mother’, London Times, 

"Having kids certainly means you can’t obsess about your career the way you used to, which I think is healthy. But inevitably, when you become a father, you reference your own past. What makes me really sad is that neither Eli nor Tallulah will have an experience of their grandfather. And a lot of what I know about Robert is apocryphal, because I was four when he left and I didn’t see him for a long time. And inevitably, people are very reductive about him: 'Oh, he was a great actor but he liked a drink!’ Whenever I have any dealings with my son, I am aware that he walked away from us. I look at my situation and know I couldn’t even dream of doing that. But those were choices that Robert made in a context I can’t know. I’m incredibly lucky: I’m in a different place to where he was. I’m a different person.”

"To look at my mother with an objective eye and see how incredible it is what she does. Because purely selfishly I’d like to see her in something new, and also because I know it makes her happy." 

Source: ‘It’ll Be Weird to Be Here with My Family History,’ Evening Standard

 "No, not really, I wasn’t an extrovert. My brother did try to put on plays, but I didn’t like the limelight. He’d be the director, and he’d try to get me to perform, but I’d be paralysed with stage fright and refuse to come on." 

Source: ‘The Seriously Handsome Toby Stephens’, Spectator, 

"My parents would read almost anything – from trashy novels to highbrow ones. But I tend to be a bit of a snob, so I don’t do anything too trashy." 

Source: ‘My Life in Books, Toby Stephens’, Easy Living, 

"My mother’s an amazing role model. Having famous parents can put a lot of pressure on kids, but she taught me that, underneath it all, it’s just a job, a way of earning a crust, and it’s not about fame and notoriety, it’s about craft and practice." 

"I was waiting for a plane in Johannesburg, and a Scots woman came up to me and asked if my mum was all right. She was a stranger, but she felt this empathy with her because she’s moved people – it’s not a showbiz thing, it’s a deeper connection than that." 

"I was only three or four at the time, so I didn’t know what was going on. But looking back, they were hailed as the new Olivier and Leigh, and it must have been so hard for them in that goldfish bowl. I’m just relieved that I don’t have to live that way.”

Source: ‘In a Taxi with…Toby Stephens’, Daily Mail, 

I would probably get something to eat.  Screw the National Gallery and all that!  I get so little time because of the kids that I love those moments when you can just have breakfast, read the paper….”

Source: ‘A big Ask’

TOBY ON HIS CAREER & THEATRE

“Filming is rotten for your health. If you’re on set all day, you’re not going to get home at 9pm and go for a jog. When I go home I try and clean up and be a bit fascistic about my diet for a couple of weeks. Lose the pounds, go to the gym.”

“I hate hanging around. The big joke as an actor is you’re “resting between parts”. It’s not funny if you’re an out-of-work actor. You want to work and I love work.  Each job is a little pod in itself and very fulfilling, then you move on to another one which is completely different.”

Source: ‘Inside Track’

"I went through periods of wanting to be a doctor or a pilot, but I was too thick to become any of them." 

“Seaford College was full of farmer’s children. You didn’t really go round saying you wanted to be an actor." 

"Anyway, if they made a film of ‘Jane Eyre’, they’d want Russell Crowe, not me.”

"I enjoy that moment when I come off stage and don’t go for a drink. The drinking after a show is about trying to keep something alive that is gone. Actually, I love the fact that it has gone.”

Source: ‘Home and Dry’, London Times, July 2010

“I’m totally cool with it. I chose this profession. I think I entered into it naively, thinking it wasn’t going to be a preoccupation, but inevitably it is because they are in it and my mother is very much evident in this industry and I can’t hide from it. Turning up to interviews and saying 'yeah you know what, I’m not talking about my parents’ it makes it into some sort of issue like I’m embarrassed about it or ashamed. I’m not, I’m immensely proud of iit.” 

"It was basically the only thing I could do. It was also the way I, strangely, could express myself, through other people’s writing. Giving voice to these characters, making these characters into human beings that are believable, that was what I was fascinated in doing and I still am; I love doing it.” 

"There’s a lot of theatre I really like at the moment, and there’s a lot that I don’t like. If you don’t like that kind of theatre, take responsibility rather than just moan about it.”

"Performing at the Donmar allowed me to develop as an actor. I think before working at the Donmar I was a different type of actor and I think what happened to me when I worked at the Donmar was revelatory really. Because there you can’t hide, the audience is on top of you. I think a lot of actors hide behind various smokescreens of affectation and there you can’t. The difficult thing is letting go of it, and the Donmar is the perfect venue to do that.” 

Source: ‘The Big Interview: Toby Stephens’, Official London Theatre,

"Most actors do stuff they’re not proud of to pay the bills – and the good thing is that they do the best they can on it. You know: I’m going to polish this turd and I’m going to make it as shiny as I possibly can." 

"It’s not out of choice that I play so many historical characters. After 'Pride & Prejudice’ happened, anyone who looked or spoke in a certain way was shunted into doing that sort of stuff.” 

“Actors don’t listen to each other. You’re so obsessed with what you’re saying or doing that the other person could be talking in Swahili and you wouldn’t know.”  

Source: ‘This Much I Know, Toby Stephens’, Guardian, July 2010

“I don’t want to do the same thing over and over again,”

Source: Leicester Mercury

“Every job you go on is with a new character, a new group of people and a new script, which is wonderful.  You create these relationships and then move on.  But it’s also the worst thing because you never low what’s round the corner.  Very insecure, but extremely exciting.”

“I auditioned for Neil LaBute, and the casting director said, ‘Neil has a problem with British people playing American parts, so can you pretend that you’re American?’  So I spent this sleepless night thinking: where the fuck do I come from?  So I made-up this story about coming from Pittsburgh where my family made shoes or something.  I worked with Neil later on, and he told me that he’d known all along because he’d seen me in a play.  So there was this ridiculous double-bluff going on.  But it taught me a great lesson.”

Source: ‘A Big Ask’

"I’m not nearly that titanically brilliant off-script.  What I love about acting is that it allows you to articulate things you couldn’t readily say in normal life. In Coriolanus, I could be this eternally confrontational character, for instance. I’m not saying it’s therapy. It’s a strange, instinctive understanding of human behaviour that can be quite manipulative.”

Source: ‘Talking to…Toby Stephens’, London Times, April 2010

"We all want to stop the voices in our heads, don’t we, the ones that criticise and question us? Well, when you get a perfect moment on stage, the voices in your head are silenced, which is what we all want really, isn’t it?" 

"The reason I do it, the heart of it all, is that every so often, during some rare performances on stage, there’s a moment when you lose yourself completely. It’s amazing. The audience feel it too — well, it’s their focus that takes you there. And those moments are sublime. I can’t explain it very well, but it’s as if everything suddenly comes together and you’re able to pour yourself completely into the part as if it’s a vessel. It’s a very strange thing to do, but it’s…well, it’s my function, it’s what I love, it’s what I do." 

"It’s amazing. The audience feel it too - well it’s their focus that takes you there. And those moments are sublime. I can’t explain it very well, but it’s as if everything comes together and you’re able to pour yourself completely into the part as if it’s a vessel. It’s a very strange thing to do, but it’s…well, it’s my function, it’s what I love, it’s what I love, it’s what I do.”

Source: ‘The Seriously Handsome Toby Stephens’, Spectator,

“Theatre does not pay well, and sometimes I think, 'God, forget art, I just want to earn enough money not to lie awake at nights going 'shit’ all the time’. But I keep telling myself I am happy, and I don’t think super successful Hollywood types are. They end up living a monstrous, monomaniacal life.” 

“Great daredevil act that you’ll get too constipated with terror to do anything." 

"I mean these people trying to sell you 3-D TVs. Imagine it: sitting, eating your TV dinner with your f***ing 3-D glasses on. What insanity are we talking? ‘Avatar’ says quite literally nothing to me. Theatre is experiencing a really exciting, energetic time now, because it’s so satisfying to see real human beings in front of you and not some 3-D virtual sh**.”

"Yes and no. A lot of theatre felt quite tired then. It had this atmosphere of being a bit fusty, musty and middle class. My mother started in revue, a child of vaudeville, and was taken on by Olivier. When she came in it was all Noël Coward, everybody smoking cigarettes and isn’t it marvellous darling. The National and the Old Vic shook things up with these experimental productions — people like Ingmar Bergman, Franco Zeffirelli, Bill Gaskill and a 24-year-old Peter Hall opening ‘Waiting for Godot’. Extraordinary times.” 

"I love what I do. I absolutely love being here." 

Source: ‘Of Course I’d Act with My Mother’, London Times, 2010

"A lot of people see going to the theatre like rocking up at the cinema, and it’s not. They have mobile phones they leave on, they arrive late and want to get a drink in too. But at least people are coming to see us." 

"The theatre is much more challenging than film, where casting is really unimaginative. Filming is tedious … it’s a grind. You have to maintain focus all day in case you’re suddenly called to set, so it’s not like you can switch off. In the theatre your day begins at about 4pm, which is a bit difficult when you’ve got kids. Then, it’s about being in the moment and remembering everything you’ve rehearsed." 

Source: ‘Keeping It Real’, Lucillehowe.com, 2010

"There’s a twinge of course, but it’s in my pocket more than anything – a job like that would pay the mortgage or the school fees. No, I’d like to keep it at the 'I’ve seen you in something, not sure what’ level. Having a life and being grounded is really important to me. In this business, especially for guys, you can become so obsessed with where you’re at and where you think you should be that you get angry and screwed-up, and forget to value what you have.”

"I guess theatre’s my creative engine. Television doesn’t really stimulate me in the same way, plus there’s such a circus surrounding all of that – what premieres or parties you’re seen at, what magazines you can bag the cover of. I feel I can’t live up to any of that. I get embarrassed by myself. I can’t actually watch ‘Britain’s Got Talent’. I’m hiding behind the sofa; I can’t cope with people humiliating themselves in that way. And that’s what the exposure of myself feels like to me." 

"In this business you can become so obsessed with where you think you should be that you forget to value what you have”

Source: ‘In a Taxi with…Toby Stephens’, Daily Mail, 2010

“That’s the difference between stage and film, or rather TV, given that we don’t have much of a film industry in Britain, or at least one I’m involved in. On TV a lot of stuff isn’t well written. You spend a lot of time trying to polish a turd. Whereas in theatre you usually don’t have to expend all that energy selling the thing, because the writing is superior." 

Source: ‘It’ll Be Weird to Be Here with My Family History’, Evening Standard

I’m not nearly that titanically brilliant off-script.  What I love about acting is that it allows you to articulate things you couldn’t readily say in normal life.  In 'Coriolanus’ I could be this eternally confrontational character, for instance.  I’m not saying it’s therapy.  It’s a strange instinctive understanding of human behaviour that can be quite manipulatively.”  

“Try as I might, I seem unable to get out of theatre.  I’ve never played the Old Vic before.  I was literally a baby when my parents were here under Olivier, but that’s part of the reason I’m hoping we pull it off.  I hope we do the theatre proud because it’s a magical building, and when you see that right product and the hairs on the back of your neck go up it’s an incredible feeling.  You can’t get it anywhere else.  It’s irreducible.”

Source: Lucy Powell talking to Toby Stephens

“That’s what acting is, playing different parts”

“I want to be on stage, serve a play well, try to replicate human behaviour.  Theatre is a learning process.  It’s about trying to fool people into believing they’re watching a real situation, a real person.  Film is more about personalities, which is also difficult but different.  You don’t ask Jack Nicholson to be anything other than Jack Nicholson.”

Source: ‘Toby or not Toby’, Metropolitan Magazine, Eurostar

“What I find bizarre is that the theatre is always there for me.  20 years ago I thought people were moving away from that.  If someone has said that to me ten years ago, that it would the be the bedrock for me, I would have laughed at them because I thought it was on the way out - but ironically people arc coming back to that.”

Source: ‘Acting the part’

TOBY ON THE IAN CHARLESON AWARD

"At the risk of sounding crass, the best thing about this prize is the cash. As a young actor - or certainly as a young stage actor, which is what this prize rewards - you’re not earning much, so a cheque for £5,000 really does make a huge difference. I remember that, beforehand, I had been getting quite desperate: after winning, I subsisted on it for quite a while.”

TOBY ON HOLLYWOOD

“The strangest thing about Hollywood is that you actually have to lie! When someone asks what you’ve been doing, you can’t just say, 'Well, I’ve been dossing around for six months.’ You have to say, 'I’ve been making this really interesting little movie.’ The whole town is run by producers who are just in it for the money. And they make bad movies because they don’t want to risk anything. They won’t risk losing money so they end up making boring films. The whole thing is a fiction, I mean the whole town! It shouldn’t even be there, it’s built on a desert!" 

"Trying to crack Hollywood nearly killed me. It’s such a strange world full of phony people. You have to pretend to be really hot shit all the time. You’re constantly in this weird state where the end of the rainbow keeps receding. There’s success all around you — fancy cars, posters of big-budget movies — but you can’t get at it. And you learn the language of false hope. It means that when people say, 'You’re in the mix for this one,’ that actually translates as: 'You’ve got no chance.’”

Source: ‘The Seriously Handsome Toby Stephens’, Spectator, July 2010

There was a time when I thought, yeah I want to go out to LA and do a big TV series or get into movies, but now I’ve got kids and Im a homebody, I like bing in London.  But don’t hold me to that, because if I was offered something….:”

Source:’Cop duo wont let crime get in the way’

TOBY ON JAMES BOND

“Every schoolboy’s secret longing! You can’t turn down the chance to be in a Bond movie, can you? And I do love playing baddies, they’re more…interesting." 

Source: ‘The Seriously Handsome Toby Stephens’, Spectator, July 2010

“Too unlikely to take seriously — a baddie and Bond? I think not." 

“Exceedingly silly but great fun; the movie industry has so little imagination. I’d just end up replicating the same English cad. So I backed away from it.” 

Source: ‘Of Course I’d Act with My Mother’, London Times, 2010

“A bit of an aberration”

Source: Daily Mail

“It was a blast, like a strange holiday, and then I went back to my normal life.”

Source: ‘Cop duo wont let crime get in the way’

TOBY ON HERO’S

"If I was to meet Lou Reed or Bob Dylan, I would be totally helpless. Writers and musicians make me feel completely starstruck. Once I did a read-through in front of Ted Hughes and mauled his text so much I could see him twitching.” 

Source: ‘This Much I Know - Toby Stephens’, Guardian, July 2010

“Brilliant musicians or songwriters.  Someone like Miles Davis or Bob Dylan.  I’d probably come away hating them - never meet your heroes.”

Source: ‘A Big Ask’

TOBY ON BOOKS

“I absolutely loved ‘Wolf Hall’. I’m intrigued by Henry VIII. He was an utter selfish shit, but you can see why everyone wanted to be around him – people were magnetised. I’m fascinated by those kinds of characters." 

Source: ‘This Much I Know - Toby Stephens’, Guardian, July 2010

"My reading has ground to a halt of late, because we have two small children and I’m so tired I can’t focus on anything past seven o'clock in the evening. But, recently, I was filming in South Africa, which afforded me time to read. I gobbled this up; it totally grabbed me. Mantel is brilliant at being able to give real texture to the past; you feel you’re there; that you understand these people. It was a present, together with one of her earlier novels, ‘A Place of Greater Safety’, about the French Revolution, which could not be more apposite, as after ‘The Real Thing’, I’m doing ‘Danton’s Death’, the play, at the National Theatre. So it’s become slightly 'set text,’ but I am managing to fit it in between changing nappies.

American Pastoral’ by Philip Roth 

“It’s not a big book, but it’s huge in its themes, and I think it’s my favourite Roth. I’ve read all of his novels, and I find him hit or miss, but when he hits, he really hits home. I think this articulates everything Roth had been trying to say about his sense of identity, his Jewishness, the American Dream and how it goes so wrong for the protagonist: it’s utterly tragic and compelling. It’s one of the greatest modern American novels. I couldn’t put it down, and when I did, I felt it had moved me on somewhere beyond where I was before.” 

Fear and Loathing in Las Vegas’ by Hunter S. Thompson

“This came to me in my twenties, out of the blue, and knocked me sideways. I remember reading it on trains and thinking other passengers must think me insane as I was laughing so much. I love Thompson’s visceral, funny writing style and how it really captures a time in history. I was evangelical about this book for a while and kept insisting people read it." 

“'Moby Dick’ is a big guy’s book. It’s like the Old Testament in scope, but there’s a simplicity to the plot, and the irrevocable, tragic path that this man is on- his monomania is a very male thing. I found it totally compelling - aside from the very, very boring bit in the middle, about what the whales look like! Skip that, because this is an amazing read and has at its heart a very human tale. You know it’s an old classic, but when you’re in the midst of it, it feels present, fresh, and so real.”  

Tom Jones’ by Henry Fielding 

“My stepfather told me I should read this because it’s wonderful, and I remember thinking, 'But it’s such an old book.’ I was just blown away by the humour - it’s hilarious - and its sauciness and bawdiness. I read it in my teenage years, when I was becoming obsessed by sex and women, so it was perfect because it’s so hand-on-hip and has such thigh-slapping gusto. It is a satire, there is a Hogarthian element to it, but it has this jovial goodness of spirit that is so engaging. It has a lust for life in all its glory; it says, 'This is life - and it’s wonderful.’ I love it still.”  

‘The Wind in the Willows’ by Kenneth Graham

“This is one of those books that become part of you. Ratty, Toad, and Mole became so entrenched in my imagination that, no matter how many times I see it on stage or an animation, it never fulfills how I perceive them in my mind. It changes the way I saw rivers and big old country houses. It’s so much of its time, and there’s this innocence to it, which I love, this idyll of a past England; in later life we can be cynical about it, but in childhood, it’s so lovely to believe in it.”  

Alice in Wonderland’ by Lewis Carroll

“I was five when this was read to me, but it wasn’t until I was 11 that I came to love it - when I claimed it for myself. It’s so wonderfully imaginative and weird. I long to read it to my children, but I have to hold myself back. I think it’s important to pass on your literary heritage, but if they don’t like it, that’s fine - getting on with a book is a chemical thing. The number of times I’ve tried to read Dickens…I just can’t get on with him. I’m really keen for them to read it for themselves. It might be great for me to do these finely wrought performances, but they might not enjoy them as much as I do!" 

“A sense of humanity. All the great plays and novels remind us who we are, and that we’re not alone. As an audience or reader, I respond to art that makes me say, 'You know how I feel. You’ve revealed to me what I already know in my heart of hearts.’ And I want to give that to the audience." 

Source: ‘My Life in Books, Toby Stephens’, Easy Living, June 2010

“Christopher Hitchen’s autobiograhy, ‘Hitch-22’ .  I’m fascinated by him - I admire him but I’m not sure that I like him.”

Source: ‘A Big ask’

TOBY ON DRINKING

"It was awful, there was no excuse for it. I had to buy her [Dame Diana Rigg] flowers and crawl down to her dressing room, literally on my hands and knees. It was the beginning of knowing I couldn’t go on like that. I had this sense of my father not having achieved what he might have done because of drinking, and I didn’t want it for me. I didn’t want it for him, either." 

"I look at actors now and they’re all totally ripped - the young guys in my cast are all incredibly fit. It’s so tough to get on in this job. People have to look after themselves and be sharp. You can’t turn up half-cut to do a performance.”  

“All that romantic, living-on-the-edge stuff is a load of crap. People talk about Richard Burton and Peter O’Toole - imagine how much better they would have been if they hadn’t had a bottle of vodka." 

Source: ‘Home and Dry’, London Times, July 2010

"A big drinker ever since I started. I had given up for a year, but when Robert died I stupidly thought: 'Sod it, I might as well.’ I can’t have just one. It’s a chemical thing. It’s such agony to stop I’d rather not start. It’s hard enough in this profession without sabotaging yourself. There’s this stupid romantic notion about it, but I guarantee, drinking does not make good acting.” 

Source: ‘Of Course I’d Act with My Mother’, London Times, 2010

“Raises its head in the most banal situations. But I don’t obsess about it like I used to. It’s a choice not to drink. I know I don’t want to go down that route again. I’ve got too much to lose." 

Source: ‘It’ll Be Weird to Be Here with My Family History’, Evening Standard,

“In the old days I used to stay agents in a restaurant ordering bottles of wine and brandy but because I couldn’t do that any more it was all a bit functional.  I’d eat and say, right bill please, so my wife, who drinks like a normal person was constantly getting indigestion.  I was very jumpy, it’s a wonder she stuck around.”

Source: ‘Toby or not Toby’, Metropolitan Magazine, Eurostar

“I used to be of the type who takes a vice to the hilt.  I was a heavy drinker.  It got to the point of being very scary.  It was mainly drink but also anything that was going, one thing leads to another and so on.  I was quite robust then fortunately but there was a point where my liver blew up and I knew I had to do something about it.”  

“Im very dogged, I do something totally or I don’t.  When I gave up booze it was intensely hard for a few weeks and tough for a year, but I’d made up my mind.”

“I haven’t drunk for ten years now.  Once I make a decision its like flicking a switch.” 

“My only vice now is coffee.  Lots of it.  I’d rather do that than anything else.  Every morning I go to a local cafe that does a mean espresso and I drink triple shots often two back to back.  They think it’s hilarious there.  My wife has suffused I cut down because I can get a bit jumpy.”

“It can be a bummer not opening a bottle of wine.  I don’t have that stress reliever choice that most people reach for.  Exercise is good, unleashing all those endorphins.  You have to have something.”

Source: ‘The inside track’

2

20170604 - ‘2PM 6 Nights Concert’ Day 3

real_2pmstagram :  내가 더 고마워 ♡ 핫티 
I thank you more ♡ Hottie ] 

https://www.instagram.com/p/BU6wLExFZPo/ ]

@.follow_2pm :  고마워 ♡ 2PM
@.follow_2pm : Thank you ♡ 2PM 


translation by 2pmalways 

random fcc:

mj: next week is our young boys’ concerts!

wy: we really thought a lot about what songs to pick, our hottest, thank you for supporting us for a long time. we will always sing for all of you who are supporting us.

mj: 2pm has a strong heart for staying together for a long time. you’ll be with us for a long time, right?

jh: these are the last concerts before we go to the army, but don’t be sad, since each of us will fill the stage individually.

cs: i’m glad that this is our destiny. i really liked spending our 20’s with all of you. once you are with us, you can’t leave! we’ll be gone for about 3 years, but you won’t leave, right? we’ll still be here, so you have to be with us, too.

nk: how are you, taecyeon?
ty: i’m tired…
nk: it’s because you’re old. we go abroad a lot, right? but we don’t get lonely because of all of you~ thank you! see you next week
ty: i haven’t said this before, but my enlistment date has come out. i pushed it back because of this concert, so this is it. i’ll be back with a bright smile. let’s wait for that day! thank you

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Tour Diary: The 1975 in Allen (15.4.17)

A ridiculously long post documenting my experience seeing this band again. It took place at the Allen Event Center, with the openers Colouring and Pale Waves. This is the first show on their last US tour before breaking for album three, and I think it was the best show I’ve been to yet. 

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