rachel-is-not-here

Whoops || rp with everythingisbene

 
    She did it again… Again meaning she was on her way home via a twilit portal and she sneezed. Often when this happened she changed her destination and ended up in weird places. This time when it happened though and she went through, the portal closing behind her, she was more then confused. This was not her home in hyrule in the least bit, matter of fact she wasn’t even sure she’d been here before.

  Rachel threw up her hood just in case as she was the oddest of beings and looked for the highest building, a birds eye view would probably help her in this situation.

everythingisbene

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Great Glamour interview with Stephanie Savage~ here she is discussing O.C. auditions, The Musical, Marissa’s death and plenty more!

Glamour: Your foray into television began with Fastlane on Fox, but it was the launch of The O.C. the following year that really got you noticed. It was also one of the first shows that premiered in August, which was unusual at the time for a fall premiere. When did you realize the show was going to be this huge phenomenon?

Stephanie: Well, it’s hard to know. I always go by if I loved something, if I’m in love with my actors, and if I’m love with the look and feel of the show and can watch it over and over again. The O.C. was very challenging. They knew [Fox] wanted it for August, so when we were shooting the pilot—which was picked up in March—we were also cutting together a sales reel of what the pilot would be [to sell to advertisers]. So we were creating two versions at the same time. [After the pilot], we stayed in production because we were going to have six episodes ready to go on in August. If Josh [Schwartz] hadn’t have been 26, and I hadn’t been so full of energy, I don’t know if we would have agreed to do it, but we both loved the show! We were so excited that we were like, “Let’s just do it.” The show premiered OK, but Fox really believed in it and kept re-airing episodes. By the end of August, it really felt like it had caught on and people were excited about it. People were yelling, “Welcome to the O.C., bitch!” and making jokes about Chino and living in a pool house in a way that felt like it had traction on a larger level.

Glamour: Let’s talk about the audition process for the actors on The O.C. Was there any particular audition that stood out and made you say, “Yep, we found our person!” or “This one is going to be a huge star?”
Stephanie: It’s interesting. It’s always kind of a journey. I don’t know if we’ve had the experience of someone walking in and being like, “That’s the person! Hired!” For example, Adam Brody first read for Ryan Atwood, not for Seth Cohen. He then came back and read for Seth and kind of improvised the whole thing to the point that Josh and I were like, “What is going on?” [Laughs] We weren’t sure if he even knew the dialogue happening here! To credit Patrick Rush, our casting director, he said, “Let me talk to him and bring him back in.” So he came back and was more on book, and at that time we were like, “OK, this is Seth Cohen.”

Glamour: That’s amazing. What was it like casting Ryan?
Stephanie: Finding Ryan proved to be a real challenge. We saw so many actors, but it was kind of great because it exposed to us a lot of actors we ended up working with for other parts. Ben McKenzie was sort of a last-minute entry and not exactly how we envisioned Ryan, but he had more of a Matt Damon/Edward Norton energy and it fit the character in a different way than we had been thinking. We saw him in the parking lot and thought, “Yeah, that’s totally the guy. That’s Ryan.”
Glamour: What kind of guy did you envision Ryan to be originally?
Stephanie: Probably more of like a River Phoenix or a lankier, more introspective…I guess Ben was introspective, but visually he just wasn’t what we had in mind.

Glamour: What was your favorite episode of The O.C. that you either wrote, produced, or were just a fan of?
Stephanie: There’s a couple that I love off the bat. I love the pilot. It’s a little darker than the future episodes and a bit more dramatic. I think Doug Lyman really brought something to the way he directed it that made it feel a bit more indie and a little bit more real than one might have expected from a teen soap on FOX, especially coming on the heels of Beverly Hills 90210, but that was sort of the slot we were filling. The first episode I ever wrote, the Chrismukkah episode…
Glamour: You wrote the first Chrismukkah episode? Oh my God, you’re a genius.
Stephanie: Yeah. [Laughs] So that obviously is very near and dear to me. That was the first thing I ever got a writing credit on. Josh really made that episode possible because normally in order to write an episode, the studio and network would say, “You need an original sample or a spec episode of a produced show,” and Josh was like, “No, she’s not doing any of that. She’s way too busy. She’s going to write it, I’ll guarantee it, and if it doesn’t come in, I’ll rewrite it.” Based on that I was able to have that opportunity, which basically changed my life.
Glamour: Wow. Did you invent the yamaclaus?
Stephanie: [Laughs] I think the yamaclaus was a future innovation in season two.
Glamour: Do you have any yamaclaus at your house?
Stephanie: I do have a yalmaklaus. I wish we were smart enough to get into the Chrismukkah to get into the business on a wider level. We should have thought of wrapping paper.

Glamour: Is there a storyline on The O.C. you wish you could do over again.
Stephanie: [Laughs] Yes, there is. The thing that was tricky about network television is just how fast it moves. You start in production, and then you’re writing and shooting and editing at the same time, so many times, there will be a moment when you realize something isn’t working, but you can’t fix it because you’ve already shot those episodes. I think we put a lot of pressure on ourselves on The O.C. to change things up and make them different, and the reality was the audience liked things the way they were, and they didn’t need to see Marissa in public school or see as many new characters introduced that we felt they did at the time.

Glamour: Would you have kept Marissa alive if you could do it all over again?
Stephanie: Well, that’s a tricky one. It definitely was a real heartbreaker to do that story, but there were a lot of outside factors—changes at the network and directives that we were being given where it was feeling like the show that we were making wasn’t necessarily the show that was going to survive on that level.

Glamour: You went on to work with Rachel Bilson on Hart of Dixie. Once The O.C. wrapped, was she the actor that made you think, “That’s the actor I want to work with again?”
Stephanie: Honestly, we’d team up with any of them again. I think we left the show in a really good place. Rachel is someone that we have a longstanding friendship with, and she was always such a super joy on the set and tons of fun. She is a really versatile actress that started on the show with only a couple lines to speak, and ended up that she was the smartest [character] on the show going to Brown and becoming an environmental activist. She had this incredible arc on the show and got to show comedy as well as drama. I think that feels like a special journey that we went on together.

Glamour: Have you heard about The O.C. Musical that’s happening in L.A. next month?
Stephanie: Oh, we’re going! It’s completely unauthorized, but I know they did a version for Cruel Intentions, which was amazing. They are doing the same treatment for The O.C., so that will be amazing.
Glamour: Aside from the opening theme song, what were your favorites?
Stephanie: Oh, that’s a hard one! I loved the Patrick Park song “Something Pretty” that plays when Seth gets his first kiss from Summer on the coffee cart. That was an episode that I wrote, and I loved that moment. I loved the song where Ryan finds Marissa in the driveway (“Honey and the Moon” by Joseph Arthur). That’s definitely a big moment. You have to love the Imogen Heap song when Marissa shoots Trey, then “Hallelujah” when Marissa dies, that’s certainly a poignant use for that song. There’s so many good songs!

here’s to the obstacles.

here’s to the distance. it may separate us, but it forced us to be so much closer emotionally, and now I can see every beautiful facet of you that I’ve picked up through a lack of physical contact, but an overabundance of communication.

here’s to the sad nights. they make me appreciate the ones that aren’t so much more, the ones spent in your arms & soothed to sleep by the steady, calm beat of your warm heart that feels like home.

here’s to the differing time zones. they help me realize that the world is bigger than what I know & what I’ve experienced. they help me envision a future of travels taken with you.

here’s to technological unreliability. it makes me realize that even when some things we rely on may fall through, you never do.

here’s to painfully long plane rides. they make me realize that there’s always a way to you, & remind me that one day, you’ll always be beside me when we take them on travels together.


but most of all, here’s to us. we’ve made it through all of the negatives for so long, & soon enough, they won’t exist. so here’s to the negatives for the times when they do. you’ve proven that we’re so much stronger together than apart.

—  dedicated to the boy whose eyes shine brighter than the stars in the night sky
patheos.com
Let’s Talk about Rachel Dolezal’s Parents

Now I’m tired of hearing about Rachel as much as the next person but this article right here…I knew there was something up with her parents. I felt that shit. This is crazy! This is some Duggars fanatical Christian ish going on. Smdh why didn’t the courts remove these children from their home? Why are people just now coming forward? Why let them get away with abusing their entire household for so long? 

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les miserables at west end live 2015

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