Got to see sleep no more for the first time last week and when I realized it was ending I decided to follow the tailor for the rest of the time to see how their story played out. They ended up guiding me into the finale and it was really cool.
The entire experience was so cool and intense I felt the need to channel the energy into some artwork
I made a little 3 panel sequel to this… it really only makes sense if you’ve seen it, and plays off of the last line in that sequence. Set hundreds of years later, Legolas finds his father in the same tree he had one hidden in when he was feeling sad.
The first and third panel have a bit of motion in them, and the last picture shows them all in case the gifs don’t load properly. The rules I made for myself were– I had to stick to three panels (or camera angles). I cheated just a liiiiittle bit by decided it was perfectly with in the rules to add some motion. :) I’m practicing storyboarding. I want to get better at it. I hope you guys like it!
Apparently I have this recurring problem where my favorite Hamlets are always the Hamlets from Rosencrantz and Guildenstern Are Dead, not the Hamlets from Hamlet. Not that I don’t have a lot of affection for Hamlet’s Hamlet! But R&GAD allows Hamlet a certain laxity of movement, a freedom from having to have PSYCHOLOGICAL DEPTH, that I find really fun to watch onstage. Like, for R&GAD I enjoy picturing Hamlet strutting around in hipster glasses and really tight pants, inscrutable and a little absurd, but the terrible thing is that this preposterous asshole in skinny jeans is the death that overtakes the play. Opacity is a kind of power.
Has the word “Hamlet” reached semantic satiation point yet? Let’s watch Iain Glen as my favorite Hamlet of all time, except, as usual, I just end up getting distracted by Tim Roth. Ugh Tim Roth. Really THE WHOLE CLIP IS DISTRACTING. GARY OLDMAN! HOW CAN I WATCH A THING AND BE DISTRACTED BY ITSELF, AND YET I AM
honestly every time i think about into the woods my mind goes back to that mystery science theater 3000 sketch, the one in i accuse my parents where they need a fucking diarama to figure out how the hell the film’s protagonist falling in with the mob and going on the run is a direct consequence of his neglectful parents
Hildreth Meiére (1892-1961) was one of the most influential and creative decorative artists of the Twentieth Century whose achievements gained the recognition of the established art world. She worked in a variety of mediums and in partnerships with renowned architects. Her work helped to introduce Art Deco to America.
Meiére knew early on that she wanted to be an artist. Her mother, who was an aspiring painter before her marriage, took her to Italy as a graduation present in 1911, and she witnessed firsthand the amazing murals and mosaics of the region. This influenced her direction in life, and she began to pursue a career as a muralist. During WWI, she served in the Navy as a draftsman. She enrolled in the Art Students League upon her return to New York, and then at the California School of Fine Arts in San Francisco. There, she became active in the local theater scene, often sketching and painting theater goers and ballet performances, and designing costumes and sets; this was a field that was easy to work in as a woman.
When she returned to New York, she enrolled in the New York School for Applied Design for Women, only because the Beaux-Arts Academy did not accept women at the time. Instruction in the decorative arts was considered “appropriate” for women, as it often related to the home sphere, and didn’t directly compete with established male commercial artists. Her connections, talent, and her well-honed social skills allowed her commissions for large-scale projects. The architect Bertram Grosvenor Goodhue recognized her talent early on, and not only her talent, but her “large ambition.” He taught her how to balance secular and liturgical commissions, to work with a space’s intended narrative, and within the collaborative process.
Among many awards, she was the first woman honored with the Fine Arts Medal of theAmerican Institute of Architects, where her papers are currently archived, and she was the first woman appointed to the New York Art Commission. She joined the Architectural League in 1939, and wore a black tie with an extremely low-cut black evening dress to her inaugural dinner. This was a full six years, of course, after they had awarded her the gold medal for Outstanding Muralist.