L'Uomo Vogue - November 2017 Interview Translation (mostly the bits about Colin) [x]

L’Uomo Vogue: Can you recall the path of your friendship [Colin and Rupert’s]?
Colin Firth:
We met for the first time in 1983 when Rupert came to visit me in the backstage while I played “Another Country” in a West End theatre and I was playing the role he’d done before.
We hung out for a while regularly, being in his company was exciting. It was him who suggested I should play Tommy Judd in the film version (and he still tries his best not to remind me that I owe him my entire career).
When we began filming it became clear I coudn’t keep up with him. Until I had met him, I tried to be a smart, brilliant sort of guy, a wordly man. But he was way out of my league. He was tremendously funny, absolutely outside the box, and totally annoyed by boring people.
For a while I tried my best to keep up with him, but then it became too tiring. There was no competition, so I decided to go in the opposite direction and become decisively boring. It wasn’t too hard.
Rupert Everett: I was attracted to him when we met. He played the same role I had played. I thought he should be the other character in the film. So I pressed a lot to have him too in “Another Country”. Then as soon as he started acting I hated him! I regret it a lot. Where did that hate come from? Jealousy, maybe.
C.F: Rupert saw me with a copy of The Guardian and that was enough: then, to complete the idea that he had of me, he added a guitar, a background in a university that wasn’t that prestigious [Colin graduated at Winchester].
In the following years he perfected that idea with a pair of sandals and the folk repertoire of Peter, Paul and Mary… and he mixed it all. All those props are his inventions - but as a portrait of my deepest nature, I’ll admit there’s something true about that. 
And I’m not the kind of man who lets the truth ruin a bit of good burlesque.
R.E: Colin doesn’t agree, but I remember him strumming his guitar all the time, wearing sandals and singing songs of protest, Sandals! He played “Lemon Tree”! [a famous success of Peter, Paul and Mary].
He says it’s all false. And it probably is, maybe I was just too envious and he was too good. 
Once I was a man who did a lot. I think we all are when we’re young… I wanted to have everything under control. I was annoying. So, after that, for a long while we weren’t friends. But that was 30 years ago. The good thing about growing old doing this job is that you work with pleasant people that you’ve known for a while, and that makes it all the more fun.

L’U.V: Then you worked together in “Shakespeare in Love”. But when did you start being friends?
Our friendship started for real with “The Importance of Being Ernest”, during the Summer of 2001. One of the best experiences I’ve ever had.
Maybe because he had grown, or maybe because I got a bit more loose, or became better, we became close friends. I managed to make him laugh, which is something that filled me with satisfaction.
Then followed two films of the “St. Trinian’s” series that I did first and foremost because he was doing them.
On my last day on set of the second film, Rupert became very gloomy. Even if he never said it, I’m convinced he was sad about me leaving. Around lunchtime I bid my goodbyes to everyone and, after I’d left, Rupert stayed laid on the floor of his trailer for an hour, faking being dead, to the dismay of the producers and the medical staff.
He’ll certainly tell a different story, but it’s true for me and just another proof of his fondness (for me).
It’s probably during that time that he started writing “The Happy Prince”. He told me he’d go write it in Paris, in the same hotel room Wilde stayed. Hoping it’d be a “collaboration” with Oscar. The room was too depressing, so he left the next day. Six weeks later though, he came back with one of the best scripts I’ve ever read.
R.E: I could never have done the film without Colin. Nowadays the most important thing to make a film is going to the potential investors with the names of the actors that are going to be in it.
Just as soon as I wrote it, right at the beginning, that is years ago, he came to me and did a first reading.
It was before he’d do “The King’s Speech” or “A Single Man”. We had just finished “St.Trinian’s 2″. It was easy to make him sign a piece of paper at that time! He signed, but then it took years to make it… He was the real deal. The important thing was that he was involved in the project. So, in a sense I owe it all to him, besides Emily Watson and Tom Wilkinson and all the others, obviously.
But it was him that everybody wanted. We’re not the best friends, but Colin was there for me, he supported me, and in the end we did the film.
In this business nobody does favours anymore. Today, actors’ careers are managed by these impenetrable agencies.
He instead did me a favour and it’s a very rare thing. I’ll always owe him.

L’U.V.: When you made the film in the end, how did it go?
Rupert was unique. It’s extraordinary working with someone who has that kind of control on the entire project: actor, writer, director.
He kept having new ideas, he never stopped. […]

L’U.V: […] I want to ask Colin about his decision to get the italian passport (he’s got the double citizenship in September), something that he was allowed to do since he’s married with Livia Giuggioli. The British Press said it was also because of Brexit.
I always considered my relationship with Italy as a gift. It’s a relationship that in my family has gone on for two decades. I got married here [in Italy], my two sons were born in Rome. 
My wife and I are both extremely proud of our respective Countries. We feel like we gave a gift to each other. Our children have the double citizenship.
In reality, we’ve never really thought about how we had different passports. But now with all this uncertainty around, we thought it was for the best if we all had the same passports.
I’ll always be absolutely British (just look at me and listen to me), Great Britain is our home and we love it. Despite the temptation to move somewhere more profitable for my job, I’ve always chosen to have my career grow in the United Kingdom and pay my taxes there.
But I’ve bonded/married into Italy (and everyone will tell you that if you marry an italian, you’re not marrying just one person, but an entire family or maybe an entire Country…).
As basically anyone, I have a passion for Italy and having the double citizenship, like my children, is for me a great privilege.

anonymous asked:

*Bull strums guitar* "I love you, bitch" *points at Benny* *Strums guitar again* "I ain't ever gonna stop lovin' you... bitch* *Benny grabs the guitar and breaks it over Jason's head*

that’s pretty hardcore

griffin is a genuinely terrific musician like

the two twanging notes in the suffering game that perfectly encapsulate the sinister yet playful nature of wonderland?

the progression of madame director to lucretia to lucretia (reprise)?

the kick drum then guitar strum in the diary of sherrif isaak?

the motif found in no dogs on the moon, no dogs on the beach, paloma and bonds which represents warmth and community?

the twist on the main theme in story and song?

the clock strikes moon (apocalypse!)?

let them know?

arms outstretched?

see you later?


all good shit

Alright kids. It’s been awhile, so it’s time to buckle up for another one of my Patented Mob Psycho 100 Essay/Meta posts (patent not pending).

As much as I love and appreciate how Studio BONES adapted Mob Psycho 100, one of the things that always bothered me is how they adapted 100% Sadness.

Y’see, in the anime, it’s a fairly quick buildup. It’s clean and it’s pretty.

Mob wakes up to rubble where a school once stood.

The beautiful Ghibli tears roll down as he realizes what’s happened.

He curls up as the emotions well up within him.

And he unleashes 100% Sadness as sparkling tears cascade down towards the audience.

It’s so sad, right? Super sad! Poor Mob!!

But in the manga, things are….slightly different.

Mob wakes up not sitting neatly with his feet folded underneath him, but instead sprawled out on his hands and knees, hair in a frenzy from his psychic powers still being active. He’s not looking straight ahead at the remnants of the school, but upwards at the destruction still going on in the sky above, like some kind of giant looming over him. Mob doesn’t just look small. This shows how he feels small.

The narrator explains Mob’s thoughts in further detail here. It’s not just “Mob wakes up, realizes he Hecked Up, and feels Really Sad about that.”

This is Mob’s trauma, a thing that has made him feel helpless and alone. It’s the thing he hates about himself. And while the audience can certainly infer this from the animation alone, hearing it (or reading it, in this case) helps compound this fact and draw it out. It’s not just sadness Mob feels, it’s many, many complex negative feelings he’s been storing away inside himself for 4 agonizing years.

His percentage meter slowly ticks up and the thoughts and feelings build up–

And he begins to bawl.

Not dainty fat dollops rolling neatly down the middle of his cheeks. Not cutesy sparkly anime shoujo tears.

This is some absolutely unrepentant ugly crying.

This is Mob feeling so overwhelmed, that the careful control he’s practiced his entire life isn’t just gingerly removed, but absolutely smashed to smithereens. His tears pool and drip out of his mouth like drool. He can’t even fathom how gross it must look because he is so overcome with built-up negative feelings that he has never allowed himself to express.

His percentage meter peaks at 100% and then–

It’s panels like these that really tick me off when people say ONE isn’t a good artist. Because in comics, good art isn’t just drawing people realistically or with proper proportions. Good art is utilizing the space in a panel to convey meaning and symbolism to help tell the story.

Mob isn’t just curling up into a ball here. He collapses into a bow before his own powers that overwhelm him from a story standpoint and also overwhelm the panel.

Rubble cascades down from the sky, mimicking his own tears and the likes of rain. It is so powerful, it encroaches past the black border at the top of the panel, dominating the scene. The weight of it and his own sadness presses him into the earth.

This panel, this expression, shows how not just miserable this whole affair has made him, but how absolutely terrified he is. Mob at this point has been under Reigen’s tutelage for 4 years.

He never knew any other espers growing up. Reigen was his one hope at learning to control and stop this aspect of himself, and he is currently watching that hope churn amidst the remains of the school, shredded to pieces all around him.

The contrast of the calm emptiness of the bottom left only intensifies the sheer chaos of his powers at work around him in the top and right.

This is Mob’s duality.

The anime ends the scene with Mob watching as he neatly mends Teru’s school back together, his back turned to the audience. It’s nearly identical to the panel in the manga, but there are several key differences:

1. You can still see the cracks and tears in the school, despite Mob fixing it

2. Mob has his back to the school, turned away from it.

3. The lightning flashing in the background.

Let’s break these points down.

1. The cracks in the school stood out to me the first time I read this scene. What it portrays is that although Mob certainly “fixed” the school, he can never totally “undo” what has just happened, no matter how hard he tries. The narrator even makes this point–this was Mob’s “meager” attempt at fixing the situation. Even if he did somehow manage to repair the school to functionality, there will no doubt be remnants of damage and evidence of the destruction it went through. Contrasted with the anime where the school is neatly glued back together, it feels at odds, and even contradictory to the narrator’s previous insertion.

2. Mob is not looking at the school. He does not want to face the aftermath of what he’s done. He can try to mend the situation all he likes, but ultimately the end result is the same: He failed to change. In yet another spectacular use of composition, the destruction directly looming over his head in the background is a perfect mirror to his current mental state. Where Mob expresses, things are broken.

3. The grey overcast of the anime coupled with the soft strumming of the guitar carries sadness, but in a cathartic way. (After all, crying is known to help bring back chemical balance when our brains are overwhelmed with emotion.)

The manga, by contrast, feels foreboding. The framing of the scene shows Mob just below the chaos of his powers returning the school to its prior shape, him large and especially prominent, as opposed to smaller and meeker in the anime. Most importantly, there is lightning flashing in the background. There are no gentle sunbeams peaking through after a harsh rain, there are no soft painterly textures in the clouds.

It is still dark. The clouds are not soft nor comforting. Lightning flashes to signal continuing storms and danger. It is a warning:

This is not the last time we will see such cataclysmic destruction.

Thoughts on Draco and Kids.

Draco “eternal stick up my ass i hate everyone including you” Malfoy is not the person parents want to babysit their kids. He’s rude, blunt, sarcastic and foul. He’s the man who would save a baby from a fire solely because he knows what the parents would say if he didn’t. Draco Malfoy is the man who sets infants in cribs and leaves them to cry themselves to sleep. He never had a happy childhood, so why should they?

Except he’s not.

Draco Malfoy is the man who sings lullabies to a newborn Rose Weasley and rocks her to sleep. He’s the man who gave Teddy Lupin his first broomstick and taught him to fly, but not before teaching him to read and write. He’s the man who stargazes with Hugo and brings him chocolate when he’s feeling down. He’s the man who holds life in his arms and sees it for what it is: an innocent, precious gift. He never had a happy childhood growing up, and he’s going to give them something that he, as the boy who had everything, never had: childhood memories worth remembering.

Draco Malfoy is not the man people think he is, but the reasons behind his reluctance in sharing are unknown.

Harry saw him hold Teddy Lupin in his arms after his trial. They sat in a room waiting for his mother and Andromeda outside. He was awkward at first and the tears came before the smiles. Had Harry Potter not done what he’d done… a chubby hand with fingers the size of his nails non-too-gently patted his cheek after a few tears had fallen, and knowing how annoying children could be when upset, Draco smiled softly and wiped his eyes. One silly face turned into two, and that dark brown tuft of hair turned the exact shade of his white-blonde locks. He screamed, Harry laughed, Teddy cried, the hair was back to brown.

“He does that,” Harry remarked and gently bounced the child back to sleep.

Draco Malfoy went out for coffee with Harry Potter two weeks later. One cup turned into two, one meeting turned into five, one shop turned into a house. Three months later one quick babysitting date turned into one late night stay for his baby cousin. Draco Malfoy kissed Harry Potter that night with one soft infant snore in the background.

He met Victoire Weasley a few months later at the burrow for Christmas Eve Dinner. Molly Weasley’s pumpkin pudding did nothing to ease his nerves and the hard stares of George from across the table. Ginny smiled at the door, and Molly smothered him with hugs and food.

“As thin as Harry, young man… As thin as- Here, have some more potatoes!”

One plate turned into two, and by the end of the night he must’ve gained half his weight from treacle tarts alone.

Bill was strumming a guitar and not wanting to stand in the doorway besides George, Draco left for the kitchen. Three minutes later and a halfhearted argument won, his sleeves were rolled up to his elbows and his hands were scrubbing plates.

“Always do it the muggle way,” she’d said. He couldn’t remember the rest. Near the end Victoire unsteadly crawled into the room. Her hair stuck up on one side of her head and it was clear the child had been sleeping. Sleep lines on her face didnt cover the dried spit all over her chin, and Draco smiled gently as he bent to down to pick her up.

“Miss Victoire,” he’d called her that first time. Laying her horizontal in his left arm, he wiped her chin and rocked her back to sleep. He continued to help clean the room with one hand, and didn’t miss Molly Weasley’s smile.

When Rose came along, Harry was already the favorite babysitter. He and Harry had been living together for quite some time, although it was clear the resident Weasley parents saw Harry as the sole caretaker on work days. They flooed in, asking if ‘Harry could babysit?’/p>

Draco didn’t mind, he never talked much about children. He liked them, but when Harry was blowing raspberries at Teddy on the dining room table, he didn’t take Teddy for himself.

Very few people know him as who he is, Draco and not Draco Lucius Malfoy. He takes pride in his name, but takes more pride in making Dominique smile when she’s pouting and teaching Rose the wand movements for 1st year charms at just 8 years old. He takes pride in his intellect and control, but takes more pride in perfecting his Princess Victoire and Teddy the Dragon voice when reading aloud Teddy’s favorite book.

Nine years later, at Christmas Eve dinner, while Arthur opened the wine bottles, Draco dismissed himself silently and walked upstairs. In the children’s room, Harry was laughing with the kids when he saw Draco standing in the doorway with a smile on his face. He looked back to the kids and stood up. When he told them Draco would read a special story, all protests at Harry’s departure ceased.

When Fluer walked up to kiss her three children goodnight, she had to stop herself from entering the room. Two minutes later, and the rest of her family was beside and behind her, staring into the room. With a high pitched voice, Princess Victoire shouted out from Draco’s lips.

“I may be short, and I may be a princess, but I’m strong! I’ll save my baby sister from that dragon!”

“The baby princess!” Dominique interuppted, and Draco smiled and nodded before turning the page.

When the voice of Teddy the Dragon came out of his mouth, Teddy the Human let out a pitched growl. “I’m gunna eat you!” He shouted and Hugo giggled.

“Hurry Uncle Draco! Ted’s gon eat 'Toire!” Rose added.

It started to make sense, and some adults found themselves laughing along with their kids. Things began to connect, and suddenly it was clear to the Weasley’s. Why their children, and grandchildren, called him “Uncle Draco.“ Why they screamed happily and ran up to hug Harry and Draco during babysitting days. Why Teddy spent half his childhood with white-blonde hair.

Two weeks later after the Hols had ended, Draco got a fire call from Hermione Granger. Almost immediately, he stood up and brushed off his pants.

“Hermione. Hello. Harry’s, uh, upstairs; I can go get him, if you’d-”

“Oh no, it’s fine.” She cut him off, and before Draco could feel the awkwardness creep up his veins, she had already continued on. “Actually, I was wondering if you wanted to babysit…?”

Think about this…

Once we hear TS6… we can’t UN-hear it.

There will be a time we will hear the first sounds.

We won’t recognize a single word, beat, or guitar strum..

And from the moment those sounds begin flow into our ears, we can’t go back to the wonder that haunts us at this very moment.

It’s bittersweet, to be honest. We’ve spent so much time anticipating this album, and here we are. On the forefront of a New Era.

There’s no turning back now.

Let’s get this fucking party started

Newsies songs as vines

Santa Fe (Prologue): “two bros, chillin’ in the hottub rooftop,five feet apart ‘cause they’re not gay.”

Santa Fe: “I don’t really know what the fuck just happened, but I’m-a get the fuck on outta here…fuck this shit, I’m out.”

Letter From The Refuge: “Hey, how you doing? I’m doing just fine. I lied, I’m dying inside.”

Something To Believe In: “I love you, bitch…*strums guitar* ain’t never gonna stop lovin’ you, bitch.”