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hairstyleforteen · 11 months

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How much did Emily in Paris cost?

How Much Did Emily in Paris Cost? As a fan of the hit Netflix show Emily in Paris, I'm sure you've been wondering how much it cost to make the show. After all, it's one of the most popular shows on the streaming service, and it's easy to see why. From the stunning Parisian locations to the beautiful costumes, Emily in Paris is a feast for the eyes. But how much did it cost to make this show? Well, the answer isn't as straightforward as you might think. The cost of producing a show like Emily in Paris is dependent on a variety of factors, including the budget, the cast and crew, and the locations. The Budget The budget for Emily in Paris was estimated to be around $60 million. This is a significant amount of money, but it's not unheard of for a show of this caliber. In fact, it's on the lower end of the spectrum when it comes to the cost of producing a show. The Cast and Crew The cast and crew of Emily in Paris are some of the best in the business. The show stars Lily Collins as Emily, and she is joined by an impressive ensemble cast that includes Ashley Park, Philippine Leroy-Beaulieu, Lucas Bravo, and Samuel Arnold. The crew behind the show is equally impressive. The show was created by Darren Star, who is best known for creating the hit show Sex and the City. The show is also executive produced by Tony Hernandez, who has worked on shows like The Marvelous Mrs. Maisel and Transparent. The Locations The locations for Emily in Paris are some of the most beautiful in the world. The show was filmed in Paris, France, and the crew took advantage of the city's stunning architecture and iconic landmarks. The show also filmed in other locations around the world, including London, England and Prague, Czech Republic. These locations added to the show's production costs, but they also added to the show's visual appeal. The Final Cost When all is said and done, the cost of producing Emily in Paris is estimated to be around $80 million. This is a significant amount of money, but it's not unheard of for a show of this caliber. FAQs How much did Emily in Paris cost to make? The cost of producing Emily in Paris is estimated to be around $80 million. Who created Emily in Paris? Emily in Paris was created by Darren Star, who is best known for creating the hit show Sex and the City. Darren Star is a highly acclaimed American television producer, writer, and director. He has been in the entertainment industry for over three decades and is best known for creating some of the most popular TV shows of all time. One of his biggest successes was the hit show Sex and the City, which ran from 1998 to 2004. The show, which starred Sarah Jessica Parker, became a cultural phenomenon and was praised for its portrayal of female friendships and sexuality.In addition to Sex and the City, Darren Star has created several other successful TV shows, including Beverly Hills, 90210, Melrose Place, and Younger. He has won numerous awards for his work, including four Golden Globe nominations and two Primetime Emmy nominations.Emily in Paris is one of Darren Star's latest creations, which was released on Netflix in 2020. The show follows the story of Emily Cooper, a young American woman who moves to Paris to work in a marketing firm. The show has received mixed reviews, with some critics praising its lighthearted and entertaining storyline, while others have criticized its unrealistic portrayal of Parisian life.Despite the mixed reviews, Emily in Paris has become a popular show among viewers and has been renewed for a second season. Darren Star's ability to create engaging and relatable content has made him one of the most sought-after TV producers in the industry, and his legacy continues to inspire new generations of writers and creators. Where was Emily in Paris filmed? Emily in Paris was filmed in Paris, France, and other locations around the world, including London, England and Prague, Czech Republic. Read the full article

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khangel1stanniversary · 2 years

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SERIES TO WATCH INSIDE CAFE:

now you know khael and his addiction for series. it's actually as bad as his addiction with card bots but the positive side is that this can be used for time used together. again, some of these khael already watched, so it's khael recommended, some of which are the ones pending on our 'series commitment list'. there's always no rush to this, we have all the time of the world. and instead of showing the synopsis, you’ll be seeing comments as first impression. ;)

umbrella academy, 2019.

I absolutely loved and thoroughly enjoyed both the seasons! The writing is so refreshing, graphics are visually stunning with great production design, cinematography, and direction. The screenplay along with the editing could have been a bit tighter and crisp. Performance from all the actors is phenomenal & noteworthy. I'm especially blown away by the unexpected remarkable Soundtracks which are infused during the action sequences that instantly made me fall in love with this series. Sure there are some one-dimensional characters, outlandish moments, and plot holes but it can be ignored and enjoyed as all the characters are consistent and believable in this fictional world.

emily in paris, 2020.

Whether you've been to Paris or not or had a romantic rendezvous there or not, it doesn't really matter because this is one show that will put in a good, good mood! A lot works for the show, it manages to break out from the stereotypical rom-coms and incorporate Paris, art, food, fashion and the whole French culture in a very intriguing, enticing manner. Don't expect too many laughs because it's not too high on comedy but it'll still manage to crack you up once in a while.

how i met your mother, 2005

My favourite television series of all-time. I've watched and re-watched it since I was 13 (when it first came out). I can understand why HIMYM is not for everyone. A lot of the jokes are an acquired taste - and many people might find (just like Friends or The Big Bang) that getting rid of the canned laughter would make it a whole lot less funny. On top of this, the sheer amount of inside jokes means that newbies won't understand a lot of the witty writing and humour.

f.r.i.e.n.d.s, 1994.

Grew up watching FRIENDS when it first aired in the 90s and the show created lightning in a bottle with each actor they cast for their iconic roles. Of course everyone knows who Jennifer Aniston is now but back then she was not massively known and this like her costars was her breakthrough role and anywhere they went in the world people in the street would shout their characters name

run bts, 2015; blackpink house, 2018.

in simple words, we are taennieooc. ;) it's only fit to watch through these shows time to time. and more shows of them of course.

HAPPY BINGE-WATCHING!

#khangel's cafe #khangel 1st year anniversary #coffee themed #khael #angel #khangel #0707 #cafe activities #cafe series

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screensland · 4 years

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#icons #camille razat #camille razat icons #icons with psd #emily in paris icons #emily in paris cast #twitter icons #coral

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reveriedits · 4 years

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LILY COLLINS ICONS

like/reblog if you save or use and don’t ever repost.

#lily collins #lily collins icons #icons lily collins #actresses icons #emily in paris #tmi cast icons #300px #icons #d

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itsmyregularcat · 3 years

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Influenced by @white-cat-of-doom, and his Cats dream cast (please check it out), I have made my own.

This is going to be a tough one to figure out, but here is my Cats dream team, as of today.

I wish to see more productions to be better informed in my choices, so I need to get on some bootlegs I guess! (Some choices are actually going to be based off of assumptions of how the actors portray them).

I already know a bunch of my choices are going to be from the Broadway Revival (because I really like that production), and almost all are going to be from newer productions because I am way more familiar with them.

In alphabetical order:

Admetus / Macavity: Thomas Inge (Asia Tour 2017/2020 and UK International Tour 2018/9)

I quite like the Macavity redesign for Vienna 2019 and Asia 2020, so he gets the nod just for this. Otherwise, he is an established Admetus and seems to have fun with it.

Alonzo / Rumpus Cat: Fletcher Dobinson (Asia Tour 2020)

I have never seen him perform as Alonzo, but he has this energy about him I cannot really describe. From short videos I have seen, he seems to have a 'snarky' side, and just has a hell of a time flirting about with everyone during curtain calls. He has the moves.

Bill Bailey / Tumblebrutus: Kolton Krouse (Broadway Revival 2016 / Cats 2019)

They can fly with the best of them. Their flip in with the ball during the end of the Old Gumbie Cat is a cool addition. No strong feelings for this character though.

Bombalurina: Rosemarie Ford (Cats 1998)

If anyone exemplifies what it means to be Bombalurina, I think Rosemarie wins. The duality of caring attitude and scornful nature, combined with her moves and her voice all make her a top pick. Also, slightly older Bombas I feel are better?

Honourable mentions: Christine Cornish Smith (Broadway Revival 2016) for sure, Suzie Melloy (Asia 2017/2020), and Tanya Valenzuela (Mexico 2018).

Carbucketty / Pouncival: Joel Morris (South Africa 2008 / UK Tour 2013 / Palladium 2014 / International Tour 2016)

He does a relatively good job being juvenile, but not annoying in his role. Him screwing around during Tugger's song, Moments Of Happiness, and Skimbleshanks is actually endearing to a point. No strong feelings for this character though.

Cassandra: Mariah Reives (US Tour 6)

Another pick I have never seen during performances, but she looks like a good Cassandra. She is really pretty and appropriately tall, so ¯\_( ツ)_/¯. Bonus points for her lighting up during Misto's song.

Honourable mentions: Jessica Buckby (2013 UK Tour), Danielle Cato (International Tour 2019), and Emily Pynenberg (2016 Broadway Revival)

Coricopat: Corey John Snide (2016 Broadway Revival)

He pairs up very well with my top Tantomile pick, and cannot realistically be separated. This legend was also a dance captain, involved with Cats 2019, and did a split track cover of Coricopat and Jennyanydots during his run.

Demeter: Zizi Strallen (London Revival / Palladium 2014)

Real talk, I love her as Tantomile in Cats 2019, and her singing voice is beautiful and distinct. Her as Demeter is a good bet, and she gives off a happy vibe during less serious points of the show. That happiness she puts in 2019 Tanto is what she did with 2014 Demeter.

Honourable mention: Lisette Pagler (Gothenburg 2006 / Stockholm 2009). The OG grey Demeter. She is absolutely beautiful, and her non-rep portrayal design is neat. She is also an actual singer in Sweden, so her voice is top notch. I really like her as Demeter. Also, Ella Nonini (International Tour / Asia 2020).

Electra: Leah Sue Morland (Cats 1998) or Lili Froehlich (2016 Broadway Revival)

I cannot reasonably pick one over the other, I have disproportionately strong feelings for both. Lili made me fall in love with Electra as a character (and I mean, look who my icon is!), and Leah cemented it before and after me seeing the Broadway Revival. They both make a modest ensemble cat seem so much more important. One of my favourite Cats across any production.

Etcetera: Jo Bingham (Cats 1998)

Boundless energy and happiness rolled into one bouncy cat. No one had a better time during Cats 1998, and for a cat that does not appear in many production afterwards, Jo just said f*ck it and did whatever seemingly came to mind to forge a legacy. Biting Coricopat’s ass remains a landmark moment in cinema. One of my favourite cats in the film without a doubt.

George: Frank Thompson (Cats 1998)

He is sort of always there, enjoying himself. If I would cut a cast member, George would be it. Sorry George.

Gus / Bustopher Jones / Growltiger: Rory Campbell (UK Tour / Zurich / London)

Dignified Busto. A good Gus that does not play off too much about being old and decrepit. If done properly, Growltiger (for the sake of Griddlebone) should make a return to more productions. Remove the total racism and the open misogyny inherent to many portrayals of Growltiger, and make it strictly about the lovers.

Grizabella: Jennifer Hudson (for real) (Cats 2019)

I know this one will ruffle feathers, but her sad sap performance is quite unrivaled in Cats. She brought the gloom and the dejection of being casted out to life. Her singing Memory is powerful as all hell, and filled with emotion. She wins the screaming match.

Jellylorum / Griddlebone: Freya Rowley (Cats 2019)

At this point you are probably thinking, ‘my lord, what the hell is this person on about?’. Freya does not sing in the movie, and is just a background cat, but my god is she the best cat there! During her time with actual stage productions, she was a principle Tantomile, and covered Demeter, Jelly, Jenny, and Cassandra as swing. I know she can sing (even though I have never heard it), and I want to hear / see her as the most novel Griddlebone around. Big orange energy - get with it.

Honourable mention: Sarah Jean Ford (2016 Broadway Revival)

Jemima: Veerle Casteleyn (Cats 1998 / London / Dutch Tour)

The most vanilla choice, but she was the face of Jemima / Sillabub and the Cats ‘franchise’ when the 98 film first came out, and rocketed her character to great importance and notoriety. They used her for promo shots after the movie came out realizing how popular her character had become. Veerle is the innocence of youth personified. By the way, I am taking her without the overdub.

Honourable mention: Arianna Rosario (2016 Broadway Revival / US Tour 6) and Dawn Williams (UK Tour 2013)

Jennyanydots: Eloise Kropp (2016 Broadway Revival)

A younger Jenny still as wild as any other. Her greater involvement during the show is also cool to see. The changes they made to the Broadway Revival may irk some, but the Gumbie Cat scene with the choreography change is my favourite I have seen so far. Eloise does a really good job, and has a chaotic energy that draws me to her.

Mistoffelees: Laurie Davidson (Cats 2019)

On my pursuit of pissing off the purists, here is another controversial choice. He provides a character development that I think would work out well on stage. Imagine it for a second, with Tugger or Munk hyping him up. No Mistoria though.

Honourable mention: Joseph Poulton (UK Tour 2013 / Palladium 2014)

Munkustrap: Jack Rebaldi (London / Madrid / Paris / Dusseldorf / German Tours)

The man is a serious Munk, who is versatile with his portrayals. He gets so into playing the character, and seems to be having a great time doing it. Plus, how the hell can someone do Munk in English, Spanish, French, and German in the course of three years? Madness.

Honourable mentions: Robbie Fairchild (Cats 2019) and friend-shaped Michael Gruber (Broadway / Cats 1998)

Mungojerrie: Drew Varley (Australia 1993 / London / Cats 1998)

One half of the chaotic duo present in Cats 1998, with an oustanding level of dumbassery and foolishness that encompasses Jerrie. He encapsulates that attitude very well, and pairs perfectly with my top Rumpleteazer.

Honourable mention: Dante Hernandez (Mexico 2013 / 2018)

Old Deuteronomy: Nicholas Pound (London / UK Tours / Palladium 2014 / International Tour)

A bit of a different choice, considering most people would likely pick Ken Page (and for good reason). Mr. Pound has a great voice, and welcoming vibe. Behind the scenes, he is a chaotic Old D. Plus, his name is Dick Pound.

Rum Tum Tugger: John Partridge (UK Tour / London / Cats 1998 / Berlin / Dusseldorf)

Velvety smooth voice, swagger coming out the hip thrust, and a playfulness suitable for the rockstar cat. No contest with this choice. He also does not play of RTT as being childish or over the top (*cough 2016 Broadway Revival / US Tour 6*), which is appreciated. Sorry Tyler Hanes, your vlogs were delightful, but your Tugger was a bit too much.

Rumpleteazer: Jo Gibb (London / Cats 1998)

Jo Gibb is the reason I became super obsessed with Cats, and probably why my favourite character is Rumple. Having initially seen the 2019 movie before the 1998 film, seeing her smiling face and adorable portrayal made me sort of fall in love with her. She is a perfectly mischievous Rumple, and I feel is the benchmark for most others. Her engagements with other characters is awesome, and she is just the ideal actor. Also, Cockney accent Rumple is best Rumple I do not make the rules.

Honourable mentions: Every other Teazer. All of them. There is no bad one. They all have my heart.

Skimbleshanks: Steven McCrae (Cats 2019)

Big daddy Skimble, with the red pants and the moustache. Tap dancing and ballet powerhouse. WOO WOO. Enough said.

Tantomile: Emily Tate (2016 Broadway Revival)

Given all Tantos do not really have an opportunity to set themselves apart because they are more of an ensemble Cat, I liked Emily from the beginning I saw her, and I think she is really cute. Her, paired with CJS, make a pretty ideal Cori and Tanto. Maybe I am swayed by the amount of lifts and spins they do together during the show? They have a beautiful synchronization and grace with their movements.

Weaponize your Tantomiles, helicopter her above your Coricopats and take over. Kill Macavity. Become the Everlasting Cat.

Honourable mention: Kaye Brown (London / UK Tour / Cats 1998), Melody Rose (US Tour 6), Helen Gulston (RCCL Cruise). Realistically, all Tantos are good. I like Tantomile.

Victoria: Georgina Pazcogiun (2016 Broadway Revival)

A prominent soloist with the New York ballet, renowned for her distinctive style, and you can appreciate that if you watched a 2016 bootleg show. She has also pushed out against ballet norms by being "The Rogue Ballerina" as a means of embracing the qualities that make her unique as a dancer, such as her 'bigger' (in terms of ballet) body type. Her unique style as Victoria makes her my choice. Plus, she be sneaky.

Honourable mentions: Hannah Kenna Thomas (UK Tour 2013 / Palladium 2014 / International Tour / Vienna Revival), Tyler Lotzof (Asia Tour 2020), Alicia Beck (UK Tour 2013), Phyllida Crowley Smith (London / Cats 1998). Realistically, all Vics are good.

Any way, there is my shitshow of a production.

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aion-rsa · 3 years

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The Craft: How a Teenage Weirdo Based on a Real Person Became an Icon

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“We Are The Weirdos, Mister.” A phrase you’ll find printed over t-shirts, pin badges, mugs, earrings, tote bags, necklaces, and more all over the internet. It’s the most iconic line from The Craft, a film released 25 years ago that still has a rabid following today. For anyone unfamiliar with The Craft, it’s a line spoken by Fairuza Balk’s Nancy, an inferno in black lippy and sunglasses, the de facto leader of a homemade coven made up of outsiders who have taken the raw deal the world has given them and rejected it by learning to harness the power of nature. This line is everything. We are no longer going to be victims, it says. We will no longer be afraid. We reclaim our space, our power. That we are four teenaged girls will no longer mean we have to watch out for ‘weirdos’ – because it is us who are the weirdos. Mister.

“Nancy is the one everybody wants to be,” says Peter Filardi, the man who created Nancy, Rochelle, Bonnie, and Sarah all those years ago, chatting to Den of Geek from his home, an original poster for The Craft peaking out from behind him on the wall. Next to it is a poster for Chapelwaite, the series Filardi is currently showrunning with his brother Jason, based on Stephen King’s short story, “Jerusalem’s Lot,” a prequel to Salem’s Lot.

“Nancy is the one who is particularly put upon and who finds the power to get revenge or get justice and is going to do that with no apologies. I think it’s how we all envision ourselves or would want to see ourselves, I guess. Here we are 25 years later. Why do you think we’re still talking about it?”

It’s an interesting question because we very much still are talking about The Craft. With Chilling Adventures of Sabrina, A Discovery of Witches, His Dark Materials, and of course last year’s remake of The Craft, we appear to very much still be in the season of the witch, but none is quite as resonant and impactful as the original The Craft. Watching it back 25 years after its release, it’s still just as relevant.

The very first script that Filardi sold was Flatliners, the story of arrogant, hot-shot medical students who plan to discover what happens after you die by “flatlining” for increasing lengths of time. Filardi’s script prompted a bidding war and the movie became a big hit, starring Hollywood’s hottest: Kiefer Sutherland, Julia Roberts, and William Baldwin.

After Flatliners, Filardi had been working on a script about real life teenage Satanist Ricky Kasso, (“He was one of the first to really put the hallucinogenics together with the music and the theology and then sort of brew them all up into this really volatile cocktail,” Filardi explains), so when producer Doug Wick approached him about another supernatural project, Filardi was game.

“He said he would like to either do a haunted house story or something to do with teenage witches. And because I happened to be working on what I was working on I was pretty well-schooled in earth magic and natural magic and Satanism and all sorts of stuff. And we just started talking, and we hit it off, and we decided to develop and create The Craft together,” Filardi recalls.

At the time Wick had just two full producer credits to his name – for Working Girl and Wolf – but he would go on to produce swathes of heavy hitters including Hollow Man, Jarhead, The Great Gatsby, and win the best picture Oscar for Gladiator. Meanwhile, Andrew Fleming, director of The Craft and co-writer of the screenplay, had made horror thriller Bad Dreams and comedy Threesome, and would go on to make several comedy movies as well as many hit TV shows – he’s currently working on season two of Netflix’s popular Emily in Paris.

Filardi’s story was always going to be about women, and it was always going to be about outsiders, the memories of high school still fresh enough for him to remember the pain. “I’m sure it’s like this for every kid. You have memories from those high school years of horrible things that happened to people around you, or were said or done and just the petty cruelties,” he says. “I’m glad I’m an old man now!” (He’s not, he’s 59).

Rewatching and it’s certainly striking how much empathy you feel for the girls. Sarah (Robin Tunney), who is the audience’s way in to the movie, lost her mother during childbirth and has battled mental health problems, even attempting suicide. Recently moved to a new neighborhood with her dad and step mother, she is instantly the outsider at her new school, and is immediately treated abhorrently by popular boy Chris (a pre-Scream Skeet Ulrich), who dates her and then spreads rumors that they slept together. Rochelle (Rachel True) is a keen diver, subjected to overt racist bullying by a girl on the swim team, while Bonnie (Neve Campbell) hides away because of extreme scarring she has all over her body. Before Sarah arrives, the three dabble in magic and protect themselves as best they can from the horrors of high school by telling people they are witches and keeping them at arm’s length. It’s the arrival of Sarah, though, a “natural” witch with some serious power, that turns things around.

“I think that maybe traditionally Hollywood would have done a version where the women were witches like Lost Boys,” Filardi says. “The women were witches, and they had this power, and they’re the dark overlords of their school or something like that. And that’s exactly the opposite of what worked for me and how I thought magic works in general.

“Magic has always historically been a weapon of the underclass, for poor people… Think of England. People of the heath, who lived out in the country… The heathens, they didn’t have a king or an army or the church even behind them. They would turn to magic. And that’s kind of what I saw for our girls. For real magic to work, you have the three cornerstones of need and emotion and knowledge. And I hate magic movies where somebody has a power and they just do this and the magic happens. I think it’s much more interesting if the magic comes from an emotional need, a situation that really riles up the power within.”

These witches aren’t evil and they aren’t even anti-heroes. Instead, this is pure wish fulfilment for anyone who’s ever been bullied, or overlooked, or been dealt a particularly tough hand, and this level of empathy comes across hard in the film. Watching now and so many of the themes are so current with reference to issues of racism and the emergence of the #MeToo movement.

“I did not write it as a feminist piece per se,” says Filardi. “I really just wrote it as an empathetic human being, I think.”

There’s extreme empathy dripping throughout the script, but don’t mistake that for pity. The Craft deals in female empowerment and just plain fun. It’s here that one of The Craft’s enduring conflicts arises. Are you Team Sarah or are you Team Nancy?

The correct answer of course, is Team Nancy…

“It’s always harder to be the good guy or the good girl,” laughs Filardi.

After all, before Sarah shows up, the other three are doing fine – surviving, doing minor spells, and looking out for each other. The influx of power Sarah brings allows the group to up their game and together they each ask for a gift from “Manon,” the (fictional) deity who represents all of nature that they worship in the film. Bonnie wants to heal her scars, Rochelle wants the racism to stop, Nancy wants the power of Manon, but Sarah casts a love spell on Chris. Sarah is either taking revenge on Chris, or she’s forging a relationship without consent, and it’s a move which eventually leads to Chris’s death.

Meanwhile, Nancy is someone who just refuses to be a victim, despite the fact that of the four she’s clearly had the toughest life, living in a trailer with her mum and her abusive stepdad. Nancy won’t allow the audience to pity her. Nancy doesn’t let things happen to her, she makes her own choices, whether they are good ones or not. When newly empowered Nancy is running red lights, with Rochelle and Bonnie whooping in the back, and Sarah telling her it’s all gone a bit far, “Oh shut up, Sarah” feels like the right response. While Sarah might be technically correct, we are rooting for these girls to be allowed the pure joy of something they have created between them.

Nancy is an amazing creation, and Filardi says he couldn’t have anticipated how much the character would resonate.

“I did not envision the great look that Andy Fleming brought to her,” he smiles. “But Nancy was inspired by a real girl, whose older brother lived in a trailer in their backyard, and just had a hard go of it. She’s true to the one I wrote. She always embodied the earth element of fire. Each of the girls is their own earth element. There’s earth, wind, water, fire. And you can pretty much guess who’s who…”

We could speculate but it’s perhaps more fun to let the audience decide for themselves.

“Nancy in the beginning was always the constructive aspect of that element. She’s the light in the fire in the dark woods that draws the girls together,” he explains. “When she’s all passion and raw nerve, she’s very much like fire, but then when she crosses Sarah and gets overwhelmed with the power of her new abilities, she becomes the destructive side of that same element and burns the whole thing up. But she’s a fantastic character. I think that Fairuza Balk just elevated Nancy to a whole other level. I guess that’s what happens when you’re blessed with the right actor for the right part.”

Exactly who the true protagonist of The Craft is is something Filardi still contemplates. What is notable is that though, yes, Nancy, Bonnie, and Rochelle do at one point try to, um, kill Sarah and make it look like suicide, which isn’t a very sisterly thing to do, they never really become true villains. By the end, the only fatalities are sex pest Chris and Nancy’s abusive step father, and both deaths could reasonably be considered accidental. While Bonnie and Rochelle are stripped of their powers, they aren’t further punished, it’s only Nancy who gets a raw deal. Driven to distraction by her surfeit of power, we find her ranting in a mental hospital strapped to a bed.

Filardi’s ending was different, though he won’t be drawn on details.

“The original ending was different. I’ve never really gone into the detail of what the original ending was. Well, the original ending was just different…” he says, mulling over what he might say. “So, let’s see. Well, Chris always died… and it was just very different,” he hesitates. “I don’t really get into it because there’s no real sense. It is what it is. I always like in a movie… Having two different children and you love them both for different reasons, but I would have never wanted to be hard on the girls in the final analysis in any way thematically.”

One element of the script that saw slight changes was the motivation of Rochelle, after the casting of Rachel True.

“To be honest, I think she was the exact same character. She was picked on by the swimmers. There was an added element that she had an eating disorder. She used to vomit into a mayonnaise jar and hide it on the top shelf of a bedroom closet. But other than that, she was really the same character,” he says. “Andy Fleming and Doug Wick, I don’t know who came up with the idea, but they cast Rachel and she added this whole other element to it, the racial element, which I think it was great and I think totally appropriate.”

Though Filardi didn’t work on the remake and hasn’t actually seen it, he’s able to see for himself, first hand, how well the film has aged and how it continues to endure for young women – he has teenage daughters of his own.

“I see them going through all the same stuff that I watched girlfriends going through. And it hasn’t changed all that much,” he says ruefully.

“It’s funny. For years, they had no idea what I did for a living. I think they just thought I hung around in the basement. And one daughter was like… She was going to school with somebody whose father was in a rock band or something, ‘Nobody in this house does anything interesting. Everything’s boring.’ And it was around Halloween and they were showing The Craft at the Hollywood Forever cemetery. I took them to the cemetery and it was great. There were boys dressed in Catholic high school uniforms and women all in black and with blankets and candles and wine and snacks. Amidst the tombstones, they set up a huge screen and showed the film. So, that’s when they first saw it. And it was really fun. A really nice thing to share with my daughters.”

Things don’t change that much. High school is still horrible. Magic is still tantalizing. The outfits are still fabulous. And Nancy is still a stone cold legend. The Craft is an enduring celebration of outsider culture that we’ll probably still be talking about in 25 years to come. After all, most of us, at one time or another, feel like the weirdos.

“I think of it as the story about the power of adolescent pain and self-empowerment. I think of beautiful young people who are just picked upon or put in positions they shouldn’t be or don’t deserve to be, and having the ability to fight back and weather it and survive,” says Filardi when we ask him what he’s most proud of.

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“I’m also proud of all the great contributions that the other talented people brought to the script. All I did was a script, but you have actors and directors and producers and art directors and production designers who just… Everybody seems to me to have brought their A-game. I didn’t come up with Nancy’s great look. Other people get all that credit. Like you said, you see her on t-shirts. So, so many people just brought so many things. I guess I’m just proudest to think that a bunch of strangers come together and connect to the message of the piece, and together just make something memorable all these 25 years later.”

The post The Craft: How a Teenage Weirdo Based on a Real Person Became an Icon appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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twililycollins · 1 year

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like if you save/use © teenidleclub

#sophia #icons #icons without psd #Lily Jane Collins #lily collins icons #Lily Collins #lily jane collins icons #lily icons #lily collins edits #events #others #personal #emily in paris cast icons #emily in paris cast #twitter icons #booktt icons

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emily-rose-white · 4 years

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Practice Challenge 1:

“Princess Fluffy Angel! Fluffy Princess Angel! Angel Fluffy Princess!” I called out to my three poodles from the foyer of her Paris flat.

“Girls! Your mommy’s home and she brought presents!” I aded before skipping over to her tea room where a set of cookies and cakes had been awaiting her.

“Lady White, you forgot to say this morning, would you like rose tea or mint tea with your snacks today?”

“I will take rose tea! Thank you!” I replied as one of her dogs ran up to her. I threw the wrapping paper from her gift bag down on the ground as my maid picked it up, removing a light pink fluffy tutu and flower crown.

The Whites came from a long line of an affluent family. They had been there when Illea was founded, serving as Gregory’s right hand man, then invested that money into stocks and properties. The Whites, therefore, had never run out of money. I had acted in films and shows on occasion, but only because I loved the attention. Also, so I could have a chance to possibly meet Ava Jones.

When I was around thirteen, I worked in my first movie. I took on the role exclusively because my favorite pop singer, the newly discovered, Ava Jones was writing a song for it. There was no guarantee that meant I would meet her, but I would take any chance to do so. One day on set, my dream came true. Ava Jones, the coolest fifteen year old the world had ever seen (in my eyes) appeared. However, I had been acting horribly that day and couldn’t believe her luck. Ava Jones, my icon, my Goddess, would see me completely flop.

I ran behind her trailer and sobbed, curling into a ball and sitting with my head in my lap. When suddenly things when from bad to worse,

“Hey," Ava mumbled as she stood in front of me. My face shot up red in embarrassment, tears and snot being sent downwards as my head went up. "I look so ugly!" I screamed and started crying even more.

"I don't see why that really matters, but yeah you're a pretty ugly crier." Ava squatted down to be on level with me. She took the tissue from my hand and wiped me off as I panted to catch her breath.

"I don't want you to see me looking ugly! You're Ava Jones!" I yelled, supposedly trying to explain myself.

"Then maybe don't cry." Ava sighed and sat down on the ground next to me.

"What do you even have to cry about?" She asked.

"This script." I grumbled and threw a paper down on the ground. Ava picked it up and tried to examine it. She didn't really know anything about acting but gave it her best shot.

"What's wrong with it?"

"I'm not good enough for it. They want me to be shocked! How am I supposed to be shocked?" I huffed.

"Well, I'm not an actor so I can't really tell you. But do you wanna practice with me a few times?" She offered. I nodded a little bit as Ava examined the script

"Look out princess magenta! That building is falling!" Ava yelled with WAY too much enthusiasm.

"Oh no." I said, still emotionally drained from the crying.

"Well that was sad." Ava couldn't help but grin as my head dropped in further despair. She paced for a moment before getting an idea, "You seemed pretty shocked when I found you crying," I nodded.

"Maybe just, I don't know, channel that or something?"

I nodded with enthusiasm this time, "okay! Let's try again"

"Look out princess magenta! That building is falling."

"oH NO!" I yelled. It was probably a bit much but I was happy and this was just a kids movie after all. From that day on I decided that one day Ava Jones was going to be her best friend. I had gone to every concert, set up photoshoots. I even turned a Playboy magazine event into a charity event so Ava could be pressured into coming. But, it was always the same. Ava would smile, they’d talk about work, then she’d be whisked away. I needed at least once to crack her shell.

And that’s why today was the best day of my life. Her phone rang as she sat, munching on her cookies and she answered it to her screaming friend Tammy, “OHMYGOSHEMILYEMILYEMILY I HAVE THE BEST NEWS FOR YOU!!”

“WHAT WHAT OH MY GOSH WHAT!!!?” I yelled back causing the maids and her poodles to wince.

“AVA JONES IS JOINING THE SELECTION!!” She screamed causing me to shriek in delight.

“Really? It’s not at all her type of thing, where did you hear this?” I asked quickly, still holding onto hope.

“Okay so my brother’s girlfriend’s, best friend’s cousin’s boyfriend's older sister works for Rainbow Companion Recordings, and she heard from an intern who heard from her boss who heard from her boyfriend who heard from his boss that heard from Ava’s agent that she’s joining!”

I gasped and my phone fell to the ground in shock for a moment before I picked it up and quickly ended the call before called my sister.

“Savannah! Can we push back golf? I have to pack for a flight to Angeles!” I exclaimed as my older sister sighed.

“Really? You know it’s hard for me to clear my schedule. I’d really prefer we stick to our originally planned time.” She sighed. My heart dropped a bit but I sucked it up and agreed to our normal time.

***

The ball flew higher than I intended for it to. I could never hit them perfectly. Not the way Savannah could. Savannah was always perfect, be it in golf, studies, anything. She was mother and father’s favorite. She had excellent grades all her life, became fluent in Spanish, new Asian, french, Italian, and German, then she followed in our father’s footsteps taking off to become a large company’s illean representative. She was flown around and paid nicely (not like she needed it). Our parents always had hoped for me to grow up and follow in her footsteps, but despite Savannah's framed report cards being hung in the hallway, I could never keep up.

“Do you think you’ll apply for the selection?” I asked her as I quickly went to the ball.

“You really think I’d apply for that? Mom and dad would never approve of either of us getting a fiance that way.” She scoffed and crossed her arms. “Why are you asking, one of your bimbo friends planning on it?”

I bit the inside of my cheek holding back on defending my friends, people like Savannah didn’t get along with people like me. “Well, it’s not like he’s some four. He’s a prince I hardly see how that’d lead to disapproval.”

“You really think mom and dad would like one of us putting our lives up on a TV for the speculation of the world and tabloids, being the prince’s personal prostitutes for however long he needs to recover from a broken engagement. Not to mention the fact that he had an engagement called off, what does that say about him? Doesn’t think through decisions, commitment problems, then there could be a whole other plethora of reasons for the engagement being called off.” She responded. A “duh” needing to follow each statement.

I looked down to the ring on my own finger, I had the diamond replaced after father would no longer give his blessing to Jacob. It was now a glistening pink ring, it’d have been too sad to return a ring so beautiful, but I no longer wore it on my ring finger. I didn’t have a good response for Savannah, she made excellent points as always.

“You better not be thinking of joining yourself. They barely handle your “actress” lifestyle.” She sighed before hitting her own ball. I was the failure of the family. The easily manipulated, easy-to-bed, childish, Emily-rose.

***

I applied anyways, it would be one of my only chances to see Ava Jones again. I needed her to like me as much as I liked her. To understand how much I would value our friendship. I brought boxes of macrons with me from France and decided to use them as an excuse to speak with Ava. I would have to give them to everyone though, as to not seem creepy. I stopped at the door of one Ms. Jen Li and waited at the doorway as she was in bed,

“Hi! I'm Emily-Rose White! You might know me from a few movies I've been in. I recently got back from Paris and brought some macaroons back for the selection as a friendship gift, would you like one?” I offered, giving a quick introduction.

“Macarons?” She asked then scoffed something under her breath. I was very familiar with the action. Mother or father had done it since I was a child. Prancing around at parties they’d mumble their embarrassment to each other. I brushed it off and widened my smile,

“ Do you dislike them? I have coffee, mocha, chocolate, and vanilla flavor. I can also order some more if you'd like?” I offered. I would hate for Ava to hear of me being unkind to a selected. Mother had always said giving gifts was a much more dignified way of forming alliances than giving hugs.

Jen took one of the cookies, holding it carefully. I wonder if she’s never had one? They’re pretty tasty if she’d like to try it. I hope she knows I’m not one of those women who you can never eat in front of. “Emily White. You're a Two, aren't you?” She asked.

“Yup! Though my family were originally politicians when Gergory Illea took over and aided him, he bought our way to the two cast a few years after and mostly acted as society socialites. But again, I like to act if I see a role that looks fun. How about you?” I answered by giving a little bit of fun fact information for fun.

Jen tossed the cookie back in the bin and scoffed again, I hope I didn’t catch her in a bad mood, “Figures. I'll pass.” she replied. I tried to not let myself crack even though I was becoming increasingly terrified that I had done or said something wrong.

“Oh well, again if you'd like anything else I can get it for you. I'd love to be friends with you all here.” I offered and gave her another smile. I handed the box over to a maid who stood near me.

Jen shot up at that and stalked over to me, “I know you're a Two, and you've never had to lift a single one of your manicured fingers in your life, but when you're in my room-” she took the box back from the maid and shoved it back at me, “ you treat them with respect. At least they actually contribute something to society.” She said. I frowned and realized it must be because I hadn’t spoken to her. Their job was to aid us so I hadn’t thought of interacting with them as opposed to just giving them their tasks. I thought that was how they preferred their work to be done, or at least that’s what mother and father always had told me.

I turned to the maid and gave her a friendly but apologetic smile. “Excuse me Miss Maid. As it is your job to do would you take this box and throw it out. It has no use now.” I explained feeling a bit like I was performing and unsure if I had done it correctly. “Is that what you meant?” I asked Jen hoping she would feel better now.

Jen pulled the box back from the maid and shoved it once again in my arms, “No, you bitch, I mean do it yourself. Or is that too hard for you?” She sneered.

I couldn’t help it anymore and my lip quivered as I felt myself crying. Of course she wanted me to deal with the box. I’m such an idiot. “I'm sorry, I can do that.” I spoke quickly and turned with the box hoping I hadn’t caused too much of a scene.

***

I laid in my bed for a few hours. I debated calling Savannah or mother- but of course they would know not to act that way with a maid. Of course I was the dumb one here. I had offended lady Jen Li and caused a scene. I was already in this event that they hated and now I was ruining the White name.

Crying into my pillow I decided to go down to Ava’s room. We weren’t friends yet, and this was NOT part of the plan. But it would be better for her to hear it from me so I could apologize for what a complete fool I had been before she decided that was who I had grown into. I cried on her bed for a few hours, explaining that I hadn’t meant for things to turn out that way and I truly hadn’t known that Jen would be so upset. She was incredibly kind, offering to speak with Lady Jen herself, but that would be even worse, to escalate the situation more. I dozed off in the room and slept my first night in Ava’s room.

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chloescally13 · 3 years

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2020 Trends

Topic - Series Trends of 2020

It’s the final blog of 2020. It’s been a long and bumpy road getting here. 2020 has been extremely tough on many people. I like many others became best friends with an app called “Netflix” during the lockdown periods. Netflix kept us all entertained during the lockdown especially lockdown number 2 as the weather was colder, the novelty of outdoor BBQs had long warned off into the winter months of 2020. Summer is now just a distant memory and winter is upon us. Thankfully, Netflix was quick to the rescue with a solution to our boredom. Many movies and series began to trend during the year and I’m here to talk about the top trending shows of the year 2020.

First up, we have the iconic teen drama series “Outer Banks”. This was a personal favourite of mine during the first lockdown of 2020. This series particularly caught the attention of 17-to-26-year olds. The series is based on a teenager who recruits his three best friends to hunt for a legendary treasure linked to his father’s disappearance. Outer Banks falls under the genres of Teen drama, Adventure, Mystery, Thriller, Adventure fiction and Action fiction. The cast includes Madelyn Cline and Chase Stokes which have now gained over 5 million followers on Instagram. This was both the actors first acting gig and due to its huge success, they have now landed many jobs in the acting industry. Outer Banks is still available to stream on Netflix and Amazon Prime.

Second up, we have the fashionistas dream series “Emily in Paris”. Emily in Paris was an appealing show for fashion lovers all over the world. The show showcased a young and aspiring marketing executive named Emily Copper who was hired to provide an American perspective at a marketing firm in Paris. Lily Colins played the iconic role of Emily Copper, who was the star of the series. Due to her high status in the American and British film industry, Lily set Emily in Paris to an exceptionally high standard to which she most certainly executed when playing the role of Emily Copper. The series featured 10 episodes in season 1 with a confirmed season 2 to follow in late 2021. Emily in Paris set many fashion trends for the year 2020, as well as being a binge worthy series. I managed to watch all 10 episodes that season 1 had to offer in one day!!!

Finally, we have the hit Netflix series “White Lines”. This series caught the attention of a more mature audience. White Lines is based around a women names Zoe Collins who leaves her quiet life at home to investigate her brother’s disappearance in Ibiza, where she finds herself heading down a decadent and dangerous path. The Series stars Nuno Loper, Laura Haddock and Tom Rhys Harries. White Lines was available to binge from May 2020 on Netflix. Sadly, for fans it is unlikely White Lines will release a season 2.

Hopefully 2021 has more in store for us in the field of Netflix shows.

Thanks to all who enjoyed my blogs and I wish everyone a wonderful Christmas and New Year..... Chat soon, Chloe

#2020 trends netflix drama christmas whitelnes emilyinparis outerbanks blogs

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thewatchau · 4 years

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Let’s Talk About Haneul (Haneul’s Chaos)

Day 23 of the First Annual Watch AU Prompt List!

Author/Bard’s Note: This is a story that I originally wrote AGES ago, then forgot to post... so onto the prompt list it goes!

Featuring my own Emily Keyes, @theshapeshifter100‘s Ivy Paris, @thelunarmasquerade‘s Wren BaceSpider, this story takes place c. June 1614, about a month after news of King Mark’s “Heist” event were confirmed.

Unfortunately, I did a bit of a goof while writing this. This story deviates from the irl timeline slightly by referencing some of Mark’s shenanigans from later in the year. However none of the established lore written about Haneul for the AU has specifically mentioned some of these incidents (or at least the dates when they occurred), so I don’t feel like trying to fix it. :P

No trigger warnings as far as I am aware.

___***___***___***___

Keyes tilted her head to the side, forehead wrinkling in confusion. “You mean you’re a trader’s son, and you’ve never heard of Haneul?”

The object of her disbelief, a young man that couldn’t have been older than herself, cast a furtive glance over his shoulder at the mention of his father. The trader in question all the way at the other end of the hall, deep in conversation with a cluster of Watchers, but it didn’t take magic to see how far the father’s shadow reached over his young son.

Keyes certainly remembered what that felt like. “Come on,” she said, indicating towards the opposite stairwell, “they’ll be talking about provisions and trade exclusivity and whatnot for a while yet.”

The young man shuffled nervously. “Are you sure?” he asked, his voice zipping over the syllables with the faint tinge of an accent. It almost reminded Keyes of Lord Schneeplestein’s iconic speech patterns, but she bit down the urge to pry. Right now, she had another mystery to solve.

“Yes, come on, it’ll be fine,” she said, bouncing impatiently on the steps. “The trading season will probably be over by the time they stop discussing the terms. You do want to learn about Haneul, right?”

The foreigner sighed. “Alright. But why does learning require us to go all the way back down these awful steps?”

Keyes glanced down at her feet in surprise. She hadn’t considered it in years, but she supposed that the tight spiral of the stone staircase, worn smooth by countless Watchers rushing up and down on a daily basis, would seem perilous for someone unfamiliar with them.

“They’re a bit wider if you hug the outside wall,” she said, pausing to let him catch up. “And in answer to your question, a friend of a friend arrived at the garrison yesterday who spent most of her life in Haneul. I don’t know where she is right now, but my friend probably will, and she’s probably somewhere by the stables. Which are downstairs.”

“Ah, I see. I think.”

They’d just rounded the last curve of the stairwell, and, as luck would have it, the person Keyes was looking for was pacing the entryway just outside. “Ivy!” Keyes shouted, waving her arms vigorously to get her friend’s attention, “Have you seen Wren anywhere?”

The blonde messenger glanced upwards at the sound of the bard’s voice, a smile glancing across her features before creasing back into a neutral frown. “I’ve been waiting for her myself, actually.”

“That’s okay, we’ll wait with you then,” said Keyes cheerfully. The serious, almost anxious tone in Ivy’s voice worried her slightly, but it wasn’t her business to pry, and besides- she returned her attention to the young trader. “Seriously though, how have you never heard of Haneul?”

Ivy’s eyebrows flew upwards. “He what?”

The man huffed. “I’ve heard of it. You can’t go anywhere on this continent without hearing some insane rumour about the place.”

Ivy snorted grimly. “And you want Wren to tell you the boring old truth? Hate to break it to you, but that place is just as crazy as it sounds.”

Keyes giggled at the trader’s incredulous face. “She’s not wrong. You know they’re planning a big coronation event for some new lords later in the year, only instead of all the normal political ceremony, they’ve thrown all that out for a glorified scavenger hunt?”

“Now that is rumour, Keyes,” noted Ivy disapprovingly, barely audible over their guest’s sputters.

“Not anymore!” Keyes retorted insistently. “King Mark confirmed it last month!”

“What?!”

Keyes glanced back at the trader, who had gone completely wide-eyed in surprise. “Yeah, King Mark is a character. They all are, up there. Wren’s practically normal by comparison, and she thinks being armed to the teeth 24/7 is no stranger than putting on clothes in the morning.”

“I… how?”

Ivy shrugged.

Brow furrowed, Keyes tried to find a way to explain Haneul’s bizarre culture to someone who’d never seen it in action. “Okay, so you know how some types of bees will swarm someone that attacks their hive, like one big angry cloud of tiny stingers?”

“Yeah…” The young man was looking more concerned by the second.

“That’s basically how Haneul handles all of its problems.”

“I… I don’t think I follow. Are the lords the bees?”

Keyes laughed. “Oh, no. Heaven knows the lords are probably the only thing keeping the swarm pointed in the right direction half the time.”

“That’s assuming they aren’t intentionally redirecting it,” Ivy noted with a cryptic smile.

“True,” Keyes nodded absently, stubbornly focused on explaining her strange metaphor. “No, it’s the people who are the bees! All the king has to do is point them in the direction of a problem and they’ll attack it with the chaotic force of a drunk reaper until it’s solved.”

The trader paled at the mention of the terrifying sea creatures that stalked the rocky coastline. “You can’t be serious.”

“Unfortunately, she is,” quipped a new, sarcastic voice behind them.

Keyes turned to see Wren walking towards them from the other side of the garrison, a large notebook in tow.

“Sorry Ivy, this took a bit longer to find than I had expected,” she said, handing the book over to the messenger. Uncharacteristically, Ivy took the book with a nod and rushed off without another word.

“She seems stressed,” noted Keyes.

“Who isn’t?” Wren shot back with a wry smile. “Now, who’s this?”

“Fellow in a trading group who thinks everything he’s heard about Haneul is a bunch of insane rumours.”

The fellow in question was glancing back and forth between Wren and Keyes with his mouth agape, seemingly lost for words.

Wren laughed. “I mean, it’s not that insane. It’s a far cry from how most nations rally their citizens, to be sure, but there is a rhyme and reason to it all.”

Keyes scoffed. “Your king ran around for a week spreading rumors that he had rabies to test people's ability to mobilize against an epidemic!”

“Yeah, well that’s tame for him,” Wren insisted. “At least it wasn’t anything worth storming the forts over.”

“Storming the what???”

Keyes ignored him. “He’s been raising funds for charity by forming cults of random citizens to follow him around and literally throw money at people campaigning for noble causes!”

“And it worked, didn’t it?” Wren had a bright, sharp look in her eye; Keyes couldn’t tell if she was being sarcastic or not anymore.

“You guys have random creepy magic monsters invade from the mountains and deal with it by training everyone to use a weapon by the age of six so that they can overwhelm the thing with sheer numbers!”

“I’m sorry???”

Wren didn’t seem to hear him. “And nothing has ever tried to invade a second time!”

“I mean,” Keyes relented slightly, “I suppose that’s true, but-”

“HOLD A MOMENT, PLEASE!”

Keyes and Wren both looked at the foreign lad, who now held his head in his hands. “Yes?” they said, almost in unison.

“If… if all of this is true… How the hell are all of you not dead yet?”

Keyes laughed. “Hell if I know. The most bizarre part about the whole thing is how well it works, honestly.”

Wren shook her head. “It’s simple, really. Like Keyes said, everyone is trained to have complete mastery of at least one weapon at a young age. Add in the fact that education is extremely rigorous and varied to provide people with the skills for any situation that may come to pass, plus the lords providing background support to handle things like provisions and course corrections as needed, and it’s all under control, honestly.” The smirk on Wren’s face implied that it was not, in fact, under control, but there was an air of genuine truth to her words. “Besides, if you need or want to stay back during these moments of chaos, there are dozens of well-guarded and stocked fortresses across Haneul to shelter those who wish to wait for the mobilization rush to blow over. And the king knows what he’s doing. We trust him.”

“The lords though…” Keyes interrupted, echoing Ivy’s cryptic mistrust.

“Eh,” Wren shrugged, “how much we trust them depends on the day. Point is, we know the king will keep them in line if necessary, just like they’ll redirect us if needed. It all works very efficiently. To be honest, I sometimes miss how direct it was compared to how things are handled in Duilintinn.”

Keyes raised her eyebrows. “What about the bit where they think that intentionally honing magical focuses is evil arrogance and you should just let the magic explode all over you until a focus comes along naturally?”

“Ah, yeah,” Wren acquiesced. “That’s a thing I don’t miss.”

At this moment, their guest finally regained his voice. “I’M SORRY, WHAT????”

___***___***___***___

Fun Fact: this takes place while Ivy is in the middle of her whole “oh crap Jen’s trapped in the freaking Fae Realm” thing, hence why she’s so stressed.

Taglist under the cut:

@theshapeshifter100, @bloodygoldensam, @thelunarmasquerade, @viostormcaller, @mijako98, @shamrockace, @septicuniverse, @blusilence0, @the-lonely-angel, @acuriousquail, @honestlyitsjustkenna, @illyriashade56, @livingemerald, @triplealovely, @delphicvoiceaddragh, @isa-ghost @fairyofsomething, @immabethehero

#tales from the watch #ivy paris #wren bacespider #emily keyes #june 1614 #The Kingdom of Haneul #11/03/2019 #oof this took me forever to post #oops

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onestowatch · 5 years

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The Wombats' Matthew Murphy on Picasso, “Black Mirror,” and Solo Project, Love Fame Tragedy [Q&A]

After 17 years at the helm of the English indie rock band The Wombats, Matthew "Murph" Murphy decided it was time for a change. In a two year span, The Wombats toured with The Rolling Stones, Weezer and The Pixies, released their fourth studio album Beautiful People Will Ruin Your Life and made sure to hit up all the spots on the festival circuit this summer. When he wasn't on the road, Murph was spending time in Los Angeles – ultimately moving there from London – and working on new material that didn't quite fit The Wombats' mold. He played a little of what he calls "contact list roulette," recruiting musical collaborators to work with him in the studio on some new songs. And that's where Love Fame Tragedy was born – the solo project sees Murphy exploring different musical avenues and creating an entirely new sound. "I just wanted to try something new," Murphy said in a statement. "Something that didn't involve any politics." He found inspiration for the name after visiting a Picasso exhibition at the Tate Modern in London. "It triggered a lot of things," he said, "and a lot of songs flew out after that." Love Fame Tragedy finds Murphy joined by a cast of companions, including The Pixies' Joey Santiago, Alt-J's Gus Unger-Hamilton and former Soundgarden and Pearl Jam drummer Matt Chamberlain. The singles had been trickling out slowly all summer, but, at long last, we have the full EP.

I spoke with Murphy over the phone a few days before the EP dropped. We chatted about the project, as well as drawing inspiration from the likes of Picasso, moving to LA and Black Mirror. Get a look inside Murphy's solo project, Love Fame Tragedy, and make sure to check out his debut EP, I Don’t Want To Play The Victim, But I’m Really Good At It.

OTW: Let’s talk about the name “Love Fame Tragedy." I understand you saw a Picasso exhibit and were inspired by one of the paintings. What in particular inspired you?

MM: Whenever I have days off, I go to museums or try to get some inspiration in some form. I saw this Picasso exhibition and it was so hilariously dark because, you know, the whole premise behind “Love Fame Tragedy” is him painting his mistress out of town whilst his wife is in Paris and he’s in the countryside… it’s pretty dark shit. I was also looking for something that had, like, a looping kind of comic feeling, which I think “Love Fame Tragedy” does. I think [the paintings] are kind of linked, and one leads into another. I just liked it. Before I knew it, I’d completely ripped off a Picasso exhibition and that was the name of the band.

OTW: When I first saw the name, I couldn’t help but think of The Wombats’ debut, A Guide to Love, Loss, and Desperation. You certainly have a thing with threes.

MM: Yeah, I do. Well, three’s a very powerful number, apparently.

OTW: Both the sound and the music videos have been pretty experimental for this project. What was the songwriting process like?

MM: The songwriting process for me is the same as it’s always been. It’s just me trying to excite myself. For this project, I’m working with this one guy Tyler Cunningham. He lives in LA. He and I are doing the videos and doing all the artwork together. It’s exciting to be creating this long thread, which I’ve never really done on an album before. It’s always different directors for this, the label wants to do that, whereas this is very much streamlined. It just means I can be a bit more creative and clever with artwork, videos, and general content.

youtube

OTW: LA is such a creative hub; almost everyone there is a transplant. What are some things you’ve gotten from immersing yourself in the city?

MM: LA’s been such a special place for me. I met my wife and had a baby there. The essence of collaboration that’s running through the water there is important. I’ve been inspired by that. That’s why I’ve had other people guest on this record, and I just feel 10-15 percent happier there. It’s a very New Age-y place, and that kind of rubs off on you. I just feel like happiness and sadness are really conducive to creativity, but happiness even more, so I’m really thankful for LA for providing me with that.

OTW: You mentioned all the different guests on the record. You’ve worked with some iconic names like Joey Santiago (The Pixies) and Matt Chamberlain (Pearl Jam). How did having all those different minds working together impact your thought process?

MM: It was all pretty chilled out. Me and Joey played golf beforehand; we kind of bonded on the Weezer/Pixies tour and I said, “Do you want to come to the studio?” And that’s what he did. There wasn’t too much overthinking. Collaborating with people and making new friends all the time is a much better existence than locking yourself in a room in London and writing for ten hours a day like I used to.

OTW: I loved how you let the songs trickle in slowly, kind of building the anticipation for the full EP. MM: I didn’t really decide to do it that way (laughs) I wanted to make a Love Fame Tragedy album, and all I’ve been doing is writing the songs, getting them recorded and being happy with them. But I am excited about the way it’s coming out. It’s exciting for me. There are going to be two EPs and then an extra handful of songs, which will all make one big, pretty long album at the end of it, next year. But it is fun doing EPs because you can treat everything like a mini album; everything’s got its own title, its own artwork. It’s kind of a cool way of doing it and a way I was happy to go along with. It just seems like a much more exciting way to do things.

OTW: You performed some of the new songs at the Reading Festival. What was that experience like? MM: It was horrendous! (laughs) Everything went wrong. It was a baptism of fire. It was kind of amazing that that happened because every show since then has been so great and so strong and exciting. I think we got all of the bad juju out. It wasn’t that bad a gig, I just had no guitar for the whole thing so it was just really weird. The other guys were great. We had the voice and we had the rest of the band. We just didn’t have my guitar, which was pretty interesting. But people seemed to like it.

OTW: I feel like sometimes happy accidents like that help you grow as a band.

MM: I think so. I mean, I’d met the guys way before that, but it was definitely a real bonding experience.

OTW: What do you hope your fans will get out of these live performances?

MM: Same reason I write music: I just like to make a connection with someone, and want them to feel something. That’s kind of all I do. There’s no dramatic or political statements or anything I’m massively pedaling. They’re just confessional songs and I hope they hit people the way some of them have hit me.

OTW: I think the subject matter in the songs resonates with a lot of people. Like in “My Cheating Heart,” I noticed themes of self-indulgence, materialism, temptation… love, fame AND tragedy all kind of combined into one explosion of a song. “Backflip” kind of reminded me of modern dating.

MM: “My Cheating Heart” is about a state of anxiety, really, and a lot of things that I felt when I first moved to Los Angeles and how I dealt with it… or didn’t deal with it. And “Backflip,” I guess, is about modern dating. I feel like that’s more so because of the video and the visuals and things.

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OTW: Very Black Mirror-ish.

MM: Yeah, it’s completely ripped off from “Metalhead!” I had the idea for all these shifting shapes, or whatever, which apparently is an idea people had a few years ago. I just said to the director, Watch ‘Metalhead’… can we just make it look like that?” I think we did a pretty good job.

OTW: Hey, Quentin Tarantino says he steals from every movie ever made, so don’t feel bad.

MM: (laughs) Oh no, I don’t feel bad!

OTW: What other themes do you think you’ll explore with this process?

MM: A lot of the songs are barking up the same tree I’ve always barked up. Problems with relationships… maybe relationships are like a metaphor for me having problems with the outside world? I don’t know. When I find them, I’ll be sure to explore them.

OTW: Before we go, who are your Ones to Watch?

MM: I really like Emily King. Me, my wife and daughter listen to her every morning. I think she’s pretty special.

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#matthew murphy #the wombats #interview #alternative #pop #indie rock #love fame tragedy #I don't want to play the victim but I'm really good at it

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lilyjcollins-news · 4 years

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Darren Star’s New Series Has More City Than Sex — And It’s Paris

WWD went behind the scenes with the television guru and his star Lily Collins as the new series wraps shooting in the French capital.

click here to see the full set.

Among clichés about Paris: Fashion is such an entrenched part of daily life that taxi drivers in the French capital can talk authoritatively about collections and designers during fashion weeks.

Darren Star discovered a new one: that French extras on film sets know precisely, almost instinctively, how to behave at a fashion show.

That was the case last week when 250 extras assembled for one of the finale scenes for season one of “Emily in Paris,” the television series the “Sex and the City” and “Beverly Hills, 90210” creator has been filming in the French capital, and environs, for the last four months. Shooting wraps up this week, and the 10 episodes are slated to air next summer on the Paramount Network.

“We’re really getting the character and the texture of the city — and it informs everything we do,” says Star, inviting WWD to attend a sprawling shoot in the courtyard of La Monnaie de Paris that involved a garbage truck, a guerrilla fashion show of outlandish neon gowns, and a roped-off red carpet swamped by a noisy crowd.

Star describes the series as a romantic comedy or “dramedy” centered on a “fish-out-of-water” American in Paris, portrayed by Lily Collins, on this day dressed in a floral-print puffer jacket, matching short skirt and bright pink beret.

The 30-year-old actress appears in almost every scene as Emily, sharing her star billing with a city that Star has swooned over since he was 19, and one he found to be more ravishing and picturesque than ever.

“We’ve become very inward-looking as a country, and I think it’s good to do a show that celebrates another culture,” Star says, seated on a director’s chair tucked in a chilly hallway steps away from the main action. “Anywhere you put the camera, this city looks gorgeous and surreally beautiful. That’s another cliché of Paris.”

Beyond the romanticism of the historic city, Star wishes to convey its elegant, unrushed way of life. “There’s still a sense of graciousness and manners, the way people interact with each other, the politeness and respect for one other, which I feel is really missing at home,” he enthuses. “It’s definitely a more mannered society. It still exists!”

Star brought his crew and cast to the gilded Opéra Garnier, the Pont Alexandre III, Le Grand Véfour restaurant, Luxembourg Gardens and the Musée des Arts Forains dedicated to funfair artifacts. “Paris is definitely a character in the story the way New York was in ‘Sex and the City,'” he says. “I revel in the clichés. I love it all.”

The television guru is equally smitten with Collins, daughter of English pop icon Phil Collins.

“She’s the youngest character I’ve written for since ‘Melrose Place,'” he says, name-dropping another of his zeitgeist-defining shows. “You’ve got to come to Paris as a young person to have a certain sense of wonder.”

Collins portrays a budding professional parachuted in from Chicago to implement social media at a French luxury marketing agency, setting the stage for drama and culture clashes — not to mention references to fashion and perfume brands; some real, some fictional.

In an interview, Collins described her character as a “go-getter, determined, optimistic” and perhaps “too happy and slightly annoying. She just has that American sense of can-do that clashes with some of the people she encounters. That can come across as foreign and annoying to some; for others, it’s endearing.

“Emily feels like a very modern woman, finding her way in her job, finding her way in her love life,” she continues. “We can all relate to that.”

Emily’s boss at the fictional agency is portrayed by French actress Philippine Leroy-Beaulieu, who describes her character as “a little bit the villain” as Star’s “meta-vision” for the show explores the gulf between brash American enthusiasm and French formality and reserve.

“Darren is making as much fun of the Americans as he is the French. It’s a very tender way of looking at it. It’s affectionate cruelty,” she says, her mouth curling into a wry smile. “It’s more about bridging the cultures.”

And, she adds, “there are a lot of great punch lines.”

Star is careful not to reveal too much of the plot, but describes Collins’ character as a charming, yet tone-deaf American who “doesn’t speak French and doesn’t have any great love or affinity for Paris. And she’s not warmly embraced.”

Known more for dramatic roles in films such as “Love, Rosie,” “Mirror Mirror,” and “The Mortal Instruments: City of Bones,” Collins shows a new side of herself in “Emily in Paris,” Star enthuses.

“She’s smart, she’s funny, and she’s a terrific actress. She is such a romantic comedy star,” he says, marveling that she brought to mind a young Audrey Hepburn in many scenes. “I think people are going to fall in love with her.”

Collins is also a producer on the program, consulted on the wardrobe and brought a contagious, joyful energy to the set. “Her spirit never flags, and that trickles down to everyone on the set,” Star says.

The admiration is mutual. “I grew up loving every show he did,” Collins says about Star, whose latest TV creation is “Younger,” already on its sixth season.

“I love his perspective on female characters,” the actress adds. “He’s so hands-on with everything and is on the set every day, yet he is also so incredibly collaborative. He chimes in and is creatively inspiring all the time.”

Collins has become smitten with the French capital over the past few months. “It has been an utter joy to work here,” Collins says. “There’s so much culture, so much beautiful architecture and so many beautiful sights to see in Paris. The locations have been absolutely incredible.”

Fashion plays an important and colorful role in the show, and Star called on his “Sex and the City” collaborator Patricia Field, plus costume designer Marylin Fitoussi, to team up and shape the look of the show.

“There are a lot of hats. Way more hats than I ever expected,” Star says, shaking his head in mock disbelief.

He gingerly describes Emily’s style as “fun” and not exactly subtle. “She can pull off an Eiffel Tower print dress,” he deadpans. “Her style gets more sophisticated as the show continues, but it’s a series, so she’s always going to be an American.”

Collins describes Emily’s clothes as colorful and loud, telegraphing her personality: “She’s a ray of sunshine; there’s so much color and pattern.”

In her life as an actress, Collins is admired for her sleek-yet-feminine style on the red carpet. She is an ambassador for Lancôme, and a friend of jewelry house Cartier.

Star is also a fan of fashion, more as a spectator, and appreciates the bite-size theatrical spectacle of runway shows. He praised Thom Browne’s spring 2020 display and Chanel’s beach set for its spring 2019 collection.

And he clearly is hip to the tensions that are festering between the new and old guards as fashion enters the social media age. The fashion show scene in the finale episode recounts a showdown between an elderly French couturier and a brash American streetwear brand that results in a boisterous display of one-upmanship.

“Lily’s character comes from the generation of Instagram,” Star explains. “The democratization of taste becomes a subject in the show. Who are the gatekeepers of taste, and how it’s changing is something we talk about in the show.”

Yet Star sees the show mainly as a “love letter to Paris” that will surely inspire many young women to log onto Expedia.com and book flights. Or armchair travelers can simply relish the cinematic splendor.

“Television has become big — and I mean big in terms of scope. I want people to have an experience watching this series,” Star says. “I wanted to share my excitement about Paris in this series, and I think people will be able to leave their lives for a bit watching this show.”

vía WWC.

#lily collins #article #emily in paris #darren star #Philippine Leroy-Beaulieu #lilyjcollins #interview

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