#i need you to know that i think about dion's deleted lines so fucking much

[razzle-zazzle]

How do you feel about the deleted distilled Emotions voice lines from PN2? Also do you think they should have kept it in and even added more?

I feel like it was a very fun concept, and I like how the lines we've found helps to expand the characters a bit!

However, I can see why they didn't add it, and I think that they were probably right not to—it goes against one of the major themes of Hollis' level, which is lowkey one of the major themes of the game: the Psychonauts don't fix people, they give people the strength and skills they need to fight their own battles. Hollis' Hotstreak is all about how going into someone's mind and messing around is a Bad Idea, and toying with someone's emotions with the bottles lowkey goes against that.

#ask zaz #psychonauts 2 #and like. i feel like the bottles could still exist inuniverse/be utilized in fanworks really well!! #but in the game itself the mechanic would have undermined one of the core themes #i need you to know that i think about dion's deleted lines so fucking much #''i was just scared and jealous of the changes you're going through'' #JEALOUS?? #JEALOUS????? #shaking him #like yeah i know these lines are said under the influence of the bottled emotions #and should be taken with a grain of salt/don't define the character #but something along those lines had to already be there for the bottle to bring it to the surface yanno?? #so even if dion views his sadness line about the family falling apart as an irrational fear #even if he knows that they're still a family deep down #it's still something he's felt at one point or another

[theburningbright]

XAVIER DOLAN By Jessica Chastain (interview magazine)

When Xavier Dolan presented his first directorial effort, I Killed My Mother—an autobiographical psychodrama about an unruly teenager and his teetering, at-wit’s-end mother—at the Cannes Film Festival in 2009, he had just turned 20. The film received an eight-minute standing ovation, and the labels subsequently affixed to the now 25-year-old Québécois writer, filmmaker, and actor-wunderkind, enfant terrible—certainly spoke to Dolan’s precocious emerging voice. But in the past five years (and with four more feature films), he’s put together a body of work and a distinct point of view that might just make him contemporary cinema’s next great hope.

The stories he’s told—a pair of best friends falling in love with the same man (Heartbeats, 2010); a transgender woman and her partner coming to terms with her choice to transition (Laurence Anyways, 2012); a twentysomething menaced by the brother of his dead boyfriend (Tom at the Farm, 2013); and his latest film, Mommy, a scrappy widow and her troubled son fighting against the world for self-preservation—examine the intimate experiences of characters typically beyond the range of quote-unquote normalcy, moving toward emotional or revelatory catharsis.

Last year at Cannes, Dolan’s film won the Jury Prize (an honor he shared with Jean-Luc Godard), but it wasn’t just the jury who was impressed. Jessica Chastain, who saw the film at the festival, reached out to Dolan via Twitter, and not only have they embarked on a friendship, Chastain will star in Dolan’s first English-language feature, the upcoming showbiz drama The Death and Life of John F. Donovan.

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In late November, while she was on a brief break from promoting her film Interstellar, Chastain phoned Dolan at his home in Montreal to talk about growing up among women, the intoxicating power of James Cameron, and Mommy, Canada’s entry for the Best Foreign Language Film Oscar.

JESSICA CHASTAIN: Hi, sweetheart! This is the first time I’ve ever been on this side of an interview. The first time we properly met was in New York, but I saw Mommy at the Cannes Film Festival this year and I was so blown away. I tweeted, not even really expecting anything, how much I loved the film, and then you and I had a very funny exchange.

XAVIER DOLAN: Should we have a recollection of that?

CHASTAIN: I think people should know how charming you are. I think we should tell them, first of all, that you’re my beard. Is that correct?

DOLAN: [laughs] There’s an awards season coming, and if I’m a part of it, I’m going to need a beard!

CHASTAIN: If you ask me, I am there for you, babe, 100 percent, but you have to take me to dinner first. Do you remember the video you sent me?

DOLAN: Celine Dion—is that it? I first sent you “Take You” by Justin Bieber, and then I deleted it because I was ashamed. How provincial of me, to send you our national treasure. Justin Bieber, Celine Dion—generations of Canadian national gems.

CHASTAIN: You wooed me with Justin Bieber, and so now I am forever your beard, my friend. [laughs] Okay. So where were you born?

DOLAN: I was born in Montreal at the Children’s Hospital. It sounds very cute, but that’s the actual name.

CHASTAIN: Did you grow up in an artist household?

DOLAN: My dad sort of did everything. He’s a musician, a composer, an actor—he’s an artist in all possible ways. He drew and painted—he still does. But even though he was composing his music, they were pop songs, like “Take You.” [both laugh] Not the same budget, though. My parents divorced when I was very young. My mother moved to a faraway land—suburban Montreal. I was brought up in a mainstream environment, culturally speaking. I watched all the kids films—Matilda [1996], Jumanji [1995], Home Alone[1990].

CHASTAIN: What brought you to acting?

DOLAN: My aunt Julie was a production manager and she heard of an opening. Some show was looking for children to run around the house or whatever. I auditioned and got the part, and I showed up in all of my monstrous energy, bouncing everywhere like an electron. I loved the experience, and I think it was important to my mom because she watches every show on TV, like 20 of them, and records with her VHS—yes, that’s correct, VHS. Anyway, sorry, I got lost on my mom again. I digress on my mom. Then I just started auditioning for commercials and shows and films. I got a part in a package of commercials for this big drugstore, from the age of 6 to 10. For four years I shot those commercials and old ladies would stop me on the street and grab my cheeks. That’s how it started.

CHASTAIN: So you digress to your mother. [laughs] It’s interesting going through your films—I want to know how much of it is autobiographical. You were just talking about your mother recording television shows. In your films, the television is an obstacle for bonding between a parent and a child. Is that something you directly took from your life?

DOLAN: In what movies have you noticed that?

CHASTAIN: Laurence Anyways and I Killed My Mother.

DOLAN: You’ve seen I Killed My Mother?

CHASTAIN: Of course, honey! I do my research.

DOLAN: [laughs] Well, I’m very flattered that you would research. When, at night? [laughs] How very extrastellar of you to watch these. Well, you’re right. I Killed My Mother is autobiographical. I would say the percentage of accuracy is 250 percent. I’m kidding—it’s, like, 240. The other films aren’t really. I’m very far from Laurence Anyways. I haven’t experienced heterosexual love and then a gender switch. I haven’t been held hostage like Tom is in Tom at the Farm. I haven’t lived any of these things, but every character is very personal because there’s a lot of me in their anger, their loneliness, and in their rage against society, against people who ostracize people who are different. Even the characters that seem so far away intellectually or socially, for me, when they speak, it will always be my words. There’s a lot of my mom in these characters because you write characters with the things that you’ve watched. As an actor, I’ve been recording forever. I’m a watcher. I’m a stalker. I love everything about people: the way they walk, the way they talk, the way they cry, the way their mouth is distorted whenever they do this or say that. It’s always been a passion for me to observe.

I’ve been recording forever. I’m a watcher. I’m a stalker. I love everything about people . . . It’s always been a passion for me to observe. Xavier Dolan

CHASTAIN: You started acting when you were 4. What brought you to writing and directing?

DOLAN: I always wrote. I’ve written stories since I was 9. We didn’t have a computer at home, but my aunt Magda had one. Whenever I’d go to her place, I was in the basement working on her computer, writing stories. Then I would save them on a … Fuck, what would you call these? They’re so gone right now.

CHASTAIN: Floppy disks?

DOLAN: Exactly! Yes. [both laugh] Floppy disk. I love you for bringing the words to my illiterate mouth.

CHASTAIN: Stop it! You have to remind everyone that this is not your native tongue.

DOLAN: My first language is French. I just love words so much, and in French it feels like I can say whatever I want however I want. In English I feel like I’ve got some words … [laughs] It often feels like I’m lacking the precise term, and it’s really annoying to me. So I would save these stories on a floppy disk until the next time I would go to my aunt’s, when I could continue to write the story of guardian angels sent to Earth to protect the mere mortals.

CHASTAIN: Oh my gosh.

DOLAN: That was the sort of stories that I would write, called The Indispensables or whatever else. There was one called Pink Wings. It was very, very gay. There were always angels.

CHASTAIN: How old were you when you wrote this? You’re saying it was pretty gay—at that time, did you actually know that you were?

DOLAN: I think I always knew. But, then, I didn’t know. I had girlfriends when I was young. [laughs] I was a crazy child. It was such a special childhood. When I was 8, I saw Titanic [1997] with my mom—I rarely went to the movies with my mom—and then we saw Finding Nemo [2003]. One day she brought me to see As Good as It Gets [1997], and I was pretending I was going to the bathroom when I was actually watching Titanic again in another room. When we saw the movie, it transformed my childhood into something else. I was a dreamy kid, and I was dressing up and pretending to be characters, and I was acting out and everything, but when I saw the movie, it made me crazy. I started designing costumes, drawing something like 2,000 outfits. All of that stemmed from seeing the costumes and all the production design and how big it was. It was so vast. It had such a huge impact on my childhood, telling me that it was legitimate to dream that big. The other kids were playing hockey, and I was drawing these clothes and writing letters to Danny DeVito and Leo DiCaprio. “Dear Leonardo. I’m 8 years old. I go to school. I love school.” The letters started like that. Anyway, he never answered, and now it’s too late.

CHASTAIN: Aw.

DOLAN: There will be hell to pay. [Chastain laughs] I didn’t know I was gay, but I knew I was quite different—and not in a special way. My obsession with DiCaprio and [Kate] Winslet and the costumes and everything was so disproportionate. It scared everybody. Actually, I think everybody knew but me. I knew for sure when I was 11 or 12. I came out to my cousin when I was 13. I said something so stupid. If a kid said a line like that in a TV show, the screenwriter would be fired and killed immediately. I told her, “I love women in my heart but not in my undies.” Something like that.

CHASTAIN: No, you did not! [laughs]

DOLAN: She reminds me of that often. It was horrible.

CHASTAIN: Do you feel that with your writing and directing and acting you can delve into what it was like to be that 8-year-old kid watching Titanic and trying to figure out their sexuality? Is it a way for you to explore that within yourself?

DOLAN: I think it’s a way to channel rage. I was a very violent kid. I think movies and writing and art have been a way of channeling this. But I have this will to defend people—it can be all sorts of people. In Laurence Anyways it was a transgender woman; in I Killed My Mother it was an adolescent who was rejecting his mother because he is going through his coming-of-age crisis; in Mommy it’s a more existential thing. These characters are expressive and they’re flamboyant, but they have nothing to do with the other characters from the other movies—it’s always about the things that marked me when I was young. Batman Returns [1992], Titanic, those are the movies that have printed something very deeply into me. I recently realized that most filmmakers start making movies when they’re 30. So they’re looking to the films that they saw when they were 17, 18, 25. Most of them have an education, and if they don’t, they spend years watching films. The only years I’ve spent watching movies were the years when I was a kid, and my father brought me to Jumanji. He didn’t tell me, “Kid, I’m going to show you Bergman and Eisenstein and Citizen Kane.” No.

CHASTAIN: Mommy was in the main competition at Cannes, and it won the Jury Prize. This is your fifth feature film that you’ve made, correct?

DOLAN: Yeah.

CHASTAIN: How old were you when it won the Jury Prize?

DOLAN: I was 25, the age I am right now. And by the time this interview is published, I will still be 25. I will be 25 forever.

CHASTAIN: First of all, congratulations, because Mommy has been selected as Canada’s entry for Best Foreign Language Film for the Academy Awards, which is huge, hello. The film hinges on this imaginary Canadian law that allows parents to give their children up to the state without involving the courts or a fee. What brought this to your mind?

DOLAN: That law is something I read about that had been voted on in Nebraska in the early 2000s. It’s been abrogated, but it was a Safe Haven law that applied to older children. It was used by parents who were barely scraping by, but were also endangered by their behaviorally disordered children. I read about that through a mother’s story, a mother who had abandoned her child in one of those hospitals. She was completely helpless. Her son was younger than the one in Mommy. She had another son, I think, and her son would be very violent, physically and verbally abusive, to her other son and to her. He was a good-hearted kid, of course, and he was mentally ill, and there was no health care whatsoever. She’s completely at the end of her rope, and she sees a future where one day she won’t be able to stop her kid from killing himself or killing someone, so she brings him to this place. I was really moved by the story and thought, “Well, that’s one for a movie eventually.” Then one day I shot with Antoine-Olivier Pilon, who is the lead in the film, in the music video for “College Boy” by this French band, Indochine. I had a major artistic crush on him.

CHASTAIN: He’s also in Laurence Anyways, right?

I was a very violent kid. I think movies and writing and art have been a way of channeling this. Xavier Dolan

DOLAN: He appears briefly in Laurence Anyways. He was already strikingly charismatic and impressed everybody. He really impressed me. I saw him and I was like, “This is the kid from this movie I’ve been planning on doing.” He was one of the elements that impelled me toward writing Mommy. Him, and hearing Ludovico Einaudi’s song “Experience”—he’s an Italian composer; that is the piece you hear in the movie when Diane, the mother, dreams of the future. When I first heard it through a friend at a random party, I was like, “Oh my God. This is a song for a mother who sees the future that she will never have, who dreams the life that she will never have.” I wrote that scene not knowing it would be in Mommy.

CHASTAIN: Anne [Dorval]’s performance is so incredible. Everyone’s performance in the film—Suzanne Clément … In all of your films, the female characters are so inspiring to watch. They’re not stereotypes of an idea. You allow the women in your films to have flaws and strengths. Speaking as an actress, I can tell you it’s very rare to get scripts like that. When you won the prize in Cannes—and the president was Jane Campion—you said, “The Piano [1993] was the first film that I watched that defined who I am … [It] made me want to write films for women, beautiful women with soul and will and strength.”

DOLAN: I was brought up with my grandmother, with my great aunt, with my mom, with my babysitters. All the ladies, “All the single ladies.” [both laugh] It’s who I am. They are the people I want to talk about, they’re the people I want to protect, they’re the people I want to put in my movies and see fail or win. As a writer, as a human being, and as a young man, it’s easier for me to express my anger, to ask questions, to seek answers, to talk, to cry as a woman in a movie. I connect with those figures more than I connect with men. Men are born privileged in the scale of things—I’m generalizing, but it’s true. Women have to define themselves in the eyes of men. They have to fight for their rights, especially in a society that will pretend that there is no fight or no battle, that it’s a cliché, that feminists are reactionary, all these things. As a young man who struggled to find his identity and to find his place, I relate to that quest for belonging in society. With mothers, especially, with their flaws, the way they have made huge sacrifices in order to be good moms or just moms. They probably sacrificed a part of their career, they sacrificed some desires, some dreams. I cannot relate, but I love to talk about it.

CHASTAIN: Where have you been all my life?

DOLAN: Well, I’m here now.

CHASTAIN: Thank God!

DOLAN: And I’m not going anywhere.

CHASTAIN: In I Killed My Mother, your character leaves a note that says that he can be found “in his kingdom.” I’m wondering where your kingdom is.

DOLAN: I hope you’re not disappointed by the answer. Geographically, I can’t name a place, so I will talk artistically and emotionally. My kingdom is on a set. It’s the only place on Earth where I feel I’m not waiting for something. Except when I’m waiting for the touch-ups, the fucking touch-ups.

#interview #Jessica Chastain #xavier dolan

[8bityeol]

Love Potion N.9

AU + Witch!Baek // The best place to find a potion is at the house in the forest clearing. In need of a love potion you ask the local wizard but of course there’s a price to pay.

“How much are you willing to part with?” He asks, sliding a finger through your hair.

Swallowing, you take a step back, but the room seems to become smaller as he closes the new distance. “W-what do you mean?” You ask, blinking far too fast to even fake confidence. If he could smell weakness (he probably could) you’d be burning his sinuses.

“It’s not an easy process you know. It’s tedious.” He says, with a cat-like smile stretching his face. “First, I have to find the ingredients,” He points to the rack of herbs and bottles behind you, “Then I have to mix everything together, and some of those ingredients are poisonous. George’s root? It’s a nasty little thing, it gives you warts-”  

“I’ll do it,” You butt in, thinking he’d at least have the heart to step back.

Unmoving, He presses a finger on your lips, “I wasn’t done Kitten.”  

You mumble a muffled sorry.

“You can’t do it,” He says with a hint of seriousness that causes your blood to still. You wouldn’t be so..so scared if he wasn’t so close and if his eyes were a normal colour for starters. Who in the world has yellow eyes? “You wanna know why?” he continues.

You really don’t, but in this situation, it’d seemed right to nod.  He could kill you easily. A quick slice of the neck or a hurried mumble of some spell, you would been ash in no time and swept away by a simple flick of broom.

“Because you don’t have The Book,” at the mention of ‘The Book’, a flash of purple runs through his irises and from the corner of your eye you can see pages of large book fluttering as if a large gust of wind has just entered. “And only I can use The Book, you can’t. If you happen to use it, I can’t guarantee your life.”

Finally, he moves his finger and much to your disgust or horror, he swipes it across the lapel of his jacket. it wasn’t as if forced him to slap his finger across your mouth! the nerve! but what would you expect from a man who lives alone in the forest, manners yes, but social cues, of course not.

“Anyways, what are you willing to give me?” His eyes pierce into yours as if he was looking into your deepest and darkest secrets, those which you rather die with than let anyone know.

What were you willing to give him? Your voice? but he wasn’t Ursula and it wasn’t as if you had the voice of Celine Dion; it was more like a chicken. Maybe it was your body….no. Anything but that. But what if it was what he wanted. As your thoughts derailed into things unimaginable you could feel the blood rushing to your face.

You can’t bare to look him anymore, considering how close he was, you could see every pore dotted across his clear face. “I’ve got money,” You say.

As if fueled by your nervousness, his grin grows bigger and deep chuckles burst from within him. “Money? not that useless thing!” He says, “I need something more, something worth so much more. Every jack and jill has money. Kitten, what I want isn’t material.”

Your hands fly to your chest, “N-no I can’t!”  

His face stills, “Huh…?” He cocks his head to the side, blinks a few times. “What exactly did you have in mind?”

Barely able to breathe, you squeeze your eyes shut and wish yourself somewhere far. Preferably under the covers of your bed.He hadn’t even been thinking of sex…yet you. Fuck.

“Nothing, I was just…” You say, just able to form the words. “Nothing.”

“You thought I wanted your body.”  Its statement, not a question.

“No, no, no. You’ve got it all wrong!” The words come out rushed and messy.

He narrows his eyes and smirks, he was enjoying this. “With your level of protest, I can’t help but think I am in fact right. You thought I wanted your body … how dirty. Here I was thinking you were innocent.”

“I wasn’t thinking that!” This time you talk through gritted teeth, you couldn’t take the constant teasing anymore.

He tuts you, “Don’t lie Kitten. But let’s clear things up, I’m not that depraved to ask for your body in payment. Not every wizard or warlock is a sex crazed freak, we do have humane thoughts. Understand?”

You nod diligently, “I understand. It was just nerves and you’re really close so my mind couldn’t help but wander.”

he looks down, finally noticing that he’d been practically leaning closer and closer to you. He takes a few steps back until he’s leaning against the island, “Ahh, personal space…sorry. I can’t seem to grasp the concept.”  

Regaining some composure you say: ‘thank you’

“Anyways, what does a young girl like you need a love potion?” He asks, running his eyes over you so quick you only caught it by a half a second.

The answer was simple and humiliating at best, but if it was what was needed for the potion then so be it. You’d already come so far. “My friend. I know there’s something there, I can feel it, but he never acts on it and I’m tired of waiting  so, I’m sure this little potion might quicken things up a bit.”

“Look, I know I’m not a person of great moral standing and all, but, is this really the right thing to do?” He says, “If it’s not meant to be, then why force it? What if you end up hating him? Sometimes, the person who you think is the water in the desert, might just be the mirage.”

You stare at him dead in the eye, “Well if he is a mirage then so be it. I’m a big girl, I can handle it.”

He snorts in amusement, “Aren’t we confident?”

“What is the payment?” You ask, dreading the words that may come from his mouth. He could ask for anything, gods, what if he asked for your soul? is that possible?

He holds one finger up, a wordless hang on. He disappears into another room and after some clangs and clashes…and a meow? He emerges holding a paper in his hand.“Found it!” He exclaims.

He motions for you to sit on the chair facing his desk. The desk seemed to be the only thing kept in order, the parchment had its place, the books had its place and the pens had its place. But the rest of the room was another situation. Vials were scattered around the room, vintage cups were stacked in some far corner. It was a mission in itself to get to said seat.

“OK here is the contract,” He slides the paper across the desk, “It basically says that I cannot be held accountable for anything that could occur after I hand the potion to you. Meaning that if your beloved takes this potion and dies or experiences and adverse side-effects, you have no right to gather up the citizens and come at my door with pitchforks.”

“That’s all well and good, but the payment?” You press.

He leans over the table and flips the page, “It says right here the appropriate payment for the potion you have requested, the love potion, is….your first born child.”

Your eyes widen, surely he didn’t say first born child?

“F-first born child?” A shakiness lines your voice, he nods. “You can’t possibly…I can’t…my first?”

A seemingly sympathetic look overcomes him, maybe its real. you can’t tell. “I know, I didn’t make the rules. It’s the witchcraft council, but on the brightside its only the first one, you and your beloved could have twenty more?”

“There must be some other option?” You ask voice airy and weak, “It’s a simple potion, the price can’t be that high…please.”

He shakes his head, “The potion you deamingly refer to as ‘simple’ has the power to manipulate and overcome free will, it’s as deadly as poison it’s self. Being in love can drive the most complacent person to do th most outrageous thing, love it’s natural state is deadly, but love in this form? it should be illegal. So, is that simple to you?”

The authority lining his voice brings back the fear by tenfold, how you’d managed to get comfortable around some the likes of him was truly

Here’s the thing, if you sign the contract now and don’t pick up the potion then the payment is null and void, no child will be taken.“

You nod slowly and mull over every single word. Are you willing to do it?

A/N

shout out to this would be series ~ that I started but accidently deleted the other parts cause I wrote it on my phone. I’m still heated about it.

#baekhyun scenario #exo scenario #baekhyun fanfic #exo fanfic #baekhyun oneshot #baekhyun fluff #exo fluff