#it's basically said and done in my mind. my main studio as big as it was is crashing down. and idk what ill do. | Explore Tumblr Posts and Blogs

felassan · 3 years

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DA4 Lead Producer Scylla Costa’s BIG Festival talk, “Challenges of Dragon Age production during the pandemic”, can currently be rewatched on YouTube here starting roughly at timestamp 8:57:02 after a lil presenter blurb/intro. It’s 1 hour long. When it was streamed live, there was an English translation ‘voiceover’. There isn’t in this vid, however I want to post the link for Portuguese speakers, and also it’s neat for everyone to be able to see all the slides he presented with for themselves in context.

I don’t know if an English-language version will get put up so I’m sharing the notes I took during the talk below, in case anyone’s interested and because I might as well since I wrote them. The rest of this post is under a cut due to length.

Edit: Found a place to re-watch the English version of the talk

(Quick note: I didn’t note down everything, mostly things that caught my interest, so this isn’t exhaustive, and when I was watching I was real tired, so pls bear that in mind and don’t take these notes as bullet-proof 100% accurate gospel or direct quotes. If you watched it and think I’ve written down something wrong/misunderstood, let me know and I’ll fix. Also if you’re a Portuguese speaker and I’ve gotten something incorrect or missed something important etc, again just let me know.) **

** Edit: I’ve now gone through my notes while watching the talk again. I’ve filled in some of the gaps (although they still don’t cover everything said) and so forth, and now I’m no longer worried about there being possible errors in this post.

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For some context, this slide contained the breakdown of the talk’s structure. Bear in mind there are other slides present in the talk than the ones I’ve posted here, I didn’t include caps of all of them, just ones which were of note to me.

In the talk, chief Producer Scylla goes over challenges of DA4 production during the pandemic. He discusses the adaptations - necessary skills and learning from remote work - and he ponders on the future of teamwork.

After the launch of ME3 he became a producer, all his MMO and other experience helped a lot. He was on DAI for 3 years and MEA for 9 months, then Anthem. Today, on DA4, Scylla and another Lead Producer were the heads of the whole project, and there is his boss is the Executive Producer Christian Dailey.

^ the usual AAA game development cycle (brief introduction)

AAA games are games that are launched for several platforms simultaneously.

In BioWare’s case, the pre-production phase of the game development cycle can have from 5 - 30 people, and up to almost 60 people when they’re just about to go through the gate to production.

In the pre-production phase, they go through the game’s concepts and prototypes and start developing systems. They seek the game’s concept and focus, and its key features. They do lots of market research. In the case of BioWare, all their games are strong in narrative, so they have lots of tools related to game narratives and supporting the development of a narrative (cinematic design, dialogue system etc) that get focused on in this phase. Other parts of the team such as writers and cinematic design need these systems to do their own roles.

In BioWare’s case, the pre-production phase through to launch can take 4 - 6 years, but it does depend on the size of the team during development.

With regards to Dragon Age 4, they were coming close to the time when they would shift from pre-production to the production stage when the pandemic hit.

During the production phase is when the development of content and features takes place, with the systems mostly already existing from the pre-production phase. A few new systems may be developed in this phase. In the production phase is when things start escalating, and the team really starts growing, to like 2- or 3-fold the prior pre-production phase size.

(DA4 is currently in the production phase.)

In the alpha phase, features have to be fully implemented and systems all have to be running / working. All the game features should already be in the game by now. They test from pre-production onwards, but this phase is when they run heavy technical tests with lots of players trying to play at the same time. In the beta phase, the idea is that you should now have full content and that now you’re balancing it and running more and lots of different tests with players before launch. There are final tweaks and then the final launch, when in the weeks prior to launch, all the different business units and areas e.g. marketing team, technology team, publishing team, get together once a day and all of the game’s issues are reported and brought to the table to be prioritized. Then they decide the next steps re: these issues (this is known as ‘the war room’).

After the launch there are usually patches like day zero patches and other patches, this being standard industry practise. The last stage is the new content stage where there are DLCs and a game with more content.

On March 12th 2020, the team gathered to review the DA4 story in the new office. Everyone was very excited. (They had spent over 10 years in their last building and had noticed that with the team growing they needed more space. In August 2019 they found the new studio in the city center.)

Anyway that evening, they got an email from the CEO which contained instructions and said that due to the pandemic, they should from now all start working remotely. They had known that this happening was a possibility so they had been planning on how to have all the devs working from home, but initially less than 50% of the devs were able to work from home successfully/efficiently due to various issues e.g. you need a VPN to be able to log in remotely to do your job normally, varying home office setups. The day after this, the office was basically deserted, except for Scylla, the IT infrastructure people and one or two odd devs.

Scylla was part of the team that was working on allowing the devs to work from home. They first started looking at the short-term changes they needed to make to allow this.

“First, take care of our developers”.

When the pandemic first hit, their and Scylla’s [as Lead Producer] first priority was to look after the devs. Many of them are parents (schools and day-cares were shut, children were studying from home), others have relatives living with them, others have other personal circumstances which of course need to be taken into account when it comes to assessing what needs to be taken into consideration for this new scenario. So, they looked at each dev on a case-by-case basis in order to evaluate, speaking to each one and asking them what they could do to support them.

One of the first changes/adaptations they could implement was flexible working hours and flexibility around deadlines. Generally speaking the devs got a lot of support, EA was really good and really supported the devs especially in the first months of the pandemic (and they are still supporting them). Initially not all devs had suitable office spaces at home, some were working from the living room from laptops or at the kitchen table. The whole covid situation basically just happened over night and nobody was really ready to deal with that change. So their first step was to enable their devs to work remotely. As a producer, Scylla’s main task is to communicate with the team such as via a number of daily meetings. He doesn’t depend so much on powerful hardware.

“Enable developers to work remotely”.

This slide shows some of a BioWare audio team. Different teams have varying and specific needs in order to do their jobs and therefore in order to do them remotely. For example, the audio team need good-quality speakers and amplifiers, while the lighting and art teams need other specific equipment such as tablets and large screens. So there was a lot of work they had to do to go through each dev to understand their individual needs and what needed to be done for them. ‘Could they download the builds? Did they have the right performance [tech-wise]? Could they submit their changelists, their codes to the server?’

Some devs needed a more powerful internet connection as it would take 6-8 hours to download a build (some devs live rurally). Some needed a lot of cable, as they were working far away from their routers (sometimes up to 50m). As time went by things got better and better.

The chair devs work from is also important; a kitchen able chair etc is not suitable to sit in for long-term desk work, possibly leading to health issues like back ache and blood circulation problems in the legs.

Every 3 months they had money given to help devs buy new mice, keyboards, monitors - anything they needed really in order for their office setting at home to be improved. For a while, because lots of people [generally, in society] were needing and buying them, it was quite hard to buy things like webcams and microphones.

On mid- and long-term changes:

In terms of DA, we have to look at this from 2 perspectives, the change in the personal and the professional environments.

As a consequence of working from home, people tend to be less active during the day (even in an office, you go between meeting rooms, up and down stairs etc). Physical activity supports life quality and therefore work quality. Scylla noticed that he began to feel listless and such, and found that he needed to change his routine that he had initially developed when he started working from home, for example; having a normal start time (as in, have a semblance of structure in your day as if you were still working in the office site), get dressed at the normal time, not having meetings over lunch etc. This wasn’t just him, lots of other devs encountered this and had this experience too. Devs which adapted faster had better productivity and became more productive faster.

Scylla bought a stand-up desk which he can raise up and down, and at meetings he would be delivering a talk while standing or even while walking on a treadmill. Other devs also got stand-up desks. He tracked his body’s data on a Fitbit. These sorts of things helped improve physical and mental wellbeing. Other devs did similar things, like starting going out for jogs or began practising yoga. Essentially, everyone needed to make changes to their daily routine in comparison to what they had been doing prior to the pandemic.

The pandemic has been a thing for over a year now. In their location, every couple of weeks a new restriction is put into place or a rule is changed, and every two weeks there’s a new thing that you can and can’t do. Scylla also started moving around his property. He worked on his desk, fixed it up and painted - taking up a new hobby. Other devs picked up new hobbies too. These are good ways to be active and also to be somewhere else, i.e. to break up the working day and not be spending it all in one home office-type location. Scylla found that when he made these sorts of changes to his routine to improve his lifestyle, the data output by his Fitbit as indicators of his health/wellbeing etc improved, e.g. number of steps taken in a day, heartbeats per minute while at rest. As stated many of the other devs went through a similar process.

On the professional side of things:

They had to improve remote delivery of builds. Accessing things from home as a dev requires a VPN. They need to download a build every day and then upload it to the server after making their changes to the game. They had to work with infrastructure and research other tech, such as streaming tech to allow remote console access, in order to better facilitate this process. For remote access, they also had to work on adapting communications channels.

“Adapting channels of communication.”

In this slide, the team are working on the storyboards. Before you can implement motion capture & performance capture, you have to ‘run the storyboards’ like this. These are small illustrating drawings which reflect the drafts and are meant to quickly reflect the intention of the scenes that are to be built. Before the pandemic, the team would go to meeting rooms like this, sit down, talk and interact in person. After the pandemic, the question became ‘How do you do this over Zoom?’ You can, but it’s not quite the same; it’s harder to see peoples’ expressions, some people are embarrassed speaking over Zoom etc. Therefore they had to adapt their communications systems, and unlearn the ways in which they developed before in order to relearn and learn new ways of communicating.

Slack was a tool that they adopted on this front. Communications channels can be confusing on Slack, so there was a need to develop structure. For example, how quickly should someone reply (as a recommended convention for the purposes of work)? They had to define the process/procedures for the channels so it was clear for the team as a whole how it would all flow (this is important especially if you have a team with say 30 people or as a whole hundreds of people). Before the pandemic, they had stand-up meetings where they’d go around in a circle every morning and talk about their activities - what they’re going to be working on, any roadblocks they had encountered etc. The question arose ‘How do you replace these?’ They ended up doing Slack messages at a certain time of day and updating their statuses with some details on what they’re working on and color-coding (green - fine, yellow - need help, red - busy/blocked out).

Another issue that they faced was unforeseen - the number of meetings that devs were having really shot through the roof. When there wasn’t a good structure of communications channels, any conversation would become a meeting. Everybody began scheduling meetings left and right, and at the end of the day they would have little time left in which to actually work on their to-do lists. Hence, they had to work with the team to really analyze and be very pragmatic. ‘Which meetings needed to happen? Which didn’t? Is a specific meeting really necessary? Which meetings should be recurring? What can be done over Slack?’ This guideline had to be given to the team to help, and it improved things a lot. The number of meetings decreased a lot and they got more effective. For example, by making sure to set an agenda for meetings beforehand, and by having meeting notes (then a dev who didn’t really need to be at a meeting could skip attending and just quickly review the notes output after instead). They also decreased the standard length of meeting times from the default Outlook blocks of 1 hour and 30 mins to 55 mins and 25 mins respectively. This 5 minute change gave devs time for things like bio breaks (also 4 hours in a row at a computer in a home office with one meeting after another just isn’t good for a person).

“Adapting p-cap and mocap”.

On content:

From a content point of view, the most difficult thing in terms of the pandemic was adapting p-cap and mocap (performance capture and motion capture). They hire actors and it’s a large studio. The pandemic meant big limits to what they could and couldn’t do. The actors had to be masked and 5 meters apart in distance (although it doesn’t look like it in some of these shots due to angles). Also there could be no other person around in the studio - only the actors. The directors instead would ‘patch’ in remotely on big screens (you can see this in the second photo in the top right).

Before the pandemic, they felt that they wouldn’t be able to do p-cap or mocap properly remotely, as the directors would usually stand right next to actors giving guidance on their performance. The techs would also usually be near. But they adapted! The keyword is adapting, changing process. It’s harder and it’s different, but it is possible, and people start rethinking what is possible. What was said to be impossible before now is possible.

P-cap differs to mocap in that it also captures voice and facial expressions.

On the future of work after covid:

There will probably be more working from home and more flexibility for workers e.g. being able to work say 3 out of 5 days from home. It does depend on what a dev’s specific job is however. For example, the audio engineers require lots of specialist equipment and said equipment is of higher quality and quantity in the office. So, depending on role, devs might be working more often or less often from home.

Another development is that lots of devs are moving house. In lockdown etc people started reassessing what’s most important in life. Some are moving further away from the studio to get a cheaper rent or for example couples who both needed an office space to work from home from but their current place only had one area. Others are moving closer to nature for a better quality of life, and still others have other different reasons for doing so. Over 10 devs that he knows in fact have recently moved, including Scylla himself.

The pandemic changed certain skills being used by people on a daily basis. Scylla used as an example of this one of his soft skills, being able to tell from looking/interacting in-person with someone if they are stressed out. Obviously it’s less easy to tell if someone is stressed out when you’re remote, so you adapt different ways of checking in with people in the new situation. To continue carrying out his role as Lead Producer, he began checking in with his team pro-actively on the new comms channels and asking how they were doing.

Also, now that companies are more open to working remotely, there is going to be increased competition for hiring devs. They saw both sides of this coin at BioWare. They were able to hire devs from many places that they couldn’t hire from before e.g. Montreal, Vancouver, the US, as there’s less need for devs to relocate to Edmonton or Austin. This opens up opportunities to hire really intelligent and skilled people that they would not have had access to before.

Question and answer segment:

The pre-production phase has been concluded. They’re in the production phase.

They are not giving out a lot of details yet but Scylla is really excited as a big fan of the whole series. He thinks that with DA4, they will have the opportunity/possibility to launch the best story out of all DA games. He feels that the characters they’re making are amazing. He’s dying to say more but can’t.

When you work from home you need to keep your team as productive as possible. During the pandemic, when people started working from home, they noticed that some people became more productive and some people became less productive. They were analyzing it on a case-by-case basis so as not to make assumptions. They were interested in seeing what they could do to help. At the beginning of the pandemic, they were looking at the devs as people and seeing what they needed.

Production of DA4 still needed to continue during the pandemic because they want to be able to launch the game.

This slide shows a writer. Writing is an example of a role which is more able to work from home easily.

Their productivity did go down in the first month of the pandemic. After adaptations, some people then became more productive than they were before (this was role and personal situation-dependent, examples of this being artists and coders who were able to art and code at home without being interrupted, thereby being able to produce more). Covid has affected productivity in general, but this is part of our new reality. They have adapted and adjusted some deadlines. They have enough data (Scylla LOVES data) now to understand how long it will take them/how long they’ll need to launch the game. They have always had historical data for this purpose, but they’re doing more of this sort of thing now to ensure that they are doing things at the right time.

Remote hiring opens up the door to more talent joining, so if someone has talent geography will hold them back less. Some companies though may choose not to hire people from other countries due to labor issues, cumbersome legal aspects, time zones. But even in such cases there are activities for example that can be carried out while the rest of the team is asleep such as testing or working on the build, or there are cases where those companies still will want to hire a specifically/highly talented person even in spite of the potential legal aspects and so on.

On mental health: People were affected. There is the mental, physical and social impacts of the pandemic situation on people. EA supported them during the pandemic in terms of their mental wellbeing, there are specific companies (services offered, speaking to a therapist) that they can contact if they need something or help. EA had always been good at supporting them with this sort of thing but this has improved further during the pandemic. Another change was that they could/can take a couple of days off if they needed/need to because of the pandemic e.g. to take care of children, who were obviously not at school at the time. As a producer he had to be very mindful of all of this. How much they were monitoring peoples’ wellbeing really went up during the pandemic.

A question that was asked - in terms of DA4′s storybeats, is there anything in there that they decided to change due to the pandemic as it wouldn’t be sensitive or appropriate to include anymore, for example a plague plotline or something? Scylla’s answer is that DA and ME are games in which they try to have narratives that are relatable, which include things which people will identify with, so that players understand what characters are going through etc. Nothing in DA4′s plotline/storybeats has been changed (in the frame of this question, relating to the pandemic), as it didn’t have anything in it that could be specifically or a directly connected to a pandemic-type situation or anything. Of course the DA story has Blights and the Taint, but these are different & fantastical things and existed long before the pandemic situation. So this wasn’t the case with DA4 and there was no need to change anything, but this has happened to other games where they decided to change a storyline due to a strong correlation with something in the real world.

There were then concluding/closing remarks. The message he wants to send is that a crisis will always spark opportunities. Look at a crisis and try to see how you can grow.

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[☕ found this post interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

#dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #covid mention #long post #longpost #wanted to write these up properly and post them yesterday but wasn't able to #mass effect #anthem

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the-hunchback-of-notre-dame · 3 years

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‘The Hunchback of Notre Dame’ at 25: An Oral History of Disney’s Darkest Animated Classic

Posted on Slashfilm on Monday, June 21st, 2021 by Josh Spiegel

“This Is Going to Change Your Life”

The future directors of The Hunchback of Notre Dame were riding high from the success of Beauty and the Beast. Or, at least, they were happy to be finished.

Gary Trousdale, director: After Beauty and the Beast, I was exhausted. Plus, Kirk and I were not entirely trusted at first, because we were novices. I was looking forward to going back to drawing.

Kirk Wise, director: It was this crazy, wonderful roller-coaster ride. I had all this vacation time and I took a couple months off.

Gary Trousdale: A little later, it was suggested: “If you want to get back into directing, start looking for a project. You can’t sit around doing nothing.”

Kirk Wise: [Songwriters] Lynn Ahrens and Stephen Flaherty had a pitch called Song of the Sea, a loose retelling of the Orpheus myth with humpback whales. I thought it was very strong.

Gary Trousdale: We were a few months in, and there was artwork and a rough draft. There were a couple tentative songs, and we were getting a head of steam.

Kirk Wise: The phone rang. It was Jeffrey [Katzenberg, then-chairman of Walt Disney Studios], saying, “Drop everything. I got your next picture: The Hunchback of Notre Dame.”

Gary Trousdale: “I’ve already got Alan Menken and Stephen Schwartz. You’re going to do this.” It wasn’t like we were given a choice. It was, “Here’s the project. You’re on.”

Kirk Wise: I was pleased that [Jeffrey] was so excited about it. I think the success of Beauty and the Beast had a lot to do with him pushing it our way. It would’ve been crazy to say no.

Gary Trousdale: What [Kirk and I] didn’t know is that Alan and Stephen were being used as bait for us. And Jeffrey was playing us as bait for Alan and Stephen.

Alan Menken, composer: Jeffrey made reference to it being Michael Eisner’s passion project, which implied he was less enthused about it as a story source for an animated picture.

Stephen Schwartz, lyricist: They had two ideas. One was an adaptation of Hunchback and the other was about whales. We chose Hunchback. I’d seen the [Charles Laughton] movie. Then I read the novel and really liked it.

Peter Schneider, president of Disney Feature Animation (1985-99): I think what attracted Stephen was the darkness. One’s lust for something and one’s power and vengeance, and this poor, helpless fellow, Quasimodo.

Roy Conli, co-producer: I was working at the Mark Taper Forum in Los Angeles, doing new play development. I was asked if I’d thought about producing animation. I said, “Yeah, sure.”

Don Hahn, producer: The goose had laid lots of golden eggs. The studio was trying to create two units so they could have multiple films come out. Roy was tasked with something hard, to build a crew out of whole cloth.

Kirk Wise: The idea appealed to me because [of] the setting and main character. I worked with an elder story man, Joe Grant, [who] goes back to Snow White. He said, “Some of the best animation ideas are about a little guy with a big problem.” Hunchback fit that bill.

Gary Trousdale: It’s a story I always liked. When Jeffrey said, “This is going to change your life,” Kirk and I said, “Cool.” When I was a kid, I [had an] Aurora Monster Model of Quasimodo lashed to the wheel. I thought, “He’s not a monster.”

Don Hahn: It’s a great piece of literature and it had a lot of elements I liked. The underdog hero. [He] was not a handsome prince. I loved the potential.

Gary Trousdale: We thought, “What are we going to do to make this dark piece of literature into a Disney cartoon without screwing it up?”

Peter Schneider: The subject matter is very difficult. The conflict was how far to go with it or not go with it. This is basically [about] a pederast who says “Fuck me or you’ll die.” Right?

“We Were Able to Take More Chances”

Wise and Trousdale recruited a group of disparate artists from the States and beyond to bring the story of Quasimodo the bell-ringer to animated life.

Paul Brizzi, sequence director: We were freshly arrived from Paris.

Gaëtan Brizzi, sequence director: [The filmmakers] were looking for a great dramatic prologue, and they couldn’t figure [it] out. Paul and I spent the better part of the night conceiving this prologue. They said, “You have to storyboard it. We love it.”

Roy Conli: We had two amazing artists in Paul and Gaëtan Brizzi who became spiritual leaders in the production. They were so incredible.

Gaëtan Brizzi: [“The Bells of Notre Dame”] was not supposed to be a song first.

Paul Brizzi: The prologue was traditional in the Disney way. Gaëtan and I were thinking of German expressionism to emphasize the drama. I’m not sure we could do that today.

Paul Kandel, voice of Clopin: They were toying with Clopin being the narrator. So they wrote “The Bells of Notre Dame” to open the movie.

Stephen Schwartz: [Alan and I] got called into a presentation, and on all these boards [was] laid out “The Bells of Notre Dame.” We musicalized the story they put up there. We used the pieces of dialogue they invented for Frollo and the other characters. I wrote lyrics that described the narrative. It was very exciting. I had never written a song like that.

Kirk Wise: Early on, we [took] a research trip with the core creative team to Paris. We spent two weeks all over Notre Dame. They gave us unrestricted access, going down into the catacombs. That was a huge inspiration.

Don Hahn: To crawl up in the bell towers and imagine Quasimodo there, to see the bells and the timbers, the scale of it all is unbelievable.

Kirk Wise: One morning, I was listening to this pipe organ in this shadowy cathedral, with light filtering through the stained-glass windows. The sound was so powerful, I could feel it thudding in my chest. I thought, “This is what the movie needs to feel like.”

Brenda Chapman, story: It was fun to sit in a room and draw and think up stuff. I liked the idea of this lonely character up in a bell tower and how we could portray his imagination.

Kathy Zielinski, supervising animator, Frollo: It was the earliest I’ve ever started on a production. I was doing character designs for months. I did a lot of design work for the gargoyles, as a springboard for the other supervisors.

James Baxter, supervising animator, Quasimodo: Kirk and Gary said, “We’d like you to do Quasimodo.” [I thought] that would be such a cool, amazing thing to do. They wanted this innocent vibe to him. Part of the design process was getting that part of his character to read.

Will Finn, head of story/supervising animator, Laverne: Kirk and Gary wanted me on the project. Kirk, Gary, and Don Hahn gave me opportunities no one else would have, and I am forever grateful.

Kathy Zielinski: I spent several months doing 50 or 60 designs [for Frollo]. I looked at villainous actors. Actually, one was Peter Schneider. [laughing] Not to say he’s a villain, but a lot of the mannerisms and poses. “Oh, that looks a little like Peter.”

James Baxter: I was doing design work on the characters with Tony Fucile, the animator on Esmerelda. I think Kirk and Gary felt Beauty and the Beast had been disparate and the characters weren’t as unified as they wanted.

Kathy Zielinski: Frollo stemmed from Hans Conried [the voice of Disney’s Captain Hook]. He had a longish nose and a very stern-looking face. Frollo was modeled a little bit after him.

Will Finn: The team they put together was a powerhouse group – Brenda Chapman, Kevin Harkey, Ed Gombert, and veterans like Burny Mattinson and Vance Gerry. I felt funny being their “supervisor.”

Kathy Zielinski: Half my crew was in France, eight hours ahead. We were able to do phone calls. But because of the time difference, our end of the day was their beginning of the morning. I was working a lot of late hours, because [Frollo] was challenging to draw.

Kirk Wise: Our secret weapon was James Baxter, who animated the ballroom sequence [in Beauty and the Beast] on his own. He had a unique gift of rotating characters in three-dimensional space perfectly.

Gary Trousdale: James Baxter is, to my mind, one of the greatest living animators in the world.

James Baxter: I’ve always enjoyed doing things that were quite elaborate in terms of camera movement and three-dimensional space. I’m a glutton for punishment, because those shots are very hard to do.

Gary Trousdale: In the scene with Quasimodo carrying Esmeralda over his shoulder, climbing up the cathedral, he looks back under his arms, snarling at the crowd below. James called that his King Kong moment.

As production continued, Roy Conli’s position shifted, as Don Hahn joined the project, and Jeffrey Katzenberg left Disney in heated fashion in 1994.

Roy Conli: Jeffrey was going to create his own animation studio. Peter Schneider was interested in maintaining a relationship with Don Hahn. We were into animation, ahead of schedule. They asked Don if he would produce and if I would run the studio in Paris.

Don Hahn: Roy hadn’t done an animated film before. I was able to be a more senior presence. I’d worked with Kirk and Gary before, which I enjoy. They’re unsung heroes of these movies.

Kirk Wise: The [production] pace was more leisurely. As leisurely as these things can be. We had more breathing room to develop the storyboards and the script and the songs.

Gary Trousdale: Jeffrey never liked characters to have facial hair. No beards, no mustaches, nothing. There’s original designs of Gaston [with] a little Errol Flynn mustache. Jeffrey hated it. “I don’t want any facial hair.” Once he left, we were like, “We could give [Phoebus] a beard now.”

Kirk Wise: The ballroom sequence [in Beauty] gave us confidence to incorporate more computer graphics into Hunchback. We [had] to create the illusion of a throng of thousands of cheering people. To do it by hand would have been prohibitive, and look cheap.

Stephen Schwartz: Michael Eisner started being more hands-on. Michael was annoyed at me for a while, because when Jeffrey left, I accepted the job of doing the score for Prince of Egypt. I got fired from Mulan because of it. But once he fired me, Michael couldn’t have been a more supportive, positive colleague on Hunchback.

Kirk Wise: [The executives] were distracted. We were able to take more chances than we would have under the circumstances that we made Beauty and the Beast.

Don Hahn: Hunchback was in a league of its own, feeling like we [could] step out and take some creative risks. We could have done princess movies forever, and been reasonably successful. Our long-term survival relied on trying those risks.

One sticking point revolved around Notre Dame’s gargoyles, three of whom interact with Quasimodo, but feel more lighthearted than the rest of the dark story.

Gary Trousdale: In the book and several of the movies, Quasimodo talks to the gargoyles. We thought, “This is Disney, we’re doing a cartoon. The gargoyles can talk back.” One thing led to another and we’ve got “A Guy Like You.”

Kirk Wise: “A Guy Like You” was literally created so we could lighten the mood so the audience wasn’t sitting in this trough of despair for so long.

Stephen Schwartz: Out of context, the number is pretty good. I think I wrote some funny lyrics. But ultimately it was a step too far tonally for the movie and it has been dropped from the stage version.

Gary Trousdale: People have been asking for a long time: are they real? Are they part of Quasimodo’s personality? There were discussions that maybe Quasimodo is schizophrenic. We never definitively answered it, and can argue convincingly both ways.

Jason Alexander, voice of Hugo: I wouldn’t dream of interfering with anyone’s choice on that. It’s ambiguous for a reason and part of that reason is the viewers’ participation in the answer. Whatever you believe about it, I’m going to say you’re right.

Brenda Chapman: I left before they landed on how [to play] the gargoyles. My concern was, what are the rules? Are they real? Are they in his imagination? What can they do? Can they do stuff or is it all Quasi? I looked at it a little askance in the finished film. I wasn’t sure if I liked how it ended up…[Laverne] with the boa on the piano.

Kirk Wise: There was a component of the audience that felt the gargoyles were incompatible with Hunchback. But all of Disney’s movies, including the darkest ones, have comic-relief characters. And Disney was the last person to treat the written word as gospel.

“A Fantastic Opportunity”

After a successful collaboration on Pocahontas, Menken and Schwartz worked on turning Victor Hugo’s tragic story into a musical.

Alan Menken: The world of the story was very appealing, and it had so much social relevance and cultural nuance.

Stephen Schwartz: The story lent itself quite well to musicalization because of the extremity of the characters and the emotions. There was a lot to sing about. There was a great milieu.

Alan Menken: To embed the liturgy of the Catholic Church into a piece of music that’s operatic and also classical and pop-oriented enriches it in a very original way. Stephen was amazing. He would take the theme from the story and specifically set it in Latin to that music.

Stephen Schwartz: The fact that we were doing a piece set in a church allowed us to use all those elements of the Catholic mass, and for Alan to do all that wonderful choral music.

Alan Menken: The first creative impulse was “Out There.” I’m a craftsman. I’m working towards a specific assignment, but that was a rare instance where that piece of music existed.

Stephen Schwartz: I would come in with a title, maybe a couple of lines for Alan to be inspired by. We would talk about the whole unit, its job from a storytelling point of view. He would write some music. I could say, “I liked that. Let’s follow that.” He’d push a button and there would be a sloppy printout, enough that I could play it as I was starting the lyrics.

Roy Conli: Stephen’s lyrics are absolutely phenomenal. With that as a guiding light, we were in really good shape.

Stephen Schwartz: Alan played [the “Out There” theme] for me, and I really liked it. I asked for one change in the original chorus. Other than that, the music was exactly as he gave it to me.

Gary Trousdale: Talking with these guys about music is always intimidating. There was one [lyric] Don and I both questioned in “Out There,” when Frollo is singing, “Why invite their calumny and consternation?” Don and I went, “Calumny?” Kirk said, “Nope, it’s OK, I saw it in an X-Men comic book.” I went, “All right! It’s in a comic book! It’s good.”

Stephen Schwartz: Disney made it possible for me to get into Notre Dame before it opened to the public. I’d climb up the steps to the bell tower. I’d sit there with my yellow pad and pencil. I’d have the tune for “Out There” in my head, and I would look out at Paris, and be Quasimodo. By the time we left Paris, the song was written.

Kirk Wise: Stephen’s lyrics are really smart and literate. I don’t think the comical stuff was necessarily [his] strongest area. But this movie was a perfect fit, because the power of the emotions were so strong. Stephen just has a natural ability to connect with that.

Will Finn: The directors wanted a funny song for the gargoyles and Stephen was not eager to write it. He came to me and Irene Mecchi and asked us to help him think of comedy ideas for “A Guy Like You,” and we pitched a bunch of gags.

Jason Alexander: Singing with an orchestra the likes of which Alan and Stephen and Disney can assemble is nirvana. It’s electrifying and gives you the boost to sing over and over. Fortunately, everyone was open to discovery. I love nuance and intention in interpretation. I was given wonderful freedom to find both.

Stephen Schwartz: “Topsy Turvy,” it’s one of those numbers of musical theater where you can accomplish an enormous amount of storytelling. If you didn’t have that, you’d feel you were drowning in exposition. When you put it in the context of the celebration of the Feast of Fools, you could get a lot of work done.

Paul Kandel: The first time I sang [“Topsy Turvy”] through, I got a little applause from the orchestra. That was a very nice thing to happen and calm me down a little bit.

Brenda Chapman: Poor Kevin Harkey must’ve worked on “Topsy Turvy” for over a year. Just hearing [singing] “Topsy turvy!” I thought, “I would shoot myself.” It’s a fun song, but to listen to that, that many times. I don’t know if he ever got to work on anything else.

Paul Kandel: There were places where I thought the music was squarer than it needed to be. I wanted to round it out because Clopin is unpredictable. Is he good? Is he bad? That’s what I was trying to edge in there.

Kirk Wise: “God Help the Outcasts” made Jeffrey restless. I think he wanted “Memory” from Cats. Alan and Stephen wrote “Someday.” Jeffrey said, “This is good, but it needs to be bigger!” Alan was sitting at his piano bench, and Jeffrey was next to him. Jeffrey said, “When I want it bigger, I’ll nudge you.” Alan started playing and Jeffrey was jabbing him in the ribs. “Bigger, bigger!”

Don Hahn: In terms of what told the story better, one song was poetic, but the other was specific. “Outcasts” was very specific about Quasimodo. “Someday” was “Somewhere Over the Rainbow.”

Kirk Wise: When Don watched the movie, he said, “It’s working pretty well. But ‘Someday,’ I don’t know. It feels like she’s yelling at God.” We played “God Help the Outcasts” for him and Don said, “Oh, this is perfect.” That song is the signature of the entire movie.

Don Hahn: “Someday” was lovely. But I had come off of working with Howard Ashman, and I felt, “This doesn’t move the plot forward much, does it?” We ended up with “Someday” as an end-credits song, which was fortunate. ‘Cause they’re both good songs.

Kirk Wise: It was all about what conveys the emotion of the scene and the central theme of the movie best. “God Help the Outcasts” did that.

Everyone agrees on one point.

Stephen Schwartz: Hunchback is Alan’s best score. And that’s saying a lot, because he’s written a whole bunch of really good ones.

Gary Trousdale: With Hunchback, there were a couple of people that said, “This is why I chose music as a career.” Alan and Stephen’s songs are so amazing, so that’s really something.

Paul Kandel: It has a beautiful score.

Jason Alexander: It has the singularly most sophisticated score of most of the animated films of that era.

Roy Conli: The score of Hunchback is one of the greatest we’ve done.

Don Hahn: This is Alan’s most brilliant score. The amount of gravitas Alan put in the score is amazing.

Alan Menken: It’s the most ambitious score I’ve ever written. It has emotional depth. It’s a different assignment. And it was the project where awards stopped happening. It’s almost like, “OK, now you’ve gone too far.”

Stephen Schwartz: It’s astonishing that Alan has won about 173 Academy Awards, and the one score he did not win for is his best score.

The film featured marquee performers singing covers of “God Help the Outcasts” and “Someday”. But one of the most famous performers ever nearly brought those songs to life.

Alan Menken: I met Michael Jackson when we were looking for someone to sing “A Whole New World” for Aladdin. Michael wanted to co-write the song. I could get a sense of who Michael was. He was a very unique, interesting individual…in his own world.

I get a call out of nowhere from Michael’s assistant, when Michael was at the Four Seasons Hotel in New York. He had to [deal with] allegations about inappropriate behavior with underage kids, and the breakup with Lisa Marie Presley. He’s looking to change the subject. And he obviously loves Disney so much. So I mentioned Hunchback. He said he’d love to come to my studio, watch the movie and talk about it. So we got in touch with Disney Animation. They said, “Meet with him! If he likes it…well, see what he says.” [laughing]

There’s three songs. One was “Out There,” one was “God Help the Outcasts,” one was “Someday.” Michael said, “I would like to produce the songs and record some of them.” Wow. Okay. What do we do now? Michael left. We got in touch with Disney. It was like somebody dropped a hot poker into a fragile bowl with explosives. “Uh, we’ll get back to you about that.”

Finally, predictably, the word came back, “Disney doesn’t want to do this with Michael Jackson.” I go, “OK, could someone tell him this?” You can hear a pin drop, no response, and nobody did [tell him]. It fell to my late manager, Scott Shukat, to tell Michael or Michael’s attorney.

In retrospect, it was the right decision. [But] Quasimodo is a character…if you look at his relationships with his family and his father, I would think there’s a lot of identification there.

“They’re Never Going to Do This Kind of Character Again”

The film is known for the way it grapples with the hypocrisy and lust typified by the villainous Judge Frollo, whose terrifying song “Hellfire” remains a high point of Disney animation.

Gary Trousdale: Somebody asked me recently: “How the hell did you get ‘Hellfire’ past Disney?” It’s a good question.

Alan Menken: When Stephen and I wrote “Hellfire,” I was so excited by what we accomplished. It really raised the bar for Disney animation. It raised the bar for Stephen’s and my collaboration.

Stephen Schwartz: I thought the would never let me get away with [“Hellfire”]. And they never asked for a single change.

Alan Menken: Lust and religious conflict. Now more than ever, these are very thorny issues to put in front of the Disney audience. We wanted to go at it as truthfully as possible.

Stephen Schwartz: When Alan and I tackled “Hellfire,” I did what I usually did: write what I thought it should be and assume that [Disney would] tell me what I couldn’t get away with. But they accepted exactly what we wrote.

Don Hahn: Every good song score needs a villain’s moment. Stephen and Alan approached it with “Hellfire.”

Alan Menken: It was very clear, we’d thrown the gauntlet pretty far. It was also clear within our creative team that everybody was excited about going there.

Don Hahn: You use all the tools in your toolkit, and one of the most powerful ones was Alan and Stephen. Stephen can be dark, but he’s also very funny. He’s brilliant.

Gary Trousdale: The [MPAA] said, “When Frollo says ‘This burning desire is turning me to sin,’ we don’t like the word ‘sin.’” We can’t change the lyrics now. It’s all recorded. Kinda tough. “What if we just dip the volume of the word ‘sin’ and increase the sound effects?” They said, “Good.”

Stephen Schwartz: It’s one of the most admirable things [laughs] I have ever seen Disney Animation do. It was very supportive and adventurous, which is a spirit that…let’s just say, I don’t think [the company would] make this movie today.

Don Hahn: It’s funny. Violence is far more accepted than sex in a family movie. You can go see a Star Wars movie and the body count’s pretty huge, but there’s rarely any sexual innuendo.

Kathy Zielinski: I got to watch [Tony Jay] record “Hellfire” with another actor. I was sweating watching him record, because it was unbelievably intense. Afterwards, he asked me, “Did you learn anything from my performance?” I said, “Yeah, I never want to be a singer.” [laughing]

Paul Kandel: Tony Jay knocked that out of the park. He [was] an incredible guy. Very sweet. He was terrified to record “Hellfire.” He was at a couple of my sessions. He went, “Oh my God, what’s going to happen when it’s my turn? I don’t sing. I’m not a singer. I never pretended to be a singer.” I said, “Look, I’m not a singer. I’m an actor who figured out that they could hold a tune.”

Kathy Zielinski: I listened to Tony sing “Hellfire” tons. I knew I had gone too far when, one morning, we were sitting at the breakfast table and my daughter, who was two or three at the time, started singing the song and doing the mannerisms. [laughs]

Don Hahn: We didn’t literally want to show [Frollo’s lust]. It turns into a Fantasia sequence, almost. A lot of the imagery is something you could see coming out of Frollo’s imagination. It’s very impressionistic. It does stretch the boundaries of what had been done before at Disney.

Kirk Wise: We stylized it like “Night on Bald Mountain.” The best of Walt’s films balanced very dark and light elements. Instead of making it explicit, we tried to make it more visual and use symbolic imagery.

Gaëtan Brizzi: We were totally free. We could show symbolically how sick Frollo is between his hate and his carnal desire.

Kathy Zielinski: The storyboards had a tremendous influence. Everybody was incredibly admiring of the work that [Paul and Gaëtan] had done.

Don Hahn: They brought the storyboarded sequence to life in a way that is exactly what the movie looks like. The strength of it is that we didn’t have to show anything as much as we did suggest things to the audience. Give the audience credit for filling in the blanks.

Gary Trousdale: It was absolutely gorgeous. Their draftsmanship and their cinematography. They are the top. They pitched it with a cassette recording of Stephen singing “Hellfire”, and we were all in the story room watching it, going “Oh shit!”

Paul Brizzi: When Frollo is at the fireplace with Esmeralda’s scarf, his face is hypnotized. From the smoke, there’s the silhouette of Esmeralda coming to him. She’s naked in our drawings.

Gary Trousdale: We joked, maybe because they’re French, Esmeralda was in the nude when she was in the fire. Roy Disney put his foot down and said, “That’s not going to happen.” Chris Jenkins, the head of effects, and I went over every drawing to make sure she was appropriately attired. That was the one concession we made to the studio.

Gaëtan Brizzi: It’s the role of storyboard artists to go far, and then you scale it down. Her body was meant to be suggestive. It was more poetic than provocative.

Brenda Chapman: I thought what the Brizzis did with “Hellfire” was just stunning.

Roy Conli: We make films for people from four to 104, and we’re trying to ensure that the thematic material engages adults and engages children. We had a lot of conversations on “Hellfire,” [which] was groundbreaking. You saw the torment, but you didn’t necessarily, if you were a kid, read it as sexual. And if you were an adult, you picked it up pretty well.

Will Finn: “Hellfire” was uncomfortable to watch with a family audience. I’m not a prude, but what are small kids to make of such a scene?

Kathy Zielinski: When I was working on “Hellfire,” I thought, “Wow. They’re never going to do this kind of character again.” And I’m pretty much right.

“Straight for the Heart”

“Hellfire” may be the apex of the maturity of The Hunchback of Notre Dame, but the entire film is the most complex and adult Disney animated feature of the modern era.

Gary Trousdale: We went straight for the heart and then pulled back.

Kirk Wise: I was comfortable with moments of broad comedy contrasted with moments that were dark or scary or violent. All of the Disney movies did that, particularly in Walt’s time.

Don Hahn: A lot of it is gut level, where [the story group would] sit around and talk to ourselves and pitch it to executives. But Walt Disney’s original animated films were really dark. We wanted to create something that had the impact of what animation can do.

Will Finn: Eisner insisted we follow the book to the letter, but he said the villain could not be a priest, and we had to have a happy ending. The book is an epic tragedy – everybody dies!

Kathy Zielinski: It’s a little scary that I felt comfortable with [Frollo]. [laughing] I don’t know what that means. Maybe I need to go to therapy. I’ve always had a desire to do villains. I just love evil.

Don Hahn: Kathy Zielinski is brilliant. She works on The Simpsons now, which is hilarious. She’s very intense, very aware of what [Frollo] had to do.

One specific choice in the relationship between Frollo and Esmeralda caused problems.

Stephen Schwartz: I remember there was great controversy over Frollo sniffing Esmeralda’s hair.

Kirk Wise: The scene that caused the most consternation was in the cathedral where Frollo grabs Esmeralda, whispers in her ear and sniffs her hair. The sniffing made people ask, “Is this too far?” We got a lot of support from Peter Schneider, Tom Schumacher, and Michael Eisner.

Kathy Zielinski: Brenda Chapman came up with that idea and the storyboard. I animated it. It’s interesting, because two females were responsible for that. That scene was problematic, so they had to cut it down. It used to be a lot longer.

Brenda Chapman: I know I’m probably pushing it too far, but let’s give it a go, you know?

Kirk Wise: We agreed it was going to be a matter of execution and our collective gut would tell us whether we were crossing the line. We learned that the difference between a G and PG is the loudness of a sniff. Ultimately, that’s what it came down to.

Brenda Chapman: I never knew that! [laughing]

Don Hahn: Is it rated G? That’s surprising.

Gary Trousdale: I’m sure there was backroom bargaining done that Kirk and I didn’t know about.

Don Hahn: It’s negotiation. The same was true of The Lion King. We had intensity notes on the fight at the end. You either say, we’re going to live with that and it’s PG, or we’re not and it’s G.

Brenda Chapman: I heard stories of little kids going, “Ewww, he’s rubbing his boogers in her hair!” [laughing] If that’s what they want to think, that’s fine. But there are plenty of adults that went, “Whoa!”

Don Hahn: You make the movies for yourselves, [but] we all have families, and you try to make something that’s appropriate for that audience. So we made some changes. Frollo isn’t a member of the clergy to take out any politicizing.

Gaëtan Brizzi: We developed the idea of Frollo’s racism against the gypsies. To feel that he desires Esmeralda and he wants to kill her. It was ambiguity that was interesting to develop. In the storyboards, Paul made [Frollo] handsome with a big jaw, a guy with class. They said he was too handsome. We had to break that formula.

Stephen Schwartz: I [and others] said, “It doesn’t make any sense for him to not be the Archdeacon, because what’s he doing with Quasimodo? What possible relationship could they have?” Which is what led to the backstory that became “The Bells of Notre Dame.”

Don Hahn: The things Frollo represents are alive and well in the world. Bigotry and prejudice are human traits and always have been. One of his traits was lust. How do you portray that in a Disney movie? We tried to portray that in a way that might be over kids’ heads and may not give them nightmares necessarily, but it’s not going to pull its punches. So it was a fine line.

Stephen Schwartz: Hugo’s novel is not critical of the church the way a lot of French literature is. It creates this character of Frollo, who’s a deeply hypocritical person and tormented by his hypocrisy.

Peter Schneider: I am going to be controversial. I think it failed. The fundamental basis is problematic, if you’re going to try and do a Disney movie. In [light of] the #MeToo movement, you couldn’t still do the movie and try what we tried to do. As much as we tried to soften it, you couldn’t get away from the fundamental darkness.

Don Hahn: Yeah, that sounds like Peter. He’s always the contrarian.

Peter Schneider: I’m not sure we should have made the movie, in retrospect. I mean, it did well, Kirk and Gary did a beautiful job. The voices are beautiful. The songs are lovely, but I’m not sure we should have made the movie.

Gaëtan Brizzi: The hardest part was to stick to the commercial side of the movie…to make sure we were still addressing kids.

Kirk Wise: We knew it was going to be a challenge to honor the source material while delivering a movie that would fit comfortably on the shelf with the other Disney musicals. We embraced it.

Roy Conli: I don’t think it was too mature. I do find it at times slightly provocative, but not in a judgmental or negative way. I stand by the film 100 percent in sending a message of hope.

Peter Schneider: It never settled its tone. If you look at the gargoyles and bringing in Jason Alexander to try and give comedy to this rather bleak story of a judge keeping a deformed young man in the tower…there’s so many icky factors for a Disney movie.

Jason Alexander: Some children might be frightened by Quasi’s look or not be able to understand the complexity. But what we see is an honest, innocent and capable underdog confront his obstacles and naysayers and emerge triumphant, seen and accepted. I think young people rally to those stories. They can handle the fearsome and celebrate the good.

Brenda Chapman: There was a scene where Frollo was locking Quasimodo in the tower, and Quasi was quite upset. I had to pull back from how cruel Frollo was in that moment, if I’m remembering correctly. I wanted to make him a very human monster, which can be scarier than a real monster.

Roy Conli: We walked such a tight line and we were on the edge and the fact that Disney allowed us to be on the edge was a huge tribute to them.

“Hear the Voice”

The story was set, the songs were ready. All that was left was getting a cast together to bring the characters’ voices to life.

Jason Alexander: Disney, Alan Menken, Stephen Schwartz, Victor Hugo – you had me at hello.

Paul Kandel: I was in Tommy, on Broadway. I was also a Tony nominee. So I had those prerequisites. Then I got a call from my agent that Jeffrey Katzenberg decided he wanted a star. I was out of a job I already had. I said, “I want to go back in and audition again.” I wanted to let them choose between me and whoever had a name that would help sell the film. So that series of auditions went on and I got the job back.

Kirk Wise: Everybody auditioned, with the exception of Kevin Kline and Demi Moore. We went to them with an offer. But we had a few people come in for Quasimodo, including Meat Loaf.

Will Finn: Katzenberg saw Meat Loaf and Cher playing Quasimodo and Esmeralda – more of a rock opera. He also wanted Leno, Letterman, and Arsenio as the gargoyles at one point.

Kirk Wise: Meat Loaf sat with Alan and rehearsed the song. It was very different than what we ended up with, because Meat Loaf has a very distinct sound. Ultimately, I think his record company and Disney couldn’t play nice together, and the deal fell apart.

Gary Trousdale: We all had the drawings of the characters we were currently casting for in front of us. Instead of watching the actor, we’d be looking down at the piece of paper, trying to hear that voice come out of the drawing. And it was, we learned, a little disconcerting for some of the actors and actresses, who would put on hair and makeup and clothes and they’ve got their body language and expressions. We just want to hear the voice.

Kirk Wise: We cast Cyndi Lauper as one of the gargoyles. We thought she was hilarious and sweet. The little fat obnoxious gargoyle had a different name, and was going to be played by Sam McMurray. We had Cyndi and Sam record, and Roy Disney hated it. The quality of Cyndi’s voice and Sam’s voice were extremely grating to his ear. This is no disrespect to them – Cyndi Lauper is amazing. And Sam McMurray is very funny. But it was not working for the people in the room on that day.

Jason Alexander: The authors cast you for a reason – they think they’ve heard a voice in you that fits their character. I always try to look at the image of the character – his shape, his size, his energy and start to allow sounds, pitches, vocal tics to emerge. Then everyone kicks that around, nudging here, tweaking there and within a few minutes you have the approach to the vocalization. It’s not usually a long process, but it is fun.

Kirk Wise: We decided to reconceive the gargoyles. We always knew we wanted three of them. We wanted a Laurel and Hardy pair. The third gargoyle, the female gargoyle, was up in the air. I think it was Will Finn who said, “Why don’t we make her older?” As the wisdom-keeper. That led us to Mary Wickes, who was absolutely terrific. We thoroughly enjoyed working with Mary, and 98% of the dialogue is her. But she sadly passed away before we were finished.

Will Finn: We brought in a ton of voice-over actresses and none sounded like Mary. One night, I woke up thinking about Jane Withers, who had been a character actress in the golden age of Hollywood. She had a similar twang in her voice, and very luckily, she was alive and well.

Kirk Wise: Our first session with Kevin Kline went OK, but something was missing. It just didn’t feel like there was enough of a twinkle in his voice. Roy Conli said, “Guys, he’s an actor. Give him a prop.” For the next session, the supervising animator for Phoebus brought in a medieval broadsword. Before the session started, we said “Kevin, we’ve got a present for you.” We brought out this sword, and he lit up like a kid at Christmas. He would gesture with it and lean on it. Roy found the key there.

Gary Trousdale: Kevin Kline is naturally funny, so we may have [written] some funnier lines for him. When he’s sparring with Esmeralda in the cathedral and he gets hit by the goat. “I didn’t know you had a kid,” which is the worst line ever. But he pulls it off. He had good comic timing.

Kirk Wise: Tom Hulce had a terrific body of work, including Amadeus. But the performance that stuck with me was in Dominic and Eugene. There was a sensitivity and emotional reality to that performance that made us lean in and think he might make a good Quasimodo.

Gary Trousdale: [His voice] had a nice mix of youthful and adult. He had a maturity, but he had an innocence as well. We’re picturing Quasimodo as a guy who’s basically an innocent. It was a quality of his voice that we could hear.

Don Hahn: He’s one of those actors who could perform and act while he sang. Solo songs, especially for Quasimodo, are monologues set to music. So you’re looking for someone who can portray all the emotion of the scene. It’s about performance and storytelling, and creating a character while you’re singing. That’s why Tom rose to the top.

Stephen Schwartz: I thought Tom did great. I had known Tom a little bit beforehand, as an actor in New York. I’d seen him do Equus and I was sort of surprised. I just knew him as an actor in straight plays. I didn’t know that he sang at all, and then it turned out that he really sang.

Paul Kandel: [Tom] didn’t think of himself as a singer. He’s an actor who can sing. “Out There,” his big number – whether he’s going to admit it to you or not – that was scary for him. But a beautiful job.

Brenda Chapman: Quasimodo was the key to make it family-friendly. Tom Hulce did such a great job making him appealing.

Kirk Wise: Gary came back with the audiotape of Tom’s first session. And his first appearance with the little bird, where he asks if the bird is ready to fly…that whole scene was his rehearsal tape. His instincts were so good. He just nailed it. I think he was surprised that we went with that take. It was the least overworked and the most spontaneous, and felt emotionally real to us.

Kathy Zielinski: Early on, they wanted Anthony Hopkins to do the voice [of Frollo]. [We] did an animation test with a line of his from Silence of the Lambs.

Kirk Wise: We were thinking of Hannibal Lecter in the earliest iterations of Frollo. They made an offer, but Hopkins passed. We came full circle to Tony, because it had been such a good experience working with him on Beauty and the Beast. It was the combination of the quality of his voice, the familiarity of working with him, and knowing how professional and sharp he was.

Though the role of Quasimodo went to Tom Hulce (who did not respond to multiple requests for comment), there was one audition those involved haven’t forgotten.

Kirk Wise: We had a few people come in for Quasimodo, including Mandy Patinkin.

Stephen Schwartz: That was a difficult day. [laughing]

Kirk Wise: Mandy informed Alan and Stephen that he brought his own accompanist, which was unexpected because we had one in the room. He had taken a few liberties with [“Out There”]. He had done a little rearranging. You could see Alan’s and Stephen’s spines stiffen. It was not the feel that Alan and Stephen were going for. Stephen pretty much said so in the room. I think his words were a little sharper and more pointed than mine.

Stephen Schwartz: I’ve never worked with Mandy Patinkin. But I admired Evita and Sunday in the Park with George. He came in to audition for Quasimodo. When I came in, Ben Vereen was sitting in the hallway. Ben is a friend of mine and kind of a giant star. I felt we should be polite in terms of bringing him in relatively close to the time for which he was called.

Mandy took a long time with his audition, and asked to do it over and over again. If you’re Mandy Patinkin, you should have enough time scheduled to feel you were able to show what you wanted to show. However, that amount of time was not scheduled. At a certain point, I became a bit agitated because I knew Ben was sitting there, cooling his heels. I remember asking [to] move along or something. That created a huge contretemps.

Kirk Wise: Gary and I stepped outside to work on a dialogue scene with Mandy. As we were explaining the scene and our take on the character, Mandy threw up his hands and said, “Guys, I’m really sorry. I can’t do this.” He turned on his heel and went into the rehearsal hall and shut the door. We started hearing an intense argument. He basically went in and read Alan and Stephen the riot act. The door opens, smoke issuing from the crater that he left inside. Mandy storms out, and he’s gone. We step back in the room, asking, “What the hell happened?”

Gary Trousdale: I did a drawing of it afterwards. The Patinkin Incident.

Stephen Schwartz: Battleship Patinkin!

“Join the Party”

The darkness in the film made it difficult to market. Even some involved acknowledged the issue. In the run-up to release, Jason Alexander said to Entertainment Weekly, “Disney would have us believe this movie’s like the Ringling Bros., for children of all ages. But I won’t be taking my 4-year old. I wouldn’t expose him to it, not for another year.”

Alan Menken: There was all the outrage about Jason Alexander referring to it as a dark story that’s not for kids. Probably Disney wasn’t happy he said that.

Jason Alexander: Most Disney animated films are entertaining and engaging for any child with an attention span. All of them have elements that are frightening. But people are abused in Hunchback. These are people, not cute animals. Some children could be overwhelmed by some of it at a very young age. My son at the time could not tolerate any sense of dread in movies so it would have been hard for him. However, that is certainly not all children.

Don Hahn: I don’t think Jason was wrong. People have to decide for themselves. It probably wasn’t a movie for four-year olds. You as a parent know your kid better than I do.

If everyone agrees the score is excellent, they also agree on something that was not.

Alan Menken: God knows we couldn’t control how Disney marketing dealt with the movie, which was a parade with Quasimodo on everybody’s shoulders going, “Join the party.” [laughing]

Roy Conli: I always thought “Animation comes of age” would be a great [tagline]. I think the marketing ended up, “Join the party.”

Brenda Chapman: Marketing had it as this big party. And then you get into the story and there’s all this darkness. I think audiences were not expecting that, if they didn’t know the original story.

Kathy Zielinski: It was a hard movie for Disney to merchandise and sell to the public.

Gaëtan Brizzi: People must have been totally surprised by the dramatic sequences. The advertising was not reflecting what the movie was about.

Stephen Schwartz: To this day, they just don’t know how to market “Disney’s Hunchback of Notre Dame.” I understand what their quandary is. They have developed a brand that says, “If you see the word Disney on something, it means you can take your 6-year old.” You probably shouldn’t even take your 8-year old, unless he or she is very mature, to Hunchback.

Alan Menken: We [Disney] had such a run of successful projects. It was inevitable there was going to be a time where people said, “I’ve seen all those, but what else is out there?” I had that experience sitting at a diner with my family, overhearing a family talk about Hunchback and say, “Oh yeah, we saw Beauty and Aladdin, but this one…let’s see something else.”

Stephen Schwartz: I did have a sense that some in the critical community didn’t know how to reconcile animation and an adult approach. They have the same attitude some critics have about musicals. “It’s fine if it’s tap-dancing and about silly subjects. But if it’s something that has intellectual import, you can’t do that.” Obviously we have Hamilton and Sweeney Todd and Wicked. Over the years, that’s changed to some extent, but not for everybody.

Roy Conli: Every film is not a Lion King. [But] if that story has legs and will touch people, then you’ve succeeded.

Kirk Wise: We were a little disappointed in its initial weekend. It didn’t do as well as we hoped. We were also disappointed in the critical reaction. It was well-reviewed, but more mixed. Roger Ebert loved us. The New York Times hated us! I felt whipsawed. It was the same critic [Janet Maslin] who praised Beauty and the Beast to the high heavens. She utterly shat on Hunchback.

Don Hahn: We had really good previews, but we also knew it was out of the box creatively. We were also worried about the French and we were worried about the handicapped community and those were the two communities that supported the movie the most.

Will Finn: I knew we were in trouble when the first trailers played and audiences laughed at Quasimodo singing “Out There” on the roof.

Kirk Wise: All of us were proud of the movie on an artistic level. In terms of animation and backgrounds and music and the use of the camera and the performances. It’s the entire studio operating at its peak level of performance, as far as I’m concerned.

Gary Trousdale: I didn’t think people were going to have such a negative reaction to the gargoyles. They’re a little silly. And they do undercut the gravity. But speaking with friends who were kids at the time, they have nothing but fond memories. There were adults, high school age and older when they saw it, they were turned off. We thought it was going to do really great. We thought, “We’re topping ourselves.” It’s a sophisticated story and the music is amazing.

Kirk Wise: The 2D animated movies used to be released before Christmas [or] Thanksgiving. The Lion King changed that. Now everything was a summer release. I always questioned the wisdom of releasing Hunchback in the summertime, in competition with other blockbusters.

Paul Kandel: It made $300 million and it cost $80 million to make. So they were not hurting as far as profits were concerned. But I thought it was groundbreaking in so many ways that I was surprised at the mixed reviews.

Kirk Wise: By most measures, it was a hit. I think The Lion King spoiled everybody, because [it] was such a phenomenon, a bolt from the blue, not-to-be-repeated kind of event.

Gary Trousdale: We were getting mixed reviews. Some of them were really good. “This is a stunning masterpiece.” And other people were saying, “This is a travesty.” And the box office was coming in, not as well as hoped.

Don Hahn: I was in Argentina doing South American press. I got a call from Peter Schneider, who said, “It’s performing OK, but it’s probably going to hit 100 million.” Which, for any other moviemaker, would be a goldmine. But we’d been used to huge successes. I was disappointed.

Peter Schneider: I think it was a hit, right? It just wasn’t the same. As they say in the theater, you don’t set out to make a failure.

Don Hahn: If you’re the New York Yankees, and you’ve had a winning season where you could not lose, and then people hit standup singles instead of home runs…that’s OK. But it has this aura of disappointment. That’s the feeling that’s awful to have, because it’s selfish. Animation is an art, and the arts are meant to be without a price tag hanging off of them all the time.

Paul Brizzi: We are still grateful to Kirk and Gary and Don. We worked on [Hunchback] for maybe a year or a year and a half. Every sequence, we did with passion.

Gaëtan Brizzi: Our work on Hunchback was a triumph of our career.

Kathy Zielinski: There are certainly a whole crowd of people who wish we had not [done] the comedy, because that wasn’t faithful. That’s the main complaint I heard – we should’ve gone for this total dramatic piece and not worried about the kiddies.

Gaetan Brizzi: The only concern we had was the lack of homogeneity. The drama was really strong, and the [comedy] was sometimes a little bit goofy. It was a paradox. When you go from “Hellfire” to a big joke, the transition was not working well. Otherwise, we were very proud.

James Baxter: We were happy with what we did, but we understood it was going to be a slightly harder sell. The Hunchback of Notre Dame usually doesn’t engender connotations like, “Oh, that’s going to be a Disney classic.” I was very happy that it did as well as it did.

Jason Alexander: I thought it was even more mature and emotional on screen. It was an exciting maturation of what a Disney animated feature could be. I was impressed and touched.

“An Undersung Hero”

25 years later, The Hunchback of Notre Dame endures. The animated film inspired an even darker stage show that played both domestically and overseas, and in recent years, there have been rumors that Josh Gad would star as Quasimodo in a live-action remake.

Alan Menken: I think it’s a project that with every passing year will more and more become recognized as a really important part of my career.

Stephen Schwartz: This will be immodest, but I think it’s a really fine adaptation. I think it’s the best musical adaptation of the Victor Hugo novel, and there have been a lot. I think the music is just unbelievably good. I think, as a lyricist, I was working at pretty much the top of my form. I have so many people telling me it’s their favorite Disney film.

Alan Menken: During the pandemic, there was this hundred-piece choir doing “The Bells of Notre Dame.” People are picking up on it. It’s the combination of the storytelling and how well the score is constructed that gets it to longevity. If something is good enough, it gets found.

Paul Kandel: I think people were more sensitive. There was an expectation that a new Disney animated film would not push boundaries at all, which it did. For critics, it pushed a little too hard and I don’t think they would think that now. It’s a work of art.

Gaëtan Brizzi: Hunchback is poetic, because of its dark romanticism. We have tons of animated movies, but I think they all look alike because of the computer technique. This movie is very important in making people understand that hate has no place in our society, between a culture or people or a country. That’s the message of the movie, and of Victor Hugo himself.

Jason Alexander: I think it’s an undersung hero. It’s one of the most beautiful and moving animated films. But it is not the title that lives on everyone’s tongue. I think more people haven’t seen this one than any of the others. I adore it.

Peter Schneider: What Disney did around this period [is] we stopped making musicals. I think that was probably a mistake on some level, but the animators were bored with it.

Don Hahn: You know people reacted to Beauty and the Beast or The Lion King. They were successful movies in their day. You don’t know the reaction to anything else. So when [I] go to Comic-Con or do press on other movies, people started talking about Hunchback. “My favorite Alan Menken score is Hunchback.” It’s always surprising and delightful.

Kirk Wise: I’ve had so many people come up to me and say, “This is my absolute favorite movie. I adored this movie as a kid. I wore out my VHS.” That makes all the difference in the world.

Paul Kandel: Sitting on my desk right now are four long letters and requests for autographs. I get 20 of those a week. People are still seeing that film and being moved by it.

Alan Menken: Now there’s a discussion about a live-action film with Hunchback. And that’s [sighs] exciting and problematic. We have to, once again, wade into the troubled waters of “What is Disney’s movie version of Hunchback?” Especially now.

Jason Alexander: Live action could work because the vast majority of characters are human. The story of an actual human who is in some ways less abled and who is defined by how he looks, rather than his heart and character, is timely and important, to say the least.

Kirk Wise: I imagine if there were a live-action adaptation, it would skew more towards the stage version. That’s just my guess.

Stephen Schwartz: I think it would lend itself extremely well to a live-action movie, particularly if they use the stage show as the basis. I think the stage show is fantastic.

Kirk Wise: It’s gratifying to be involved in movies like Beauty and the Beast and Hunchback that have created so much affection. But animation is as legitimate a form of storytelling as live-action is. It might be different, but I don’t think it’s better. I feel like [saying], “Just put on the old one. It’s still good!”

Gary Trousdale: There were enough versions before. Somebody wants to make another version? Okay. Most people can tell the difference between the animated version and a live-action reboot. Mostly I’m not a fan of those. But if that’s what Disney wants to do, great.

Don Hahn: It’s very visual. It’s got huge potential because of its setting and the drama, and the music. It’s pretty powerful, so it makes sense to remake that movie. I think we will someday.

Brenda Chapman: It’s a history lesson. Now that Notre Dame is in such dire straits, after having burned so badly, hopefully [this] will increase interest in all that history.

James Baxter: It meant two children. I met my wife on that movie. [laughs] In a wider sense, the legacy is another step of broadening the scope of what Disney feature animation could be.

Kirk Wise: Hunchback is the movie where the final product turned out closest to the original vision. There was such terrific passion by the crew that carried throughout the process.

Roy Conli: It’s one of the most beautiful films we’ve made. 25 years later, I’d say “Join the party.” [laughs]

#long post behind read more #the hunchback of notre dame #hunchback of notre dame #notre dame de paris #victor hugo #interviews #disney #alan menken #stephen schwartz #quasimodo #esmeralda #frollo #phoebus #movies #movie history

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path-of-my-childhood · 4 years

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The Story Behind Every Song on folklore - According to Aaron Dessner

By: Brady Gerber for Vulture Date: July 27th 2020

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song began from the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

“cardigan“

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

The National’s Influence On Swift

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

How Jack Antonoff’s Folklore Songs Differ From Dessner’s

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack... well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon? I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn? I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way - there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Does Taylor Explain Her Lyrics?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

The Meaning Of Folklore

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison.

#Aaron Dessner #interview #vulture #about taylor #taylor swift #folklore album #folklore era #songwriting #producer #the national #bon iver

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fyeah-bangtan7 · 3 years

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j-hope: “I’m not the kind of person to settle for their life as it is”

j-hope himself hasn’t changed since the days before his debut. The way he treats others, the way he feels about BTS, his passion for dancing—they haven’t gone anywhere; only their breadth has changed, along with the breadth of his deeply-held beliefs, his will, and his dreams.

“Butter” has been a huge sensation in the United States. j-hope: I did work hard preparing for it, but whenever I try to embrace an unintended success, in my mind I’m always like … It’s like half happiness, half a feeling that makes me think seriously about what I accomplished. There’s a sense of responsibility that comes along with such an honorable achievement. ARMY’s done so much to keep us at number one, and I’m incredibly thankful for that. At the same time, I also realized that our names are becoming known to more people in the world of American pop music.

It seems like the bigger the success is, the more things you end up thinking about. j-hope: In the past I would just humbly accept it, and it was something I worked hard for so I was happy to accept it—and that was somewhat immature, I guess, but now it’s different. I’ve been working constantly for over eight years, and it hasn’t been easy to achieve so much in that time. So from now on I’m tacking a question mark onto how I should carry on and maintain things the way they are and what attitude and stance I should have right now. It’s homework I haven’t been able to figure out yet, basically.

What effect do such thoughts have on the way you express yourself as an artist? j-hope: I’m also a performer, and I don’t think I take any performance lightly. Ever since we did “Dynamite,” the number of times I go over my performances after they’re done has gone way up. I felt like I’m responsible for making the dances stand out, so I thought I have to try my very best for that aspect. You don’t want to underdeliver on a performance when that many people are sending out their love to you. Each and every one of the members thinks so, and I think we’ve created an atmosphere for our practices where we are able to see how important these things are. After all, even if we don’t show it to one another, we all know how important it is to practice our performances.

It seems like there must be an atmosphere of understanding in the practice studio. j-hope: We used to have to practice for a long time, again and again, to sync up with each other. We’d practice for around 10 hours, review our performances, take a break and then get right back into it, rest some more and do it again. That was then, but now, after all that experience, each member knows where they need to focus, so we coordinate our dispositions and make intense breakthroughs and do what we need to until it’s just right, and then we take a break we really take a break. Now we don’t even really have to think about it. So it’s like, All right, let’s do everything we have to do quickly so we can hurry up and get some rest. This part doesn’t seem right though? Let’s get through this quickly. That’s how we do it. We’re more efficient about work and practice now.

Did that have an effect on you individually as well? As you think more about your performances, the parts you concentrate on might change. j-hope: The dancing is important, but I think I came to realize just how important the visual aspect is. The reason I change my hairstyle or whatnot so often these days is because I want my appearance to blend naturally with the song. Since I’ve always been a dancer I just kept working hard at the things I could do best. But obviously it’s important not to go overboard with the visuals, so I kept an eye on it and adjusted it for each performance. That’s the most important part.

Your dancing in “Butter” is one thing, but it’s also a performance where you need to demonstrate your character. What were you hoping to show off? j-hope: I wanted to show how much I’ve grown in “Butter.” The style is bold and revolved around well-tailored suits and the whole thing felt sexy. I tried to get that across as much as I could. And I learned a lot from watching the members who are good at expressing that. I took all the different ways I thought of that I could try out and melted them all down together, smooth like butter. (laughs)

What’s going through your mind when you’re performing, especially when the spotlight’s on you? Like when you do that attention-grabbing dance break full of slow movements in “Butter,” or the solo disco dancing you did for the “Dynamite” dance break at MMA 2020. j-hope: My mindset doesn’t change. When the spotlight’s on me, that’s an opportunity for me, in a way. It’s a chance for me to shine among our team and its seven amazing members, so I’m always on the lookout to make good use of such opportunities by doing my best. I shouldn’t turn down what I’ve got coming to me, and show off everything I’ve got to show. ARMY and the general public will be the judges, and if they have something to say about it, I have to accept and correct it, I think. I want to say that I developed my own type of growth for myself by repeatedly correcting and practicing and correcting and practicing. I’ve been dancing a long time, but I always feel like I could be doing more, so I put in the effort and I take pleasure in when I make something that turns out really well.

But, if you look at your “Butter” fancam, you continuously react along with the other members dancing even when you’re not the focus of the main camera. j-hope: I’m not consciously doing it. But these days when I watch overseas awards ceremonies or pop artists’ performances that they’ve shot on video, I feel like they don’t really have any heavily edited parts or quick cuts. They capture the artists’ energy while showing the whole scene, so I’m always thinking about how I never know where or how I’m going to be captured on film. So even when the camera is mainly focusing on Jin, in some cases you can still see me in the back, and so I think setting the mood in the background in order not to interfere with his part is an extremely important part of a good performance.

I thought you were very consistent. When SUGA comes forward to rap toward the end of the song, you keep tossing out little shouts to boost up the mood. j-hope: It’s fun, you know? Doing that. (laughs)

That sounds like a good balance insofar as you can continue to express yourself individually while staying devoted to the group. j-hope: I agree. I think that’s something I always had in the back of my head. But as I’m performing within this big group structure, making sure not to interfere with that comes before anything else.

The “Permission to Dance” performance has a different flavor than “Butter” in that sense. While “Butter” gives each member their moment to shine, “Permission to Dance” seems to place importance on the overall mood of the entire group. I feel like it brings out your personal trait of being bright and hopeful. j-hope: When we got the song, it occurred to me that I could just be myself in this one. There’s no need to act; I can just use the real feeling I get when I’m on stage. That’s also the message the song is aiming for, so I think it came across naturally. Like I’m happy, but also on the verge of tears?

Your dance makes use of sign language. Although it is a dance, it also conveys language, so I imagine there were a lot of things to consider. j-hope: Yes, there were. We’re conveying language even though we don’t use a lot of sign language in our dance moves. So although the song is nice and light overall, even when we were practicing we were saying how we have to make sure the moves are perfectly accurate. We thought we should understand the importance behind sign language to properly convey its significance. So we thought we should do our best to do the moves correctly while at the same time trying to fill the song with enjoyment and positive emotions. We spent quite a lot of time integrating the moves into the dance routine, and so I think we were able to show off our attitude about the performance pretty naturally.

I think your vocals and facial expressions at the start of the second verse of “Permission to Dance” help people intuitively grasp what kind of song it is. It makes me think of what you said in the “ARMY Corner Store” video uploaded to YouTube for your 2021 FESTA celebration of the group’s eighth anniversary—that you’re the “vitamins” for the group. j-hope: And I am. I used that expression because I feel like I consistently, and unchangingly (laughs) give the team good energy. I don’t know if I’m actually the vitamins or not. Looking back, I’ve always tried to give them good energy and keep them in a good mood, and I think it’s safe to say now that I’m one of those people who try hard to keep their group’s energy up. I still get a little embarrassed, though. (laughs) I wouldn’t say that I don’t feel any pressure at all about the label. All seven of us have to act as one for BTS to work, and that’s always on my mind, so it forces me to be careful that I’m not standing out from the rest of them. Because the team functions well when everyone has their own role. And because I always keep that in mind whenever I think, I should do whatever I can do, I’m able to contribute to the team and I think I ended up feeling a little more confident about the things that I found difficult to express in the past.

Was there a push behind that change? j-hope: I felt, and realized, exactly what I needed to do with my own personal identity and energy right after I released my first mixtape. From that point on, I thought that I should express my musical views and things like my energy regularly, but not in any intense way. Before, as time went by and the group really blew up, I think I had let go of a lot of the pressure to express myself. Then I started to feel like I wanted to try expressing myself in my own way, even as the team did well.

When you revealed your depressive side directly in the time from when you put out “Dis-ease” during the pandemic period to “Blue Side” from your mixtape, was that a reflection of that influence as well? j-hope: People’s emotions change every day and so do their feelings and the things they can accept throughout their lives, right? So I think the changing emotions I felt and came to accept as the group grew in popularity is also expressed by the way my songs changed. It’s also something I always spend time thinking about, but I’m just another young person living his life on this planet. I’m not really different from anybody else, which means I can’t always be as bright as I was on Hope World. So that’s why I tried a different approach to the things I could express.

What did you find out after trying that? j-hope: I ended up thinking about the shadows inside me. I didn’t realize it when we were promoting, but with the whole world suddenly at a standstill, we have all this time where we can’t do anything and I can see all the shadows underneath—sitting spaced out in the studio, thinking about what kind of life I’ve lived, seeing BTS’s performances on TV, I think, That’s who I was. The amount of willpower I found during this time has been tremendous. I figured I’d better use all those feelings entirely and all at once, that those are emotions and songs that could probably only ever be written at this time anyway, so I put all those emotions down like a diary, and “Dis-ease” was born. With “Dis-ease” as a starting point, I thought I could include stuff like my inner darkness, and that’s why I was able to release “Blue Side.

”What did you see when you looked inward? j-hope: I ended up seeing a side to the real Jeong Hoseok’s life that I couldn’t perceive before. I kept thinking about what life would be best for j-hope while we were working, so I wondered what Jeong Hoseok’s life would look like as a whole. While that was happening I realized I’m not just some always-cheery person—I experience hardship, too. So I thought I could grow closer with listeners by sharing little parts of me that I had been hiding away, and that it would be interesting to show people a side of me that’s different from their idea of who j-hope is. Most importantly, I don’t feel any resistance about who I am right now. As a person who makes music and releases songs about his personal life, I think this is all part of the process.

There’s a line in “Blue Side” where you sing, “Now I just want to burn blue to death.” It seems here, too, something of your shadow was revealed. j-hope: If you’re burning to death, it’d be very hot. But the parts I called blue are a place I consciously escape to to avoid things. It’s a place I escape to that I could safely live in and be swallowed up by, but I don’t want to do that. So I think I tried to show that I want to stir up my passion for the things I wanted to do even if I’m burning blue to death. To be honest with you, I don’t know how I came up with those lyrics exactly. I wrote that part a really long time ago when we were on tour overseas. I’m not a big drinker, but those were the first lyrics I ever released that I wrote while drinking. (laughs) When I write lyrics when I’m drinking I often regret them when I see them in the morning, but when I take a look at them again after some time, I can tell they’re lyrics that I could only ever write with the feelings I get at that time. When I release that kind of song, I get some kind of feeling. And when I give myself feedback about my own music, a version of myself who’s different from the way I was before I made the music emerges.

Is there anything else you’ve learned about yourself lately? j-hope: Um … I’m—what should I say—not the kind of person to settle for their life as it is. I could just keep living like I am and do whatever I want with my life, but I don’t know, honestly. I’ve already had so many amazing things happen but I want to take things one step further, as an individual and as a member of BTS. A thought came to me one day: Have I been challenging myself at all lately? Outside of making songs or dancing? But the answer was no. So I decided I would challenge myself and give some things a try, one of which was studying English. It’s still hard and I have a long way to go, but I’m trying my best given our current schedule.

What are you getting out of studying English, do you think? j-hope: If I can speak in English then I can give and take directions with English-speaking artists myself when I’m working on music. My thinking is that this is one channel of communication I can open that will open up more possibilities in my life. But it could end up being hard to keep studying with our current schedule (laughs) so even though I say I’ll do it, I might not be able to. Your mind could change at any minute and you could come to different decisions any time, depending on how you want to live your life. Right now I’m trying to do music for music’s sake, challenge myself with performances for performance’s sake, and try hard personally for BTS. And I’m working hard to figure out what I need to do for my next steps.

What do you imagine your next step will be? j-hope: I think my next step personally is to grow our music globally. I’ve been doing some self-reflection lately and there’s plenty that I want to do. I have a lot of dreams, too. Making it this far with the group, seeing the other pop artists we’ve been vying with on the Billboard chart, really left an impression on me, and now I’m more serious about wanting to express something. So for example, I’m dreaming of growing our music globally since the environment to have good synergy with foreign artists has already been built.

You, and BTS too, have worked your way up step by step and now you’re able to dream up new steps. In the 2021 FESTA “ARMY Corner Store” video, you said the present is possible only because BTS followed the path that it did since its debut song, so you didn’t want to alter any of your past. (laughs) Still, is there anything you’d want to say to your past self if you could say just one thing? j-hope: As a joke, I’d say, Hey, listen to this melody: “smooth like butter”—write that. If you do that, you’ll be number one on Billboard. I could do it that way, right? (laughs) But for me, even the parts of my life that weren’t good became opportunities for growth. So rather than telling my past self to fix something, I’d just tell him to believe in himself and move on with his life however he feels like, and keep working hard, keeping things the way they are. Other than that, I’d have nothing to say to him.

So how do you feel about ARMY now that they’ve climbed all those steps with BTS? j-hope: ARMY is absolutely … I feel like they’ve become an icon themselves. I’m so proud of them. They’re amazing. ARMY is like an artist in itself now, too. Sort of like they’re one big symbol of the era? ARMY is as famous as BTS now. I think we give each other good energy, and helped each other to make something good. It might sound obvious coming from a member of BTS, but if I were ARMY, I’d never be ashamed to call myself a fan of BTS. Anyway, I’m seriously … I want them to always know I’m really, really grateful for them.

#bangtan #jhope #m:weverse magazine #210727

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elliotapricot · 3 years

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Reviewing My Anime 10/10's *Relatively* Spoiler-Free

Note: What I rank a 10/10 is very specific and obviously very subjective to my own. Something can only be a 10/10 if I already consider it a 9/10 AND I must have rewatched it. I am someone who typically does not rewatch/reread anything, unless it's something I truly absolutely enjoy. With that being said, because of the requirements, I only have 4 animes that I rank 10/10, and tbh only one of those animes would get that ranking from the general anime audience. The rest are SO SO SO specific to my particular tastes that I would be absolutely stunned if someone also had the same four as me, because the requirement is so specific. Imma make another post eventually for my 9/10's because I think that list makes a lot more sense for a general anime audience lmaooo.

Soooo, in order of least personal to most personal (although obviously they're all personal to me lol) we have:

1. Psycho-Pass

Recommended for people who: are really into that dark dystopian future society vibes, are fans of Ghost in the Shell, like detective/crime stories

Okay, for a few people, this one actually probably makes some sense. At the moment, it has an 8.37 on myanimelist which means this anime is super well liked. I've watched this anime twice, first the original and then the second time I watched the director's cut (yes that exists lol). Overall, I'm a huge fan of the entire Psycho-Pass anime series as a whole. I've watched all three seasons, as well as two of the movies. I didn't watch any of the Sinners of the System ones cuz tbh I literally couldn't find an english sub of that anywhere, it just doesn't exist lol. I think it's okay cuz the ratings for the Sinners of the System trio of movies seems meh. I've actually watched Psycho-Pass the Movie like three/four times LMAO but that's simply cuz a movie is obviously much quicker to watch than an entire anime season. Like just objectively, the Psycho Pass series as a whole is very inconsistent in quality due to the fact that it's all original, so they do technically just make up everything as they go lol. Season two is all right (I think it gets more hate than it should), three is good but season one by far is the absolute best in the entire series. I'd argue the movie is technically my absolute favorite out of the whole IP, but I actually give the movie an 8/10. The movie, because of being obviously way shorter, simply does not have the deep controversial and philosophical lines of thought that season one has. It lacks that extra depth that would make me put it anything higher than an 8. The two main characters have good chemistry as a crime-fighting duo and the main villain's rivalry/relationship with the male lead is super compelling. The female lead is meant to be relatively naive/more on the innocent side which works with the plot as it allows the show to naturally explain and give more exposition as to the actual world and rules of Psycho-Pass without having it seem so ham-fisted or just throwing info to the audience.

2. Violet Evergarden

Recommended for people who: cry to sad movies, like gorgeous animation, are very empathetic, like vignette-esque storytelling

All right if you even remotely consider yourself an avid anime fan, then this anime is probably also somewhere on your 10/10 list or at least an anime you consider to be "very good." That is, unless you are that very vocal minority who simply really just REALLY do not like this anime for some god forsaken reason. However, in my honest opinion, I think an anime like this just really doesn't sit well with ... how do I put this blunty ... people who do not give a fuck about other people or anyone else's feelings but their own. Basically, IF YOU ARE SELFISH, A NARCISSIST, EGOTISTICAL, OR ANY SORT OF COMBO OF THOSE THREE, YOU WILL NOT LIKE THIS ANIME. And if you do, you probably don't think you're any of those things. Because of the anime's very premise, I find it very difficult to see a very self-centered/heartless person particularly enjoying this anime. The whole premise of this anime is that the main character who, because of her upbringing, doesn't understand feelings/emotions, especially the concept of love, grows as a human and slowly begins to learn what love is. The show does this by showing multiple sets of characters meant to represent different types of love (romantic, familial, platonic, etc). The vocal minority of people I've seen give Violet Evergarden bad ratings all typically argue that although beautiful, the anime doesn't have any substance/doesn't really mean anything. If that's honestly all you got after watching the entire show, then you deadass just don't get it, and you probably will never ever get it. If you've seen or heard of Vivy: Fluorite Eye's Song, than just know that these two animes are VERY very similar in vibe despite being technically different genres. However, I personally found the themes and concepts in Vivy are done much more masterfully in Violet Evergarden which I think is due to Vivy's heavier focus on a story-driven overarching plot/action as opposed to Violet Evergarden's focus more on emotional impact/an episodic format. I've watched the entire series and I've rewatched the main show twice. TBH you can probably skip the gaiden movie AKA the one set at the girl's academy it was highkey pointless. Compared to the opera episode they added as a "special", the gaiden movie was still good but I wish resources were dedicated to something that actually added to the story. ALSO YES I KNOW ITS A GAIDEN AKA A SIDE STORY AKA FILLER SO YES NO DUH IT DIDNT ADD ANYTHING, BUT STILL. As for the main show, I think I cried for three episodes (the one about the playwright/author I forgot lol, the mother and daughter, and the soldier). On my rewatch, I didn't cry but I still deeply cared for and related to the characters. Violet Evergarden is a beautiful anime with a beautiful story.

3. ACCA: 13-ku Kansatsu Ka

Recommended for people who: like bread and bakeries, don't mind a very chill and slow-paced story, like stories about political intrigue and hidden agendas

Based on a relatively short manga, ACCA: 13 follows the main character Jean Otus as he performs his job of auditing the 13 districts of his country Dowa, while rumors and politics brew in the background that threaten to entangle Jean into a complicated plot. To be honest, I think properly reviewing this anime is impossible for me, because I just can't really explain the vibes of this anime besides "chill" and "intriguing." I think trying to explain anything more than the basic premise I just wrote would spoil a lot of what ACCA is, because it's plot is actually relatively quite simple and straightforward. Compared to Psycho-Pass which has a relatively good cult following, and Violet Evergarden which is universally praised, ACCA is an anime that I've yet to personally meet anyone who has ever even heard of it LMAOO. And almost everyone I know watches anime, so that's saying something oof. ACCA is made by Madhouse, which if you don't know, is a super well known anime studio, producing big hits such as Death Note, Hunter x Hunter, One Punch Man, etc. That's why I'm surprised that ACCA has flown just SO under the radar, but that may be due to the overalls nature of the anime itself. ACCA is an anime where all the characters hold their card close and no one seems to really share their real thoughts. One main criticism the anime has is the lack of deeper connections to characters and that for a main character, Jean Otus is very bland. To be honest, I think that's a very fair criticism and I can understand why this would prevent people from rating this anime higher than an 8 or 7. Due to the very nature of the anime and its plot, I do agree that there is a huge cast of colorful characters that we unfortunately don't really get to know more about. To be honest though, I don't mind this because I feel that's honestly quite realistic, especially factoring in Jean's job. All these places he's going and all these people he's meeting, it's literally just his job. He's not on vacation, these people aren't his friends, so the anime has no real reason to dwell much longer on places past its specific episode. Just like in real life, you encounter so many people and go past so many places that you probably won't ever see again. So for me personally, I didn't mind that the anime didn't explicitly show much about the backstories or lives of the cast, save for the very main characters (as their backstories were plot relevant). I think as viewers of not simply an anime, but a whole other world, I think it should be satisfactory to inherently understand that these are whole "people" who have entire lives that we are not exactly privy to. So although admittedly our understanding of many of the characters was all around quite shallow, I think that works for the scope of the anime, which was relatively simple and focused on just Jean living his life and the political plot stirring in the background until it was brought forward in the second half of the anime. Also I love Jean Otus. I actually completely absolutely adore him. He is literally my profile pic for myanimelist LMAO. I think calling him "bland" is fair from other people's perspectives, especially as the supposed main character of an ANIME, but I feel that if ACCA was in a different format like a novel, I think his personality would have been less criticized. Like I said, I love him soo much. I don't find him bland at all, but actually very interesting and highkey attractive LOL (if only he'd quit smoking but it's part of his charm 😞). Yes for an anime "protagonist," he is quite underwhelming especially compared to others, but I think that makes him very charming!!! Like all he wants to do is just chill, vibe, and do his job lmaooo. I think as a person, he’s very charismatic, and in the world of ACCA the rest of the characters see that as well. Because like, if he really were such a bland person, why would so many people like him and actually trust him lol? As for why it’s technically my favorite anime of all time (my ultimate one is a movie), I can’t give super detailed reasons why to be honest. I just really like the overall vibes of the anime itself, and I think the anime is just super unique and original. I’ve watched a ton of anime over the years, but I’ve genuinely seen nothing like ACCA in the slightest. I mean, just look at the recommended animes on the myanimelist. The recommended animes are all stuff I’ve also personally really liked (like fugou keiji unlimited and the great pretender) but yeah there’s just truly nothing that’s close to what ACCA is, and because of that, it reminds my absolute favorite anime show. I’ve seen the dub and the sub, even though I am a vehement dub hater lmaooo (except for very few circumstances, and this also applies to all non-English media, not just anime). There was only one thing in the entire show that slightly confused me/ seemed slightly unbelievable and I won’t spoil but it had something to do with the overall timeline of some events, but it doesn’t detract from the story at all. Oh and the art style! I really love the art style of the anime. It stays pretty true to the manga, but is also just an overall kind of art style I really like. I really enjoy the more like 2d/flat/drawn art style versus really clean and really detailed stuff, and I’m typically not a big fan of very obvious use of CGI (unless done tastefully like in Demon Slayer). All the backgrounds in ACCA have this painted/drawn style and the anime itself has this like muted(?) filter over it that makes the anime seem like someone’s drawings just put up on display in a way that’s really refreshing and nice. I highly recommend this story for anyone who wants a breath of fresh air and to get away from the typical action-packed high energy of big name anime.

4. From Up on Poppy Hill

Imma make a whole separate post JUST for this movie so I can explain why I love this movie so so much. And honestly, Imma need a whole separate post in the first place to address the elephant in the room when it comes to this movie (if you’ve seen it, then you know what I’m talking about). And if you’ve haven’t seen the movie, maybe you’ve heard about one of its controversial themes. I’m not gonna say what it is, cuz I KNOW it’ll be super off-putting for a lot of people, but please omg just hear me out. I just love this movie so so much. I’ve seen it like 7 times and counting. I have it downloaded on my computer and on a flash drive. I’ve watched the sub AND the dub however I’ve stopped watching the dub because it makes me sad every time I hear Shun’s voice actor ;-; This movie is legit an honest-to-god comfort movie for me that I could watch over and over and I’ll fall in love with it again each and every time. And once again IMMA MAKE A WHOLE SEPARATE POST BECAUSE I SWEAR PEOPLE ARE GONNA BE LIKE “Yo ain’t this the movie with the -----” and it’s like PLEASE LET ME EXPLAIN. The vibes of this movie, the themes it addresses (yes even THAT theme), the music, the art, the characters, is perfectly presented in a way that I will never stop watching this movie. The only other film that has come close to the amount of times I’ve watched From Up on Poppy Hill would be Legally Blonde lmaooooo.

#anime #anime movie #from up on poppy hill #psycho pass #acca: 13-ku kansatsu ka #violet evergarden #anime review #myanimelist

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krysphycookiez · 3 years

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bts | you as the female maknae

synopsis: you’ve become the female maknae of the famous worldwide sensation bts! let’s see how well you get along with these crackhead boys

genre: fluff, platonic, imagines

pairing: bts x maknae!reader

a/n: nothing much to be said except i pulled this out of my ass to make content for all y’all

❣︎

the moment seokjin saw you he already claimed you as his child, no questions asked

even though you’re only like- a year younger than jungkook, he babies you WAY more than him, and you don’t mind really

he would take you to do some of his favorite things with him like cook or even clean the dorms

also if anyone hurts you in any way, shape or form they are getting their shit rocked by seokjin’s- rather colorful vocabulary

also nags you a lot, especially during your early debut days when you were still in school

he just doesn’t want you to be lost in life that’s all, and he shows that really well

he raised you very well since your debut with him and the boys and he just wants you to be happy

definitely favors you a lot more than the others and the bias is super obvious. he once bought you a shit ton of snacks for your birthday and the rest of the members were shocked af

this of course means you bicker a lot with him like jungkook, the two of you even sometimes team up to go against your hyung

but he also knows when you’re feeling down because his parent instincts kick in, he knows when you’re feeling down the dumps so he does something to cheer you up

whether it’s make you crack up with a stupid dad joke or buy your favorite drink, he’d do anything for his baby

definitely screams a lot when he’s with you too

like- y’all can’t hide how much of a pissbaby the two of you are, that’s easily demonstrated in that one run bts episode with the zombies

overall he’s like an older brother to you and despite the bickering, he still luvs you so much

yoongi is soft for you and you only

definitely let’s you sleep with him in his bed when you have a nightmare, because he’s an expert at bedtime cuddles

also let’s you mess around in his production studio, and maybe even lets you help him compose a few tracks

if you aren’t a rapper he probably teaches you some basics about rapping and later on becomes a proud dad when you show off in front of the other members

he also probably makes tae jealous too lmao, give the boy some love

if you’re upset or angry at the other members he’s one of two members that can calm you down, just because he’s really calm and knows how to handle your emotions

also definitely spoils you with snacks and drinks too

and he’s also the reason why you develop led your evil maknae side

back then you were so shy and pure but then he came into your life with his savage ways and sarcastic remarks. he rubbed off of you too much

also if anyone dares to hurt you he’s throwing hands. this bitch is really scary, he will give haters a death glare if they even LOOK at you

you definitely cling onto him like a baby sloth at times when you’re in the clingy mood, and he just kinda lets you hang onto him until you go to another member

and he also teases you at times to when he’s feeling pretty bold

such as your height or your age and this sometimes leads to insult battles, it’s a 50/50 win for the most part

for the most part, yoongi is like your cool uncle and he will cut a bitch if someone even lays a finger on you in a threatening way

when you and hoseok are put together in the same room, nothing but sunshine and happiness radiates form the two of you

both of you are the residential mood makers of bts, and it really shows

back then when you were really shy, hoseok was the first to approach you and ever since then you’ve become a happy ball of fluff

he definitely hugs you a lot and does a lot of aegyo with you, or even hug you to show that you’re not alone

if you buy him sprite he’ll go nuts

this man loves his energetic drink and he will forever love someone who gets him that monstrous drink

you probably tried to give him monster energy at one point but he complained about the battery acid taste

LOVES spoiling you with gifts, try not to let him spoil you too much or the other members might get jealous

when you’re feeling under the weather he will be there in a flash to make sure you’re well enough and give you some chocolate to make you a bit happier

will shower you with love and affection at all times- especially on vlive cause he wants to make sure you’re loved

and you are trust me

you remind him of a happy little puppy and he just thinks it’s the most adorable thing ever cause he likes animals

and also he definitely will throw hands at haters- this man is scary when he’s mad

he’s like an equivalent to an older brother to you and it’s so endearing

take namjoon’s being done with the members bullshit 24/7 tendencies and mutiply that by 100 when he’s with you

you always do the most random shit around him its hilarious. whether it’s playing with his hair or just clinging onto him a lot

of course he still loves you he just always looks tired when you start being you

also definitely has helped you with your homework in the past cause he’s too smart for his own good

you once asked him to help you help with a cell mode project cause it was supposed to be big but yours just looked like an oversized bean

he thought it was adorable and funny so he helped you

also you go on beach walks with him when in a country with beaches, prolly looking for crabs too lol

you have definitely crashed one of his studio vlives and did something random, like how tae did

when you’re feeling sick he along with seokjin will nurture you back to health. he gets the medicine and stuff while seokjin makes you a nice warm meal

you have definitely made jokes where you are their child and they are the parents at it always results in a hell from the older male

you have probably given him a few ideas on some of the popular tracks like pied piper and black swan

you have a creative mind so when namjoon is feeling blank he turns to you for help, hell you even helped a lot with the hyyh era

and he’s also at ease when he’s around you because you smell like roses- sounds a little weird but it’s the smell of a lovely flower

namjoon would like to care for you like your a kid or his own little sister and be your guardian angel

first thoughts when you both saw each other; omg so cute

you and jimin are such sofies for each other it’s so adorable, always clinging onto each other and just being two puppies

of course that can always switch and the two of you can become such a petty and savage duo

the members definitely tease you two the most due to your smaller heights, which the worked the two of you to prank them a lot

never yoongi though, he’s scary asf

you two also have a lot of movie marathons, especially the avengers movies cause they are some of the best

if you’re a main dancer you two probably do a lot of dancing together in your free time, maybe even some crack dances as well

a little bit of playful flirting here and there, he’s so shameless when he’s around you it’s unreal

has also picked you up at one point and threw you over his shoulder just cause he wanted to prove to jk he’s not a weak midget

CUDDLES 24/7! both of you initiate a lot of platonic skinship it’s just become a habit at this point. also you two have definitely slept in the same bed before while cuddling

jimin is very emotionally intelligent, so he automatically knows when you’re in a bad mood or when you just feel sad. he’s the member trusted the most too to take care of you during- uh- your time of the month

he just wants you to be happy so he’ll gladly help you with any of your needs, even if it’s kinda unpleasant

seeing that both of you both had a lot of struggles, you two were very close and i guess that’s what made you guys click

jimin would be the shoulder you can cry on and your lovable squishy best friend

taehyung would be one of your bestest friends, even during trainee days

expect he was shy to you at first cause you were very young and he didn’t want to give the wrong impression on you

but overtime he grew to be his childish and weird self that we all love, and the two of you always lighten up the mood along with hoseok

definitely takes you on shopping dates when he gets the chance and probably makes you try on 1000 gucci clothes

sometimes you end up buying them but it’s a relatively small amount

also you like going to the food courts with him because you guys just have very light-hearted conversations while enjoying yourselves some delicious food

if he knows something is up with you but the others don’t notice, he would go and tell them to take care of it cause he doesn’t think he can’t comfort you well enough

but in reality he’s really good at talking with you, that 10% of genius shines in him and he manages to figure out what made you upset and help you

yeontan probably likes you a bit more than the other members cause of taehyung, and that’s a feat he’s proud of

both you and him also play a lot of games together with jungkook, and a lot of screaming to

the others think you’re getting murdered at times it’s funny

tae would also initiate skinship with you, though not as much as jimin, he prefers to just hug you and hold your hand

also if you’re a rapper he definitely asks you to teach him how to rap and sometimes it can be so chaotic

taehyung would be a really good friend to you and like a warm older brother

you and jungkook are the maknaes on top, even though there’s a one year difference

despite your close relationship, you two didn’t get along at first due to different views on certain things

but overtime your relationship mended and now the two of you are the closest friends can get

due to your young ages you use this to your advantage to get anything you want from the members

also, take your pranking with jimin and multiply that by a million cause hoo boy you two cause A LOT of chaos

skinship and platonic kisses for days off camera. he really loves you a lot and just prefers to show it off camera cause he’s a shy baby

you steal his hoodies and shirts a lot cause they are comfy and he either complains or just lets you take them

both of you have friendly competitions whenever you are competing for the members love and affection

which can lead to rather intense insult battles and the others watch in amusement

both of you are so close you two can just tell how you’re feeling with just one look in the eyes, and even communicate through facial expressions

yeah you guys are that close, and the other members haven’t fully accomplished a feat like that yet so they are amazed

jungkook also is pretty possessive of your guy’s friendships and often scares off others, even his fellow 97 liners

but in reality he’s just a soft bunny baby that doesn’t want you to leave him

you two probably had some dating rumors surrounding you, but at the end of the day nothing will change your guy’s amazing friendship

❣︎

wooooo we got another female maknae au! with bts, sorry i don’t have anything else, i have a one shot idea planned with yeonjun, taehyun and hyuka so please stick around for that!

this is @/krysphycookiez logging off... ♡︎

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marymccartneyphotos · 3 years

Text

Paul Weller in conversation with Mary McCartney: ‘We used to pinch a lot of Beatles songs’

For this Woking-born son of the 1970s, there were four father figures who underpinned everything, from his first guitar to an inspirational career that continues to expand and explore more than 50 years later. On the release of his latest solo record, his third in three years, we asked Paul Weller to pick through the past with an artist who knows better than any how The Beatles shaped the generation that followed. By Dylan Jones; 4 June 2021 from British GQ Magazine

(edited for Mary McCartney content only)

For Weller’s latest GQ appearance, we thought it would be good to put him together with an old friend, the photographer Mary McCartney. Which is what we did...

Mary McCartney: So, Paul, when did you become a Beatles fan? When you were 12?

Paul Weller: When I was five years old. I had some of the singles, because my mother bought them, but the first time I saw them was the Royal Variety Performance in 1963, when I was five. From the time I saw The Beatles I loved music and then when I was around age 12 I started trying to learn to play guitar. Me and my mate had a few lessons for a bit and got a few weeks in, but the guy was trying to teach us how to read music, so we got bored with that. And as soon as we learnt enough chords we stopped the lessons and we just start doing it ourselves.

MM: When did you actually start writing songs?

PW: As soon as we – me and my mate Steve Brookes – learnt the three or four chords. I’m still mates with him now. We started a band and we just learned together and we just kept swapping whatever we’d learned in the week, swapping back and forth. It was just me and him and then we just gathered up people as we could find them. There was never any doubt in my mind that’s what I would do and, even at around 12, I thought that was definitely what I was going to do for a living. Well, I didn’t know it could be a career, I just knew I was going to do music. So by the age of 14 we were playing pubs, working men’s clubs and social clubs with The Jam. But your dad’s band was the catalyst for all of it.

MM: You know, I’m directing a documentary about the history of Abbey Road Studios at the moment, so I’ve been taken back to those times. There is a photograph of me aged three months on one of the sofas in the studio, so I was there before I can remember being there. Whenever I walk in through the doors I still get a funny feeling. But I’m learning a lot about The Beatles’ recording process, though. What was your writing process in the early days?

PW: When we started to write songs we just used to pinch a lot of The Beatles songs. They were very basic, just us taking our first steps as songwriters. I was actually very passionate at the time, but I didn’t have the skills to articulate that passion. That kind of developed. Our first songs would have been nonsense songs, just “My Baby Love Me” stuff... But, like every other fledgling songwriter, I just started off by aping other people, like The Beatles did, like Dylan did. Everyone starts out copying other people.

MM: I assume you recorded your new album during lockdown?

PW: I did. I had about four or five tracks left over from [last year’s] On Sunset and they were just lying around, unused. So I started working away, chipping away, trying to put together a new batch of songs. As ever, I recorded them all in the studio down in Surrey, just me and a guitar singing along to a click track. If I couldn’t record with the band, I’d send the recordings to them and they’d play their parts and then send them back. It was a very odd process, but it worked. However, when we could finally all record again together, it was like the first day of school after the summer holidays. It was great. The writing process was actually the same as it always is, but because I knew I didn’t have any live work for the foreseeable future, we just created all this space. I think the lockdown was actually hugely influential in a way, as all the quiet made me appreciate nature in a way I hadn’t done for quite some time, maybe ever. I could really feel and hear and see nature again, it started to take over. I loved hearing the birds sing and not seeing any aeroplanes in the sky. It helped me think about things I would never normally think about in any situation. I felt more in tune with nature. I had a thought that if we weren’t here, if we all disappeared, which I’m sure we will do one day, the earth would just reclaim itself and that it will always be here and we won’t.

MM: It was such a nice feeling, actually stopping and looking and appreciating, not rushing around. I was lying in bed one night in the middle of London. It was 2am and it was so quiet it felt like we had gone back 100, 200 years. I couldn’t hear the rumble of the underground and it was almost as though cars hadn’t been invented.

PW: How was your lockdown, Mary?

MM: Mine was good, but we’re not here to talk about me. I’m grilling you today. But mine was good. Well, I say it was good, but it was unnerving. I think, on a global scale, it was just unnerving because it was like living in a science fiction movie. I think the main thing a lot of us benefitted from was having to slow down and not being able to just go and do things. So, in that sense, it wasn’t a bad thing. I was obviously worried about people’s health and the economy, but, like you, I really got in touch with nature. I did a lot more photographic work outside. And, of course, I started to prep for the Abbey Road doc. What’s the perfect recording scenario for you?

PW: Well, I love my studio and, to be honest, I’d be quite happy to never come out of the place. I could quite happily stay there forever. I bought the building in 1999, but it’s only really been the past 15 years or so that we’ve really got it together, with the sound and the vibe and the equipment. I’m continually making little acoustic adjustments to the room. We’ve got a drum kit set up all the time, as well as a mic’d piano, so it’s always ready to roll. I can play guitar, obviously, as well as bass and piano, but I’ve never really enjoyed playing the drums, because I can’t sing and drum with any conviction. It’s a different art altogether, playing drums. I like drummers who play the song, who can play the tune and who aren’t trying to do their own thing. That requires a certain amount of discipline, a different discipline: not playing too much but playing the right thing. Your dad is a good drummer.

MM: Yeah, he is. Mum introduced me to a song he played drums on years ago, called “My Dark Hour”, by the Steve Miller Band. He’s credited as “Paul Ramon” and he does backing vocals, guitar, bass and drums. It was recorded in Olympic Studios in London towards the end of 1969, after an argument Dad had had with the others over Allen Klein becoming their manager. The others had gone off and he said Steve Miller walked in and asked if he wanted to play the drums on this track he was recording. I think the drumming on it is so good, but you can tell he’s letting out a lot of tension.

PW: I love that first solo album of your dad’s, the one with you as a baby on the back. That’s probably one of my favourite records. It was lo-fi before lo-fi was even talked about.

MM: I love the rawness of it, as it’s just so personal. I still listen to McCartney and Ram a lot. They shot the album cover up in Scotland. They were horse riding and he zipped me up in his jacket. He put me in the jacket so I was safe, as he was going riding. I love that picture from a photographic point of view as well, as it’s very real. It’s taken at the end of the day, during the golden hour. It’s so natural.

PW: Now, what was it like growing up, then, as a daughter of a Beatle?

MM: Well, it was more like growing up as a daughter of Paul and Linda, because they were such a great couple. But,

also, they were such adventurous people. So, we were kind of following them around and going on lots of adventures. We went on tour with them and we really only stopped when we needed to go to school. So I have lots of memories of travelling as a girl. I even remember going on the double-decker that they used as a tour bus in 1972. The seats on the upper deck were replaced by mattresses and bean bags.

PW: I assume it was your mother’s inspiration that made you want to be a photographer...

MM: I think so, as I think I just always saw her taking pictures. She had such a casual style too. She didn’t do a lot of setting up and neither do I. It’s just so much nicer when you connect with your sitter and when you just casually take pictures. I much prefer that and I certainly know that you don’t like to have your picture taken in a very set-up kind of situation. What really got me into becoming a photographer was looking at Mum’s pictures from the 1960s. They were about her being with someone and taking pictures and very much not “This is Jimi Hendrix”. Again, casual. When I became a photographer, I took Mum’s talent for granted. She would take pictures out the car window and then they became these books or a print on the wall. When I started doing it myself I’d put the camera up and I’d be like, “Dad, can you turn the car around so I can take this picture?” And he’d be like, “No.” She would take pictures so effortlessly and I didn’t realise there was a knack to it. Mum and Dad would treat everyone equally; I do remember that. We were always surrounded by people, so I suppose that’s why I think I am a bit of a people person. I like meeting people and I like connecting with people, but I still find I’m quite shy about it. I find it stressful, but I like it. But I could never in a million years get up on a stage, ever. Even thinking about it makes me feel like fainting. When did you first walk out in front of a big crowd? How does that feel? Is it just feeling that adulation and love and appreciation and then giving that back? Does that feel really healthy? I always think when it works perfectly, it just must be such a healthy feeling.

PW: It’s almost a weird thing, because just prior to going on stage, especially in the hour before, I’m in bits. I’m so nervous and so don’t want to be there and want to go home, and then within minutes of actually being on stage, as soon as that first tune strikes up, I automatically feel as though this is completely where I’m supposed to be. It feels like the most natural, most comfortable, Zen-like place you could possibly be, it’s so weird. I’ve always felt nervous before going on stage. That’s never changed. I mean, it’s got a little bit better as I’ve got older, but not much. I think I need to have that feeling. It was weird, because there was a time when I tried to stop drinking – before I stopped completely – and when I stopped I suddenly wasn’t nervous before going on stage. And I didn’t like it. It felt really odd.

MM: Isn’t there something superstitious about this?

PW: No, I don’t think so. I just think it gives you an edge. Those nerves can make you edgy and I think that’s important for me.

MM: And then did the nerves come back?

PW: When I started drinking again they did.

MM: But now you’re not?

PW: When I finally stopped drinking it took me at least two years to get used to that feeling of going on stage totally sober and straight. And now I love it. But it took a good two years to get comfortable, as it was really odd at first. I’d be on stage and I’d notice so much, like there’s a guy in the front row who’s wearing a green shirt or something, and now I don’t feel that at all. Now it feels natural and I have a greater appreciation of it. That’s the other thing as well, getting more from it and being more conscious of what we’re doing.

MM: Growing up, watching Mum and Dad on stage just felt natural. But I’ve seen you play a few times and it makes me realise how much I couldn’t do it myself. There is such great energy and it’s really entertaining and you look completely natural, but I wouldn’t be able to feel comfortable in that position. Also, to me, it feels like your music has to be played live. I went to a concert before lockdown and the person was so vacant and not connected to the audience and, because of that, it made me nervous. You could tell they were going through the motions, that it was an act. They had no connection at all. Whereas when I look at Dad on stage he’s all about connection. I think I had taken it for granted before that, but when you see someone who doesn’t connect, you realise how important it is.

PW: I know some people who turn up just before they go on stage and as soon as they finish they get in the car and they’re off. I don’t understand that either. It’s a far bigger thing than that for me, because I’m looking for that connection. As much as the audience might be, I am as well, and my band too, because I’ve seen it happen with my own eyes and there are some nights where you get so connected together by an audience that this thing just grows and grows. It transcends the moment.

MM: It’s like magic.

PW: It’s something special. The last time I played at the Fillmore in San Francisco, a couple of years ago, it was like that, and it wasn’t because of gear. It was almost like we took off, like the whole room just lifted up.

MM: Have you got a ritual for after the show?

PW: No, not really. No.

MM: My dad has this sandwich and a Margarita, because he doesn’t eat before he goes on. He waits until after.

PW: I have a cup of tea these days. In the past, I would have got off my nut, but I don’t any more. But if you have a gig like that and that becomes your benchmark, you’re always looking to get back to that moment, which is not always possible. But that becomes the thing you’re always searching for, to find that connection. We’re always striving for the spectacular. It’s the same with record companies. Sometimes you have to compromise, but what you really want to do is pursue your own passions. It was more difficult when we first started, because the record company tried to step in more and tried to guide us to do this or that. In the early days of The Jam they even suggested we cover a 10cc song. We said, “No fucking way is that going to happen.” You’ve got to stick to your guns. You’ve got to pursue what you set out to achieve.

MM: Fashion and clothes feel important to what you do, maybe because they make you feel a certain way to be able to perform?

PW: Yeah. But although I was too young to be really involved in the 1960s, I still lived through that time and that whole thing has never gone away for me. I love that period and it informs a lot of what I do, including how I dress. The whole look and sound of that time is just really formative. I don’t feel I’m stuck in that time, but it will always be the cornerstone of everything I do. I just thought it was such a brilliant time for music and fashion and art and all that stuff.

MM: What do you think it is about it? Is it experimentation?

PW: I think so. It was those postwar years, coming out of all that austerity, that bleak black and white, grey world – large parts of the country were still like that in the early 1960s. There were still bombsites. There was still slum housing. So it took a long time for Britain to become modern, but when it did, it was explosive.

MM: Dad describes it as it all suddenly going technicolour.

PW: Yeah, I think that’s true and you just see the clothes and music expanding. Men stopped wearing demob suits and started wearing all these bright-coloured clothes.

MM: And the pill came about and made life a lot easier.

PW: Then the other pills came a little bit later and helped expand everyone’s horizons. These people were pioneers. And also look at the art world – Peter Blake, David Hockney, Bridget Riley. It felt as though everything was becoming more modern and opening up and becoming different and colourful. I was only a very tender age, but, nevertheless, that influence was of great importance and value and always has been. Punk was probably the first time I experienced that freedom. We missed out on the 1960s, had a lift with Bowie, but after that it was largely a cultural wasteland. I was always looking for when I thought it was going to be our term. The 1970s were still very much in the shadow of the 1960s until punk. And then it all blossomed. Then it all started to make sense.

Fat Pop (Volume 1) by Paul Weller is out now.

Producer: Grace Guppy. First assistant: Pedro Faria. Digital technician: Alexander Brunacci. Make-up: Jane Bradley. Retouching: The Hand Of God

#musician #mary mccartney #interview #paul weller #photographer #paul mccartney #Linda McCartney

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minghaocouture · 3 years

Text

Pairing: Lee Jihoon x Fem!Reader Genre: Collage AU, Fluff, the tiniest angst Warning: Minor self esteem issues (from reader), Language WC: 2.9K

A/N: @woozisnoots my sweetie baby! This is your Holiday gift from me!! I wub yoooou and i hope you like this <333 The song mentioned in the fic is Tell me you love me by Bolbbalgan4 and i actually just kept listening to it on repeat while writing this lol, it’s such a cute song, and all the italic words are song lyrics (the english translations)! Also yes i shamelessly name dropped our friend group in this, don’t judge me

“You don’t accept my hi as usual I know you’re popular and handsome but you’ve always given the cold shoulder Only to me.”

The lyrics flowed easily from your lips and into the microphone, eyes closed as you felt the vibes of the chorus and attempted to put the right layers of emotion into the song as you did so. The instrumental paused just as the chorus ended you heard the familiar sound of your partner through the headphones.

“Can you run that one more time. Hold that last note a bit longer, and make the staccato in the first beginning a bit sharper.” On the other side of the glass sat Lee Jihoon, and the brains behind the operation despite this being a partnered project. At the beginning of this, you never would have thought that the two of you would have been working together so well. Not with how the project began.

You gave him an affirmation of your understanding and he began from the end of the pre-chorus, letting the melody and his test vocals fill your ears just before you began again.

When you had first been assigned partners, you were less than enthused. Sure, you had a major crush on Jihoon, his passion for music inspired you and you always loved watching him in class when he would perform. But, he was notoriously a rather critical partner. During the last partnered project in class a close friend of yours, Binu, had been assigned to work with him. She ended up confessing that she didn’t really get too much of a say on anything and that Jihoon did the project mostly by himself. Needless to say, she was much happier with this project being partnered with your mutual friend Mar.

The recording session wrapped up nicely and you began packing your things as you realized how late it was in the evening and your friends would start to get concerned if they didn’t hear back from you. So you pulled your phone from your bag and quickly messaged your group chat to let them know the situation. As you went to place your bag over your shoulder you heard the familiar sound of a stomach growling.

Your eyes quickly scanned the room and watched Jihoon sigh and sit back down at the recording booth, his laptop still open but he didn’t look like he had any intention of leaving to get sustenance. Much to your own surprise you decided to speak up.

“Hey, I was planning on grabbing some dinner. Did...you wanna come too? We’ve been here for a while and we could probably use some food.” You suggested, an inviting smile plastered itself onto your face. You hoped it didn’t seem fake, after all you had invited Jihoon to eat before and he had always denied the offer.

Much like all previous times, you saw his rather small head shake in denial.

“Nah, I’ve got some stuff to finish up here. I’ll probably grab something before heading back to my dorms...or maybe I’ll ask Mingyu to pick me up some dinner.” You’d heard about Mingyu before, his roommate who he says he tolerates but you can tell that he does really care about the guy from how he talks about it.

Most people say that Jihoon is hard to read and closed off, but you know they’re wrong. He just...emotes differently, he has his own ways of showing affection and you can see it in his eyes and the little things he does and says. Being around him like this has honestly only made your crush worse.

“Well, alright, but you better eat something and go home tonight. I don’t wanna come back here tomorrow and see you in this same outfit cause you haven’t gone home.” Which...had happened on more than one occasion during this project.

He shrugged, not turning back to face you.

“I brought extra clothes this time.”

***

“Seriously? I can’t believe he said no again! Ugh, I hate him and you deserve better than to pine after that short stack!” Rolling your eyes as you listened to Krys ranting once again.

Since Jihoon refuted your invitation you decided to invite out your best friends. The 5 of you heading to a nearby fried chicken place, crowding into the booth that your friend group had basically claimed (when it was available at least)

“It’s fine Krys, he’s just really into his work. He’s probably going to be in the studio editing until all hours of the morning.” You explained before shoving some of the complimentary salad into your mouth as you took a break from the chicken itself. “I might even take him some food before I head back to the dorms.”

“Nu-uh! I’m not letting you! That boy doesn’t even talk to you outside of class, he doesn’t deserve your time or your energy!” Krys exclaimed.

“I mean, he kinda does. Talk to her, I mean he waved at her last week.” Maya brought up in between her unsuccessful attempts at stealing the rest of the table’s pickled radish. “We were walking to the lounge and she saw him and waved at him, and he finally waved back.”

“Oh what, after ignoring her for a whole semester? Real nice of him. My best friend deserves better!” She declared, aggressively taking another bite of her chicken before continuing. “If I weren’t already dating the best man in the whole world, I would just date you myself.”

This brought the rest of the table another fit of laughter. It was never a dull moment in your friend group and you were always grateful that you had them in your life.

“This just in, Krys won’t leave big dick Wonwoo so her best friend can have a good relationship.” Mar joked, cackling at the thought. The laughter seemed to get worse when she realized that Wonwoo himself had just walked up to the table to set down a drink refill for Binu. The male’s face was flushed red, obviously having heard the conversation. Which prompted another round of joyful laughter from the group.

It was a good night, but your mind still drifted back to Jihoon, who was most likely still sitting alone in the studio, hungry yet still hard at work. As the conversation drifted away from you finally, you got Wonwoo’s attention and ordered a small meal for take out with a plan to deliver the food before returning home. Even if Krys would give you shit for it.

***

“Jihoon, it’s me” You knocked on the studio door as you entered, assuming you wouldn’t be interrupting anything since you saw the light on but heard now sounds from inside. Surprisingly, or rather unsurprisingly, you got no response as you entered. Simply making your way in despite any acknowledgement.

The more surprising thing was what you found once you entered. There, still sitting in the rolly chair with his head firmly planted on the desk in front of his work laptop was Lee Jihoon. Fast asleep, small snores leaving his frame as he dreamed. It would honestly be pretty cute if it weren’t for the fact that you knew this was probably happening because of how much he overworked himself.

You let out a small sigh, placing the bag on the small coffee table in the room (you didn’t want to set it on the desk with all the equipment) and grabbed his jacket that he had tossed onto the nearby sofa before draping it over his shoulders. You couldn’t really do much more for him without lifting the male up and transferring him to the couch, and you were pretty sure he would wake up if you even attempted that.

“Night Jihoon.” With that final goodbye you exited the room and returned back to your dorm to get some homework done for a few of your other classes.

It was about 2:30 the next morning when your phone vibrated, indicating a message. Sparing a glance to the device you read the familiar name ‘Lee Jihoon’ as the sender. The message was no more than a simple “Thank you.” but that was good enough for you.

***

As you expected, even being the harmony vocals for the song Jihoon’s talent far outshined your main vocals. You weren’t upset or anything, but you were definitely starting to regret letting him talk you into the main vocal position for this project. You didn’t even really have any commentary to or feedback to give him. His voice fit the song perfectly and you could feel the emotion in his words as he sang.

When he exited the booth and took a seat on the sofa to take a break you spoke up.

“Are you sure you shouldn’t be the one leading the song?” You questioned, head tilted to the side a bit as you watched him gulp down a bottle of water. Your words took him off guard and he fixed you with a rather confused look, so you continued. “I mean, you have such a great voice and I really think you capture the emotion in the song better than I do. So like…”

“What are you talking about?” He cut off your ramblings before you could continue, his eyes staring intently into your own. “You have an amazing voice, I’m literally blown away anytime you step into the booth. It’s part of the reason I was glad we got partnered for this project.”

It was almost as if your brain had short circuited, you didn’t know what to say. He had never spoken about your singing like that before, much less admit that he was...glad you were his partner. A part of you worried that he was lying just to spare your feelings, but the logical part knew that Jihoon wasn’t someone who would waste the energy to do that.

“Let me put it this way,” he began again. “If I didn’t think you were doing a good job, if i thought your vocals would get us points docked off, then I wouldn’t have let you sing the Main. Got it?” His gaze seemed to pierce right to your very soul and you couldn’t find it in yourself to argue back and decided to just take his word for it. So you simply nodded a response.

It seemed that Jihoon wasn’t done surprising you tonight, as a smile so tender made its way onto his face. Your heart skipped a beat as you looked into his eyes, you could feel the heat rushing to your face and you prayed that he couldn’t hear the loud throbbing of your heart as he watched you.

The moment was soon broken by the loud blaring of a familiar pop song, Jihoon’s face dropping at the sound. He quickly grabbed his phone off of the coffee table and put it up to his ear. You decided to be polite and at least try not to listen in, pulling out your own phone and messaging the group chat to see what was up.

“What do you want, Mingyu?” He began, definitely sounding more irritated than before he had taken the call. You couldn’t hear the voice on the other end but from the gumbling that left Jihoon’s lips you wouldn’t have been surprised if his roommate was pushing his buttons for whatever reason.

“No. I’m not and you need to stop asking. I’m working right now.” He paused for a moment, his voice lowering to almost a whisper as if that would make you unable to hear him. “Yes, she’s here too, so stop asking. Mingy-” He groaned as the male on the other end seemed to cut him off, you weren’t too sure with what but now you could vaguely hear the loud voice of his roommate on the line and couldn’t help laughing softly. The sound causing Jihoon’s eyes to flicker over to you, causing your heart to skip a beat as you quickly tried to make it seem like you were just laughing at something on your phone.

“Shut it. We’ll talk when I get home...yes i’m coming back tonight!” With an irritated sigh, Jihoon ended the call. You weren’t sure he gave Mingyu any time to give a farewell but if you were being honest the conversation had been pretty amusing.

Setting his phone down on the couch, Jihoon let out a sigh and ran a hand through his thick black locks. A silence falling over the two of you as you typed away on your phone, trying not to make eye contact again. You were so engrossed with your act you didn’t even hear when Jihoon stood from the couch and made his way over to the chair you were currently occupying.

“Before we call it, could you re-record from the bridge to the end. When I was editing it last night there was some feedback so I wanted to get a better recording.”

“Oh, um yeah sure!” You weren’t sure why he hadn’t mentioned that before, and you didn’t recall hearing any feedback from your vocals when he was recording. But still, you took him at his word and entered the small recording booth once again.

“I’ll start from just before the bridge.” He said over the speakers once your headphones were pulled snuggly over your ears. You cleared your throat and took a deep breath before nodding and signaling him to start.

“I really like you a lot But do you think we can’t be together? I feel small in my school uniform skirt Looking big on me, Yeah The tall, pretty girls are all around you. Oh whoa~”

Getting through the bridge you poured your emotions into it. Thinking about your feelings for Jihoon and the longing for him to feel the same for you. Honestly, through this whole process the song the two of you had written was so...cathartic for you. Expressing things you never verbalized, how despite your attempts Jihoon never really spoke to you outside of class but he always seemed so kind when you were working. Or how, because of his looks and his talent he seemed to be surrounded by girls who thought he was wonderful.

“If you like me, or you love me Just say yes, yes, yes And then I’m your girlfriend And your my boyfriend Tell me you like me.”

The last few chords streamed through your headphones and a silence fell over the room. Just as you were about to take the headphones off you heard a voice come through, the familiar voice of your partner and crush.

“I like you...a lot.”

You froze like a deer in headlights, almost positive that you had misheard him. Eyes quickly landing on him, watching him through the glass. You couldn’t tell what he was thinking, but through the tint you could see the soft pink dusting his cheeks and the tips of his ears as his eyes stared down at the desk.

“Don’t say anything. I just...wanted to let you know. The reason I didn’t want to sing the main vocals is because I was worried you would be able to tell.” He continued, eyes still not lifting from the table to meet your gaze. “All of the lyrics I added were about you. I just...changed the pronouns.”

It was unbelievable to think that Lee Jihoon could possibly love you back. He was too...wonderful, and the fact that the both of you had used this song to express those feelings was almost unreal.

Thinking back on it, on all the interactions you had attempted to have with him outside of class. You realized that he wasn’t ignoring you, his eyes had always met your own but he was just uncertain. He had lacked the confidence to speak to you despite your obvious interest in him. It made your pinning seem silly now.

You still honored his wishes and said nothing, simply taking the headphones off and draping them onto the music stand before exiting the booth. Stopping right next to the object of your affections.

“Jihoon, look at me? Please?” Hesitantly, his gaze turned to you and he looked flustered, more flustered than you had ever seen him. “I like you too, a whole lot.”

Your words had his eyes lighting up, a look of disbelief crossing his face as you continued.

“Could I...would it be alright if I kiss you?” Before today, you had only ever imagined kissing Jihoon. What it would be like had been nothing more than a small fantasy that you thought about, but seeing him nod looking away still flustered, it almost seemed to good to be anything more than a dream.

Hesitantly, you reached out a hand to caress his cheek, your heart speeding up as he lifted a hand to press over your own. When your lips met, it was like the stars had aligned.

It wasn’t a perfect kiss, it was shy and soft but the emotion you felt simply from his lips pressing back against your own was enough to cause your heart to soar. It was like two puzzle pieces finding one another how well his lips felt against your own. You decided in that moment that he would get to hear everyday how much you absolutely loved him, he would never need to ask or hesitate again. Cause that’s what kind of love you wanted to give him, and all you needed to do was say it.

#caratwritersclub #kdiarynet #kdiner #seventeen x reader #seventeen imagine #seventeen scenario #svt x reader #svt imagine #svt scenario #woozi x reader #woozi imagine #woozi scenario #jihoon x reader #jihoon imagine #jihoon scenario

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thechildofstark · 3 years

Text

The Problem With Civil War

Civil War was supposed to be a Captain America movie. It was not a Captain America movie.

However.......

The problem with it being a Cap film is that Steve (+ his team) are supposed to be the ultimate good guys. In all the previous Hero Title films (Iron Man Trilogy, Thor Trilogy, Etc.) the guy whose name is on the poster is the guy the audience is supposed to root for. However, because of CA:CW’s marketing and story arc, it was very much a Steve & Tony / Steve vs. Tony film, while trying to simultaneously portray Tony as a secondary character.

This post isn't about Team Cap or Team Iron Man.

The catalyst for the story of Civil War is...........interesting. (in the comics, its different. and a whole lot easier to understand the reasoning of both sides of the argument. but that's a post for another time.)

Tagging/registering/tracking every mutant/mutate/superhero/powered person is objectively a very bad idea. but so is running amok with no supervision in other countries and destroying property whilst literally wearing the American flag.

There are big problems on both sides.

The issue I find most people have with Tony is that they find him an entitled sellout who only cares about himself and that he committed war crimes, and the problems I find most people have with Steve is that he defended a baby Nazi and went on an violent international rampage in direct violation of the UN because his dead terrorist ex-boyfriend may or may not have murdered a whole bunch of people.

Ooof.

The main reason I think people get very annoyed/attached a specific side is because they are still projecting the characterisation from the earlier movies.

Iron Man 1 and The First Avenger? I love them. No notes.

Obviously yes there are issues in-universe but these are flawed characters with complicated issues and stories and so on, and I like them that way.

If I wanted a Nice Unproblematic Superhero I’d rewatch the Christopher Reeves Superman films. That is not why I am here today.

But by the time we get to Civil War, Tony and Steve have become caricatures of the ideals that they represented, so that the studio can make a movie.

Morally, Steve is in the right. Legally, Tony is in the right.

Ethically? I don't fucking know, they both suck equally in that regard.

Okay to be fair, Tony does try to help Steve like.........so often in the film. Because Steve is the Protagonist and he is Right even though half his actions don't actually fit with his previous characterisation/character arcs/basic human logic.

CA:CW was supposed to be a movie about Steve Rogers. But it failed in the single regard that the story wasn't about him. Even other Hero Title movie, the main character either does something, or has something done to them, and then they react to the situations and there are gratuitous explosions and a life lesson and probably a kiss near the end. But this film had the kiss nearer to the middle ew Sharon why and while plenty of shit got blown up, plenty of civilians and local law enforcement also got mashed by/because of the title character.

That is not how the lead in a superhero movie is supposed to behave.

And the film also continues down the general path of giving Tony shittier and shittier character arcs. The war he behaves in his own movies vs the avengers films? it’s a complete values dissonance. It is literally not the same character. Probably the closest to consistency we get is Iron Man 3/Age of Ultron but even then the differences are pretty startling. At the beginning, Tony was, idk, a realistic if fictional person. But the time we get to CA:CW all we have is an avatar for the writers to manipulate, damn character consistency, damn reasonable behavior and logic and everything that the audience has been told about him in the past.

Same with Steve. Heck, same with everyone in the entire damn movie. Barely anyone acts or reacts in a way that either A) previous behavior would suggest, or B) an actual human person would act or react.

Yes. I know. It’s fiction. I can suspend my disbelief.

But like........damn they fucked Clint and Natasha over.

The creators were trying to recreate a well known and well liked comic book story arc, capitalize on the growing divide in parts of the fandom over preferred characters/character ideologies, and do so without using the expanded universe and added context which made the original comic book arc so fucking good.

They tried to split the Avengers in half, only to realize that they had split the Avengers in half, and then when Infinity War came along, they basically had to write a plot where both sides did their thing without sharing a single second of screen time together, because the whole -

S: you tried to kill my best friend

T: he killed my mother

S: actually he was brain washed

T: but you knew and didn't tell me for years

S: well I was worried you would react badly

T: I wouldn't have

S: you literally tried to kill him

T: yeah I'm sure you be totally fine if you saw your parents being violently murdered and the guy was right there and your teammate lied about it and you were very sleep deprived to boot

- drama would start up again.

ANYWAY

the point is, I used to really like both these characters - I still like the comic book versions tho - but then they got way fucked over. I'm extra salty about Steve, because this was supposed to be his movie but loads of the screen time was given over to other shit and he literally commits so much crime and murder and has absolutely zero moral or emotional consistency. especially when it comes to Bucky and Wanda vs. everyone else.

Also with Tony, there is so much of an issue with Telling vs Showing vs other characters in-universe opinions of him I genuinely don't even know what the creators want me to feel about him anymore.

uuuuururhrhrhrhrhrhrhghfjjhdhjf.

tl;dr -

I saw this movie like six years ago and the way I feel about it has changed a lot over time. I used to be team iron man, could you tell? But the basics of it is this should have been an Avengers movie if it had to exist at all, there are so many cool Captain America stories worthy of being put to film, and this really wasn't the most perfect option. Civil War has so many problems, and I can even begin to try and list them here.

But I'm making this post because I just followed a really cool blog who happens to hate on Tony a bunch (I don't really mind consciously) but that annoyed me out of habit, so I started examining why I liked him as a character, and it mainly boiled down to A) some of the comics are cool, and B) CA:CW said I had to pick a side and Steve did so much dumb shit I just went with the easy option.

the blog doesn't seem to be a huge fan of Steve either.

my current stance is that they both got fucked over and if you want some solid positive Marvel content go read Runaways, or the Hawkeye comics.

The Hawkeye comics are the best.

#literally only one person is going to read this #anti tony stark #anti steve rogers #pro Tony stark #pro steve rogers #cacw #civil war #captain america civil war #marvel #disney #mcu #hawkeye #clint barton #natasha romanov #wendy mayomoff #bucky barnes #marvel comics #team cap #team iron man

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sleepy-yn · 4 years

Text

Stray Kids: Reacting to their GF Missing Them

A/N: This is basically something I’ve been daydreaming about fjfdjkk so there’s that. Basically their Gf’s record themselves on tiktok to the song “Mr. Loverman” and “Me and my Husband” and the boys see it. ALSO the boys don’t have a dating ban here and they are public with their relationship (some more than others) NOT PROOF READ

Chan:

You were still in Uni and it was stressful being a student

it’s also very stressful when your sweet boyfriend lives across the world

you had visited him for a week recently but, obviously, you had to go back home

it was one of those early morning study sessions because you really needed to pass this quiz

you looked up at the picture frames on your desk and tears started to spill over the keyboard

you missed chan so much it hurt in your chest

like if there was a hole where your heart should be

you decided to scroll through tiktok as a way to escape from your sadness

that’s when you heard the song “Mr Loverman” for the thousandth time and you decided to let your feelings out

chan’s fans knew he was in a relationship but he cared too much about your privacy that he never introduced you to his fans

after you finished uploading the tiktok, you decided to get back to studying

chan was finishing up his work for the afternoon when Felix came into the studio

“Hyung look” he shoved his phone into chan’s face

we all know felix has a secret tiktok

Chan saw you sitting at your desk, tears in your eyes and several words on the screen

the familiar lyrics “I’m Mr. Loverman, and I miss my lover man” while he read what you wrote broke his heart into a million pieces

“i miss him so much. I want to see him again.”

tears threatened to spill from his own eyes as he watched you look so broken

felix took that as his cue to give chan some space

He needed to see your face even though he knew it was late

accepting the facetime call, you almost sobbed at seeing your handsome boyfriends face

“Hey babygirl’

“hi channie”

“Why are you still awake, love?”

“i miss you too much” you said in a whisper, a pout on your lips and your voice quivering

it was all about to spill out again, your emotions were just not in tact at the moment

“baby please don’t cry” :( i’m literally about to cry writing this

He wishes so badly that he could be there to wipe your tears

chan hated seeing you sad, you crying was his ultimate weakness

After calming down, he told you to stop studying and get some rest

he hummed the familiar tune to you while you fell into a soft slumber

you bet your ass that he booked the soonest flight to go see you

Minho

please i can’t get enough of this gif

so you lived in korea with minho

you both lived in an apartment together and although small, it was your home

you worked as a therapist for young adults and dealt with a lot every day

you and him never really saw each other during the day because of how busy you two were

it was comeback season so that meant he was rarely home

actually, he wasn’t home at all; he stayed at the dorms with the boys so that transportation and work was easier

so the house felt even emptier and although you were extremely supportive of the boys you missed your husband

so one night when you got home from work, you just burst into tears

a patient of yours talked about losing his first love and yadayadayada

it just hit you for some reason

but you knew it was stupid to cry, you should be happy your husband was back with his brothers and doing what he loves

so while you made dinner you continued, you listened to the playlist you made for these types of scenarios

and with your luck, the song “Me and my Husband” started playing

all the emotions you had been holding in flowed back out as you related to every word

what you didn’t know was that Minho was done early today and was making his way back home to you

and at the perfect moment, when the line “But when he walks in, I am loved” he walked in the door

turning to look at him, you couldn’t stop the smile from spreading across your face

jumping into his arms, he staggered back a bit but held you nonetheless

“Did someone miss me?” he smirked

“oh shut up and kiss me” and that he did

all your sadness faded away and the stress taking place in your body relaxed

“you really missed me didn’t you?” he said, wiping what was left of your tears

“yea yea, now come help me with dinner”

he couldn’t wish to be anywhere else but here with you

Changbin

look at his smile pls

you and changbin have been married for about a year now

his fans were super supportive and they honestly were warning HIM not to break your heart

you were a youtuber and a producer who made music for groups like KARD and VAV

so obviously you and changbin barely saw each other when you two were busy

however, you had a day off but changbin on the other hand had to help chan with a song

even though today was your anniversary, you made him go help out chan

your marriage was important but you knew how important music is to him and the boys

looking around the house at the pictures of the both of you, you started to get teary eyed

all the memories came hitting you like a bus rip george o’malley

you decided to put all these memories into a video not only to put your emotions somewhere but for the fans as well

but there was a twist at the end no one expected

while Changbin and Chan were focused on the track they were working on, Jisung came in to show changbin something

“Just look”

changbins attention went to the video in front of him

there you were doing your makeup and a couple textboxes showed up talking about how depressed you were in the past

you were not in a good state of mind and weren’t sure life was for you

that was until Changbin walked into your life *cue “But when he walks in I am loved”*

He smiled at all the pictures of you and him; your first dates, the proposal, the wedding, and more couple pictures

but what he wasn’t expecting was the last picture

there you were, holding a pregnancy test with a hand covering your smile

bet your ass all of twitter was already talking about it, that’s how jisung found it

both chan and jisung were hopping off the walls congratulating changbin

He packed up all his stuff and rushed home as fast as he could

when he walked in, there you were in bed watching his music videos

He didn’t even say anything, all he did was kiss you and hug you so tight in his arms as if your were going to slip away

“So I’m guessing this means you’re happy?”

He kissed you again “Why didn’t you tell me sooner?”

“I wanted to surprise you” you shrugged

he layed in bed with you, head on your belly

“See that? Those are your uncles, they already want to meet you” you giggled

“and that is your daddy, I’m going to protect you with all I am. I already love you so much”

“what are you doing, Binnie?”

“shush woman I’m talking to my baby

you rolled your eyes, “i was your baby first”

He cupped your cheek and looked into your eyes

“you still are, you’re just my big baby”

giggles filled the air as you two wondered what your future would look like

Hyunjin

now hyunjin is a special case

all your days were filled with laughter and fun, your relationship was never dull

but recently he couldn’t be with you as much as you wanted

there were rumors about hyunjin dating and him and the company weren’t sure whether to deny or admit it

so for the mean time, you two couldn’t see each other for a bit

your days began getting dull and gray, you missed your energy boy

it didn’t help that you were just about to graduate and the stress of your future was filling your head

one day, it got too much and you spent the day crying

you missed hyunjin so much and wished he could be there with you

so what do you do to organize your thoughts?

make a tiktok

choosing the song “Mr Loverman” you record yourself sitting in your bed, head in your arms and curled up in a ball

the text went along like

“If it benefits him, I want him to let me go. I miss him so much but I know that this means the world to him. I just want to hold him”

of course the viewers had no idea what you were talking about, except for one

felix walked towards where the members were having dinner

“hyung look”

watching the video and listening to the lyrics, his chest felt so heavy

he wanted to throw everything up because the sadness was eating him up

“i have to see her”

although the boys were worried about the media and what the company would say, they still let him go

sitting on the floor against your bed listening to the song on repeat, you didn’t hear hyunjin come in

spotting you, he sat in the spot next to you

you jumped and looked at him with wide eyes

“hyunjin you can’t be here! what about the company and the saesangs and-”

he kissed you and held you in his arms

“i don’t care about any of that. If i can’t have you, I don’t want any of it.”

there you two sat, holding hands and looking at the moonlight from your window

he didn’t need to have supporters when his main supporter was sitting right next to him

Jisung

i miss minsung omg

you were an idol and it was no secret that you and jisung were in love with each other

but your companies forbid you two from being with one another, at least until you had a couple more years of being an idol

you and jisung had to pretend you were best friends, but that also meant no seeing each other very often

you wanted so bad just to say fuck it and come out to the public anyway

but you knew how much music meant to him

both of your fans weren’t even mad about the rumors, they were more mad at the invasion of privacy

one day, you had a video scheduled to do a cover

and what song did you want to sing? “Mr Loverman” of course

there you sat, in a blue turtleneck topped by a brown coat and plaid tennis skirt

as you sang, the lyrics just kept getting to you

you didn’t cry but when fans watched and analyzed the video, they noticed parts where your eyes watered

stray kids were one of the first viewers

there they sat in the dorm in front of the tv

watching you sing, they all praised your voice and how pretty you looked

but jisung noticed how the song affected you, and honestly it affected him too

he got his jacket and left the dorm, ignoring the boys calls and yells

arriving at your apartment, he knocked softly

and there you were, in one of his sweaters and tears in your arms

before any of you could say anything, he hugged you and tucked his head into your neck

“jisung?” your hands played with his hair

“ we can make this work, i don’t want to lose you”

after a while of talking, you too were just watching tv and cuddling, *like in the gif*

you didn’t want to be anywhere but with him

Felix

this gif makes me fall more in love with him

Felix and you have been a couple for about a year and a half

your fans loved how wholesome your relationship was

he was the light of your life and was the biggest energy booster

felix was always cooking and baking for you

now you were another idol but you were a solo artist

you also compose songs for groups like day6

so one day you were on the radio show that young k brian hosts

“so y/n, you are very open about your relationship with Felix. what is a song that reminds you of him or your relationship.”

you talked about the song “Me and my Husband”, making sure to remind people that you and felix aren’t married yet

so they asked you to sing a part of the song for them

as you sing the lines “But when he walks in I am loved, I am loved”

they all talked about how nice your voice was and continued talking about your career

but at one point, there was a phone call to the radio show

it was felix, you were so shocked that he would call but nonetheless it made you giggle

during the call, he told you to look over the the door

you looked over and there he was, drawing a heart with his breathe that hit the window *like in the gif*

you blushed and laughed at him

you can guess how much twitter was freaking out over the interaction

at home later, you thanked him for making your day

“i just love being your number one supporter”

Seungmin

im so in love with him

although seungmin and your relationship was fairly new, you two didn’t spend as much time together

you knew each other’s boundaries and knew how much your personal lives mattered

but that didn’t mean you didn’t miss each other

you were still in school technically but you also were an intern at a hospital

this meant that you didn’t have time to spend time with seungmin since you were either at your internship or studing

your favorite pastime was tiktok and playing the piano

so in the small free time that you had, you would post covers on tiktok and you gained a huge following

seungmin and the rest of the boys followed you on their personal accounts they have one and we all know it

However one day, you were missing seungmin terribly

your body ached for the feeling of his hugs and kisses on your nose

your followers kept suggesting for you to cover the song “Mr. Loverman” so you used this opportunity to let your emotions out

Seungmin was scrolling through his following on his tiktok account and he found your new video

your sweet silky voice filled his ears and he couldn’t help but smile

but his heart was starting to feel heavy and he noticed how your voice broke just a bit

after he finished watching and saving the video, he decided to video call you

and there he was, with so much love in his eyes

“I missed you”

“i miss you too minnie”

the two of you kept on the conversation being the sweetest couple ever

he made sure to never let you feel like that again

Jeongin

hes growing up so fast im crying

you and innie were still in school

and we all know how he is so obviously being in a relationship was fairly new and crazy to him

however you had a semi career on youtube where you posted singing and dance covers of numerous songs

recently, your music teacher assigned for you and the rest of your peers to sing or create a song that you relate to deeply OR reflects on your life

you browsed through songs like Gone Days, Zombie, and other various kpop songs

but you wanted to be different and do an english song

you were pretty good at english, since it was a class you chose to take

you also knew that your viewers were wanting an english cover on your channel for a while

deciding to chose the song “mr. loverman”, you started to record

unbeknownst to you, these videos were going to be shown to several other classes

one happening to be jeongins

while in the big auditorium, several students gasped and praised your singing skills

jeongin, however, looked over at you with stars in his eyes

after school, you both went out to your favorite cafe and back to the dorms

“you sounded really good” his cheeks were heating up

“i was singing about you, you know”

that earned you a kiss on your cheek and cuddles the rest of the day

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bbykpoper · 4 years

Photo

𝓒𝓵𝓸𝓾𝓭𝓫𝓮𝓻𝓻𝔂 💐

Inspired by this post 🌼

Pairing: florist!yeosang x photographer!reader

Index: Jongho // Hongjoong // Seonghwa // San // Yunho // Wooyoung // Mingi

･*:༅

“We have the best wedding photographer on hand, she is currently at a photo shoot, so if you wish to see her work you are more than welcome to.” A tall young man spoke to the couple in front of them with a smile. “May I just say, it would be an honour to do your photos. Our whole studio simply adores your sweets!”

“Say it louder, I don’t think they heard how desperate you are Johnny.”

“Shut it Mark.”

Glares were exchanged. Small breathless laughs followed the exchange between the boys as the couple nodded in assurance.

“We’d love to work with your studio, and it would be really awesome if we could see the photographer at work!” Song Mingi exclaimed as he held his fianceé’s hand. “When do we leave?”

“Oh, you guys don’t have to go far.” The boy in the hoodie with glasses, named Mark, spoke from the corner. “They’re on the roof.”

“Wonderful, let’s go!”

Johnny was quick to guide them up the steps and through the door. The couple was met with a sight out of a fiction novel. There was a young beauty in a white dress standing in the middle of a field of dandelions the sun beautifully shading her figure on the ground as a bubbly you jumped from one side to another, your dark hair adorned with a very badly made flower crown.

“That’s her right there, the jumpy rabbit.” Mark pointed at the you in the cargo pants and flower crown on your head. “She’s overly excited sometimes.”

“Y/N!” Johnny yelled out, making you stop and turned to him, your facial features designed to murder him.

“What do you want Johnton?” You asked with a sigh. “Can it wait until the sun rises fully, I’m getting some good material here.”

“Oh yeah, no problem.” He waved. “We’ll just observe the magic.”

“Yeah yeah.” You ignored him as you went back to work, now bringing in the groom as well.

Mingi and his significant other watched you with vigour in their eyes, happy that they decided to go with their guts and come down to this particular studio to get a photographer for their big day. Johnny and Mark stood beside the couple and nodded knowing that you had just convinved them to pay you for a photo shoot.

“Congradulations on your day.” You said to the husband and wife as they happily left the vacinity of your studio. With a small smile on your face you turned towards your friends/roommates/co-workers and their new clients, a big question mark above your head. “Hi, I’m y/n. The main photographer here at NCT photos.”

“Hi, I’m Song Mingi and this is my future wife.”

“Welcome, take a seat please.” You said and sat in between Johnny and Mark. “How can we help you?”

“Our wedding is in a month and our photographer quit on us last minute.” He began explaining to you. “And a friend of ours reffered you guys, so we came here as soon as we could to see if we could book you guys to do our wedding.”

“So which date would that be?” You pulled out a small planner littered in stickers and opened it to the calendar page of the next month.

“It’s on the 7th.”

“That’s in a week.” Mark deadpanned his face embodying the pikachu meme.

“Yeah.” Both of them scratched their necks. “To be honest, I proposed three weeks ago.”

“Wow.” Johnny whistled and looked at his friends. “You think we could do this?”

“Where is the wedding?” You asked, just nodding at Johnny’s question.

“It’s going to be at our little home. The back yard is vast and there is space to do the shoot as well as hold the wedding.”

“Can we decorate the shoot according to your wishes?”

“Yes. We’ll provide you guys with everything. Except the flowers...” Mingi looked at you. “I want to have flowers which will fully bring out my future wife’s beauty. So I was hoping you could help me out.”

“Sure, no problem.” You gave a thumbs up. “I’ll just go down to Jihyo’s place later.”

“Great, we have a friend who works there.” Both said.

“You do?”

“Yeah, Kang Yeosang.”

･*:༅

The wheezing laughter that came from Mark had your eye twitching in annoyance. The three of you sat at Sugarberry’s, Johnny patting your shoulder in reassurance while Mark just kept on wheeze laughing while he tried to drink his watermelon flaovured lemonade. Ever since Mingi and his fianceé came by their studio wanting to book them as their photographers and the notion that Yeosang, your not so subtle fan, was their friend and your future co-worker had Mark dying.

You were friends with these two since elementary school. You guys went to the same middle and high school, only parting ways with Mark in college but still living together ever since. Johnny and you opened this small but very well known photography studio in your senior year of college and Mark jumped on the band wagon as a film maker and editor. Ever since then you guys were thriving in your job.

“Can you stop laughing?” You groaned out, sinking deeper into your hoodie. “I don’t think it’s that funny.”

“But it is.” He said, brushing off a tear from his eye. “You’ll be finally working together with Yeosang. How is that not funny?”

“You’re mean.” You mumbled underneath your breath.

“Come on Mark, y/n didn’t make fun of you when you had a crush on your visual arts teacher.” Johnny sighed, taking a bite of his pastry. “Remember, the teacher that had you all hot and bothered?”

“But why don’t you just admit it to yourself that you like him?” Mark suddenly straightened up at the mention of his college visual arts professor. “I mean you do like him?”

“I don’t know okay?” You sighed, playing with the straw of your coffee. “I do consider him to be attractive physically, but how can I like someone who I don’t even know?”

“Well, the easy answer is to get to know him.” Johnny shrugged his shoulders. “For now, you can at least tell him you’ll come to visit the flower shop.” He pointed at the blond boy who smiled shyly at you and waved, having you wave back.

“He didn’t hear our conversation, right?” You asked with an awkward smile on your face.

“I don’t think so.” Mark added, turning around to say hi to him. “You’re good.”

With a deep breath you stood up from your table and walked over to the boy who patiently waited in line to get to order his drinks. You softly tapped his shoulder to gain his attention and his ears turned a soft shade of pink when he figured out who was trying to gain his attention.

“Hi.” You softly greeted.

“Hi.” The smile which glowed on his face almost blinded your cat-like eyes.

“Came to get a drink?”

“Yeah. Jihyo has some orders and couldn’t go out to get us something to drink.” He nodded. “You guys done with work?”

“We’re just beginning.” You sighed. “Mingi booked us to work his wedding. I was surprised he decided to go through with a wedding only after three weeks of engagement.”

“Yeah, they actually pinned for each other for the past two years but were too dumb to notice the other.” Yeosang looked over at Mingi happily whistling in the back and making some cakes. “Oh to be in love.”

You looked up at him and got lost in the warmth he radiated from his body. The afternoon sun nicely shaped his facial features with those deep shadows and you had to control yourself as to not blush or show just how much it affected you.

“Yeah, must be nice.” Your eyes longingly stayed on him. “By the way, I’ll be dropping by the flower shop tomorrow. I need to pick out some flowers for Mingi’s photo shoot.”

“Really?” His eyes seemed to light up even more.

“Yeah, really.” You smiled at him.

“Then I’ll see you tomorrow.”

･*:༅

Jihyo sat in silence and observed the two as they went about the shop considering some flowers which were supposed to fit the couple. Johnny also stood on the side next to Jihyo and snorted when both Yeosang and you touched hands as you went to take hold of a gardenia flower at the same time.

“Please tell me they’re not dumb like Mingi and his girlfriend.” Jihyo commented.

“No. They know that the other likes them, but y/n has a problem connecting with others who she doesn’t know on a friendly basis.” Johnny added. “It’s a good and bad thing at the same time.”

“So, they just need to be friends first?” Jihyo asked.

“I mean they technically are...?” The tall man sighed. “But yeah. They need to hang out a bit more.”

Jihyo sat in though for a few minutes before motioning to Johnny to follow her lead.

“Guys, I need to go out and pick up some stuff for the shop so I’m leaving this little task of picking the best flowers to you Yeosang.” Jihyo said, and grabbed Johnny to drag him out. “I will need Johnny’s help too. Have fun y/n.”

“Good luck.” You waved at them, not really paying attention or mind to anything.

Yeosang caught on quickly to Jihyo’s plan because she basically gave him a thumbs up and wink to go for it. He suddenly became very nervous and skittish and you noticed it.

“What’s wrong?” You asked him.

“Nothing.” He simply answered. “How about making some flower crowns for them? I know Mingi’s wife would like some.”

“Great idea!” You exclaimed clapping your hands together, but quickly coming to terms with a small problem. “Only... I’m shit at making those.”

“You can’t be that bad-” You pulled out your camera and showed him some pictures of Mark mocking your hand woven flower crown. “-okay, you’re just not experienced. But I can teach you.”

And so, you spent the next two hours learning how to properly make flower crowns and finally succeeded in making a beautiful one out of the small flowers of a cloudberry.

“I did it!” You smiled at Yeosang widely.

“Yeah. You did.”

The dreamy look in his eyes had you blushing furiously as a sudden thought ran through your mind. Somehow you’ve come to know Yeosang a bit more through this little activity the both of you did and it gave you courage that maybe, the crush you had on him, and the crush he had on you, could work out into something more. But you had to be sure, so you took the next step.

“So, because I have to get everything ready and in order for the wedding next week, do you want to help me out?” You asked, your ears burning from the heat your cheeks produced.

Yeosang blinked a few times but nodded, shy and small, a smile playing on his lips.

“I’d love to.”

“Great. Is it okay if you come over tomorrow after your shift?”

“As in, come over to your home?”

“Yeah, I share an appartment with Johnny and Mark next to the NCT studio. Both of them have other business to attend to so they won’t be home and we can work in peace.” God this seemed to be so intimate but not at the same time. “You can say no if you’re uncomfortable.”

“No!” He suddenly said making you frown and avert your gaze. “No, I didn’t mean it like that.” He quickly corrected himself. “What I meant to say was that I am not uncomfortable and it’s totally fine being alone with you.” Great Yeosang, now she will think you’re desperate. “I’ll come over after 4 p.m.”

“Awesome.” Johnny came in with Jihyo just as you said. “Johnny look, I finally made a normal flower crown.” You flaunted your handy work to your friend. “All thanks to Yeosang.”

“Nice. Let’s go show it to Mark and make him suffer for ever mocking your crooked ones before.” He laughed. “See you around guys.”

“See ya.” You waved at them both and left the shop.

“So did it help being alone with her?” Jihyo asked, glancing at a blushy mess of a co-worker.

“Yes. I’m going over to her place tomorrow.” He whispered out, squating down and holding his face in his arms. “God, I feel like a high school kid who had his first kiss.”

Jihyo laughed and patted the man’s shoulder reassuringly. You managed to make Mark swallow his words and admit you did an awesome job with these new flower crowns. The day had ended with you laying in your bed, your head on your soft pillow with thoughts of Yeosang drifting you off to sleep, the flower crown you made proudly placed on your bed-side table as the night shifted darker.

･*:༅

“We made quite a lot haven’t we.” Yeosang commented as he finished his 40th dandelion crown since he came over. “What are we gonna do with so many?”

“Give them out to the guests. It’ll look nice in the photos.” You shrugged your shoulders as you texted Mingi’s future wife to tell her the plan. “She agreed to it. And Mingi seems to be excited.”

“Yeah, he does that when it comes to her.” Yeosang smiled solemnly.

“We’re done for today. The rest of the work is mostly on Mark and Johnny’s shoulders now.” You smiled and looked outside.

It was about 5.45 p.m. and you knew that soon the sun was going to set. You looked over to the window and noticed the furry friend you were waiting for and opened the glass which separated you two to have him jump into your arms and lick your nose slightly.

“Where have you been Dandelion?” You asked the grey cat as he purred in your hold. “Want some tuna with that love of yours.” You joked and placed him down before opening a can and placing it in his bowl so he can freely munch on it.

“You have a cat?” Yeosang asked, observing the interaction with soft eyes.

“Yeah. Technically he is a stray but likes to cuddle from time to time. He hates Mark and Johnny for some reason, but likes me and dandelion flowers, hence the name.” You shrugged your shoulders as you petted his head while he ate. “By the way, wanna see something cool?”

“Sure.” Yeosang stood up as you jumped out the window onto the connecting roof of a building next to your appartment.

He followed your lead as you kept walking and climbing on to a spot which had an outdoor lounge are filled with bean bags and a small wooden table.

“This is a secret rest area for the NCT studio which I usually use to take pictures of the sunset.” You said, plopping down on one of the bean bags. “Take a seat. You want something cold to drink?”

“Sure.” You grabbed two iced-teas and turned to give him one but were met with Dandelion cozying up to him instead.

“So he likes you.”

“It seems so.” He laughed and took the tea you offered him, opening it swiftly with one hand. “It’s so beautiful.”

You looked over at the setting sun. “Yeah. It is.” You took a sip of your tea and sneakily took a photo of Yeosang and your cat. “By the way. I have something to tell you.” You were now certain.

“What’s up?” Yeosang turned to look at your profile which was being bathed in the setting sun.

“I like you.” You said, not daring to look at him before taking a deep breath. “I like you more than a friend.”

Your eyes met for a brief second, you holding your breath as you waited for any type of reaction. The sudden blush which creeped up to his ears and down to his neck was a bit worrying but you still waited. He looked down at his hands and pinched his cheek to see if he was dreaming or not.

“I like you too. More than a friend.” He whispered out and laughed to himself holding his face in his hands, before finally pulling you to him, and placing his chin on your head. “I’m so happy. Like really happy to know the feeling is mutual.”

“Me too.” You said, burrying your face into his shoulder. “I want to try dating. Like, couple stuff too. And everything that goes with it.” You mumbled. “I think I can trust you.”

“Then we will do all that!” He said looking at you.

The both of you placed your foreheads against each others, smiling like idiots. The sun set in the background peacefully as Dandelion purred in Yeosang’s lap. Life was beautiful, serene and fluffy.

Just like the clouds and berries of this series.

#ateez imagines #kang yeosang #ateez #ateez reaction #cloudberry

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