#oscar pine aesthetic

[nyoomfruits]

got tagged by @fueledbyremembering (thank you babes <3)

Rules: Go to Pinterest, and the first celebrity, outfit, quote, and aesthetic pic on pinterest is your vibe

tagging: @ocontraire @eisenberg @laceyamethyst

#this turned out surprisingly aesthetically pleasing for someone who's pinterest is 90% clay craft inspo #had to scroll for a million years for an outfit and eventually had to settle for the sweater lmao #also this thing claiming my vibe is sweaters pining sleeping and oscar piastri is. weirdly accurate

[new-sandrafilter]

Timothée Chalamet and Taylor Russell Will Eat You Alive: How ‘Bones and All’ Became the Year’s Sexiest Cannibal Love Story

By Nick Vivarelli Photographs by Jason Hetherington

Timothée Chalamet has been on a wilder world tour than most rock stars.

Between shooting “Dune: Part Two” in Budapest and “Wonka” in London and the cannibal romance “Bones and All” in Ohio, he’s hardly had time to sleep in his own bed. “We did the ‘French Dispatch’ premiere in Cannes,” he says about the debut of the Wes Anderson comedy in the south of France two summers ago, where he walked the red carpet in a silver suit. “And then I was immediately doing the vocal and dance training at Leavesden” — to take on the role of Roald Dahl’s Willy Wonka — “which was wonderful, because I went from playing a disenfranchised cannibal on the outskirts of American society in the ’80s to a gifted young chocolatier and now a space prophet.”

On this afternoon, 26-year-old Chalamet is taking a break from inhabiting the dangerous planet Arrakis in “Dune: Part Two” to attend the London premiere of “Bones and All.” The drama, which premiered to a 10-minute standing ovation at the Venice Film Festival in early September reteams Chalamet with Luca Guadagnino, the Italian director who turned him into a movie star with 2017’s Sundance darling “Call Me by Your Name.” That gay romance, in which Chalamet plays Elio, an American teenager who falls in love with an older man, not only made Chalamet, then 22, the second-youngest best actor Oscar nominee in history, it gave peach emojis a whole new reason for existing.

If “Bones and All” could be just as culturally relevant, Hollywood would breathe a sigh of relief — because the world of indie cinema could use a jolt. Some 20 years ago, a generation of movie lovers funded art-house theaters by supporting “Boogie Nights,” “Memento” and “The Virgin Suicides.” Now, the 2022 equivalent of storytelling like that is HBO’s “Euphoria.” Post-pandemic box office numbers are sharply down, particularly for smaller movies, which is why United Artists Releasing has given “Bones and All” a Nov. 18 theatrical release: It’s the same window in which almost all installments of the “Twilight” saga dropped, setting multiplexes on fire as teen girls showed up in droves for Kristen Stewart and Robert Pattinson.

When I meet Chalamet in a hotel room in London, the young actor offers to pour me a glass of sparkling water as we sit down for a conversation with Guadagnino and Chalamet’s co-star, Taylor Russell. Hollywood has had a deficit of movie stars lately, particularly in the 20-something age bracket. Chalamet’s superstar appeal has always been in his “soft boy” aesthetic (which was famously parodied in a hilarious “Saturday Night Live” skit by Chloe Fineman). His fans like that he’s approachable, but he can also turn it up like royalty on a carpet — as he did at the Venice premiere of “Bones and All” in a red jumpsuit with a bare back that created a commotion on the Lido. Chalamet was showered with more cheers than even Harry Styles, who touched down in Italy at the start of awards season for “Don’t Worry Darling.” (Despite speculation on Twitter, Styles didn’t spit on Chris Pine.)

At Venice, Chalamet made headlines when he proclaimed that it’s “tough to be alive” in the age of social media, adding, “I think societal collapse is in the air.” When asked to elaborate on this assertion in London, he backpedals: “I think what I was saying was really, ‘What would it be like to grow up now?’” he says. “I guess I’m still growing up. Especially in the context of my career, I’m still growing. But I think Taylor and my generation was really the level-one social media — Vine, MySpace. And I think now it’s just more ingrained. But I’m definitely not the authority on the subject. And, equally, it could be a great space to find your people.”

I’d taken my 14-year-old daughter with me to the premiere of “Bones and All,” and we watched the screaming hysteria around Chalamet. When the movie premiered six weeks later in Milan, hundreds of Chalamet’s devotees — his followers are known as the “Chalamaniacs” — swarmed the venue, forcing police to close down the red carpet due to safety concerns. Such fandom harks back to the early days of Leo, Matt, George and Brad.

“Venice — that was fun,” Chalamet says, though “fame,” to people of his generation, is a dirty word, and Chalamet clearly wants to be seen as a regular guy (for instance, he continued to ride the subway in New York after “Call Me by Your Name” premiered). “I enjoy those moments,” he says, “and have a lot of gratitude for them. And I definitely never want to be expectant about it.” Abruptly switching subjects, he adds, “And, I must say, I get very excited about the lens we made this movie through — that there’s a fable and a metaphor at the heart of it, not some massive corporate interest.”

An arty New York City kid at heart, Chalamet chooses his own looks, including the black leather Celine jacket he wears at our photo shoot. As for his thoughts on cinema, he has a soft spot for indie films. “Those are the kind of projects that I grew up loving,” he says. “Even just on the music side, those are the kind of artists that inspire me — not because there’s a beat per minute that places well in the Top 40, but because they’re just putting their artistic ethos on something.”

Chalamet knows a little something about music. At the famed LaGuardia High School, he had the rap moniker Lil Timmy Tim. An uncovered video of him rapping about statistics class while wearing a backward baseball cap has been watched 10 million times on YouTube. Soon, he’ll be returning to those roots (sort of) by channeling a young Bob Dylan in “Going Electric,” a biopic directed by James Mangold.

Although there have been starts and stops with “Going Electric” since it was first announced two years ago, Chalamet confirms that he’s still attached. “I haven’t stopped preparing, which has been one of the greatest gifts for me,” he says. “It’s been a wonderful experience getting to dive into that world, whether we get to make it or not. But without giving anything away — because I don’t want to beat anyone to the punch, and obviously things have to come together officially — the winds that are blowing are blowing in a very positive direction.”

Before that, fans will get a taste of Chalamet’s musical gifts in “Wonka,” which is set to open in theaters around Christmas 2023. Chalamet trained hard for the movie’s seven musical numbers. “That was something I was very excited to jump into right away,” he says. Director Paul King “built a literal dance studio in one of the lots at Leavesden in London at Warner Bros.,” he adds.

The actor’s career blossomed after “Call Me by Your Name,” with two dramas directed by Greta Gerwig — “Lady Bird” and “Little Women.” And then he landed the lead as Paul Atreides in the “Dune” franchise, his biggest hit to date.

“Dune: Part Two,” which he’s filming now, reunites him with “Little Women” co-star Florence Pugh. “We were joking on set that we keep doing these movies, and we end up together even though we should be ending up with different people,” he says. “Florence is really special. She’s an incredible actor. She was incredible in ‘Dune’ — seriously incredible. She brought a gravitas to the role. And I can’t believe my good fortune at this young age … between Taylor Russell in ‘Bones and All’ and Zendaya in ‘Dune.’ And Austin Butler’s in that movie too.”

Zendaya will have a larger role in the second “Dune,” reprising her part as the warrior Chani. “She hasn’t wrapped yet,” he says, “and it’s amazing. She’s bringing exactly what she brought to the first one — which was incredible — but in greater abundance. And she’s really become a sister. I’m so grateful to count her as a partner and a sister and a friend” — he looks over at Guadagnino — “and also to share stories about how amazing it is to work with Luca, because we worked with him back to back on wildly different projects.” He’s referencing the fact that Zendaya collaborated with Guadagnino on “Challengers,” a romantic comedy set in the tennis world, which is in postproduction.

“He saw the movie,” Guadagnino teases, goading Chalamet to comment.

Chalamet hesitates, not wanting to give away anything about the film. “Loved it,” he finally says. His smile lights up the room.

If we’re being honest, this Oscar season has been a bit boring. Between the period pieces and the dramas made from memoirs, most directors aren’t cutting too deep. So perhaps we shouldn’t count out a love story about two cannibals who eat their way through the back roads of America.

The conventional wisdom is that blood and guts is too much for most Academy voters, but Guadagnino is here to tell you that’s not always the case. “In the history of the Oscars, cannibalism has been a gigantic plus,” he says. He then lists the five Academy Awards handed to the greatest flesh-eating masterpiece of all time, “The Silence of the Lambs.” “There’s a very tough novel, the talented script and Sir Anthony Hopkins as the unforgettable cannibal.” He cites the film’s director, Jonathan Demme, as a strong influence on his own career.

“I’m not comparing myself or us to that masterpiece,” he says. (OK, maybe he is, just a little.) “But that was a love story like ‘Bones and All.’ It was a fun, twisted love story between a cannibal psychoanalyst and a very stern woman who wants to save herself by saving this other girl from the lair of a serial killer.”

If you’re raising your eyebrows at someone describing “Silence of the Lambs” as “fun,” you haven’t met Guadagnino. The tall, chatty Italian director has spent his entire life obsessing over Dario Argento’s horror classic “Suspiria.” Following “Call Me by Your Name,” Guadagnino directed an elegant remake, in which flesh is ripped and heads explode.

Now, he’s reunited with Chalamet on “Bones and All, which is not quite the next “Silence of the Lambs” but more along the lines of Terrence Malick’s “Badlands” or Baz Luhrmann’s “Romeo + Juliet.” In “Bones,” Chalamet and Russell play Lee and Maren, teenage misfits in the 1980s, who find each other in a roadside convenience store as they’re both drifting across the Midwest. As they travel together, they feed on strangers they meet along the way.

But just don’t compare cannibals to vampires with this crew. “I love the ‘Twilight’ movies so much,” says Russell, who broke out in 2019 with a heart-wrenching performance in Trey Edward Shults’ family drama “Waves” and now could have a shot at some awards-season gold playing Maren. “But this is different. They both deal with blood and people who are not normal, but ‘Twilight’ has vampires and this movie has cannibals.”

For many years, Guadagnino — the director of “The Protagonists,” “I Am Love” and “A Bigger Splash” (all starring his muse, Tilda Swinton) — was either detested or ignored within Italy’s insular film milieu, and the feeling was mutual. So it’s not surprising that the first time I met him, in 2009, he told me his goal was to become “a Hollywood insider.” Surely, “Call Me by Your Name” brought him a step closer to that dream. And now his association with Chalamet has potentially clinched the deal.

When asked how “Bones and All” made it to the big screen, Guadagnino says, “The honest, direct and completely unapologetic answer is Timothée.”

Chalamet was in Rome doing reshoots for the first “Dune,” stuck in Europe during the pandemic, when Guadagnino sent him the “Bones and All” screenplay. They talked at length, and the actor realized that this could be the first project in which he might have a hand in shaping his character.

“It excited me, because it felt like it was very different than the first project we had done together,” Chalamet says. “It excited me, too, because I felt the bones of Lee — no pun intended — were there, but there was a lack of direction.” Guadagnino encouraged Chalamet to fill out the character by working with the screenwriter, David Kajganich, an experience he’d never had before.

“When Luca said I should get on the phone with David, and that process started, I was seriously warming to the idea that — without sounding pretentious — we would be going to the middle of America with Luca to shoot his first American film.” He adds, “And because a couple projects I’d done were of such a size, I felt like I really wanted the challenge of going back in a more ‘indie environment.’” He uses his fingers as quotation marks.

Kajganich, with whom Guadagnino collaborated on “Suspiria,” had originally adapted the YA novel “Bones & All” by Camille DeAngelis for “The Devil All the Time” director Antonio Campos. When Campos backed out, the writer asked Guadagnino to read it.

“When Lee shows up on the page,” says Guadagnino, “I found Timmy.”

Despite having a big star attached, the cannibal romancer was not an easy sell to investors. Guadagnino and Chalamet, both producers on the film, didn’t want a studio on board, so they sought out Italian financiers. The fact that they and all the other actors were willing to defer their fees “really helped with investors,” says producer Francesco Melzi d’Eril.

Once the $35 million film was completed, it was immediately snapped up, sight unseen, by MGM.

Taylor Russell could see her character clearly when she first read the script for “Bones and All.” “What struck me about her initially is that she’s this kind of creature who feels like there’s something off with her, like a picture frame that’s slanted,” Russell says. “And I wanted to work through that exercise of ‘If there is something inherently wrong with me, is there a way to break through that?’”

Guadagnino told Russell and Chalamet that they had to sink their teeth into the role of real cannibals. “The intention was always that we were hopefully doing justice to the reality of these people’s lives,” says Russell.

Guadagnino calls “Bones” “a fairy tale.” “It’s about two young people — a girl, in particular — roaming this world of darkness and dealing with the challenges within and without, finding love in the gaze of one another and trying to overcome impossibility.”

Still, the outcast lovers feast on human body parts, a butchery the film does not shy away from. Guadagnino says quickly that he and his editor, Marco Costa, made a point of cutting away from gratuitous gore. He was not interested in shock value but rather an intensity of desire.

Russell and Chalamet, for their part, wanted to explore the emotional relationship more than the cannibalism. But, Russell says, they also “talked about eating somebody, eating anything, using your body, your hands, your mouth — it’s so tactile, so physical, that, in some ways, it’s simple.”

Guadagnino and his team thought about the consequences of a precarious life led roaming through cornfields and along back roads in the 1980s Midwest, “dealing with violence and the unexpected.”

“We came up with a lot of very subtle ideas about wearing the fatigue of being an eater on their faces and bodies — like scars in unpredictable places because of the reactions of the victims, who wounded them.”

One of Chalamet’s first lines in the film is “If you weigh 140 pounds wet, you got to have an attitude — a big attitude.” Asked whether he lost weight for the role, Chalamet answers, “Yeah,” without elaborating on how many pounds he’d dropped. Then he says, “That look that Maren and Lee have, I think it feeds the fablelike quality of the story, and of people that are living in extremes. As opposed to what the reality would be, perhaps: If you were consistently devouring entire human bodies, it would probably leave you with a bigger figure than they have.”

Chalamet worked with costume designer Giulia Piersanti on Lee’s look, riffing off the grunge aesthetic of 1980s punk rock. “Lee would want to express himself through his clothes,” Chalamet says. To help with this mix of big attitude and skinny body, they decided to dye his hair with sun-bleached streaks of pinkish reds, chop off some curls on the sides, and give Lee tattoos on his arms and hand.

Of course, everyone wants to know if Chalamet and Guadagnino are planning a sequel to “Call Me by Your Name.” Guadagnino floated the idea almost as soon as he debuted the original at Sundance, while he was doing press with Chalamet and Armie Hammer, who played Chalamet’s older lover, Oliver. But the project’s chances of making it to the screen have dwindled in the wake of allegations against Hammer in early 2021 for being physically and emotionally abusive to women, including suggesting that he eat their flesh. (Despite speculation in the tabloids, these cannibal exchanges had nothing to do with the inspiration for “Bones and All.”)

“I would love to make a second and third and fourth chapter of all my movies,” Guadagnino says. “Why? Because I truly love the actors I work with, so I want to repeat the joy of doing what we did together.”

However, when it comes to “Call Me by Your Name,” Guadagnino says, “there is no hypothesis, so there is no movie. It’s a wish and a desire, and I have not made up my mind about what would be the story.” When asked if the film could still include Hammer’s character, he says, “Yeah, of course.” Then he presents another potential storyline for a sequel — following Mafalda, the housekeeper, played by Vanda Capriolo, who resides in Elio’s family’s summer home. “Which is divine,” he says. “I would be very interested in seeing what is the life of Mafalda when she’s not around the family.”

After our group conversation, I meet with Guadagnino again in a bare, neon-lit room that seems better suited to a police interrogation than an interview. He is walking on crutches, one leg in a short fracture boot, due to his tripping on the Academy Museum of Motion Pictures stage after presenting a Visionary Award to Tilda Swinton in L.A. a few days earlier.

On the red carpet, before the Academy Museum ceremony, Guadagnino teased “Challengers,” his first U.S. studio film, which is being produced for MGM by Amy Pascal. To get Guadagnino on board, Pascal had sent him the “Challengers” script and pushed him to read it that same afternoon. She called him every half hour “until I surrendered and I read it.”

So does Guadagnino finally feel he has become a Hollywood insider?

“No,” he says, “not yet. But I can fall from the stage of the Academy Museum and be helped by many Hollywood insiders.” Among those who came to his aid were Adrien Brody, Alicia Vikander and his longtime agent, Bryan Lourd. “That was a good feeling. A lot of Hollywood insiders love me very much.”

#timmy #timothee chalamet #bones andl all

[shastafirecracker]

for the trope ask thing, what are your thoughts about: fake dating? historical alternate universe settings? hanahaki?

Fake dating - A+ tier, love it, especially if they’re doing it as friends already or if it’s focused on a specific event (be my date to a wedding/holiday/trip). It’s best as high comedy to me, salted with the flavor-enhancer of pining - if it’s all forlorn then I lose interest because maaan what a waste of a great comedy setup

Historical AU - hmm, C tier, really depends on the author and the amount of thought that went into the historical part. I never have cared for the Victoriana aesthetic so if it’s just an Austen style thing I’ll skip it unless it’s been highly recommended. BUT history is a huge sandbox with so much more than 1880-1920 England in it! If someone’s written something in a period that is clearly their special interest and the research is deliciously crunchy then I’ll read a historical au set pretty much anywhere!

(Caveat that if it’s a Vietnam war au I might also nope out bc I have a low tolerance for Oscar bait in fanfic form and I did read Twist and Shout (SPN) and it did not do it for me)

Hanahaki - rating N/A because you know I don’t think I have ever read a single piece of hanahaki? I will say that conceptually it doesn’t sound interesting to me. I have a mid-range tolerance for pining - I need either plot or communication to happen at SOME point to break things up. And hanahaki sounds like it’s the extreme end of the pining spectrum, so. (Also flavored with a little fuck or die, right? Or at least fulfill the relationship or die? Ehh -waves iffy hand-)

#i love a historical au that’s like I see your 1892 English countryside and raise you 1191 Frankish hamlet #with the backdrop of the failure of the hundred year experiment spawned by the first crusade #and now we gotta take a sea voyage to the holy land #or. a historical au that’s like hey how about that Peloponnesian war eh #warring states period Japan. perhaps a little Aubrey-maturin style 1700s naturalism #cowboys and homesteaders also a pretty dope setting #there’s so much! I do not wish to read the downtown abbey script with the names changed to insert current fandom here

[likeatlas]

yesThey faced the media around the world looking like sneaky teenagers who had been caught doing something very naughty on a school field trip. When Olivia Wilde and the cast members of her new movie Don't Worry Darling held a press conference in Venice earlier this week, it was quite a complicated affair for everyone involved. What should have been a moment of celebration turned into an ordeal. Pop star-turned-actor Harry Styles, well accustomed to tabloid scrutiny, squirmed uncomfortably. Chris Pine looked down. Wilde smiled sadly. The thriller Wilde's dystopian science fiction has been the most debated film of the festival that ends this weekend. However, the focus was not on the performances or the boldness of the director's aesthetic decisions. Instead, everyone is talking about the behind-the-scenes chaos: the alleged romance between Wilde and his leading lady, Styles, the tensions between cast members, disputes over salary and status, and why the star Florence Pugh did not appear at the press conference. The film was screened shortly before the premiere at the Venice Film Festival of Blonde, by Andrew Dominik, his Marilyn Monroe biopic, based on Joyce Carol Oates' book about the star. After all, Monroe, played by Ana De Armas, was involved in many Hollywood productions that were even more tense behind the scenes than before. Don't Worry Darling. Monroe was a victim of the Hollywood system. Her studies used her, abused her and then spat on her, but when she was in a set of cinema, he always left chaos in his wake. “He was perfectly unpunctual. He was never once on time…she could always be counted on…to be late,” Billy Wilder told biographer of him Charlotte Chandler after working with Monroe on The Seven Year Itch Y Some Like it Hot. Monroe distracted her co-stars and the director. He would stay in his trailer for hours while everyone else got ready to roll. Tony Curtis remembered that when he dressed as a transvestite in Some Like it HotMonroe made him wait for hours in high heels and a metal jockstrap that prevented him from urinating. Therefore, he "assembled a funnel and a hose" that allowed him to "do my business without going to the bathroom." Curtis had had an affair with Monroe, but still made his famously vulgar comment about her that romantic scenes with her were like "kissing Hitler." In the case of Monroe, Wilder always insisted that "it was worth the agony of working with her" because the results were ultimately very spectacular. “She didn't know her lines. It's terrible. Then on the thirtieth take, she was saying it like no one else could." Monroe's pranks were nothing more than an extreme version of what happens in almost every sets of cinema, not only in Don't Worry Darling either Some Like it Hot. This is nothing new in the world of cinema, although we do not always hear about it. Well-paid, handsome actors with big egos, cooped up together far from home, often have affairs, start fights, and spend their free time drinking themselves into a stupor or, like Monroe, hiding in their trailers. Florence Pugh at the premiere of Don't Worry Darling at the Venice Film Festival, where there were hints of a feud between her and director Olivia Wilde (Getty Images) “People are very difficult in movies…always!” Oscar-winning producer Jeremy Thomas once told me. “Everyone misbehaves, or most misbehaves. You have to keep that in mind... if you're going to get mad at everyone who's difficult in the movies, you're not going to have any friends left in the world." Boredom can lead actors to set to behave very strangely. In his 2002 memoirs, You're Only as Good as Your Next OneHollywood producer Mike Medavoy writes about the epic “prank war” between Sean Penn and Woody Harrelson on the set of Terrence Malick's war epic The Thin Red Line. They shot in the Solomon Islands and in the remote interior of Australia. Penn began posting flyers around town announcing a "Woody Harrelson Day" during which Harrelson would sign autographs for $10 each.

Hundreds of people came from all over to get his signature. Harrelson responded with an elaborate prank that ended with Penn running for his life, convinced the police were about to shoot him. Harrelson filmed his partner in his moment of greatest terror and then taunted him with the image. Penn went further with his next tactic, leaving Harrelson "marooned in the rain forest in the middle of the night with no food, no water, and no way home except on foot." There was only a 40-mile (64-kilometre) walk to the set. Marilyn Monroe and Tony Curtis on the set of Some Like It Hot in 1959 (Moviestore/Shutterstock) Harrelson and Penn were supposed friends. His antics were funny, albeit with a touch of humor. There are many other cases in which the actors detest each other. In that case, the film sets become battlefields. Joan Crawford and Bette Davis were in the twilight of their careers when they were cast in Robert Aldrich's film What Ever Happened to Baby Jane? Davis plays Baby Jane Hudson, a former child actress who takes sadistic pleasure in tormenting her wheelchair-bound sister Blanche (Crawford). When Davis kicks and punches Crawford on camera, she doesn't hold back. What Ever Happened to Baby Jane? it is based on malice and cruelty, and it works. The two stars gave grotesque and self-parodic performances, but the public, knowing their hatred for each other, totally bought it. The real-life feud between Davis and Crawford became one of the film's biggest commercial hooks. The real feud between Bette Davis and Joan Crawford in What Ever Happened to Baby Jane? in 1962 it became one of the biggest commercial hooks in the movie (Moviestore/Shutterstock) It is a lesson that Warner Bros can learn from when it comes to releasing Don't Worry Darling. A little chaos and controversy on set can boost a movie's profile, especially when all the gruesome details are leaked into the media. Styles and Pine aren't exactly Crawford and Davis, but spitting on your rival at your movie premiere, as Styles apparently did, is straight out of the BabyJanealthough sources close to Styles told The Independent that the spit claims were not true On the other hand, the history of cinema also shows that the most problematic productions are sometimes the most successful. From Francis Ford Coppola, who seemed to lose his mind in the Philippines during the filming of apocalypse noweven James Cameron, who struggled to finish titanica on time, chaos does not necessarily mean disaster. Wizard of Oz It was not an easy film to shoot. "They were little drunks... They got drunk every night and collected them in butterfly nets," Judy Garland complained about the disruptive behavior outside filming hours of the "little characters" who played the Munchkins in the land of Oz . Gone with the Wind also had its fights behind the scenes. Directors were fired, actors had affairs, there were nervous breakdowns, and black cast members were discriminated against. However, both were one of the biggest hits in Hollywood history. jaws, by Steven Spielberg, was a production famous for its problems. The lead actors, Richard Dreyfuss and Robert Shaw, harassed each other relentlessly, the shark model didn't work well, and the production ran over time and budget. However, it became a huge success and ushered in a new era of summer blockbusters. There was an epic prank war between Sean Penn and Woody Harrelson on the set of Terrence Malick's war epic The Thin Red Line in 1998 (Moviestore/Shutterstock) books like Easy Riders, Raging Bullsby Peter Biskind, and You'll Never Eat Lunch in this Town Again, by Julia Phillips, suggest that no self-respecting director in the 1970s would even conceive of making a movie if it didn't have a healthy dose of fighting, sexual antics, drug use, and backstage brawling. Filmmakers like Coppola, William Friedkin and Martin Scorsese took advantage of all the turmoil to tap into their creativity.

illicit relationships in the set they are common and do not necessarily affect a film. Long before Styles got involved with Wilde in Don't Worry DarlingRichard Burton and Elizabeth Taylor, both already married, shocked and moved the media around the world with their romance during the filming of Cleopatra (1963). This is a highly troubled production that took years to complete. It was described as "the biggest flop in the history of cinema", with a budget that, in current figures, is equivalent to about US$350 million. It was about to put 20th Century Fox out of business. However, the Egyptian epic ended up getting its money back. In the end, Burton and Taylor were also very good at the box office. Styles and Wilde still don't have the same resonance. A key difference between Don't Worry Darling and all those other movies where pandemonium has reigned behind the scenes is that it was made in the era on-line. “As for all the endless tabloid gossip and noise out there, I want to say that the internet feeds on itself. I don't feel the need to contribute. I think she is already very well fed," Wilde said during Monday's press conference in Venice. However, actor Shia LaBeouf's email to the director, in which she referred to her firing from the film as an "attractive clickbait”, hinted that Wilde was busy fanning the gossip herself to ensure her film received attention. The director had declared to the newspaper Variety that LaBeouf's "fighting energy" was not "conducive to the best performances" or the "safe, trusting environment" he wanted to create in the studio. set. In retrospect, his words seem very ironic. Richard Burton and Elizabeth Taylor thrilled the media around the world with their romance on the set of Cleopatra in 1963 (Getty Images) Of course, the current hysteria online is in keeping with the theme of the film. It is a story about an alternate reality in which the protagonists refuse to live in the "real" world. By immersing themselves in gossip and ignoring the actual film, the journalists and fans behave exactly like the characters in the film trying to escape into their own dreamlike existence. It doesn't matter anymore if all those toxic stories leaking out about the production are true. Don't Worry Darling It's one of those movies where the off-camera theater is so much more compelling than anything we see on screen. Regardless of how it does at the box office when it opens later this month, it's already given us the biggest soap opera drama of the year. Don't Worry Darling” opens on September 23 and the Venice Film Festival runs until September 10.

[findingemme]

"when you have eliminated the impossible, whatever remains, however improbable, must be the truth[.]" - sir arthur conan doyle

writing log, day 17.

i haven't forgotten you, i've been busy trying to find a job so i can pay rent, but no one wants to hire me. anyway, let's not dwell on the past. i've got some english beer, and i know one thing for sure, the uk is the place i need to be. most definitely.

anyone who knows me, i mean really knows me, like my bestie (who's also a brilliant writer fyi,) knows i have an infatuation with history. or, more specifically, the history of the uk from the years 1800-1900.

it's my favorite period to study, and if i was to specialize my area of "english expertise," it is there i would reside. seriously, "dracula" is my favorite book, followed closely by "evelina" and "mrs. dalloway." i'm unwell. don't get me started on my lifelong sherlock holmes obsession. either way, instead of fighting against this ardor, i've decided to lean into it and write about what i love. witches, vampires, ghosts, writers, history, and murder. all in the uk, of course.

for the last week, i've been working on an "untitled" project (i literally do not know what to call it), and it's been the most fun i've ever had with the craft. harper was something i felt i had to do, something i had to get out of my system, and pines will always hold a special place in my heart. still, wherever this is, these spooky little mysteries, they feel like home. so i'm gonna keep at them because i want to enjoy what i'm doing.

i do not want to dread writing— that makes it work. yes, this is my job. my career. but it's also my passion, and i don't ever want to lose the heart of it. i don't want to of something that feels unnatural because i feel obligated. going against what other people want from me has always been a struggle, but im working on moving past that. this will help me learn how.

progress wise, in the last week, i have written two chapters worth of this new story and began the third this morning. it's dual p.o.v.; there's scotsman, vampire princes, two-hundred-year-old witches, cat demons, haunted portraits, and my favorite— almost all my favorite writers are still alive. watch out for oscar wilde, y'all— he's punk rock now. the vibe is very haunting, with some gothic horror and dark academia aesthetics mixed in for good measure. if anyone wants to see the playlist, let me know. making them is my favorite pastime. until next time. -e

#writing log #writing journal #diary entry

[b0nelessdoodles]

“The single quality that is common across every living creature on this planet, is fear.“

my sleep schedule has been tanked thanks to this show so have some art ‘cause this scene owned me dsgfhgjhj

#rwby #rwby volume 7 #oscar pine #rwby volume 7 spoilers #tho its been a couple years ill still tag spoilers gdi #IT TOOK ME LONG ENOUGH TO FINALLY DIVE BACK IN FECK #ugh this season killed me im not ready to watch 8 #i got ozpin back but at what cost #the fear speech owns my soul dont look at me #oscar pine my BELOVED #HE TRIED SO HARD HHHH #i have such an aesthetic for favs falling so like #i cannot stop rewatching this scene #i should draw more of my favs #its not like i based an entire dnd character based on qrow or anything nope #i miss this show hold on im getting emotions

[greenteaandtattoos]

When RWBY has this background

#rwby #ruby rose #weiss schnee #yang xiao long #oscar pine #qrow branwen #summer rose #rwby aesthetic

[hyperfixation-hideout]

People are talking about Oscar's color palette so I wanted to throw my hat in the ring and give a recolor in MS Paint a try! Draw, I cannot, but fill bucket tool, I can. And will.

I used his and Ozpin's emblems as references ^-^

His gloves clash hard with his current outfit, I haven't heard anyone dispute that. But I really love RWBY's bright colorful designs, so instead of muting the gloves, I decided to unmute the rest of him! The bright orange suspenders and gloves looked so good in his og design, so I wanted to see if I could make it work in his new one, especially since I think the gloves are here to stay. These are hard colors to mix well but if Penny rocked the green/orange look, so can Oscar!

(I'm aware making the side bits orange makes them look like cutouts from the front. And what of it?)

I've got like 27 versions of this saved, but I think that one's my favorite? A few have orange inside the collar but I can't decide whether I like that better or not. It balances out the weight of the design and draws your eye to his face rather than his middle, but it runs the risk of being too busy... what do y'all think?

a couple alternate collars for your consideration:

I know these are far from perfect, but I had fun making them! And I'd like to point out that I only removed the harness belts; you're welcome heathens.

#oscar pine #rwby outfits #rwby redesign #quinpost #I don't actually have a problem with the belts for the most part XD #the middle one around the jacket is good and I like it #the wrist straps are nice and I like em but not attached either #the boot buckles.. I guess? they're not obtrusive so I'll let it slide but it just see #seems* like a hassle #the arm belts confuse and irritate me #but I do agree there's some aesthetic value to them even though ALL THEY COULD DO #IS LIMIT HIS MOVEMENT IN BATTLE #I digress #but that ribcage belt #that goddang RIB BELT that goes UNDER his jacket #there is no reason #there is no ecuse #some crimes can never be forgiven #and now we know it's a HARNESS?? #I thought it was one belt but it was THREE I'm so mad #I will admit! Without his jacket it looks nice and simple #it's just when there are TWENTY. FIVE. BELTS. that it gets cluttered #no inside belt for you but you can keep the others #for I am generous and wise

[sae-midori]

I always adore seeing other artists' creative processes, so I wanted to share a little glimpse of the very, very beginnings of my RWBY nature scenes that I’m currently painting. Here are some of the initial sketches I drew to plan out the tone, composition, and feeling of each character’s scene.

Each landscape is derived from a character’s themes, specifically their color palette in combination with one of the places their allusions come from. For instance, Ruby alludes to Red Riding Hood. So her scene was designed to embrace a German inspired landscape and echo the feelings of her red and black color palette, all while creating a scene that feels like a personification of her bright personality.

From top to bottom:

Ruby Rose - German inspired alpine wildflowers / final sketch

Weiss Schnee - German inspired snow lake / final sketch

Jaune Arc - French inspired poppy meadow / final sketch

Oscar Pine - American inspired pine forest / early sketch

Qrow Branwen - Welsh inspired autumn fells / final sketch

#rwby #rwby sketches #ruby rose #rwby ruby #weiss schnee #rwby weiss #Jaune Arc #rwby jaune #Oscar Pine #rwby oscar #qrow branwen #uncle qrow #rwby qrow #pen sketch #landscape sketch #art process #nature #landscape #scenery #aesthetic #theme art #concept sketch

[peterneptune16]

Time to start on Fall/Autumn Aesthetics! Decided to start with the obvious choices of Oscar and Pyrrha

Edit: And Cinder- duh, Fall is in her name (I’m dumb)

#rwby #oscar pine #pyrrha nikos #autumn #fall aesthetic #cinder fall

[scepterno]

Ozpin’s Moving Castle

#rwby #Oscar Pine #professor ozpin #ive never watched this movie in full but the aesthetic speaks to me #art

[zacs-of-rwby]

Could you do an edit or aesthetic for Bright Eyes? (I think that's the name for Ruby, Penny, and Oscar)

Hello anon! Thank you for the lovely request! I actually really like how this one came out, I hope you like it, too! 🙈

This was the only edit request I had left so if anyone wants to send me more, feel free! (You can even send me more than one!)

#ask and you shall receive #thank you for the ask! #anon #rwby #aesthetic #rwby aesthetic #my aesthetic #bright eyes #oscar pine #ruby rose #penny polendina

[whitleyschneezzuu]

I made this so pls repost with credit

#whitley schnee #snowpines #richfarmers #aesthetic #anime #anime aesthetic #oscar pine #rwby8

[rwbyfluff-and-smut]

Ozpin

“But perhaps victory is in the simpler things that you've long forgotten; things that require a smaller, more honest soul.”

#professor ozpin #rwby ozpin #ozpin x reader #rwby #moodboard #ozpin #oscar pine #rwby v8 #green aesthetic #rwby ozma

[ozpins-coffeemug]

Smoll Farmboii aesthetic

I edited my my own eye colour into this lol, the original one had blue eyes. Good thing i have like 383737 pictures of my eyes on my phone.

~ Coffee

#rwby #rwby aesthetic #oscar pine #rwby oscar #coffesaesthetic #rwbyaesthetic

[greenbeany]

MERRY CHRIMBLE EVERYONE-

UH-

MERRY NON DENOMINATIONAL HOLIDAY EVERYONE!

Team Jnpr (the superior team in every way) celebrating!

(if you're wondering, Jaune is wearing clown makeup and I totally didn't just oversaturate his face 😃)

Sketch:

Significantly less effort than my last sketch yay 🎉

#don't pay too much attention to the bauble colours. #unless you wanna feel heartbroken on Christmas that is #oh yeah thats rn in my timezone #family aesthetic #rwby #rwby8 #rwby fanart #lie ren #nora valkyrie #jaune arc #oscar pine #let them be together for Christmas 😭