by Kelly Louise Judd
by Kelly Louise Judd
Picasso X Gradient
Another great performance from Mary-Louise Parker.
18. Tennessee Williams – Tried to open eye drop bottle with teeth, choked on cap.
17. Joe Orton – Bludgeoned to death by partner during domestic dispute.
16. Jean-Paul Sartre – Infected papercut.
15. Arthur Miller – Frowned for too long, too deep.
14. Noël Coward – Appeared in…
Meryl Streep and Jane Fonda go backstage at the “Hedda Gabler” play.
The dynamics of Fisher, Ford, and Hamill’s off-screen relationship was an almost mirror image of Star Wars. Hamill later admitted he had a serious crush on his costar. Fisher had been awestruck by Ford’s tall good looks and laconic manner the moment she met him. "You look at Harrison and you listen, he looks like he’s carrying a gun even if he isn’t. He’s this incredibly attractive male animal, in every sense of the word. This carpenter stud," she said. "I’ve never had that same impression of anyone else in my life. I knew he was going to be a star - someone of the order of Tracy or Bogart." The trio became inseparable - Ford and Fisher particularly so. "Whenever anyone couldn’t find Harrison, you’d say, ‘Have you tried Carrie Fisher’s changing room?’" said Dave Prowse.
“”It’s a most distressing affliction to have a sentimental heart and a skeptical mind.”
– Naguib Mahfouz (via davidlynchshair)
The Knife Thrower - Henri Matisse. Artist: Henri Matisse. Completion Date: 1947. Style: Abstract Expressionism
You will almost always get more from seeing a play performed than only reading it. The complete joy The Monster experiences as he gradually learns to move, then crawl, then stumble, then run, is probably not so well presented in stage directions as it is by either Jonny Lee Miller or Benedict Cumberbatch. The utter betrayal felt by the Prince of Danes in Hamlet or the slapstick physical comedy by everyone in Shakespeare in Hollywood are well expressed in words, but better expressed by people. And sure, the steadfast intensity of Ruth Younger is going to be more palpably felt through any of the differing characterizations of Ruby Dee, Audra MacDonald or Sophie Okonedo than they might when you are picking them up on paper.
Some of them will leave you utterly confused without someone performing them in front of you. (I’m looking at you, Martin McDonagh).
But something has to be said for reading plays, to understanding the text, to having those words performed in your own head, in your own voice, before you hear them in someone else’s.”