Bornysterdays - Me? Sure, I'm Decent - Tumblr Blog

LOVE JONES (1997) dir. Theodore Witcher

MOSES VALENTINE Miss Scarlet and the Duke 3.05

under the tuscan sun is the best movie ever because it’s got everything i would ever want. leave my life behind and rediscover myself in italy, buy a beautiful historic home to restore, eat pasta, and also sandra oh is there. what more is there

the urge to bite while feeling overwhelming affection is completely normal. sorry if you don’t experience that but it’s not my business. get help

BLACK HISTORY MONTH CELEBRATION Jelani Alladin performing ‘Go the Distance’ in Public Theatre’s Hercules (2019)

AARON PIERRE: Fab Tv Interview (2021)

˗ˏˋ AUSTIN BUTLER Actors on Actors | Variety (December, 2022)

BRUNO MARS performing “Leave The Door Open” at 63rd Annual Grammy Awards

MARGOT ROBBIE as BARBIE in BARBIE (2023) dir. Greta Gerwig

@pscentral event 05: from your decade clueless (1995)

VICTORIA MONÉT Smoke (2023) feat. Lucky Daye

BARBIE (2023) dir. Greta Gerwig

ULTIMATE SHIPS CHALLENGE - Declarations of Love [1/5]

Gold Party (2023)

dust is my biggest enemy why are you everywhere and where do u even come from can u not leave me alone for just one day

https://www.instagram.com/p/CpSJarZLoiU/

AARON PIERRE for EUPHORIA. Magazine (2021) photographed by Jack Alexander

I have been known to indulge in a glass of water

hanging with my boys in the senate on wednesday the 15th, cant wait to see what theyve got planned, i hope its a suprise party

saw this thread and really loved it but what i liked most is that it taught this kid that if a book isn’t for you, even if you really want to like it, it’s okay to stop reading it and come back to it another time when you are ready. there were so many books i slogged through as a kid because i felt like i had to prove that i could read them since i *loved* reading so i simply had to finish this book or i didn’t actually love to read. silly, really. the more kids who don’t ascribe to that thinking the better. really great of both the dad and the librarian for giving the kid access to the stephen king book and allowing him make the decision on whether or not it was for him by himself.

Stephanie Hsu on playing Joy/Jobu and on nihilism in Everything Everywhere All At Once

LUSE (HOST): I want to touch back on how you portray Jobu Tupaki. I was rewatching the film last night. And there’s completely different physicality between Joy and Jobu. Like, Joy is- she’s a young woman. She’s strong-willed. She’s having this tension with her family, and that comes through in the way that she moves. But she’s still a lot more relaxed than Jobu is. Jobu has such sharp joints and such sharp edges. I wonder how your experimental theater training came in to how you used the instrument of your body in approaching specifically the Jobu portion of your performance.

HSU: Thank you for noticing. The body is where I enter, for sure. And with a dual role like Joy and Jobu, it was so important to me to differentiate them. And I knew that Joy was going to become Jobu, so I wanted to start Joy as unassuming, kind of swallowed in her sweatshirt, and just almost invisible, you know? Because I knew she was about to get to come out in an Elvis suit, walking a pig, smoking a cig- you know what I mean? Like…

LUSE: Swaggering. Swaggering.

HSU: …swaggering hard. But I also knew that Jobu, that same Jobu and that same, you know, villain was going to have to become the daughter again, and it would have to be big enough that the end scene catharsis would be satisfying and also surprising in a different way. But I remember when I was preparing for the role, I was doing a workshop of a show at MASS MoCA, actually, and the Daniels really let me into their process. So they sent me a look book of images that they had pulled for the movie. They sent me a playlist that was inspiration for the film. And bubbles were a really big thing. And there was a light installation at MASS MoCA. And I did this, like, physical dance, this kind of, like, worm dance.

LUSE: With the light installation?

HSU: With the light. Yeah, exactly. So I did a lot of kind of just experimenting and sending them videos of, like, what if Jobu moves like this? And we wanted her to be as sharp as she was also like jell-o. Because if she can verse jump, or become anything at any moment, she is as tough as she is completely malleable.

You know, talking about these characters, you get really nerdy really fast. You’re like, I don’t know if this translates, but… But there is something about it that works, right? Where an audience member might not be able to articulate that that’s how the sauce is made, but, you know, there was a lot of thought into the philosophical theory about those characters, because she is the one who embodies this- embodies nihilism, and is the driving force of trying to teach her mother how to understand her perspective and the perspective of the movie.

LUSE: Our intern, Jamal, pointed out that like because of the expectations that parents place on their children—even if they’re like hopes, right? Those are still expectations. You kind of have no choice, as the child, once you individuate and start to become your own person, to kind of become Jobu Tupaki to your parent, you know what I mean? Whatever their expectation, whatever their hope, their dream for you, almost nobody in the world ever hews to that 100%, right? And so you kind of become the Jobu Tupaki, the villain, in their story to a certain degree. Is that resonating with you?

HSU: Yeah, I always say that Joy and Jobu are two very different expressions of the same core, and the core is nihilism. That if nothing matters, then Joy is a version where, if nothing matters, then you can feel at the end of your rope. There’s no hope. There’s no reason to continue. And if Jobu thinks that nothing matters, then you can be the ultimate creator of chaos. And I feel like when you look at it in the version that you’re kind of speaking of, you know, Joy seems like, or feels like she’s failed her mother. And there’s no way for her to be the daughter that her mother wants her to be. And so Jobu’s like, you know, well you think that was bad? Well, watch this. All the things I can’t say as Joy, that I can’t do as Joy, watch me scare you even more and actually show you what’s inside and how messy and chaotic and wild it is.

But I also think, like, I said to the Daniels when we were- we were thinking a lot about nihilism. And that was kind of the first time I ever deep dived on that concept of nothing matters. And I said to them, you know, I think nihilism has saved my life in a way because it’s completely liberated me. I care very deeply, and sometimes I perhaps care too much. And the truth is, or my new truth is, that nothing matters. None of us know anything. We don’t know what we’re doing. We’re all trying our very hardest to figure it out together. And that’s kind of nice and opens up a new space for compassion in a very confusing time where we don’t have answers. I have no idea what the world is going to look like in five years, you know, I don’t know—

LUSE: Five months.

HSU: Tomorrow. I don’t know. But I do believe that we’re all doing our best to try to figure it out.