** "Offbeat hilarious!" ** "RA tingles & laughs" ** "True to the characters! " ** "The fiction is great. Keep it up!" **

Tuesday, July 28, 2015

Previously On 'We Are Scared'

The things I read! RA Family, erm, Fandom is waiting for you, Francis!


Previously on 'We Are Scared', a new TV adaptation based on my Twitter Timeline.


RA Fandom

SCARED that we get to see our favourite actor doing the horrendous acts as written in the Red Dragon book by Thomas Harris.

SCARED by seeing previous episodes by Hannibal, or in my case, the bloody yet artsy displays of corpses in murder scenes-loving tweets by Team Hannibal: @DeLaurentiis, @neoprod, @BryanFuller, @lorettaramos, @HannibalRoom, @NBCHannibal and I count in @Tattle_Crime.

SCARED by prematurely, massively claiming to reject watching Hannibal, even if RA is in it.

Team Hannibal First Moon

SCARED that RA fandom would butt out, Team Hannibal went into twitter silence after the first promotion and announced a new promotion round starting ep 308, of the Red Dragon introduction.

SCARED that RA fandom would not love them, Team Hannibal at least knew they would get flower crowns from Fannibals at the SDCC.

SCARED from losing the right to make further seasons on Hannibal and claiming worldwide support of Fannibals, the preview clip on Dolarhyde was showed at SDCC and premiered later that day on the area restricted nbc. com website (!). (Due to kind forces, it got put on YT).

Francis Dolarhyde

SCARED that Dolarhyde could not become a Dragon, he does the flexing on his attic and gets a tattoo.

RA Fandom

SCARED that the preview clip gets pulled from internet, we make art, caps and gifs.

SCARED that we would miss out on anything tasty, we tweet during the hashtag war hours of Team Hannibal.

SCARED that we will not see the episode, some among us went the illegal route on internet.

SCARED that we would spill blood, we arranged silent Butoh dancing sessions.

Team Hannibal Second Moon

SCARED that the RA Fandom would not watch during US broadcasting, Team Hannibal tweeted even more pics of a sweaty, flexing Dolarhyde, and....  killed the RA fandom.


***


Fanart made by Mat Khal on FB, idea mine, sort of. (I said: 'Do something with newspaper.')

Wednesday, July 8, 2015

The Crucible Cartoons

John Proctor and Abigail's situation in nowadays nutshell.
(I vibe Proctor/RA as schoolteacher).

About time I put my Crucible gems, posted first on Facebook and Twitter, on my blog.
These cartoons are made by Mat Khal which I met on FB, ideas are mine.

Dreaming of Olivier Awards.
(Finally, the odd photoshoot explained).

Mere mortals hoping to be read. 
(His facial expressions inspired me).

Anyone fancy to watch a reenactment of their domestic quarrels in theatre?
(Indoors, Old Vic allowed liquor in plastic cups).

There is a Fourth Wall that devides people in theatre. ;)
(Real inspiration will be revealed further in this post).

The 'doodle' I've made so Mat could understand my idea: 
the egotistical hyper awareness of the fleeting 'being in the room'.
(It is as simple as that).

This doodle I tweeted to RA's twitter account as a Thank You note, 
coming from the perspective of a humble audience member. 
Foremost, it was a mentional reply to Kevin Spacey's tweet 
as the departing artistic director of the Old Vic Theatre.
About a week later I was surprised - for coincidental reasons - when a charity tweeted RA's doodle. Remarkable, since he hasn't auctioned or published a doodle in years.
Yes, very egotistical of me to think there is any connection. Like the ripples in the water...

Anyway, after five years of flaw-inspired blogging I am still in the room.
Now that's creepy.

Saturday, February 7, 2015

The Crucible On Screen Confessions

Proctor: "It is Winter on your blog."
 
 
The Crucible theatre play, filmed version, seen in Amsterdam, 4th Febr. 2015
 
Being one of the Lucky ones having seen The Crucible play live in July 2014 in an old theatre, named Old Vic in London, I since then pledged on my blog and Twitter for a DVD release. Luckily enough, later in the run the play got filmed by Digital Theatre, who used 8 HD cameras in-the-round to film up-close the intense, horrible descent of its main cast. So I went to see it on film.
A good moment to compare impressions.
 
However, before the film started, there was critique in the room. "All that wooden acting of Dutch actors!" The classy lady in her 70s next to me demonstrated that by exclaiming them: "One of them goes 'Brah, brah, brah' and then the other also goes 'Brah, brah, brah!' Only the acting likes of Gijs Scholten van Aschat is bearable. And then they come on stage in their underpants, with one of them scratching his crotch. Like the Dutch audience is conservative!"
That was a whole different sound that what I heard at the Old Vic this Summer by a 30s classy woman a couple of seats next to me: "You've had a good view on Richard, haven't you?"
 
Confessions
 
Main confession: I was proud for Richard's achievement. I was proud to see him play live as main lead to carry this production. That might have looked as drooling, but there were Lucky reasons I feel are best not to share why I was there.
Other confession: my fear that every theatre play I'd see next would be bland, was unfounded.
Best confession: I had goosebumps during the filmed version.
Bonus confession: when Richard wept at the table in the live play I wondered when I saw his back choking if he was pretending, because I couldn't see his facial expression. Then he turned around. Simultaniously I quickly raised my hand from my lap to cover any facial signs of disbelief and noticed my arm was really heavy. Then I saw the snot hanging from his nose onto his beard, and I felt my hand uncontrollably trembling against my cheek. He stepped a bit out of the situation, held back by a man (?), but managed to glance at a section of the audience - in where I sat. I was wondering if he felt his dual consciousness at that moment and would show a glitch of bravoure, because of it. He saw me with big eyes and a trembling hand and I could see his mental 'Oh' before he in a more demure state, turned around further, back into the scene. Wisely this was not put in the film. In interviews he thanked Yaël Farber to 'go there'. He managed to repeat it, because I found only three witness reports covering other performance dates. Almost saying: what happens in theatre, stays in theatre, so I can't mention anything dangling...
Richard really whipped the adoring as well as critical audience with his acting.
 Thank you Richard for your aimed stare at the beginning and the end smile at the applause. :)
 
Boring Comparison Notes
 
Close-ups. It was good to see all the facial expressions up close. I discovered red edges and dark circles underneath Parris' eyes. It was better seen than in the half-lid theatre at second row. But after some time of seeing only close-ups, mainly in the first part, I wondered where every actor stood on stage. After the first part this got better. Watching actors react or blending into the ensemble is just as interesting as them getting the focus. Lucky to have seen Richard striding by barefoot, I couldn't help but wondering if his trained hammer toes were actually a secret tought by his former acting school LAMDA to help stay balanced at all times. Unfortunately, no close-ups of his giant army-style boots and his short hair which were my comfort zones to stare at in the theatre.
No smells. No burned herbs in filmed version, which was very dominant - and unique.
No deep noise. The theatre had a score that made one's organs tremble - very fitting. Unfortunately this cinema room had no Dolby Atmos. I've read that it was filmed (!) with it. The actors wore head microphones. Once in a while the resonances of voices in the theatre could be heard which brought some of the atmosphere back.
Stage directions. Because I've seen this play only one time, the film was a great way to bring memories back. Yet, almost in every scene I was doubting my memory, mostly for Proctor's character: he was doing this instead of that. Like the Whip scene. I can't remember Proctor's wife being in the room. The Whip scene was edited faster than what it felt like.
English subtitles. Although there were native English people in the cinema, I was glad the film had subtitles in this old English accent so I could rest my eyes on a word that was very important or unfamiliair to my ears.
Language. It was old style English, which made me wish to learn it for party gatherings.
Humour. While during the run of the stage play, sometimes there was a comment online saying that it was a serious play, so why where audiences so rude to laugh at certain points? Explanation: this was a heavy subject, so after a solid and breathtaking intro, those were written in to untie any clasped buttocks! People at the filmed version laughted evenly with recorded audiences, even more so with little, individual smirks, and by help of the subtitles.
No glances into the audience. I was in the Lucky zone and the filmed version makes you sober up.
No leaflets, posters or programmes. Depending on the cinema, but this cinema had no TC promotion.
Upping the antes. This play had a lot of shouting actors. I feared Richard may loose his voice, but he said in interviews he got vocal training during the run. In the filmed version I can't say he was hoarse. The girls in the ensemble had to do the most wicked movements and shoutings, and combined with the horrible dilemmas in the storylines, it got more and more intense.
Themes. The first time I saw TC, I focussed on different themes than when I saw the filmed version. 
Adultery theme. While I was glad to not get to see a glorified 'middle-aged man John Proctor getting away with his affair with underaged girl Abigail', the outcome of the play was too gruesome to witness. While I said before that Abigail acted evil, JP was also not a saint.
Jurisdiction theme. Without a good jurisdictional system you are delivered to the Gods
(or to the hounds). People working in jurisdiction should see this play.
Some old man I overheard at my physio, said: "You have a democratic right when you vote, after that you have no democratic right. (Then the people in power decide for you)."
Religion theme. You believe you belong to the right club and do the right thing... 
Yet somehow Life gets in the way. We're not Quakers here yet.
Man-as-hero theme: A man wants to be a hero in his life. When he fails, he has to learn to deal with it in his life. If not, he can become confused. Then he dies.  
 
End Notes
 
At the end of the film, at 23hr45, a part of the audience applaused and the lady who sat next to me, said: "It's a shame, it is quite bad. People dare not look their existential fear in the eyes. That's why they invent a God where they can all blame it onto. So they don't have to face their existential fear. And Life already is as short as it is. So they invent a God. This will continue for ever. I hope I am not bothering you with this?" I said: "No, on the contrary, I find it very enlightening." Particularly, because I found her reaction very in line with how I assumed Arthur Miller would have explained it. Meanwhile, we are on this Earth together.
 
It is not a theme in TC play, but the uncertainty of women striked me. It hounds fandoms. Had I at first the eery thought that Richard picked this play implying to impose a moral lesson on adoration for his followers, this time I felt very comfortable in my seat.
The ignorance, accusations and commanding power out of jealousy and uncertainty is tragic indeed and causes unnecessary rifts in communities.
Come to think of it, the men in this play were uncertain as well.
 
After the film, I had the words of the elder woman ringing in my ears when I walked to the tram stop to go to CS station. Then I pondered on how women could break this uncertaincy spell.
At 23hr50 the tram came at the tram stop were I was waiting.  
A young woman with a piercing in her underlip, wearing colored sneakers stepped in with me and was on the phone.
"No, I have had enough of you. I break up with you. I end this call now. Good night."
After my glance, she looked at me: "Yes, that sounds harsh, but it had to be done."
I elbowed her and said: "Congratulations." 


Tuesday, September 30, 2014

But First, Into The Storm

Japanese poster
 
 
Seen in 2D with Dolby Atmos sound
 
A little week after release date in Holland, I went to see Into The Storm movie. It's only now that I write a post about it. I am dealing with a personal storm right now, which is as big as I make it in my mind. Yet a storm can release fresh energy, so maybe if I bow with the wind, I won't break.
 
Originally I wanted to see this movie in an IMAX cinema, but this wasn't a 3D movie plus someone recommended a brand new cinema in my surroundings with Dolby Atmos sound. That makes you tremble in your seat and you hear it going around you thanks to a lot of loud speakers. The visual quality wasn't IMAX, so I know where to go watch the third Hobbit movie.
 
Beforehand I followed the online 'teases' of producer Todd Garner on Twitter (six steps of separation) and ReAlistic fanbanter on blogs and Twitter. I have to hand it to Todd, protegé of Avatar director James Cameron, in keeping the costs low, from 100 million dollar to 50 million and smartly negotiating and dealing with not only one, but four special effects houses, to spread the risks and safe time by having each of them design one tornado or as he likes to put it 'monsters' in the movie. By the way, 'protegé' makes me think of a student, but Todd is a pro (see his article here).
 
First off, I was seated facing top of the screen, having to look down, which didn't add to my mood.
Moreover, I was lucky to have seen Richard play in The Crucible among a fitting ensemble in an intense gloomy mood for three and half hours. I am spoiled rotten for years. Thus my first conclusion after watching Into The Storm was that I felt pity for those who haven't seen The Crucible and thought RA played well in this movie. Told you, I am spoiled rotten for years.
 
The acting all around was entertaining and the family affairs were very sticky American, yet I felt the scenes could do with some background here and there say by adding a clip of mum from the past saying things on video in the scenes of the video assignment or why not let Gary have that quarrel with the head principal when the kids are on the parking lot talking about his quarrels with the head principal. In one of the promotion interviews or articles there was a mention by RA that this movie had to portray the moment of 'now'. Dear people of the film industry, with a few minutes extra this movie would have gained more depth. 'Who's gonna pay for that?', are they groaning behind Hollywood hills... This movie was expected to become a 'little sleeper' but it opened really well on the Chinese market. Ca-tching!
 
What really drove this movie was the ungoing threat and attacks of tornado's. Especially the rumbling of the approaching storm and the annoyingly loud sirenes made me clam to my seat. The visual effects were very convincing and when the scenes showed scatterings of real debris, it was a substantial mess. Tornado storms could become more immense and unpredictable in the near future.
 
There was talk on Twitter by the writer that a British script consultant was flown in, to add changes to the script for which he was 'thankful'. It could have been to add more dynamic between Gary and the weather scientist, which was suggested by RA, but I could be wrong. One fan in this RA blogworld received a script of the earlier version, which had ondergone substantial changes, compared with the finalised movie.
 
Before I found the comedic goofs hanging in the trees,
I had to say goodbye to my liking of RA's former Nose, to which he replied:
"Hey, I am having breakfast now, OK? Not Now!".

It's good to be with your loved ones, whatever the forecast...
 
 
 ****
 

 
 
 
 
 
 
 
 
 



Sunday, August 31, 2014

Going Full Circle

"I will have to work the fields * cough *."
 
 
AUGUST IS HOT
 
Theme: Going Full Circle
 
 
 
Some facts should remain private,
like John Proctor being a bad boy.
No shame, no regret, until that is...
Read the play. I can't get over it.
I have to get my fangirly side out in the Woods of Salem.
Please don't judge, I feel a bit wicked.
 
 
More on this, or not, as I bewitch Mr. Farmer.
 
Under construction
 
I have to catch that rabbit on my doorstep, before the clock strikes midnight. Am I talking in tongues? Oh yes, no regrets. I blame John Proctor for luring me into his arms. And Richard for having me come back to London to finally see him act live.
I remember a certain time and place when... but I won't mention names. Goody gone wicked Violet was going full circle. 
 
I feel I have to post more on The Crucible.
 


Monday, August 25, 2014

Win Ticket To RA In Conversation


"Five stars for you for coming to see me!"


I have one ticket to the event 'Richard Armitage In Conversation' for you to win. Sadly I can't make it, but if you would like to hear Richard talk about his career and his current role as John Proctor on the Old Vic Stage, London at 5pm on Tuesday 2 September, it is yours!

How did that came about? Well I won a ticket from Jennifer Streeting, who is also a talented singer/songwriter in folk music and electronic music, find her page here or on Twitter @Jen_designst. One of her songs will be used for a feature film!

In light of recent events, that is Mr. A doing the ice waterbucket challenge and naming the charities and his other ones to support, I thought I would sleep well after my parting with this 'golden ticket' if I ask you to donate on his Just Giving charity page, link here the ticket price 5 or 10 pound or more whatever you feel like.
You have 24 hours to make it so! Starting 3pm today, or in my book 15.00hr GMT, 16.00hr CET.

Let's call this 
Donation Challenge!

You only have to do these steps:
1. Support RA's charities and mention in the discription section the word "Convo" unless you have also donated within this timeframe.
2. Your name can be your online synonym, as long as I can verify with your confirming emailname it is you. So don't use the name Anonimous, as it doesn't convince me it's you who made the donation.
3. Send me a notification link of your donation by email to my emailadress violetsframework@gmail.com

The first person that contacts me through email who has made a donation within these 24 hours, has chance of winning the ticket. Even if you don't win, keep in mind you are supporting!

So you have until Tuesday 15hr GMT or 16hr CET to make it so!

As soon as I know the winner, I will pass your email through to Jennifer,
who will send the ticket to you.
Meanwhile this Donation Challenge will be promoted on Twitter and FB.


Mentioned links:
www.soundcloud.com/jennifer-streeting
@Jen_designst
www.oldvictheatre.com
www.justgiving.com/user/18578864
http://t.co/mnRpEPT4W2
or search it on
www.richardarmitagenet.com
*****


Promotion Image: Old Vic Theatre

Tuesday, July 29, 2014

The Crucible Sketchings

"All is left is my name!! We will burn together!! I will rip your sketch!!"
 
 
Wednesday 23 July 2014 eve I went to see The Crucible play at the Old Vic.
The audience was very diverse. Gushing women were not the majority!
It was a crowd every theatre owner would have liked to see.
 
My preparations were appalling. Following the daily aftertweets, finding that Arthur Miller interview "it will all happen again" re. the 'fingerpointing' and me skimming John Proctor bits in the play. Decided not to read the whole text. Then lured in British media the sentiment of celebrities turning to be perverts as in: 'Can we put celebrities on a pedestal anymore?', Richard mentioning in interview that age of girl has been raised and age of JP been lowered in play. Me again wondering if fangirling was wise in the first place and whether I should spent money seeing a play abroad.
Then in Dutch media was shocking news of a plane crash with nearly 200 Dutch people dead, which swept my closely knitted nation of 17 million people (just as many as inhabitants of NYC) into mourning, anger and disbelief for the impossibility to get access to the crash site and removal of the bodies. Politicians, even worldwide, started fingerpointing to whoever was responsible for the mis*sile. The question 'Who was responsible for sending a civil aircraft across a warzone in the first place?' was not asked. It affected my anticipation of going and finding my flight rather tricky, not rationally, but from the heart. Decided to defy that sentiment and rejoice in my unique chance to see Richard in this play.
Then found myself in a gloomy theatre, with burned walls and dusty cloths hanging over the balconies, mulling in severe damps of steaming herbs and aluminium foil 'ashes' with 'a silence rising around me, an impeding and invisible wash of dulled vibrations between us, like a endless moaning musical note through which we could not hear or speak anymore, it was sadness, purely mournful, deadening'. I welled up during curtain changes of my associations with that plane crash site and was in survival mode during the play, because I did jump in a plane after all.
Then there was this burden that thousands of you could not be here with me. Therefore I wanted to keep the memory alive of this acting party Old Vic throwed with a skilled cast and crew.
 
Here's to sketching.
 
**
 
I had a shamefully good seat G13, Stalls, middle aisle, second row!!
 
I should add here sketch of his piercing, disapproving stare into the audience, at my height and place!
(I stared back! Might have unsettled him. Sorry, wasn't helping ye).
That was the opening scene with all the chairs.
 
 
Proctor Listening
 
It started with Richard standing near the front row, on the left of me, within 3 metres.
His face blocked by his upright collar. I rather see his face so I can hear him better.
He wore a dark coat and thin clothed trousers.
Proctor is listening to male villagers (Parris, Giles?).
 
 
Proud Proctor
 
Richard walked towards the steps and stopped within two metres of me, towering over.
He has hammer toes (sorry Richard, I wore open sandals with my Angeline Lilly feet).
Now that we are acquainted, we better carry on...
 
 
The Wash
 
Proctor came home with a ri*fle, which was not bended for safety (that worried me).
His wife had already filled this undeep, grey basin with water - which was on the floor (not table).
Richard sighed (hope it wasn't: here we go again), sank onto his knees,
crossed his arms and pulled his dark blue/gray shirt over his head (dramatic),
then ducked like a dog to his drinking bowl. He washed his face with his hands,
his underarms in alignment with the floor.
Then came upwards and turned his chest away to his left side.
 
His bum was sticking out and later he repeated this 'bum-up' at the other side of the floor.
So I had a good view up his bum (was that necessary?)
 
This Wash happened within 3-4 metres of me. :)
 
 
The Whip
 
OMG! Richard and a whip! This happened so fast, it must be an anger outburst.
Proctor is angry at his maid Mary Warren. He took the whip from behind one of the colons seen left.
I think he was slamming his fists on the table.
 
 
Running Whipper
 
Then Proctor runs around the table and lashes the whip three times, while shouting!
Richard has enormous long legs and big feet and takes gigantic steps like
John Cleese, so I found it funny, but also impressing! (phew!)
 
 
Handcuffed Proctor
 
My Mum made this sketch, to show that costumes weren't that soberly designed.
 
 
The End Kiss
 
After the trial, Proctor gives Elizabeth one final kiss.
A very long kiss, prolonged with grief and passion, which I could see in Richard's back.
The two kissers did a full turn, by making tiny steps in the round.
Audience members all around had a good view!
Even Hawthorpe(?) stepped aside!
(Makes me think they do read comments in tweets and reviews).
 
***
 
I haven't read The Crucible yet, because I wanted to upload these sketches first. I fear reading the play will trigger more images (which I will have to draw possibly).

Oh, and, ...
 
Despite my fangirly remarks, I found the acting truely worthwile to travel abroad!


I would love to see this play back on DVD!