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@ami04
this is shirbert, many years later, don’t @ me
What makes you a normal person? FLEABAG | S02E02
STORY CLUB
MY ANNE INTRO REMAKE. PLEASE READ BELOW!!
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If you like this, instead of REPOSTING, help me REBLOGGING it! Reposting only damages me as an artist!
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This is dedicated to
Moira
, the creator of this amazing show. Thanks for giving us such a beautiful story that will remain in our hearts forever. This is my way of showing how much I love this show. To the super talented Anne cast and crew, you guys are the best!!
Let’s not forget to appreciate the art of Brad Kunkle, the artist of the original intro and the inspiration to create this one!
And of course, I also dedicate this to my own kindred spirit, my amazing husband Ramiro Maldini. He not only made the gorgeous animations, but he has supported me in every crazy idea I had over the past 9 years.
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Hope you guys like it and
help me over at my instagram LUZTAPIAART
tagging everyone so more people can see it!.NETFLIX AND CBC GIVE US A SEASON 4! #RENEWANNE
It was very brave of you.
Anne With an E Main Characters: First Shot / Last Shot
jess mariano being a bad boy big old softie with a nerdy heart
Hello! It's a long shot but I'm wondering if you could help me out - I vaguely recall Neil Gaiman said something along the lines regarding adapting Good Omens: "I had to cut some of the fans favourite moments, but I hope fans will get new favourite moments from the TV Show". I've tried to find the exact quote on tumblr/twitter, but failed. Do you maybe recall him saying something like this or I made this up? 😅
Hiya :)! That certainly sounds like something that Neil would say :)! I’m afraid I don’t know the interview though :(.
Does anyone know? :)
Also if you want to deep search or you’re bored you can browse through my interview tag starting with the latest :D :).
It comes from the The Nice and Accurate TV Companion!
He used the dolphins speech as an example. In the TV show it's much shorter because of time constraints. It was definitely a favourite of mine, but I also got 30 minutes of Aziraphale and Crowley through the ages, so I'd definitely say it was a good a deal.
He follows with an explanation of how he was much more protective of Terry's stuff than his own: apparently someone wanted to greatly reduce Agnes' role and he didn't allow it.
(Also I get what he's saying with "we are not filming the novel". Adapting a book is a delicate balance: you have to be faithful to the characters and themes, but you also have to be willing to adapt to a new medium. It's very easy to mess it up, even if you're the original author. I've seen plenty of adaptations in my life, bitched about almost all of them, and GO is a damn good adaptation in my opinion)
Thank you, @whispsofwind! Yes, I like his thoughts on the matter. In fact, I was looking for the quote to make a point about adaptations :)
Hello! It's a long shot but I'm wondering if you could help me out - I vaguely recall Neil Gaiman said something along the lines regarding adapting Good Omens: "I had to cut some of the fans favourite moments, but I hope fans will get new favourite moments from the TV Show". I've tried to find the exact quote on tumblr/twitter, but failed. Do you maybe recall him saying something like this or I made this up? 😅
Hiya :)! That certainly sounds like something that Neil would say :)! I’m afraid I don’t know the interview though :(.
Does anyone know? :)
Also if you want to deep search or you’re bored you can browse through my interview tag starting with the latest :D :).
Hi, @ami04 I think you might be looking for this
"I am old enough, and have seen enough things fail, to know that we're not filming the novel. But what I can do is acknowledge that I'm making telly, and to say to people, 'Yes, some of your favourite moments will probably only be in the book, but I will give you other favourite moments, and you will have some new favourite moments that didn't exist before. Is that a deal?'"
Neil says this on p17 in the TV Companion but the whole first chapter goes into the whole adaptation thing if you need more
Omg, thank you so much, @lily-wholockian ! It's been bugging me for a while, but for some reason I was sure the quote was from his tumblr/twitter, and didn't think to recheck the TV Companion which I read a while ago.
From the DVD commentary:
The Garden of Eden scene, the wing scene is coming up
Douglas Mackinnon: And we’re heading towards what, I think, is actually my favourite shot in the entire series, which is the shot where it starts to rain and a wing comes up to cover the other angel.
Neil Gaiman: And it also covers Adam and Eve.
Douglas Mackinnon: Yeah.
Neil Gaiman: I love the fact that they’re covered by it too.
People have pointed out that the piano lid in the very very very last shot of the last episode reflects that wing and I’ve always meant to ask you if that was intentional or just gloriously accidental.
Douglas Mackinnon: It was gloriously intentional.
I learned things from doing the DVD commentaries…
Good Omens - summary/partial transcript of DVD audio commentary
I’ve done a summary and partial transcript of the audio commentary to Episode 1. You can find it here. I hope they’ll be helpful to those whose first language isn’t English, and to those who struggle with audio-only commentaries, plus there aren’t subtitles for the commentaries.
Similar summaries of the rest of the episodes will follow in due course, hopefully finished by the end of the week. Stay tuned - I’ll do another announcement once they’re all done.
Reblogging for the morning crew!
I wasn’t going to reblog this until I had finished all six episodes, but I’ve just posted my summary of Episode 3 and it’s such a lovely and interesting commentary that I wanted to let you know that it’s done. Click here for Episodes 1-3.
THANK YOU THIS IS AMAZING!
Excerpts from the SyFy Wire & Film School Rejects interviews with Claire Anderson, the Emmy-nominated costume designer for Good Omens:
[ Film School Rejects - by Ciara Wardlow] “I worked through it with gut reaction images. So, two guys. Two guys, kind of close, nearly in love, if you like,” she said. “I just went in and we had a really big, very open conversation about how you related to these people in the script and how we would make them real and plausible, but give them a fantasy element. Give them something otherworldly.”
While Anderson says that she ultimately took this approach with more or less all of the characters, mixing period and modern elements to give characters somewhat timeless, yet also somewhat fantastical “out of time” looks, in the early discussion stages it was all about Aziraphale and Crowley. For one thing, Sheen and Tennant were already cast, which was a major help in determining their looks. It took some time to settle on the duo’s main, contemporary looks, but once these were locked in they played a significant role in determining everything else they wore.
[…] Aziraphale maintains a look with significant nods to the late Victorian era. Crowley too, although he manages to put an edgier twist on things than his angelic contemporary. “We re-appropriate bits of period stuff so that it echoes. [Aziraphale and Crowley] echo one another in their visual identity with pieces from their past—where they’ve touched each other in the past perhaps, or bumped into each other.” Regarding how Crowley manages to keep more of a modern, cool vibe, Anderson gives David Tennant’s performance the lion’s share of the credit. “He’s a very nice man, but he’s very sexy. He brought all of that swagger, that rock star, snake-hipped sexiness, and we built on that.”
[ SyFy Wire - by Jennifer Vineyard] GARDEN OF EDEN, 4004 B.C. - Anderson looked at everything from Pre-Raphaelite paintings to Al Pacino’s hippie clothes in Serpico to determine just the right flow for Aziraphale’s rough-hewn robe, which has gold embroidery on the shoulders and side. Aziraphale is also wearing a golden ring, which later becomes a signet ring stamped with wings in the Victorian era.
NOAH’S ARK, MESOPOTAMIA, 3004 B.C. - “As aged as I am, I wasn’t there,” Anderson says, laughing. “And there wasn’t any painting or documentation from this era. But what we do know is that tunics remained pretty simple, and the earlier shape would have served them well for many years.” Aziraphale’s robe becomes more streamlined, and he wears gold beads at the neck.
THE CRUCIFIXION, GOLGOTHA, 33 - By this time, both Aziraphale and Crawley — now Crowley — are wearing turbans and head wraps, which Anderson attributes to “a bit of vanity.” Plus the wrap helps Crowley conceal his snake-like eyes (it’s too soon for glasses). Aziraphale dons a soft leather coat over his tunic, while Crowley wears female attire of the region — an abaya.
ROME, 41 - Switching from tunics to togas was difficult, since togas contain 6 to 12 meters of fabric, which is a lot to carry around on camera. Anderson reduced the size by cutting the togas to fit for the character’s movements, and she gave each actor a thematic decorative pin to hold their togas together — Crowley a serpent and staff, Aziraphale a pair of wings (both courtesy of George Easton at Danegeld Historic Jewellery). Although history might argue that it’s too soon for sunglasses, Crowley starts to shield his eyes with a very small, eye-shaped lens. “It’s suggestive, rather than historically accurate,” Anderson says. And as a sign that Crowley is adapting to the humans around him, he also wears a silver laurel wreath.
ARTHURIAN ENGLAND, THE KINGDOM OF WESSEX, 537 - Anderson sent character descriptions and visuals for Aziraphale and Crowley to armor specialist FBFX, which sent a van to London full of pieces that could work for angelic and demonic armor. Instead of focusing on historical accuracy, Anderson looked for shapes and fit that suggested an ethereal — or snakelike — quality, once the pieces had been painted black or silver. For Crowley, she found a helmet that had a smaller face that could suggest a snakehead, and for Aziraphale, shoulder pieces that were slightly wing-like. To add to the wing effect, Anderson added a white fur caplet to Aziraphale’s armor. “It was terribly grand, but not very practical,” she says. “And the poor guys, it was murderously uncomfortable to stand around in that armor.”
GLOBE THEATRE, LONDON, 1601 - Crowley and Aziraphale catch an early version of Hamlet, looking more period-appropriate than ever thanks to the Globe’s vast archive of costumes. Aziraphale’s wardrobe, which includes a neck ruff edged with gold thread, has a metallic look with a hint of iridescent blue, which opens up his color palette. Crowley, meanwhile, wears a cleaner neckline and leather on his doublet, as well as fabrics that provide sheen and luster to suggest his snaky origins.
REVOLUTIONARY FRANCE, PARIS, 1793 - This is not a period to be dressed like an aristocrat, but Aziraphale couldn’t resist a lace collar, gold brocade and fitted jacket — which explains why he’s stuck in a prison cell (at least until Crowley intervenes). Crowley, more mindful of what revolutionaries would wear, dons a dark red jacket that’s almost as dark as his usual black. When Aziraphale miracle-changes his clothes, he wears the red cap of liberty. “It’s a soft beret that falls somewhere between a modern French beret and a pirate headdress,” Anderson notes.
ST. JAMES’ PARK, LONDON, 1862 - This is the time period with which Aziraphale gets most comfortable, fashion-wise, and settles into a Victorian look with tartan flair. Anderson also bestowed some heavenly nods to his angelic nature — a feathery velvet top hat, a stopwatch with angel’s wings on the chain, and the signet ring. Crowley, meanwhile, wears a pair of long, elegantly cut trousers that we will see again in the 1960s. “The trousers repeat, which is basically what fashion does anyway,” Anderson says. “And it’s what the story does. There are notes backward and forwards.”
THE BLITZ, LONDON, 1941 - Aziraphale’s tartan necktie becomes a bow tie, and his penchant for wide lapels, a nod to his wings, continues, this time with a spear-point collar. Crowley, who comes to save Aziraphale once again, is dressed more formally, in a full double-breasted wool suit that must have been hard for David Tennant to wear in the South African heat. “The rest of the crew were in flip-flops and T-shirts, and David was in the suit, hat, and those big boots,” Anderson says, recalling the shoot. “He had to be very physically active in that scene, and yet David didn’t complain about the heat or anything. He’s amazing.”
SOHO, LONDON, 1967 - Crowley, as noted, continues to wear his Victorian trousers, which are right up to date, and which he pairs with a black paisley velvet jacket with contrasting lapels. His sunglasses now have more of a John Lennon vibe. Aziraphale, perhaps inadvertently, is also looking stylish with his Victorian topcoat, spear-point collar, and cravat (modified from his scarf in Victorian England). “You can’t avoid being affected by changing trends,” Anderson says. “However bookish you are, you still notice other people. And you would have had Rolling Stones and Beatles fans wearing that kind of thing. That was our argument for Aziraphale wearing his Victorian topcoat all the way through, and Michael Sheen loved it. He said it inspired him. And the cravat rang in the changes and helped us with the passage of time, rather than always having him wear a bow tie.
Me: I couldn’t possibly love Michael Sheen any more than I already do
Michael Sheen: *gives all his money away*
Me: oh FUCK
South Wales-based nerd here and let me tell you folks some shit. I live fairly near Cardiff so I've been to the HWC three times so far including tonight. I was chatting to someone earlier this evening and as far as we could make out, Michael Sheen has spent something like TWO MILLION QUID on this thing. TWO MILLION POUNDS.
And it's not as if he's just chucked the money in and walked away. I was there all Sunday and he was either commentating on or watching every football match I saw. He also compered one talk, was in the audience for a second (which was hosted by a famous Welsh sports pundit who mentioned that he took the gig because Michael asked him to do it), and again for the comedy gig in the evening. Again, the comedian - Sarah Pascoe; she's a pretty big name - mentioned that she'd taken the gig because Michael had asked her to do it. Tuesday night and tonight (Thursday) I went into Cardiff after work, so couldn't see much football, but he either hosted, introduced, guested or was in the audience for *every single talk and gig*, right into the evening. And he's been doing selfies and chatting to everyone who spoke to him; I have had a quick chat with him every time I've gone. He's been doing this for everyone; most people have left him alone when he's with his girlfriend, but plenty have not, and he has stopped and talked and posed for selfies for E V E R Y O N E who has asked.
This event is TOTALLY FREE. The only way to even give money is to give it to Street Football Wales. There is absolutely no chance he will get ANY of his money back from the HWC.
This guy is really not mucking about with this, guys.
This is what a truly GOOD person looks like.
We stan an actual angel. 💜
I'm always suspicious of people who flaunt their charity around for the world to see.
I don't read this as him flaunting anything, it comes off to me as he genuinely wants to be involved and is using his fame pretty positively. I've seen his name pop up on a lot of charitable events that happen in Wales. This is no more flaunting than Gary Sinise doing 'The Lt. Dan Band' shows in my eyes at least.
There’s a BIG difference between “mwaha yes laud me I donated a shiny check to a bunch of other besuited fuckers at a classy ball that most people didn’t even get access to, to be honest the money is actually less than I paid for my last Pied-à-terre but that doesn’t matter I’ll claim it all back on tax anyway” and raising funds for an event, realising the funds raised aren’t enough, dumping a shitload of your own money in to the point where you’ve put yourself in a bit of a pickle, then spending every damned day working that event on your own time and your own dime to make sure it’s a success He’s making noise about the Homeless World Cup because he’s in a position to be heard. He’s plowing money into it because he’s in a position to help others, and even if he does fuck himself a bit he knows he can pull in more work and shore himself back up, whereas the people supported by the cause can’t. This is a man stepping the fuck up in a very real way to the social responsibility of his privilege.
all this and also...are we sure the anonymous charity custom is so great? Like, doesn’t it offer a giant loophole to the wealthy? “Oh i give generously but im too modest to disclose” like that’s great if they’re actually doing it but any old scrooge could SAY that to cover their selfish hoardy ass. Whatever his motivations, Sheen set a very public example here to fellow celebs and that’s a necessary step toward generosity becoming what it should be: something that’s EXPECTED of the wealthy. Rich folks should feel OBLIGATED to do this sort of thing or risk public censure (i mean...maybe not necessarily go into actual debt or donate the literal majority of their time/energy like Mr Zero Chill McBeardface but definitely at least MILDLY inconvenience their lavish lifestyles now and then). And that expectation is impossible to set unless open donation becomes the new custom. Would it all come from the goodness of their hearts? Of course not! But the effect would be net good for economic equity.
David Tennant and Michael Sheen discuss their favorite (and least favorite) costumes from Good Omens episode 3′s cold open
So you just popped across the Channel during a revolution, because you wanted something to nibble? Dressed like that? – I have standards.