·Find your freedom in the music·

#ladygaga #mariskahargitay #gilliananderson

[meryl-streep]

Some advice from Meryl Streep

[redemancy]

the entire presentation of deborah as a character is based on these wide shots that represent in one way or another some kind of off-kilter symmetry. there is just this abundance of wide space on the right side of the screen because she has no equal and no challenge, so she’s stuck. you know that that’s the conflict of her character, there’s just something missing from her life.

when she’s performing and killing it she’s center frame, and that’s why she can’t stop performing, that’s why she chases after the tourist bus when she has an unexpected afternoon off, because when she is the center of attention and when she’s in front of an audience she can feel in control of what happens and she LOVES it. in episode one, the music turns and the joke feels stale, so the stage becomes one more space she feels lonely in, but in the intro, until she takes that hair piece off she is in control of her life (also, significantly, when deborah first appears on screen you can’t see her face, which means you’re not seeing the real her, you’re seeing the costume she puts on, with a focus on the hair and the glitter and the earrings and the shoes. the first time you see her face is when the empty space is introduced).

(two mirrors because like here’s you and here’s who people see you as and here’s what you see yourself as and none of these are the same perspective, have fun with that)

all that only serves to highlight the loneliness everywhere in her private life. you dig a little deeper and you realise that at the core of her character there’s this complete lack of balance that make her seem so alone, and no one in her life can fill that space, not even DJ or marcus. the MOMENT ava enters her house though she’s right in the middle of the frame, and when they start talking they’re matched shot for shot.

once they start talking and challenging each other they exist in the same frame and they can’t escape one another. the camera focuses back and forth but doesn’t drop either of them, just switches from ava’s perspective to deborah’s, but they’re going toe to toe and neither of them is going to back down.

which is why deborah doesn’t let her leave!!! how many people in her life genuinely stand up to her!! and this is just episode one!!!

[redemancy]

Lucia Aniello, for IndieWire’s Filmmaker Toolkit podcast: “For Hacks, Adam [Bricker, DP] and I really talked a lot about wanting to make sure it felt big and beautiful and never too glossy but also always pretty. I think we made sure that the camera felt, especially in the pilot, ‘There is no Line’… to have shots that mirrored what we wanted the audience to feel especially for Deborah, which is when she’s working and she’s on her grind, the camera’s moving, it’s fun, it’s exciting, but when she gets home, she’s alone, and she’s alone in a big large space. And it kind of mimics how we want her inner life to feel, which is, she is by herself and she’s put all these objects and things there to kind of keep her company, while somebody like Ava is not really connecting with anybody: she can’t really connect with her manager, she tracks down an acquaintance and begs for a job and kind of can’t really make a connection there and hooks up with a Postmate who she’s running around opening loud boxes with. She’s just not connecting with anybody. So we saved a lot of the close-ups in the pilot in general for that very final scene when the two of them are having their showdown, and that was really the first time we see very dirty shots with somebody’s shoulder and heads in the other person’s frame because this is the first time either of them are really connecting with somebody else in the pilot. (…) Some other things we consciously did is, we did a lot of 50/50 profile shots, so you really see them facing off to each other and framing them in that way. (…) We’re saying with that framing, ‘these are mirror images of each other even though they don’t realize it yet.’”

[hacksarmchairquarterback1]

SMH. Genius. This show, I swear. The very best.

[svubensler]

[ohtendril]

[wexler]

Mariska Hargitay for Vogue Greece, April 2024

[warningsine]

[luntfontanne]

The Devil Wears Prada (2006) // Hacks, Season 1 (2021)

I see a great deal of myself in you.

[dailymariskahargitay]

[barbra271]

Olivia Benson: 1999 / 2024

"The fight never ends"

[elliot-olivia]

Mariska Hargitay and Ice-T reflect on 25 years of Law & Order: SVU

[dailymariskahargitay]

Mariska & Ice T photographed for EW

[dailymariskahargitay]

[NEW] Mariska on this months People Magazine cover

[scenes-svu]

[naughterful]

‪- Maria de Filippi with longtime “friend” Sabrina Ferilli.

[usermoiraine]

[wexler]

“It’s effortless, and it’s weird, and I always look at it as some sort of gift. So much of it has to do with our shared sense of humor, shared perspective, our now history.“ — Mariska Hargitay

[thebestofeo]

[• With Many Names -3x22•] #organizedcrime