River’s Edge (1986)

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River’s Edge (1986)
“GLOVER just IS Willard. He’s owns it like a birthright. He’s fearless and gracefully awkward and heartbreaking and you want to save him but you can’t. And what a face…he’s like a twisted male GARBO!" ©
wild Mads
Mads on the set of “A Royal Affair’
So you actually cut your hair in that silly way [for ‘The Green Butchers’]? It wasn’t a prosthetic forehead or a wig?
Mads Mikkelsen: Yes. We cut it because I found it difficult. First of all, I hate wearing wigs ― it’s always annoying. They are very difficult to wear. You would always have to stop;something is wrong, the wig is not sitting in the right way and so on. I just decided let’s cut it off because it’s much easier to handle. Then I had to wear hats for like three months because I looked like an idiot. When the film was finished, I had to take down all the hair.
Some people underestimate how erotic it is to be understood.
Mary Rakow (via wordsnquotes)
Words cannot express how much I love Gideon in Antipasto. He may be limbless and cornered but he owns Hannibal every second. Hannibal is visibly discomfited when Abel refuses to be cowed (”you still have to eat” -desperate, much?) and later when Abel defiantly taps his utensils Hannibal recoils as if scalded; he’s not so much miffed as pained. And to Abel’s incisive “why do you think I’m allowing this?” Hannibal can only dumbly repeat the same words, because as he well knows, it’s Gideon who’s humouring him, who’s indulging a pathetic man staging a grim mockery of a dinner party because he can’t stand being alone. It’s a far cry from Hannibal in Aperitif, when we first saw him eating his secretary’s offals, basking solo in his superiority. Now, with Will having slashed his defences and taken ransom his heart, he’s reduced to slogging through joyless meals with Gideon who hurls truth at every chance. Gideon went down triumphantly, and I hope he scraped deep enough welts in Hannibal’s heart to bring the arrogant bastard down a peg or two.
Abel made sure he wasn’t going down easy
At RDC2, Eddie Izzard shared that the fork clanking was unscripted. He just did it in the moment. Only in the one take. And Mads gave him a look of WTF ARE YOU DOING.
And he was delighted they used that one take. Because, as he told us, when he first started doing drama, he felt he wasn’t very good in his early roles, because he didn’t have any instincts yet for drama, unlike those he’d developed for comedy.
And this was a moment where he followed his instinct, to do the thing with the fork, and it was the right instinct for the character and the moment and they even used it in the final cut, and he could feel he had found his instinct for drama, too.
It just hit me so hard that Hannibal was having the time of his life in Digestivo after being kidnapped and trussed up like livestock, yet was broken to the point of surrender by a few soft, cruel words from the mouth of the man he loves. While being threatened with a slow and painful death he was the happiest duckling imaginable; and while that mostly has to do with the fact that he’s, well, Hannibal, and ticked just about every box in his Super Fun Murder Times book, and also he still managed to maintain his dominance and control while naked and bound on his knees, there is a startling contrast between his emotional state before escaping with Will in his arms and after, when Will breaks up with him.
I mean, this is Hannibal’s face after Cordell explains how he is going to prepare his hands and feet for consumption:
and this is Hannibal’s face as Will tells him he never wants to see or think about him again:
And while Hannibal certainly doesn’t have a traditional perspective on life and death, I think it’s safe to say that for him the idea of continuing his life without Will in it is worse than the most painful of deaths.
Hugh Dancy by Michel Comte for L’Uomo Vogue February 2004 (x)
inappropriate
Mads Mikkelsen by Kenneth Willardt
The mural in Hannibal’s dining room is Landscape: Woods Reflected in a Pond by Oscar Grosch. It depicts a pond in front of the wooded, grassy area where the pond is reflecting the trees.
Oscar Grosch (1863 - 1928) was a wood engraver who emigrated with his wife to Staten Island from Germany in 1889 and became an etcher and a painter.
The ideas for decorating the living room are explaned here in the interview with the production designer Patti Podesta:
The dining room is to die for. What was the inspiration?
Bryan suggested a living wall for the dining room, and carrying this idea further, I thought to use a landscape as a backdrop. I found this etching online and loved its Gothic tone. It’s by Oscar Grosch and is in the collection of the Staten Island Museum, which granted us permission to use it. It was reproduced as wallpaper, with corresponding strips covering shallow box shelves, floating on the wall.
The plants are all live herbs in containers. The shelves get smaller in size as they rise up the wall because the plants on the lower levels need to receive light in order to survive.
The walls made of moldings were Bryan Fuller’s idea. He had seen them in a restaurant. For ours, I chose moldings that had voluptuous curves. We wanted it to become a singularity, and the color needed to be the indigo of the night sky, without going black on camera. It’s a lighter blue than you would imagine. The stain was a mixture of Minwax custom colors, and the different woods gave it variation.
Sending love to xshiromorix for identifying the mural! :-)
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All descriptions of paintings in Hannibal are here.
I swear I was forced to make this
a complete commemorative collection of all the shirtless scenes for anon
Here’s a preview of my post-fall Hannigram comic Le Châtelier’s Principle. This slow-burn homoerotic fever dream will hopefully be done and printed by the end of this year! /high-pitched screaming/