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Dan experiencing the full range of human emotion in cars over the years 🚗
Good day Mr Flanagan. please what does "the rest is confetti" mean to you and in the context it was used in hill house??
Okay, here we go. Buckle up for a long read.
To answer this, I've got to explain a little bit about what was happening and where I was when I sat down to write episode 10 of The Haunting of Hill House.
Hill House was not a fun shoot. The picture above is from very early in production, when I was still chubby and happy.
It was my first foray into television. I was absolutely terrified that I'd mess it up. So I'd opted to direct all of the episodes myself, figuring that - if nothing else - I'd have no one else to blame if it went south.
It was the most grueling professional experience of my career. The shoot was by no means a smooth one, every day was an uphill battle from a budgetary perspective, and between the three giant production entities involved with the production, I spent a lot of time fighting over the creative and logistical elements of the series.
I began losing weight. I was smoking two packs of cigarettes a day.
By the end of the shoot, I had dropped almost 40 lbs.
I was very depressed. Every day was a battle, and for the first time in my career, I wasn't excited to go to work in the morning. We were fighting for basic resources, fighting for the show we wanted, and even fighting amongst ourselves by the end. It was grueling.
We hadn't written all of the scripts when we started production. I believe we had finished through episode 7, but the rest of the scripts had to be finished while we were already shooting.
We'd mapped everything out in the writers room, and I had great support on the other episodes, but I was writing the finale solo. I'd thought I'd be able to juggle it with everything else. I quickly fell behind.
I finally got to the script about halfway through production. I'd work on it between takes at the monitor, and then get home to our tiny rental house in Atlanta, where Kate was waiting with our baby son. (One of the rare bright spots of this shoot came when Kate found out she was pregnant about halfway through production. We even named our daughter Theodora, in honor of her origins.)
I'd typically fall down from exhaustion when I got home, but I had to push through it and work on the script. My weekends were spent shotlisting and prepping for upcoming episodes. We didn't have enough time to stay ahead of prep, so every available day was used for that... I went three months without a single day off at one point.
I'd sit up late staring at the script. I was in a dark, dark place. Overwhelmed, exhausted, and feeling like I lived in an eternal present. Each day bled into the next and it didn't feel like there was an end in sight. That feeling of unreality was heightened because we kept returning to the same sets, same locations, and even the same scenes throughout the 100 shooting-day production. Stepping back into the exact room we had shot in days or weeks or even months ago made the whole thing feel absolutely surreal. Making movies is always an non-linear experience, but this one felt particularly so... it was like the days of our lives were happening to us all out of order.
I remember feeling something like despair creeping into my daily experience on the show. And I remember dwelling on that when I got into the scene work of episode 10.
As I worked through the draft, I recall that despair coloring a lot of what was on the page. My filter was breaking down. There's a monologue at the beginning of the episode where Steven's wife Leigh (played by my dear friend Samantha Sloyan) spews out a torrent of eviscerating insults about Steve's value as a writer. That is just me vomiting onto myself. She was voicing all of my deepest insecurities about myself at the time, and of what I was doing with this series.
She says "Is anything real before you write it, Steve? The things you write about, they're real. Those people are real, their feelings are real, their pain is real - but not to you, is it. Not until you chew it up, digest it, and shit it out onto a piece of paper and even then, it's a pale imitation at best."
This was the mindset I was in for a lot of the shoot. The writing became a reflection of a lot of that turmoil, and I knew who I was referring to in that monologue - I was talking about my family. I was talking about how much of their lives I'd used as building material for this show. I was talking about the fact that I'd lost two loved ones to suicide, and seen what it had done to my mother in particular. And I knew I was using - possibly even exploiting - those people for this series.
There's a lot of despair in this episode. The Red Room, as we conceived it, was a place that would feed upon those emotions. Grief, sadness, loss... those were the real ghosts of our series, and where our characters find themselves at the start of the finale. They're being slowly digested - eaten alive - by those feelings.
So finally, it came time to write Nell's final scene with her siblings. I knew from the outline we'd constructed in the writers room what this was supposed to accomplish - she was supposed to be their salvation. She was supposed to take all of these feelings that we'd been wrestling with and finally provide catharsis... finally say something that would free everyone.
I remember sitting with a blinking cursor for a long time. The Crain siblings had just turned and seen Nellie standing by the door, and suddenly were able to hear her speak. But what should she say? What would I say? What would I want someone to say to me?
What she ultimately says lays bare a lot of what I was thinking about when it comes to grief. It exists outside of linear time, much as I felt I existed at the time. That sense of eternal present, that sense of a nonlinear eternity of moments and memories - it all came out in her speech to her brothers and sisters.
I remember feeling, looking at my insane present and looking back at my past, how strangely overwhelmed I was by memories. That I wasn't experiencing time in a straight line, and hadn't been for a while - for the better part of a year, I'd felt more like I was standing in a whirlwind of moments. "Our moments fall around us like..." Nell said, and I recall sitting back and trying to find the words.
"Rain," for certain, but there was something too uniform about that. The moments of life as I experienced them weren't that orderly, they weren't that small. They didn't fall the same way. Some sailed by, fast and unremarkable, while others lingered in front of me, twisting and stretching. So it was a good word, but not the right word. I left it on the page though.
"Snow" was my next attempt. Better, in that I imagined the snow blowing in the wind, swirling and dancing and feeling more organic. More chaotic. More like life. But for some reason, the word that stuck with me, the word I felt Nell Crain would connect with was...
"Confetti."
And that was because I was thinking not of Victoria Pedretti at this point, but of Violet McGraw.
Violet played Young Nell, and I wondered what she might have said if she experienced time this way. As an adult, Nell was despairing. Nell was overwhelmed. But as a child... there was an innocence to the word. There was a joy to the word.
I imagined moments falling around her, this little girl with the big smile and the wide eyes. Her moments would be colorful. They would be of different shapes and sizes, some falling fast and some falling slow, flipping and turning and dancing in the air, independent of the others. Sparkling, whirling, doing lazy summersaults as they sauntered down to Earth.
I thought of myself, and of the members of my family. I thought of those we'd lost. I realized what I hoped for them, and for us all, in the end... was to look upon that mosaic of experience, that avalanche of days and minutes and moments... and to smile with some of the joy we had as children.
And this, I thought, was something that gave me hope. This gave me a glimpse of some kind of salvation for them. This was also how I hoped my life might seem if I was a ghost - a cascade of color and light and shape and movement, something I could dance in.
So Nell smiled and said... "or confetti."
It stuck with me. The rest of her monologue gets heavy again, and gets to the real point of the show - the point of the whole series, if I'm honest - and that's forgiveness.
I figured the only thing that would let the Crain children out of the Red Room was to be forgiven. I thought of the losses in my own family, and I thought of what I wished for my mother and for my aunts and uncles and cousins and I tried to pour that into her final words.
"I loved you completely, and you loved me the same," she said, "that's all." And this was the point I wanted the most to make. That at the end of our life, if we can say this about each other, the rest doesn't matter. The rest is that rainstorm, or that blizzard, that fell around this one central truth, and maybe built itself in piles around it, to the point we lost sight of it along the way.
And I thought again of that little girl, and almost as an afterthought, wrote "The rest is confetti."
I liked the way it sounded, but I was insecure about the line. I almost took it out, in fact. I remember asking Kate to read the scene and talking about that last line with her. "Is it too cute?" I wondered. She was on the fence. "Depends on how it's acted," she said, and I figured she was right. We could always take it out if it didn't work. The scene could end with "I loved you completely, and you loved me the same. That's all."
Why not shoot it and see what happened.
I turned in the script, we published it quickly so that we could start breaking it down and prepping it. And the next morning I was back on set. I'd deal with episode 10 when it came down the pipe again, sometime in the coming months. We had a lot of shooting to get through before I had to worry about it.
I recall Netflix asking me to cut a lot of that monologue, and I remember them also having questions about the "confetti" line. I pointed out that it didn't cost us any extra to shoot it all, it was only words, and fought to keep the script intact.
Ultimately, they insisted I make a series of cuts on the page. I begrudgingly agreed, but left Nell's speech alone. I made superficial cuts around it, throughout the draft, and even considered changing the font size to fool them into thinking it had gotten shorter (I ultimately was told I wouldn't fool anyone and not to risk starting a war). But Nellie's final goodbye stayed intact.
It must be said - Victoria Pedretti SLAUGHTERED this scene.
By the time we got around to filming it, things had never been worse for the production. There was almost nothing left for a lot of us. Tensions were sky-high, resources had been exhausted completely, and we were all ready to give up.
Filming in the mold-ridden Red Room was depressing, morose, and led to a lot of arguments and unpleasantness. The room itself just felt gross, always, and we were in there for days at a time. The last thing we had to shoot in there was Nellie's goodbye.
Victoria came to set having to push through pages of monologue, and she did so with captivating bravado. I recall being teary-eyed at the monitor watching her work. And when we finally made it to the last line, I watched her deliver it with... a smile. A sincere, innocent, longing, joyful smile. A smile informed by the sadness, grief, and loss of her own situation, of her own life... but a smile that finds forgiveness and grace after all. Pedretti knew how to say the line, and how that word would work.
And as she said it, I knew it would stay in the show.
Over the years, that sentence has become something of a tagline for The Haunting of Hill House. I'm always a bit mystified and touched when I see people approach me with the line on T-shirts, or even tattooed on their bodies.
I started signing it with autographs back in 2020 after enough fans asked me to. Now it's my go-to when I sign anything related to Hill House.
The line, for me, represents a lot of things.
It's about the insane, chaotic, non-linear experience of making that show. It's about trying to find and hold onto joy, even in the grips of despair.
It's about the way the moments of our lives aren't linear, not really, and how we may be unable to understand them as we exist in their flurry. It's about finding hope, innocence and forgiveness in the final reckoning.
And it's about how, outside of our love for each other, the rest is just... well, it's fleeting. It's colorful. It's overwhelming. It's blinding. It's dancing. And, if we look at it right, it's beautiful. But it's also light. It's tinsel. It flits and dances and falls and fades, it's as light as air.
The rest is the stuff that falls around us, and flits away into nothing.
It's the love that stays.
I hate hookup culture bury me beside you
- Are you coming? - Of course.
what a year this last hour has been
me, finding out about Destiel going canon:
Here. Right here, this moment. “What a curious and charming man,” I thought. Oh, it had been so long, I’d forgotten that feeling, but… I looked at you, and… I almost forgot myself for a moment. God knows I’ve tried not to think of you. Very hard, but I… I’ve thought of you often. Thinking about the places we would go if we were ever to leave Bly. Where we’d settle. You’d open your restaurant. Make me taste all those wonderful recipes you created in that beautiful, maddening mind of yours. I always think that I would very much like… to spend the rest of my days with you. Listening to your dreadful puns, holding your hand, and… I loved you, Owen. I should have told you.
THE HAUNTING OF BLY MANOR (2020)
*turns off the light*
my cat, who can still see perfectly, watching as I bump into a table: Ah, she has toggled the switch that controls whether she is stupid.
My cat, as I trip over him:
There are Laws of Time. Once upon a time there were people in charge of those laws, but they died. They all died. Do you know who that leaves: ME! It’s taken me all these years to realise, the Laws of Time are mine. And they will obey me!
Doctor Who - The Waters of Mars (2009)
i’m starting to realize the “friendship where we bully each other” thing is a complicated subject for me, because as a survivor of bullying and my interests being mocked for basically my entire life, i don’t really find it funny or endearing when pals do it. i don’t mind gentle insults and inside jokes, but idk, there has to be a point where you go “maybe i shouldn’t cut on my friend’s new oc or special interest” and stop yourself. i think we should all try a little harder to know that boundary and not put our friends in those situations
‘’It’ll be alright?’’
Traffic lights: I don’t know
😂😂😂😂😂😂😂😂😂😂😂😂
most iconic things shane madej has said in buzzfeed unsolved
“yeah, that rings a bell or two, that shakes a tambourine.”
“let me spin you a yarn, that you shan’t soon forget. I’m being eaten alive by crabs right now.”
“I’M STRAAAANGE, AND OFF-PUTTING !”
“I’m disrespectful, but I’m talking to dust and cobwebs.”
“HOW DARE YOU DISPOSE OF MY BODY”
“Cops in the 70s were like, oh you just killed someone ? You got 20 bucks ?”
Everything he said on Goatman’s Bridge.
*imitating a man claiming to be D.B Cooper on his deathbed* “I have something to tell you…… I’m the phantom of the skyyyyyyy”
*laying down on a pentagram* “ROCK N ROLL, BUCKAROO”
“Look I’m not here as a doctor. I just wanna see some of this crazy shit.”
“You better watch out or Yankee Jim will give you some taffy. Some folks say they hear him playing a jolly little kazoo tune in the middle of the night.”
i’m not a christian. but “you cannot serve both god and money” in matthew 6:24 ? yeah, that’s kind of epic.
my favorite quote from jeezy boy, Mark 10:25
“ It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.”
jesus said eat the rich.
A) i was a church organist
B) i made cereals w beer instead of milk
C) i can hold my breath for 40 seconds
Which one is a lie
First one to answer right gets a free shitty drawing
@antifamutantdown what do u want me to draw shittily
This is too much power but I’ll go with a Pikachu trying to murder Winnie the Pooh, and thank you.
FUCK
Op, you said SHITTILY
i made an “evil sim” or at least the closest i could do to it, shez materialistic, self-absorbed, gregarious and self-assured. all she does is train her skills and fuck
her house looks like shit and shes broke as hell but ive seen at least 1 person faint over her two-star celebrity ass
probably bought that robe on aliexpress
her house looks like a taco bell
it is
Every year of my life, I realize how little I knew the year before, about myself, the world, others. And it both fascinates and terrifies me, how ignorant I really am. Growing up seems to be a lifetime journey toward the death of our own ignorance.
“Maybe that’s enlightenment enough: to know that there is no final resting place of the mind; no moment of smug clarity. Perhaps wisdom…is realizing how small I am, and unwise, and how far I have yet to go.” - Anthony Bourdain