2. Which tf character design do you think would work better with a different color palette?
ohhh hum. honestly, bw silverbolt... his design itself is S-tier to me but his colors are lacking a bit 2 me... he's just a bit dull! i wouldve appreciated a bit something more to make it all pop...
^this is just from like 2 minutes playing around w a color palette generator thing so take it with a grain of salt but a lighter color + a splash of wine-ish red (or similar) to really make the gold pop... i think it could be cool!
12. List a piece of art not from transformers that you think fits a tf character!
ok i wanted to challenge myself a bit with this cuz theres plenty of more "traditional"/objective art pieces that i associate with tfs, but i dont think ive ever given any thought to associations i have with more subjective expressionist type art, and then that led me down kind of a rabbit hole so im gonna put all this under a cut :p
(have absolutely lost my mind trying to find the name of this piece -- as far as i can tell it's an unnamed jackson pollock)
^i think rodimus would appreciate a lot of ideas introduced into the art world by abstract expressionism, but especially those introduced by artist's like pollock - the emphasis on an artist's movement + intent over the 'beauty' of the piece they created. i think the idea of intent > results would line up pretty well with his general worldview!
(Sky, Illumine, 1985-86, by Richard Pousette-Dart)
i think nautica would really love more intricate pieces like this, pieces that almost trick the eye into seeing layered complexities where there are none - i think she'd be fascinated by the way they seem to transform depending on how closely you examine them.
(Violin and Candlestick, 1910, by Georges Braque)
this piece/era was one of the hardest to think up a tf for, just because im particularly fond of it, but i genuinely think primal would be a bit of an analytical cubism fan. the examination of an object from dozens of viewpoints, all contained within a single image, would, i think, fascinate him. he'd appreciate the intrinsic overlap of intellectual + emotional aspects of it - the painstaking study of an object from every angle, depicting every aspect of it in soft, hazy lines; the bottom section of this piece in particular makes me feel as if braques simply plucked the image of the violin straight out from his memory - the juxtaposition of the focus upon an almost familiar aspect of the instrument, versus the haze of ambiguity and strangeness brought about by the colors + seemingly random placement of lines breaking the images apart, is just beautiful to me. anyways, i think it would be right up primal's alley! the inseparability of science(/analytical study) and emotion is a belief i think he's very staunch in.
Antoine de Caunes: "Justement, Anne en tant que comédienne qu'est-ce que la langue d' Alexandre Astier a de particulier? En quoi son écriture, est-elle différente ?"
Anne Girouard: "Différente? De ce que l'on peut voir, proposer habituellement? Il y a quelque chose d'extrêmement personnel, c'est-à-dire qui n'est pas formaté. Et ça, c'est assez rare. En tout cas, en ce qui concerne la télévision. Par moment, je lis des scénarios que j'ai déjà lus cinquante fois. Je m'ennuie. C'est vrai que ce qu' Alexandre écrit, il y a quelque chose qui lui appartient à lui et en fait pour un acteur c'est très agréable. Il y a pas beaucoup de travail à fournir. L' écriture est tellement forte que tout vient et puis avec évidemment le partenaire. Il se trouve que c'est souvent lui mais bon j'en ai d'autres aussi dans Kaamelott."
Alexandre Astier: "Tu dis si tu en as plein le dos, on fera autre chose."
En première partie de Popopop, réécoutez une interview avec l'actrice Adèle Haenel qui était à l'affiche du film "Le Daim" réalisé par Quentin Dupieux, et avec dans le rôle titre Jean Dujardin. En deuxième partie, Pomme nous parlera de son déconfinement et de la sortie de son nouveau singles "La Lumière".
Here’s a (disastrous) translation of the interview Adèle Haenel in France Inter back, in their « Popopop » radio show back in June 2019, when she was promoting her film Le Daim. They rebroadcasted a couple of days ago. I’m really sorry about how messy that translation is, it’s even worse that usual lol. But anyway here you go:
Begins at 6:00 -
The lady interviewer, Charline Roux (CR), talks about Adèle’s filmography: Les diables, Naissances des pieces, l’Apollonide, Suzanne, Les Combattants etc.
6:45
The presenter Antoine De Caunes (ADC) says that if she gets two more Césars she can make a coffee table out of them (the 4 legs of a table). And she replies that only one César is enough for that.
7:00
De Caunes asks her how does she feel when she wins awards.
AH: It’s enjoyable obviously and it gives you confidence. And it’s encouraging. I try to be sincere in my work and to have this support reinforces my desire to work that way.
ADC: It makes you feel like you didn’t take the wrong turn ?
AH: Or everybody is taking the wrong turn with me
CR : You’ve been nominated almost every year for the César (2014, 2015, 2018, 2019 and she didn’t know yet but 2020)
AH: Yes it true
CR : So you’re not really taking any wrong turn here
AH: Yes but it’s not the reason why I do this, but I’m happy when it happens of course. It helps me staying confident in a job envrionment that is quite unsettling.
8:00
So then they said they asked for her « pop » list, which are her favorite book, film, tv show and song. So De Caunes says that Adèle’s book choice was Mémoire de fille by Annie Ernaux published in 2016.
Charline then talks a bit about the book and then Adèle reads a short extract of the book. Then she explains why she likes it.
9:23
AH: I love Annie Ernaux and you chose a very good extract for me to read because it talks about how she tries to find her presence in her absence of life. And this where she really tries to find who she is. And it’s very powerful and it’s a very honest writing.
DC: You like all of her writing ?
AH: Yeah I love the writer she is.
Then De Caunes says Adèle chose Carol as her favorite film. And then Charline explains the plot of the film.
10:35
Then De Caunes asks why she likes the film so much. If it was because of the complicated love story, Todd Haynes, Cate Blanchett, the drama, all of that ?
AH: It’s all of this together. To me it’s an amazing film, a film that makes the emotions speak. For me Cate Blanchett is an incredible actress, she plays that fantasized character but we also see the fractures that appear in her character and in the image. I find her way of working wonderful and the image is beautiful. And also the relationship between brave and beautiful people. I love that film.
ADC: When you see Cate Blanchett acting you as an actress -
AH: I’m so thrilled haha, it’s amazing
ADC: Yes but do you tell yourself « this is what I’m trying to reach » ?
AH: What I like about her is that she doesn’t try to just act well, she takes the job as a artistic research. And it wouldn’t be good to try to do like her but to follow that way of working, that spirit, that’s interesting.
CR: And what is great is that she does that no matter what is the film. She does that with Carol but also with Thor. Even in Thor we believe in it and she’s really good.
AH: She’s always searching and I don’t know her personally but this way of being is always the most enjoyable and the most interesting one.
12:08
ADC says they also asked her to chose a tv show but Adèle had nothing. And he asks her why she doesn’t watch them.
AH: Well I don’t know why. I just don’t. And I wasn’t going to give you a show like Une femme d'honneur *laugh* (it’s a terrible cheap French show)
CR : Because you really watch Une femme d’honneur ?
AH: No but not anymore *laugh*, it’s awful, but yeah I just don’t watch shows. I find them very interesting when people tell me the story but I don’t watch it.
ADC: Is it because it’s too long ?
AH: I don’t know, I just don’t, I don’t find the time for it, I’d rather read.
ADC: Well since we’re not scared of anything, we will recommend you one show that is linked with one of your inspiration for Le Daim
CR : You said you got inspiration from the Goosebumps books so we’re recommending you the series adapted from the books that was broadcast in the late 90’s on France 2. They’re now on Netflix
AH: I didn’t think of it but if I did I would have watched it.
ADC: Let’s finish your pop list with the song you picked and it’s this one: *Mississipi Goddamn by Nina Simone is playing*.
13:55
ADC: So what’s up with Nina Simone ?
AH: Nina Simone is an wonderful artist. Sometimes in her songs she’s really in the present moment and it’s the goal of every artist. I love everything she does and here it’s really beautiful because there’s a political thought that leads to anger that is used as an artistic inspiration and that’s very powerful.
DC: So you’re more Nina Simone than Joe Dassin, who’s in the soundtrack of Le Daim
AH: Well a priori yes.
Then they’re doing a mix of all her pop list.
15:20
DC: So do you recognize yourself in that mix ?
AH: Well it’s pretty well done live yes.
They play some music
17:00
De Caunes explains the story of Le Daim and tells Adèle it’s a pretty weird plot. She agrees. And he asks her if that’s how they presented her the movie.
AH: No they gave me the developed version of the story, which is called a script. And then I made my own pitch with it.
CR: So Quentin Dupieux didn’t just come to you and tell you « its’ a story about a guy with a jacket »
AH: Actually he didn’t explain me anything, he sent me the script directly
ADC: In the past Dupieux made Steak, Rubber and Réalité. But for that one he said he he wanted to film about madness. So are we close to that with that film ?
AH: Well to me there’s always a part of madness in all his films. I don’t know if we’re close to that but we’re in his world.
CR : What did you see from Dupieux before saying yes ?
AH: I loved Réalité. I didn’t know much about his films. And so I’ve been told to watch Réalité and I loved it. And I also saw Au Poste later. And What I love is that crazy side. And that’s why I wanted to do that film. The main character is the jacket, the supporting role is Jean Dujardin, and the third character is me. And I tried to make a character that goes along with the film's craziness.
Then they play a extract of the film.
19:35
Charline talks about Denise, Adèle’s character. And since we don’t know much about the character’s background she asks Adèle if she imagined one for her.
AH: No, not at all. I think all the characters are really uprooted in this film. What I tried to do is to find a goal for her. Her goal was to shake her reality by adding some craziness in her life, even if it becomes macabre in the end. So I tried to focus Denise’s fascination on the jacket. That was the idea.
ADC: A suede jacket, which is the main character as you said, worn by an Oscar winner. How did you work with the jacket, did you feel like you had two different co-workers with Jean Dujardin and the jacket ? Was it easier, harder ?
AH: No it was great because originally, Denise was written in support of the character of Georges. And what I tried to do with Dupieux was to change this so Denise wouldn’t just look at Georges but also the jacket. And that’s how the relationship with Jean Dujardin could really be developed. Georges was so obsessed with that jacket, the only thing he was looking at were the people interested in the jacket and everything around the jacket. And when Denise started to focus on the jacket Georges saw a partner in her. So we built our relationship like that.
ADC: And you also yourself stopped wearing jackets, you came here in a sweater.
AH: No no, I just let my jacket outside
DC: Oh well sorry
CR: Dupieux said he wanted to talk about madness with this film but he also wanted to make his first realistic film. So how do we try to be realistic as an actress in that kind of film ?
AH: That was the whole point of the movie in the first place. My idea was to include my character into this crazy film and I didn’t try to be realistic. Jean Dujardin has an amazing character and totally crazy from the beginning and I thought I had to make my character become even crazier because she’s a normal person and we don’t see her becoming mad.
CR: So we have to ask that question. Do you consider your fashion style as « un style de malade » (it’s a catchphrase from the film that means « dope » basically)
AH: *laugh* yes yes… nope.
22:33
ADC: So I read that you have many inspirations from the Wolfe in Tex Avery, to Jim Carrey in The Mask or even Nicole Kidman in Eyes Wide Shut. What do you take from those people to make your own thing ?
AH: Well I kinda say this without really thinking about it. We all say stupid things sometimes. But what I like in Tex Avery is how you imagine your body as something else that what it is and I creates an physical imaginary that I love. For Nicole Kidman I don’t know, I must have answered that without really thinking.
ADC: You prefer Cate Blanchett now
AH: Yes I do, but I already talked about her. And for Jim Carrey, he’s the human version of Tex Avery. I love how he doesn’t even think about his acting and if he’s acting well. He’s going mad but with so much honesty. And it’s so great to see imagination pictured like that.
ADC: Is it something we develop more in comedy ?
AH: I think it’s more necessary in comedy. It’s harder to run away from that. But you can bring that in drama and all genres. There’s not just one way of acting, which is why it’s great.
24:11
CR: We’ve seen you more in dramas but comedies suit you very well like we saw in Le Daim or in En Liberté !. Is it a choice not to do a lot of comedies or don’t you get a lot of offers ?
AH: Until now people didn’t offer me a lot of comedy roles, they probably thought I was boring as fuck. But I’ve always loved comedy as a spectator, it’s a way to discover everything we can do in acting. We’ll see what happens now.
ADC: What do you find in comedy that you don’t in drama ?
AH: The imaginary is stronger in comedy. There’s also a very strong accountability. But it’s also present in drama, it’s pretty much the same, there’s a dialogue in both. And we’re also less in the continuity in comedy. That’s what I learned with Salvador in En liberté!. There’s a much more discontinuous rhythm in comedy, where in drama it’s usually more flat and it’s about the rise of emotions.
CR: And didn’t you talk about an experience that was more collective in comedy ?
AH: Yes we built the rhythm with two people. So yeah it’s a collective work with your colleague but also, for me at least, I can’t do comedy on my own, so the look and support of the director is really needed and they can help us with the acting. We’re more independent in drama.
ADC: in the soundtrack of Le Daim we only hear one song : *Et si tu n’existais pas by Joe Dassin plays*
AH: I love that song, it’s beautiful.
ADC: Is it a song that capture the craziness of the film ?
AH: well there’s that kind of nostalgia - I think it’s a very beautiful song, it wasn’t in my pop list but I love it. But yeah there’s that nostalgia, like a boat that leaves the coast and won’t ever come back.
