FUCK THAT SHIT.

...𝙶𝚄𝙻𝙿.

[viperly]

CARRD.

[r-eflektors]

Mary Elizabeth Winstead in Death Proof (2007) 

Dir. Quentin Tarantino

[viperly]

slashre​:

fingers close upon the yellow legal pad,   a monster rendered with pen and paper       (       charlie was the monster - smothering,    snuffing out flames with a pinch of her lily - sweetened fingertips   :       she eases monster - men out from under little girls’ beds with the flick of a pen,    her smile burning headlines out of broken bones and busted hearts        …        she does not hold pillows over feather - stuffed mouths,    but she creates weapons out of women’s tales       —       it’s all the same in journalism,    just one pen and a lot of audacity       ).       she squints at the picture,    her mouth wiggling to the side of her face      IT ISN’T A GOOD PICTURE,   A PARTICULARLY SHODDY LIKENESS TO A THOUSAND MEN.     charlie traces her fingers over the picture and finds her father in its jagged outline,   she finds her first story in the ruthless half - pout of his lips,    she finds the agony of falsehoods in the blank eyes        (         lee’s or the picture’s,    it makes no difference         ).         ‘   i can’t use this.      you got anything else?   ’

how does an actress turned final girl ever manage to catch her breath with such a whirlwind of a life?     that’s easy.     she doesn’t.     she lies and lies her way through the day,  then wakes up and does it again,  in a constant rush to chase after her words before they come slipping out unthought.     if she were the kind of woman who stuck to the script,  she wouldn’t be in this spot in the first place.     here she is now,  with furrowed brows and this perpetual,  guilty look.          ❛     well   —     ❜          so charlie doesn’t get it.     lee shouldn’t be surprised,  because nobody’s gotten it just yet.     but her heart sinks a little anyway,  wiggling further and further from her butterfly ribcage.     any more disappointment,  and she’ll lose it altogether.          ❛     no,  i don’t have anything else.     i was tied up.     i didn’t exactly have the chance to take a picture.     ❜          her cheeks flush.    above her,  the office lights turn into spotlights.     the bulbs could pop and shatter any second now.     lord knows they would on every other shoestring production.          ❛     sorry,  no offense,  but don’t you guys have like...   an art department or something?     a cartoonist?     ❜

[doona-baes]

I need someone with edge.

[viperly]

@slashre​

❛     holy shit.     ❜          holy shit.     she knows that face just as well as she knows the uptick in her voice’s pitch,  the way she suddenly feels off-balance.     susceptibility to getting starstruck never really goes away,  even when she’s copied  &  pasted her own way to stardom.     lee montgomery,  hollywood’s own final girl come to life,  should have a bit more steel to her now.     her reputation slips through her grasp in stutters  &  slight smiles,  doe eyes  &  missed jokes.     it’s like it’s her first day on the scene.     she could drown in the feeling.          ❛     sorry   -   sorry,  it’s just   -   we don’t get,  you know.     rock stars at these things.     just actors.     &  not even big ones.     usually.     ❜          a laugh jostles its way past her glossed mouth,   &  she reaches to sweep her hair behind her ear.     god,  throw down a lifesaver soon. 

[classichorrorblog]

The Texas Chainsaw Massacre |1974| Tobe Hooper

[viperly]

my development of lee and the direction i’ve taken her is, largely, in response to death proof itself - as the film is a love letter to the era of exploitation films, i wanted to lee to be a love letter to exploitation horror such as texas chainsaw massacre and i spit on your grave, and furthermore explore the concept of final girls as it relates to fame, deception, and societal pressure.

[viperly]

@slashre​​

the pen scrawls back  &  forth in jagged lines,  erratic  &  confused.     a legal pad catches its strokes on ugly yellow  &  reflects back to lee some caricature of horror:     the texas chainsaw massacre by way of a kindergartener.     it’s the shameful best lee can do.     she’s not an artist.     what she is is a storyteller.     so is charlie,  whether she knows it or not.          ❛     uh...  he looked like that,  kinda.     ❜          she flips the pad forward,  artistic monstrosity on full display.     office lights cast an even harsher light on it;     everything here feels too harsh,  too cold.      she chalks it up to the price of survival,  or deception.     they’re one  &  the same these days.          ❛     only  -  i mean,  his eyes weren’t that far apart,  but still... pretty far.     ❜          gaze across lingers,  expectant,  as if there’s an answer she’s waiting for:     yes,  his eyes are far apart.     yes,  it’s very impressive,  what you did back there.     yes,  we can make a brand out of this yet.

[viperly]

my url refers to the vipers emblazoned across lee’s cheerleader uniform (which is also a reference to kill bill!) + lee, but also vipers as a motif for lee are kind of it! the girl is fairly snakeish - there’s something to be said about how easily she finds it to flip on people. it’s a defense mechanism after years of feeling like there’s nobody on her side; she’s adapted to the same flightiness that other people seem to have naturally. it culminates into a deeper flaw and strains her relationships later down the road.

[viperly]

starter call to kick things off?

[marypickfords]

Marilyn Burns in The Texas Chain Saw Massacre (Tobe Hooper, 1974)

[viperly]

[lily-colson]

mary elizabeth winstead aslee montgomery in death proof (2007, dir. quentin tarantino)

[lily-colson]

mary elizabeth winstead as lee montgomery in death proof (2007, dir. quentin tarantino)