Shame City Space Cadet.
Poppy Yasmin McGee, could have been a star of the screen.
Quaker, tattooed, bit of a geek.
Crafty.
Sometimes I prefer Mario Kart to a wank.
Tessellation is my masturbation. Musical self harmer.
I feel like I’ve lived a thousand wretched lives before and I’m exhausted from ruining every one of them.
“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.”
Wilhelm Freddie & Jørgen Roos - “Spiste Horisonter” AKA “Eaten Horizons” 1950
Den mest logiske konklusionen må dermed være at brød er kærlighed. Ergo, spis mere brød!.. Dog ikke hvis det er muggent… ;)
snow globe with mysterious powers sends disaster and destruction to a mountain town in Alaska. Hmmm.
An imagined cosmography in the map from Time Bandits by Terry Gilliam, 1981
In the early-1970s, when originally offered the lead role in Willy Wonka & the Chocolate Factory by director Mel Stuart, the great Gene Wilder accepted on one condition:
“When I make my first entrance, I’d like to come out of the door carrying a cane and then walk toward the crowd with a limp. After the crowd sees Willy Wonka is a cripple, they all whisper to themselves and then become deathly quiet. As I walk toward them, my cane sinks into one of the cobblestones I’m walking on and stands straight up, by itself; but I keep on walking, until I realize that I no longer have my cane. I start to fall forward, and just before I hit the ground, I do a beautiful forward somersault and bounce back up, to great applause.”
Asked why, Wilder explained: “Because from that time on, no one will know if I’m lying or telling the truth.”
As we now know, his request was granted, but thankfully his input didn’t stop there. Just one example: Soon after seeing some early sketches of Willy Wonka’s eccentric outfit, Wilder wrote the following letter to Stuart and offered some charmingly constructive feedback.
(Sources: Above quote from Wilder’s memoir, Kiss Me Like A Stranger; letter below from Willy Wonka & the Chocolate Factory (40th Anniversary Collector’s Edition).)
July 23rd
Dear Mel,
I’ve just received the costume sketches. I’ll tell you everything I think, without censoring, and you take from my opinion what you like.
I assume that the designer took his impressions from the book and didn’t know, naturally, who would be playing Willy. And I think, for a character in general, they’re lovely sketches.
I love the main thing — the velvet jacket — and I mean to show by my sketch the exact same color. But I’ve added two large pockets to take away from the svelt, feminine line. (Also in case of a few props.)
I also think the vest is both appropriate and lovely.
And I love the same white, flowing shirt and the white gloves. Also the lighter colored inner silk lining of the jacket.
What I don’t like is the precise pin pointing in place and time as this costume does.
I don’t think of Willy as an eccentric who holds on to his 1912 Dandy’s Sunday suit and wears it in 1970, but rather as just an eccentric — where there’s no telling what he’ll do or where he ever found his get-up — except that it strangely fits him: Part of this world, part of another. A vain man who knows colors that suit him, yet, with all the oddity, has strangely good taste. Something mysterious, yet undefined.
I’m not a ballet master who skips along with little mincy steps. So, as you see, I’ve suggested ditching the Robert Helpmann trousers. Jodhpurs to me belong more to the dancing master. But once elegant now almost baggy trousers — baggy through preoccupation with more important things — is character.
Slime green trousers are icky. But sand colored trousers are just as unobtrusive for your camera, but tasteful.
The hat is terrific, but making it 2 inches shorter would make it more special.
Also a light blue felt hat-band to match with the same light blue fluffy bow tie shows a man who knows how to compliment his blue eyes.
To match the shoes with the jacket is fey. To match the shoes with the hat is taste.
Hope all is well. Talk to you soon.
All my best,
Gene
