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glassautomaton · 1 year

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Preview time! This isn’t for the eminent tale, but I wanted to show off some Foxx since a few people mentioned him in the replies to a previous post. This excerpt is right from the start of the tale and I feel like it should give readers some idea of what to expect in terms of case and plot, though obviously not everything there is revealed in this. This was also largely taken from a previous iteration of the tale that changed somewhat, so some things are obviously subject to change.

Probably the biggest lie Aleksander Foxx was ever told was that children were dumb. Children lacked context for a lot of things, though they could hardly be blamed for that, but that didn't mean that they were dumb. They were quick to notice patterns and had good memories for things of perceived importance. Foxx was quite glad his daughter perceived his comings and goings as something of import, but there were nevertheless times when that worked to his detriment.

Daaad, are you coming home on time today? Daaad, where were you? Daaad, were you with that pretty lady? All questions he had to fend off without lying to Lucille, which came down to him always saying he was 'at work.' Not a lie, of course, but the little girl didn't know what that meant and was harboring a resentment toward that fact. That resentment only grew each time he stayed at work later than he said he would.

She didn't even think it was a cool job, either, just a mall cop for a plastics company. Why couldn't they have given him Smith-Campbell Petroleum as a job instead? At least that explodes.

So, as Aleksander made his way down to where they kept the medium-risk humanoids, he found himself frowning at his phone. Even if he did have a good excuse to give her, something was jamming communications out of the site. Or he was just underneath several meters of solid concrete. Or both. Aleksander let out a deep sigh. Lucille knew how to hold a grudge, and being late again with no new mom to show for it would certainly be something worth being upset about. That girl had certain expectations for her dad. She was anything but stupid.

"Ooh, Mr. Foxx, is that, like, a motion tracker or something?"

This kid, on the other hand, might have been a bit of a moron.

"No, Daniel, it's an Android." Aleksander held up the phone to show him. Though, maybe he shouldn't be too harsh. Iris barely knew what smartphones were, and she was a smart kid. She'd just been locked up for a while. "Uh, how long have you been here, Daniel?"

"About eight months."

Aleksander squinted. "Riiiight…" Well, the 'break glass in case of emergency' list of anomalies he got from Andrea can't be filled with nothing but idiots. Although, it was supposedly just a list of people Iris rejected. Well, she can't have rejected them all for the same reason.

You can't set up a team and expect everyone to be perfect, that's why it's a team in the first place, he thought. Like Ocean's Eleven, but with Aleksander as the George Clooney character. Who's also a lot like James Bond, since he's so good at everything. Well, like James Bond except in how everyone around him dies. So he's more like John Wick since he has a dead wife, right, and Lucille is like his dog who he loves. Though Lucille would probably not want to be compared to a dog. That and the fact that, uh…

"So, uh, Mr. Foxx?" Daniel snapped Aleksander out of his thoughts. "I'm really, like - I mean, thank you for grabbing me for this." Speaking a little soon, there. "But, what are we doing again?"

Aleksander stroked his chin. "Heh. Our mission, as it stands, is to liberate the North maintenance control terminal from the hostile invaders." 'Liberate' was a good way to say 'shoot everyone in there with a pulse' to someone like Daniel, he figured.

"Oh, so… no hostages to save?" Daniel slumped over a little bit as he trailed behind Aleksander. Whether that was because he'd have no way of directly seeing the results of his actions or because he wanted other people to see him, Aleksander didn't know, and didn't particularly care.

"No, Daniel," Aleksander said, slowing his pace down to stand next to Daniel and leaning in. "The whole site is being held hostage. Right now, the fire suppression system is active. All the power doors in the facility are shut, and only the bad guys can open them from there." He hoped he was doing a good job walking the tightrope between instilling enough urgency in the kid and scaring him. Luckily, it seemed like he wasn't quite smart enough to realize that meant there was no backup coming and the 'bad guys' had inside knowledge of the site's layout and procedures.

"Oh, yeah, okay." Daniel nodded, taking in the information, and slowly turned to Aleksander. "So… what exactly do you need me for?"

Target saturation. "Oh, come on!" Aleksander clapped Daniel on the back. "Who wouldn't want Cactusman on their side?"

As expected, Daniel took the bait, smiling and failing to ask any follow-up questions. Attaboy.

"Now we just need one more member of the team," Aleksander said to himself as he peeled off to take a closer look at a heavy door sunken into a wall. "Daniel, you keep a lookout, okay?" He said as he rummaged through all the loose bullets he had stuffed in his pocket until he was able to produce a crumbled-up sheet of paper, its condition only made worse by the other inhabitants in the pocket. He squinted at its half-faded writing. Four, something, five, something.

Daniel poked his head down the threshold - in the opposite direction of where he'd need to be looking to keep a lookout - and smiled. "You're grabbing Rainer for this, too? Wow, it's like our own superhero team!"

Aleksander cringed at the comment in place of Iris, who had once prattled on and on to him about how annoyed she was that some Lenny girl had said something similar to her. But, hey, at least he knew he was in the right place. Iris had also complained to him about someone named Rainer whose application she rejected. Well, she had complained to Andrea in both cases, but Aleksander was nothing if not observant. Which was different from being nosy.

"Uh huh." Aleksander squinted at the control pad. Biometric locks, even if it did only want a fingerprint. "I need a key. Watch the door, will you?" He walked past Daniel to a security room across the hall, stepping over the broken glass from its shot-out window. Peeking in, he saw a guard slumped motionless on the ground. Bingo.

Crouching down next to him, Aleksander pulled out his combat knife (that he was finally going to get to use!) and tried to remember how to take someone's pulse. Not that he didn't pay attention when Jackie was going over first aid with everyone, no… Well, a little, perhaps, but that was because stone-cold killers like him were more concerned about stopping pulses than restarting them. Wasn't it, like, under the arm? He pressed two fingers into the guards arm underneath his armpit and counted to ten. Nope, nothing.

"Oh, Mr. Foxx, I don't think you need a key for this door," Daniel said. "Look, there's no keyhole or anything."

"Uh, no, you need, like, a finger." Aleksander was only half-focusing on responding has he felt up the guard's bones. "It's a fingerprint scanner."

"Okay, I get it!" Daniel's chipper tone made Aleksander stop what he was doing and peek over the broken window. "I can get it, don't worry!"

"Wait, Daniel, if it's the wrong one it'll shock-"

"Aaaaaaah!" Daniel screamed, startled by the shock.

"Aaaaaaah!" The guard yelled, starting awake.

"AAAAAAAH!" Aleksander shrieked, jumping backwards.

#scp #devils advocate scp #Aleksander Foxx #scp 2800

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ao3feed-ineffablehusbandz · 2 years

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The Silent Queen

by VillanelleDanielleLangdon2Morningstar

Sabrina Morgana Spellman knows she's not a good person, she's evil and cruel in just the right amount, identical middle twin of Sabrina Edwina Diana Spellman, Aziraphale Spellman's favorite niece. And the only creature to raise a voice for Zelda Spellman. Disillusioned with the insistent hope of a happy life at only fifteen; she is cynical, manipulative, ruthless, and, above all, a survivor. But her life changed when she took a trip to LA. And the soul bond she forms with two even more unlikely people will change the entire Wizarding Community.

Main Pairing: Lucifer Morningstar / Sabrina Morgana Spellman Morningstar

Sabrina Morgana Spellman Morningstar/ Hope Andrea Mikaelson

Sabrina Morgana Spellman Morningstar / Klaus Mikaelson

Sabrina Morgana Spellman Morningstar /Michael Samael Morningstar.

Words: 70, Chapters: 1/1, Language: English

Fandoms: Sabrina the Teenage Witch (TV), Chilling Adventures of Sabrina (TV 2018) RPF, The Originals (TV), The Vampire Diaries & Related Fandoms, Lucifer (TV), American Horror Story: Apocalypse, Lucifer (TV) RPF, Good Omens - Neil Gaiman & Terry Pratchett

Rating: Explicit

Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con, Underage

Categories: Multi

Characters: Sabrina Spellman, Nicholas Scratch (Chilling Adventures of Sabrina), Hope Mikaelson, Lizzie Saltzman, Ambrose Spellman, Zelda Spellman, Hilda Spellman, Cordelia Foxx | Cordelia Goode, Zoe Benson, Mallory (American Horror Story), Edward Spellman, Elijah Mikaelson, Rebekah Mikaelson, Klaus Mikaelson, Freya Mikaelson, Mary Wardwell | Madam Satan | Lilith, Satan (American Horror Story), Harvey Kinkle, Rosalind "Roz" Walker, Theodora "Theo" Crain, Kol Mikaelson, Davina Claire, Dahlia (The Originals), Inadu | The Hollow (The Originals), Marcel Gerard, Hayley Marshall, Amenadiel (Lucifer TV), Michael Langdon, Michael (Lucifer TV), Gabriel (Lucifer TV), Ramiel (Supernatural), Aziraphale (Good Omens), Crowley (Good Omens), Adam Young (Good Omens)

Relationships: Hope Mikaelson/Sabrina Spellman, The Dark Lord | Satan/Sabrina Spellman, Lucifer Morningstar (Lucifer TV) & Sabrina Spellman, Klaus Mikaelson/Original Female Character(s), Lucifer/Original Female Character(s), Hope Mikaelson & Original Female Character(s), Michael Langdon/Sabrina Spellman, Sabrina Spellman/Other(s), Aziraphale/Crowley (Good Omens), Elijah Mikaelson / original maa

Additional Tags: Harvey Kinkle Knows Sabrina Spellman is a Witch, POV Sabrina Spellman, Bisexual Sabrina Spellman, Ruler of Hell Sabrina Spellman, Dark Sabrina Spellman, Michael Langdon Deserves Better, Protective Michael, Protective Klaus Mikaelson, Possessive Klaus Mikaelson, Protective Lucifer, Protective Lucifer Morningstar (Lucifer TV), Hurt Lucifer Morningstar (Lucifer TV), Protective Hope Mikaelson, Bisexual Hope Mikaelson, Tribrid Hope Mikaelson, Dark Hope Mikaelson, Dark Lizzie Saltzman, Dark Hermione Granger, Dark Morgana (Merlin)

From https://ift.tt/zgSVCEI https://archiveofourown.org/works/42045810

#ao3feed ineffablehusbandz #ineffable husbands #good omens #aziraphale #crowley #anthonyjcrowl

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byneddiedingo · 2 years

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Tomas Milian and Christine Boisson in Identification of a Woman (Michelangelo Antonioni, 1982) Cast: Tomas Milian, Daniela Silverio, Christine Boisson, Lara Wendel, Veronica Lazar, Enrica Antonioni, Sandra Monteleoni, Marcel Bozzuffi. Screenplay: Michelangeo Antonioni, Gérard Brach, Tonino Guerra. Cinematography: Carlo Di Palma. Production design: Andrea Crisanti. Film editing: Michelangelo Antonioni. Music: John Foxx. Identification of a Woman plays almost like a pastiche of the movies that Michelangelo Antonioni and other directors made 20 years earlier: There's a party filled with bored Eurotrash like the ones in his La Notte, Federico Fellini's La Dolce Vita (1961), and Alain Resnais's Last Year at Marienbad (1962); there's a film director trying to get over creative block like Guido in 8 1/2 (Fellini, 1963); there's a search for a missing woman, though not so fruitless as the one in Antonioni's L'Avventura (1960); there are some mutterings about imponderable philosophical questions, such as whether god would exist if human beings didn't; and there's a good deal of sex, still not enough to overcome the problems of the characters, though the nudity is more frontal and the copulation more explicit than it was two decades earlier. In short, we've been here before. Still, Identification of a Woman is not without its rewards, most of them provided by the wizardly color cinematography of Carlo Di Palma. His artistry and technique are on display in such scenes as the film's most memorable segment, the journey through the fog, as well as in the play with reflections (see the still above) in the Venetian hotel scene. They do more than the actors do to bring the film to what life it possesses.

#Identification of a Woman #Michelangelo Antonioni #Tomas Milian #Christine Boisson

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newmusicweekly · 4 months

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CRS 2024-2025 Agenda Committee Members Announced

Country Radio Broadcasters (CRB) has announced its Agenda Committee leaders and members for the 2024-2025 Country Radio Seminar (CRS) year. Shelley Hargis of BBR Music Group will continue to lead as the Agenda Chair, accompanied by Co-Vice Chairs Krista Hayes (BBR Music Group) and Jesse Tack (Hubbard Cincinnati). The 2024-2025 Committee members include Andrea Burtscher (Audacy), Kevin Callahan (Pamal Broadcasting), Samantha DePrez (Curb Records), Paisley Dunn-Banks (Seven Mountains Media), Nick Steele (Audacy), Amy Foxx (Hubbard Broadcasting), Alek Halverson (iHeartMedia) Maverick Johnson (iHeartMedia), Sarah Kay (Rubber City Radio Group/WQMX), Victoria Mason (Warner Music Nashville), Brad Mates (Band & Crew Financial), Nicole Michalik (Beasley Media/WXTU), Ashley Morrison (iHeartMedia), Jordan Pettit (Opry Entertainment Group), Scott Roddy (Audacy), Jennifer Shaffer (Wheelhouse Records/BMG Nashville) and Kathleen Shea (SiriusXM/Pandora). Brittani Johnson (Big Loud Records) will lead the agenda content for the Digital Music Summit, which will return on the first day of the CRS 2025 educational curriculum. The Digital Music Streaming Team also includes Claire Heinichen (Spotify), Gemma McInturff (Spotify), Vipin Reddy (UMG Nashville), and Alina Thompson (SiriusXM & Pandora). Committee leader Shelley Hargis commented, "I could not be more thrilled to lead the agenda team again this year. Last year, our team launched a few new things at CRS, and we plan to continue those. Read the full article

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movienized-com · 8 months

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Strays (2023)

Strays (2023) #JoshGreenbaum #IslaFisher #WillFerrell #JamieFoxx #WillForte #RandallPark Mehr auf:

Doggy StyleJahr: 2023 (Juni) Genre: Abenteuer / Comedy Regie: Josh Greenbaum Hauptrollen: Isla Fisher, Will Ferrell, Jamie Foxx, Will Forte, Randall Park, Hannah Alline, Tyler Antonius, Hedy Nasser, Jade Fernandez, Andrea Laing, Tinashe Kajese, Alexandra Ficken, Charity Cervantes, Dan Perrault, Aven Lotz… Filmbeschreibung: Als der naive und optimistische Border Terrier Reggie (Stimme im…

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#Isla Fisher #Jamie Foxx #Josh Greenbaum #Randall Park #Will Ferrell #Will Forte

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rottingraisins · 2 years

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Dr clefs bisexual stripper assasin squad

#*does a little cheer dance* b team!! b team!!#anyway only b plot allowed in MY version of resurrection is lamba 2 workplace comedy #also im super aware my lurk design looks like if iceberg got only slightly more sun but this is actually intentional on my part and #a subtle nod to them being two sides of the same coin (reddit user)#scp #andrea adams #aleksander foxx #dietrich lurk #scp 1471 #scp aiad alexandra #??? does she have a tag???#dr clef #dr light #art

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neonhog · 6 months

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my little pony andrea adams (devils advocate) is a blank flank (insecure abt this) until she gets beat to a bloody pulp by gamma and she wakes up in the hospital the next day and looks down at her flank and finds a perfect oil painting rendition of herself on the ground after having ate shit. all foxx can do is uncomfortably click his lips and go "its not . that bad"

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mariocki · 5 years

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Scorpion Tales: Easterman (1.1, ATV, 1978)

"How much service have you put in?"

"Six years, sir."

"I don't bloody believe it. What d'you think this is, a game of charades, a bloody shambles? There are two words that have followed me through every second of a life put in this job: I care. I care so passionately about this work that I would never have made the mistake you just made. You're a bastard catastrophe, son! A real copper could never have allowed the washing of this body. That's the knowledge a man has inside himself after only one year of this work! D'you ever have any time in your life when you think, sonny? While you're on the crapper, for instance? Next time you're sitting there, think about this: that a man who spent thirty years as a copper, an expert, told you on the basis of one act of yours - a mix of cretinous stupidity and madness - to get out of this work. Out of care for this institution, because this bloody institution will only survive while people do care!"

#Scorpion tales #Easterman #1978 #Single play #classic tv #Ian Kennedy Martin #david reid #trevor howard #Don Henderson #patrick allen #Paul Arlington #Alan Rowe #Maryann Turner #Patrick Godfrey #Will knightley #Andrew Andreas #David foxxe #Gun in mouth #gun tw #So I'm on a bit of a single play kick atm and thought I'd revisit this brief series of twisty thrillers I watched a few years ago. Only two #Of them can I really remember and one of those is this opener; in fact it's quite vividly burnt into my mind which must say something about #The quality of the play. It is indeed a very strong one off drama helped enormously by an unusually verbose and poetic script from Kennedy #Martin and a spellbinding central performance from Howard. The actor was in his mid 60s by this point and looks frail and unwell but his #Performance seems to draw on great unseen wells of energy and vitality. Indeed he runs rings around his much younger costars and delivers #Some wonderful monologues with intense passion. There is no gentle way to say however that this play features some very homophobic language #And attitudes. It is perhaps in keeping with the plot and the characters but it is nonetheless quite hard to watch in places which is a #Great shame as at it's core this is a remarkable and deeply affecting play. Henderson is kept offscreen for much of the episode and his #Character is all the more sinister for it but when the confrontation finally comes he does bring some much needed pathos to the role.#By this point he was already known for playing Bulman in the first series of The XYY Man and his costar Rowe appears too but sadly they #Share no scenes. Rowe is worth mentioning too: in a small role he gets one of the only laughs of this play with a withering bit of sarcasm

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nekoannie-chan · 3 years

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Reading list guidelines

Hi! This is Annie, here are my reblog guidelines during 2023:

You MUST to TAG ME in your fic, I know some people discontinued their tag list, unfortunately Dumblr doesn’t notify me and I don’t have enough time to check blog by blog because I follow lots of people.

TAG all the WARNINGS, there’s some topics I’m not comfortable with. Please respect my boundaries and triggers as I respect yours.

Must be posted on Tumblr. I wanna support writers on here, so please, no links to another fanfic platform.

Every Friday a weekly list will be published (unless something happens in my life), so lists will have between 7-42 fics.

Use ‘read more’ if word counts is over 500, please; sometimes I keep fics in my drafts.

Would be amazing if you following, I swear I’m not a bad person, just a grumpy one.

Could take between 1 to 2 months I reblog your work, sometimes I’m slow because of school or personal stuff, also I always plan my queue at least for a month.

If I like your fic, it means I receive the notification and would be on my queue, but if I don’t like it, you can message me and send me the link, ‘cause probably I didn’t receive the notification. Also, if you notice my likes it means I’m putting your work on my queue with the comment.

If you wanna tag me but not be highlighted, you can send me a message and ask it politely.

I just wanna support people, and hope people support me too, so I just do this for fun, I’m no gonna tolerate hate or something negative, so if you send me something like that, I will block you without hesitation; this also applies if someone is rude with me.

I’m okay with dark, smut, fluff, angst, horror, etc., just please, tag properly.

͙♡*♡∞:｡.｡　　｡.｡:∞♡*♡͙

Characters and fandoms I read below the break.

❤ Marvel characters I read:

Steve Rogers.

Brock Rumlow.

Runaways.

Tandy Bowen.

Ororo Munroe.

Sue Storm.

Johnny Storm.

Lorna Dane.

Nico Minoru.

Clarice Fong/Ferguson.

Rogue.

John Proudstar.

Stepford Cuckoos.

Logan/Wolverine.

Magik.

PRIDE.

Jubilee.

Sinthea Schmidt.

Janet van Dyne.

Doctor Doom.

Amora.

Felicia Hardy.

Madelyne Pryor.

Mister Sinister.

Rachel Leighton.

Dottie Underwood.

Michael Morbius.

Ana/Satana Helstrom.

Daimon Helstrom.

Lauren Strucker.

Andy Strucker.

Hellfire club.

Jessica Jones.

Jack Rollins.

The divine pairing.

GertChase.

Deanoru.

Thunderblink.

Morgan le Fey.

Tina Minoru.

❤ Knives out characters I read:

Ransom Drysdale.

Meg Drysdale.

❤ Charmed characters I read read:

Piper Halliwell.

Leo Wyatt.

Prue Halliwell.

Cole Turner.

❤ Desperate housewives’ characters I read:

Bree Van de Kamp.

Gabrielle Solis.

Susan Mayer.

Julie Mayer.

Katherine Mayfair.

Angie Bolen.

❤ Snowpiercer characters I read:

Lilah Junior “LJ” Folger.

❤ Money heist characters I read:

Tokyo.

Pamplona.

❤ Grey’s anatomy characters I read:

Izzie Stevens.

Cristina Yang.

Amelia Sheperd.

Callie Torres.

Denny Duquette.

Stephanie Edwards.

Erica Hahn.

Nicole Herman.

❤ 9-1-1 characters I read:

Evan “Buck” Buckley.

Howie Han.

Maddie Buckley.

Abby Clark.

❤ American Horror story characters I read:

Misty Day.

Moira O’Hara.

Fiona Goode.

Lana Winters.

Cordelia Foxx.

Ally Mayfair-Richards.

Mallory.

❤ The Walking Dead characters I read:

Andrea Harrison.

Glenn Rhee.

Rosita Espinosa.

❤ Battle Royale characters I read:

Mistuko Souma.

Shūya Nanahara.

❤ Other stuff I read:

Original horror/terror stories.

Any horror movie killer.

Any Frank Grillo characters.

Any Ko Shibasaki characters.

Tomie.

Nanno.

❤ I’m not reading:

No pedo fics.

No underage smut.

No toilet, bodily fluids, bestiality.

No incest.

No A/B/O.

No RPF.

No Social Media AU.

Staron.

Steggy.

Romanogers.

Taserbones.

#Annie recommends #reblog guidelines #reading list guidelines #reading guidelines

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fridakahloblvd · 3 years

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can we talk about the fact that Andrea Garfield’s spider-man tried to trick us all into believing that Jamie Foxx was unattractive???

this man is, has and will always be, fine. they had to give him glasses and a comb over and make him hunch over to sell us that this man right here was ostracized as being ugly.

jamie foxx.

#not spoilers #but trying to be nice #nwh spoilers #nwh #spiderman no way home #spiderman no way home spoilers #no way home spoilers #no way home

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21secondsofchristoph · 4 years

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Here is a full translation of the interview featured in Max Magazine.

Original text by Andreas Wrede

This was a lot of work so PLEASE don’t post this elsewhere without credit.

--------------------------------------------------------------------------------

This story with and about Christoph Waltz is a story coming full circle. A little more than 3 decades ago, a small group of editors and photojournalists, graphic artists and authors started developing the pilot for the first German issue of MAX, made possible by Dirk Manthey, the publisher from Hamburg’s Milchstraße, who knew the magazine from Italy, France and Greece. And who made me the founding-editor in chief. Three decades later, the derivative is released, thanks to publisher Max Iannucci. In 1990, Christoph Waltz was in an episode of “Der Alte”, among other things before he played the torn schlager music star Roy Black in “Du bist nicht allein – Die Roy Black Story” – but we will get to that later.

Now Christoph Waltz is an award-winning, internationally known actor, who won two Oscars for best supporting actor. That is unique for a German-speaking actor. Born in Vienna in 1956, he now lives in Los Angeles – if you want to play a role in Hollywood, literally, you must be present in Los Angeles. And during our conversation in a red, furry saloon of the legendary hotel Sacher in Vienna, he emphasizes, “Hollywood is always the goal”.

The place is very fitting, considering Christoph Waltz grew up in Vienna, in a family that cultivated a great affinity for the work on stage for two generations. He says laconically, “You grow into a thing, you grow up with it, and thus, you acquire a familiarity early on, which you’d otherwise have to conquer with a lot more effort.” He often went to the movies from an early age on, but he spent even more time at the opera. “When I had time and had finished my homework, I enjoyed going to the opera.” Back then, a standing room ticket cost about ten Schilling, just a few cents in today’s currency. Little Christoph loved smuggling into the fascinating, secretive opera house.

Later he attended famous acting schools like the Max Reinhardt Seminar or Lee Strasberg’s Actors Studio with significantly less pleasure. “I didn’t like attending acting schools. They didn’t exactly broaden my horizon.” Christoph Waltz hardly found them inspiring. And when he received offers for movies and theater, he accepted them “instead of dealing and struggling with teachers”. He says this with few gestures and in an almost reporting tone, he has always trusted the energies inherent in him. He had his TV debut in “Der Einstand”, where he played a teenage delinquent. That was fitting, considering he continued playing roles which were different, unexpected, and specific, or roles he filled differently, unexpectedly, and specifically.

Christoph Waltz remembers his beginnings as an actor in the 70s a little wistfully. “There were still movies on TV, which were made as movies for television, as one dramatic entity.” Or when there used to be directors like the great Federico Fellini, who was “very, very specifically Italian in everything he did.” Christoph Waltz continues: “And because of this specificity he was able to reach so many people.” A phenomenon like Fellini is marked by obstinacy, nonconformity, and distinct individuality. However, some significant conditions also irritated Christoph Waltz, for instance, when he was hired for the Krzysztof-Zanussi-film “Leben für Leben” in 1991. “I wasn’t adequately informed about the conditions and backgrounds. And so, I found myself – surpsised – in front of a camera in Auschwitz.” How does one react to something like that? “Today, I would know how to react”, he stresses thoughtfully, “but today, that would be due to the self-confidence I acquired over the past years. Back then I felt: Now I’ve been hired for this film.” Alright, he adds, one grows through experience, some conflicts are worth going through. “It helps building character.”

Was the decision to play Roy Black a crystal clear one? Not at all, he responds smiling and closes his eyes for a second. “When my agent called me about it, my spontaneous reaction was: Complete humbug, and I can’t even listen to this music for three seconds.” It only became interesting for him when he learned that Roy Black originally wanted to play Rock ‘n’ Roll. Then he became interested in the tragedy of this character. And the thought that Roy Black’s wish was the desire for freedom and wildness, a wish many Germans shared, “which was inherent in the promising American machinery.” Although this freedom and wildness had always existed in Germany, lived out by people like Nietzsche, Schopenhauer, or Kandinsky.

“The film itself was great, but the marketing-weisenheimers managed to break this film. It would be a great cine film, but they advertised it as a sob story for television. Consequently, the real Roy-Black fans were disappointed, while the people who might have been interested in the movie judged: Leave me alone with this sob story twerp. Well, the weisenheimers are the weisenheimers, what can you do”, deems Christoph Waltz with a beautiful touch of Viennese sarcasm and barely noticeable risen eyebrows. One does not always have to instrumentalize the entire acting equipment with him. A few little cues are enough.

Many more films follow before someone calls from Hollywood and say he is supposed to participate in Tarantino’s Inglourious Basterds. In our interview he calls this his “Quentin-jump”, where he is at eye level with Diane Kruger, Brad Pitt and Michael Fassbender in front of the camera. “Tarantino, we mentioned this before, stands for specificity and authenticity, he has an eye for both.” Did Christoph Waltz go into this production with a lot of respect? “With great respect.” He remembers an encounter with Sylvester Groth in front of a theatre in Babelsberg. “Every Thursday, Quentin showed movies during preparation. Once, Sylvester and I stood in front of the theatre and we both said: Imagine this, now we’ve been doing this for so long and suddenly we find ourselves here.” Then we paused for a few moments and kept going: Yes, and despite everything, we’re doing what we’ve always done – what we do, because that is what we do.”

Before Tarantino’s office could call again, other international projects followed, like The Green Hornet (with Cameron Diaz, Tom Wilkinson, James Franco) or Carnage (with Jodie Foster, Kate Winslet, John C. Reilly). Then Django Unchained (with Jamie Foxx, Leonardo DiCaprio, Samuel L. Jackson). For his role in Django Unchained, Christoph Waltz wins his second Oscar for best supporting actor in 2013 and Quentin wins another one for best original screenplay. But Christoph Waltz remains humble: “The opportunities presented to someone for personal growth always come to you through other people.” Although the actor always makes a binary decision. “Yes or no. Am I going to do it or not.”

Can one also make the wrong decision? “You decide for one or the other and from that other possibilities develop, but neither is better or worse.” That was not any different for Quentin Tarantino or for his first film and its director Reinhard Schwabenitzky, who saw him in acting school. Christoph Waltz leans forward and says confidentially: “The essential chances and opportunities were those which were presented to me by another mind, by a great talent, through a vision, which came from another person.” Nothing more, nothing less.

Yes, humility is a virtue. But we do not want to conceal the fact that Christoph Waltz was the first German-speaking host on Saturday Night Live and that he received a star on the Hollywood Walk of Fame (No. 2536, 6667 Hollywood Boulevard). The quote: “And Hollywood is always the goal.” Is correct, “like others say their goal is to get into heaven.” Hollywood, heaven: “I don’t mean to compare the two goals, but the setting of these goals. Especially Hollywood has been mythologized into more than it deserves credit for.” In this respect, as a myth, it is always the goal. Please don't tell anyone Christoph Waltz is over-the-top - the opposite is the case.

During our exchange in the Sacher, I mention one of my favorite books on film. It is Peter Biskind’s Easy Riders, Raging Bulls – How the Sex-Drugs-And-Rock’n’roll Generation saved Hollywood. It says: „There is no worse career move in Hollywood than dying. Hal Ashby is now largely forgotten, because he had the misfortune to die at the end of the 80’s, but he had the most remarkable run of any ’70 director. After ‚The Landlord‘, in 1970, he made ‚Harold and Maude‘, ‚The Last Detail‘, ‚Shampoo‘, ‚Bound for Glory‘, ‚Coming Home‘ and ‚Being there‘ in 1979, before his career disappeared into the dark tunnel of post-‘70’s, Me Decade Drugs and paranoia.“

It can be assumed that this won’t happen to Christoph Waltz? “That is a good example for the mythologizing I was referring to”, he responds. “I would claim that a legend like James Dean probably wouldn’t have developed at all, had he not driven himself to death in his Porsche at such a young age. Who knows what would have become of Marilyn Monroe, had she not put an early end to her complicated life.” And parallel to Hal Ashby, there probably were thousands of directors, who would have been happy to pay their next rent – by working in their profession. It is therefor about comparativeness.

Onto another career step, the James Bond movie Spectre, in which Christoph Waltz portrays the dark Blofeld, a character, who appeared in previous Bond movies. How do we have to imagine that? One sunny day the agent comes along and says: “You’re on the list for the next Bond movie”? Christoph Waltz knows there are no rules to this, especially when it is something like James Bond. A series that has been at the peak of possibilities for more than 50 years.” The producers have a lot to lose, they have to look very closely. Not only to keep up the standard, they also want to be ahead of their time.

Was it intriguing to play this bad boy a second time? Is it about an additional nuance of expertly irony; is it about the myth that is Bond? “This was another unique opportunity for me”, says Christoph Waltz, “a unique opportunity to include myself into such an incredibly successful series.” Now after Spectre, for the second time in No Time To Die – a title that can offer a bit of comfort in times of the world wide covid pandemic. And Christoph Waltz is in the Bond movie that will be Daniel Craig’s final Bond. “It’s his fourth Bond movie”, he counts, “the actors change but the role remains the same. Of course, the role acquires a different profile and thus, different facets.” But it remains James Bond. “And when a new actor gets the role, he has to fit into the role, not the other way around.” Once again, we will have to wait for this Bond movie. It will probably hit theatres in spring 2021.

It reminds one of Shakespeare’s Troilus and Cressida – we’ve seen it a dozen times but keep going to see it again. Nowadays you go to see the production, in the past you went to see whosit faithless. Speaking of productions: Are the demands towards a Bond director more extensive compared to other film projects? “Surely there are more things to keep an eye on compared to a low budget movie or an independent film. In productions like that, you often have to use the tools you have. In Denmark they had demands referring to this “, Christoph Waltz comments in a slightly mocking undertone. He means the group around Lars von Trier? “Precisely, they called it Dogma for fun, and the world took them seriously.” But that is part of it, right, part of the business.

Anyway, every little detail is carefully manufactured for a Bond movie. And that takes, apart from a lot of money, a great level of expertise and many employees, which combine into a story on film. “Legions of people work on every pixel, not to mention the light and the meaning of the music.” With all this in mind, it’s understandable how appealing it is to be in a movie like No Time To Die. Christoph Waltz has a lot of praise for the director, Cary Fukanaga: “He always knew exactly what he was doing and we knew exactly, why he did this or that”. Audiences were able to see this in previous projects, like the brilliant first season of True Detective, where he directed all eight episodes.

Christoph Waltz wouldn’t be Christoph Waltz if he didn’t show his extraordinary talents in unconventional projects as well, like the show Most Dangerous Game (with Liam Hemsworth, produced for Quibi). “What interested me there? The new dramatic form, it’s a story in 16 sections, each section only eight minutes long. We’re dealing with a new form of storytelling.” Does it remind him of the continuous comics that used to be in US-newspapers a few decades ago?

“Yes, it’s connected to that – but it also reminds me of Charles Dickens, who published many of his novels as newspaper installments. In Most Dangerous Game the great story arch is not lost, the suspense is carried from one episode into the next. “That is a sleight of hand.” And for that he received an Emmy nomination, and it wouldn’t be surprising if he was to win the prestigious award one day. But he pulled off other sleight of hands in the past. Or how the New York Times says in a headline: “Christoph Waltz directing Opera, moves from Tarantino to Verdi.” Adding his old comment to this: “The full-blooded, juicy movie experience has a lot of operatic qualities. I’m not talking about the film music, but about the rhythm and color and phrasing.” After “Der Rosenkavalier” (Music: Richard Strauss, Libretto: Hugo von Hofmannsthal), which he staged at the Antwerp Opera, came Giuseppe Verdi’s “Falstaff”, his second opera there.

“I’m not a fan of the never-seen-before concept”, says Christoph Waltz. He agrees with Susan Sontag’s essay Against Interpretation – in opera, there is a fix story, and the music is the central transmitter of this story. Over-interpretations can quickly become “dangerous sliding tackles.” Waltz wants to avoid those. “I want to show what the composers and authors meant.” He stayed true to Sontag’s principle in all three of his opera productions, the third on being Beethoven’s only opera “Fidelio”.

He is self-critical enough, “to personally take the risk of failing.” What would be the alternative?

“I’m just an actor, now what do the music critics, who take themselves so seriously say? Some foam at the mouth and brawl ‘the movie-bod is interfering in the opera’.” He prefers the critics that are capable of formulating things between the lines. “When I read elsewhere, that the very thing I was trying to convey can be seen in detail, then I’m quietly happy about it.” Sadly, the live performances of Fidelio fell victim to the covid-crisis, but there was a TV-screening on ORF, which can certainly be called presentable with 11% of the market-share. “During ‘Fidelio’ I first realized physically that music is a spatial experience.” Here fits another Waltz-quote: “Strip away anything that us unnecessary.” Ergo: Reduce the action to the interaction between the characters. That is an art he mastered to perfection in acting.”

For once, I could surprise the cleaned up, chatty, well-tempered Christoph Waltz with a little research.

In his birthyear, 1956, his fellow countryman Walter Felsenstein, founder and artistic director of the “Komische Oper” in Berlin filmed a version of “Fidelio”. To this day, it remains the only film adaptation of the opera. Probably because – so the actor quotes Felsenstein – “this opera technically is impossible to stage”, he says with aplomb, an attitude that suits him. In ballet an aplomb describes the ability to absorb a movement, the balance.

Christoph Waltz not only shoots a lot of movies, but he also enjoys reading one particular movie critic: Anthony Lane of the New Yorker. Surely one of the most sharpened critics, who outtalks someone or rubs the reader’s nose into his alleged ignorance. We start talking about Lane via a new movie by the fabulous Agnieszka Holland, “Mr. Jones” – referring to Gareth Jones, advisor to the former British Prime Minister Lloyd George. Jones uncovers that the devastating hunger crisis in the Ukraine in 1932/33 was exclusively due to Stalin’s exploiting politics. Anthony Lane writes in inimitable fashion: „Is it conceivable that Holland’s bleak, murky, and instructive film could prompt a change of heart in the current Russian establishment, or even a confession of crimes past? Not a chance.“ Greetings from Belarus.

And of course, we also talk about COVID, what does an actor do who can’t act during these times? Is he reading Robert Musil’s novel The Man Without Qualities, which has more than 1000 pages? “Oh, I’ve already attempted to read this three times. The first time, I got to page 200, the second time I got to page 400, the third time I put it away after 100 pages.” But he doesn’t fully abandon the idea of finishing it one day. “But that would really be a true accomplishment of discipline”, he underlines, allusively smiling. Less amusing is the current stagnancy in Hollywood, where Christoph Waltz lives with his wife and daughter for the most part. “It will be illuminating once things pick up again”, he ponders “will a reforming spirit take over, or will everything fall back into the old, ignorant patterns, or even cause worse?” The temporary dysfunctionality of Hollywood is comparable to a dysfunctional family, which mechanisms become especially clear during crisis. Now he visited his mother here in Vienna. I allow myself the question, “Is Vienna your home?” “Vienna is my home, home is something you can’t choose, like your parents. Everything else can become your center of living, all that is willingly moveable – but home, home cannot be changed at will.”

#christoph waltz #max magazine

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