#Jamie and his dad? well his dad was ‘tough’ and ‘pushed him to dominate’

[jamiesfootball]

One of the things that hurts the most about Roy smacking the fork out of Jamie’s hand at Ola’s — aside from the show wanting to play for laughs what was an incredibly jarring moment. Like, there would have been other ways to accomplish the same joke of ‘haha, Jamie doesn’t know what he’s getting into’ without resorting to as violent a gesture that Jamie — with his known history of abuse and habit of flinching away from sudden potentially violent gestures — had to flinch and protectively cover his hands against his chest, reminding us, the audience, of that history of abuse. Roy could’ve pulled the plate and the fork away. He could’ve eaten the meatball Tom Wambsgans-style. He could’ve even glared him into putting it down.

But no, what hurts the most about that scene at Ola’s isn’t Roy snacking the fork out of Jamie’s hand. Or the waitress admonishing him like making a mess and wasting food was the problem. Or Roy apologizing to the waitress and then telling Jamie to clean up the mess

What hurts the most is in the next cut to him, Jamie actually has cleaned the mess off the wall

[howl-moon-blog]

Sacrificial Love

Eric knew it was love from the moment he laid eyes on the goddess that was Jamie Meyers. She was nice to him at first, but he crossed a solid line into annoying; he knew it, he just couldn’t help himself. She had already rejected him, so he fell contentedly into an admittedly strained friendship. Strained because he was a puppy, following after his favorite and tripping over himself to fulfill her every whim just for a glimpse of smile. But really, her eyerolls also made his heart flutter.    Eric didn’t understand why, but he was the only one who felt that way, Jamie had no other admirers. She wasn’t even popular and everyone but a select few tended to ignore her or whisper rumors behind their hands about her. She didn’t care at all, and she near always had snappy retorts which made him giggle all over again when he remembered them while trying to fall asleep at night. Logically he knew she was just an average high school girl, and that it was all just so... normal, but his feelings dominated him and he kept inserting himself in her life and kept defending her when she wasn’t around to do so. He couldn’t help it, he was a man (boy) in love. And then... then it finally happened, what he had wanted so badly, what he tried to stop himself from hoping for; she asked him out.    The bell shrieked through the hall and students began pouring out of classrooms, making the previously empty space unbreathably crowded. Eric pushed through, attempting to part his peers like the Red Sea. He needed to hurry to his locker and get his bag packed if he wanted to have one last five second conversation with Jamie before she hopped on the bus home. Everyone else, including him, had their licenses, but her dad hadn’t been able to afford Driver’s Ed. She said she didn’t care, she didn’t ever want to be behind the wheel of a two ton death machine. He could definitely see her point.    Eric was infinitely surprised and even more happy to see Jamie waiting for him at his locker. He nearly tripped over his own feet when she turned to look at him, tucking a lock of straightened, dyed black hair behind her ear. She hadn’t gotten her hair cut in two years and it hung in a shiny curtain to the middle of her back. His heart pounded loud and hard in his chest, confirming for the ten millionth time how in love he was; he was certain they were soulmates like Pam and Jim from The Office.    “Hey, Jamie, what’s up?” He would have been able to play it cool if his voice hadn’t picked that exact moment to crack. He winced instinctively, hoping and praying she wouldn’t just say never mind and walk away.    “Um...” Jamie looked down at her scuffed black boots and shuffled almost shyly. “Can... can I get a ride?” He nearly fainted when she looked up at him with a look that could almost include the words puppy and dog in the description.    “Y-yeah! Absolutely!” He was positively giddy and was ninety-eight percent sure he was blushing. “Riding the bus sucks.” He thought it was just a ride home until she dropped the best kind of bombshell on him.    “Actually, I was thinking we could go for coffee or something... like... like a date... or something.” She smiled a little bit and Eric’s heart and also physical body became a puddle. It was a monumental effort not to whoop and jump for joy.    “Yes! Yes! I would love... we can absolutely... yes, yeah.” Eric nodded, his face hurting from smiling so hard and so wide. “Let me just...” He sprang into action, spinning the dial of the lock on his locker, his fingers slipping, missing numbers and generally fumbling in his excited haste. He heard Jamie giggle lightly beside him and shot her a sheepish grin. He took a deep breath, calming himself enough to try again and actually succeed in opening his locker. He threw his books in his bag, hardly paying attention to what he was grabbing. Once he felt like he had everything he slammed his locker shut and spun the dial. “Shall we?”    “I need to go get my stuff, too.” For the first time in a long time she seemed more amused than annoyed. Eric followed after her, feeling like he was floating, not walking. He was the luckiest guy in the universe, he was sure of it. He was going to be the best date ever and Jamie would fall head over heels, and they would start dating seriously and get married straight out of high school, go to college together and live perfect, happy lives. Yeah, that was how it would go, he was sure of it.    He stayed in his daydream, floating after Jamie through the halls to the parking lot, her leading him to his own car. He didn’t snap out if it until she pointedly cleared her throat and tugged on the door handle of his giant black jeep.    “Sorry,” Eric chuckled nervously and unlocked the doors, tossing his backpack into the back seat before climbing up behind the wheel. “I swear I am a cautious driver,” he said as she climbed up next to him, closing her door and holding on with white knuckles. She had never ridden in a car with him though, so he couldn’t just say it, he had to prove it. He adjusted his grip on the wheel, bringing himself to focus. He started the car, slowing his heartbeat as he shifted into reverse and pulled out of his parking space. They were on their way, and he proved himself a careful driver. By the time they got to Biggby, her grip had loosened and she didn’t look quite so ready to hit the ejector button.    He began to lead the way to the door, but halted the instant Jamie tugged lightly on the sleeve of his jacket. He turned slowly to view the serious look on her face, the determination with just a slight hint of nerves.     “I want you to know I don’t have a lot of money, but that doesn’t mean you have to pay for me.” Now, more than ever, Jamie reminded him of the tsundere archetype in anime. She could be that way sometimes, acting tough and uncaring while really she just felt vulnerable.    “Okay, that’s not a problem.” Eric just nodded, shrugging it off. It was really no big deal, if she wanted to pay for herself, she could. “I wasn’t planning on forcing my money on you,” he said with humor and a small smile. His folks were well off and denied him nothing, but he still had insisted on getting a job, so he knew exactly how she was feeling.    With that said, Jamie pushed lightly past him and headed into the coffee shop. They were both glad to see there wasn’t much of a line, and they moved to the front quickly. But while they were shuffling in the queue, Eric very nearly blew it.    “Hey, I’m kinda hungry. I was thinking of getting a few cake pops to share. What do you think?” Eric thought it was an innocent enough question until Jamie gave him a look that nearly sent him to the grave prematurely. “Wh-what?”    “I told you, you don’t have to pay for me. My God, are you really that... ugh.” Jamie looked absolutely disgusted and seemed to be so angry she was shaking.    “Whoa, whoa, no.” Eric shook his head emphatically. He never realized how ashamed she was of being poor, but he honestly wasn’t trying to make her feel that way. “I was just offering to get like four cake pops and if you wanted one or two you could have them. I’m really sorry. I didn’t mean to offend you.” His tone was placating, he didn’t want things to go wrong, especially before the date could even really get started.    “I’m sorry... I... I overreacted.” Jamie shook her head, looking contrite. “I’m just... not used to.... Sorry.” She couldn’t even look up at him, she just stared at the ground, shuffling awkwardly.    Before Eric could even try to reassure her, they were at the front of the line, someone ready and waiting to take their orders. Ever the gentleman, he let Jamie order first, mentally noting the kind of coffee she liked in case he was lucky enough to go one more dates with her. For the record, she got a white chocolate mocha. For himself, Eric ordered a German Mocha Creme Freeze, and upon discovering there were no cake pops, he got two brownies. After being handed the little paper bag of brownies they shifted down the counter to wait for their coffee.    “Should have gone to Starbucks if you wanted cake pops.” Jamie looked up at Eric, her tone light and joking, trying to make up for earlier. She managed to smile a bit when Eric chuckled.    “Yeah, I guess so. I don’t normally come to Biggby, but it was closer.” He shrugged and accepted his drink when it was handed to him. The pair found a table for two near the window that was fairly isolated. Eric was pretty nervous, he had never gotten to hang out with Jamie one on one, or outside of school, but he was determined for things to go well.    Surprisingly, it did. Things just started clicking for them. Jamie wasn’t annoyed at him, and he wasn’t coming across as a major dork. When given the chance, Eric could be incredibly charming, which Jamie clearly hadn’t been expecting. He could tell he was heading the right way to a second date. He was even more sure when he was taking her home and she invited him to come inside. She said they could study together and get some homework done, which sounded great, but really he was just elated she wanted to spend more time with him.    “My room is just up the stairs.” For some reason, Jamie seemed to be getting more and more nervous. She kept wiping her palms on her jeans and was having trouble looking him in the eye. Still, he didn’t say anything and just followed her up the stairs. She paused outside a closed door and turned, putting a hand on his chest. “Eric... I just wanted to say... I’m sorry. For everything.” He didn’t have a chance to reply before she put her free hand on his shoulder, getting on her tiptoes and pulling him the rest of the way down to meet her in a kiss. Fireworks went off in his brain and he melted into it while he could, because before too long he started to feel dizzy and fainted.

   When Eric came to, he was in a bedroom, tied around the chest and biceps to a bed post and was surrounded by candles. He was at the edge of a circle that looked like something straight out of a black magic spell book. Across the circle was Jamie, hunched over the book he could only assume the circle had come out of. He had absolutely no idea what was going on, but his instinct was to make light of the situation.    “Look at all these candles, so romantic.” He grinned as Jamie startled and looked up at him. She immediately rolled her eyes like she used to whenever he spoke to her.    “First of all, I’m sacrificing you.” She held up a knife he hadn’t noticed before as she looked back down at her book. “Though I did have a good time at Biggby.” She seemed to pause for a moment, but she didn’t look back up again. “I only went on that date with you thinking you would be obnoxious like always and make this easier, but...” She blew out an annoyed breath and shook her head as though steeling herself. “Look... it’s not personal, Eric. It’s just... I need to do this... for Becca.”    “For Becca?” Eric leaned over as far as the honest-to-God ropes would allow, trying to see Jamie’s face. “What do you mean?”    “I learned about everything after... they made her do that. They all... It was their fault! It is their fault I don’t have a sister anymore! And then mom was a huge bitch and just left like she was the only one grieving, like she was the one in the car with Becca when she did it. I was in the hospital for three months and she came to see me once!” Jamie slammed her clenched fists on the open book. She took a deep breath to compose herself and lifted the knife. “There was nothing I could  do on my own, so I asked for help. This is the last step and you’re the final cost.” She carefully leaned over the circle, turning his hands palm up.    Eric didn’t resist or fight. He leaned against the bed post he was tied to, closing his eyes and breathing slowly. He winced and inhaled sharply both times she cut his wrists. He opened his eyes when he felt her sit back and he watched as his blood left his wrists and flowed unnaturally along the drawn lines of the circle. The lines were just starting to glow when Eric closed his eyes for the last time.

   Jamie felt more than saw or heard Eric exhale his final breath, and when he did the floor opened into a swirling abyss from which rose a grotesquely muscled figure. Jamie grinned with delight as he pulled himself up. The grin quickly faded when she saw the look on his face.    “Jamie Lorraine Meyers, you should be ashamed of yourself.” The Great Demon of the Abyss sounded as disgusted as he looked as his voice boomed in the small room. “This boy you sacrificed is far too good for you.” He pointed at Eric’s lifeless body. “Do you know what he told Lord Death upon his arrival? That he was fine with being killed by you if it meant you got to be happy.” The Great Demon looked at her, waiting for her pathetic excuse.    “Th-this was important... I... he’s the only one--” The Great Demon silenced her with a wave of his hand.    “You will still receive what was promised, but you shall also be punished.” The Great Demon crossed his arms over his heavily muscled chest. “When you hesitated, it created another Line of Fate. Had you chosen not to go through with your plan, you and Eric would have had a long and happy life together. You would have been able to move on from your sister’s death, your father would have liked Eric and taken a greater interest in your life. You would have gotten your Masters in Cellular Biology and been very successful. Eventually you would have passed away peacefully in your bed having lived a fulfilling life full of love and happiness instead of one of darkness and revenge.    Your punishment shall be that knowledge. As well as the knowledge that it shall never come to pass despite the fact that Eric shall live.” The Great Demon of the Abyss snapped his fingers and Eric’s body disappeared. “He will have no memory of what has transpired. He will have no memory of you. I hope you can live with yourself.” With that, The Great Demon of the Abyss disappeared, the swirling void closed and Jamie was left completely and utterly... alone.

[bbclesmis]

In the Director’s Chair: Tom Shankland on learning from actors & unhealthy obsessions with Roman emperors

The latest director to answer The Drum’s questions in our Director’s Chair series is Tom Shankland, who is represented by Great Guns for branded content. Having worked on TV shows such as Les Misérables and House of Cards, Shankland talks to the Drum about being inspired by actors and why the original Tango ad is still the best ad.

Previously in the series, The Drum has quizzed Matías Moltrasio, Jamie Jay Johnson, Emmanuel Adjei, Henry Busby, Andrew Lang, Camille Marotte, Mea Dols de Jong, Klaus Obermeyer, Eli Roth, Mate Steinforth, Pamela Romanowsky, Traktor and Doug Liman.

Who or what inspired you to be a director? (or who are your creative heroes and why?)

Once upon a time in Italy, my dad took me to an open-air screening of Spartacus. I can still hear the cries of 'Io sono Spartacus!' echoing around the night sky as bats flew across the screen. At the time, I probably had a very unhealthy obsession with very violent Roman emperors, so I'm blaming Stanley Kubrick, Kirk Douglas, Emperor Caligula and my dad for my (healthier?) obsession with the awesome, emotional, inspirational power of cinema.

Outside of work, what are you into?

If I'm not dreaming up shots or cursing budgets, I love being as childish as humanly possible with my kids, leaping around a soft-play area, racing around the kitchen with my one-and-a-half-year-old in the guise of a squeaky anime creature. I like cooking for friends and family, transcendental meditation, pouring over photography books, and anything at all with my girlfriend.

How would you describe your style of commercial/film making? What are you known for?

My directing heroes like Billy Wilder or Howard Hawks seemed to make musicals one month, film noirs the next, and a classic Western just after that. I like to push myself towards genres I haven't tried before. It was great to venture into the Marvel universe for the pilot of The Punisher, come up for air and then dive deep into Victor Hugo's 19th France with Les Misérables and all of the challenges of a classic literary adaptation and period drama.

I love working with actors and have been lucky to work with some of the best – Tom Hardy (WΔZ), Olivia Colman (Les Mis), Robin Wright (House of Cards), Dominic West (Les Mis), David Oyelowo (Les Mis) and many others. As a director, I've learned so much from listening to the actors. A strong vision is essential but without collaboration, it can end up being imposing and dull. I always enjoy trying to squeeze every drop of emotional truth from a moment, however, heightened, bizarre, or seemingly implausible a scene might be.

 Much that I love actors, I'm also a massive Alfred Hitchcock fan, who famously quipped that actors are cattle. Hitch was probably just being mischievous but I've always loved his 'Total Cinema'. A good script and good performances alone don’t make filmmaking. I'm always looking for ways to use every element of the medium to max out on tension and create visual metaphors. Whatever I'm doing, I want to keep the audience on the edge of their seats!

I approach commercials in exactly the same way. Of course, short-form is a very different discipline, but the ingredients are the same: framing, sound, performance, design, the rhythm of the storytelling. I find it fascinating because it’s like a beautiful miniature. You have to work so much more forensically but it is still about pictures, people, and story.

Have you got an idea about what sort of projects you’d like to work on or are you quite open-minded about what work comes your way?

I love to have adventures I haven't had before. If I'm reading something new, I like that little feeling of fear and excitement about stepping into a story or setting I haven't explored before. The protagonist or people have to grab me in some way. I don't have to love them, I just have to be fascinated by what makes them tick.

Increasingly, if it is drama, I like scripts that try to talk about the world we live in now. I wish I was drawn to escapist entertainment, but I always gravitate to pieces that feel like they might resonate with the audience's own experiences. The Marvel shows I've done might look like superhero fun on the surface, but Black Lives Matter and the tough times faced by war veterans haunt Luke Cage and The Punisher. I'm not automatically drawn to period pieces but there was so much in Andrew Davies' adaptation of Les Misérables that made me think of our current chaotic political situation and social injustices. I'm not interested in preachy soapbox stuff, but I like it when great entertainment also tries to be smart and thought-provoking.

What's your funniest moment on set?

I love shooting and I generally find that the darker the piece, the more entertaining the atmosphere is on set. I made a film called The Children where little kids turn on their parents in increasingly disturbing ways. I wanted it to be a smart chiller about parental anxieties and how people deal with aggression in their kids. Needless to say, everybody was very concerned about making sure the child actors weren't remotely disturbed by the material, so the crew and I went to great lengths to turn everything into a fun game. One of the children we worked with actually got in touch with me recently and sounded incredibly well-balanced.

The kids loved the experience - the adults were completely freaked out! I can still remember one six-year-old going up to her screen mum at lunchtime, pretending to jab a pen in her eye. Once she had learned that she was going to do this for a scene, she thought it was hilarious. At the end of the shoot, the children wanted to keep their blood-spattered costumes as a souvenir. They were incredibly sad when it all ended. Scary film – a wonderfully fun shoot!

What's your best piece of work?

I'm proud of everything that I've done where I felt the vision was at its purest. This isn't the same as thinking of something as 'my best work'. It’s such a good feeling when the gap between ambition and finished work feels narrow. I sometimes think that if I've shot my tone book, then I've succeeded - this is probably true for The Children, The Missing, and Les Misérables.

There were also episodes of House of Cards that I did where we created a dreamscape that fitted the overall tone of that show and that was very satisfying to pull off. Recently, I made a four-part TV series called The City and The City that involved an incredibly challenging concept: two over-lapping cities in which each population pretends they can't see the other citizens. I was very proud that we dug so deep on a very challenging budget to find the right visual language.

Which ad do you wish you'd made?

There are so many. I should probably nominate most ads by Jonathan Glazer for their beautiful, lyrical, filmic sensibility, but just for fun, I'm going to say the first Tango ad because I know Ben, the actor, who nailed that look! I love Ben's face and I found a little part of him in Les Miserables. 'You've been Hugo'd'!

How well does the information flow between client, agency and production company on a job?

In my experience, the flow of information between agency, producer and client on an ad shoot is very good (maybe too good at times! ). I have learned quite a lot from that process of having to be incredibly precise in PPMs about what the shooting plans are. In a drama, you tend to want to balance being clear with execs about the plan for the shoot, but also allowing space for those beautiful happy accidents. In general, I'm a fan of bringing everyone with you on a shoot rather than keeping them in the dark. Much that I love an auteur, it is a bit of a fantasy that directors achieve their vision entirely by themselves.

What's been the biggest change to the industry during your career?

The film, TV and advertising industries have all changed massively in the last ten years or so. I have to say (but maybe I'm biased) that a lot of the most creative storytelling seems to be happening on TV now. This will all change, but there seems to have been a big re-calibration of budgets and creative freedom across the mediums; in TV, artistic freedom and budgets seem to have gone up and vice versa in the film unless it involves a superhero.

Of course, everybody is watching content differently now. You only have to look at Great Guns’ (the guys that represent me for branded work) work to see how progressive and inventive that medium has become across so many disciplines and genres - from branded short films to documentaries to music videos. I love how these long-form ideas are taking hold in the world of advertising. It is a confusing but potentially creative time as the world adjusts to this big transition.

Have you worked on any client direct commercials (no agency involved)? What's been the difference?

I've never worked on a client direct project so 'no comment'!

https://www.thedrum.com/news/2019/02/11/the-director-s-chair-tom-shankland-learning-actors-unhealthy-obsessions-with-roman

[mbtizone]

Nathan Scott (One Tree Hill): ESTP

Dominant Extroverted Sensing [Se]: Nathan is a natural athlete and the star of the Tree Hill High basketball team. One of the first things we see Nathan doing is stealing a school bus for a joyride with his teammates. He’s impulsive and lives in the now. Nathan often makes choices that he later regrets because he lacks the foresight to think about how his actions will impact him later. When he’s depressed about Haley leaving, he visits some relatives and drives race cars for fun. When the race is over, Nathan continues driving, going faster than he’s supposed to and crashes the car. During the school shooting, Nathan realizes that Haley is still in the building and goes in after her. When Lucas asks him if he has a plan, he simply says, “Yeah, I’m going to the tutor center and I’m gonna get Haley.” Lucas criticizes him for going up against a gun with a baseball bat, but Nathan doesn’t care. On the day of his wedding, Nathan and Haley are nearly in a collision with Cooper and Rachel. The limo they’re in goes off the bridge and into the water and, without hesitation, Nathan jumps in after them, saving both of their lives. While Nathan and Haley are having money problems, Nathan turns to a loan shark named Daunte, who is willing to give him money if Nathan agrees to shave points, which Nathan initially does. When he’s asked to throw the State Championship, he agrees, but in the moment, changes his mind and the Ravens win the game. Nathan fails to consider how Daunte might retaliate afterward. Daunte tries to hit Nathan with his car, but Haley sees and pushes him out of the way, and she gets hit instead. Nathan runs to the car, pulls Daunte out, and brutally beats him. While at a bar celebrating Nathan’s new shoe deal, fans of a rival team begin taunting him. He almost walks away, but when they bring Haley into it, he defends her honor and gets into a fight, which leads to Nathan getting thrown through a glass window, temporarily disabling him and effectively ruining his basketball career. When Jamie is missing, Nathan jumps in front of a police car to get them to stop and help, nearly getting himself killed. He sees opportunities and acts. If someone he loves is threatened, he reacts, usually without giving himself time to think.

Auxiliary Introverted Thinking [Ti]: If something makes sense to Nathan, he does it. Nathan perceives Lucas to be a threat and comes up with what he judges to be the best way to keep him from taking his life. Nathan gets to the point and expresses himself clearly and concisely. He does whatever he believes to be the best course of action. Nathan often thinks that he knows the best way to handle something, and can become stubborn once he reaches his own logical judgment about a situation, shutting out the thoughts and opinions of the people close to him.

Tertiary Extroverted Feeling [Fe]: When he was younger, Nathan used his Fe to get under people’s skin. He knows how to play on feelings to get a rise out of people (particularly Lucas). Nathan is charming and can get people to like him if he wants them to. When he first pursues Haley, he does it to upset Lucas, and he gets her to play right into his hands. He can be sweet, complimentary, and thoughtful when he wants to be. As he grows, Nathan begins to use this function in healthier ways. He becomes selfless, putting others and their welfare before himself. He also gets better at expressing his feelings, especially as his relationship with Haley progresses and he falls in love for the first time. His Fe develops even further when he becomes a father. He wants to help the people he cares about and becomes a shoulder for the people in his life to lean on. He is supportive, generous, and takes care of his loved ones. Nathan is fiercely protective and will spring into action if someone hurts his friends or family (Se-Fe).

Enneagram: 8w7

Inferior Introverted Intuition [Ni]: Nathan knows that he wants to someday join the NBA and he works towards this goal throughout high school and college until he makes it a reality. However, due to his often reckless behavior, he has major setbacks because he fails to consider his long-term objective when he acts on his impulses. He sees a future for himself and Haley and he looks forward to spending the rest of his life with her. At times, Nathan can lose sight of his vision for his future and get sidetracked, but once he regains his motivation, he works tirelessly to make his dreams come true.

Quotes:

Nathan: You have one chance, one life, and what you do with it is up to you.

Cop 1: What the hell are you doing? Nathan: My son is missing. Cop 1: Right, calm down. You could’ve got yourself killed! Nathan: We just left the wedding okay, all the guests are gone and my son missing. He’s four and a half years old. Cop 2: Have you been drinking sir? Maybe been to the reception? Nathan: What kind of question is that? ‘Have I been drinking?’ Cop 2: You need to listen to me… Nathan: No you listen to me! My name is Nathan Scott okay? My father is Dan Scott, he was arrested for murder, okay? He’s a bad guy and he was here today. Now either one of you two idiots gets on your radio right now and finds my son or I’ll knock you both out and I’ll do it myself!

Chris: Ah! Stop hitting me! Nathan: Stop kissing my wife!

Nathan: You know what? Tragedies happen. What are you gonna do? Give up? Quit? No. I realize now that when your heart breaks, you gotta fight like hell to make sure you’re still alive. Because you are. And that pain you feel? That’s life. The confusion and fear, that’s there to remind you that somewhere out there is something better. And that something is worth fighting for.

Brooke: Hi, Nate. Come in. It’s a tough day, huh? Nathan: Yeah. Brooke: I wish there was something I could do for you or Haley or Jamie. Nathan: Well, actually we were wondering if there’s anything we could do for you. Brooke: How do you mean? Why me? Nathan: We know that your mom has been pulling some stuff with the company, and I don’t know, I guess having dealt with parent insanity I wanted to check your head. See how you’re doing. Brooke: I’m fine. Really. Nathan: That sounds like something I would say. Look, this thing with losing Quentin, it-it’s hard. And I have a feeling its gonna be a pretty prominent thing in our lives for a while, but that doesn’t mean that your problems are any less important, that all of us aren’t here for you. Brooke: Look, like I said… Nathan: You’re fine. You can handle it. Its all good. Look, I hope that’s true and maybe it is but the thing is, the two of us have been down very similar roads. We were in the same cliques first, we both felt the same pressures, the same expectations. Our parents were like children and we both grew into kind of bad versions of ourselves way too fast. So I think you know I get it. Brooke: They never really gave us a chance did they? Our parents? Nathan: They didn’t know how. Look, the thing is, you made your dream happen, alright? And even though I didn’t quite get there, when it was taken away from me I dealt with it alone. That was stupid, selfish, and wrong. So if your mom tries to take your dream away from you and you feel the same pain I did, I’ve sorta been there, okay? And I’m gonna be kind of pissed off if you don’t come talk to me about it. Anyway, thank you for coming today. It means a lot. I know you didn’t know Quentin, but it doesn’t surprise me that you’re thinking of other people when all this stuff is going on with you. That’s not bad for a girl who never had a chance. Come here. [Nathan and Brooke hug]

Haley: I need to know that you’re going to let me in, Nathan. I mean, all the way. Nathan: I will, okay. I’ll – I’ll let you in if that’s what it takes, I’ll let you in. It’s just… sometimes I’m afraid that if I do, you’ll see the real me. The guy I was before you. And I’m not proud of that person, okay; the one that I used to be. But if I have to be that guy to keep you safe, then that’s who I’m going to be. Look, if you want me to apologize for defending you, or for fighting back when somebody hurts you, then I can’t do that – I won’t do that, okay because the truth is: that’s a guy I’ll never be; a guy that just stands by and watches while the world hurts you. Can you understand that?

Nathan: It’s the oldest story inn the world. One day you’re planning for someday. And then quietly and without you ever really noticing someday is today and then someday is yesterday and this is your life.

Nathan: Every choice you make shapes your future.

Nathan: People just go through things, challenges that make them stronger.

Nathan: I am the kid, Hales and I’m sick of dealing with my parents’ problems. If it’s not my dad with a restraining order, it’s my mom with a glock. They’re unbelievable. My one saving grace. My one way out is if I play halfway decent in these playoffs, I can get a scholarship and I can get the hell away from both of these lunatics. Should my mom have a gun? No! But am I going to let her stupidity or anything else stand in the way of my dreams? Not a chance.

Nathan Scott (One Tree Hill): ESTP was originally published on MBTI Zone