Fun Fact: None of the actors but Gene Wilder knew that the tunnel scene was coming. Like, they had the lines and stuff, but they thought it was just a boat ride. And when the lights came on and he started singing their terror was real
This happened a lot throughout the movie. Which is one of the reasons it’s such a great film. The directors did the same thing when they all saw the inside of the Factory for the first time. They wanted to show the face of pure imagination. To capture it all.
Same thing with the scene where he comes out of the factory to greet them. None of them had gotten to meet Gene beforehand, so when he came out all hobbled on the cane and they had these confused looks on their faces and look actually concerned when he starts to tumble forward? That’s all legit. This whole movie was successful because it fucked with everyone who wasn’t Gene Wilder.
You guys know the sad Charlie reaction pic I use so much? That’s another ad lib scene. In rehearsals, gene was a lot calmer, but when they were actually filming he exploded on Peter ostrum (Charlie). That sad expression is genuine. And tht’s what it’s basically my favorite reaction picture ever.
The reason he came out limping and then rolled forward was so that from that point forward nobody could tell if he was lying or telling the truth.
literally none of this movie was scripted they just found a group of people and had them improvise an entire movie as cameras were rolling gene wilder doesn’t even exist you’re still dreaming
“I don’t know how to write love letters,” Frida Kahlo wrote in 1946. “But I wanted to tell you that my whole being opened for you. Since I fell in love with you everything is transformed and is full of beauty… love is like an aroma, like a current, like rain.”
this month, 30 years ago - a postcard advertising ACT UP’s same-sex kiss-in event to challenge homophobia during the AIDS crisis, created by gran fury, may 1988
This painting portrays a scene from one of the only stories in the Old Testament to focus on the strong love bond between two women, the Book of Ruth. Calderon shows Naomi returning to her native land from Moab. She is trying to dissuade her two daughters-in-law, Ruth and Orpah, both Moabite women, from accompanying her. Orpah, the figure on the right, stays behind in Moab but Ruth, the central figure, insists on going with Naomi. She is shown passionately embracing her mother-in-law and asserting her continued commitment to her. This is the moment described in the book where Ruth declares: ‘where you go I will go, and where you lodge, I will lodge; your people will be my people and your God my God’ (Ruth 1: 16). Some scholars and historians have recently noted the closeness of this speech to contemporary wedding vows.
The story of Ruth and Naomi has traditionally been treated as a story of devoted but platonic friendship between two women. More recently it has been suggested that the love between the two women might have been better described as a romance, or even sexual in nature. Trevor Dennis, Vice Dean of Chester Cathedral, for example, described the relationship between Ruth and Naomi as ‘the great love story of the bible’.* The story has become particularly important for members of the Jewish lesbian community seeking historical role models of female romantic love. This painting could be interpreted as reflecting these views. The embrace between the two women, certainly suggests an eroticism or passion that exceeds the normal bounds of friendship.
“A vintage circa 1958 original 2 ¼" camera negative featuring a portrait of two women in an intimate embrace and used for the cover of the lesbian pulp fiction novel, Evil, by photographer Peter Basch and from his personal archive. Mr. Basch shot several different sessions for use as covers of lesbian paperback novels. This is the original negative that was in the camera at the time of the photo shoot and is therefore the only one of its kind in existence.” [X]
