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Cascada but everytime we touch I get this feeling

The Daily Struggle 😴

I wanna take a moment to talk about an awesome, unsung badass: Doug Jones.

Doug Jones. The name doesn’t ring a bell, does it? Probably not. But I’m here to tell you that this bitch is fabulous.

He started out as a mime and a professional contortionist. He got into acting and has acted in over 25 movies and numerous television shows. Still doesn’t ring any bells? Probably because Doug’s gig is characters and crazy ass costumes and shit. 

Here’s a picture of him:

Still not look too familiar? Well, maybe you saw Fantastic 4: Rise of the Silver Surfer?

Doug Jones.

Or, are you a Buffy fan? Remember the episode “Hush”?

Look familiar now? He’s the one in the front.

Did you like the movie Pan’s Labyrinth?

Doug Jones.

Doug Jones.

Did you like the Hellboy movies?

Doug Jones.

Doug Jones.

Doug Mother Fucking Jones.

Or, hey! Were you born in the 90’s? Remember the movie Hocus Pocus that would play on Disney Channel every halloween? Remember this guy?:

Yup. Doug Jones.

Still not convinced of how badass this guy is? Here’s some awesome for you.

It took him 5 hours to get into the Pale Man costume in Pan’s Labyrinth, and, once in it, he could only just slightly see out of the nose holes, but he was mostly blind.

And the costume for Fauno himself? Well, he could only just barely see out of the nose holes in that one, too. The actual head part was filled with mechanics that made the eyebrows and ears move. And those mechanics were so loud that he couldn’t hear while inside of it, so he had to memorize Ofelia’s lines as well as his own so that he could say them in his head to know when to talk. Oh, and he doesn’t actually speak any Spanish at all, so he was memorizing both his, and someone else’s lines in a language he couldn’t speak.

Doug Mother Fucking Jones.

Werk. 

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki

i think i forgot how to be myself

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