Give Claudia an acetylene torch

Link to my my gfm is here:

GFM: gofund.me/a4af4d07

Venmo: AfroPrincex
Cashapp: $Afroprincex

I already had my first consultation, all I need to do is have the funds and schedule my appointment! Anything is helpful even if it’s just a share and words of support

Hi y’all! Last Friday was my 30th birthday and with the state becoming increasingly hostile all I want to do is take care of the things I need to be most at home within myself.

But doing it myself has been difficult and I’m looking to community. If you have anything to spare I’ve started a gfm!

maybe in some fucked up way, we're soulmates too. #iwtv

Eric Bogosian, as Daniel Molloy, sits on the couch in the main room of the Dubai penthouse and holds several photos, which in the context of the series, are taken by Louis. We see Delainey Hayles as Claudia in the most visible photo Eric is holding. One of the boxes provided by Real Rashid, filled with a stack of other photos, sits open on the table, on top of a legal pad. Next to the box on the table, is Molloy’s laptop, open with a glove on the keyboard and an active recording on the screen. A small mic sits on the opposite side of the laptop. You can see camera equipment and a crew persons legs over Eric’s shoulder.

Various black and white photos of our Theatres des Vampires cast, which in the context of the series, are taken by Louis, lay strewn across the floral mattress covering in Louis and Claudia’s apartment.

Various black and white photos of “Paris”, which in the context of the series, are taken by Louis, lay on a props table with a black tablecloth.

Louis… the Photographer?

Delainey, in her pajama costume as Claudia, back to the camera, leans one foot off the ground towards a crew member. Director Levan Akin’s back is also the camera. He is wearing a white jacket with a giraffe on the back and a comic woman with a thought bubble that says, “I could’ve guessed!”. Levan, the crew member, and Delainey stand near Claudia’s open coffin. The camera's dolly track is seen behind them. Green sheets from the hidden Murphy bed are seen on the wood structure in front of them.

A wooden structure with several openings and knobs is covered in various pieces of art. On the left is a bed with a rolled-up green blanket and floral covering. Above the bed is a painting of a Black woman with a green robe following off her shoulders. There are books and teacups on the shelves behind it. Suitcases are stored on top of the wood structure.

Another angle of Louis and Claudia’s apartment. In the foreground, we see film equipment, including a lighting stand, backpack, video monitor system, a stool, and an apple box. Against the wall of the apartment, the wood bookcase structure continues. There is a desk area on the far right, with a painting of a white woman’s back as she kneels over a couch. There rest of the shelf is filled with books, photographs, and various trinkets.

Delainey, in costume as Claudia, stands at the doorway of Louis and Claudia’s apartment, holding up her purse and a bloodied white shirt, presumably for costume continuity (but can’t say for sure). She wears red and white open toe heels with an ankle strap, greenish-brown slacks, a brown belt, a navy blue button down with white dots, and a red picnic blanket patterned jacket with stripes of solid red. Her purse is small, brown with a rounded bottom, a flat top, strap, and a front flap with a gold closing.

Louis and Claudia’s Parisian Apartment Part 2

Jacob Anderson, in costume as Louis, stands at the end of Louis and Claudia’s hallway, looking back towards Director Levan Akin, who is speaking to him, with his back to the camera. Jacob has clips in his hair, a white shirt, a brown vest with light stripes, and brown pants. Levan wears a bright yellow sweater with a giraffe on the back. Two paintings are on the floor leaning against the wall, and a red carpet runner is in the middle of the hallway. Jacob stands next to an entry table with a lamp on it. There is a lighting rig on by the door next to Jacob.

Jacob Anderson, in costume as Louis, stands in the middle of Louis and Claudia’s apartment as hair and makeup begin to remove pins from his hair. A crew member in all black talks to him. A little further in the background, Delainey, in her pajama costume as Claudia, holding the scene's sides, talks to Director Levan Akin, who is in a yellow jacket. Delainey’s face is turned towards Levan, and another crew member holds scripts behind Levan. In the immediate foreground is a table with a small rug, cigarettes, and a tray with Louis’ photographs.

An open, lit wooden bar, with several vintage glasses, and two big carafes filled with “blood.” There is an abstract painting of a nude woman in a gold frame above.

The bookshelf in Louis and Claudia’s apartment is filled with vintage books, largely without visible titles. There are two shelves of just books at the top, then an open section where we can see the white wainscotting of the room, a lamp designed to look like two candles and one framed painting of 2 people embracing is hung next to the lamp. There are two other framed pieces of art, one of which appears to be a charcoal drawing of a group of men and the other a landscape. Beneath the open section are two more rows of books.

Louis and Claudia’s Parisian Apartment Part 1

Cork board with several different sections above a black design board. The section on the far left of the corkboard says, “Ext. Paris Apartment”, with four photos of exterior shots and two foyer interiors in a column. Then, a little bit to the right, there is another set of 6 inspirational images. On the right side of the left section, it says, “Ext. Paris Apartment Sewer Entrance”, with four vertical photos of manholes on Parisian streets. Under that, there is an artistic rendering of Louis and Claudia approaching their apartment. On the right section, there are three photos of the area around the exterior of Theatres des Vampires (and one immediate interior photo), next to the same photos taken at night. On the far right of the image are four promotional images created for the Theatres des Vampires at various points throughout its history. The design board below says, “Haussman Building, Garret”, with several black and white photos of the interior of Haussman buildings.

There is a corkboard with three large pieces of white paper and four photos of Parisian apartment interiors. A slip of paper above the top left says, “Paris Apartment.” Under that, there is a blueprint of Louis and Claudia’s apartment build. The paper below is a timeline history of photography from 1857 to 1946. The paper on the top right has more specific build specs. There are two fire extinguishers under the corkboard. Several black design boards are overlapping on the floor against the wall. The board closest to the camera has another blueprint of Louis and Claudia’s apartment, surrounded by photos of furniture and decoration inspiration. The other boards say “Parisian Apartments 30-40s, with photos of apartment interiors from the time.

Design boards for Louis and Claudia’s Parisian apartment.

Bally Gill, in an all black costume with white gloves as Real Rashid, stands in the Sundial room of the Dubai penthouse, carrying a tray with a glass cup atop a white linen napkin next to a carafe of tea. He has a little pin in his hair.

Bally Gill, in all black costume with white gloves as Real Rashid, holds out 3 boxes, all of which say a number and then, “Pointe du Lac”. He has a wire from the collar of his shirt to the lapel of his jacket and a little pin in his hair. He stands in the main room of the Dubai Penthouse.

Karen Fishwick and Bally Gill as the leads in the RSC’s Romeo and Juliet. Photograph: Topher McGrillis via the Guardian.

Real Rashid is played by the incredible Bally Gill. Bally is an amazingly talented stage actor who has worked extensively with the Royal Shakespeare Company. He even won the Ian Charleson Award, which honors the best classical stage performances by British actors under 30.

Showrunner Rolin Jones has his back to the camera as he, VFX Supervisor Ted Rae (on the left in the black jacket), Producer Adam O’Byrne (on the right in the grey button-up), Director Levan Akin (in the yellow sweater, his head partially obscured by Ted), and Production Designer Mara Lepere-Schloop (in the red sweater, partially obscured by Rolin) assess a small model of the Renommee Des Arts sculpture. The model sits on a wood table in the middle of the art department office. Design boards cover the walls.

Jacob Anderson, in costume as Louis, stands on the back of the Pegasus on the full scale Renommee Des Arts model and points to the camera, newspaper in hand, while Delainey, in costume as Claudia, smiles to camera, sitting on the Pegasus’ back. They are on a soundstage. Leather covered foam blocks surround the base of the statute. Director Levan Akin stands with a monitor in hand between the statue, the camera on a crane, and the camera operator in the foreground.

Jacob Anderson, in costume as Louis, stands on the back of the Pegasus on the full scale Renommee Des Arts Model, newspaper in hand, as Delainey, in costume as Claudia, sits on by the Pegasus’ right wing. There is a crane camera, a bomb mic, and a duvetyn in front of them, and they are backlit with a large production light. Various crew members fill the soundstage. Video Village is on the right.

Did anyone recognize the statue that Claudia & Louis are on in the opening shot of 202? It's the Renommee Des Arts, which sits atop the Pont Alexandre III on the Seine. Our incredible team recreated it on our sound stage. Our VFX team was led by Glenn Kelly and Ted Rae, with assets from FrameStore.

trying to use my sketchbook more ✏️ #louisdepointedulac #iwtvfanart

Delainey, in costume as Claudia, talks to a crew member in a parka whose face is obscured in front of the Panthéon in Paris. Delainey has her hand up, mid-conversation, a duffle bag over her shoulder. There are 2 traffic cones to the left of Delainey. Jacob Anderson’s face and another crew member's face are obscured by the parka. Various crew members stand to the right.

A cement pillar covered in vintage posters to reflect the time. The Panthéon and crew are the background.

Exec Producer Hannah Moscovitch and Director Levan Akin hug on the street opposite the Panthéon. Louis and Claudia stand ins are on the right of the image, and reflected on a monitor in the foreground.

Delainey, in costume as Claudia, poses with a smile next to Rolin Jones’ assistant, Elizabeth Reilly, inside the Panthéon in Paris. Jacob Anderson walks in the background between the two woman, and another crew member points upward above Delainey’s head.

Though most of the season has Prague acting as Paris, we did get to film for one week in Paris at the end of the shoot. The final 201 shot of Louis and Claudia holding hands was filmed in front of the Pantheon in November, right before we wrapped.

San fran triptych trio
#iwtv #armand #danielmolloy #ldpd

Oh absolutely, I think it’s both. In-universe, Armand is trying to convince Daniel that his manipulations are benevolent. But as viewers, it’s also a red flag for us: Armand has done this before, and has refined his methods to be more effective for his ends.

Jacob Anderson looks straight into the camera, for the makeup team’s test shots of the WWII dirt makeup look. He is wearing a white shirt and red corduroy button down.

Jacob Anderson looks straight into the camera, with his chin tilted inward a la the “Kubrick Stare”, for the makeup team’s test shots of the WWII dirt makeup look. He is wearing a white shirt and red corduroy button down.

Side profile of a smirking Jacob Anderson for the makeup team’s test shots of the WWII dirt makeup look. He is wearing a white shirt and red corduroy button-down.

Makeup tests for 201 Louis. We had an incredible hair and makeup team for this episode of Adele Di Trani, Daniele Nastasi, Elena Fabbiani, Marica Falso, Louis Kiss, Polly McKay, Rene Stejskal, and Attila Vegh.

A woman (Tami Lane) stands in the open doorway of a makeup trailer, crouched over a prop skeleton that is placed on the stairs to the trailer. The woman is wearing a zip up hoodie, jeans, and latex gloves, doing the “Sign of the Horns” (pinky finger and pointer finger up) on both hands.

Inside a makeup trailer, a prop skeleton lies on top of cardboard boxes. The skeleton is partially covered on the right side in some sort of red paint, while a woman kneeling to the side of the box and skeleton, uses a brush to apply a treatment to a different skeleton’s ribcage. Another member of the team mixes as solution on the trailer counter behind her.

Up close and personal with a dead Romanian vampire feat the legendary Tami Lane (left), who has handled MUFX for the first two seasons and is simply one of the best in the business. She worked on Lord of the Rings: The Return of the Kings, all 3 Hobbit movies, and The Chronicles of Narnia.

I feel like the #iwtv writers did not rewrite the first lestat/armand interaction to be Armand orchestrating the cult’s collapse thru lestat for no reason. That is v different from the book. The lestat/armand flashbacks are not about them imo, they’re about Armand hunting & isolating Louis.

#InterviewWithTheVampire
#iwtv #iwtvsky #iwtvupdates

Writers’ Room account shared photos of costumes worn by Stephanie Hayes who played Emilia S2 E1.

#InterviewWithTheVampire
#iwtv #iwtvsky #iwtvupdates

Writers’ Room account shared designs for the Romanian Manor and Romanian Castle (and a bit of the Dubai bedroom).

🔗: x.com/iwtvwriters/...

Still dreaming about the sheet pan potatoes and sausage my mom made last night😭

All I’ve been doing in the iwtv corner is blocking people😭 I miss my twitter block list

#InterviewWithTheVampire
#iwtv #iwtvsky #iwtvupdates

Writers’ Room account via Twitter:

“Romanian Manor Part 2”

🔗 x.com/iwtvwriters/...

#InterviewWithTheVampire
#iwtv #iwtvsky #iwtvupdates

Writers’ Room account shared photos from Točník Castle:

“Romanian Manor Part 1”

🔗 x.com/iwtvwriters/...

#iwtv #Claudia #Madeleineeparvier

#iwtv

abusive dynamics as a form of criticism IF her own real-life views did not condone some of the horrors she presents in her work.

The thing about AR is that, yes, she wrote about her own trauma. But she wrote about it in a way that normalizes and even justifies it. Arguably the worst example is how she wrote Marius and armand, in conjunction her real-life views on AoC. I could believe she’s making complex reproductions of

convenient for a desired interpretation.

meaning, and I think it catches people off-guard. Idk if that’s the reason why it doesn’t get a ton of discursive attention (in my experience), but that’s kind of my theory. It’s more generous than my alternate theory that some people simply don’t actually care what Claudia has to say, unless it’s

I think sometimes the writing of amc iwtv is so on-the-nose that people miss it while looking for extrapolations to make. And there are plenty to make in the show! But sometimes it’s also brutally literal. Ex: the
“Picked ANOTHER ONE over me” “YOU left ME” exchange beats u over the head with its

Yall don’t understand, I NEED this in s3! HandGate was already funny as hell but after what we saw of Nicky in s2? To the chopping block!!!!!