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>>19139059

>Hey @guardian

Charles Bramesco

Freelance Film and TV Critic at Assorted

Brooklyn, New York, United States

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Tulane University Tulane University

About

Film critic. B.A. in Film Studies and English at Tulane University. Also comfortably writes about music, television, and pop-culture's great beyond. Work has been featured in the New York Times, Rolling Stone, the Guardian, Nylon Magazine, Vanity Fair, Newsweek, the A.V. Club, and many other reputable publications.

Experience

Jun 2012 - Present11 years 2 months

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Staff Writer

Random Nerds

Jan 2015 - Present8 years 7 months

Washington D.C. Metro Area

I run the pop-culture section of things. That means I write and edit articles pertaining but not limited to: movies, music, television, comic books, theatre, pantomime, street art, internet pornography,artful-looking stains on the sidewalk, overheard conversations from strangers, and cheerleading.

Roxbury, MA

- Taught children of various socioeconomic backgrounds the fundamentals of critical reading and creative writing through self-designed lesson plans and activities.

-Led lessons on survival skills and general outdoor fun.

-Interacted with and tended for youngsters, ensured a pleasant experience for all.

>>19139111

https://web.archive.org/web/20151012225205/https://twitter.com/intothecrevasse

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Random Nerds

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RandomNerds is a media outlet run by people doing their best. It is, before all else, a sanctuary for passion, quality, and transparency.

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>>19139185

‘Sanctuary’: Margaret Qualley & Christopher Abbott Discuss Their Racy New Kink Film, Stunt Dildos & More [Interview]

Charles Bramesco

May 16, 2023 3:00 pm

Interviews, News

A man, a woman, and an enclosed space — as any stage director knows, these components can be transformed into anything within the capabilities of the human imagination, a malleability essential to Zachary Wigon’s devious chamber piece “Sanctuary.” DominatrixRebecca (Margaret Qualley) and her number-one client Hal (Christopher Abbott) bring that same spirit of invention to their sessions, such as a face-off between a playboy corporate heir and the no-nonsense lady lawyer who gets him scrubbing the bathroom floor in his underwear with just a handful of demeaning remarks. The truth of the situation isn’t far off: he’s about to step into the CEO role in his late father’s chain of hotels, and he worries that paying a woman to jam a cotton swab into the tip of his penis may not gel with the career path he sees for himself, so he tries to amicably end their arrangement. She has other plans. But in the volley of mind games she plays over the course of one long night, is she looking out for her own interests or trying to force this passive sub into giving himself what he needs? Are those two things mutually exclusive?

As Wigon slyly redefines the terms of this unorthodox relationship, Qualley and Abbott give an acting masterclass with a kinky metatextual edge, as two experts in involved fakery unpack the authentic challenges and benefits it can offer. Hearing the two discuss this sexy, cunning showcase for their talents, they shrug off the image of the chin-stroking thespian and outline a more instinctive process based on primal impulse and physical presence. Rather than mapping out each glance, touch, and retranslation of body language, they winnowed the text down to its core and trusted one another for an unspoken, in-the-moment guidance. The result is a frisky and vital film, fitting the daffy bickering of screwball into a more daring, taboo-testing romantic framework. Never before have the keywords “breeding JOI” carried so much emotional heft.

The day after the premiere of “Sanctuary” in New York, Qualley and Abbott sat down with The Playlist at the Soho Grand Hotel, an oddly apropos setting for a conversation about the mechanics of closed-door drama, the liberation of stepping outside yourself, Qualley’s past work with Claire Denis, and the secret to selecting the perfect stunt dildo.

How did you get acclimated to one another as scene partners? What happened during the early stages, as you were fast-forwarding to this dynamic your characters have established over a much longer course of time?

Margaret Qualley: We were pretty comfortable with each other, because we’d known each other a bit, and really wanted to work together. It was straightforward like that. We didn’t have much rehearsal time at all. We read through the script once at his apartment, then did a couple scenes at mine with [director] Zach [Wigon], then both of us just learned that script inside and out as our main preparation. We did it by rote, front to back. We only had eighteen days to make the movie, one-day weekends, so we knew it would be a marathon. We wanted to be as comfortable as possible with the words ahead of time, so that we can forget it all and just have fun on the day of shooting.

How’d you two know one another in the first place?

Christopher Abbott: I was actually just trying to remember that. There were a few projects we were gonna do that never came together, we’d emailed and talked about them. But we’ve got a lot of friends in common, so we see each other around. You know, it’s “the scene.” We’re both “on the scene.”

https://theplaylist.net/sanctuary-margaret-qualley-christopher-abbott-discuss-their-racy-new-kink-film-stunt-dildos-more-interview-20230516/

>>19139191

One point of curiosity, for me: when we see the outline of your boner, what’s that in your pants?Like, a dowel?

Abbott: I don’t know if you know me. But I keep it real.

I guess that’s why I’m not an actor. I don’t think I could make that happen on command, under that kind of pressure.

Qualley: Oh my god, he’s kidding!

Okay, I’m willing to believe basically anything right now, I don’t know!

Abbott: No, no, it’s like a little dildo. Well, not little.

Is there any room for negotiation there? Do they show you a few dildos, and you pick the one that’s calling to you?

Abbott: Yeah, I wanted the sixteen-incher, but they said it would be too distracting. [Beat.] That was also a joke, for the record.

No, yeah, that one I got. I’m catching up.

Abbott: But yeah, just a regular dildo in my pants. Sorry to destroy any of the Hollywood magic there.

You’re both on the cinephile side of actordom. Are there any movies for two players you drew from for this?

Abbott: Wait, can I go back for a second?

To the dildo? Yes.

Abbott: We just saw the movie again last night, and something I never noticed before is that after that scene, when I get up with the erection, we have a very serious conversation. I started laughing, because no one can see it, but I’m still fake-hard out of frame having this very tender conversation.

Qualley: I give him this little look, kind of acknowledging it, like [gives a look that tacitly says ‘nice one, pal.’]

Abbott: But right, movies for two actors.

Qualley: For this one, I wasn’t thinking of two-handers so much, but we watched “His Girl Friday” after Zach mentioned it, for the screwball vibe of it.

Abbott: I was less into the workings of a two-person scene, and more into getting the screwball tone right. Aside from that, visually, I also thought a lot about Koreandramas like “The Housemaid,” and for that matter, “The Handmaiden” too. You get the intensity mixed with classic screwball, and it’s a great marriage of tones.

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>>19139208

Charles Bramesco

May 20, 2018 ·

“I use sexmagick to create lovemagick!”

Charles Bramesco

Amen and hail Satan

2

9y

>>19139325

Charles Bramesco

June 1, 2020 ·

Prosecute the criminal cops, slash the NYPD budget to ribbons, get de Blasio out of office, reclaim the abandoned high-rises as public housing while their inhabitants are in the Hamptons letting things cool off

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