Approx 15 hours, wacom tablet and cs4.
I started this at some point in November and then didn’t get back to it until mid-December at least. I finished it around a week ago, and I am so relieved because now I have at least one finished recent digital portrait for my portfolio.
I MET HER
I MET KAREN
AND SHE WAS SO NICE
AND AND AND LOOK
AND I WAS AT THIS PLAY CALLED OUR BOYS WITH ARTHUR DARVILL AND MATTHEW LEWIS
AND EVERY TIME ARTHUR SAID ANYTHING FUNNY
YOU COULD HEAR KAZZA LAUGHING FOR 10 MINUTES LONGER THAN EVERYONE ELSE
AND HER LAUGH IS SO LOUD AND SOUNDS LIKE A THOUSAND BABY SEALS BEING TICKLED
“Not them, Brian. Never them.”
Amy and Rory. The last centurion and the girl who waited. However dark it got, I’d turn around and there they’d be.
(I cut the first bit out because it’s not so interesting/repeats of stuff said before!)
“The first time it hit me, actually,” says Matt, “was last night. In bed. Thinking about Karen.”
“Stop thinking about me in bed!”
“I freaked her out this morning,” he grins, “I was like, ‘I was thinking about you in bed last night.’ But not thinking about her like that,” he tells DWM, just to be clear, “because er, she’s repulsive to me -“
Karen laughs.
“Thanks!”
“It was just, like, ‘Oh, she won’t be around anymore.’ Then today she walked in the room and I thought, ‘She’s not going to be walking in rooms anymore.’”
“I’ll be walking in other rooms that aren’t these rooms.”
“Yeah, with Blake Lively. Or, um, Josh Hartnett.”
Karen is dreading her, Matt, and Arthur’s final scene together today. “I don’t know if I’ll be able to get through it. It’s probably going to be loaded with all the emotion that comes with leaving the show. Which is a lot.”
Matt: “It’s been the biggest influence, change, factor, point of interest, point of focus, in our lives for three years.”
“We’ve spent a good chunk of our twenties on this show -“
“-together,” cuts in Matt. “We’ve developed our own language, like you do in any relationship. If I were to do this, for instance -” He starts stroking Karen’s arm affectionately. “And she would go -“
“No,” purrs Karen, “I have to go.”
“Please. Don’t leave.”
“It’s time for me to leave.”
“Don’t leave. Please don’t leave.
“Now, now, you’ve got to deal with this like a man. Like a big boy.”
“Like a big boy?” Matt guffaws. “That’s disgusting! Don’t call me big boy. You’ve never done that before.” Regardless, he starts stroking Karen’s hair. “Stroke my hair. Reciprocate.”
Okay, this is getting weird. But it’s how they roll. Matt offers DWM another example: “The Uncomfortable Touch Game is quite a fun one. The day a new actor walks on set… okay let’s say you’re a new actor, Ben. You come in. We’ll be talking -“
“So, like, what have you done recently?” Karen asks DWM. Matt places one hand on DWM’s knee. It’s… unsettling. Karen persists. “Like, what do you think of the set?” Matt’s hand doesn’t move.
Presently, he explodes with laughter. “You see how far you can push it,” he explains. “We’ve done it to loads of people. It’s quite embarrassing at first, because you’ve got to make that leap. They go, ‘What are you doing?’”
“They freak out,” chuckles Karen. Then she pauses, kind of sad. “I’m going to miss this.”
Karen Gillan - GQ UK Oct 2012
