Delicious Nightmare/Posture like Pocahontas

Recently I’ve realised that crispy m&m’s are my downfall; they are a combination of crunch and chocolate, and I eat bag after bag after bag. It’s a recurring  delicious nightmare in my life right now. I made the eternal mistake of stepping on some scales the other week and through, ‘right, no more bloody m&m’s!’. Overall I’m trying to be a bit more health-conscious and a bit more active; not specifically to lose weight or to change how my body looks, but just for my own sense of well-being.

The fact that laying off the treats might help me lose a bit of weight and look differently hasn’t escaped me though, and for years now I’ve thought ‘I wish I could have a body like Pocahontas’.

When I was in uni one of the girls in my dorm had pictures of models around her room as ‘inspiration’, and for me, although it might sound ridiculous, my specific body inspiration has pretty much always been the Disney version of Pocahontas.

Mainly because she has such good posture. 

Feet shoulder-width apart, shoulders back, head up, and spine straight. This stance has always stood in my memory as a translation of strength and power. She looks ready to spring into action, or stand tall for an eternity. If I could have any body, it would be one with this afraid-of-nothing energy.

Not only the posture but Pocahontas is active!

She rows.

She runs.

She jumps, dives, and swims.

And her posture is on point the whole freakin’ time! The only thing that would make me want to have her body more is if she were a mermaid.

Obviously there are issues with the way Disney depicts bodies, particularly women’s waistlines,

however, brushing over that for now; I just wanted to share with you that Pocahontas is my body-inspiration, and that I’m off the crispy m&m’s (for now).

Let me know if you take any kind of inspiration from a possibly unusual source, and till next time,

‘The Artist’: a short script

FADE IN                          

INT. ARTISTS STUDIO, DAY

In the middle of a large bright and nearly empty studio, MR GREY sits in a large armchair. He is alone, and nervously keeps looking round, while tapping his foot off a nearby footstool. A large easel is positioned opposite him. On a table next to the easel there are art supplies.

YVONNE enters from a small kitchen. She is around 30, but she dresses like she’s in her early 20’s. Her bronze hair is cut slanting across her forehead like Peter Pan’s, her head permanently cocked forward like she is listening for something. As she draws nearer to Mr Grey her eyes roam all over his face. He has a high, domed forehead, and one of his eyes is slightly bigger than the other.

MR GREY

I’ve never done anything like this before, it’s so strange.

YVONNE

Here’s your coffee Mr Grey. Please sit back, make yourself comfortable.

She walks to the easel and picks up a pencil. Putting paper on the easel, she considers Mr Grey.

MR GREY

This is so strange; I’ve never done anything like this before.

YVONNE

I’m very appreciative; thank you for taking time out of your day. I know you must be busy.

MR GREY

Well, I – you know how it is, always somewhere to be!

BEGIN FLASHBACK:

INT. SUBWAY CAR, NIGHT

On a subway carriage YVONNE is checking her watch and tapping her foot, clearly anxious to get off soon. When the carriage stops she heads quickly to the door to get to the platform.

Before she can get off, a man gets on. He has a large crooked nose and severe dark eyebrows. Yvonne hesitates. She stays on the subway and takes a seat opposite the man; she takes care not to stare too hard at him throughout the journey.

When he gets off the train she follows him several steps behind. Her pace quickens as he reaches the exit; she doesn’t want to lose him in the crowd. Too late; he’s gone. She checks her watch and sighs.

END FLASHBACK.

MR GREY

I just don’t understand why you’d want to draw me.

YVONNE

You have substance, Mr Grey. I can see it.

Mr Grey seems pleased, and gets comfortable in the chair. He takes a sip of his coffee. Yvonne begins to draw.

MR GREY

I’ve always wondered what it would be like to sit for an artist. Thank you for the coffee by the way, it’s very nice.

Yvonne nods and hmms, smiling. Mr Grey sinks into the chair, and puts his feet up on the footstool.

MR GREY

It’s quite flattering really, to be asked to sit like this. Do you always draw men?

YVONNE

Yes, quite a few men. As long as they have something about them; something sustaining in their profile.

MR GREY

Are they strangers?

YVONNE

Usually.

MR GREY

And you just go up to them, in the street, and ask to draw them?

Yvonne nods and hmms, smiling.

MR GREY

That works, does it?

BEGIN FLASHBACK:

INT. COFFEE SHOP, DAY

Yvonne sips her coffee while watching a man at a nearby table. He has a visible overbite and his large Adams-apple bobs while he eats a slice of cake.

THE MAN has noticed Yvonne watching him. He smiles nervously at her, but finishes his cake and coffee quickly. He gets up and leaves the shop. Yvonne follows a few steps behind.

She follows him as he walks along the street. He catches sight of her and walks faster, going out of sight round a corner. Yvonne follows; the man is waiting.

THE MAN

Are you following me?

YVONNE

Hello. I–

THE MAN

Why are you following me? Did Lisa put you up to this?

YVONNE

Lisa? No, I–

THE MAN

Bullshit. What did she ask you to do? Flirt, and see if I would follow you to bed?

YVONNE

I think there’s been a misunderstanding. I’d like to–

THE MAN

Look, tell Lisa I’m not cheating on her, and that this is pathetic. If she wants to talk to me she should come find me herself.

He storms off.

END FLASHBACK.

YVONNE

Most of the time.

It can be a little difficult; people don’t like to let themselves be really looked at.

Her pencil sweeps over the paper, Mr Grey seems to become aware of himself once more; he straightens in the chair and smooths his wispy hair.

YVONNE

Are you comfortable? Can I get you another coffee?

MR GREY

I don’t usually have more than one before 12… But why not? I don’t usually go to a stranger’s studio so they can draw me either, yet here I am!

Yvonne leaves to get Mr Grey another coffee.

He stands up and stretches; goes over to a large window, looks out, hums a tune.

YVONNE (OS)

Would you like some music on Mr Grey?

He doesn’t hear her.

There are some canvasses piled up against a wall; he looks through them. They are all bright portraits of ordinary looking men; however they are somehow disturbingly visceral.

YVONNE
(now beside him)

Would you like some music on Mr Grey?

He jumps; he didn’t realise she had come back into the room.

MR GREY

Hmm? Oh music, yes. Thanks.

He takes the coffee and goes back to the armchair. Yvonne puts on some classical music.

MR GREY

I was just admiring some of your work. It’s, ah, very… hm.

Yvonne is back behind the easel drawing, he can only see a sliver of her face.

MR GREY

How do you decide which men you want to draw?

She doesn’t answer.

MR GREY
(scoffing)

You know people used to believe that if their picture was taken, a piece of their soul was captured? Don’t quite go in for that myself.

He drinks his coffee. Yvonne continues to draw.

MR GREY

Of course that was after portraits.

Maybe they got the idea from Wilde. You know; Picture of Dorian Gray?

In the olden days they used to paint some portraits from death masks! Can you imagine painting a portrait from a death mask?

Yvonne’s pencil moves steadily across the paper.

MR GREY
(to himself)

Art imitates life.

YVONNE

Or death, in this case.

MR GREY

Pardon?

YVONNE

Death masks.

MR GREY
(falsely)

Haha. Oh yes, I see!

He becomes quiet and introspective; sitting still in the chair his face shows his age and tiredness.

YVONNE
(behind the easel still)

When I paint I feel that I am eating a piece of my subject’s soul.

It’s no good picking men who are handsome in the ordinary way. They have no substance.

I need their substance to keep me alive. That and the sunrise; when colour shines out of everything.

MR GREY
(as if he hasn’t heard her)

Thank you again for the coffee, it really was very nice.

He gestures his now empty cup; places it on the small table.

MR GREY

I didn’t realise how time was getting on. I’d better head off and finish the rest of my to-do list!

YVONNE

Oh, yes of course Mr Grey. Thank you again for taking the time; I really do appreciate it.

MR GREY

Not a problem, not a problem.

YVONNE

Would you like to see what I’ve drawn?

He glances at the large canvasses in the corner.

MR GREY

No that’s quite all right, thank you though. I’d best get on. Goodbye, all the best.

He heads to the door without glancing at the easel, and lets himself out. Yvonne looks at her sketch and smiles. She begins mixing paint.

FADE OUT.

FIN.