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Venice seems to bring out the best in Adam. Don't get me wrong, his Cannes looks are iconic, but he always just seems more relaxed in La Serenissima; maybe it's the water taxis, or the architecture, or the fact that he gets to eat Italian food, which we know he loves. Whatever the reason, it's always a delight to get to see him so relaxed on a red carpet, and genuine smiles like this one at the photocall. I'm sure the presence of his creative bestie and long time collaborator, Noah Baumbach, played at least a small role in his genial good humor. Noah's off to Adam's right, just out of frame in this reference, but even though we can't see him, we know he's there, because Adam is fairly beaming with bonhomie. His posture is confidently relaxed, almost preening; shoulders down and back, chest forward, chin dipped a little, and that SMIRK.
He's smiling with his whole face, but it's a wry smile that's just a bit deeper on the right; the crinkles more pronounced, his eye narrowed just that little bit more, and, of course, there's the deep valley of that single, devastatingly deployed dimple. All we need is a burning building in the background and we've got ourselves a meme.
It's rumored Adam arrived that morning from Modena, fresh off of a night shoot, but you'd be hard pressed to tell if that's actually true just by looking at him. The stubble does look to be about 36 hours long, it's eclipsed the five o'clock shadow phase and begun actually sprouting, just a little, but that's almost de rigueur for him; we know from past film festivals *cough* Cannes 2018 *cough* that he'll skip shaving any day(s) he can. Otherwise he doesn't look more tired than usual; there aren't any large puffy bags beneath his eyes, and his demeanor was engaged and lively both during the press conference and at the red carpet later. The ruffled hair is the result of the water taxi right he had to take to get to the photocall; even the amazing work of the renowned Amy Komorowski is subject to the whims of the wind. All in all, I have to think that, even though he may have been working right up until he needed to leave, a relatively short travel time (about 2.5 hrs according to the TrenItalia website) and not being jet-lagged on arrival was an unusual boon for him.
Other details that I loved discovering along the way include the indentations made by his sunglasses; you can see the imprint where they were resting on the bridge of his nose, as well as the curving line of the edge of the lens leading up to his eyebrow. I always end up finding new tiny scars on his face every time I paint it, it's incredible how much of a difference the angle of the light playing over skin will highlight small marks in different ways, but I was a bit surprised at just how prominent that familiar large white scar on his chin was that day. I was also particularly charmed to so clearly see the pale halo of his peach fuzz along the entire edge of his left cheek, as well as the growing collection of silver gleams at his temples and just to the left of his natural center part, and, of course, the fine webbing of smile lines that get more clearly defined every year.
Photo used for reference was taken by Alexsander Kalka on 31 Aug 2022, during the photocall just before the press conference for "White Noise" at the 2022 Venice Film Festival. Many thanks to m_bee4 on twitter, both for sharing it, AND for sharing what she knew about it's provenance when I asked her where she'd found it; google's reverse image search was being very unhelpful.
About 21 hours of painting time.
Also I have included the craic version, which actually does include a burning building, because Jen asked nicely. It took about 5 min of abusing photoshop to add that, and it was a fuckton of fun. Enjoy!
He's smiling with his whole face, but it's a wry smile that's just a bit deeper on the right; the crinkles more pronounced, his eye narrowed just that little bit more, and, of course, there's the deep valley of that single, devastatingly deployed dimple. All we need is a burning building in the background and we've got ourselves a meme.
It's rumored Adam arrived that morning from Modena, fresh off of a night shoot, but you'd be hard pressed to tell if that's actually true just by looking at him. The stubble does look to be about 36 hours long, it's eclipsed the five o'clock shadow phase and begun actually sprouting, just a little, but that's almost de rigueur for him; we know from past film festivals *cough* Cannes 2018 *cough* that he'll skip shaving any day(s) he can. Otherwise he doesn't look more tired than usual; there aren't any large puffy bags beneath his eyes, and his demeanor was engaged and lively both during the press conference and at the red carpet later. The ruffled hair is the result of the water taxi right he had to take to get to the photocall; even the amazing work of the renowned Amy Komorowski is subject to the whims of the wind. All in all, I have to think that, even though he may have been working right up until he needed to leave, a relatively short travel time (about 2.5 hrs according to the TrenItalia website) and not being jet-lagged on arrival was an unusual boon for him.
Other details that I loved discovering along the way include the indentations made by his sunglasses; you can see the imprint where they were resting on the bridge of his nose, as well as the curving line of the edge of the lens leading up to his eyebrow. I always end up finding new tiny scars on his face every time I paint it, it's incredible how much of a difference the angle of the light playing over skin will highlight small marks in different ways, but I was a bit surprised at just how prominent that familiar large white scar on his chin was that day. I was also particularly charmed to so clearly see the pale halo of his peach fuzz along the entire edge of his left cheek, as well as the growing collection of silver gleams at his temples and just to the left of his natural center part, and, of course, the fine webbing of smile lines that get more clearly defined every year.
Photo used for reference was taken by Alexsander Kalka on 31 Aug 2022, during the photocall just before the press conference for "White Noise" at the 2022 Venice Film Festival. Many thanks to m_bee4 on twitter, both for sharing it, AND for sharing what she knew about it's provenance when I asked her where she'd found it; google's reverse image search was being very unhelpful.
About 21 hours of painting time.
Also I have included the craic version, which actually does include a burning building, because Jen asked nicely. It took about 5 min of abusing photoshop to add that, and it was a fuckton of fun. Enjoy!
