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As far as Clyde's concerned, his life of crime is over, and it'll take a heap of convincing for him to be involved in any more crazy cauliflower plans. Or maybe just a heap of perfectly crisp bacon and a robbery to-do list. And a scale model.
I just love this scene. I mean, I love the whole movie, but this scene makes me laugh every time. And a lot of it has to do with the body language that these two are using; it's so clear that you could watch this scene with the sound and subtitles off and STILL know what's going on.
Jimmy is confident he's in the right, shoulders down, chin up, gazing assertively at his brother, and Clyde is just SO surly and defensive. He looks down at the table for most of this conversation, only looking up at his brother three times. He only meets Jimmy's eyes twice, and each of those moments is a challenge.
Once is when he mentions that Jimmy said the word "cauliflower" at the bar last night; Clyde's looking down, and throws the word out just as he throws his eyes up, like a gauntlet being tossed on the ground. You can tell it's a long standing argument between them, one where they know the steps to each other's points and counterpoints like a dance. But it's clear that Clyde's not really here to dance today; after that first flash of temper his gaze is firmly fixed on anything that isn't his brother's face, unwilling to open any of these points up for debate.
That changes when Clyde concedes that Jimmy was kind enough to cook him breakfast, and that he seems to be trying to be better organized this time around. Clyde glares right at his brother, his tucked chin and firmly set mouth telling us that it'll still take a lot of convincing for him to come around, but Jimmy's up for the challenge.
And he can always cook Clyde some more bacon.
Photo used for reference was a promotional still for "Logan Lucky."
About 9.5 hours of drawing time. Bed head is complicated to paint, and that Bob Seger logo was a bit of a pain too. The soundtrack to this piece was "Ball and Biscuit" by The White Stripes, which I listened to on repeat the whole time I was drawing this. And I would be remiss if I didn't thank rad_braybury for immediately enabling me when I floated the idea of painting Clyde again.
(I really do think that Adam was about to burst out laughing right here; you can see the tiniest curl in the corner of his mouth, and look at how he's got his lower eyelids pursed up. I wonder how many takes they had to do of this scene....)
I just love this scene. I mean, I love the whole movie, but this scene makes me laugh every time. And a lot of it has to do with the body language that these two are using; it's so clear that you could watch this scene with the sound and subtitles off and STILL know what's going on.
Jimmy is confident he's in the right, shoulders down, chin up, gazing assertively at his brother, and Clyde is just SO surly and defensive. He looks down at the table for most of this conversation, only looking up at his brother three times. He only meets Jimmy's eyes twice, and each of those moments is a challenge.
Once is when he mentions that Jimmy said the word "cauliflower" at the bar last night; Clyde's looking down, and throws the word out just as he throws his eyes up, like a gauntlet being tossed on the ground. You can tell it's a long standing argument between them, one where they know the steps to each other's points and counterpoints like a dance. But it's clear that Clyde's not really here to dance today; after that first flash of temper his gaze is firmly fixed on anything that isn't his brother's face, unwilling to open any of these points up for debate.
That changes when Clyde concedes that Jimmy was kind enough to cook him breakfast, and that he seems to be trying to be better organized this time around. Clyde glares right at his brother, his tucked chin and firmly set mouth telling us that it'll still take a lot of convincing for him to come around, but Jimmy's up for the challenge.
And he can always cook Clyde some more bacon.
Photo used for reference was a promotional still for "Logan Lucky."
About 9.5 hours of drawing time. Bed head is complicated to paint, and that Bob Seger logo was a bit of a pain too. The soundtrack to this piece was "Ball and Biscuit" by The White Stripes, which I listened to on repeat the whole time I was drawing this. And I would be remiss if I didn't thank rad_braybury for immediately enabling me when I floated the idea of painting Clyde again.
(I really do think that Adam was about to burst out laughing right here; you can see the tiniest curl in the corner of his mouth, and look at how he's got his lower eyelids pursed up. I wonder how many takes they had to do of this scene....)
