![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
A quietly magnetic enigma.
He may have been there for the Sundance Film Festival's premiere of "The Report," but Adam was very much in his Ben Solo era at this moment in time; he must have taken a short break to attend this festival before heading back for the last 2 weeks of filming for TROS. His hair is Ben's artfully shaggy mop, full and thick, and we can tell his body is too; his cheeks are sleek, the bridge of his nose is noticeably wider, and his neck is a gloriously strong column.
Most of the photos of Adam at the red carpet, panels, and interviews were generally genial; he looked relaxed, and happily casual. The portrait shoots, on the other hand, had a pensive feel to them, almost certainly in deference to the somber subject material of the film being presented.
This expression is extraordinary in its vivid stillness, and it's driven by that wary look in his eyes and the sense of imminent movement provided by not only his pose but also the lighting. Adam's eyes are wide open, carefully watchful, the lower lids tightened ever so slightly at the outer corners, and that's the only tension he's carrying in his entire face. His forehead is completely relaxed, and the same is true of his mouth and muscles in his cheeks; given that subtle details like the scars and gentle rumples along his jaw are thrown into such sharp relief by the lighting, we'd definitely know if any of those muscles were engaged.
The feeling of watchful caution is amplified by the contrast between the direction of Adam's body and his gaze. Most of him is in what's called a 3/4 pose, with his right shoulder angled away from the camera, his face in alignment with his shoulders, turned toward our left. His EYES, on the other hand, are looking directly at the camera; they're the only part of him that's moved to acknowledge us. It feels like he's just flicked his gaze up to ours, but hasn't turned his head yet.
The lighting provides yet more of a sense of movement despite the stillness, though in this case it's our eyes moving instead of his. Adam is leaning forward a tiny bit, describing a line across the page leading from the top left corner down to the bottom right, and that strong bar of light is cutting directly across him, from the bottom left up to the top right, like the opposite bar of an X, pulling our gaze along with it, back up to those wary eyes.
It was probably just a happy accident that the shadow slashed across his face in a perfect imitation of Kylo Ren's scar, but it's kind of fun, given that Adam was playing Ben at the time, to think that maybe, just maybe, they might have set it up that way on purpose.
Photo used for reference was taken on 27 Jan 2019 at the Sundance Film Festival for an article in Variety, with thanks to AdamDriverCentral on twitter for sharing such a HQ version with us.
About 12 hours of painting time. Getting the small scars on his left cheek to be enough, without being too much, took forever; I think I redid one of them at least 3 times.
He may have been there for the Sundance Film Festival's premiere of "The Report," but Adam was very much in his Ben Solo era at this moment in time; he must have taken a short break to attend this festival before heading back for the last 2 weeks of filming for TROS. His hair is Ben's artfully shaggy mop, full and thick, and we can tell his body is too; his cheeks are sleek, the bridge of his nose is noticeably wider, and his neck is a gloriously strong column.
Most of the photos of Adam at the red carpet, panels, and interviews were generally genial; he looked relaxed, and happily casual. The portrait shoots, on the other hand, had a pensive feel to them, almost certainly in deference to the somber subject material of the film being presented.
This expression is extraordinary in its vivid stillness, and it's driven by that wary look in his eyes and the sense of imminent movement provided by not only his pose but also the lighting. Adam's eyes are wide open, carefully watchful, the lower lids tightened ever so slightly at the outer corners, and that's the only tension he's carrying in his entire face. His forehead is completely relaxed, and the same is true of his mouth and muscles in his cheeks; given that subtle details like the scars and gentle rumples along his jaw are thrown into such sharp relief by the lighting, we'd definitely know if any of those muscles were engaged.
The feeling of watchful caution is amplified by the contrast between the direction of Adam's body and his gaze. Most of him is in what's called a 3/4 pose, with his right shoulder angled away from the camera, his face in alignment with his shoulders, turned toward our left. His EYES, on the other hand, are looking directly at the camera; they're the only part of him that's moved to acknowledge us. It feels like he's just flicked his gaze up to ours, but hasn't turned his head yet.
The lighting provides yet more of a sense of movement despite the stillness, though in this case it's our eyes moving instead of his. Adam is leaning forward a tiny bit, describing a line across the page leading from the top left corner down to the bottom right, and that strong bar of light is cutting directly across him, from the bottom left up to the top right, like the opposite bar of an X, pulling our gaze along with it, back up to those wary eyes.
It was probably just a happy accident that the shadow slashed across his face in a perfect imitation of Kylo Ren's scar, but it's kind of fun, given that Adam was playing Ben at the time, to think that maybe, just maybe, they might have set it up that way on purpose.
Photo used for reference was taken on 27 Jan 2019 at the Sundance Film Festival for an article in Variety, with thanks to AdamDriverCentral on twitter for sharing such a HQ version with us.
About 12 hours of painting time. Getting the small scars on his left cheek to be enough, without being too much, took forever; I think I redid one of them at least 3 times.
no subject
Date: 2022-02-04 09:39 am (UTC)From: