Re: One Night Stand Sex Scene
Hien Mondesir
The night Jack and I met was the night my best friend from USC, Sam, was visiting from Amsterdam. Shortly after arriving at the glitzy weekend evening scene at E.P. & L.P., Sam waltzed up to a hot surfer dude and told him she liked his fedora. The hot surfer dude had a less-hot-but-still-cute Irish-accented friend, Jack/Oisin. The four of us guzzled cocktails, posed in a photo booth and ended up at an afterparty on a mini farm in Laurel Canyon.
One night in October, Jack FaceTimed me and I told him to just come over already. It had been months of talking, and we both had a human urge and now a seemingly destined prophecy to fulfill (or so I wishfully thought).
A well-received parody of tabloid talk shows, Night Stand had plenty of funny scenes, but one scene unexpectedly went too far when Dietrick (Timothy Stack) tore the clothes off a male model named Kal (played by Kevin Light) to see if he could impress a seemingly uninterested young woman guest, Gloria Holt (played by Beth Tegarden) looking for dates in the episode "Love on the Internet," produced in 1995.[1] After ripping off his shirt, the model's trousers were next, but Stack accidentally pulled Kal's underwear down as well; as a result, there was a brief (and unscripted) glimpse of male genitalia, much to the shared shock of the audience and the performers. This scene has sometimes turned up on outtake and blooper programs such as It'll be Alright on the Night.
Here's mt attempt at the eevee bedroom night scene. Great course and it is demystifying the topic, I'm a little more comfortable and coming more out of the shadows, the light isn't that scary after all.
I usually have to save the files as 8 bit RBG at 50% compression so I could upload it, so I'm not sure how much that affects the look, doesn't seem to bad except for under the night stand and beside the bed is a lot darker than the original. I kept changing the values to lighten it up but then it gets ridiculous on my end how bright it is, so the trade off for the compressed file is there. I'm starting to see the reason for some discrepancies I've been seeing. I also often wondered how you manage the massive amount of uploads you must regularly get, ay yi yi.
For season 1, nightstands appear in Episodes 1001, 1002, 1005 and 1006. For season 2, you will see them in Episodes 2001, 2002, 2005, 2008, 2010, 2011, 2012, 2016, 2021 and 2022. They also make a brief appearance in The Missing Pieces when Doc Hayward and Sheriff Harry Truman investigate what happened to Cooper in the bathroom.
After Cooper answers the phone, we see both nightstands. The clock lamp on the right side has been replaced with a yoke table lamp. The left side nightstand also got a yoke lamp. A Native American figure carving and his FBI coffee mug were also added to the right side.
As Cooper turns off the light, we can see his tape recorder, gun, badge, alarm clock and FBI coffee mug. The left side appears to have another animal figure added by the yoke lamp. As Cooper sleeps, we catch a glimpse of the yoke lamp on the left side nightstand.
With the start of Season 2, we see a wounded Dale Cooper laying on his hotel room floor. The yoke lamp is on the left side nightstand. The duck carving seen in Episode 1001 now appears on a desk next to a black phone. The clock lamp has traveled to the dresser near the main door.
The brown phone has returned to the right side night stand in Episode 2008. The figurine of the Native American chief sitting has been replaced by another Native American figurine. We also see a slice of cherry pie and a glass of milk.
The duck has migrated to the other nightstand and is joined again by the phone, travel clock, and tape recorder. New items are his Bookhouse Boys patch and Green Butt Skunk fly given to him by Sheriff Harry Truman in Episode 2010, his book about Tibet, and a yellow Boy Scout mug.
The ultra rare Cooper-opening-the-nightstand-drawer shot. For several of the episodes, he kept his gun on the nightstand. For some reason, he placed it in the drawer for this episode. Perhaps the book about Tibet replaced it.
Considering his tutelage at the warped hands of Professor Gellar, along with the fear that man clearly instills in him, it seems hard to believe that Travis would just stand admiringly outside of his most recent crime scene. He might as well have sent the Miami PD a text message with his name and address.
Billy Rose Theatre Division, The New York Public Library. "Actors Terri Treas and Charles Kimbrough in a scene from the Broadway musical (which closed in previews prior to opening) "One Night Stand." (New York)" The New York Public Library Digital Collections. 1980. -f01d-0132-5b20-58d385a7b928
Billy Rose Theatre Division, The New York Public Library. "Actors Terri Treas and Charles Kimbrough in a scene from the Broadway musical (which closed in previews prior to opening) "One Night Stand." (New York)" New York Public Library Digital Collections. Accessed December 3, 2023. -f01d-0132-5b20-58d385a7b928
Billy Rose Theatre Division, The New York Public Library. (1980). Actors Terri Treas and Charles Kimbrough in a scene from the Broadway musical (which closed in previews prior to opening) "One Night Stand." (New York) Retrieved from -f01d-0132-5b20-58d385a7b928
This comic institution based in Central Square has been a major player on the Boston theater arts scene since the early 1980s. While the pandemic has made some serious changes to their on-stage offerings, regular shows can be experienced at the Rockwell Theater in Davis Square (with a full bar). This non-profit arts organization still offers workshops, a national touring company, and classes.
That means making sure that there is a connection between the characters before they even get to the bedroom. And please note that this is just as true for bad sex. An assault. An awkward hook-up with an ex. What matters is what comes before the scene informs the scene.
These scenes work so well because at this point we already know the characters. But even so, both authors remind us of the core issues for the heroines. Not because the author tells us, but because the heroine does.
Working in a medley of different genres that includes - but is not limited to - John Hughes' 80s work and that special subset of films that feel, compellingly, like watching theater, Max Nichols has a lot of fun with his debut feature, Two Night Stand. The film takes place almost entirely in the apartment of Alec (Miles Teller), a young Brooklynite who's waking up after a one-night-stand with the attractive Megan (Analeigh Tipton), whom he's just met. Things get awkward and Megan leaves - except she can't exit the building: a horrible snowstorm has rendered the building's residents trapped inside for the time being. Forced to hang with Alec, the two characters find themselves slowly getting to know one another the day after their sexual encounter.
It's fitting that, in addition to the influences of seminal teen movies of Nichols' youth, the influence of a certain theatrical kind of filmmaking is apparent in the picture - Nichols, after all, is the progeny of theater-to-film master Mike Nichols, whose credits include, among other classics, Who's Afraid of Virginia Woolf? I had the chance to speak recently with Nichols about how his debut feature came together.
MN: I think it seems like, to a greater degree than may have been the case in the past, the path to a relationship is hook up first and then see how compatible you are after. I don't know if the evidence is in yet whether that is a more or less effective path to long-term love. We have certainly seen, many times, how carnal incompatibility can be the undoing of an otherwise promising relationship. I'm not sure you need to start with one or the other. But the other thing that was compelling to me about the story was that neither Megan nor Alec are seasoned veterans of the online dating scene. When it comes down to engaging in that hook-up culture, they have to work to find that balance between who they're supposed to be and who they want to be, and that's something that everyone has to wrestle with.
Tribeca Film: One of my favorite scenes in the film is the scene where, after they sleep together, the next day, they rehash all the things the other did wrong. How did you put that scene together?
MN: There are many ways where we understand that there's a disconnect between something as an idea and the reality of it. I think that's true for Megan and Alec when they hook up - that this thing that's supposed to be easy and casual and fun winds up being more complicated for them. I think men and women often feel, when it comes to talking about sex or love, that it's easier if you can speak about things candidly. I think Alec, for example, wishes he could talk about sex with a girlfriend the way he can talk about it with his guy friends. Ultimately, however, I think Alec and Megan both walk away from that conversation understanding that there's a value in being delicate with other peoples' feelings.
MN: We did have nice opportunities to rehearse. We went to the location and sat at the kitchen table and just read through the script together. That was a nice, intimate way to settle into the space, the characters. We didn't want to squeeze too much life out of the script in rehearsals, but we did a few scenes. That was really helpful for answering some questions before we started shooting. In terms of how we staged the shoot, we were really at the mercy of the schedules. But one of the first scenes we shot was the scene where Megan starts dancing and Alec watches her. The reason we shot that first was because I felt that if we created the right mood on set, if we established that mood of getting to know someone, staying up late, for the actors, that would carry through for the rest of the shoot, and it did.
MN: That's a good question. I think one of the useful things about rehearsal is that it's about reading - rehearsals are as much about reading as anything else. You always learn a bit about something just by hearing it out loud. Often it's practical things - you think, that line read well on the page but it has a problem when it's said out loud. That's an invaluable thing to learn a couple weeks out, as opposed to on the day. Being able to hear the words, or to figure out basic blocking, or to figure out what feels natural to the actors, that's all incredibly important. Also, I think a lot of the work a director does with actors is in the conversations you have together about the scenes - this is why this is here, this is what it means, this is why this happens. Giving the actors the ability to take those conversations and live with them for a little while and come back with specific approaches, that's a really thrilling part of the process.