📜 @reniadeb 📜

Then what is?

Welcome to Wilson world into the Owen verse

MY GOD HES REAL

Hi! I just wanted to say that I REALLY LIKE YOUR WORK. REALLY. Your drawings are wonderful, so gentle and warm, I want to look at them endlessly.

I admire the way you pick colors and YOUR SCOUT, MY GOD-

100% tastes like delicious and soft waffles with jam... Keep up the good work, I hope you will be fine! *hugs*

THANK YOU SO MUCH

YOUR ART IS SO GOOD MY MY, ITS SO SOFT AND JUST LIKE CALMING TO LOOK AT, I am always glad when your stuff pops up ITS SO GOOD

Also you characterize them so well, I love your soldier he is so silly, him and spy r the best

I hope you are also doing well *hug returned* :)

(Gift scrout)

My love of cowboys, westerns and Dean Martin can’t compete with my hatred of drawing horses

Années tolles

For a future project I needed to get some faces down

send me a 🔊 and a character and ill say a song from outside their source media that reminds me of them somehow

Bob Taylor 💖

The Night of the Hunter (1955) dir. Charles Laughton

YOO SCUDWORTH

“Coney Island, shot on location on a busy day in Luna Park in 1917, may be the one in which his character displays the widest emotional range. In the first scene he shimmies up a pole to watch a Mardi Gras parade, laughs, and tries to applaud—causing him to lose his grip on the pole and fall onto his date for the day (Alice Mann). Buster also weeps theatrically to the camera when the girl deserts him at the entrance to a boardwalk ride called the Witching Waves. Later he laughs some more, doubling over in mirth at the plight of poor Roscoe, whom Buster has just inadvertently knocked down with a giant mallet at a “test-your-strength” booth. In the second reel, feeling his oats in a brand-new lifeguard uniform, Buster executes an impeccable standing backflip, for no other apparent reason than because he can. He even preens for a beat or two afterward, puffing up his chest before exiting the frame in an attitude of manly resolve.”

Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century by Dana Stevens