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jennifer-wang:

#british men rapping will smith songs

shartiella:

my new cover photo on facebook

Oh my god how did this even occur


Stephen Merchant is one of those tall, thin people who need to eat at regular intervals to stave off crankiness and wobbliness. With a reassuring lunchbreak rustle, he pulls-oh the glamour- a pre-packed sandwich, a bag of crisps and a Coke from the plastic supermarket bag clutched in one pale hand and lowers himself the great distance onto a battered leather sofa at the Stoke Newington warehouse where he has just had his picture taken. He is wearing nondescript trousers and a nean’n’tidy tea-with-grammy-type blue shirt, under the arms of which sweet little nervous sweat patches flare up and recede during the interview.
He is 35 and believes that he will probably have a heart attack at 50. He thinks that he processes stress quite well but but that there will be a price to pay. Certainly the pressure of writing and co-directing his first feature film with Ricky Gervais has taken its toll. Cemetery Junction is a story of youthful discontent, set in a green-belt town in 1973. Three young men are coming of age in a rapidly changing world. Will they leap away from factor careers and into the unknown, or will they surrender themselves to a life of parochial security? It is handled with the customary Merchant Gervais attention to detail and skewed affection for regional life. “I could feel the stress getting into my blood and my bones,” says Stephen ominously.
His round blue eyes, lashed with blond fronds and framed with dweeby spectacles blink politely at me while he briefly considers his tallness. He’s a benign six foot seven, which is not tragic, hormonally out-of-control giganticism but does make him a bit of a headturner. “My life is just irritating,” he says in the yokelish Bristolian burr that makes this Bafta Emmy, Golden Globe and Comedy Award winning actor, writer and director sound a bit dimwitted. “It’s a pain finding beds and clothes that you can fit into. When you sit in the cinema you are thinking, ‘Shouldn’t sit there, I’ll block that person’s view.’ It’s kind of a low, background hum of annoyance but it’s never tragic. It’s brilliant at rock concerts and it’s nice to be able to use it as a comic trademark.”
There’s a lovely, detached cleverness to Stephen Merchant. With most comedians one gets at least a hint of malice, an inkling of either their ability to pinpoint weakness or a propensity towards extreme moods. But whether or not the camera is trained on him, Stephen never presents a threat. His creative partner Ricky Gervais says he can’t even look at Stephen’s face without cracking up. He looks like a dear meerkat who has been brutally stretched on the rack and is still feeling a little shocked about the experience. “I am cursed with a naturally comic face and manner,” he says. “I can’t make myself look intimidating and if I tried to look like I was throwing a punch, it would just look ineffectual. I was on a plane recently with Ray Winstone and he seemed like a very chirpy, jolly fellow but there is something about his physicality that lends itself to menace, while mine lends itself to comedy.” There is something quite anachronistic about Stephen, something hazily regional about his accent and appearance. There is no hint of that intense Russell Brand or David Williams variety of womanising, networking ultra-awareness. Media London hasn’t touched him and it is his and Gervais’s ability to zoom in on and then intricately expose…

Stephen Merchant is one of those tall, thin people who need to eat at regular intervals to stave off crankiness and wobbliness. With a reassuring lunchbreak rustle, he pulls-oh the glamour- a pre-packed sandwich, a bag of crisps and a Coke from the plastic supermarket bag clutched in one pale hand and lowers himself the great distance onto a battered leather sofa at the Stoke Newington warehouse where he has just had his picture taken. He is wearing nondescript trousers and a nean’n’tidy tea-with-grammy-type blue shirt, under the arms of which sweet little nervous sweat patches flare up and recede during the interview.

He is 35 and believes that he will probably have a heart attack at 50. He thinks that he processes stress quite well but but that there will be a price to pay. Certainly the pressure of writing and co-directing his first feature film with Ricky Gervais has taken its toll. Cemetery Junction is a story of youthful discontent, set in a green-belt town in 1973. Three young men are coming of age in a rapidly changing world. Will they leap away from factor careers and into the unknown, or will they surrender themselves to a life of parochial security? It is handled with the customary Merchant Gervais attention to detail and skewed affection for regional life. “I could feel the stress getting into my blood and my bones,” says Stephen ominously.

His round blue eyes, lashed with blond fronds and framed with dweeby spectacles blink politely at me while he briefly considers his tallness. He’s a benign six foot seven, which is not tragic, hormonally out-of-control giganticism but does make him a bit of a headturner. “My life is just irritating,” he says in the yokelish Bristolian burr that makes this Bafta Emmy, Golden Globe and Comedy Award winning actor, writer and director sound a bit dimwitted. “It’s a pain finding beds and clothes that you can fit into. When you sit in the cinema you are thinking, ‘Shouldn’t sit there, I’ll block that person’s view.’ It’s kind of a low, background hum of annoyance but it’s never tragic. It’s brilliant at rock concerts and it’s nice to be able to use it as a comic trademark.”

There’s a lovely, detached cleverness to Stephen Merchant. With most comedians one gets at least a hint of malice, an inkling of either their ability to pinpoint weakness or a propensity towards extreme moods. But whether or not the camera is trained on him, Stephen never presents a threat. His creative partner Ricky Gervais says he can’t even look at Stephen’s face without cracking up. He looks like a dear meerkat who has been brutally stretched on the rack and is still feeling a little shocked about the experience. “I am cursed with a naturally comic face and manner,” he says. “I can’t make myself look intimidating and if I tried to look like I was throwing a punch, it would just look ineffectual. I was on a plane recently with Ray Winstone and he seemed like a very chirpy, jolly fellow but there is something about his physicality that lends itself to menace, while mine lends itself to comedy.” There is something quite anachronistic about Stephen, something hazily regional about his accent and appearance. There is no hint of that intense Russell Brand or David Williams variety of womanising, networking ultra-awareness. Media London hasn’t touched him and it is his and Gervais’s ability to zoom in on and then intricately expose…

(via effington)

acelebritysbodypart:

superkianagalaxy:

jennifer-wang:

exposition: some person on the internet solicited engagement endorsements from various favorite famous persons for his fiancee. here are some of them.

GOD THAT IS SO FUCKING CUTE

i would frame them with my wedding picture.

oh my god this is the best i hope their marriage is great

zimiestef:

Tracy baby ;w;

smerchbagel:

Hurricane Frustration swept the Smerch fandom

capsbutt:

smerchbagel:

Hello, beautiful

it’s really weird seeing this because i was there that night in that same room????????
it’s just so personal eee please no steve don’t do this to me

capsbutt:

smerchbagel:

Hello, beautiful

it’s really weird seeing this because i was there that night in that same room????????

it’s just so personal eee please no steve don’t do this to me

(via usb-dongle)

“You can make it with your friends. It’s like a fun birthday activity.”