Tessa james nude

And because she is this really fly performance artist, visual artist, Boots really just wanted to push the parameters of what you've seen on film in terms of the look and the aesthetic.

So from jump, it was like sitting in a chair for nine hours, stripping my hair, making it this wild color, which was so different. I really love the idea of shape-shifting as much as I can and it's really rare to get to find parts where you get to do that.

I loved that part of it. And then she uses every inch of herself as a canvas. That presented such a cool challenge in terms of finding her aesthetic. I really wanted to work with Lakeith. I thought the screenplay was so brilliant and Boots was so special and so singular. And I've always wanted to make a film that hung out in this space of magical realism. So many of the films that I love—that I grew up watching over and over again as I really decided that I wanted to work in film—used magical realism, but they don't have black and brown faces in them.

And so when this came along I was just like, "Finally. What do you think art's role is in creating social change? I think [art] has a huge role. We have the ability not just to reflect the culture in which we live but to create it, change it, shift it, start cultural conversations. I think cultural change always preceeds political change.

Even the conversations that we're having now around women in the workplace and our value, now we see that being manifested into policy—certainly in [the film] industry, we're seeing a real shift. Art has the ability to start a cultural conversation and inside of the space of cultural conversation, you can really activate people and hopefully activate them to organize.

That's something that I loved about this film so much. What it talks about is the power of a small group of people who are committed and angry enough to create change and have an effect—that's what the film leaves you with. What are some experiences you've personally had in terms of organizing and protesting?

Have you been out there on the frontlines? I have! Especially as a young person in terms of protesting, and obviously the Women's March [on Washington], taking to the streets for that. I really loved making this film too because it was set in the Bay area. I was in [high school] government and very politically oriented and always had this dream of going to Berkeley and living the social change that was effective in the '60s. I have protested when I was younger, on Capitol Hill protesting the war in Iraq, sat in to get arrested and all that stuff.

And now it's like how do I organize? How do I use whatever relative platform I have and be of use? Being a part of organizational efforts like TimesUp was incredible. Did having those experiences make playing the role of someone like Detroit easier for you? Yea, I suppose in a way. I think anytime I play a part it's about either expanding parts of myself or making certain parts of myself smaller, trying to diminish them, trying to meet somewhere in between where this character lies.

So either it's about making myself more bold or fearless or obnoxious than I already am, or it's about making myself shier. But it all kinda starts with me, so of course, it's easier when you have the baseline. There were other things that were outside of me about her, like doing her performance art piece.

That felt really challenging. First, it was written to be nude and I was like, 'Oh lord, please! So to get up on stage in front of a group of people with not that much clothing and to do something that makes you look, frankly, very silly was really vulnerable. But I really like that, I like finding something in a part. I really only like to take parts that scare me a little bit. And there were elements of Detroit that really did scare me a little bit.

Marina Abramovic. I was already familiar with her work, and going back and watching a lot of her work and learning about her—how much she put what she was dealing with in terms of her own life into her performance work—was really inspiring to me.

And Kerry James Marshall, even though he's a visual artist. I saw his a retrospective of his and was so shook by it and the way that he talks about how black bodies are excluded from the work of what's important, in terms of the canon of fine art. Also just [being able to] relate to this idea of the fine art world as a black artist, when you become sort of quote "successful," is kind of when you're appreciated by the white world, and what that means.

The more you're making work that is about your own experience, the more the people ingesting suddenly seem so far from you. That really seems like such an interesting conundrum as an artist. I thought a lot about that when I was working on Detroit. How was it working with Lakeith? He seems like such an interesting and funny person. Oh so funny! And he's so free. He's a free human and really free as an actor, really impulsive and available to himself and very childlike.

I think a lot of actors talk about how they wanna play and enter that childlike space, but not a lot of people do that because it's actually very vulnerable.

And there's this idea of when you're an adult, it's an appropriate way to be when you wanna be taken seriously, and I don't think Lakeith cares about any of that.

The actress wears a fashionable pair of sunglasses, cupping her cheek with one tanned limb as she poses for the camera. The striking blonde had made her mark playing Nicole Franklin on Home and Away from to , leaving the show to pursue an acting career overseas. But in September , Tessa discovered she had Hodgkin's lymphoma, and returned to Australia for treatment. Shock diagnosis: In September Tessa discovered she had Hodgkin's lymphoma, and returned to Australia for treatment With the support of her husband, NRL player Nate Myles, she finished chemotherapy in mid, sharing her courageous journey with Channel Seven's Sunday Night.

My life is great'. Yeah, I have a story now.

News Archive 21st September | flickriver.com

Share this article Share Tessa is evidently trying to catch some rays, lounging topless with just a pair of purple bikini bottoms. The actress wears a fashionable pair of sunglasses, cupping her cheek with one tanned limb as she poses for the camera. The striking blonde had made her mark playing Nicole Franklin on Home and Away from to , leaving the show to pursue an acting career overseas. But in September , Tessa discovered she had Hodgkin's lymphoma, and returned to Australia for treatment. Shock diagnosis: In September Tessa discovered she had Hodgkin's lymphoma, and returned to Australia for treatment With the support of her husband, NRL player Nate Myles, she finished chemotherapy in mid, sharing her courageous journey with Channel Seven's Sunday Night.

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When Victoria hands over a statement for her sister to read, Abby will want to talk it over first. Scott will suggest that it just needs a few changes. After Sharon sends Scott a text, Abby will urge him to go meet up with her. Scott will opt to attend the press conference with Abby instead.