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杰西艾森伯格

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科林摩根的帽子

《禁区》卷西x卷西

看完《双重人格》之后脑洞大开,剪了一个卷西x卷西的水仙,bgm《禁区》,想必内容就很好猜了23333

是有剧情的,剧情看b站简介

b站传送门:http://t.cn/A62LQ4d2

注意避雷:有车慎入/斯德哥尔摩

看完《双重人格》之后脑洞大开,剪了一个卷西x卷西的水仙,bgm《禁区》,想必内容就很好猜了23333

是有剧情的,剧情看b站简介

b站传送门:http://t.cn/A62LQ4d2

注意避雷:有车慎入/斯德哥尔摩

Jesse E

Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020

[图片]

In strife, we find ourselves. That's the story of Resistance, which sees two men revealed...

Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020


In strife, we find ourselves. That's the story of Resistance, which sees two men revealed in the crucible of war. On one side was Nazi war criminal Klaus Barbie, a monster empowered by the Third Reich. His polar opposite – and the true center of Jonathan Jakubowicz's Resistance – was Marcel Marceau. The famous French mime, whose iconic white-faced creation Bip the Clown captivated generations, was a member of the French Jewish Resistance. Yet, rather than picking up a gun, Marceau smuggled hundreds of orphaned Jewish children across the border into Switzerland, using his art to help distract and calm the children. Jakubowicz said, "That's what makes him the greatest mime of all time."

On May 17, the Austin Jewish Film Festival will hold a free webinar with Jakubowicz and Jesse Eisenberg, who plays the mime and wartime hero who saved lives through unconventional means. It will be a virtual homecoming for Jakubowicz, a former UT-Austin student from Venezuela whose debut feature, Secuestro Express, was executive-produced by local creative force Elizabeth Avellán.

The event comes at a time when we are all thinking more than ever about those that Jakubowicz called "civilian heroes," a sentiment Eisenberg echoed. "Three months ago I don't think we necessarily would be able to predict who would be the heroes of this moment. We wouldn't have thought that the person who works at the grocery store is going to be risking their lives to keep some semblance of society afloat. We wouldn't have thought that the pizza delivery guy is going to be somebody who is risking their health for a social benefit." Similarly, he said, "You wouldn't have thought the mime is going to be able to be a hero. Only in retrospect do you go, of course there are going to be kids who are orphaned who are going to require not only a guardian figure, but somebody who keeps them entertained, and gives them a semblance of normalcy."

When developing the script, Jakubowicz knew that he needed an actor who could provide "a physical performance that goes beyond the script, that takes the goal of going beyond entertaining and moving people through unexpected ways." By happenstance, he learned that Eisenberg's mother had been a children's party clown while the actor was growing up, and the pieces all fit together. "By midway through the script, I was basically writing it for him."

That's why Eisenberg got a most unusual pitch packet from Jakubowicz. He recalled, "I received the movie script, which is typical to receive, and a side-by-side picture of Marcel Marceau and me, which is atypical." He was caught off guard by the physical similarity, and also by the shared history: Their families were from the same part of Poland and had left as part of the Jewish diaspora – the Eisenbergs to New York, the Mengels (Marceau's real name) to Strasbourg. And then, of course, there was his family connection to clowning.

“Every survivor’s story requires some kind of miracle, and some selfless person putting their life on the line.”– Jesse Eisenberg

Eisenberg still went through months of formal training in mime. Yet, it wasn't until they got to set, and were working on one vital scene – where Marceau distracts distraught orphans through an early version of his classic routine Walking Against the Wind – that Jakubowicz saw him truly understand what he had learned. "He completely forgot about technique, and started focusing on making sure the children got what he was doing. Part of the reason the scene is so moving is that Jesse is going through the same thing that Marcel went through, which is the realization that technique is second to emotion."

It was a make-or-break scene for Eisenberg as a mime artist, because this is the moment that he has to truly entertain the kids – not just in the performance, but on the set. He'd even rehearsed a dozen back-up improvisations with one of his mime coaches, Tomsa Legierski, all pulled from Marceau's repertoire. "They were fail-safes if the kids weren't laughing," he said. "It really felt like I was using live market research. If the kids like it, then we knew that it would work in the movie. But then it has this other effect, selfishly, that I was doing the right thing. Because even if the technique was slightly off, the fact that the kids were reacting to it was so much more important."

The menace from which they were fleeing was Hauptsturmführer Klaus Barbie, dubbed the Butcher of Lyon for his acts of barbarity and played with chilling fury by Matthias Schweighöfer. That two iconic figures of the mid-20th century – the mime and the murderer – were in the same city at the same time for Eisenberg was less about the men than what the circumstances brought of them. He said, "These two guys were operating in the most heightened of ways – Barbie in the worst possible way, and Marceau in the best possible way."

Jakubowicz goes to great lengths to show them as mirror opposites, but at the same time Barbie is never a cartoon. "Nazis are so often portrayed as this alien force, or these monsters who are completely unrelatable. I think the only way we can ensure that something like this never happens again is to truly understand that these were humans. This was a nation that was completely convinced they were on the right side of history."

Ultimately, Barbie was a savage whose hideous urges were indulged, even lauded, by society. In Marceau, Jakubowicz sees someone for whom his heroic actions and his art are summed up in that one word: resistance. "The essence of miming is using the illusion that some object is offering resistance. You put your hand on a wall that doesn't exist, but the audience can see it because it is offering resistance to the hand. Is resisting fighting, or is resisting survival, or is resisting creating visual elements where nothing exists?"

For Eisenberg, the story of Marceau is not an aberration, but familiar. His lineage is filled with both survivors and victims of the Holocaust, and the difference was often a Marceau: not a larger-than-life figure, but one of those civilian heroes who uses what they have to save a stranger. He said, "Every survivor's story requires some kind of miracle, and some selfless person putting their life on the line."


Austin Chronicle: For a long time, Marcel Marceau was instantly recognizable globally. But there are three elements of this film when it comes to talking about him. First, that there are a lot of people who have forgotten about him, or never knew how important he was as a popular figure. Then there's the aspect of introducing them to this story that they may not know. But then there's a third component, that he was almost the definitional French performer, and a lot of people didn't know he was Jewish.

Jesse Eisenberg: Part of the reason that they're not fully known is that he, personally, was not interested in talking about it. I don't know why. I think I can speculate. There was a certain humility there, in not talking about this heroic thing that he did. And just extrapolating on what I know about Marceau, I think he just wanted to be seen as an artist, and not distract audiences with his personal life – which includes his work during the war.

It's also about his iconic status. His look became synonymous with mime, and there was a period in the Eighties were mime was something that was silly. It was the guy in Central Park who came up to you on a date and was an inconvenience. I think Marceau did everything he could to counteract that trope because he was such an amazing performer. So one of the things this movie does is not only show the beauty of the craft of mime, but how it was used so practically to entertain these children in the most horrific circumstances.

AC: When did you first find the story of his involvement with the Jewish resistance?

Jonathan Jakubowicz: I think the first time I heard it was probably in social media. There's this site called Open Culture that's always filled with very interesting stuff, and I remember that they mentioned that, and I had no idea either. First of all, I had no idea that Marcel Marceau was Jewish, and the notion that he was heroic in the war was unbelievable to me, and immediately felt like a movie. So I started doing research, and I realized that it wasn't really a secret. The information was there. He just didn't see himself as a hero. He always downplayed even to himself what he did.

There's a very emotional speech he gave when he received the Wallenberg Medal of Honor. He says, when you see millions of people dying around you, there's no way that you feel important because you save dozens, or even hundreds. Very late in his life, he realized he did something very important, and that's when he began to share it.

AC: That's something that's quite common, that a lot of people who were involved in World War II didn't talk about it. It's something they put behind them, so how did you get the details you did?

JJ: When I was premiering my prior film, Hands of Stone, at the Cannes Film Festival, I was able to track down Georges Loinger, who was the first cousin of Marcel Marceau and the head of the Jewish Boyscouts of France during this entire operation. He was truly at the center of it all, and he was the one who invited Marcel to join at the beginning of the movie. I was able to meet with him in Paris – he was 106 at the time – and he started telling me a lot of what you see in the film. He had a terrific brain, and he remembered everything, and it was such an incredible story that I felt there was absolutely nothing else I could do with my life. I couldn't stop until I'd finished it.

AC: You're not just depicting mime, but a particular mime artist at a very specific moment in his creative career.

JE: Luckily, I had this incredible teacher, [Mime Theater Studios instructor and choreographer] Lorin Eric Salm who was not only a student of Marceau in France, but an unofficial chronicler of Marceau's life. So I had this wonderful two-pronged education. One was the technical craft of my performance, and the other was this almost academic history of not only the mime, but the origins of Marceau's specific work, and how he changed the craft.

AC: A lot of people don't realize how formal mime is, how much training there is, and even what is and isn't considered mime.

JJ: Lorin read the script, there was a scene where Marcel got onto stilts, and he told me, "That's not miming, that's clowning."

He'd teach Jesse very specific elements that Marcel used to do, even mistakes that Marcel considered mistakes in his own technique. ... There were elements that made the discipline specific to Marcel, some of the movements and some of the philosophy behind it: Make the impossible possible, and the invisible visible. It's a philosophy that Marcel used to teach his own students. It's the definition of what he's doing onscreen in our movie, but also in every one of his performances.

JE: To your point about the specificity and dogmatism in some of these areas of mime, I was doing certain things in the movie that only Marceau would do. There was a certain way he held his fingers together – in fact, he dissuaded his students from copying this [in] particular, whether it was because he wanted to teach them a more pure form or to keep it to himself, I don't know. But there's a great history of mime and when you delve into it, it's as serious a craft as any art form.

AC: And mime, like a lot of physical theatre, is very precise, where every movement has to be measured.

JE: My mother, when I was growing up, she performed clowning for children. My dad was a social psychology professor so he was able to assess what things about clowning were scary to kids, from a sociological perspective, so my mother was able to employ those techniques. So, for example, big shoes and a fake nose were very off-putting to children, so while she was doing this very silly performance, she did it with such precision. And, similarly, Marceau was an expert in precision. I think he performed 300 nights a year, even into his older age. He was so unbelievably precise, and in a way that's deceptive to an audience. They are experiencing mime as a kind of silly, abstract art form, but behind it was the precision of Baryshnikov. And sometimes as an actor you're performing naturalistic material, but with great actors they're performing naturalism with great precision, and it comes from training and experience. The real skill set is in doing it in such a way that the audience is not aware of your training.


SOURCE

萨曼塔

前几天摸的动图

忘记po上来了

来看看TSN拍摄期超可爱卷~

(之后好少看到卷笑的这么甜了 呜呜)

前几天摸的动图

忘记po上来了

来看看TSN拍摄期超可爱卷~

(之后好少看到卷笑的这么甜了 呜呜)

板板星打手
get到了卷老师的颜 他好貌美...

get到了卷老师的颜 他好貌美 ME 也好香 受不了

get到了卷老师的颜 他好貌美 ME 也好香 受不了

NANA

《吃鲷鱼让我打嗝》第三十一章

《吃鲷鱼让我打嗝及其他故事》

作者:J. Eisenberg

翻译:S. Norton

V 约会

一个嗑了药的男人试图在酒吧勾引一个女人

嗨,你过得怎么样?介不介意我坐过来?我看到你一个人坐在这边然后我开始哭了。某种意义上,我们都是孤单一个人,但是在酒吧里孤身一人;在一个特定的为了让人遇见另一个人互相遇见而设计——还有什么是人?我们就只是碳基光的折射而已——是尤其无力的。你想要一片口香糖吗?我这儿剩了四片。

你是在等谁吗?在酒吧去接近一个人总是很尴尬的尤其是之后发现他们是在等人。我本来今晚也在等一个人,但是她放了我鸽子。那是我母亲,在我七岁时出车祸死了...

《吃鲷鱼让我打嗝及其他故事》

作者:J. Eisenberg

翻译:S. Norton

V 约会

一个嗑了药的男人试图在酒吧勾引一个女人

嗨,你过得怎么样?介不介意我坐过来?我看到你一个人坐在这边然后我开始哭了。某种意义上,我们都是孤单一个人,但是在酒吧里孤身一人;在一个特定的为了让人遇见另一个人互相遇见而设计——还有什么是人?我们就只是碳基光的折射而已——是尤其无力的。你想要一片口香糖吗?我这儿剩了四片。

你是在等谁吗?在酒吧去接近一个人总是很尴尬的尤其是之后发现他们是在等人。我本来今晚也在等一个人,但是她放了我鸽子。那是我母亲,在我七岁时出车祸死了。

她实际上没死。我只是骗你呢因为我在否认因为她实际上已经死了。这就像是当一个熊猫宝宝被一个科学家强迫带离它母亲的身边。但我是那个宝宝而我母亲是那个熊猫母亲而那个科学家是我母亲犯错的刹车片。你有没有观看过棒球?你知道怎么取火吗?我可能会死在野外!你想要片口香糖吗?我这儿还剩三片。

所以,你想跟我出去玩儿吗?开个玩笑,我们已经在这儿了。我们在外面呢。什么是外面?我们都是碳基的!你想跟我做吗才是我真正想要问的。你想吗?我是说,当然不是在这儿,这可太尴尬了而且我母亲随时可能走进来,但我们可以回我的公寓,那挺味儿的因我很少冲厕所因为我觉得我这是在省水。但我在来这儿之前冲了下去是有预感我会遇到像你这样的人可能会被这个恶心着。这里就剩两片口香糖啦!这片口香糖所剩的时间不多了!我们在一百年后都会死翘翘!

你喝什么呢?这可真奇怪啊人们在这些地方喝了酒才能和其他人聊天。酒精是毒药,你知道。全是毒药,从腐烂的水果和蔬菜中酿造。这不是很奇怪吗?然后我们坐进车子里再开车回家!真是个棒主意啊:嗨,让我坐进这个玻璃和金属组成的死亡牢笼里然后在黑暗中开它个每小时60里!这可不像是我有个需要我的儿子!

你有一双美丽的眼眸,顺便提一句。在你虹膜基质上的光散开在你的眼内液中营造出一种似蓝非绿的颜色不知为何对我非常有吸引力。我还喜欢你的身材。你的乳沟对我来说非常有吸引力,尽管不可维持的,水平上,事实是你短裙里露出的腿让我感觉你非常急迫想跟人做,其实我也想。尽管我知道你几乎是碳基的而且我们几乎共享绝大多数相同的化学元素而且我们都是穿过大气层的反射的光,我还是非常希望能和你做。而即使我知道你在基因层面上和酒吧那头的那个地包天的女人是一样的,我还是想和你做远远超过我想和她做。

那是什么?你男朋友刚出现了?哦是的,我能明白你为什么更想和他约会。他比我更好看。我对自己身体感到很羞耻。我有个看上去很奇怪的胸骨,而他的看上去更有吸引力。他会生火吗?他想不想要我最后一篇口香糖?

哦是的!你扔在我脸上流得哪儿都是的啤酒得感觉真令人愉悦!谢谢你让我的神经系统在这么晚的时间里这样地活跃。

嗷!谢谢你,先生,一拳揍在我脸上来捍卫我对你的女友狂乱的求爱。血液现在正从我的脸上流下去绝望地试图延缓疼痛而我的前额叶皮质正做出一个精神信号来避免碳基生命形式同你那整齐排列的对称的胸骨。

好了,好了!我走就是了!

如果你看到我母亲,请告诉她我在盥洗室擦我的脸和护理我的伤口,还有如果那个地包天的女孩看上去要离开,告诉她等我几分钟因为我还是打算做。祝你有个愉快的夜晚,而这不过是地球遮住太阳时产生的一个任意的幻境罢了。

林默辞

痴情男孩--影评

some boys don't leave

有的人不会离开

1,我在玩球,反复玩球。

2,你走出来跟我说要我走,可我只能当没听见。

3,你看,你离开我的时候就没有一点留念。

4,我看着你的背影,心里想着,不,还远没有结束。

5,然后我又开始玩球。

6,在你走后的空闲时间里,我做了很多事情,吃玉米粒,在本子上写我们的复合计划,看书,读报纸,吃外卖,玩球,还有最重要的就是,等你。

7,你终于回来了,我想和你搭话,但你只会让我闭嘴。你走后我还坐在走廊里把那些没说完的话说出来,所有的问句,都像是在问我自己。

8,我听到你在和朋友打电话吐槽,还说我没有尊严,其实我也这么觉得,我住在你的...

some boys don't leave

有的人不会离开

1,我在玩球,反复玩球。

2,你走出来跟我说要我走,可我只能当没听见。

3,你看,你离开我的时候就没有一点留念。

4,我看着你的背影,心里想着,不,还远没有结束。

5,然后我又开始玩球。

6,在你走后的空闲时间里,我做了很多事情,吃玉米粒,在本子上写我们的复合计划,看书,读报纸,吃外卖,玩球,还有最重要的就是,等你。

7,你终于回来了,我想和你搭话,但你只会让我闭嘴。你走后我还坐在走廊里把那些没说完的话说出来,所有的问句,都像是在问我自己。

8,我听到你在和朋友打电话吐槽,还说我没有尊严,其实我也这么觉得,我住在你的走廊里,像个不肯消失的魂灵。

9,其实我只是想多和你说点话,但你总是把我当空气。

10,晚安,虽然我知道你听见了也当没听见。

11,第二天早上你依旧起晚了,风风火火地跑来跑去,我只想抓住这一点点时间多和你说说话,但你显然不在意。

12,你走后,我小心翼翼地走到桌子边摸到你的水杯,然后郑重又缓慢地喝了一点水,只是一点,就够了。

13,这有点变态,我知道,我只是过分怀念和你接触的感觉。

14,我还在走廊里坐着,我在等,等你回头,或者等我放手。

15,你回来了,用很强硬的态度赶我走,那一瞬间我很无助,然后终于吻了你,又被推开。

16,夜晚我睡在地板上,你走出来躺在我身边,忍不住伸手触摸我的脸,心跳如雷大概就是如此了,如果你还爱我,只要你还爱我,那么一切都值得。

17,我没想到失望来得如此之快,你有了新生活,依旧和朋友玩闹说笑,然后出去聚会,带合适的对象回来过夜。

18,我坐在房门外听你的呻吟,突然明白,你真的很想甩开我,所以才会选择这么直白的伤害。

19,那个男人走后,我幻想你会出来抱着我,没有,除了那颗该死的破网球,什么都没有。

20,我依旧固执的想留在你的世界里,哪怕像空气一样毫无存在感。

21,我做了一个梦,梦到刚搬到这里的时候,我们在书架旁接吻,你很爱我。

22,你爱我这件事情,终究只能留在回忆里。

23,我该走了。

------------------


其实我看完之后只想跟卷西谈恋爱。

这部短片的灯光、台词、剪辑和色调我都很喜欢,当然最爱的还是杰西艾森伯格的演技,那独特的脆弱感让我心动好几次,真的爱他。


提子汽水
黄衣服给整成白的了。

黄衣服给整成白的了。

黄衣服给整成白的了。

Jesse E

Jesse Eisenberg and Anna Strout support local organization Middle Way House

BY LIZZIE KABOSKI
Published May 3, 2020 5:54 pm


[图片]

Domestic violence hotlines across the country receive over 20,000 calls daily, an average of about 15 calls every minute.

Due to COVID-19, families are isolated and victims...

Jesse Eisenberg and Anna Strout support local organization Middle Way House

BY LIZZIE KABOSKI
Published May 3, 2020 5:54 pm



Domestic violence hotlines across the country receive over 20,000 calls daily, an average of about 15 calls every minute.

Due to COVID-19, families are isolated and victims of violence are quarantined with abusers. Therefore, calls have increased and domestic violence is on the rise.

At the Middle Way House, a local organization that supports victims of intimate partner violence and human trafficking, the situation is no different.

“People are quarantined together,” Anna Strout, a program producer and volunteer at the Middle Way House said. “I was speaking with the shelter this morning, and stats show that calls are up at the shelter.”

The Middle Way House provides services to victims of intimate partner violence and human trafficking. Services Middle Way House provides include shelter, a 24-hour crisis hotline, legal advocacy, support groups, child care and job placement services to all genders.

Despite the pandemic, the shelter is still operating 365 days a year, seven days a week, 24 hours a day in a disclosed location across from the police station on 338 S. Washington St. They have two housing centers, the 30-bed New Wings Emergency Shelter for temporary crisis housing and the Rise, a transitional housing center that accommodates 28 families. 

Strout, a Bloomington native, began volunteering at the Middle Way House when she was 14 under the guidance of her late mother Toby, who served as the executive director for 30 years.

Today, Anna and her husband, actor Jesse Eisenberg, live in Bloomington and dedicate their time to working at the shelter. The couple and their 3-year-old son have been living in Bloomington for the past month after self-isolating in an RV for two weeks while traveling from Los Angeles. 

Eisenberg, who is known for his Academy Award-nominated portrayal of Mark Zuckerberg in “The Social Network,” grew up in New Jersey and had never heard of Bloomington before he met Strout. He said he’s in awe of the community-minded citizens and creativity that is present in the town.

“It felt like a well-kept secret,” he said. “Bloomington seems to be made up of some of the most civically minded, socially engaged citizenry.”

Eisenberg took his affinity for Bloomington and wrote a book for Audible that will be narrated by himself, actress Kaitlyn Dever and actor Finn Wolfhard. It takes place on the campus of IU in 2002. There are plans for a movie adaptation as well, produced by Emma Stone and starring Julianne Moore, Eisenberg, Dever and Wolfhard.

His involvement with the Middle Way House started with Strout and her mother, who he said ran the organization in a way that was egalitarian.

“I’d never seen a nonprofit work so efficiently,” Eisenberg said. “It was empowering to the community and the people who pass through the shelter.”

He has spent his time at the shelter doing more tangible tasks like painting, cleaning and disinfecting, allowing him to feel more useful.

“Sometimes I feel inadequate just doing interviews about it or just giving money,” Eisenberg said. “I want to be helpful in a more direct way.”

Eisenberg recently made a $50,000 donation to the organization after family friend Amy Schumer, comedian and actress, did the same. Strout, Eisenberg and Schumer filmed a public service announcement to raise awareness and distribute the National Domestic Violence hotline number that will be released Monday on Instagram.

Global organization GivingTuesday organized a giving day in response to COVID-19. This is in addition to the organization’s annual Giving Tuesday on Dec. 1. Strout said it's a great opportunity to support the Middle Way House and other organizations in need.

The Middle Way House is collaborating with local businesses such as the Inkwell Bakery and Cafe, Primary Inspired Eats and the People’s Cooperative Market to raise money for the organization. A portion of the proceeds will be donated to support the Middle Way House. In addition to making donations, a wish list of items that the Middle Way House needs is available on their website.

Abbey Stemler, owner of the Inkwell, began volunteering for Middle Way House while she was a student at IU. She said she felt inspired to help after listening to a podcast about the rise of domestic violence during quarantine.

“As a woman, you can empathize with how terrifying this is,” Stemler said. 

One in four women and one in 10 men experience some kind of intimate partner violence during their lifetime, according to 2015 data from the Centers for Disease Control and Protection.

Debby Herbenick, a professor at the IU School of Public Health, said that there is limited data that suggest victims are experiencing elevated rates of intimate partner violence during the pandemic.

“If you live with an aggressor and you can’t get away from them, there is a greater risk of violence,” Herbenick said. “Shelters are critical to give people the opportunity to escape, whether it’s temporary or long term.”

Middle Way House has a 24-hour crisis hotline available to those in need. They can be reached at 812-336-0846.

Advocates for the National Domestic Violence Hotline are available 24/7 at 1-800-799-SAFE (7233) in more than 200 languages. All calls are free and confidential.


SOURCE

Jesse E

Jesse Eisenberg's mission to support domestic abuse survivors amid pandemic

By Sandra Gonzalez, CNN

Updated  May 5, 2020

(CNN)The coronavirus pandemic has closed retail shops, schools and so much more. But in Bloomington, Indiana, Middle Way House, a shelter for survivors of domestic violence...

Jesse Eisenberg's mission to support domestic abuse survivors amid pandemic

By Sandra Gonzalez, CNN

Updated  May 5, 2020

(CNN)The coronavirus pandemic has closed retail shops, schools and so much more. But in Bloomington, Indiana, Middle Way House, a shelter for survivors of domestic violence, has stayed open with help from its dedicated staff and volunteers, which includes Oscar-nominated actor Jesse Eisenberg and his wife, Anna Strout.

And the organization is not alone.

On Giving Tuesday, the holiday normally scheduled for after Thanksgiving that is being celebrated early in response to the global health crisis, Eisenberg wants to spread the word that domestic violence shelters across the country have been and remain open and are in need of support.

Eisenberg and comedian/writer Amy Schumer teamed up to narrate a public service announcement with this message in mind that was released on Tuesday.

"We just want people to know that domestic violence is on the rise and that, even during this horrible time, shelters are open and that resources are available," he said.

Eisenberg, an actor known for his roles in "The Social Network" and the "Zombieland" films, has made Middle Way House a sort of charitable home of his for many years, having been introduced to the organization by his late mother-in-law, Toby Strout, who was its executive director.

In the years since taking his first tour of the facility, Eisenberg has dedicated significant time and money to raise awareness of its vital services -- transitional housing, childcare, legal advocacy, and mental health support, to name a few -- and the issue at its core.

As the pandemic strengthened its grip on the globe and the United States, Eisenberg and his family packed up their things in Los Angeles and headed for Indiana in an RV, where they self-quarantined for two weeks before jumping into action at the shelters.

Middle Way House, like many organizations, has been in need of staffing help because its college student volunteer base largely left town when classes were canceled.

"My wife and I are very involved on a day-to-day level -- painting and cleaning and mopping. And there's a lot of sterilization to be done, as you can imagine, right now -- door knobs and elevator buttons, et cetera," he told CNN. "I married a person who is a walking saint and so she has not spent a day in her life not doing something to help those most in need. So, for her, it was kind of without hesitancy that we should come here and figure out ways to help."

As much of the country adopted stay at home orders, those who are not safe at home were of particular concern, and, ultimately, those worries were warranted. Domestic abuse hotlines in several cities reported an increase in calls and cases in early April.

"Unfortunately, there's a kind of strange asterisks to all of this, which is that in a lot of areas, calls are actually going down because, oftentimes, people who are victims feel unsafe to make those calls when they're stuck in the same room as their abuser," Eisenberg said.

The need for places like Middle Way House is greater than ever, he said, and he's not the only one who believes so.

When Eisenberg and his wife arrived in Indiana, they got word of a generous donation from Schumer.

"Our friend, the actress and writer Amy Schumer, who's just obviously a brilliant talent and also has a wonderful heart, said, 'I'm donating $50,000 to your shelter.' No questions asked," he told CNN. "It was so unbelievable."

Eisenberg and Strout matched the donation and hope people who are able find organizations that help domestic abuse victims to support in their local communities.

"Shelters are open now 24 hours a day, seven days a week, 365 days a year, even during this pandemic," he said.


SOURCE

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