Category: Gallery

Photos: ‘Skate Kitchen’ NY Premiere + Magazine Scans

Photos: ‘Skate Kitchen’ New York Premiere + Scans

Sasha attended the New York premiere for Skate Kitchen a couple of days ago. I’ve also added scans of her from Entertainment Weekly and Diva. Enjoy!

Photo: ‘The Miseducation of Cameron Post’ New York Screening

Photo: ‘The Miseducation of Cameron Post’ New York Screening

Sasha was in attendance this past week at The Miseducation of Cameron Post New York screening. Sorry I didn’t get a chance to add these sooner. She and the cast looked lovely at the screening. The film looks awesome. I can’t wait to see it. Enjoy the photos.

Photos: 2018 Outfest Los Angeles LGBT Film Festival

Sasha was out today at Outfest Los Angeles LGBT Film Festival to promote The Miseducation of Cameron Post. She was in attendance with the cast including Chloe Grace Moretz and Forest Goodluck. Enjoy the photos.

Photos: A/W’18 UGG Collection Event

Sasha hosted the A/W’18 UGG Collection event on July 17th. She looked so cute at the event. I’ve added photos to the gallery. Enjoy.

Press/Photos: Sasha for Elle UK + Film Images

Sasha is featured in the new issue of Elle (UK). It was a really great read so I highly recommend you check it out. I’ve added scans from her feature as well as some photo sessions and some photos from The Miseducation of Cameron Post. Enjoy!

Sasha Lane is opening up in Elle UK‘s August 2018 issue, out Wednesday (July 4).

Here’s what the 22-year-old American Honey actress had to say…

On struggling with mental illness: “I have bipolar disorder, and the more intense my life gets, the more intense my head gets. It’s hard to act like you’re not hearing voices all day when you’re trying to say your lines… But someone else is struggling with this. I want people to know that just because I have designer bags and I’ve traveled the world, I’m still having a breakdown every other f–king day.”

On staying true to herself: “I’m pretty good at sticking to my guns. I don’t care how much money they’re offering, or how big the role, or how cool the party is. I just don’t take s–t from people. I’ve been asked, ‘Will you switch your hair?’ F–k, no. What for?”

On racial diversity and avoiding token roles: “There are a handful I get [offered] that I know are specifically for a white person; the whole family dynamic is geared towards a white person. I don’t have those experiences. My mother is Maori, from New Zealand, and my father is black. I grew up with a lot of black people. You thought [offering me this role] was diverse, so you could say you have someone of colour in your film, but I’m light-skinned enough that it doesn’t throw white people off. As much as I’m glad to represent people, don’t use me as your token.”

Photos: Film + Photo Session + Scan Additions

I’ve added a handful of film images, photo sessions, and scan additions to the gallery. They are all lovely. More soon. Enjoy!

Press/Photos/Video: Sasha for ‘Who What Wear’

Sasha Lane: The Fashion Muse We Need Right Now

It’s a Saturday morning, early enough that it only takes me 20 minutes to get from the Westside of Los Angeles to Echo Park, the neighborhood Sasha Lane calls home. I’m meeting the actress—Hollywood’s beloved indie darling—at one of her favorite local spots, Stories Books & Cafe, a small business serving up exactly what you’d expect: books, brews, and bites. She arrives shortly after I do with her dog, Homey, in tow, and we grab a seat on the back patio. It’s been a dismal week, to say the least, with the sudden passing of designer Kate Spade and chef/journalist Anthony Bourdain, but Lane is the embodiment of positivity in a tie-dye pink T-shirt with denim cutoffs and glitter-covered Vans, her nails painted a sparkly light blue.
She is the energy we all need right now.

One can only imagine that same energy was the impetus for her discovery. Before Lane landed on the It list of nearly every industry producer and director—a result of her raw performance in 2016’s American Honey—she was a Texas State University student taking classes in psychology and social work, and her story went something like this: Hanging out with friends on a Florida beach during spring break, she caught the eye of director Andrea Arnold, who convinced her to audition for the lead role in her film. While Lane’s right-place, right-time discovery is a storied industry tale, that’s where the similarities between her and other young starlets end.

Lane caters to a new generation, bucking all the Hollywood ingénue clichés, from her sexuality and appearance—she’s a biracial gay woman with dreadlocks and tattoos—to her project selection philosophy. But even better, she’s not afraid to call bullshit on industry elite who say they want “real” and “raw” but then throw that all out the window for the safe choice. That’s the exciting thing about Lane; she’s not afraid to take risks, bring authentic stories to the big screen, or, most importantly, ensure inclusivity and diversity in Hollywood aren’t just trends.
You can see this reflected in her résumé. Four out of the six projects listed on Lane’s IMDb page are directed by women, and two of her character credits identify as LGBTQ+. She may not be exclusively seeking out these types of projects, but the impact they’ve had on her
(and audiences) is not lost on Lane.

“Andrea really solidified how I felt about being vulnerable and how women see characters,” she says. “I keep being in these situations where I’m making vulnerable films with these women who are actually allowing me to be a full character, not just a pretty girl, not just three fucking descriptions we see in every script,” she says. At once sweet and tough, fearful and confident, graceful and crude, Lane can’t be whittled down to just three descriptions any more than the rest of the human race.

This month, we see Lane in the feel-good indie story Hearts Beat Loud, about a widowed father (Parks and Recreation’s Nick Offerman) trying to make the most of his final weeks with his college-bound daughter (Kiersey Clemons) by forming an unlikely music duo. Lane is fantastic as Rose, Clemons’s character’s love interest. The part afforded Lane the opportunity to collaborate and bring her personal truth to their story, a dynamic not commonly portrayed on the big screen. “[Director] Brett Haley was like, I’m a straight white man. I know nothing about a biracial lesbian relationship. What should we do?” laughs Lane. “And then we just started going through the entire script and working on it, and it gave me confidence to speak my mind and steer the direction of how something should go, that I shouldn’t just say, Whatever you want! Because no, I have an opinion, I have a mind, and Brett offered that to us.”

While Lane has her own experiences to draw from for Hearts Beat Loud, nothing could prepare her for the gut punch that was The Miseducation of Cameron Post. The film follows the journey of teenager Cameron Post (Chloë Grace Moretz) as she is forced to enter a gay conversion therapy center after her romance with a close female friend is exposed.

“My initial thoughts were like, whoa!” Lane tells us. “It is set in 1993, and that is not that long ago. And then I started reading books about it and talking to Chloë and the director, Desiree [Akhavan], more about it. Chloë is so smart and intellectual and is always doing research. She was telling me how this is now. The fact that we were filming during the inauguration, it made that film hit us much harder and made us want to work that much harder for it.” That passion to do right by the story clearly paid off; the film would go on to win the Grand Jury Prize at the 2018 Sundance Film Festival.

Not only is Lane winning over critics and audiences with her performances, but she’s a bona fide fashion muse, too, with first-rate designers clamoring to dress her. Just last month, she accompanied Tory Burch to the Met Gala in a custom ivory gown featuring gathered tulle and Chantilly lace, her dreadlocks decorated with crystal strands. When I ask about the collaboration, she admits it was a shock even to her at first. “I was intrigued, because I was like, Tory wants me?” says says. “She wants me at her table? Has she seen me—has she seen what I look like?”

The two built a connection in that small amount of time, Lane tells us, bonding over their relationships with their brothers. And while the Met Gala red carpet can be intimidating to even the most veteran Hollywood talent, the rising star felt completely at ease her second time around.

“I had so much confidence and I felt so good in what I wore that even when I saw Rihanna—
who of course always looks banging, and it’s fucking Rihanna—I was like, I don’t even feel less than; I don’t feel intimidated or anything. We’re both just here looking beautiful as shit. It made me feel like I can stand among these people and still feel beautiful.”

At this rate, with the career Lane is carving for herself, she won’t just stand among industry giants. She’ll surpass them.
Source / View Full Video

Press/Photos/Video: Sasha for ‘Flaunt’ Magazine + Photo Sessions

It’s the stuff of Hollywood lore: in 2015, Andrea Arnold, the auteur behind Fish Tank and Red Road (both winners of the Cannes Film Festival Jury Prize), had the lead of her next movie drop out, so she flew to Florida during spring break to cast a new star. She found Sasha Lane. Tipsily hanging out with her friends on the beach, Lane, with her dreadlocks and intense self-possession, was impossible to ignore.

Arnold approached her. The advances were initially met with skepticism— porn producers use similar recruiting tactics—but, after a series of impromptu auditions in hotel rooms and parking lots, Lane went along. A year later, American Honey won Arnold a third Cannes Jury Prize, and most of the buzz surrounding it came from Lane’s unforgettable performance as Star, a young woman who falls in with a crew of mostly abandoned kids, selling magazines door- to-door across the country— sort of a cross between summer camp and human trafficking. An independent, multifaceted soul, she is by turns curious and cagy, strong-willed and submissive. The emotional range Lane displays is as vast as the empty American landscapes Star and her crew pass through.

Much like Star, Sasha Lane wields a fiery independent streak. “I think the reason I was discovered the way I was is that I’m not like everyone else,” she says. When she was growing up in rural, working-class Texas, Hollywood had been less a real place and more of an abstract—not necessarily positive—idea. In her new life, Lane says that she’s much more hopeful. “Now I can express myself and move in the direction I want to move. There’s a light at the end of the tunnel.” She pauses. “But I have more anxiety, too.” She’s says she’s focused on “clearing out bad shit,” and that her home is a source of comfort and stability: “I have a brother and a dog. What else do you need?”

Lane appears in threefilms that come out in 2018,including a turn alongside Chloë Grace Moretz in The Miseducation of Cameron Post, an adaptation of Emily M. Danforth’s novel about evangelical conversion therapy. Lane plays Jane Fonda—not that Jane Fonda—Cameron’s friend and fellow inmate at God’s Promise, an anti- gay brainwashing camp. Jane is feisty and funny, a consistently bright spot in a morose picture. Lane was attracted to the role because, as a queer woman, she is particularly disturbed by the subject matter. “It’s wrong,” she says, adding that although the movie is set in the ‘90s, “it’s happening now. It’s not something that just happened years ago.”

The Miseducation of Cameron Post comes out in the United States in August, but before that audiences will see Lane in theaters as Rose, the love interest of Sam Fisher (Kiersey Clemons) in Hearts Beat Loud. Comparatively, it’s much more of a feel-good movie, cute and full of music. The story centers on Sam’s father (Nick Offerman), who tries to talk Sam into putting off college to start a band with him; Rose provides inspiration for Sam to write songs, as well as further motivation to stay home. Their scenes together have an easy, natural intimacy, for which Lane credits director Brett Haley, who reached out to her and Clemons for input in developing their characters and relationship. “He understood that he’s a straight white man, and we’re two biracial girls. It was our story, and he allowed us to tell it.”

Lane also has a small role in indie rom-com Shotgun, which screened at SXSW in March. She says she appeared in the movie to support one of the directors, Hannah Marks. “She’s a woman, she’s young. I really admire her.” Finally, early next year, Lane will be in a reboot of the Hellboy series. She learned much about the modern filmmaking craft, she says, as part of a big-budget superhero movie production, with its elaborate costumes and green-screens.

This broad array of roles is no accident. Lane doesn’t want to be in just any movie; she needs to be invested in an artistic project. “I really enjoy acting when I feel connected to my characters, when it says something to me.” Though the world of actors and acting didn’t necessarily call to a young Lane, she always had a sense of empathy for characters. “I could always get really into characters, really invested, put my mind into their mind.”

Lane’s no-bullshit approach is evident not just in her choices of work, but on her Twitter feed—where one might find a cheeky joke about smoking weed alongside a sincere reflection on the pain of being labelled and “put into a box” as a gay person followed by a post that consists entirely of the word “FUCK” repeated 56 times— or on her Instagram, where she’s as likely to post an iPhone lip- syncing video as her latest photoshoot. Even when asked how she likes living in Los Angeles, Lane doesn’t hold back. “The weather is nice… You can find a lot of vegetables… But I miss being around genuine people who I feel like I can trust.” Trusting in herself, then, has become essential. “It’s almost a survival thing. I have to be who I am. I don’t have any interest fitting in with everyone here.”

What great artist has ever fit in? Outsiders can question; outsiders can subvert; outsiders can speak hard truths to a society that wants to ignore them, like American Honey does. One hopes Sasha Lane gets more roles like that. As indispensable as she is to Hearts Beat Loud and The Miseducation of Cameron Post, she’s like a glowing meteor in orbit around those films. But when she herself is the star, her magnetism is inescapable. We shouldn’t have to wait for long. With a talent as singular as hers, it’s only a matter of time.
Source

 

Video/Photos: ‘Hearts Beat Loud’ Trailer + Stills

Press/Photos: ‘Hearts Beat Loud’s’ Kiersey Clemons and Sasha Lane can’t be boxed in

Kiersey Clemons remembers the moment she discovered who Sasha Lane was. It was late 2016 and she was walking the New York streets on her way to Whole Foods. In passing a movie theater, she stopped in her tracks, mesmerized by a poster outside. It was of a brown girl with dreadlocks, her hands thrown into the air. She faintly recalls some American flag-like colors on it.

“I was like, ‘Who the … is that? She looks like me. I have to go see that,’” she said.

Clemons went directly into the theater to watch “American Honey,” Lane’s acting debut about a teenager who joins a band of misfits as they trek across the Midwest, partying hard, bending the law and falling in love.

“I was on the edge of my seat watching this movie,” she said, “and my heart was pounding because it was [someone like] me [on screen]. I emailed a guy at [the distribution company] A24, ‘This is the best movie y’all have ever made.’”

That’s one of the many moments when she realized “representation does [freaking] matter.”

Clemons and Lane would meet in person a couple months later and develop an enduring friendship with much in common: They’re both biracial queer women early in their careers interested in doing work that means something to them and others — work that matters.

It’s that purpose that made their collaboration on Brett Haley’s “Hearts Beat Loud,” now playing in limited release, all the more worth it. In it, Clemons plays Sam, a young Brooklyn native who forms a band with her dad (Nick Offerman) the summer before she goes off to college. Lane is Sam’s girlfriend Rose.

In advance of the film’s release, The Times spoke with the pair about working with Haley and co-writer Marc Basch to make their characters more authentic, an industry that tries to force them into boxes and the importance (and burden) of representation.

What made you say “yes” to this project?
Clemons: I was excited to make the movie because I’d be excited to see it. I really enjoy music and singing, and I enjoy musicals. I don’t even know if this is a type of musical … [if] you don’t like them, then it’s not a musical. [laughs] But everyone else was already attached when I came on so I was excited to work with the cast, specifically Sasha because she texted me about it. I knew I wanted to do it before I even read it.

Lane: I just read the script and smiled. It was such a warm script and then after meeting with Brett, the fact that he was full-on allowing me to be part of the process of casting Sam and working on [dialogue], I thought it’d be a warm movie.
Were your characters written as biracial black girls?

Lane: Mine was, or rather [Brett] had already attached me so Rose was who I was. Sam was originally supposed to be Asian American, but after a while he wanted [the chemistry] to be right and feel good. We listened to people’s songs and I played with those other [actors] but none of them felt right. Once we mentioned Kiersey, it felt right and the story was still doing what it was supposed to. It’s not like we’re here to throw race in — it’s not mentioned, so it doesn’t really matter. It’s just the person who embodied the character, and Kiersey did that.
Did they want someone who could sing?

Clemons: There are a lot of actors who can sing and singers who can act but I know for so long I’ve always done both. And they wanted the vocals to be live so I think doing musical theater helped with that and being trained vocally probably had something to do with it.

Lane: And not just that … I heard these other girls sing the songs. It was beautiful. They had very nice voices, but hearing her sing — I had nothing to do with it but [Brett] just sent me the track — I cried. That’s what you want. She wasn’t just singing. She has something in her spirit… Being able to sing was great, but we needed something else. That’s not just technique. It’s energy.

And you both worked with Haley and Basch on the script, right?
Lane: I really enjoyed that we got to sit there and go through it and have fun.

Clemons: I’ve told a lot of queer stories and I’ve had directors and writers that have worked with me [on the character]. But this was the first time I felt fully confident in what I was saying. It helped that [Sasha] was there.

Lane: Really, and since then, it’s built my confidence. Now when I read a script, I’m like, “I dig it, but it sounds like it was written by a male or someone that doesn’t have a connection to this world.”
I find the film to be so beautiful and the relationship between your characters so authentic. I love that you both are brown queer girls in brown queer roles. Considering you have played both queer and not on screen, when you’re looking for roles what are you looking for?

Lane: I just want to find if I relate. Can I tap into this character? Do I feel like I have the right to play this, to embody this? There’s room for flexibility because we’re actors, but I want to make sure it feels right to me. It has to connect.

Clemons: I’ve never restricted myself in terms of playing straight or queer. On a personal level, I feel like I discovered myself and came to terms with myself while I was growing up and making movies. So, it’s interesting to do work that makes you think about yourself.

Like, I never thought about what my mom and I looked like together — me being brown and my mom being white. I’m sure as a kid I did, but I’m 24 now and don’t ever think about that. And then you see yourself on screen or you read stuff and you’re trying to get in character and you’re like, “Oh … this is what I look like to other people.”
At Sundance you were dubbed “the two queer women we need more of in Hollywood” amid this conversation about representation. When was the first time you felt like you saw yourself on screen?

Lane: Is it really [freaking] sad that maybe “Hearts Beat Loud” was the first time that I actually saw myself? I can choose other things that I’ve done but I don’t know anything else that I connected with me on every single level.

Clemons: If I’m being honest, I remember having really strong feelings about “That’s So Raven.” As a kid, I moved around so much and there were times when I’d be the only person who wasn’t white in a classroom. I remember always being so afraid of, when I was 8, responding or acting in a way that was different from what everyone else was doing.

And you both worked with Haley and Basch on the script, right?
Lane: I really enjoyed that we got to sit there and go through it and have fun.

Clemons: I’ve told a lot of queer stories and I’ve had directors and writers that have worked with me [on the character]. But this was the first time I felt fully confident in what I was saying. It helped that [Sasha] was there.

Lane: Really, and since then, it’s built my confidence. Now when I read a script, I’m like, “I dig it, but it sounds like it was written by a male or someone that doesn’t have a connection to this world.”
I find the film to be so beautiful and the relationship between your characters so authentic. I love that you both are brown queer girls in brown queer roles. Considering you have played both queer and not on screen, when you’re looking for roles what are you looking for?

Lane: I just want to find if I relate. Can I tap into this character? Do I feel like I have the right to play this, to embody this? There’s room for flexibility because we’re actors, but I want to make sure it feels right to me. It has to connect.

Clemons: I’ve never restricted myself in terms of playing straight or queer. On a personal level, I feel like I discovered myself and came to terms with myself while I was growing up and making movies. So, it’s interesting to do work that makes you think about yourself.

Like, I never thought about what my mom and I looked like together — me being brown and my mom being white. I’m sure as a kid I did, but I’m 24 now and don’t ever think about that. And then you see yourself on screen or you read stuff and you’re trying to get in character and you’re like, “Oh … this is what I look like to other people.”
At Sundance you were dubbed “the two queer women we need more of in Hollywood” amid this conversation about representation. When was the first time you felt like you saw yourself on screen?

Lane: Is it really [freaking] sad that maybe “Hearts Beat Loud” was the first time that I actually saw myself? I can choose other things that I’ve done but I don’t know anything else that I connected with me on every single level.

Clemons: If I’m being honest, I remember having really strong feelings about “That’s So Raven.” As a kid, I moved around so much and there were times when I’d be the only person who wasn’t white in a classroom. I remember always being so afraid of, when I was 8, responding or acting in a way that was different from what everyone else was doing.

Lane: [Nodding] Or even with your hair being curly and everyone else’s being straight …

Clemons: Yes, and afraid of anyone commenting on anything. If you were “sassy,” you got mocked. But that attitude that Raven-Symoné has that you inherently have if you have black aunties, sisters

Lane: Yeah! Like being goofy and loud …

Clemons: It’s just how you talk to your cousins or the people in your household. It’s just different and it’s part of black culture for some people in America. I remember seeing that on TV. Because before Raven-Symoné, I idolized Amanda Bynes. She was so funny and gross and said crazy [stuff]; she wasn’t Lizzie McGuire. And then we had Raven and I was like “She’s like Amanda Bynes but looks like me.” I didn’t even know that was allowed to happen. Before seeing her, I was so restricted in what I thought a girl can be. Until you see it in a way that’s more relatable …

Lane: Like, “I can be like this too?”

Clemons: … I don’t have to limit myself. And as much as I want to be like, “[Screw] being a role model…” I have to remind myself that representation is a thing and it does matter. As much as you want to write off the royal wedding … she’s changing the way young girls see fairy tales.
How is it being somebody else’s Raven-Symoné and somebody else’s Sasha?

Clemons: I still find it shocking. Because we get comments and immediate feedback on social media. I’m always [surprised].

Lane: It’s amazing. I love being an inspiration. That’s cool that you can get that out of me but I also need you to accept and understand and realize that I too am a person going through [stuff]. So, it’s not always going to be set in stone and it’s not going to stay perfect, your image of me. I full on accept that I’m taking this responsibility and know I’m going to be an image for certain people because I’m trying to help people through my art. But acknowledge that I’m still going through it too.

Clemons: And also you realize that I’m not for everyone and that’s fine.

Lane: You don’t have to love me in order for me to feel OK …

Clemons: Because people will all of a sudden start to say “Sasha or Kiersey is doing this and I’m not with it.” Well, I was never here for you. Go find someone else. There is a plethora of young, amazing brown women you can idolize. I’m just not the one for you and that’s fine.

Lane: Like, “We’re not on the same page and that’s cool.” I’m going to uplift her and she’s going to uplift me, because everyone has their own purpose. We can all support each other. You go be that, and she can go be that, but let me be this!

Lena Waithe often talks about the burden of representation and the fact that everything she does shouldn’t have to check everybody’s boxes.

Lane: Because it might check that person’s box over there and not yours and I can’t check everyone’s box. Because then you lose yourself. That’s why you’ve gotta be like, “I know I made this movie and I know how I felt when I made it, so whatever happens with this movie happens.” It will connect with the people it’s supposed to.
So how is it having these unboxable personas in an industry built on boxing people in?

Lane: It’s hard… It’s like a beautiful curse but I have to make sure that I’m not letting that bull … take over.

Clemons: And everyone thinks they know what we want. They think we all want the same things: the cover, the movie, the award. But you don’t know what I’m chasing. You don’t know what aspirations I have outside of this. People always assume that they know your master plan.

Lane: And they say you have to be this or that but I can still be about peace and love and flow and energy, but also like to turn [it] up every once in a while…

Clemons: Can I say something? And this is a realization I’ve had in the last six months that completely shifted the weight of things… I used to feel so unbalanced, so down or so up. And I realized it was because I was trying to separate everything. No matter the film, you’re like “this is my work life” and “this is my personal life.” But in this industry, you get to the point where you realize you can’t do that with everything.

I had been manipulating everything to make sense. I was so afraid of not making sense — even though I hadn’t been making sense to people for so long. In constantly doing interviews or even trying on clothes, we’re always forced to face ourselves and look at ourselves — physically, mentally, emotionally. You would think I was crazy if I broke down in tears right now because we’re always supposed to leave our truths [outside].

I took a step back and realized that, for black girls specifically, it’s always this thing of you can be outspoken and badass and stick-it-to-the-man and I’m a rebel or you can say everything people want to hear that’s rebellious enough but still [be] the American black princess. There’s no in between — which is where I feel like Sasha and I lie. And it’s difficult and it’s hard because you’re expected to pick a side.

And you know that when you do an interview, they’re going to pick a side for you if you don’t. And depending on that side they pick for you, they sell it to a certain type of person and you’re sitting here having been pitched as a person that [you’re] not…

Lane: It’s like they’ve said “Sasha is purple” but I’m feeling like a [freaking] rainbow. Why can’t I be a queen and a tornado at the same time?

Clemons: Everything needs balance — and we have to allow balance. In Hollywood, as we’re pushing open all these doors, we have to expect balance. You don’t have to accept me, but don’t be mad when you see I’m a rounded out person. At the end of the day, what you should expect is sincerity. Because if you ask for a game, they’re going to give you a game.
I feel that deeply because, with me, people have expectations.

Clemons: “You don’t look like you work at the L.A. Times” [laughs] Exactly, because there’s a particular idea of what a journalist is supposed to look like and what one at the L.A. Times is supposed to look like — and they’re not supposed to be black, queer and gender nonconforming.

Lane: We don’t just let people be. The amount of photo shoots where I’m not happy that day and they want me to smile… I’m like, “I just broke down so this is what you’re going to get.” And other times I feel light and am dancing around and they’re like “We want that badass Sasha.” But I’m not rebellious today. [laughs] Take me as I am in that moment because that’s my truth.

Clemons: It’s funny you have that issue because I always have the issue where they want me to be less feminine. It’s the haircut and the gay thing, but those that know me on a personal level know that I’m preppy and weird and super femme, the complete opposite of whatever picture you’ve painted of me. And all you’re doing trying to take this photo is paint another picture to add to the hall of fame and she ain’t even here. [laughs]

Lane: She ain’t even here!
Source

Post Archive:

Page 1 of 3 1 2 3