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So these last couple of years have been exactly that, just trying to stay present in it all. It was crazy, but it came to a point where I had to adapt and accept my destiny.
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I’ll hopefully work with them all again, but if not, I’m so happy I was able to do that at 20. We had created something we hoped people would receive, but for that to be the final moment was the cherry on top, standing up there with this tight-knit family. and then every actor’s dream, standing on that stage at the Oscars, looking out at an audience of people I’ve been looking up to. I’m opening the Rome Film Festival, I’m having dinner with the Ambassador, doing press tours, the Independent Film Awards, the Golden Globes. Everything happened so fast, I had to just keep moving forward. It was love, and mutual respect.Īnd then everything went crazy. It felt like we were doing something for a community in Miami that hadn’t been done before, we were exposing their identity. People were outside enjoying themselves, feeling a sense of safety while we were there. But for night scenes we had these big film lights on, so children felt comfortable coming outside to play. At the same time, shooting in Liberty City, or ‘Pork and Beans’ it’s called, we brought a different life, an actual light, to a really dangerous neighbourhood – a couple people got shot and killed during the days we were filming. She is one of the strongest actors I’ve had the pleasure to work with, hands down.
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The scenes with Naomie Harris, who played my mom, struggling with crack addiction, were really triggering. I got the call a week before I was about to go back to school. I was back in LA and met Barry – I was super nervous, but we had a vibe. I’d just finished my sophomore year at the theatre programme at DePaul university in Chicago.
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I was the first person the director Barry Jenkins saw. That feeling I was talking about of being an ‘other’ growing up, I drew on that for Chiron. I needed to do this, because I wanted it to be done the right fucking way, no playing around, so let’s make it happen. I hadn’t even booked the part and I was highlighting my lines. When I read the script for Moonlight, I had this emotional reaction that rarely happens. This is what I want to be doing for the rest of my life. You felt it in the entire, collective crew. It was ‘no talking backstage’, it was dedication. There were ten-year-olds who were mad serious in their art. We learnt stuff people were doing in college in terms of discipline, professionalism – shit that carries over to me being on set right now, it all started there. But it didn’t feel like it, because I loved it so much. I was also going to an arts high school at the time, so it was double training. To be accepted for that? That was fucking cool. They weren’t weird, or even if they were, it was, ‘that’s OK, dude’. I was able to be around all these like-minded kids, able to open up and find a community, finally. It was an all-black school that trained us in acting, singing and dance, and I found my artistic integrity there. So when I was 12 or 13, I started in this acting programme called Amazing Grace Conservatory, in Central Los Angeles. I guess I’ve always been an introverted extrovert. I always wanted to be a performer, whether it was film or Broadway, or off-Broadway theatre in New York. That support was a big force getting me to where I’m at right now.
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He was a fashion designer, he would go around sketching all the time, he was definitely an artist, full circle. My father was very supportive of whatever I wanted to do creatively though.