#Lucas Lehman

[luegootravez]

Kateryna Zub by © Lucas Lehman

[eddiestattoos]

They're so silly, your honour

[ahaura]

Bones and All (2022) dir. Luca Guadagnino

Hélène Cixous, The Love of the Wolf

Haruki Murakami, Norwegian Wood

Maud Ellmann, The Hunger Artists

Catherynne M. Valente, The Bread We Eat in Dreams, “The Red Girl”

Marty McConnell, The Best American Poetry (2014) ed. David Lehman & Terrance Hayes, “vivisection (you’re going to break my heart)”

Start Web Weaving Text & Image IDs:

[Image ID (1 out of 6): Maren is eating Lee; the shot is focused on Maren. The shot is in black and white. End ID]

Hélène Cixous, The Love of the Wolf

[Text ID: I beg you, eat me up. Want me down to the marrow. End ID]

[Image ID (2 out of 6): Maren is clutching her father's father's coat to her chest on her bed as she cries, shortly after he abandons her. End ID]

Haruki Murakami, Norwegian Wood

[Text ID: I was always hungry for love. Just once, I wanted to know what it was like to get my fill of it—to be fed so much love I couldn’t take any more. Just once. End ID]

[Image ID (3 out of 6): Maren and Lee sit across from each other in a diner; Maren is not looking at Lee and Lee is looking at her as he drinks coffee. End ID]

Maud Ellmann, The Hunger Artists

[Text ID: Since sexuality originates in seating, it is always haunted by the imagery of ingestion, having neither an object nor a territory proper to itself. Yet eating, in its turn, exceeds the biological demand for nourishment, for it expresses the desire to possess the object unconditionally. The infant sees his stomach as a safe in which he hoards his loot, thus learning his first lessons in private property. The genesis of secrecy may also be attributed to eating, for it is well known that the best way to keep a secret is to eat the evidence. {Highlighted} The stomach is a place almost as private as the grave. {End Highlight} End ID]

[Image ID (4 out of 6): In the dark of night outside of their blue pickup truck, Lee holds Maren's face in his hand. His face is bloody; he is shirtless. Maren's face is not visible to the camera. End ID]

Catherynne M. Valente, The Bread We Eat in Dreams, “The Red Girl”

[Text ID: I love you but there are things older and murkier than love. Things that live not in the heart but the entrails. I don’t want you to see me with the wolf. I don’t want you to see what he does to me. I don’t want you to see what I do to him. End ID]

[Image ID (5 out of 6): In daylight, Maren holds Lee; the viewer cannot see Lee's face. End ID]

Marty McConnell, The Best American Poetry (2014) ed. David Lehman & Terrance Hayes, “vivisection (you’re going to break my heart)”

[Text ID:When I say eat me I mean suck the bones clean, leave nothing

for the waiting, nothing for the vultures or the travelers to come. End ID]

[Image ID (6 out of 6): Maren is eating Lee; Maren's face is out of the shot but the viewer can see her hand on Lee's face as he screams. He is holding her hand to her face. The shot is in black and white. End ID]

End Web Weaving post Text & Image IDS.

[docrotten]

THE MAD BUTCHER (1971) – Episode 209 – Decades Of Horror 1970s

“Meat is meat.” Where have you heard that before? Join your faithful Grue Crew – Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they relish the chance to dine out with Victor Buono in The Mad Butcher(1971). Pssst! Despite the title, he has a certificate of sanity prominently displayed on his wall.

Decades of Horror 1970s Episode 209 – The Mad Butcher (1971)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

After being released from a mental hospital, Otto returns to his old job as a butcher. He tries to adjust to his new life, but after a bitter argument with his wife, he accidentally kills her. Fearing he will be sent back to the hospital, he grinds up her body and sells it as sausages. The popularity of his new sausage recipe necessitates that others find their way into his butcher’s display case.

  Directed by: Guido Zurli (as John Zurli)

Writing Credits: Dick Randall (as Robert H. Oliver) & Dag Molin (screenplay); (story by) Charles Ross (as Karl Ross)

Selected Cast:

Victor Buono as Otto Lehman

Franca Polesello as Berta Hensel

Brad Harris as Mike Lawrence

Dario Michaelis as Inspector Klaus

Karin Field as Hanna Lehman (as Karen Field)

Luca Sportelli as Karl Brunner

Hansi Linder as Frieda Ulm

If you are a fan of Victor Buono (Batman,1966-68; What Ever Happened to Baby Jane?, 1962; Hush…Hush, Sweet Charlotte, 1964), then we have the episode for you. The Mad Butcher (1971) is a unique beast of a film: a dark comedy in the vein of Sweeney Todd. It’s bizarre, clumsy, silly, yet oddly entertaining. And, well, “Meat is Meat,” yes? Check out what the Grue-Crew think of this often-overlooked nugget.

At the time of this writing, The Mad Butcher is available to stream from the Classic Horror Movie Channel and YouTube.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by guest host Gregory Crosby, will be Countess Dracula (1971), another Hammer Film, directed by Peter Sasdy and starring Ingrid Pitt! Be there!

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com. 

Check out this episode!

[chocolatehideoutpirate]

I gotta look up to the sky and tell the lord I'm leaning on you and I just make edits for each child each person in family and friends that passed away and went to heaven to be angels watching over the world Jesus I'm leaning on you rest in peace to those in this second edit Gracie Perry Watson, Inez Clarke Briggs, Annie Kerr Aiken, Annie Oakley, Alice Liddell, Larisa Ratmanski, Mania Halef, Anne Frank, Eva Munzer, Nellie Gray Bundy Johnson, Colleen Marie Applegate, Connie Lynn Taylor, Emilie Marian Bromundt, Robert Ferdinand Bromundt, Julia Allison Wise, Kimberly Michelle Adaway, Jason Alexander Black, Shirley June Tolle, Emmett Till, Violet Geneva Setty Tolle, Nora Mae Setty Boldman, John Setty, Maude Abanade Cadwallader Setty, Yvonne Mary Cayeaux Devitt, Karen Ann Culp, Phyllis Rebecca Crowe, Stacie Lee Swofford,Devan Brooke Duniver, Mary Louise Lehman Carman, Grace Leona Lehman Krout, Clara Alverta Myers Lehman, Adam Henry Lehman,Anna Catherine Roby, Russell Thomas Roby, Ricardo David Arterberry, Linda Therese Jones Arterberry, Traytease Lanette Arterberry, Clarence Edward Moore Jr., Meagan Lindsey Bradley, Peachlyn Bradley, Finey Ynfante Mechell, Lucas Ynfante, Jane Mora Ynfante, Francis Ynfante, Katy Ynfante Martines, John K Ynfante, Rozell Lucas “RL” Ynfante, Yolanda Rosamond Lombardo, Serena Daniel Aiken Simons, Martin Laurence Amos, Polly Bixby, Rosalia Lombardo and more Angels

[burlveneer-music]

GOGODUCKS - Palladio a Palla! - Francesca Remigi's drums / guitar / vibraphone trio

Paolo Peruzzi: vibraphone, programming, composition Luca Zennaro: guitar, electronics, composition Francesca Remigi: drums, percussions, composition feat. Sergio Zacco: electronics and audiovisuals Recorded by Stefano Amerio at Artesuono Recording Studio, Udine, on May 13th, 14th, 15th, 2024 Mixed and Mastered by Stefano Amerio Artwork and design by Studio 15 Nuova Generazione Jazz 2021 and Top Jazz 2022 winner Francesca Remigi is a multifaceted drummer and a visionary composer based in NYC. She's known for her international collaborations with Danilo Perez, Steve Lehman, Kris Davis, M. Hayden, Ellen Rowe, G. Garzone. Nicole Glover, Val Jeanty, with appearances at London Jazz Festival 2020, Melbourne Jazz Festival 2022 and Panama Jazz Festival 2022. 

[lamilanomagazine]

Cesena, “Uno sguardo dal ponte” è l’ultimo spettacolo di Massimo Popolizio al Tetro Bonci.

Cesena, “Uno sguardo dal ponte” è l’ultimo spettacolo di Massimo Popolizio al Tetro Bonci. L’ultimo lavoro di Massimo Popolizio arriva, fresco di debutto, al Teatro Bonci: Uno sguardo dal ponte di Arthur Miller, tradotto per l’occasione da Masolino D’Amico, è atteso a Cesena dal 23 al 26 febbraio (giovedì, venerdì e sabato alle ore 21.00 e domenica alle ore 16.00). La coproduzione di Compagnia Umberto Orsini, Teatro di Roma - Teatro Nazionale, Emilia-Romagna Teatro ERT / Teatro Nazionale sarà rappresentata anche al Teatro Storchi di Modena dal 2 al 5 marzo. A Cesena, in occasione della replica di sabato 25 febbraio, alle ore 18.00 nel Foyer Massimo Popolizio dialoga con il Professor Gerardo Guccini, studioso e docente di Storia del teatro e dello spettacolo al Dams di Bologna. Popolizio dirige e interpreta, con un cast di altri 8 attori, questo capolavoro della letteratura americana che Miller ambienta nella comunità di immigrati siciliani a Brooklyn: un grande affresco sociale ma anche il ritratto di un uomo onesto, compromesso da una incestuosa passione erotica, scritto nel 1955 a partire da un brutale fatto di cronaca che turbò profondamente l’autore. La storia concentra una serie di temi incandescenti e ancora attualissimi: la fuga dalla povertà, le tensioni dell’immigrazione clandestina, la caccia allo straniero, l’affetto morboso all’interno della famiglia. La vicenda è quella dell’italiano Eddie Carbone che vive a New York con la moglie Beatrice e la nipote Catherine, dalla quale è ossessionato. L’arrivo in casa di Marco e Rodolfo, parenti della moglie e clandestini negli Stati Uniti, scatena la gelosia. L'estremo attaccamento alle origini del protagonista, ad uno stile di vita arcaico e violento, determina irrimediabilmente la sua tragedia. «Questo concetto di ineluttabilità del destino e di passioni dalle quali si può essere vinti e annientati è una “spinta” o “necessità” che penso possa avere ancora oggi un forte impatto teatrale» commenta Popolizio. «Per me è una magnifica occasione mettere in scena un testo che assomiglia molto ad una sceneggiatura cinematografica, e che, come tale, ha bisogno di primi, secondi piani e campi lunghi. Alla luce di tutto il materiale che ha potuto generare dal 1955 (data della sua prima rappresentazione) ad oggi, cioè film, fotografie, serie televisive, credo possa essere interessante e “divertente” una versione teatrale. Una grande storia… raccontata come un film… ma a teatro. Con la recitazione che il teatro richiede, con i ritmi di una serie e con le musiche di un film». Diretto al cinema da Sidney Lumet nel 1962, nella memorabile pellicola con Raf Vallone, Uno sguardo dal ponte nelle mani di un grande maestro della scena come Popolizio diventa un racconto teatrale con la potenza espressiva di un film. Audiodescrizione Teatro No Limits La replica di domenica 26 febbraio sarà audio descritta: l’iniziativa si svolge nell’ambito del progetto del Centro Diego Fabbri di Forlì Teatro No Limits, che consente alle persone con disabilità visiva di partecipare agli spettacoli potendo apprezzare a pieno tutti gli aspetti della messa in scena. Informazioni e prenotazioni: Centro Diego Fabbri di Forlì, info@centrodiegofabbri.it – tel. 0543 30244. Massimo Popolizio, nato a Genova nel 1961, dopo il diploma all’Accademia Nazionale d’arte Drammatica Silvio D’Amico inizia a lavorare con Luca Ronconi, un sodalizio che si protrae fino all’ultimo lavoro del Maestro, Lehman Trilogy (2015), per il quale ottiene il premio UBU come migliore attore. Tra i molti spettacoli interpretati per Ronconi, Gli ultimi giorni dell’umanità di Kraus (1990), Verso Peer Gynt da Ibsen (1995), Quer pasticciaccio brutto de via Merulana di Gadda (1996), Il lutto si addice a Elettra di O’Neill (1997), I due gemelli veneziani di Goldoni (premio UBU 2001 come migliore attore protagonista). Per Professor Bernhardi di Schnitzler riceve l’UBU 2005 come miglior attore non protagonista. In teatro collabora anche con Cesare Lievi, Claudio Longhi, Franco Branciaroli, Walter Pagliaro, Gianfranco de Bosio, Antonio Calenda, Marco Sciaccaluga, Elio De Capitani, Mauro Avogadro, Piero Maccarinelli, Jean Pierre Vincent, Massimo Castri, Lluís Pasqual, Carmelo Rifici. Nel 2015 dirige Il prezzo di Arthur Miller, con Umberto Orsini. Nel 2017 vince il premio UBU per la regia di Ragazzi di Vita di Pier Paolo Pasolini, campione di incassi per due stagioni al Teatro Argentina di Roma, e nel 2019 il suo Un nemico del popolo è Miglior spettacolo, sempre ai Premi UBU. Nel 2019 dirige e interpreta anche Furore da John Steinbeck. Del 2022 è M. Il figlio del secolo, tratto dal romanzo di Antonio Scurati, premio Le Maschere del Teatro Italiano come miglior spettacolo. Per Radio Tre realizza la lettura integrale di vari libri, tra cui Ragazzi di vita. Molti anche i ruoli in tv, diretto da Claudio Bonivento, Roberto Faenza, Riccardo Milani, Enzo Monteleone. Nastro d’Argento per il doppiaggio di Kenneth Branagh nel film Hamlet (1998). Per il grande schermo collabora con i fratelli Taviani, Michele Placido, Daniele Luchetti, Paolo Sorrentino (Il divo, La grande bellezza), Mario Martone (Il giovane favoloso), Carlo Verdone, Fiorella Infascelli (nel ruolo di Falcone in Era d’estate, per cui riceve il Nastro d’Argento). Nel 2018 è protagonista del film di Luca Miniero Sono Tornato in cui interpreta Mussolini. Seguono Il campione (2019), Bentornato presidente (2019), Il ladro di giorni (2019), I predatori (2020, Nastro d'Argento 2021 come miglior attore non protagonista), Governance (2021). Uno sguardo dal ponte di Arthur Miller traduzione Masolino D’Amico regia Massimo Popolizio con Massimo Popolizio e Valentina Sperlì, Raffaele Esposito, Michele Nani, Lorenzo Grilli, Gaja Masciale, Felice Montervino, Marco Mavaracchio, Gabriele Brunelli scene Marco Rossi costumi Gianluca Sbicca luci Gianni Pollini suono Alessandro Saviozzi produzione Compagnia Umberto Orsini, Teatro di Roma - Teatro Nazionale, Emilia Romagna Teatro ERT / Teatro Nazionale Informazioni: Teatro Bonci, Piazza Guidazzi – Cesena Biglietteria: aperta dal martedì al sabato ore 11-14 e 16-19 | nei giorni di spettacolo ore 17-21.30 | la domenica ore 15-16.30 | T. 0547/355959 | info@teatrobonci.it Biglietti da 26 a 8 euro. L’ingresso all’incontro è gratuito.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[k00288088]

Inspiration

"Peel Slowly and See"

Animation by Acy R. Lehman, inspired by the famous banana album cover by Andy Warhol for the debut of The Velvet Underground & Nico. This animation was part of a project for the Bachelor in Visual Design at LUCA School of Arts in Ghent.

The original cover featured an actual peel-away sticker that revealed a pink, upturned banana.

[alaluea]

Speedran a short PMV based off an idea I had in my head with my Hologram OCs!

There’s no context I’ll give for this other than there’s a gathering happening and Sadie (pink haired gal) is the main attraction :>

Song: Running Out of Time (Vivo)

[ratleyland]

A nice murder-mystery/who did it.

A tad predictable... but the twists and turns of the story throughout made this movie a good watch.

[rizzoliandislesformiles]

For Rizzoli & Isles Fans...

I would like to introduce to you “Motive”. This show began in 2013 and, although it doesn’t have Maura Isles or Jane Rizzoli, it has some really great, strong, smart and interesting characters. Motive is a police procedural drama set in Vancouver, British Columbia, following the investigations of working class single mother Detective Angie Flynn (Kristin Lehman). Each episode reveals the killer and the victim at the beginning; and the rest of the episode details the ongoing investigation, the killer's efforts to cover up the crime, and, via flashbacks, the events leading to the crime. This format is similar to that of the TV series Columbo. [Taken from Wikipedia] The episodes all have really interesting story lines and I love watching their relationships develop and the complexities explored. I am sorry to say that the series is now complete but there are still four seasons of great episodes to watch. I do highly recommend it though as I think it may appeal to a lot of you.

[met-european-paintings]

Martin Luther (1483–1546), Lucas Cranach the Elder, probably 1532, European Paintings

Gift of Robert Lehman, 1955 Size: 13 1/8 x 9 1/8 in. (33.3 x 23.2 cm) Medium: Oil on wood

https://www.metmuseum.org/art/collection/search/436047

[lucas-cranach-the-elder]

Venus with Cupid the Honey Thief, Lucas Cranach the Elder, ca. 1580–1620, Robert Lehman Collection

Robert Lehman Collection, 1975 Size: 14 5/16 x 9 15/16 in. (36.3 x 25.2 cm) Medium: Oil on oak panel

https://www.metmuseum.org/art/collection/search/459077

[artist-luca-giordano]

A Glory of Angels, Luca Giordano, ca. 1650–69, Robert Lehman Collection

Robert Lehman Collection, 1975 Size: 15 1/4 x 19 5/16 in. (38.7 x 49.1 cm) Medium: Pen and brown ink, brown wash, over black chalk sketch.

https://www.metmuseum.org/art/collection/search/459513

[oohlordhealthisbike]

Open for bootleg trading~

Hello all! I am posting my bootleg list here for now as a temporary list until I get my website up and running- I am open to trading! I’m mainly looking for any Cats production- preferably English or Dutch but any musical would be nice to have and expand my collection. 

Addams Family - Broadway - March 12, 2010

FORMAT: .VOB w/o smalls

CAST:Nathan Lane (Gomez Addams), Bebe Neuwirth (Morticia Addams), Terrence Mann (Mal Beineke), Carolee Carmello (Alice Beineke), Kevin Chamberlin (Uncle Fester), Jackie Hoffman (Grandma), Zachary James (Lurch), Wesley Taylor (Lucas Beineke), Krysta Rodriguez (Wednesday Addams), Adam Riegler (Pugsley Addams)

NOTES: Video quality isn't the best, and audio is sometimes on the softer side. Still a very entertaining show.

Anastasia - Broadway - September 6, 2017

FORMAT: (VOBs w/ smalls)

CAST: Christy Altomare (Anastasia), Derek Klena (Dmitry), John Bolton (Vlad), Ramin Karimloo (Gleb), Caroline O'Connor (Lily), Mary Beth Peil (Maria Feodorovna), Zach Adkins, Sissy Bell, Lauren Blackman, Kyle Brown, Janet Dickinson, Constantine Germanacos, Wes Hart, Ken Krugman, Shina Ann Morris, James A. Pierce III, Molly Rushing, Nicole Scimerca, Johnny Stellard, Allison Walsh (Ensemble)

Aladdin - Broadway, 2014-Nov-05 (SunsetBlvd79‘s master)

Format: VOB + smalls (7.58 GB)

CAST: Adam Jacobs (Aladdin), Courtney Reed (Jasmine), Merwin Foard (s/b Jafar), Michael James Scott (s/b Genie)

NOTES: Beautiful HD capture of latest Disney Broadway offering. Great to see the changes from the Toronto tryout. Michael and Merwin do terrific jobs as Genie and Jafar.

Beauty and the Beast New Zealand April 2006 - Proshot

Format: .VOB w/ smalls

Cast: Jade Steele, Russell Dixon, Glen Drake, Rob Ormsby, Gladys Hope

NOTES: Only the first act & first part of act two! 

Beauty and the Beast (Disney) - Broadway - July 27, 2007 (Unknown's video master)

CAST: Anneliese van der Pol (Belle), Steve Blanchard (Beast/Prince), Jamie Ross (Maurice), Chris Hoch (Gaston), David DeVries (Lumière), Jeanne Lehman (Mrs. Potts), Glenn Rainey (Cogsworth), Ann Mandrella (Babette), Trevor Braun (Chip), Aldrin Gonzalez (Le Fou)

NOTES: Two days before the show closed on Broadway. Good amount of closeups and good quality filmed from the mid-mezzanine; there is a railing issue for a while in Act 1 but the taper improves. 'Me', 'Gaston' and 'Be Our Guest' are all predominantly missing and recording stopped for some time after 'Gaston', which created a little jump in the timeline to where Maurice gets thrown out of the tavern. Still a nice video with great closeups of the last Broadway cast.

Beauty and the Beast - Music Theatre of Wichita (2016)

FORMAT: .VOB w/ Smalls

CAST: Catherine Charlebois, Thaddeus Pearson, Johnny Stellard, Steve Hitchcock, James Beaman, Katie Banks-Todd, Karen L. Robu, Lexis Danca, James Heinrichs, Timothy W. Robu, Tanner Pflueger, John Boldenow

Notes: Pro-Shot. Filmed using one camera on a tripod with excellent clear picture and sound.

Cats - Hamburg - August 21, 1999 (Unknown's video master)

FORMAT: MP4 (2.9 GB) CAST: Julia Howson (Grizabella), Stefano Bontempi (Alonzo), Sean McGrath (Admetus/Macavity), Daymon Montaigne Jones (Bill Bailey/Tumblebrutus), Donna Hagan (Bombalurina), Lachlan Youngberg (Bustopher Jones/Gus/Growltiger), Marie Dumas (Cassandra), Valentino McKinney (Coricopat), Juliann Kuchocki (Demeter), Marni Raab (Jellylorum), Nadja Solovieva (Jennyanydots), Clinten Pearce (Mr. Mistoffelees), Deon Ridley (Mungojerrie), Matthew Pike (Munkustrap), Werner Kraus (Old Deuteronomy), Adrianne Richards (Rumpleteazer), Siegmar Tonk (Rum Tum Tugger), Japheth Myers (Skimbleshanks), Angela Roczkov (Tantomile), Rebecca Sutherland (Victoria), Damian Kacperski (Pouncival), Tracey Packham (Sillabub) NOTES: very good quality for the time! Great audio as well. 

Cats - Broadway Revival - August 13, 2016 (Unknown's video master)

FORMAT: .VOB w/o Smalls

STAGE: Broadway

CAST: Leona Lewis (Grizabella), Giuseppe Bausilio (Carbucketty), Kim Faure (Demeter), Lili Froehlich (Electra), Sara Jean Ford (Jellylorum), Eloise Kropp (Jennyanydots), Ricky Ubeda (Mr. Mistoffelees), Andy Huntington Jones (Munkustrap), Quentin Earl Darrington (Old Deuteronomy), Shonica Gooden (Rumpleteazer), Tyler Hanes (Rum Tum Tugger), Jeremy Davis (Skimbleshanks)

NOTES: Some people walking across the image for a few seconds during Jennyanydots and Rum Tum Tugger's number. Sometimes a head is visible but not obstructing the action. Almost no white-outs with very good video quality. Audio is very crisp as well. Filmed from a higher seat, but zooms are excellently done and fluent. Overal an amazing bootleg!

Cats - Sixth National Tour - March 15, 2019 (thehouseonsunset's video master)

CAST: Keri René Fuller (Grizabella), Phillip Deceus (Alonzo), Tyler John Logan (Admetus/Macavity), Devin Neilson (Bill Bailey/Tumblebrutus), Lexie Plath (Bombalurina), Timothy Gulan (Bustopher Jones/Gus/Growltiger), Mariah Reives (Cassandra), PJ DiGaetano (Coricopat), Liz Schmitz (Demeter), Maria Failla (u/s Jellylorum), Emily Jeanne Phillips (Jennyanydots), Tion Gaston (Mr. Mistoffelees), Tony D'Alelio (Mungojerrie), Dan Hoy (Munkustrap), Brandon Micheal Nase (Old Deuteronomy), Rose Iannaccone (Rumpleteazer), McGee Maddox (Rum Tum Tugger), Ethan Saviet (Skimbleshanks), Halli Tolland (Tantomile), Laura K Kaufman (u/s Victoria), Anthony Zas (Pouncival), Ahren Victory (Sillabub)

NOTES: Audio is soft in some parts and has a shaky camera. Good video though, nice zooms and high quality. 

Cats 1998 Film - (Pro-shot).

FORMAT: MP4 CAST: Elaine Paige (Grizabella), John Mills (Gus the Theatre Cat), Ken Page (Old Deuteronomy), Rosemarie Ford (Bombalurina), Michael Gruber (Munkustrap), John Partridge (Rum Tum Tugger), Aeva May (Demeter), Geoffrey Garratt (Skimbleshanks), James Barron (Bustopher Jones), Jo Gibb (Rumpleteazer), Drew Varley (Mungojerrie), Susie McKenna (Jennyanydots), Jacob Brent (Mistoffelees), Susan Jane Tanner (Jellylorum), Phyllida Crowley Smith (Victoria). NOTES: pro-shot version of the musical. Multiple cameras and HD video and audio. 

Cinderella - Broadway - March 2, 2013

FORMAT: VOB + smalls

CAST: Laura Osnes (Ella), Santino Fontana (Prince Topher), Victoria Clark (Fairy Godmother), Harriet Harris (Evil Stepmother), Ann Harada (Charlotte)

NOTES: Very good view of the stage, sometimes zooms are a bit slow but it's not bothersome. Very enjoyable experience.

Evita - Costa Mesa - December 14, 2013

FORMAT: (VOBs w/ Smalls)

CAST: Caroline Bowman (Eva), John Riddle (u/s Che), Sean MacLaughlin (Peron), Krystina Alabado (Mistress), Christopher Johnstone (Magaldi)

Kinky Boots - Broadway - May 26, 2017 (Opening Night) (Audio)

CAST: Brendon Urie (Charlie Price)

FORMAT: M4A

NOTES: Brendon is amazing in the role, the audio is not really HD, but it’s still really fun to listen to, especially for P!ATD fans like me haha. 

Legally Blonde - Broadway - 2007-Oct-25

Format: VOB no smalls (4.11 GB)

CAST: Becky Gulsvig (u/s Elle Woods), Andy Karl (u/s Emmett Forrest), Richard H Blake (Warner Huntington III), Orfeh (Paulette), Kate Shindle (Vivienne Kensington), Nikki Snelson (Brooke Wyndham/Shandi), Michael Rupert (Professor Callahan), Haven Burton (Margot), Tracy Jai Edwards (Serena), Asmeret Ghebremichael (Pilar), Matthew Risch (u/s Kyle/Grandmaster Chad/Dewey), Natalie Joy Johnson (Veronica/Enid), Kate Wetherhead (Kate/Chutney), Rod Harrelson (u/s Carlos)

NOTES: Great capture of the two understudies in the role. Shot from the orchestra with amazing shots. Starts in the middle of 'Omigod You Guys'.

Les Misérables - West End - November, 2018 (NYCG8R's master)

FORMAT: VOB (with smalls) (SD)

CAST: Dean Chisnall (Jean Valjean), Bradley Jaden (Javert), Carley Stenson (Fantine), Amara Okereke (Cosette), Toby Miles (Marius), Elena Skye (Éponine), Samuel Edwards (Enjolras), James Hume (u/s Thénardier), Vivien Parry (Madame Thénardier), Logan Clark (Gavroche), Andrew York (u/s The Bishop), Adam Filipe (u/s Grantaire), Barnaby Hughes (Combeferre), Joe Vetch (Feuilly), Oliver Brenin (s/w Courfeyrac), Ben Tyler (Jean Prouvaire), James Nicholson (Joly), Andrew York (Lesgles), Adam Bayjou (Brujon), Ciaran Bowling (s/w Babet), Sam Harrison (Claquesous), Ciaran Joyce (Montparnasse), Adam Bayjou (Factory Foreman), Anna McGarahan (Factory Girl), Anna McGarahan (Crone), Sam Harrison (Bamatabois), Ben Tyler (Pimp), Barnaby Hughes (Fauchelevent), Adam Bayjou (Champmathieu), Ciaran Bowling (s/w Major Domo)

Les Misérables - The All-Star Staged Concert - December 2, 2019 (Closing Night) (Pro-Shot's master)

FORMAT: MKV (HD)*

CAST: Alfie Boe (Jean Valjean), Michael Ball (Javert), Carrie Hope Fletcher (Fantine), Lily Kerhoas (Cosette), Rob Houchen (Marius), Shan Ako (Éponine), Bradley Jaden (Enjolras), Matt Lucas (Thénardier), Katy Secombe (Madame Thénardier), Earl Carpenter (The Bishop), Raymond Walsh (Grantaire), Craig Mather (Combeferre), Vinny Coyle (Feuilly), Niall Sheehy (Courfeyrac), James Nicholson (Jean Prouvaire), Ciaran Joyce (Joly), Andrew York (Lesgles), Leo Roberts (Brujon), Stephen Matthews (Babet), Oliver Jackson (Claquesous), Adam Bayjou (Montparnasse), Gavin James (Factory Foreman), Celia Graham (Factory Girl), Tamsin Dowsett (Crone), Earl Carpenter (Bamatabois), Oliver Jackson (Pimp)

NOTES: The digitally released proshot, edited differently to the live cinema stream.

Les Miserables - Broadway - Feb. 17, 2007

FORMAT: VOB + smalls

CAST: Alexander Gemignani (Jean Valjean), Norm Lewis (Javert), Daphne Rubin-Vega (Fantine), Gary Beach (Thenardier), Jenny Galloway (Mme Thenardier), Celia Kennan-Bolger (Eponine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Drew Sarich (u/s Enjolras)

Little Shop of Horrors - Encores! Off-Center-New York City Center, 2015-July-1 (Opening Night) (NYCG8R's video master)

Format: VOB + smalls (4.21 GB)

CAST: Jake Gyllenhaal (Seymour), Ellen Greene (Audrey), Joe Grifasi (Mushnik), Taran Killam (Orin), Eddie Cooper (Audrey II), Marva Hicks (Crystal), Ramona Keller (Ronnette), Tracy Nicole Chapman (Chiffon)

NOTES: Opening Night filmed from the very back of City Center, so there is some spotlight washout that's never too bad and a head that's shot well around.

Phantom Of the Opera - US Tour - August 12, 2015 (Unknown master)

FORMAT: VOBs w/ Smalls)

Chris Mann, Katie Travis, Storm Lineberger, Jacquelynne Fontaine, Edward Staudenmayer, David Benoit, Anne Kanengeiser, Frank Viveros, Morgan Cowling, Mark Emerson, Eric Ruiz, Edward Juvier, Dan Debenport, David Foley Jr., Allan Snyder, Christy Morton

Spider-Man - Turn off the Dark - Broadway - October 14, 2012

FORMAT: (VOBs)

CAST: Matthew James Thomas (alt. Peter Parker/Spiderman), Kristen Martin (u/s Mary Jane), Robert Cuccioli (Green Goblin), Katrina Lenk (Arachne).

NOTES: Post-Changes

The Book of Mormon - UK & Ireland Tour - 2019 (Rumpel's master-RARE)

FORMAT: .VOB (no smalls) (HD)

CAST: Kevin Douglas Clay (Elder Price), Connor Peirson (Elder Cunningham), Nicole-Lily Baisden (Nabulungi), Will Hawksworth (Elder McKinley), Ewen Cummins (Mafala Hatimbi), Thomas Vernal (General), David Brewis (Cunningham’s Dad), Tre Copeland-Williams (Doctor), Johnathan Tweedie (Prices Dad/Joseph Smith/Mission President), Cleopatra Isaac (Mrs Brown), Jemal Felix (Guard), Lukin Simmonds (Guard), Alex James-Hatton, David Brewis, Evan James, Fergal McGoff, George Crawford, Isaac Hesketh, Jed Berry

NOTES: One of the best videos of this show out there. Recorded from the right wing, doesn't miss any action. High quality video and excellent sound. Kevin is a very good Elder Price.

The Book of Mormon - Chicago - December 23, 2012 (SunsetBlvd79's master)

FORMAT:  VOB (with smalls) (HD)CAST: Nic Rouleau (Elder Price), Ben Platt (Elder Cunningham), Syesha Mercado (Nabulungi), Pierce Cassedy (Elder McKinley), James Vincent Meredith (Mafala Hatimbi), Christopher Shyer (Mission President), David Aron Damane (General)

The Book of Mormon - Broadway - March 1, 2011 (Preview) (NYCG8R's master)

FORMAT:  VOB (no smalls) (SD)

CAST: Andrew Rannells (Elder Price), Josh Gad (Elder Cunningham), Nikki M James (Nabulungi), Rory O’Malley (Elder McKinley), Michael Potts (Mafala Hatimbi), Lewis Cleale (Mission President)

Wicked - Broadway, 2013-May-12 (Lanelle's master)

Format:  M2TS (HD) - (24.02 GB)

CAST: Willemijn Verkaik (Elphaba), Katie Rose Clarke (Glinda), Kyle Dean Massey (Fiyero), Adam Grupper (The Wizard), Randy Danson (Madame Morrible), Catherine Charlebois (Nessarose), F Michael Haynie (Boq), John Schiappa (Doctor Dillamond)

NOTES: Filmed from the right orchestra, at a slight angle, but excellent quality. The taper originally released this as a blu-ray, 2-disc DVDs and 1-disc DVD, so make sure to get the version that best suits your needs.

Wicked - May 12, 2013 (Lanelle's master RIP WITH SUBS)

FORMAT: .MKV w/o Smalls, With English & Chinese Subtitles

CAST: Willemijn Verkaik (Elphaba), Katie Rose Clarke (Glinda), Kyle Dean Massey (Fiyero), Adam Grupper (The Wizard), Randy Danson (Madame Morrible), Catherine Charlebois (Nessarose), F Michael Haynie (Boq), John Schiappa (Doctor Dillamond)

NOTES: Warning- Moderate quality. Some quality of the original master has been lost through conversion from blue-ray to MKV. Has English and Chinese subtitles. Audio is great and video sometimes has some white-outs. 

Wicked - Broadway - January 2nd, 2015 (unknown master)

FORMAT: VOB w/o Smalls

CAST: Caroline Bowman (Elphaba), Kara Lindsay (Glinda), Matt Shingledecker (Fiyero), Tom McGowan (The Wizard), Kathy Fitzgerald (Madame Morrible), Robin de Jesus (Boq), Arielle Jacobs (Nessarose), Timothy Britten Parker (Dr. Dillamond)

NOTES: The camera moves a bit but follows the actors well. Some parts are a bit washed out but the audio is good. 

Wicked - Broadway, May 28, 2006 (Unkown master)

FORMAT: VOB w/o SmallsCAST: Eden Espinosa (Elphaba), Megan Hilty (Glinda) Derrick Williams (Fiyero), David Garrison (The Wizard), Carol Kane (Madame Morrible), Jenna Leigh Green (Nessarose)

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If you’re interested, please don’t hesitate to contact me! Like I said I would love any cats bootleg- especially the older ones in English and Dutch from like the 80′s till the 00′s. I am also looking for more diversity in my list- and I’m also looking for the classics- Dear Evan Hansen, Falsetto’s, some more Phantom Of the Opera, Mean Girls, Legally Blond, etc... 

[back-and-totheleft]

"Hollywood rabble rouser"

Late one night in the summer of 2008, I found what turned out to be a stockbroker’s iPhone in the back of a NYC taxi. Turning it on in order to contact the owner, I noticed that amongst the stock watch apps and currency converters was an icon of Gordon Gekko, the corrupt market raider immortalized by Michael Douglas in Wall Street, Oliver Stone’s 1987 tale of insider trading and corporate excess. Intrigued, I hit Gekko’s pixilated face (it felt good) and a website flashed up with an entire transcription of his infamous “Greed is good” speech ��� one of Hollywood’s most iconic parables to the pursuit of unrestrained greed. Whoever owned the phone found those words as important as checking Facebook or texting his girlfriend. Gekko was his hero, his daily inspiration.

Watching back Wall Street a few weeks later as news of the Lehman Brothers collapse and global recession spread, it struck me that a whole generation of financiers must have grown up, like Charlie Sheen’s character Bud Fox, yearning to be Gekko. He was the business equivalent of a rapper wanting to become Tony Montana, another Stone creation. And some of these brokers, as we’ve all since discovered, were willing to trade money that didn’t exist in pursuit of pin stripe suits, corner offices, penthouses, boats, women, and stacks of cash. Perhaps the perks made the 22-year prison stretch Gekko received at the end of the film seem like a viable risk. Or they deliberately chose to ignore his downfall.

Inspired by financial fiends like Bernie Madoff, Stone decided to spring Gekko out of prison for Wall Street 2: Money Never Sleeps. Set in 2008, he is a reformed character that tries, and fails, to warn business leaders of the impending credit crunch. Many fans are understandably nervous about Douglas reprising his Oscar winning role, especially since his hair gel and brick phone have long been put into storage. Stone, who only agreed to direct the film because he felt that current financial climate lent itself to a sequel, understandably feels that it’s time for bankers to grow up. As the director of Natural Born Killers, JFK and Platoon he’s used to Marmite reactions. But, after giving Dubya an easy ride in W, will Gordon 2.0 be one step too far? Is the world ready for goody Gekko two shoes? Or will traders across Wall Street be deleting their “Greed is good” iPhone bookmarks forever? As they say on the stock market floor, let the bull charge.

Tim Noakes: When you were 18 your father got you to work on a financial exchange in France. Was that your inspiration for Wall Street?

Oliver Stone: No, it was a great summer job actually, because it was very exotic. My father was always into the stock market, into numbers. He loved that world in New York and I grew up on the fringes of it but I wasn’t particularly attuned to it. So it was a chance to see it first hand but I didn’t do very well as a trader. In those days you’d run from the phone booth in the back to the floor. It was cocoa and sugar. It was violent and busy. They used to elbow each other to get into the inner circle, like matadors. It was a real crush. I elbowed my way through it and got up to be assistant buyer, which was very complicated because you had to make the orders for everything right. You couldn’t screw up. A lot of money’s involved. So then I thought I should be one of the cocoa buyers. I was a little too ambitious for my own good.

Your father died before you made Wall Street. What do you think he would have made of it?

I think he would have appreciated that I had done a business movie. We always talked about it. He loved movies and he took me to them. We discussed them afterwards, which was an invaluable experience, and he would say that there weren’t many business movies. And there weren’t. There was not a specific genre. Hollywood was not into the business movie concept. It’s hard. I can understand why. It’s all financial talk, it’s not interesting to most people and it lacks those human emotions. Money is an interesting subject, however, for America. That’s why I addressed it in 1987. I thought, ‘Americans love money’, and what lengths they will go to get it is what that movie is about. Especially coming off Platoon, which is a different kind of movie. I was trying to prove that I could do something domestic with ‘Wall Street’.

The original was very much of its era.

It was the era of “Greed is good” and Reagan. With Wall Street 2, I’m obviously more mature, I’ve done more films, I have more confidence, I hope. I’m trying something a little bit deeper in the relationship field. There’s no Darryl Hannah in the movie. There’s a real English girl this time (Carey Mulligan). She anchors strongly the emotions of the film, because she is damaged. She’s the daughter of Gordon Gekko, if you can imagine what that can be like.

Michael Douglas once said that your style of directing is like taking people into the trenches. What did he mean by that?

He makes it sound like I dress him up in uniform and have a military hierarchy. Every single actor that I’ve worked with, and there’s obviously dozens now, you’d have to talk to every single one of them to get their perception. I would say some would disagree. Maybe Michael, because he hasn’t been in the military, would regard it as a military experience. I didn’t think of it that way. I think of a movie as an organisation that has to work at a very fluid pace involving a large amount of people who have to move quickly over a landscape. Call that what you will. It could be an adventure party or a military organisation. It’s really a satellite business. You form, you group, you rehearse, you shoot, you separate. It’s very nomadic. In that chemistry you bring together so many conflicting types of people who have different kinds of egos. It’s quite a mix. At the end of the day, if you look back at the — what is it? 19, 20 films — that I’ve directed, it’s just a mix of styles. Sometimes it really works with people. It clicks. I think Michael did great work on both films, so I’m very pleased with his result. My style might not have been good for him, but it works for other people. Some people, like Shia LaBeouf and Josh Brolin, were digging it. They loved the way I worked because it was intense and to the point and relatively fast.

Do you see yourself as a hard taskmaster or a disciplinarian?

No, I’m not a disciplinarian. I’m disciplined with myself and I think I try to lead by example not by imposition of my will. I try to lead by example. That’s just to say that people know that I’m trying to get this thing done. My approach is that we’re all in this together. The idea is king. We all serve that king. It is not a democracy, it is a constitutional monarchy, so to speak, with strong legislative power in the House of Lords. No, but the idea is king. I repeat that. Not the director. The idea. I serve the idea.

How do you balance the logistics with trying to create a piece of art?

Oh boy, if I didn’t tell you I wasn’t humbled so many times, you would not believe it. It’s a very humbling experience to make a movie, because you’re at the mercy of the elements. Of the winds and the weather as well as conditions that can go wrong — disease, sickness, bad tempers. All sorts of stuff can happen. Given that nature, to pull off a movie is extremely difficult. The editing room is another humiliation. All your mistakes are thrown back in your face. No matter how many good choices you make, and making a movie involves thousands of choices, you’re constantly having to question yourself again. I find it a very difficult position. I don’t think I enjoy it. I think I’m more experienced at it but I don’t think I completely enjoy it. I think sometimes it’s so painful you want to scream bloody murder and run somewhere.

What’s the cut-off point? How do you stop?

How do you stop? A famous director once said that every film is abandoned, never finished.

So you just let it go?

Some people won’t but I do let it go. I’m not looking for perfection. I don’t believe in it. I believe that a film is many things to many people and it changes over time. I think you have to feel good about it and about what you did. It hangs together and it’s going to be a story that can move an audience. It’s so difficult to pull off quickly. It takes time.

The world’s moved on since Wall Street. Were you apprehensive about creating a sequel to such a well-loved film?

Apprehensions? No. I’d have had more apprehensions if I’d had to do it in 1990, I think. Twenty-three years is a long time to call it a sequel. I think of it more as a bookend.

Don’t you think that’s laying you open for even more criticism? Look at what George Lucas did with Star Wars..

We’re not going back into that period. The beauty of this thing is that there’s a new period upon us, which is quite different, technically. It’s a different kind of Wall Street. The landscape has changed. It’s no longer 1987. It’s really a computer game now. The money has accelerated at a square root that is beyond belief from millions to billions. Hedge funds invest 30–40 billion dollars. Even to have one billion dollars is an enormous amount of money. When you hear these guys say, “Oh, it’s just a billion dollar hedge fund” it’s unbelievable arrogance. The heights are dizzying, and the losses are dizzying. It’s just unbelievable what happened. By all accounts it was a near-fatal heart-attack.

Were you planning on revisiting Wall Street is the crisis hadn’t happened?

No, that was the catalyst for it. It wasn’t the only reason. It was a wonderful idea for a script, that Gekko would be a different type of person. That he would start from the outside. He didn’t have power or connections anymore. Time had passed. He was dated.

Is Michael Douglas in danger of becoming a pastiche of what made Gordon Gekko good?

I feared that. That’s why we approached it in a wholly different way. Michael is playing it twenty-two years older, he’s coming out of prison. Michael has changed in that interim. He was a charming rogue, certainly, in the Eighties. You saw a lot of that in his subsequent performances. You saw a lot of Gekko in later films, so I think it was smart to move away from that pastiche, as you call it, because it would have been boring after a while. There are flashes of the old Gekko, which I love, but it’s not like the charming reptile, so to speak. It’s a different man now. I’m not saying that he’s a wholly reformed figure looking for a martyrhood, but what’s interesting about him is what he’s going to do, and how he’s going to play the game to get back. He has suffered extensively in prison, his family has fallen apart, his oldest son has committed suicide. It’s very tough on him.

How did you persuade Michael to get back on board?

Frankly, I didn’t convince anybody. I passed on the script in 2006. It wasn’t important for me to make it. I felt, what was the need to make this movie if it was going to glorify the pigs on Wall Street? They were really making money and it was ugly. There was a spate of books too like The Wolf of Wall Street, which was a big hit and they are going to make a movie out of that. There was kind of a surfeit and there was sickliness to it all. I got turned off by it. I passed, and I moved on with my life, and I did W and World Trade Centre and stuff like that. Then there was this crash and the crash changed the equation I think, I hope.

Do you think the original message of Wall Street failed because young traders ended up idolising Gordon Gekko?

That’s a very good question. Frankly, I wondered at times. The original Wall Street came about because of my experiences on Scarface. I was living in New York and I was hanging out with the dealers and the mob. That whole scene in Miami was a very shocking thing in 1982–3. Wall Street, was like Scarface north. I was suddenly seeing people my age, in their twenties, making millions of dollars, so easily, so quickly. Moving inordinate amounts of money. Also, snorting and drinking. The partying scene had really kicked in big time in the 80s. It was all new to me, so that’s how that was born. Then it went to excess. But I was very clear that Gekko was the antagonist in the movie, but as you say a lot of young people caught on to him. I do think, and perhaps I’m retrograde, that although he was not feted at the time the anchor of the movie is Charlie Sheen.

But no-one wanted to be Bud Fox.

Well that’s the movies. They want to be heroes. They want to make money. I did meet a lot of people in their 40s that said, “When I saw your movie I was studying this-or-that at this-or-that school, I was going to do history or medicine or law but then I saw the movie and I moved to Wall Street for that reason.” The the kicker was that some of them were multi-millionaires, one of them was a billionaire, and they had moved to Wall Street because of the movie. I said, “Oh boy, I wish I had a royalty on that.” These guys are really rich.

I find that quite worrying.

I gave birth to some rich people. But some of them did good. Some of them created something. That was the whole point of the original. Not to shit on Wall Street but to basically say, ‘Look, this is an engine of capitalism’. This can work. My father always felt that Wall Street was a good thing. It creates companies, it finances new companies, creates research and development, and it does. It still does, by the way, it’s not forgotten but it’s been buried in the greater picture of making bigger profits and more greed, but it’s still there. Wall Street is a good thing. It was a good thing and it can be a good thing.

Throughout your career critics have said you shouldn’t glamourise the people you put on the big screen. Do you like to provoke that reaction?

No, I like to make bigger-than-life characters but ‘World Trade Centre’ is about two very ordinary men who were real heroes. On Bush I guess you could say I supped with the devil and brought out all the reasons I thought why people voted for the guy. There is this fundamental thing which Americans like in him, and I was trying to root that out and how he became President.

You were criticised for making Bush too likeable.

You can fault that, but he was re-elected. I didn’t like him. I was very clear — I empathised. Empathy means I walked in his shoes, or tried to. As opposed to sympathised. I don’t agree with anything he said. Anything. I think he was a disaster. It was a nightmare eight years.

Do you think you were too soft?

No. I wish I’d done it a year earlier and it would have been more timely. He was out of favour when it came out, because of the economy, but frankly the movie was about the national security state which concerned me more.

Why are you drawn to these anti-heroes?

They don’t do me any good. Nixon, too.

I see a lot of similarities between Tony Montana and Gordon Gekko. In Scarface, Tony says “You need people like me to point the finger at and say, ‘That’s the bad guy’”. Do you think film critics see you in that light?

I think you’re right. I think film critics have me as a punch ball. It’s an easy target, I guess. I’ve been misidentified with the characters, but I think over time you see that there’s a whole assortment of different characters. But I agree, I think that’s true and I think that’s hurt me. It’s hurt my career as well as some of the political statements I’ve made and positions I’ve taken in documentaries I’ve made. They’ve hurt me too and they’ve given me a profile that’s not necessarily me, it’s just a profile. Absolutely.

There’s been huge furor recently that you’re reported to be attempting to humanise Hitler, Stalin and Mao Zedong.

I think it’s out of context. I did use the word ‘scapegoat’ and I think that was an unfortunate word, but frankly it’s a very interesting history that we’re putting together. We’re using the facts that we have, that are known but have been forgotten. There’s no question that Hitler had a big hand up the ladder. He didn’t come out of nowhere. He is a Frankenstein, he is a monster and I have no sympathy for him, but he was created by a Dr Frankenstein. That Dr Frankenstein is a very interesting mixture and you have to study cause and effect to understand history, otherwise you don’t learn anything from it. It’s my fault because I’m interested in the world, and I’m willing to go out there. I’m not trying to provoke, I’m trying to look for the truth. I’m trying to shine a light. For Christ’s sake, I feel like we’ve become so politically correct that you can’t do shit anymore. You’re not supposed to turn around.

Do you feel like you sometimes exploit sensitive subjects too much? More than some people can take?

Well, that’s why I like the English. They’re much more out there and they’re willing to explore subjects that the Americans are not. Having been to war, having seen the devastation America visited onto Vietnam, I cannot just be another typical American and live in isolation. My taxes are going as we speak to blowing up people in Afghanistan. I don’t feel good about that.

Back to Wall Street. Gekko says “Every dream has its price”, what’s the biggest price you’ve paid to get to where you are?

I’d have to talk to my psychotherapist, who I haven’t seen in ages. I suppose the price is that you do have long absences from home and normal quotidian values, at times. Your children grow up and you have to readapt to the fact that you haven’t been the attentive father. That’s a big issue, but I have been as attentive as I can be in taking care of them. Still, there’s gaps there. Divorces have happened. Those things.

I see Wall Street as epitomising the ruthlessness of the Eighties. During that era did you find yourself being a slave to the success that you had earned?

Yeah, I suppose everybody can become a mental slave to the need to produce. Remember, I was on a roll in the sense that I had to get financing for very complicated movies. I felt like I had a mission. To get JFK made in that era was very tough, still. You need heat. To make that movie after The Doors you need to keep rolling. In a sense I worked very fast, and hard, but I knew that I could get things done. Nixon was sort of the end of the line. I was making movies all those years. Platoon was impossible to get made. So was Salvador. Every single fucking one. ‘The Doors’. They were always problems. There were always tremendous issues. You asked what the price is? The price was to keep going fast, before they change their mind. The idea was ‘Wrap it up, get another one done’. These are tough subject matters. With ‘Nixon’ I’d done eleven or ten, I was exhausted. Frankly, I needed to take a break.

What kept you moving on? Obviously the pressures that you’re talking about manifested in different ways. You had your drug problems earlier on, but how did it manifest when the financing started to crumble down? Did you resort to those kind of vices?

I think there’s other factors. There was a lot of living. A lot of pain. Children. Divorces. This and that. But I think I have been very successful. I got movies made that wouldn’t have been done in the normal radar. They were not on the scope.

In Wall Street 2 Shia LeBeouf says, “No matter how much money you make, you’ll never be rich”. With all your success, do you empathise with that sentiment?

Of course I do. I don’t think money is the solution to happiness. Life is complicated, but certainly money can have the opposite effect. It can make you unsatisfied with life, and make life harder for you. There are two effects of it. One is that it leaves you unsatisfied, you always want more, as we see from these billionaires. Two, it leaves you falsely content and over-satisfied.

And you’re not either?

I don’t feel that way, no. I feel like I’m one trade away from disaster.

The new film is called Wall Street 2: Money Never Sleeps. What gets you off to sleep?

What gets me off to sleep? Sonata. Medication. I’m just joking. The best solution for sleep is having lived a full day and tried hard to live life fully. That makes you feel the reward of sleep.

-Tim Noakes, "The Hollywood rabble rouser sets his sights on a new generation of Wall Street wolves," Medium, Mar 3 2010 [x]