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fireflyatlast · 5 months ago

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As promised: Rite Here Rite Now Review

Spoiler free above the cut, spoilers WILL be under the cut. (Word count: 1110)

Wow wow wow. In simple terms, RHRN was incredible. The recordings were edited very well, the crowd was great, the vocals were amazing as always, and the long-awaited continuation of the chapters was very satisfying.

As a newer fan (really started listening right when Re-Imperatour was ending) I unfortunately never got the chance to ever see any shows live. However, despite my newer status, I have made Ghost a key part of my interests. (ask any of my lovely irl friends, they've had the misfortune of hearing my rants.) I've watched countless interviews and old rituals in order to make up for lost time, but never have I felt more immersed in any Ghost media than I did when I saw the KIA shows on the big screen. It didn't feel like I was in row G seat 12 of my "local" mall's Regal Cinema, it felt like I was right there in LA.

The opening 5 minutes as Square Hammer plays softly in the background was great. Because there wasn't much going on on the screen, everyone in the theater that I was in was softly humming or singing to themselves quietly (Side note: I was worried that people would be super disruptive as the movie was going on, and I was really happy to not have those worries realized. My theater was respectful for the most part, and the only time anyone sang was during that five-minutes of not much.) It felt very nice to belong amongst such a nice community irl. As an introverted neurodivergent, sometimes I struggle to find places or people welcoming or sharing my interests. So being in a theater full of people who love the same thing as me, as much as me, was such a nice feeling.

The cinematography during the entirety of RHRN was great, with my personal favorite segment being Con Clavi Con Dio. The editing was really nice for the most part, and I love the development Cardi was given throughout the movie. I feel my one gripe with the filming is that while we did get great perspective shots on the ghouls, we didn't get much of their personalities. And yes, I get that technically they are just hired musicians and not the main focus by any means, I think it just would have been nice to see more than just a handful of clips of them interacting with each other or Papa.

All in all, RHRN was a wonderful experience and I strongly suggest any Ghost fan out there gives it a watch.

And now its time for my more story-based review. Spoilers under the cut!!

Again, wow. I was pretty excited to finally get some more of the chapters, I'm a big fan of anything that has "lore" even if it doesn't need it, so I definitely owe the chapters a thanks for really getting me into Ghost.

I was thrilled to find that we finally had a true conformation of Cardi's parents. I had always theorized that while Nihil was Copia's father, Copia had come from an affair with the audience members in the Kiss the Go-Goat music video, and that Imperator was Copia's adoptive mother after Nihil's abandonment of him. It's good to know I was wrong rather than not I guess.

Something I also enjoyed was the constant foreshadowing of Sister's death. It wasn't very subtle, but its definitely something I only connected the dots to at the end. Whenever we saw Sister, we saw pills. Lots and lots of pills. I had originally brushed this off as a background joke, but once Cardi reads her note, I realized that the pills were for her unnamed "condition." I think going into it, all of us knew someone would die, I just personally thought that someone would be Copia, not Sister.

That after-credit scene was amazing too. I loved Cardi's new outfit, and the conformation that yes, there will have to be another papa. Which obviously, yes, of course there has to be a new papa, but now, it just feels so much more real. Speaking of the new papa I WISH WE COULD HAVE SEEN HIM AAH! I get cliffhangers, but he was RIGHT THERE!

I'm excited for the next era and the next papa, the next costume of the ghouls. I have a theory though. I see a lot of people being stressed about the changing of the ghoul costumes with the new era, but I think we have one more cycle with the Impera masks. I've noticed that each mask and costume stays the same for two cycles. Opus to Infestissumam, the only thing that changed was the costumes becoming more remnant of Catholic ministry-wear. From Meliora to Prequelle, the masks stayed mostly the same, now with an added more feminine looking mask and more "suit like" outfits over religious attire. I definitely think we have one more era with the Impera masks, but different costumes. Also speaking of the ghouls one of them talked!! I think it was Mountain, but honestly I have a shit memory and it could have been anyone.

Onto my focus on who Cardi actually is. I am so happy we finally got more of a look into his mind now that he is papa. I feel like his personality when he was Cardinal was very timid and awkward, however I never thought he would stay that way at all. I like that he's way more confident now, to the point that he's questioning the higher authority of the ministry and their ways. I love that this confidence is partly just a mask to keep his fears of death hidden. I think his fears manifesting as an angry, questioning personality gives him a lot more depth than if he just gained confidence through his performances, which obviously happened too, don't get me wrong.

The last thing I want to discuss is the credit song, "The Future is a Foreign Land." First off, loved it. It was great musically, and the uncertainty in the lyrics fit very well with all of our uncertainty about the next cycle. Second off, I can't be the only one who think it sounds very similar to Subvision. I personally love Subvision, and even if its only for that one song, I'm super glad that style was revived for Ghost.

In conclusion, I love the developments made in RHRN, and I am more than excited for whatever is next. I think my brain will have to marinate on what I saw a bit more, maybe then I'll have some actual theories.

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seattlesea · 1 year ago

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Every Copia Antichrist Theory Detail (That I Know Of)- Part Two

Continuing from my previous post:

7. Live shows. There's a lot of weird stuff going on in the live rituals. For starters, the Ghouls are acting weird. Swiss/Multi has been literally going feral, grabbing his head, falling to the ground, clawing at his mask, looking like a choking cat (and some people believe that Swiss was the one who killed/injected the Emeritus brothers in Chapter 3). Is he going to go full feral and attack/kill Copia at the Kia Forum, or is something happening that he knows about that's driving him crazy? Sodo/Dewdrop is normally a very energetic, active, aggressive, and bouncy Ghoul, but during Respite on the Spitalfields (whose lyrics I'll go over later), he plays the guitar solo after the first chorus standing still in one place with his head down, which is very unlike him. Does he know the meaning/nature behind the song, and if he does, is he sad because he knows Copia is going to die, or is he sad because he knows Copia is going to become the Antichrist and 'evil'? Furthermore, the songs they play live are also interesting. During the Imperatour- which everyone was convinced Copia was going to die at the end of- they played 'Prime Mover' which is about the anti-Virgin Mary carrying the Antichrist in her womb. In Re-Imperatour, they replaced this song with Respite on the Spitalfields, which includes the lyrics 'We will break away together, I'll be the shadow, you'll be the light. Nothing ever lasts forever, we will go softly into the night'. Does this song reference/predict the death of Copia, or his death to resurrect as the Antichrist. They played two other songs from Opus Eponymous- which is, again, about the birth of the Antichrist- Ritual, which is about sacrifices to Satan, and Con Clavi Con Dio which is about the Clergy's goal (to spread the news and love for Satan) which references the Antichrist a couple times ('O you rebel chief destroyer of the earth' and 'Sathanas, we are one, out of three, trinity' which is a reference to the Unholy Trinity I talked about above and the Antichrist). The only song off Infestissumam they play is Year Zero, which is all about the rise of the Antichrist and how he will destroy the earth. They also play Jesus He Knows Me, which again could be about the False Prophet, another member of the Unholy Trinity.

8. Tobias. A couple things Tobias has said and done kind of puts things into place. First, Tobias/Ghost are well-known for doing the opposite of what everyone expects and surprising their fans (such as dragging Terzo off stage, Papa Nihil getting a heart attack and dying, killing the first three Papas, all the things that happen in the chapters, etc), so with not just everyone assuming that Copia is going to die but all the very obvious 'hints' that Tobias has been dropping such as the glass coffin in Chapter 16: Tax Season that Saltarian is wheeling around while Sister Imperator tells Copia on the phone about the Kia Forum ritual, Copia stares at the rolling coffin, and Saltarian smiles sinisterly then Sister tells Copia that it's a brand new coffin. The Darkness at the Heart of my Love 'When the summer dies, severing the ties' lyric. Copia waving at his ear during Cirrus's solo in Mummy Dust like he's batting away ghosts or whispers. Copia screaming 'No' after the line 'Never to return' in Rats, Saltarian telling Copia he 'knows when his time is up' in Chapter 14: Road Trip, etc etc. I feel like it's honestly too obvious that Copia is going to 'die'. That Tobias is building this up just for the fans to expect one thing only to do something completely different and shock them. Secondly, Tobias in an interview (I'll have to find which one, if you know please let me know), Tobias said that we're going to get a Papa in a way 'none of us expect'. So that could possibly mean an 'evil' Papa or an Antichrist Papa. Or it could mean the next Papa is going to be Tobias playing as Sister Imperator dressed in drag. Only Satan knows (cred to whoever made that joke btw it's hilarious).

9. Merch. Some of the official merch has honestly dug this theory deeper, such as the one depicting Copia on a white horse to represent Death and quite literally the Antichrist. But other than that one, two other merch pieces really stick out to me: the first being the 'Split Faces Raglan' that shows Copia with a half skeleton face with a glowing white eye and the right side of his face with a red eye. Why red and not green like his usual eye color? Could just be an artistic choice, but weird nonetheless. And the more important, telling merch: the Pietra pieces. These depict a skeletal Sister Imperator in a red cloak carrying a dead Copia with bat wings and devil horns which mimics the statue of Mary holding Jesus, 'Pieta' by Michelangelo (it even has the same name, so it's obviously based off of it). But since this is Ghost and Ghost is the 'opposite' or 'parody' of the Christian Church, the opposite of Mary and Jesus would be the anti Virgin-Mary and the Antichrist. Seems like a rather odd design choice considering all the other facts piled up. The Antichrist has the power to raise himself from the dead, but if Sister Imperator is trying to help Copia become the Antichrist for whatever reason, the Pietra pieces definitely depict that.

10. Escape the Ministry. The game seemed like just a fun, silly way to promote and celebrate Phantomime, but when you play it is says so much more (after all, everything Ghost does that seems 'silly' is usually foreshadowing to something much bigger and more serious). Spoiler if you haven't played the game yet: for starters, there are four Papa statues in the main hall, one for each deceased Papa. In the middle, there's an empty pedestal with the note saying it was to be filled soon. Is it for Copia (again going back to the 7th point about making it too obvious just to turn around and do something else) or is it for Cardinal Copia, or who he is before he turns into the Antichrist (considering the Antichrist needs to die before being rebirthed as the Antichrist)? Furthermore, the final code to the game is 'Evil remains all around', which is a mix of one word from four of the five covers off Phantomime. Obviously it was from Phantomime, as that's the record they're promoting in the first place, but those specific words and that specific phrase is suspicious considering the Antichrist is the embodiment of 'evil' and the rival of Jesus, and the first cover off Phantomime is literally about Jesus. There's one more thing about this game that struck me as very very odd that I'll go over in this next and final point.

11. Copia will not die. The main thing going around is that Papa IV is going to die and will be replaced, but there's actually a ton of facts that point to him not dying at all. The first thing to note which is very important is the fact that none of the former Papas actually died when the next Emeritus became Papa. Primo resigned/retired and both Secundo and Terzo got booted/fired for not sticking to the main goals and values of the Ghost Project and the Clergy, which was to overthrow governments and churches and to preach the name of Satan. Sister Imperator was the one who ordered their deaths after Copia had become the frontman because she didn't think they were doing a good enough job. Now with Nihil dead, she doesn't have to hear him constantly nag about how Copia isn't good enough. So 1. I doubt his own mother would order for his execution especially after the lyric in Witch Image mentioned before and how she avoids calling him Papa due to the past Papa's fates and 2. If the Antichrist theory is wrong, Copia doesn't even have to 'die' at all for the next Papa to take place, the same way Primo, Secundo, and Terzo didn't die for the next to take place. Second, in Escape the Ministry, there's a note about Copia's performance that goes like this: "Subject: Papa IV. Physical Appearance: 10. Fitness: 8. Musical Talent: Unmeasurable. Charisma: 8.5 Sticking to the Message: 9. Current Progress: Satisfactory". If his progress is satisfactory, why would they want to get rid of him? Also, they note that his 'Sticking to the Message' is a 9 out of 10. So he's doing his job as Papa and sticking to the goal of the Ghost Project, which Terzo and Secundo got fired for not doing and the three brothers got killed for not accomplishing. So the only canonical reason so far a Papa would be fired or killed is if they're not doing their appointed job well enough, which the Clergy is saying Copia is doing, even when he's dressing differently than a traditional Papa. So there is no reason for the Clergy to kill Papa IV. The only other reason I can think of that they'd want to kill him is if he's trying to become the Antichrist. Copia is a very naive, gullible, and exploitable person that the Ministry can easily manipulate and control, but if Copia becomes the Antichrist, he becomes extremely powerful, to the point of being able to rival Jesus himself. The Clergy wouldn't be able to control or stop him. That might be one reason they'd want to kill him (if they want to kill him at all). Another thing people point out is the glass coffin in Chapter 16: Tax Season that Saltarian is rolling around and Sister says is brand new. But it wasn't for Copia, it was for Nihil! In the very next chapter Nap Time you see Nihil in a brand new glass coffin. So: The Clergy has no reason to kill him besides if he wants to be the Antichrist, Sister Imperator is now the lone 'ruler' of the Clergy with Nihil dead and there's a slim chance she'd order the execution of her own son for no reason, even if Copia is being replaced, there's no rule that states he needs to die for someone else to become Papa, and Tobias waving the theory that Copia will die into fan's faces and heavily leaning into it so much makes it seem like it's actually less likely to happen.

And there we go, that's all the details, facts, and such that I've complied so far as to why I don't really think Copia is going to die, but rather die and come back as the Antichrist (the 666 tattoo on his chest, on his robe, and in his music video is what's keeping me so hooked on this theory cause it's just too specific and there). Is this all an intellectual, arguable theory, or just a crazed denial stage of Copia dying? Only Satan knows.

-A Nameless Ghoul

Credit to @billiesghost.snc on TikTok for most of these facts and theories, they're incredible!

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lanottedellastrega · 5 months ago

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Man, I haven't done a transcript in a while...

Editor's Letter: GHOULS ON FILM

Tobias Forge has always been wildly ambitious. After throwing everything at Ghost in his last real shot as a professional musician, he established the band as an occult-rock force you couldn't look away from, all shady Nameless Ghouls and papal vestments. As the years rolled by, Tobias might have unmasked, but the Ghost legend has only grown. Back at their early gigs in 2010, few could have predicted they'd have their own actual movie in 2024. Like everything Ghost do, Rite Here Rite Now has been kept tightly under wraps, but Tobias was kind enough to grant our Paul Brannigan an audience, and reveal the behind-the-scenes machinations that led to such a triumph of creativity. And if you're reading this letter on June 20, the day the magazine goes on sale and the day the film premieres, you're probably about to experience his vision for yourself. "This is not a tale about death, but one of life…" intones the voicover on Rite Here Rite Now's spooktacular, schlock'n'roll trailer. While we can't say for certain if Papa IV will survive in his current form, we certainly hope Ghost are around to entertain us for a long time to come.

Stay metal, Eleanor Goodman, Editor

RITES. CAMERA. ACTION! From dancing ghouls to…dead Papas? Tobias forge takex us behind the scenes of Rite Here Rite Now, Ghost's new movie spectacular. Words: Paul Brannigan - Lives: Ryan Chang - Portraaits: Travis Shinn

[Accompanying photo: two-page spread of the Forum Ritual, taken during Con Clavi Con Dio, with Papa downstage center holding the thurible. Caption: "Everything Ghost do is BIG. We expect no less from the film"]

Last year, in case you didn't notice, those "hands that threaten doom" which Iron Maiden's Bruce Dickinson once sang about, inched 10 seconds closer to midnight. The Science and Security Board of the Bulletin of the Atomic Scientists, the people who created the Doomsday Clock back in 1947 to gauge how close humanity is to destroying the world, reset the minute hand for the 25th time since its creation, moving it closer to the hour than it has ever been. So the prospect of imminent global catastrophe is now ever more pronounced, which, to be honest, is something of a bummer.

"We are approaching the end of an era. So let's have a good time." It was with these equally doom-laden words that Papa Emeritus IV, Ghost's puckish frontman, welcomed the faithful to the Kia Forum in Los Angeles on September 11 last year, for the first of two 'rituals' bringing the Re-Imperatour USA 2023 tour to a close. For those in attendance, the weight of those words hung heavily in the air.

In February last year, news that a second night at the 17,500-capacity venue had been added to the end of the Swedish band's tour schedule, after the first show sold out, was delivered in Chapter 16 of the occult rock collective's web series. The episode, titled Tax Season, was accompanied by a message from "The Clergy" stating, "We wish to inform you that in this world, nothing is certain except death and taxes."

The clip itself featured none-too-subtle hints that Papa Emeritus IV may not be long for this world; at one point, while he's playing a retro racing video game, he's distracted by the sight of a glass coffin being wheeled past his door, and when his attention returns to his TV screen, the words 'Game Over!!!!!!' appear. In Ghost world, where every symbol is scrutinised to the nth degree by the faithful, this was interpreted as a warning that the writing was on the wall for this Papa in the City of Angels. And when it was revealed that the group's two-night stand at the Forum was to be filmed for a future film release, with all phones to be confiscated from patrons upon entry, we feared the worst.

Hammer duly dispatched Associate Editor Dave Everley to Los Angeles to bear witness to what promised to be the gravest chapter yet in Ghost's evolution. At the conclusion of the second night at the Forum, however, Papa IV - "channelling the ghosts of Freddie Mercury and vintage Willy Wonka", Dave noted - was still standing, indeed dancing…but there was a lingering suspicion that there was more to be revealed.

Then, on May 1 this year, came a new message: the announcement that Rite Here Rite Now, Ghost's debut feature film, chronicling the events in Los Angeles, would be screened in cinemas worldwide on June 20 and 22. And those studying the minutiae of the film poster observed that the letter "o" in the final word of the title had been substituted for an analogue clock, its hands positioned at - and you might be ahead of us here - two minutes to midnight. Well, well, well…

"The Doomsday Clock is not an actual clock - it's more of a measuring tool for us to understand how near we are to fucking things up. But it's not like a timer on a bomb, and that means that we can still change things around. And this film is a little bit about that, about turning around and changing your ways, even if it's just your attitude towards things."

The real world time is 6:30pm (BST) on May 9, and an email has just informed us that 'Mary Goore' has joined our Zoom call from Stockholm. Those familiar with Ghost's pre-history will be aware that this was Tobias Forge's stage name in both his death metal band Repugnant and his glam metal outfit Crashdiet, and though he chooses today to keep his camera off, the voice on the call is unmistakably that of Ghost's 43-year-old leader. The trailer for Rite Here Rite Now premiered exactly four and a half hours ago, and as far as Tobias can ascertain, it's been "well met" so far the only "concerns" he as noticed to date bein raised by fans worried that the film has not yet been booked into picture houses in their homelands.

"The film is being distributed in many countries, but not all," he explains, "so I understand that there were some voices that felt like we'd overlooked this or that country. It's like when you announce a tour, and immediately get 'Why aren't you coming to… [insert country name]?' That wasn't our decision, I can't tell you why, it's just that some countries didn't want the film, or whatever."

Officially, the first seeds for Rite Here Rite Now were planted in Tobias's mind "over a decade" ago.

"When Ghost got signed to Loma Vista, Tom Whalley [owner and CEO] asked what the story of the band was," he explained in the press release announcing the film. "He felt telling a story was vital in order to get new fans engaged. I said that because we were a new 'baby' band and, more importantly, we were an anonymous baby band, there wasn't really a compelling story to tell. Not yet anyway. But I told him that if he wanted a story, I could come up with one. This film is the fruit of that conversation."

Those who've follwed the band from their earliest days, however, will know that, from the outset, Ghost emerged accompanied by a sense of theatre. Back in 2012, when I spoke to Swedish journalist Richard Lagergren, formerly the guitarist in the band Portrait, and the first 'outsider' to be informed of the existence of Ghost, he used the words "very cinematic, very surreal and very intense" to describe his first encounter with the group. He revealed that he was at his home one Sunday afternoon in October 2010, when he received a phone call telling him that a local band wished to see him. Within an hour, a car pulled up outside his home, and he was blindfolded, driven into the countryside and led into a disused warehouse, where, once his blindfold was removed, he found himself face-to-face with Papa Emeritus and five Nameless Ghouls, and was informed that he had been selected to begin disseminating word of Ghost's Satanic ministry to the world. This was very much not how bands were expected to conduct their business in 2010, and it telegraphed, from day one, Tobias's (still present) desire to keep Ghost out of step with standard, traditional music industry conventions.

[Accompanying photo: Portrait of Papa IV taken in his costume from the start of the show - gold Huntsman jacket, black pirate shirt, black ascot with devil scarf ring, distressed black pants. He is staring at the camera, his arms crossed and his hands at shoulder height, making the sign of the horns. Caption: "What delights are up Tobias's ornate sleeves this time?"]

"From the start, we were cutting against the grain," he reflects. "If you think back to that time, it was the beginning of when the music industry demanded a sort of hyper-frantic online presence from bands, and every band was updating Facebook as soon as they did anything, sending out private messages, like, 'Hey, everyone, don't forget to buy tickets!' I said immediately to my label, 'I don't wanna do that, I fucking hate that shit, and I don't wanna be part of that…and we're a fucking anonymous band.'

"So it was an issue, and we had to steer around a lot of those things, while figuring out, 'How do we communicate with the world what we want to communicate?' We had to figure out ways to sort of cable out a story to the world, a story that we didn't really have at that time, or a story that I didn't want to tell. Because what was that story going to be? My story? No, fuck that. So I said 'I'm gonna come up with a story, and it might unfold in the form of short little online episodes.' And Tom Whalley was like 'OK, I'm intrigued. What do you want to do?'

"So we started doing these episodes about The Ministry, with our little commercial messages attached, and it turned out fun. But obviously it became very complicated: there's a reason why bands just turn on their phones and are like, 'We're coming to Brazil!' It's so much easier. Whereas everything that we've ever done has always been way more complicated. But lots of fun, too. And so, via those web episodes, the story has really taken shape. The idea of making a film has been in my head for years, and I've always been adamant about the web episodes not being too detailed, because you don't want to paint yourself into a corner, so there's been a lot of loose threads. But I figured that I could take these loose threads, tie them together in some sort of comprehensible form, and that could be the film. And that's why we're talking today, finally!"

If you think that today Tobias Forge is going to outline exactly what happens onscreen in Rite Here Rite Now, you really haven't been paying attention to how Ghost operate. For as much as Tobias loves theatre and showmanship, he also treasures and truly values the mystique around his band. And that has its roots in the way he himself discovered his favourite bands as a teenager. For as much as he loved Kiss, Black Sabbath, Iron Maiden, the Sex Pistols and Venom, the young Tobias Forge was equally immersed in an underground extreme metal community where anonymity was prized above adulation.

"A lot of the bands that I grew up listening to weren't very famous at all," he recalls. "Some of them didn't ever play live, some 'bands' were actually one guy in his bedroom, and you knew very little about anyone. And when these bands did communicate with the world, it was through fanzines, and very adolescent interviews where they gave outrageous, very provocative answers. That helped cement my magnetism towards maintaining mystique, and back in 2010, I definitely thought that there was a way where Ghost could achieve some sort of success whilst 100% maintaining a mystique. And over the years, I've learned that was hard…but then I never thought we'd be as successful as we are.

"The best way to be anonymous in a band is by not forming a band. Don't do it! It's counterintuitive to remain anonymous if you want to be in a big professional band, and it's counterintuitive to sign with a major label who want to break your band. I've always been under the impression that in order to become a representative of the night, you have to be supernatural, but now it's time to let the world in on the story so far, to some extent."

[Accompanying image: Papa IV on stage during Year Zero, microphone in his left hand, his right hand counting two. Caption: "Is Papa IV on borrowed time?"]

With Rite Here Rite Now, Tobias admits that he's in "virgin territory". But here's what we're allowed to know. The film takes place over the course of one evening, with a narrative centered around a gig in Los Angeles, but with flashbacks referencing storylines in the Ghost 'webisodes', which began on YouTube in March 2018. For metal fans, the concept of a feature film blending a live show with a dramatic narrative will likely call to mind Metallica's bold and largely incomprehensible 2013 film Through The Never, a commercial disaster for the band, with James Hetfield subsequently admitting that it "disappeared" and describing the entire experience as "bittersweet". Tobias insists that, actually, there are no overlaps in what he set out to do with Ghost's film - "that film was never a guiding light" are his exact words - and he cites two alternate films as much more instructive in terms of his ambitions.

"As we were pitching the film, the two films that I mentioned a lot in orer for people to try to comprehend artistically what I'm trying to do were [The Rolling Stones' 1983 concert film] Let's Spend The Night Together mixed with [The Sex Pistols' 1980 'mockumentary'] The Great Rock'n'Roll Swindle. There is a sense of an origin story, but it's very much a story that takes place during an evening. So you sort of step right into what is happening right there and right then, and maybe the main character's inability, or unwillingness, to be there.

"One issue, or one challenge, that we faced was making a film that was comprehensible to anyone who had no clue about what Ghost is," he continues. "We have a very, very passionate fanbase, who, to a large degree at least, are very aware of everything that goes on with Ghost. The easy part, conceptually, was to make a film that would please them, because they know the story already, they know the context that we are now extending with this film, because it's basically picking up where the last episodes ended. But we wanted it to be that someone who doesn't know shit about the story gets brought up to speed pretty quickly. But this is where my ability to be objective ends, because I'm wondering, 'Do people understand what I'm saying here? Do people get that?'

"Obviously, as with everyone else, I'm a Star Wars fan, and that worked pretty well in the sense where you just crash land right into the story. That works where the message of the film is quite simple, and I think that the message that we're trying to convey with this film is to be right here right now, and not anywhere else. That's what I'm hoping everyone will understand."

[Accompanying photo: Papa and the ghouls backstage before the show. Caption: "What role will the Ghouls play in Rite Here Rite Now?"]

This sounds quite straightforward on paper. But, as Tobias was to quickly learn, the film business is not straightforward, not when films cost 'x million' dollars to make, and someone has to stump up those 'x million' dollars to get it from scripts and storyboards to the screen. Making a film, Tobias says with a very audible sigh, is so much more complicated than making a record, not least because the trust that an artist accumulates working in the music business doesn't necessarily translate to being trusted with a multi-million dollar film budget.

"The film had to go through discussions with finance people who were as curious about the content as you are," he says, diplomatically. "And let's just say that I sometimes struggled to convey what we were just talking about, and not everyone understood it. I'd be saying, 'Look, this is not really, you know, just us live from the Forum.' And they were like, 'Well, could you scrap the live show and just do a film about something else?' And I'd say, 'Well, that kinda defeats the purpose of what I'm trying to sell to you.' So that was a little bit weird."

The end result of such conversations was that no financial backer came onboard for the film, and Ghost and their management ended up funding the whole process - which, he says, ultimately simplified things. But the uncertainty meant that acclaimed Swedish filmmaker Jonas Akerlund - famously once a member of Bathory, and a creative visionary who's made music videos for the likes of Madonna, The Prodigy, U2 and more, as well as directing films such as Lords of Chaos and Spun - decided to step away from potentially directing the film to instead take on a co-producer role, and to advise Tobias as a friend.

In his place, as director, came American filmmaker Alex Ross Perry. He first saw Ghost opening up for Iron Maiden in New York in July 2017, at the conclusion of Maiden's North American tour for The Book of Souls, and subsequently directed the band's own 'mockumentary' Metal Myths, as well as the fabulously provocative promo video for the band's cover of Genesis's 1992 single, Jesus He Knows Me.

"He was obviously the right choice," says Tobias, "and a no-brainer to come aboard, because not only is he a very, very nice guy, but he also totally understands the band.

"Jonas was very involved with all the legwork beforehand, but when he stepped down as the director, and became a producer, it actually made things a little bit easier, because he became less stressed about it; all of a sudden he became calm, and just became my friend instead, pushing everything along. At no point did I feel like I'd bitten off more than I could chew, but the whole thing was definitely a huge learning experience.

"A lot of film studios sometimes struggle to comprehend something that isn't mainstream," he adds. "Like, it's not uncommon that you might want to make a film about, say, a historical event, and they would be, like, 'Hmmm, it's really depressing that the boat sinks in the end. Can it not do that?' And you're like, 'Well, no, the story is about these two lovers that meet on the sinking boat, and yeah, he dies in the end.' 'But that's so depressing! Can we make a different ending?' 'Er, No.' 'Well, we don't want to pay for that.' That's the sort of shit you're up against."

For Tobias, Rite Here Rite Now is clearly the biggest project that he's ever taken on, but Ghost fans shouldn't worry that they're about to lose their hero to Hollywood. At one point today, he mentions his work on the next Ghost album, specifically saying that he's "synchronising" his work on the film with the new record, so we may get an announcement on that sooner rather than later.

There remains one last matter to discuss. In each chapter of Ghost's journey to date, there has been death and renewal, with a new Papa coming along at the end of each cycle to replace the outgoing bandleader. And yet Papa IV was not killed off in Los Angeles. So, Tobias, is he going to transition into the next cycle?

A drawn out "Errrrrrrr…" comes through the speakers before an answer arrives.

"He will be with us, yeah. For a lifetime, if you will. As everyone is."

Okaaaaaay. But will Papa V also be appearing soon?

"I hope so."

At this point, the band's PR steps in to advise that we have one last question. So we ask if Rite Here Rite Now is close to the vision Tobias had in his head when he first embarked upon this ambitious undertaking.

"It's never, you know, 100%," he answers, "but pretty damn close. A lot of things that I think scared people in meetings a year ago, are things that I know that we pulled off. As an artist, people want you to dream big, but I always try to come up with things that are actually doable.

"Everything with Ghost is difficult and expensive, but the records are getting closer to what I imagine, and this film turned out pretty close to what I envisioned. And when I see the film, even I look at the show and go, 'That's pretty entertaining, that's pretty cool.' This is a film that you have not seen before. And you can all tell me what you thought when you see me next, OK?"

SIDEBAR ARTICLE 1: "I'M IN AWE OF TOBIAS!" Rite Here Rite Now director Alex Ross Perry explains how he helped Ghost's mastermind realise his vision.

[Accompanying photo: Another portrait of Papa IV in the gold jacket. His left hand is on his hip, his right gestures across his body, as though he is pointing to the sidebar. Caption: "Tobias has one helluva vision. Getting execs to understand it ain't easy!"]

[Inset photo: Alex Ross Perry looking off-camera to the right, as though he is staring at the photo of Papa next to him.]

Pennsylvania-born filmmaker Alex Ross Perry has a CV that includes helming music videos for the likes of Kim Gordon, Pavement, Sleigh Bells and Bully; writing, producing and directing acclaimed grunge/punk movie Her Smell; and creating Ghost's brilliant 2022 mockumentary, Metal Myths. However, he explains, working with Tobias Forge on Rite Here Rite Now was an experience like no other.

How did you and Tobias first come into one another's orbit? "I first saw Ghost opening up for Iron Maiden in New York, at the Barclays Center, seven years ago, and then I went on YouTube and had a lot of fun diving into their music videos. I'd done work for [Ghost's US record label] Loma Vista, and so I said to them, 'Nothing I've done is in the world of this band, but I'm a big fan, so if you ever need anything in the world of Ghost, my hand is raised.' And a couple of months later, I was asked if I wanted to create an official/unofficial Ghost mockumentary, streamlining the narrative woven into the band's story, and that became Metal Myths, which launched on April Fool's Day 2022."

How was that received? "I know that Tobias really liked what we did with that, and thought it was an amazing testament to his work and creativity. So then I was asked to curate an event at the Whisky A Go Go in Los Angeles to celebrate Ghost's Grammy nomination [for Best Metal Performance, for Call Me Little Sunshine], and we had some fun working on the Mary On The Cross [sic] 1969 era. While I was out in LA, we did the Jesus He Knows Me music video too, and I was told, 'We're doing a movie,' so I said 'Well, if you need any help, I'm here.'"

What did you make of Tobias when you first spoke to him? "I was, and am, a huge admirer of everything that he's built, so I was in awe of his creativity and the scope of his vision, and I remain so having now collaborated with him on this movie. He's one of the greats, in terms of the vision he has. He's a nerd, a repository for information and references to music history and film history, and that is incredibly rare. His vision has taken him so far in 10 years, and in 10 years' time it'll have taken him even further. My favorite band is Kiss, and Tobias might say the same, but they stumbled when they tried to branch out with [1978 TV film] Kiss Meets The Phantom Of The Park, whereas Tobias built a visual narrative into the Ghost solar system from the beginning. Working with him was constantly inspiring."

What was the most challenging part of the whole process for you? "It was just logistically very complex. It was challenging being at the Forum, shooting scenes that we were going to connect with scenes that we would be filming five months later."

How much creative input did you get to have, and how much were you able to bring your own vision to what was already mapped out? "I consider it a real collaboration between the two of us. His vision for the storytelling is crystal clear, but even though the A to Z is mapped out, there's so much room to discuss what happens from B to Y. You could just talk all night about that, and we did many times, like, 'Does this happen?' 'Is this joke funny?' 'Should this scene have no dialogue?' I took ideas that were not possible and turned them into ideas that are possible. We sat on his tourbus one month before the Forum and just talked until 4 or 5am about every story beat, every scene, every moment between the characters. It was such an amazing experience from start to finish."

SIDEBAR ARTICLE 2: "I'D SIT WATCHING FILMS ALL NIGHT, THEN HAVE A HORRENDOUS NEXT DAY IN SCHOOL!" Five flicks that fired the imagination of teenage cinephile Tobias Forge

[Accompanying photo: A third portrait of Papa IV in the gold jacket, staring directly into the camera and throwing the horns with both hands. Caption: "What the Devil will Tobias do next?"]

By his own admission, Tobias Forge is a film nerd, who watched "everything, all the time."

"I've always been very interested in cinema," he says. "As a kid, I'd watch everything that my older brother and his friends were watching, and as soon as I was old enough, I had a TV and VCR in my bedroom. I spent so much time in front of the TV playing guitar and watching films - French drama, comedy, horror, action, all kinds of films. I'd sit watching films all night, then have a horrendous next day in school! Anyone who has a record collection and video collection similar to mine will recognize lots of little references in our film."

Here are five films that regularly got slotted into the video cassette recorder in Tobias's teenage bedroom.

THE FUNHOUSE (Tobe Hooper, 1981) Tacky, violent and unpleasantly scary slasher flick set in a traveling carnival, directed by Tobe Hooper, who had produced, co-written and directed 1974's The Texas Chain Saw Massacre. A commercial failure, but one with cult appeal for fans of 80s 'video nasties'.

SCARFACE (Brian De Palma, 1983) Endlessly quotable and unrelentingly violent crime drama depicting the rise and fall of drug lord Tony Montana, played by Al Pacino. One of the most iconic gangster films ever made, referenced on countless gangsta rap records. All together now: "Say hello to my little friend!"

C.H.U.D. (Douglas Cheek, 1984) Schlocky sci-fi horror about murderous humanoids roaming the sewers of New York City. Ghost pal Dave Grohl was also a fan of the movie. His teenage band, Mission Impossible, recorded a song called C.H.U.D. with a chorus that ran: 'Chaotic Hardcore Underage Delinquents! Cannibalistic Humanoid Underground Dwellers!'

BETTY BLUE (Jean-Jacques Beineix, 1986) Impossibly intense French 'erotic psychological drama' featuring lots of philosophical musing, lots of steamy sex, and an inevitable slide into madness. A cult classic, which shifted tens of thousands of film posters to art and film studies students worldwide, it made 21-year-old Beatrice Dalle an international sex symbol.

LES AMANTS DU PONT-NEUF (Leos Carax, 1991) Another intense, wordy French drama about a doomed, obsessive love affair, staring a young Juliette Binoche as homeless artist Michele besotted with alcohol-and-pills-addicted wannabe circus performer Alex (Denis Lavant). The film went insanely over-budget and took forever to shoot; by the end, real-life lovers Binoche and Carax had split.

Copped the Ghost Metal Hammer so thought I’d share the contents for anyone who may not be able to buy it for themselves (the article and Tobias interview is Rite Here Rite Now spoiler free!)

Let me know if any of the photos are bad quality and I’ll re-take them!

#the band ghost #tobias forge #metal hammer #rite here rite now #transcript added #goddamn this took ages

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