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noahreids · 2 years ago

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NUVO MAGAZINE | Noah Reid on Switching Gears and Making Adjustments

Writer Josh Greenblatt | Photographer Ted Belton

From Schitt’s Creek to a Broadway debut, the screen and stage actor is now pouring his emotions into music. When Noah Reid appears on our video chat, he’s sitting in what looks like the prototypical New York apartment with a gallery wall obscured by lush monstera plants. The Toronto native has been staying at a friend’s place in Queens during his run in the Tony-nominated Broadway show The Minutes, which has earned rave reviews, though Reid ignores them. To his right sits the cover of his third album, Adjustments, which features boarded-up storefronts, an image of a period marked by immense change. “During the pandemic, the visual texture of neighbourhoods changed so much,” Reid says of the inspiration behind the eerie album art. “So many businesses that didn’t make it through, the boarded-up stores, they became part of the tapestry of the streetscape, certainly in Toronto, and I’m guessing in a lot of places.” He wonders what happened to the owners. “If you had to close your business, where would you go? What would you do?”

Reid starting writing songs for the album, the follow-up to his sophomore effort, 2020’s Gemini, before the pandemic, but when the world locked down, his Gemini tour was cancelled. It was just a month before the final episode of Schitt’s Creek aired. The beloved sitcom became a cultural phenomenon, winning a record number of Emmy Awards plus a Screen Actors Guild Award for Best Ensemble, and made Reid a star as Patrick Brewer, the love interest to Dan Levy’s character, David.

Noah Reid was photographed in Toronto this past June, while on a trip to his hometown from New York, where he is staying during his run in the Tony-nominated Broadway show, The Minutes.

Lockdown was an intensely creative time for Reid, if a trying one. “I was staying up way too late and just couldn’t differentiate the hours of the day,” he says, his casual approach to making music allowing him to hone his voice without the noise or pressure of a major label. Recorded live at Toronto’s Union Sound Company and produced by Juno Award nominee Matthew Barber (who also collaborated with Reid on Gemini and his 2016 debut album, Songs from a Broken Chair), Adjustments came to life over a series of sessions with musicians including Bahamian guitarist Christine Bougie and Great Lake Swimmers drummer Joshua Van Tassel. The result is an intensely personal, emotionally raw examination of our new, uncertain reality. “Everyday,” the effervescent album-opening lead single, encapsulates Reid’s headspace during the making of the album. “I wrote that song in the early days of the pandemic, when I’d look out the window at this park that’s usually full of kids and families but now was totally desolate,” he says. “It came from a feeling of being forced into a sort of loneliness and not really knowing what to do about that.”

Reid knows his genre of music isn’t exactly made for radio play. Alt-rock isn’t the most culturally relevant right now, he says. “I’m not trying to write hit songs. I just am writing from my own perspective.” Unlike in Hollywood or on Broadway, where producers, development executives, and casting directors determine actors’ fates, having full creative control over his music is paramount. So what is Reid’s perspective? “Finding that undercurrent of adjustments,” the artist says. “Sometimes the adjustment is about kind of letting go of what you can’t control, and sometimes it’s about trying to try to put a better foot forward.”

Noah Reid’s latest album, Adjustments, is an eight-track disc of smooth alt-rock.

Reid, 35, was born in Toronto to visual artist parents and began performing in local theatre productions as a young boy. A sensitive kid with energy to burn, he sang in his school choir, played on sports teams, and did typical extracurricular activities. But at the same time, he says, “I was going off and doing these other things that felt special and creative,” for which he sometimes felt isolated from his peers—feelings he explores on the song “Left Behind.” He originally thought the song was about the end of Schitt’s Creek, he says, but now feels it has more to do with “deeper-seated feelings of being left out of things or moving through different groups of people when you’re involved in these casts.” He and Levy remain close. “We had so much stuff together, and that became a real foundation of a really loving, trusting friendship,” Reid says. “And you know, that on-screen partnership, we had to really rely on each other and build that trust with each other. A lot of projects, I’ve taken a few friends with me from each thing, and Schitt’s Creek, it’s just that special thing where if I’m in the same place as any of those people, that’s a terrific day for me.”

Noah Reid knows his genre of music isn’t exactly made for radio play. Alt-rock isn’t the most culturally relevant right now, he says. “I’m not trying to write hit songs. I just am writing from my own perspective.”

A graduate of the National Theatre School of Canada, Reid is a rare example of a child actor who made it to the big leagues. His disarming sincerity recalls the wholesome affability of his Schitt’s Creek character. “I don’t consider myself famous,” he says. “I know some famous people. They live differently from me.” Recently, in New York, Levy asked him how he’s been handling his new-found celebrity after the premiere of The Minutes. “That guy can’t walk down the street,” Reid says of his famous friend. “I can walk down the street, and maybe people are, like, ‘I know you from somewhere.’”

Despite his current stardom, Reid has found his fumbles more meaningful than his successes. “I think some of the best moments in my life have been when things professionally weren’t working out,” he says. “And I found things that grounded me—relationships and an understanding that you can contribute to the world around you and your community in ways that don’t involve people clapping for you or inviting you to fancy parties and stuff.” This healthy remove from Hollywood excess feels like a more honest place to make music audiences can relate to, which is more important to Reid than commercial success or industry praise. Not that they are irrelevant, but “now, interestingly, professional success is abundant, and it’s a hard time to focus on it because I’ve got other family matters that I value more deeply,” Reid says. “And so that kind of balancing act can be really tricky.”

As his run in The Minutes ends, Reid is adjusting to his new gig: fatherhood. And he’s approaching it like he has everything else that’s come his way: with a level head and grace. “I’ve always had a sense that rolling with the punches is important, that things are going to come and go,” he says. “I don’t get too high, don’t get too low, just be chill. Take what comes and try to do what you can with it. There’s always another day. If that thing doesn’t work out, there’ll be something else.”

#noah reid #noah reid: media #noah reid: articles

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scotianostra · 2 years ago

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Happy 75th Birthday Denis Lawson born September 27, 1947 in Glasgow. and Kinross Star Wars connections here, Lawson’s nephew is, of course, Ewan McGregor, who portrayed Obi-Wan Kenobi in the prequel trilogy.and he was also an early drama school classmate of Ian McDiarmid, aka Emperor Palpatine in movie franchise.

Lawson t grew up in Crieff, Perthshire, after his family moved there when he was three years old. He is the son of Phyllis Neno, a merchant, and Laurence Lawson, a watchmaker Denis was educated at Crieff Primary School (then called Crieff Public School). After the 11-plus examination, he attended Morrison's Academy as a day pupil before attending the Royal Scottish Academy of Music and Drama, having first unsuccessfully auditioned for the Royal Academy of Dramatic Art in London. He then sold carpets and did amateur theatre work for a year in Dundee before auditioning again at RADA in London and successfully at RSAMD in Glasgow.

Lawson began his acting career with a small role in a 1969 stage production of The Metamorphosis in London's West End. and has since starred in television dramas such as The Merchant of Venice opposite Laurence Olivier as Shylock, Rock Follies and Dead Head.

Denis has been in too many other TV shows to mention, from the original Dr. Finlay’s Casebook and of course with almost every other Scottish actor he has starred in a Bill Forsyth film, his being Local Hero, but unusually he has never been in Taggart, his last film role of note was in the Glasgow Gangster film, The Wee Man, Denis was in 61 episodes of the long running hospital drama, Holby City as consultant cardiothoracic surgeon Tom Campbell-Gore and 37 episodes of the crime drama New Tricks. In 2017 he played The Duke of Atholl in the series Victoria.

In Star Wars: Episode IV A New Hope his voice was dubbed by David Ankrum. He reprised the role, in voice-over form, in the Nintendo GameCube game Star Wars: Rogue Squadron II: Rogue Leader. Lawson’s voice also provided the narration for the audio book of Heir to the Empire and Dark Force Rising in both novels, he reprised his role as Wedge Antilles as well as playing all characters.

Lawson turned down Lucas’s proposal to make a cameo as Raymus Antilles in Revenge of the Sith.

Lawson was approached to return for Star Wars: Episode VII The Force Awakens, but declined, stating that it “just would have bored [him].”he did however resurface in The Rise of Skywalker and voiced Wedge Antilles in the Video game Star Wars: Squadrons

Denis has been quiet for onscreen roles lately, but he has been treading the boards, his last show was Anything Goes at the Festival Theatre in Edinburgh last spring.

No stranger to Edinburgh, it was here that Lawson spent some of the formative years of his career working at both the Royal Lyceum and old Traverse in the Grassmarket, where he trained with the legendary dancer, actor, teacher, mime artist, and choreographer, Lindsay Kemp.

His childhood heroes were silver screen stars like Danny Kaye, Gene Kelly and Fred Astaire.“American Vaudeville kind of people,” he clarifies, “That's what made me want to perform. I wanted to be like them and Anything Goes is that 'front-cloth' vaudevillian-style show and I just love it. It's fantastic - musical theatre has always been a strong part of my career."

So strong, if fact, he won an Olivier Award for his performance as Jim Lancaster in the musical, Mr Cinders.

On his nephew, Ewan, Denis has clarified the line that he tried to talk MacGregor out of the Star Wars role of Obi-Wan Kenobi, saying;

“Ewan likes to say that, but it wasn't like that at all. He was young at the time and it's easy in this profession to get pigeon-holed, so all I said to him was to just be careful. To make sure he really wanted to do it. It was great that he did it and ignored ‘my advice’ and he was fantastic in it. He is an amazing talent.”

It's Lawson we have to thank for encouraging that talent and he remembers, "My sister Carol came to me and said that Ewan, who was eight at the time, had something to tell me. He stood in front of me very seriously and said, 'I want to be an actor.' And I said, ‘Fine, well come back to me in a few years and we will discuss it’. As with me, it never went away and I am immensely proud of what he has done.”

#Scotland #scottish #actor #director #theatre #tv #films #happy birhtday

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alumnusofheavenandhell · 3 years ago

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Hey! I know like nothing about cats the musical or whatever but woah!!! youve really piqued my interest with that bigtop burger post and i was wondering if you maybe had more thoughts about it maybe youd like to share :0

- from a shy bigtop burgy fan who really really likes to speculate and obsess on lore for characters and basically anything at all that hints at an interesting backstory

So!

Unless something really unexpected is going on, we know for a fact that Steve played Old Deuteronomy on Broadway, since it's mentioned in "Up" and we can see it in his flashback in "Kid." He's singing The Moments of Happiness and wearing Deut's signature big fluffy suit and wig.

Side note - the other actors in that flashback might also be clowns? They have vertical lines across their eyes and round noses just like Steve. Although, this episode was before the reveal that Steve is a Real Clown while his employees are not, so maybe it's just stylization, but I choose to believe it Means Something.

Steve and Old Deut also share some characteristics. They're both leaders of their respective groups (Bigtop Burger and the Jellicle Cats), and are both sort of mysterious but loving fatherly figures who possess otherworldly powers. Steve has his… clown mischief (horsepiss) going on, and Old Deut has the power to make the Jellicle Choice and escort the chosen cat to the Heaviside Layer to be reborn. Steve is generally much more chaotic and active than Old Deut, who is more subdued but also has a very forceful presence.

However, if I were to cast Cesare in Cats, Old Deut would probably be my last choice for him, which is why I don't think he's the one who replaced Steve unless there was some serious trickery going on. Thematically, you could connect him to Macavity (an adversary to the Jellicles who attacks them and kidnaps Deuteronomy, also has magic powers… Macavity is said to have broken every human law, so maybe at some point he sold rocks as food? And obviously his hench-cats could be described as "friends in low places") But as I said in my previous post, you could also make a lot of connections to Grizabella.

Readmore because this got pretty long:

They both frequent derelict places:

In old Venezia I made my trade Selling marionettes in my ramshackle place

She haunted many a low resort Near the grimy road of Tottenham Court

They've both been alone:

I wasn't missed or mourned, my body never found

Grizabella is rejected and outcast by the Jellicles, and when she comes back, those that try to reach out to her are quickly pulled away. Perhaps some do miss or mourn her, but this loneliness is a big part of her role in the show.

Again, something I mentioned in my other post:

I was chosen for a second chance at life

The Jellicle leader will soon appear And make what is known as the Jellicle Choice… Announces the cat who can now be reborn And come back to a different Jellicle life

(Spoilers (honestly you can't really spoil Cats, the plot is absolutely not the focus): Grizabella is chosen to be reborn)

And a bit looser of a connection:

Oh, just another one in a long line of no ones

In Memory, Griz sings, "I can smile at the old days, I was beautiful then." We don't know very much about Grizabella's past, so she's not necessarily from a "long line of no ones." And she wasn't always a no one herself, in fact, she used to be "beautiful" and popular. But by the time the show takes place, she's so downtrodden that she's nearly unrecognizable as the star she used to be - "Who would ever suppose that that was Grizabella, the glamor cat?"

You can probably tell that I don't think this is an intentional, 1 to 1 reference (notably, Grizabella doesn't really have any strange powers or dark connections), but it's fun to think about! And I really appreciate how Worthikids has obviously seen Cats and is very thoughtful when referencing it (unlike other media which tends to be lazy with theatre references, usually boiling down to "haha isn't theatre weird?")

Also we call productions of Cats that deviate from the standard costumes, set, choreography, etc. "non-replica," and honestly I would love to see a non-replica production where all the cats also work in food trucks. Bustopher Jones is a food truck connoisseur. Skimbleshanks has an entire food train, why not.

#cats #cats the musical #bigtop burger #steve bigtop burger #cesare bigtop burger #grizabella #old deuteronomy #sorry it's been a month #can you tell i literally just got prescribed ADHD meds and finally got the energy to write this answer that i've really wanted to write

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whentheynameyoujoy · 4 years ago

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So the ATLA Movie Is... Good, Actually?

Just kidding, of course it’s not, it’s so bad it sucked the paint off my walls. But after ten years of people pointing out its glaring flaws, why would anyone bother talking about this garbage heap if not to go the other direction? So here’s a very brief and very superficial list of things the movie does get kinda... not atrociously wrong.

And they won’t be fake hipster pokes, like “It’s fun to laugh at”, “The Rifftrax for this is OK”, or “Kudos to the actress for managing to say we believe in our beliefs as much as they believe in theirs with a straight face”.

(though now that I mentioned it, it is fun to laugh at, the Rifftrax for this is OK, and massive props indeed.)

Rasta Iroh

Yes, I know it’s not exactly the aesthetic of the real Iroh or that it makes no cultural sense for him to sport this do when no one else in the racebended Indian “OMFG what were you thinking Shyamalan” Nation does but goddamn, long-haired dudes are my one mortal weakness and I will ogle the hell out of him.

Jesus is that a man bun I see that’s it mum I’ve been deaded

Yue’s hair

No.

Now we’re talking. Yue’s hair turned white when the Moon spirit gave her life, so it makes sense for it to go black again when she sacrifices herself to revive the koi fish. It’s a neat detail I find myself expecting whenever I rewatch the scene in the show. Yes, I realize it’d be a pointless hassle to animate since she, unlike in the movie, immediately goes on to become the Moon herself but still. I like.

The Blue Spirit’s mop

Zuko, hun, what’s with the dance-off?

First of all, I want to imagine that Zuko the Theatre Nerd was about to leave his ship with just the mask like in the show but then stuck his head into the cleaning cupboard and went, “Yeah, more coverage might be good, even though it do seem mighty fried to shit”.

Which makes me giggle. I like to giggle.

And secondly, the hair’s movement is what makes the static mess of the Blue Spirit’s solo fight scene appear at least bit more dynamic because God knows the cinematography isn’t doing it.

Any particular reason why it’s at the edge of the action, shot all boring-like?

Now, I get why circular shots would be reserved for Aang while he’s in the practice area and then used once the two join forces. What I don’t get is why Aang’s part of the action scene has a defined visual style while Zuko’s delegated to a few stationary wide shots from afar as though he’s a tertiary goon, meaning that when the time comes to combine the respective pieces of cinema language and visually convey collaboration, there’s not really much to combine.

But as long as Zuko is stuck in this static mess, it’s that awesome disaster on his head flopping about that draws the eye, helping me understand that something even is going on over there.

It also prevents me from paying much attention to how the extras are mostly just staying put and a lot of the hits don’t land, so that’s good.

The music slaps

James Newton Howard is too good for this.

youtube

Pls ignore that the word “gods” is used in the ATLA universe

I can’t be the only one who constantly uses this piece to daydream about writing specific fanfic scenes instead of, you know, actually sitting down and writing them. It’s just so good at communicating a sense of sorrow while speaking of rebirth that I find myself getting misty-eyed whenever I listen to it. Unfailingly, the soundtrack as a whole manages to break through the mile-thick crust of horrible acting, confusing writing, and uninspired cinematography and make me feel things. And considering how everything on screen is working against it, that’s no small feat.

Imagine what a powerful experience it would be if the score was used in service of an actual movie.

Dev Patel

No wonder since he’s the only one in the film occupying that crucial intersection between “is a good actor” and “was given something to work with”. It also doesn’t hurt that he breaks with the trend of actors starring in martial arts flicks despite never having done any martial art.

And all EIP-jokes about “stiff and humorless” aside, he’s a pretty decent Zuko considering how abridged this version of the character is. A while ago, I remember hearing a reviewer say that with his comedic chops, Patel should have been cast as Sokka. And on one hand, yes, god, absolutely, I need to see that asap. But on the other? He captures all layers of Book 1!Zuko, the desperate obsession, rage, and self-loathing, and at the same time gives you a peek at the soft momma’s boy dork that’s buried underneath. For Christ sakes, he exudes intensity and ambivalence even when acting against an emotionless hunk of wood that’s giving him nothing in return.

Oh, and I guess there’s a tree in the frame.

Ba dum tss

What can I say, the guy’s good.

Showing vs telling

OK, so this movie is all tell and no show, except for one single moment. And it’s the exact moment where the original goes in the other direction in terms of how information is conveyed.

See, I never liked this. The revelation is preceded by Iroh giving advice to Zuko who scolds him for nagging. Iroh then apologizes, moves in to say the line above, and is interrupted by Zuko who seems rather uncomfortable with Iroh laying his feelings out like this. And once they’re out, Zuko verbally confirms that he knew already and Iroh didn’t need to bother.

All this extraneous information and pussyfooting ends up weakening what should be a profound scene that reveals to us, the viewers, how deep the relationship between these two in fact runs.

Compare to the movie where Dadroh acts like a parent by fussing and worrying, with Sonion needing a single look to tell him and us that he understands what it’s all really about.

It’s genuinely efficient and just good.

No Cataang

Fine, a bit mean-girl bitchy from me since I only start minding the ship in Book 3. And probably unintentional on the part of the creators since there are moments where I think they’re trying to set the romance up? There’s a, well, an attempt to recreate the famous introductory shot of fateful meaningful destiny of meaningness, there’s some slight note of saving each other’s bacon going on, I’m pretty sure they’re the only ones in the film who smile, and oh, right, Katara’s shoved into her post-canon useless role where she doesn’t ever do anything, and is all about Aang right from the get go.

Yes, I will blame the “executive producers” because a) I’m incredibly petty, and b) it’s perfectly in line with their vision of the character so why the hell not.

Hilariously, none of it reads on screen because the actors are just... yeah. These poor kids are struggling so much with delivering their own lines and portraying their own characters they don’t seem to have any strength left to create something between them. To be fair, the bare-bones shot-reverse shot style of their scenes doesn’t exactly lend itself to the idea they occupy the same universe, let alone are friends or each other’s crushes.

And I enjoy this immensely because it allows me to forget the depressing horror show Katara’s life turns into post ATLA.

Yes Zutara

I need to delve into this because it’s fucking hilarious. So in a movie which fails to establish the original’s central romance so spectacularly that if Aang got lost in a crowd I don’t believe Katara would notice, SomEOnE thought it’d be a good idea to add an utterly unnecessary non-canon moment where Zuko for some reason feels the need to pause his character-defining hunt for the Avatar which otherwise has him ignore everything and snap at everyone, and explain his central conflict to an unconscious peasant he doesn’t know, complete with gently pushing the hair from the pretty girl’s the soulmate’s the Water Tribe Ambassador’s the Fire Lady’s the love of his life’s her face away, AFTER his uncle nagged him twice to find a girl and settle down.

I just wanted to make sure we’re all on the same page and this is what we really saw.

Celibate Avatars

I have no idea why the decision was made, if TPTB thought expecting viewers to understand the story through the lens of Buddhism would be too much, or if the “executive producers” already worked their retconny magic. What I do know, however, is that there’s a big shift in worldbuilding and Aang’s struggle with his role as the Avatar stops being a personal conflict defined by a) his grief for Air Nomads, b) his notion of being robbed of the loved ones in his life, and c) the selfish attachment to Katara he confuses with true love. Instead, what he has a difficulty to accept is apparently a general notion of who Avatars are supposed to be, i.e. a fantasy version of Catholic monks, no family and worldly relations, period.

I guess either someone understood the original’s portrayal of de/attachment as “hermit no freaky”, or thought the audience would so why not go there outright.

Now, do I like this on its own? No, God no, it makes the world infinitely poorer and changes the story from an exploration of ideas which aren’t all that ingrained in the West, to a cliché tropester about a Catholic priest going Protestant so that he could be with a girl.

At least I assume that’s where they were going to take this eventually.

I mean, I think the direction was “look conflicted, this isn’t the final stage of your journey”?

But consider this—the show went there, it built on the concepts of Eastern philosophy and touched upon the ideas of spiritual awakening, only to swerve in the end and strongly imply they’re bullshit and Aang should have never wasted his time with them.

So honestly, I much prefer scanty worldbuilding to an insulting retcon by a damn rock.

Multiracial Air Nomads

Probably the most substantial “no hint of irony” point on this list and a genuinely good addition to the universe’s worldbuilding.

See, the notion of the elemental nations being perfectly separate and never mingling before Sozin has always been sketchy but it’s especially ridiculous in the case of airbenders. It never made sense to me for all airbenders to be Air Nomads and for all Air Nomads to be monks and for all monks to be chilling at the temples all the time to facilitate a quick everyone-dies genocide should an imperialistic warlord ever decide to commit one.

Because committing everyone to a single way of life at a handful of places kinda goes against the central philosophy behind airbending. Like the freedom and nomadism part.

Instead, there should be more variety to the airbending culture, with some staying at the temples as monks, hermits, and teachers while others live as nomads, travelling the world and creating more airbenders, with the resulting children in turn being influenced by the non-airbending cultures they grew up in.

And thus, not only should airbenders not be modeled after a single culture to create a one-size-fits-all lifestyle, but they should have the most diverse and dynamic culture out of the four nations.

And it’d be precisely this diversity which would pave way for an eventual reveal that some of them survived, that their complete extermination is impossible.

Because they’re everywhere.

You know.

Like air.

#atla #atla movie #zutara #anti bryke #dev patel #the last airbender #anti-kataang

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1962dude420-blog · 3 years ago

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Today we remember the passing of Toots Hibbert who Died: September 11, 2020 in Kingston, Jamaica

Frederick Nathaniel "Toots" Hibbert, OJ (8 December 1942 – 11 September 2020) was a Jamaican singer and songwriter who was the lead vocalist for the reggae and ska band Toots and the Maytals. A reggae pioneer, he performed for six decades and helped establish some of the fundamentals of reggae music. Hibbert's 1968 song "Do the Reggay" is widely credited as the genesis of the genre name reggae. His band's album True Love won a Grammy Award in 2005.

Hibbert was born on 8 December 1942 in May Pen, Jamaica, the youngest of his siblings. Hibbert's parents were both strict Seventh-day Adventist preachers so he grew up singing gospel music in a church choir. Both parents died young and, by the age of 11, Hibbert was an orphan who went to live with his brother John in the Trenchtown neighborhood of Kingston. While working at a local barbershop, he met his future bandmates Raleigh Gordon and Jerry Matthias.

Hibbert, a multi-instrumentalist, formed Toots and the Maytals in 1961. He could play every instrument used in his band and would later cite Otis Redding, Ray Charles, Wilson Pickett, and James Brown as key influences. According to Hibbert, Maytals is a reference to the Rastafari term for "do the right thing". There are also statements attributing the source of the name to Hibbert's hometown of May Pen. The band was originally a trio with Gordon and Mathias, and later added Jackie Jackson and Paul Douglas.

Much of Hibbert's early recorded output, such as "Hallelujah" (1963), reflects his Christian upbringing. He was also known to write about Rastafarian religious themes, and in an early Maytals song, "Six And Seven Books of Moses" (1963), he addressed the folk magic of obeah and its use of the occult literature of Biblical grimoires, such as the Sixth and Seventh Books of Moses.

The Maytals became one of the more popular vocal groups in Jamaica in the mid-1960s, recording with producers Coxsone Dodd, Prince Buster, Byron Lee, Ronnie Nasralla, and Leslie Kong. This success included winning Jamaica's National Popular Song Contest three times with songs Hibbert wrote: in 1966 with "Bam Bam", which won a national song competition, 1969 with "Sweet and Dandy" and 1972 with "Pomps & Pride"

The first Toots and the Maytals album released and distributed by Chris Blackwell's Island Records was Funky Kingston. Music critic Lester Bangs described the album in Stereo Review as "perfection, the most exciting and diversified set of reggae tunes by a single artist yet released." Chris Blackwell had a strong commitment to Toots and the Maytals, saying "I've known Toots longer than anybody – much longer than Bob Marley. Toots is one of the purest human beings I've met in my life, pure almost to a fault."

Hibbert also appeared in the groundbreaking Jamaican film The Harder They Come, in which his band sings "Sweet and Dandy". The film's soundtrack included the Maytals' 1969 hit song "Pressure Drop". The Harder They Come features fellow musician and actor Jimmy Cliff in the leading role as Ivan, a character whose story resembles Hibbert's.

On 1 October 1975, Toots and the Maytals were broadcast live on KMET-FM as they performed at the Roxy Theatre in Los Angeles. This broadcast was re-mastered and released as an album entitled Sailin' On via Klondike Records.

In 2004, Hibbert was featured in Willie Nelson's Outlaws and Angels. Hibbert carried on touring the world, and his band's True Love won the Grammy Award for Best Reggae Album in 2005. Nelson released a reggae album entitled Countryman (2005) which featured Hibbert on the song "I'm a Worried Man". Hibbert was also featured in the music video for the song, which was filmed in Jamaica.

In 2006, Toots and the Maytals covered Radiohead's "Let Down" for the Easy Star All-Stars album Radiodread, a reggae version of the English rock band's OK Computer. At the end of the year, Hibbert joined Gov't Mule for their New Year's Eve concert, documented in their Dub Side of the Mule release.

In 2009, Hibbert collaborated with MCPR Music and Steel Pulse's Sidney Mills, who produced Jamaican percussionist Larry McDonald's album Drumquestra. His track is called "What about the Children?" The same year he also performed vocals with Iowa reggae band Public Property on their album Work to Do.

In 2011, Hibbert was featured in the documentary Reggae Got Soul: The Story of Toots and the Maytals which was airred on BBC. Described as "The untold story of one of the most influential artists ever to come out of Jamaica", it features appearances by Marcia Griffiths, Jimmy Cliff, Bonnie Raitt, Eric Clapton, Keith Richards, Willie Nelson, Anthony DeCurtis, Ziggy Marley, Chris Blackwell, Paolo Nutini, Paul Douglas, Sly Dunbar, and Robbie Shakespeare.

In May 2013, Hibbert received a head injury after being hit by a thrown bottle during a performance at the River Rock Festival in Richmond, Virginia, U.S. forcing him to cancel several months of live shows. The bottle was thrown by William C Lewis. Lewis was facing a charge of malicious wounding, but he pleaded guilty to lesser charges. Despite Hibbert pleading in a letter to the judge, "He is a young man, and I have heard what happens to young men in jail. My own pain and suffering would be increased substantially knowing that this young man would face that prospect," the judge gave Lewis a six-month sentence.

After a three-year hiatus following the incident at the River Rock Festival, in 2016 Toots and the Maytals returned to the stage and began touring again. Hibbert's vocals appear in the Major Lazer and Bad Royale 2016 collaboration, "My Number", which samples his band's earlier song "54-46 That's My Number".

On 25 July 2018, Hibbert performed on the U.S. television show The Tonight Show Starring Jimmy Fallon with Toots and the Maytals where they debuted an original song entitled "Marley" as well as performing their classic hit song "Funky Kingston" in a live performance.

Toots and the Maytals have been cited as inspiration for other music artists as per career longevity. Jamaican artist Sean Paul explained this in saying, "I've seen some great people in my industry, you know, people like Toots…Toots and the Maytals. Toots, he's a great reggae artist and he's still doing it…He's up there in years and he's doing it. Those kind of artists inspire me. I know I'm just going to keep on doing music as long as I can."

In 2010, Hibbert ranked No. 71 in Rolling Stone magazine's "100 Greatest Singers of All Time". In August 2012, it was announced that he would receive the Order of Jamaica, the country's fifth highest honour

In August 2020, it was reported that Hibbert was in hospital "fighting for his life" in a medically induced coma. On September 12, 2020, a statement on the band's Facebook page announced that he had died, at the age of 77. The Gleaner and Rolling Stone later confirmed the announcement, reporting that Hibbert had died at the University Hospital of the West Indies in Kingston, in a medically induced coma. It was later confirmed that COVID-19 during the COVID-19 pandemic in Jamaica was the underlying cause of his death.

#September 11 #2020 #Toots Hibbert #R.I.P.#Reggae

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keepingupwithlinmanuel · 4 years ago

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Hamilton announces ‘exceptionally talented and diverse’ cast for Australia production

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In the most anticipated Australian cast announcement in recent memory, the Australian production of Lin-Manuel Miranda’s smash hit musical Hamilton has been unveiled, with the title role of Alexander Hamilton, originated by Miranda, to be played by relative newcomer Jason Arrow.

Miranda and the original creative team were “very involved” in handpicking the cast, said a spokesperson for production company the Michael Cassel Group. Arrow graduated from Perth performing arts school Waapa in 2016, and most recently performed in the ensemble of Beautiful: The Carole King Musical, and Aladdin.

He leads a principal cast comprised almost entirely of people of colour from Australia and New Zealand. When the show opens in Sydney in March it will retell the story of the American founding father in a “hip-hop musical” which took Broadway by storm after premiering there in 2015.

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“I am incredibly excited by the cast we have assembled,” Miranda said in an accompanying press release. “While theatres around the world have been forced to temporarily shut down due to the Covid-19 pandemic, we have taken this time to bring together a truly incredible ensemble to tell this story.

Led by Jason Arrow as Alexander Hamilton, this cast has such incredible talent, warmth and power. I know they will thrill and move audiences in Sydney when it’s safe to return.”

More on the cast:

In the context of recent debate around diversity and representation in the Australian theatre industry, with a number of roles for people of colour cast with overseas performers, the Hamilton cast list is significant. Of 35 performers, 33 are from Australia, including three First Nations performers and actors whose backgrounds are African, Mauritian, Caribbean, Asian, Pacific Islander and Latino. Two of the performers are from the US production, with one cast in the ensemble and the other set to understudy the male principal roles.

Playing Hamilton's political rival Aaron Burr is Lyndon Watts, Matu Ngaropo will play George Washington, Victory Ndukwe won the dual role of Lafayette and Thomas Jefferson, Shaka Cook will play Hercules Mulligan and James Madison, and Marty Alix will play Hamilton's son Phillip.

The three female leads, Angelica, Eliza and Peggy Schuyler will be played by Akina Edmonds, Chloe Zuel and Elandra Eramiha respectively. The sole caucasian lead, King George III, will be played by School of Rock star Brent Hill.

Arrow, who was born in South Africa, said he was moved when he first saw the diverse cast list.

"I didn't think that I would have an emotional response to it but I could feel myself welling up a little," he said. "It's not something you see that often and until you see it you don't realise how rare it is, then it really hits home. This is a moment to be celebrated, it's a turning point."

Here is an interview with one of two Maori principals, Matu Ngaropo. (The other is Akina Edmonds, who is Maori and Asian.)

#lin manuel miranda #hamilton #hamilton australia #the guardian #brisbane times #stuff #i am so excited #i have tickets!

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d-criss-news · 5 years ago

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Darren Criss on his marriage and new role in ‘American Buffalo’

When Darren Criss settles into our Alexa interview at a chic cafe in West LA, he’s friendly and direct.

“I am an outspoken person in real life, but in the media, I find I’m very reserved,” he observes. “I’m asked questions about myself that I haven’t really had to think about. That is a really strange occupational hazard. It would be like if you asked your dental hygienist, ‘Do you think your career choice stems from your interest in cleanliness as a kid?'”

Reading between the lines: The actor-producer-songwriter du jour resists the sound bite.

Criss, 33, may be the consummate showman, but in person — apart from a hint of chipped black nail polish and a pair of gold-rimmed aviators that nod to his love of costume — he seems more cerebral theater nerd (a flag he flies proudly) than flamboyant hunk.

Before long, Criss is expounding on big themes in a delightfully thespy manner. Conversations branch off, reverse direction, then run off on entirely new paths.

“I like keeping myself in balance by taking constant left and right turns,” he explains of his career. “The party trick? You think I’m doing all this stuff spontaneously, but it’s not without a significant attention to detail and planning. I don’t freak out if it doesn’t go as planned, but whatever it is, I will optimize it. Drop me off anywhere, and I will make [it] as awesome as possible.”

For a significant and impassioned fan base, Criss is the guy who sang, danced and heartthrobbed his way through a starring role on “Glee.” He’d go on to become an unsettlingly cheerful killer in 2018’s “The Assassination of Gianni Versace: American Crime Story,” a nuanced performance that won him an Emmy and a Golden Globe.

In 2020, things are getting even more extra.

The day of our interview, he was flying to NYC to begin rehearsals for David Mamet’s “American Buffalo,” now set to begin previews April 14 at Circle in the Square Theatre (a delay after Broadway shuttered over the coronavirus pandemic). He will play Bobby — one of a trio of hustlers trying to make it rich — alongside Laurence Fishburne and Sam Rockwell.

“I try to do a show in New York every two to three years,” says Criss (who’s previously starred in “How To Succeed in Business Without Really Trying” and “Hedwig and the Angry Inch”). “It will be great to be in New York doing one of the great American plays with a great American playwright.”

He’s also experimenting with new formats, namely executive-producing, writing songs for and starring in the new satiric series “Royalties,” which will debut on the short-form video streaming platform Quibi this spring.

In May, he’ll channel the golden age of cinema in “Hollywood,” the hotly anticipated Ryan Murphy-helmed Netflix series, which Criss also executive-produced. (Not to mention his work for Elsie Fest, a musical-theater festival he co-founded five years ago.)

If your head is spinning, that’s all part of the plan.

“I love giving strangers an excuse to connect,” he says. “I just enjoy quirky things and quirky people. And that comes from the idea of challenging people’s expectations. At the end of the day, that’s my biggest driving force — that you can do something weird and have it be cool.”

Born in San Francisco, Criss knew early on that he wanted to follow an original path. He taught himself piano, studied violin and, at the age of 10, made his professional theater debut.

“Had my parents wanted me to be an actor, I wouldn’t have done it,” he reflects. “But I realized I had a knack for it. I’m literally a parrot: I like mimicry, music, accents.”

His hobby, he insists, is practicing his Japanese. A dream vacation, he says, would be a sojourn at Middlebury College’s language immersion program. “It’s where they send the CIA to learn Farsi. I would love it!”

While a student at the University of Michigan, Criss gained fame with his contribution to the YouTube cult hit “A Very Potter Musical”, which led to the co-founding of the musical-comedy sensation StarKid.

“At the time, studio execs didn’t understand the power of social media. In my early 20s, I was this Internet force with my friends, but going to play piano at [a bar] twice a week. I was living a double life, with Billboard-charting albums, and yet, how could you explain this to a casting director? They were like, ‘You make Internet videos?’ It was absurd to them. Nobody [at the time] knew how to monetize that.”

During his mainstream breakout as the chiseled Blaine Anderson — who famously covered “Teenage Dream” on “Glee” — Criss earned what he describes as a “master’s in putting music and the camera together,” an experience that has served him well in both “Hollywood” and his genre-defying Quibi show, where he’ll play a songwriter aside big-name musician guest stars.

While Criss has played several high-profile gay characters in his career, he says he’ll no longer accept such parts, telling Bustle in late 2018: “I want to make sure I won’t be another straight boy taking a gay man’s role.”

In February 2019 he married his girlfriend — writer-producer-musician Mia Swier — in New Orleans. The experience can only be described as an immersive extravaganza.

Their first “dance” was a rendition of “The Ballroom Blitz” by British rock brand Sweet, with Criss on guitar and Mia on bass. They were later serenaded by friends Lea Michele and John Stamos.

There were umpteen costume changes (during the evening’s silent disco, a Vera Wang gown and Armani suit were traded for matching sequin T-shirts). Although Vogue covered the festivities, Criss says much remains under wraps.

“I want to show people all the things that really go on [in my life], but I’m also quiet about it,” he reflects. “The wedding is a good example. I remember thinking,’I wish everybody in the world could see this, it’s the coolest thing I’ve ever pulled off.’ When I put myself into something, I give it everything I’ve got. That was a big representation of who I am and who my wife is and what we do.

It’s non-conventional, out-of-the-box thinking and that also led Criss and his wife to open the Hollywood piano bar Tramp Stamp Granny’s, in 2018. Mia (whose family founded The Mercury Lounge and Bowery Ballroom in NYC) takes the lead on the project, although Criss says he still occasionally tickles the ivories there, a throwback to his leaner years working piano bars.

If you ask nicely, he may even sing. Crew Credits: Fashion Editor: Serena French; Stylist: Anahita Moussavian; Fashion Assistants: Nicole Zane and Haley Wells; Grooming: Jessica Ortiz at Forward Artists using Shiseido; Tailoring: Amber Doyle

Photographed at Dear Irving, 55 Irving Place

#darren criss #new york post #american buffalo bway #tramp stamp granny's #mia swier #darren's wedding #hollywood #royalties #starkid #acs versace #press #new york post photoshoot #march 2020

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pudding-head-kenma · 4 years ago

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bruh pls lemme know some good movies to watch :-: like what're your favs bby??

IJASKGNBINHSOKGLASKMGAS OH MY GOD I’M SO EXCITED YES :D THANK YOU SO MUCH FOR TRUSTING ME W THAT I’LL RECOMMEND SOME GOOD ONES + GIVE THEIR GENRE/SYNOPSIS . PROBABLY LONG LIST BELOW THE CUT !!:

1. LET’S START WITH MY ALL TIME FAVOURITE MOVIE: mulholland drive - a drama, a mystery and lowkey a thriller - after a car crash, a woman loses her memory. she finds help from a young actress that just recently came to hollywood and together they try to get her memory back, and find out why the amnesiac woman has so much money on her. as they get involved in mysteries, schemes and the hidden parts of hollywood, they fall deeper into a world that they aren’t even sure is real.

2. eternal sunshine of the spotless mind - i would call this a romantic drama! - basically it’s about a couple whose relationship turns sour, and they decide to get a procedure that will delete their memories of each other. it’s honestly such an interesting movie and it’s really tense as you watch strangers, once lovers, dance around each other and systematically forget they have done it

3. magnolia - i would call this a drama - it’s basically a bunch of stories complied into a movie, with characters SEEMINGLY unrelated trying to learn about love, forgiveness, and the meaning of life, lives separated but much closer than they know

4. the music never stopped - drama! - it’s basically the story of a father trying to bond with his estranged son, who recently discovered he has a brain tumour that prevents him from forming new memories. his dad, left without a choice, tries to connect with him through music

5. american beauty - drama - it’s really hard to give this a synopsis, and the ones i see aren’t all that accurate. it’s true that a suburban dad has a lot of sexual frustration, but that’s not necessarily the essence of a movie - it’s a family with a lot of pent up feelings, frustrations, and others

6. gisaengchung (parasite) - drama, thriller(?) - i think everyone might know this movie already but it’s definitely worth mentioning! it’s hard to describe, but try to think of the differences between a high class family and a lower class one. what if hte lower class starts trying to profit from the others? that’s when greed comes into play

7. byōsoku go senchimētoru (5 centimeters per second) - i’d call this a romantic drama, but not with all the focus on romance. romance is the undertone for the drama - this is an animated movie told in 3 instances of someone’s life, when he fell in love as a child, when he lost that love as a teen, and when he’s trying to get over that love, surrounded by the cold world and adult obligations.

8. lost in translation - drama, comedy (i say comedy not bc it’s a comedy just because it’s light hearted yknow) - a washed out actor travels to tokyo for a commercial, where he meets a young woman. they form a bond and start an unlikely friendship.

9. the night of the hunter - it’s a noir film, i’d say a bit more than thriller but not exactly HORROR, crime - a religious fanatic marries into the family of a gullible widow and her two kids. only the kids know their father hid $10,000 from a bank robbery, and there’s something strange about their step dad.

10. beasts of the southern wild - adventure, drama, fantasy (?) - this is a really good take on environmental issues in my opinion. a six year old has to learn courage and love as she deals with her father's fading health and melting ice-caps that are flooding her ramshackle bayou community

11. green room - horror, thriller - a punk rock band is forced to fight for survival after witnessing a murder at a bar. this movie is so nice to watch because it flows really well and you feel really tense

12. inglourious basterds - war, drama, adventure - in france, during the second world war, a group of jewish u.s soldiers come up with a plan to take down nazi leaders, not knowing the owner of a theatre is planning something with the same objective

13. amour - drama, romance - an octogenarian couple’s love is tested when the wife has a stroke, and the husband sees himself forced to change his whole life to take care of her.

14. rosemary’s baby - thriller, horror(?) - a young couple trying to have a baby moves into a fancy apartment, surrounded by peculiar neighbours. once the wife gets pregnant, she becomes convinced that the neighbours are trying to steal her baby for a satantic cult

15. moonlight - drama - the struggles of childhood, adolescence and adulthood, as told by an african american man struggling with his identity and sexuality.

16. el laberinto del fauno (pan’s labyrinth) - drama, war, i’d say thriller sometimes - in the falangist spain in 1944, a bookish young stepdaughter of a sadistic army officer escapes into an eerie but captivating fantasy world

17. oldeuboi - action, mystery - a man is kidnapped and kept prisoner for 15 years. once he’s finally out, he discovers he has to find his captor in 5 days so he can find out why he was kidnapped. in the meantime, he starts a peculiar involvement with a much younger woman, and uncovers secrets he didn’t know he had kept

18. låt den rätte komma in (let the right one in) - crime, drama, fantasy(?) - an overlooked and peculiar boy finds love and revenge in an even more peculiar girl

19. birdman (or the unexpected virtue of ignorance) - a washed-up superhero actor attempts to revive his fading career by writing, directing, and starring in a broadway production. this movie’s synopsis doesn’t give it the proper emphasis but it’s so good. it’s also all shot in the sequence of a day (obviously there’s cuts, but you can’t see them so it looks like only 1 shot and it becomes an amazing experience)

20. the blair witch project - horror - three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind. this movie was one of the first ‘found footage’ films that really sent the genre flying, i would highly recommend

21. for the same reasons above, i recommend [REC] (the spanish one), as it also brought found footage films to the public in the beginning. it’s about a journalist who finds herself stuck on a building with the infected, since the police decided to sacrifice everyone inside for the sake of the virus not getting out.

22. salinui chueok (memories of murder) [trigger: mention of r*pe] - action, crime, drama - in a small Korean province in 1986, two detectives struggle with the case of multiple young women being found raped and murdered by an unknown culprit

23. once - music, drama - a story about a pianist and a guitarist coming together and trying to live out their struggles through music.

24. gokseong (the wailing) - mystery, horror, thriller - soon after a stranger arrives in a little village, a mysterious sickness starts spreading. a policeman, drawn into the incident, is forced to solve the mystery in order to save his daughter.

#THOSE WERE ALL I COULD RMR OFF THE TOP OF MY HEAD #I HOPE IT HELPS ANON #anon <3 #danie recs!

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littlequeenies · 5 years ago

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BEBE BUELL: MUSING ON MUSES AND OTHER FANS

📷BEBE BUELLJUNE 17, 2020

Before embarking on a musical career of her own, Bebe Buell was a much in-demand model but was most often seen as the second fiddle to the famous rock musicians she was dating. She, however, saw herself as the Muse to these musicians, inspiring and sharing ideas with them. Inevitably, the term “groupie” would arise. As she says, “I’m not opposed to ‘groupies,’ per se. I just don’t like being called a name or being tagged like a sheep to slaughter’. Bebe elaborates on this idea for PKM.

I remember the first time I saw a photograph of Oscar Wilde. I was five and it was Easter. We were at the Virginia Beach home of my mother’s friends, Poppy and Tilly, who were hosting a Sunday get together. We were dressed in our pastels and frills and the candy and food was flowing. It was an adult affair and, being the only child there, I wandered off to explore while the grown-ups enjoyed their martinis and snacks. I found myself in a living room study area and on the table was a big book filled with photos of poets, painters, sculptors and scholars. I was immediately drawn to an image of Oscar draped on a chair like a velvet throw! It stuck with me and when I got older I looked him up in the school library. At the age of twelve I read The Picture Of Dorian Gray, but my main interest was in Oscar Wilde, the man and his story. I felt an instant connection, just as I have with all the great inspirations in my life. In 1978, when I was living between NYC, Maine and LA, before finishing the year in London, I never missed one episode of Masterpiece Theatre and their 13 episodes of Lillie about the life of Lillie Langtry, played brilliantly by Francesca Annis. To my delight, it explored in great depth the relationship/friendship between Oscar and Lillie, and I became obsessed with knowing everything and anything I could about their dynamic. I was intrigued, too, by the descriptions of Mrs. Langtry in the press at that time in England and the U.S. She was often called a “Professional Beauty” or “The Jersey Lily” because she was born on Jersey, the largest of the Channel Islands off the coast of Normandy. She was also one of the most featured women in advertising; her face was everywhere. She was the image for Pears Soap and the most respected painters of the day stood in line just to have a sitting with her. In 1877, she met Edward, Prince of Wales, later King Edward VII, and became his first publicly acknowledged mistress.

One of my favorite quotes was attributed to her from her conversations with Wilde: “They saw me, those reckless seekers of beauty, and in a night I was famous.” This reminded me of the back room at Max’s Kansas City, the temple of cool when I arrived in New York during the era of everything! It was this platonic duo that introduced me to the role of the “Muse”—that is the Artist and the Muse. Throughout history and especially in the arts, there seems to always be a driving force that brings the flora. In the series Lillie, they emphasized how Oscar would repeat Lillie’s quips and observations in his writing. Their banter with one another fascinated me and I often envisioned myself as a “Patron of The Arts”, in a sense, as I’ve always promoted and sang the praises of those whose work I liked. I felt an affinity with that spirit—the gift of inspiring and sharing special ideas with an artist I admired. It wasn’t just music. I adored musing with photographers, writers, film directors and designers, too. Creative energies have always fed my soul. The first time I referenced the term “muse” was in a 1981 interview I did with the Emmy-winning writer Stephen Demorest for the edgy publication Oui. Its sister magazine in France was called Lui. Playboy had taken over ownership of Oui so it was a glossy, classy, European-style men’s delight, targeting a younger demographic. When Stephen approached me about the piece, he showed me a couple other interviews with “It Girls” that had been published.

One was with Patti D’Arbanville, the inspiration for some of Cat Stevens’ biggest hits. He even used her last name in one of the songs, “Lady D’Arbanville”. I knew Patti from the early 70s and, in fact, it was she who introduced me to Jimmy Page in 1973 on a night out dancing with her in NYC. It was a quick meeting, as I was eager to get home to my boyfriend at the time, Todd Rundgren. A year later, I would run into Mr. Page again and the rest is the stuff of rock tales.

I adored Patti so knowing that both she and Jerry Hall had done this particular interview sealed the deal. Like Patti Boyd, Jane Asher, Linda Eastman, Maureen Van Zandt, Sara Dylan, to name a few, the musical muse is the most often of the muses referenced. I recall how so many people wanted to know my viewpoints and opinions about the word “muse” and why I preferred it to the term “groupie”.

Even in Cameron Crowe’s Almost Famous, his beloved character Penny Lane’s first words on screen are, “We are not groupies. We inspire the music- we are bandaids!”. The film was Cameron’s love letter to women and how even at that time a stigma was attached to calling a woman a groupie; it was not necessarily a compliment. It was almost like a dismissive jab, on par with “she’s such a slut” or “whore”. Another scene in Almost Famous has all of the members of the fictitious band Stillwater squeezed onto a small plane that, they thought, was about to crash. Secrets were spilled and fingers were pointed. In one of the most moving moments, the William character defends Penny when she is described as “that groupie” by one of the band members. William nails it when he points out who and “what” she really is- a bright light and cherished fan. Someone who loved them all and for all the right reasons.

I feel that women have been unfairly branded and labeled without cause. I’ve often said that I’m not opposed to “groupies,” per se. I just don’t like being called a name or being tagged like a sheep to slaughter. Summing me up for the life I’ve lived, seen through someone else’s eyes or, worse, exaggerating the truth. I didn’t want those I’ve truly loved or the relationships I’ve had to be considered less sincere because of the visibility of my partner.

Certainly loving music or dating musicians is not derogatory. Isn’t it logical, then, that birds of a feather flock together? Like-minded tribes mate or unite because of chemistry? Rock boys and models have been drawn to each other since forever! In the Netflix series Hollywood, you find that sex and sexual favors were the core of the industry. Several of the movie stars everyone loved on screen had started out as rent boys or nude models to make ends meet. Who decides why someone can give a blow job to the “right” person and get a starring role in a movie and another blow job by an aspiring talent gets tossed into the trash can of regret.

Why, after having four children with Mick Jagger, a successful modeling career and now being Mrs. Rupert Murdoch, would anyone refer to Jerry Hall as a groupie? Or gold digger, another favorite term used to describe women who marry well. Or Marianne Faithfull, Anita Pallenberg or Winona Ryder, for heaven’s sake? These are the questions I’ve always had and one of the main reason why I have rejected the term groupie in the press. It’s not a personal attack on those who identify with the moniker. It’s my own rebellion against being labeled and frowned on for the relationships I’ve had.

I’ve taken this stand for a long time, even though it’s also caused some judgement and negativity towards me from other women. It’s almost as if they think I see myself as better than them. Or that I’m not being honest when I don’t just call myself a full-on groupie, and own it. My closest friends tell me it’s just jealousy but that doesn’t make it any less hurtful to have tales and lies circulated about you by people you barely know or those who don’t know me at all. Or to have relationships that lasted for years being reduced to a laundry list of “conquests.”

This is nothing new, of course. Catherine The Great‘s enemies within the Emperor’s Court turned on her and started rumors that she was a sex fiend who had intercourse with horses. That stuck with her throughout her life and even in the museums of Russia, the tale has echoed although it’s completely untrue. Cleopatra and Anne Boleyn were also targeted. Ruining reputations was the way people got their revenge in days of yore. Or in some cases, the reason why some lost their heads to the guillotine. Why is it that women who have power or beauty have been subjected to crazy accusations of sexual voracity or deviance? Eve takes the blame for the banishment from Eden and although she was supposedly created from Adam’s rib, she is seen as a temptress and Adam as her victim.

I believe every woman should identify by how she feels comfortable and for the work she does. I personally prefer to be known for what I do, my accomplishments, my career. However, dating a rock star or an actor should not merit a nasty quip or name calling fest. It becomes unbalanced when just because someone gets famous as, say, a model or an actress and then dates a rock star, that she should get called anything other than what she does to earn a living. I’m not sure “groupie” falls under the umbrella of job occupation. I’d file it under pastime, hobby, passion, or fetish.

The origins of the groupie started with nothing more than a desire to be close to the band—the guys who made the music. Or in some cases, the women. The term came into use in the mid-1960s as slang for women who liked to hang out with musicians. It’s fair to say that not all “groupies” are the same. There are many tiers and pecking orders when narrowing it down. Certainly not every girl who dreams of being with a rock star will waltz backstage and demand sex or give oral gratification. That’s the image I despise and wish would not tarnish the entire viewpoint to the outside world. Some of the girls on the scene want to take the word “groupie” back, to personify what it meant in the ‘60s and early ‘70s. It became something entirely different when the ‘80s rolled around. Bands born out of the LA scene liked a different kind of arm candy than the Rolling Stones or the Beatles. They preferred exotic dancers and porn stars, the girls du jour of the time. Just as music changes with each era, so do the kinds of women who pursue the bands. But, more importantly, what kind of women the bands seek out. One man’s status is another man’s yen.

And then there are those who look at being a groupie as a form of prostitution. I’ve never understood that one because most girls who live that lifestyle don’t charge money to be with their favorite rock god or even their crew. It’s a thrill to be with the band, but it seems the glamor that was once attached to that goal has changed. For me, it was a thrill to fight to say “I’m IN the band”… or even “I AM the band!”

When I was living with Todd, he produced one of the first all-female bands, Fanny. They were so great! June Millington could shred! I felt bewildered when I would hear snide remarks wondering if Todd was sleeping with one of them. I thought to myself that would have never been said or thought if they weren’t women.

The bottom line is preference. We all have a choice. And we all can be whatever we want. We can wear many hats. I see myself as a mother, wife, musician, singer, songwriter, writer, mentor, animal lover… many different things. What I do in my spare time is how I make my soul happy. Who I date is based on connections, fate and karma. We end up with who we’re meant to be with and the experiences we have are all meant to be. I’ve been with my husband Jim for twenty years now. Our 18th wedding anniversary is coming in August 2020. So, I’m writing this piece from the perspective of a wife, mother, working musician, writer and mentor. Not just a girl who had lots of suitors in her youth. Every single little thing is part of the journey.

The first time I saw a photo in Rolling Stone of what they called a “groupie”, I was 15 years old and in the 10th grade. It was 1969, and neither the image nor the word was at all something ugly to me. It just seemed exciting and cool. The girls were so outrageously dressed, and it reflected an almost innocent charm. I didn’t aspire to be a groupie but they seemed like they were the ones who made the guys in the band cool. They helped dress them, created make-up looks and spread the word all over town about how good they were. It didn’t seem to be so much about sex and backstage antics. Maybe I was too young to fully understand everything, especially from the pages of a magazine.

On my first trip to LA with Todd in 1973, when I finally did meet some real girls who liked to be called groupies, it still didn’t seem derogatory. I started to see how it was all just tossed together in some people’s minds. It’s a complex dance between an artist and his muse. None of it is something so vulgar or tainted as being only about sexual conquest. Maybe to some, it’s about that. But for me it was a series of fated encounters that have lasted throughout my life.

Some people see a groupie as a girl who will do anything, including have sex with a roadie, to get to the band. There is that element to the rock n’ roll lifestyle. But it’s not the entire package. Others see groupies as a vibe, the girls who are there when the band makes it, the girls that helped them make it, the on-the-road bestie, or the girls who get the bands drugs and food. Or even give them the clothes off their backs if the band is short a cool stage look. I often joke that that’s how wearing your lingerie out became a signature rock girl look- the band had taken her clothes to wear onstage!

I recall reading where Pamela Des Barres said she was still a virgin when she first discovered her teenage heart being drawn to rock boys. It felt sexual to her and it was also just youthful and sweet. Not a salacious sexual quest. More a desire to be near the music and the men who made it. That’s perhaps what one would define as a “classic groupie”. Or, in some circles, “fan” is the preferred analogy. I can relate to that myself as I knew when I was ten years old, I would hang out with Mick Jagger one day. I knew those were my people… my kind.

Pamela has made a career out of her life as a proud groupie. But certainly she has a right to claim the term because she helped invent it! She now calls it her “groupie heart” and that is something anyone who’s ever had a crush on someone or loved someone’s music so much that it altered your DNA can relate to. Hasn’t everyone felt that way? Every guy or gal who picks up a guitar or slings a mic stand had to have been dazzled by their inspiration or felt a need to pursue that for their own futures. So, my point is this- none of it is negative nor should one word hold so much power that when it’s flung at a woman, she’ll feel shamed or scorned.

When I started to get a bit of fame, the media seemed to want to call me anything but “groupie”. It was “Friend Of The Stars”, “Queen Of The Rock Chicks”, “Leggy Model”, “The Mother Of All Rock Chicks”, “It Girl”… so when the internet entered our lives, I began to see just how judgmental and downright mean people were about the women who hung out with the bands. It started to become something so dirty and taboo that I wanted no part of that term. It’s a thin line, a hard one to walk. Personally, I feel loving music and being attracted to musicians is as natural as doctors and nurses getting along. Humans are drawn to their soul tribe. Music, musicians and all art forms attract me. I’m the moth to that flame.

As an entertainer myself, it always hurt me when what I actually do for my job was ignored or not taken seriously because of the famous names I’ve been attached to. It’s so one-sided to only put that burden on women. It has been the norm for men to be patted on the back and admired for their taste in women and especially if they were able to appeal to many and have tons of sexual experiences. Even in the animal kingdom, the male peacock has the massive plume bloom to attract as many lovers as he can. A male lion can rule the pride with his sexual domination. A male celebrity only becomes more famous if he’s got a beautiful model or actress on his arm. Whereas a woman who’s dance card is busy or even full is often ridiculed or bashed. Branded with the scarlet letter of infamy.

It started to get under my skin when I saw myself defined only by who I’d dated or had close friendships with. It’s the luck of the draw. Some women who are in the public eye can date and marry a celeb several times and be embraced for it. They use it to further their already visible life. They are proud and exploit all their lovers as the playthings that they’ve become. Some have become famous by leaking a porno or being on a reality show. What was once a limited field has become wide open with lots of branches of thought and assumption. I knew it wasn’t going to be easy for me to fight for my image… my persona… my legacy. But I did fight. I turned down almost every request I was presented to be interviewed for groupie documentaries or sensationalized TV shows. Sometimes turning down large sums of money. But I wanted to work hard and felt if I worked hard enough one day I’d be thought of for what I did on a stage, in front of the lens of a camera, as a mother and at times even a manager, more than who I shared my life with. Dare I use the “R” word? I wanted RESPECT.

There’s lots of contrast in the definition of groupie or muse but what about “partners”… the duos who took the world by storm. Sonny & Cher, Karen & Richard Carpenter, Debbie Harry & Chris Stein, Jack & Meg White, Jane Birkin & Serge Gainsbourg, Stevie Nicks & Lindsey Buckingham, Annie Lennox & Dave Stewart, Kim Gordon & Thurston Moore, etc… Or Chrissie Hynde and Courtney Love, who both married musicians. There’s a kaleidoscope of ways women are seen. It all depends on how you are first perceived. The general public seem to hold on to how they first heard of you even if you go on to do many different things in your life. Marianne Faithfull is a perfect example of someone who has been able to transcend her detractors and carry on like the warrior she is. But it baffles my mind how anyone could call her or Anita Pallenberg anything but tastemakers and trendsetters. They were the women I would stare at for hours as a young girl. They fascinated me almost more than the guys they hung out with. Yet I still hear them sometimes referred to as groupies.

Like any entertainer, I have an overwhelming need to be loved and to give love and positive energy to others. That’s why I crave being onstage. The connection with the audience is almost like having the best sex in the world. Or at minimum, a great, soulful hug that sends sparks through your body. I’ve been doing this since 1980, in public anyway. This is my life… not the talented, special men I dated in my youth. That’s part of my story and I will never regret a single heartbreak nor will I ever regret loving to the point of forgetting myself and my own pursuits. But I want to be remembered for more than my dates or suitors. I gave birth to a child who grew up to become a superstar so the role of nurturer has followed me throughout my life. I’ve accepted the fact that my fate is to be a vessel for talent and to enrich those who possess it. It’s become who I am- all the parts and pieces of my karma rolled into one big bang! My artistic side occupies just as much space as my musing side- equal parts love and creative energy.

Things come full circle especially when I get approached after one of my shows by young girls that call me “High Priestress” or tell me that they are my “groupies”. When I hear the words “Bebe, Im your biggest groupie!”, my heart swells but I also like to immediately remind them that I do what I do onstage because of them. Because of the exchange being a performer gives to my being. It’s like fuel… hors d’oeuvres for the soul.

One morning in 2009, I got a call from an old industry friend who had landed at Interscope Records. I was awoken with, “Bebe, you’ve been touted in a song produced by Pharrell Williams called ‘Bebe Buell’ by a young band from Boston called Chester French.” I remember thinking “wow, that’s a nice compliment” because the gist of the song was that someone like me or Pamela Anderson Lee were the creme de la creme of rock-boy desire. There’s a clothing line called ‘Muse & Lyrics‘ that has a blouse/top called “The Bebe” and the brand ‘I’m With The Band’ has named their leopard scarfs and headbands the “Bebe”. There’s even a cocktail called “The Bebe Buell”.

But I think one of the coolest things was having Cameron Crowe name the lead singer in Stillwater Jeff Bebe. He gave me the original T-shirt that was used in the movie, too, and boy do I treasure it! Cameron sprinkled all kinds of little clues and messages throughout Almost Famous. I was especially touched by the Jeff Bebe nod because he knew how much I wanted to be a singer in a band. I remember him once saying to me that I should just go for it. At that point, people only knew me as a model and Todd Rundgren’s girlfriend. I hadn’t even done Playboy yet, so I was still trying to figure out who I was and how to do it. I finally did but it took me six more years to get in the studio and front a band!

It’s moving to be honored and it’s also nice to be appreciated by the younger generation of pop culture lovers. The first time my name was in a song, I was excited by it. My old friend G.E. Smith had a line on his solo album that was about coming to visit “Bebe and Liz”… he came over to my best friend Liz Derringer’s house to play it for us. We were elated… it was cool. I would never be so bold as to sit here and make a list of my lovers or the songs they wrote for me because it seems so long ago. I’d rather leave that up to the fans of the music to decipher and besides not all songs written for others are acknowledged as such. I’ve had several songs given to me as gifts or written to me in letters.

Sometimes the authors don’t admit it because their feelings change and they don’t want to upset their new love interest. Didn’t Bob Dylan write “Leopard Skin Pill Box Hat”, “Just Like A Woman”, “Fourth Time Around” and “Like A Rolling Stone” about Edie Sedgwick, only to later deny it? I know the feeling because it’s happened to me. So, at this point in my life, I just cherish the letters (yes, I still have them so one day when we’re all gone they will maybe solve the puzzles) and I respect and allow artistic license to have its day. It’s an artist’s prerogative to change their minds so I hold no hurt feelings. Music buffs are pretty smart anyway and they usually know the truth, so it matters little unless it’s blatant. The one topic that irks me is that I claimed This Year’s Model was about me. Well, that’s impossible because I didn’t meet and start to date Elvis Costello until he was well into Armed Forces. I was living with him in London when he recorded it in the fall of 1978. He included a couple of lyrics from songs on Armed Forces in letters to me but I can say with certainty that “Party Girl” wasn’t one of them. I guess it was the timing of the release that made people speculate I was the subject, but I wasn’t and never claimed to be. He didn’t even know me when he wrote those records. Why this is disputed has always been a mystery to me. The songs Mr. Costello sent me in letters were from later albums, starting with Get Happy. I will always wonder too why he would say something so false and perpetuate a rumor twenty years later in the liner notes of a re-issue. Here’s to hoping it is finally put to rest. And even with the shame and pain I felt at the time, I feel no regret or ill will toward anyone. To me the truth is pretty obvious. Remember the story I told earlier about Catherine The Great? Revenge is often used when hearts are hurt, and it is very common in the entertainment industry.

In summing up my thoughts on the topic, I feel it’s time in our culture to appreciate the roles women have played in art since the beginning of time. Dali had his Gala, Picasso would hide the initials of his mistresses in his paintings and secretly tell them so they would know it was for them, Clapton immortalized his love and lust for Patti Boyd with the ultimate ode in “Layla” and John Lennon may have written the most beautiful love song of all for Yoko in “Woman”. Or was it Paul McCartney with “The Long And Winding Road” about Jane Asher or “Maybe I’m Amazed” about the spectacular Linda Eastman McCartney?

We can’t leave out the spirited and unique George Sand whose given name was Aurore Dupin. She was born in Paris on July 1, 1804 and adopted the name “George” because women couldn’t write professionally with the freedom of men in those days. She became one of the most popular writers in Europe during her lifetime- one of the most notable writers of the European Romantic era. She would wear male attire in public saying it was easier and more affordable than women’s garb. She was a confidant to Franz Liszt and lover and muse to Chopin. She would lie beneath the piano while Chopin composed, saying it sent the music through her entire body instead of just her ears.

Music is primal and it gets into our bloodstream. It’s easy to see why young girls get crushes on their idols and some even grow up to marry their dream man. But the days of defining women by their sexual desires or “conquests” should be on the wane. I never looked at the men I dated or loved as conquests. Humans aren’t territories to be battled over or ceded to. The human connection is divine. Each and every person we cross paths with is part of our magical life story. So, whatever you identify yourself as is fine. That is your privilege and judgement should not follow even if the choices aren’t the norm. As Oscar Wilde said, “Be yourself. Everyone else is taken.”

*Closing side note* As I was finishing this essay, I was doodling with a People magazine crossword puzzle and one of the clues was “GROUPIE”. Guess what the answer was… “FAN”. The timing was uncanny!

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pretoriuspictures · 4 years ago

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https://www.talkhouse.com/on-the-virtues-of-cinematic-failure/

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Most journalists who have spoken to me about my new erotic drama PVT Chat (starring Peter Vack and Julia Fox and streaming now on most VOD platforms) assume it’s my first feature film. Actually, it’s my third. My first two features never played a single film festival and haven’t been seen by more than a few hundred people (mostly friends and/or curious followers of my rock band, Bodega). They were financial failures (even though they were made extremely cheaply), but you couldn’t call them critical failures because nobody has ever reviewed them. I spent the last decade working on these films and yet their cultural footprint is practically nonexistent.

Despite that, I still believe in them and hope one day I’ll make a movie (or record) that inspires people to seek them out. My early cinematic attempts certainly failed at behaving like normal movies, but to me it is precisely this failure that makes them interesting.

Godard said of Pierrot le Fou (1965), “It’s not really a film. It’s an attempt at a film.” This is a purposefully cryptic statement, but I think I understand what he meant. There is a sketch-like quality to his films from that period. He was less interested in following a particular plot through to its conclusion than suggesting narrative ideas and moving on. He enjoyed employing classical narrative tropes but didn’t want to waste screen time on the proper pacing required to sell those tropes to an audience. Instead he filled his screen time with spontaneous personal, poetic, and political ruminations that occurred to him literally on the day of filming. Many found – and still find – this approach infuriating, but for a select number of Godard disciples, like me, this type of filmmaking is still revolutionary. I remember seeing Weekend during my sophomore year of college at the University of South Carolina and having my mind completely ripped open. Suddenly the world wasn’t a small, mediocre, predictable place – it was full of music and color and philosophy and eroticism. There were people out there genuinely disgusted with the status quo and boldly proclaiming it with style.

Godard’s work is a fulfillment of the dream of the caméra-stylo – a term coined in 1948 by Alexandre Astruc that argued it was theoretically possible for someone to compose a film with as much direct personal expression as exists in prose. In order to achieve this level of expression, one often needs to move beyond the realm of mere plot and narrative naturalism, the principle that what you are seeing on screen is real. (On most movie sets, the filmmakers and actors work overtime to sell this illusion.) Films that focus solely on plot, character psychology, and one literary theme have to direct the majority of their screen time toward plotting mechanics and emotional manipulation of the audience. What you gain in dramatic catharsis you often lose in intellectual honesty. There’s always a tradeoff. I am invested in a cinema of the future that veers toward self-expression, but doesn’t need to avoid dramatic catharsis as Godard’s films did. Certainly many filmmakers my age are working to achieve such a synthesis of intellectual directness and narrative pleasure. Experimentation is required and many “bad” films need to be made to pave the way for future successes.

I graduated college in 2010 high on this dream of the caméra-stylo and philosophy (my field of study) and in 2011 started filming my first feature, Annunciation, with experimental filmmaker Simon Liu. Annunciation is an “adaptation” of the Mérode Altarpiece, an early Northern Renaissance oil painting triptych by Robert Campin. The film features three short separate narratives, one for each panel of the famous 15th-century painting. I wanted the performances in Annunciation to be controlled and somewhat surreal, as if the whole film existed in a heightened but slowed-down hypnotic state; I was thinking about Bresson, Ozu, Antonioni and, of course, Godard (particularly his work from the ’80s). There is some plot, but the main goal of the movie was to reveal the miracle of existence in the everyday. And because the Mérode Altarpiece depicts the scene in Christianity where the Virgin Mary was impregnated by light alone, the film had to be shot on 16mm film.

Now picture this: a 22-year-old walks into a conference room in Midtown Manhattan and gives this pitch to a producer who was then investing in thriller movies: “Every time light strikes a piece of celluloid, a miracle similar to the Annunciation scene occurs: an image appears in the likeness of man that redeems our fallen world and reveals it to be the beautiful place that we take for granted in our normal day-to-day.” This wasn’t met with the enthusiasm I was hoping for. “Don’t you see,” I said, “this is a film about the ecstatic of the quotidian! This is a film that audiences will flock to! It could do for Williamsburg and Bushwick what Breathless did for Paris!” Looking back, I am both shocked and charmed by my youthful naiveté, courage and idiocy.

I was laughed out of the room, but the producer was kind enough to wish me good luck and welcomed any future pitches, should I come up with something any “normal” person would want to watch. I never thought of films in the tradition of the caméra-stylo as being elite works only for the gallery or the Academy. I, like Godard before me, have always assumed that audiences are intelligent and long for thoughtful, challenging movies. That belief I carry to this day and thankfully it sometimes seems to be true. How else could you explain the recent success of heady films by Josephine Decker or Miranda July?

Thanks to small donations from family members (and credit cards), I was able to shoot Annunciation without any official backing. I cast the film with a mixture of non-actor friends and some undiscovered Backstage.com talent and dove head first into the production. Right as our principal photography began, Occupy Wall Street gained momentum, so Simon and I spent time at Zuccotti Park filming our actors experiencing the movement. The hopeful promise of OWS seemed to reflect the yearning desire of our film’s protagonists as well as our own idealist cinema experiment.

When the film was finished and edited, I naively assumed that we were well on our way towards global cinematic notoriety. Surely, I thought, this important film that manages to blend fiction with actual footage of OWS would premiere at Cannes or Berlin and the Criterion Collection would issue the DVD shortly after. In actuality, it was rejected from every single film festival we submitted to.

Undeterred, I conceded that maybe there were a few minor structural flaws in the edit. It was probably a little too long and perhaps the three separate narratives would work better if they were crosscut more. A year later, this new edit was again rejected from almost 100 festivals. Stubbornly, I thought that perhaps what could really bring the movie together was a comic voiceover by my then cinematic muse Nick Alden (who is a lead in both Annunciation and my second film, The Lion’s Den). Audiences seemed to ignore the comic tone underlying Annunciation. If only I could unearth it, they wouldn’t be put off by the pretensions to greatness the movie wore on its sleeve. There is nothing so offensive to American audiences as pretentiousness.

I didn’t send the overcooked voiceover version to festivals. I knew it was forced and worked against the core concept of the film. But it was then that I started for the first time to have doubts about Annunciation. Maybe my film wasn’t as emotional or clever as I imagined. Maybe it was bad? “No,” I decided. The film, whatever its flaws may be, has value. Herculean delusions of grandeur come in handy when you are trying to become an artist.

I opted to edit the film back to its original state, but without some of the weaker, obviously didactic moments, then hosted a few local screenings in NYC (most of them at DIY venues where my rock band would play) and put the film up for free on Vimeo. Around this time, it occurred to me that editing Annunciation had been my film school. Failure is a wonderful learning tool. Editing the same raw material in a myriad of different ways taught me about pacing and tone. Still to this day, when I find myself in a certain state of mind, I open up the Final Cut sessions and do a new edit of the footage just for fun, like some sort of DIY George Lucas tinkering with the past. Last year during quarantine, I did a new edit of Annunciation and uploaded it to Vimeo without telling a single person. It has become my own little cinematic sandbox to play in.

When people did chance upon one of my myriad edits, they often commented that they enjoyed its style but found the acting too unnatural. My response to this was to make my next film, The Lion’s Den, a cheaper HDV feature that doubled as a political farce and an essay about naturalism in cinema. The film is about a group of ding-dong radicals who kidnap a Wall Street banker and plan to donate his ransom money to UNICEF so salt pills can be provided for dehydrated children. The UNICEF plot was drawn from Living High and Letting Die, a 1996 work of moral philosophy by Peter K. Unger. It was both a serious attempt at political philosophy and a total slapstick farce; I was imagining the comedy of errors in Renoir’s The Rules of the Game mixed with the Marxist agitprop of Godard’s La Chinoise.

The acting style in The Lion’s Den was purposefully cartoonish; at no point in the film could an audience member believe that what they were seeing was real. I like to think that The Lion’s Den was an attempt at theatre for the camera, part Shakespeare and part Brecht. This was my own personal response to our epoch’s hyperrealism fetish. At the time, I believed that the current obsession with neo-neorealism, mumblecore and reality TV was worth combating. Art with a realistic aesthetic, I thought then, was inherently conservative and accepting of the political status quo (whether the artists were aware of this or not). Art with an imaginative anti-realistic aesthetic, so I thought, was utopian. It opened new vistas and ways of thinking and being. It dared to believe in a more beautiful world than the one we are living in.

The making of The Lion’s Den was extremely difficult. It was by far the hardest thing I have physically done in my life. At the time, I was malnourished and broke, not unlike the character of Jack in PVT Chat; my diet for that month we made the film consisted mostly of coffee, rice and beans, ramen, light beer, and the occasional waffle or fruit smoothie from the vegan frozen yogurt stall I worked at. Unlike Jack, my addiction wasn’t cam girls or internet gambling, but independent filmmaking. I begged, borrowed and scrimped $10,000 to make a film I knew I wouldn’t be able to sell. Despite having some key collaborators near the beginning of the shoot, most of the film was made with just me, the actors and a loyal boom operator, all living together in a house in Staten Island. This meant that I had to assemble all of the cumbersome lights for every setup, handle the art for every scene (which involved a lot of painting), block the scene and direct the actors, throw the camera on my shoulder and film, and then at the end of the day transfer the footage while logging the Screen Actors Guild reports and creating the call sheets for the next day’s scenes. Exhausted both mentally and physically, I often couldn’t stand up at the end of the day’s filming.

Once we’d wrapped and everyone had gone home, I stood in the middle of our set and played Beethoven on my headphones. Within seconds, I began bawling my eyes out, partly from exhaustion but also from the melancholy that all my friends had left and I was now alone for the first time in a month. I collapsed and slept for hours. When I woke up, it was my 26th birthday. I celebrated by watching Citizen Kane alone and then started the process of painting the walls back to a neutral white. The actor Kevin Moccia (who has been in all three of my films and actually works as a house painter) heroically came back to set and helped me. I told him that despite all of the agony of the past weeks (my bank account was now in the red, with overdraft fees piling up), I was happier than I had ever been. Working passionately on something that has great value to you is, without a doubt, the key to happiness.

Shortly after returning to the real world and my job at the vegan yogurt shop, I passed out while on the clock and was taken to a hospital by my very supportive girlfriend. Turns out, all I needed was an IV and some nutrients to get back on my feet, but unfortunately the trouble with The Lion’s Den had just begun. At some point, I formatted the production audio memory card and, in one instant, accidentally deleted everything on it. For the next two years, my friend Brian Goodheart and I worked with all of the actors to dub all of the dialogue and sound effects in the movie. Each actor had to completely re-do their verbal performance. It felt like remaking the entire movie. The result made the film especially un-naturalistic (which pleased me at the time) and it turned out far better than I think Brian and I expected.

By then, I had some hopes that The Lion’s Den could reach a small audience. It is aggressively philosophical but also features a love triangle, a car chase and a final shootout. Its comic style, I was hoping, would attract people who were put off by the purposeful flatness of Annunciation. Nevertheless, the movie was also rejected from every conceivable festival. I now realized that submitting an aggressively experimental narrative film without a single famous person in it to festivals is basically like flushing your money down the toilet. Yet I continued submitting, like an addict at a casino putting all of their savings on the roulette table. You never know, right?

In hindsight, I now see The Lion’s Den as a very angry film that perhaps uses comedy to soften the blow of some of its hotheaded fervor, and suspect some of its critique of capitalism and naturalism came from hurt and jealousy. “You think my work isn’t natural enough, eh? I’ll show you motherfuckers naturalism!”

Sometime in 2017, to my surprise I became smitten with certain neo-neorealist filmmakers (Joe Swanberg, in particular) and decided I wanted in on the mumblecore party, albeit from my own outsider perspective. I began to see how I could work symbolically with naturalistic performances, which led me to my latest film. PVT Chat is by no means a work of strict realism, but nevertheless focuses on believable dramatic performances. The film’s cast blends some actors from my past work (Kevin Moccia, Nikki Belfiglio, David White) with some heroes of the modern neo-neorealist indie cinema (Peter Vack, Julia Fox, Buddy Duress, Keith Poulson).

I want to end with a bit of advice to other filmmakers: Don’t put your self-worth into the hands of festival reviewers or distributors. The future of the moving image will belong to the films that are willing to risk cinematic failure. If you make an earnest film that doesn’t behave like a normal movie, I want to see it, even if it is full of technical or narrative mistakes (which it most likely will be). There’s no right way to make a movie. Follow the dream of the caméra-stylo and make a film that if nobody else made, wouldn’t exist.

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writerbyaccident · 5 years ago

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Angel of Music (Yandere Phantom of the OperaxReader)

The stage lights dim but warm, the curtains open and the set packed away, the theatre was empty for the night. Or rather, it was almost empty. There was still you, after all, sweeping the stage with the pace of someone wandering about in their own head. As the newest stagehand employed by the theatre, you had been saddled with the duty of sweeping the stage and turning off the lights after all of the others had left. You had found that you didn’t mind the rather tedious job though. The theatre had been the great love of your life thus far and being able to work in such a grand and historic one was a wonderful opportunity. Only working there as a performer as opposed to a stagehand could make you happier, but you had been told so often that it would never happen for you that you had grown to believe it. But still, that only made you appreciate the moments when you had the stage to yourself all the more. You now only felt comfortable singing when you were alone.

“The ship, it swayed, heave ho, heave ho, On the dark and stormy blue.

And I held tight to the Captain's might As he pulled up his trews.”

Despite what you may have thought though, you were not alone that night, just as you had been from the first night you swept the stage. It was a widely held belief, from the stagehands to the actors to the director, that the theatre at which you now worked was haunted. The Phantom was infamous in those halls, the fear and awe he commanded so significant that you had learned of his presence from your very first day. At first you had thought that your new colleagues were simply attempting to scare you, to play a joke at the newest worker’s expense. But as the weeks passed and the joke continued without fail, you had to admit that the theatre’s belief in the Phantom, if nothing else, was very real. Yet you had not found reason for you to believe in such an otherworldly figure yourself. You had never been a very superstitious person, thus making it easy for you to dismiss what others saw as ghostly tricks as mere accidents. And so, when you swept the stage and dared to sing each night, you thought you did so without an audience.

“‘You haven't slept,’ heave ho, he said, ��In many suns and moons.’ ‘Oh, I will sleep when we reach shore,’ ‘And pray we get there soon.’”

Little did you know though that you were only half right. There was no real spirit haunting the theatre, that much was true, but there was indeed a Phantom. He was a man to be sure, although many had doubted it from the moment he was born, though that did not make him any less of a force to be feared. And yet, when his burning eyes gazed at you glowing almost holily under the lights, when his weary ears and bruised heart heard you sing so sweetly, the Phantom could not help but hope that you would never fear him. No, after all that he had borne in his miserable life, the fear and rejection of such a heavenly being would be the one thing he refused to withstand.

“He said, ‘now hush love, here's your gown.’ ‘There's the bed, lantern's down.’ But I don't want to go to sleep; in all my dreams, I drown.

“The Captain howled ‘heave ho, heave ho’ And tied me up with sheets ‘A storm is brewing in the South’ ‘It's time to go to sleep.’”

In all of his travels, which had spanned to the very edges of the world, the Phantom had seen innumerable wonders, many of which he himself was responsible for. But from the moment he first saw you sweeping his stage, from the moment you first shared your voice with him, he knew that you were the most precious thing the world could ever have to offer. Neither the finest jewels nor the rarest flowers on earth could ever compare to you, so sweet and angelic. And your voice was as pure as you were, uncorrupted by the overwrought style that even the performers at that very theatre had fallen prey to.

“His berth, it rocks, heave ho, heave ho The ocean gnashed and moaned Like Jonah will be swallowed whole And spat back teeth and bones.

He said, ‘now hush love, here's your gown.’ ‘There's the bed, lantern's down.’ ‘But I don't want to go to sleep; in all my dreams, I drown.’"

No, your voice was emotion in its truest, purest form, and your voice allowed the Phantom to feel true emotion for the first time in years. Was it any surprise then, that he drank in the sight and sound of you so greedily? When you, for the first time in his lonely life, allowed him to feel human? Whether a ghost in fact or merely in rumor, it is a fact that ghosts are made to walk the earth alone. The Phantom was no exception to this fact, a fact that had dictated so much of his life. But in those moments when he heard you sing each blessed night, he no longer felt so alone.

“‘Captain! Captain! I will do your chores I will warm your cot at night And mop your cabin floors Scold me, hold me I'll be yours to keep The only thing I beg of you Don't make me go to sleep.’"

Such a beautiful treasure should not be forced to mingle with such vulgar refuse. This was a truth that the Phantom could feel etched in his thundering heart, a truth had demanded more and more of his attention each time he heard you sing. He had watched with hidden eyes how the rest of the world treated you, as though you were simply an insect to be stepped on, a tool to be used and then thrown away. It tore at his very heart and soul to see such things, to see you be treated as anything less than the angel that you were. It was clear that he was the only one who saw you as you truly were, the only one who would cherish you the way that you deserved. If the Phantom had you in his arms, he would treat you as nothing less than the sun and stars.

Oh, but how could one as sweet and lovely as you ever love a wretch like him? How could he force upon you the horrors that he summoned by his mere existence? The very thought of causing you the slightest unhappiness was unbearable to him, and yet, so was the thought of having to continue watching you from a distance. Oh, how could an angel be so cruel?

“The sky it flashed, heave ho, heave ho, His pillow toed to the brink. The curtains ran between my legs as we began to sink. I closed my eyes, heave ho, heave ho, As the ship was rent and fell. Eddies in the water headed to the mouth of Hell.”

But at that thought, the Phantom reached a revelation. He would not have to keep his distance any longer. No, the heavens would finally be his! For if you truly had the soul of an angel that he knew you to possess, you were then the sole person on this earth who could love a wretch such as him. You, with your infinite kindness and patience that he had witnessed every day, were his destined love. It seemed that God had finally repaid him for the countless hells the Phantom had been forced to endure. Everything he had gone through though would be rewarded a thousand times over once he had claimed you as his own. He would simply need to start slowly…

And so, from his unseen perch exactly above you, the Phantom let fall from his hand a rose with petals the color of blood.

“‘Hush now, hush love, here's your gown.’ ‘There's the bed, lantern's down.’ ‘I'm begging you please wake me up In all my dreams I....’”

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Song is not mine, it is “In All My Dreams I Drown” from the musical The Devil’s Carnival

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go4blood · 6 years ago

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can we be seventeen?

It is finally time. Broadway!Michael. Heathers. Best friends to lovers. U know how we do. sorry I’m on mobile and can’t do the read more feature 😔

4k words

—

High School was the time of your life. You spent everyday after school with your best friend in the theatre. You two had many starring roles together, such as Tracy and Link in Hairspray, Sally Bowles and Cliff Bradshaw from Cabaret, and so many more. You two decided you both wanted to take on broadway. That being said, you bought an apartment together- a tiny one that is- in New York City. It was your 2nd month in New York. You loved it more than anything, but you were a starving artist. You had a few commercial roles and did some work in some short films, but you wanted to be on stage. You wanted people applauding you every night. You both wanted that.

But it’s hard to get on broadway. Broadway isn’t something easy to achieve.

The door to your apartment opened and interrupted your thoughts.

“Y/N! The restaurant was super busy today, so I think I got enough tip money to get the WiFi back on.” Michael walked through the door, car keys in hand, wearing a white button shirt with a black tie, along with black dress pants. Michael worked at a fancy Italian restaurant in the heart of New York City that only rich people can afford. He absolutely hated working there. It was far from his dream, but they had to pay the bills somehow. You worked at a coffee house yourself, and most of the time your money went towards bills and necessities only. And people hardly ever tip.

“Thank God! I’ve missed Netflix so much.” He laughed and you grinned, collapsing beside him on the couch. Michael was a great roommate. He always paid his share of everything, and he kept the living area clean. His room is another story, but at least you didn’t have to always see his room.

“I found our next audition! I forgot to tell you, when I was driving to work I saw that Heathers is currently being casted for broadway!”

You sighed, leaning your head on his shoulder, “I’m beginning to think we should’ve stayed home, it’s so hard to make it out here in New York…”

He scoffed, looking at you in your eyes, “Is my best friend, Y/N L/N, the one who forced me to audition for Oklahoma our freshman year, giving up? Come on now, that’s not the Y/N I know! Come on, auditions are tomorrow morning, it’s worth a shot.”

You pondered for a moment, thinking of the possibilities. This is what you came to New York for, after all. Maybe it was worth a shot.

“Fine, we’ll go. Just don’t get your hopes up…”

“I won’t, I promise. Now… I assume we’re having ramen again?”

“You know it.”

—

You sat beside Michael and looked around at who was at the audition. You could already tell that type casting would come into play, which made you nervous. You weren’t sure if you fit into any of these roles. What if you were wasting your time? You’d be lucky if you got to be a chorus member. Michael looked up from the paperwork as if he could sense how nervous you were.

“Relax, Y/N. You’ve been this way since High School! I remember auditions for Hairspray; you nearly had a panic attack the day of callbacks. And you rocked it! What are you scared of?”

“Failure, Michael.” You frowned and looked at him. He sighed, looking into your eyes.

“My best friend has never been a failure. Don’t even begin to think you’re a failure! Every good actor and actress struggled before succeeding.” He gave you a reassuring smile, and weight lifted off of your shoulders. Maybe he was right. In fact, he was right. You have to fall before you fly sometimes.

“Thank you, Michael.” You smiled as he smiled back at you. You wouldn’t wanna be struggling with anyone else.

A woman who seemed to be the director interrupted your thoughts, “Good morning everyone, welcome to the audition for Heathers. Shall we begin?” Everyone silently nodded, and the director cleared her throat, “the numbers my assistant gave to you when you walked in will now come into play… let’s start with #1. Come on up.”

You froze. You were #1. No pressure, right? You got up from your seat and walked up onto the stage, ready to perform the provided audition material. All of the girls were using audition material for the part of Veronica, the lead female part. No pressure.

You introduced yourself briefly and began, projecting with purpose, “My parents wanted to move me into high school out of the sixth grade, but we decided to chuck the idea because I’d have trouble making friends, blah, blah, blah. Now blah, blah, blah is all I ever do. I use my grand IQ to decide what color lip gloss to wear in the morning and how to hit three keggers before curfew… Betty Finn was a true friend and I sold her out for a bunch of Swatch dogs and Diet Coke heads. Killing Heather would be like offing the wicked witch of the west… wait east. West! God! I sound like a fucking psycho….Dear Diary: Heather told me she teaches people “real life.” She said, real life sucks losers dry. You want to fuck with the eagles, you have to learn to fly. I said, so, you teach people how to spread their wings and fly? She said, yes. I said, you’re beautiful.”

You emphasized certain things and changed tone when you felt it was needed. You wanted this so bad. But this wasn’t it! This was a musical, so you had to sing. You looked at the music provided for you and cued the piano player to begin playing. The song you were told to sing was “Fight For Me”. You sang each note with purpose. You wanted this more than anything. Before you knew it, you were done with your audition, and you sat back down in the audience beside Michael. He mouthed ‘good job’ to you, smiling. Before he knew it, it was his turn to audition.

The men auditioning read material for JD, the leading male part. You looked over what Michael had to perform, and the monologue was quite intense.

He cleared his throat and began with an intense tone of voice, “Can't believe you did it! I was teasing. I loved you! Sure, I was coming up here to kill you... First I was gonna try and get you back with my amazing petition. It's a shame you can't see what our fellow students really signed. Listen ‘We, students at Westerburg High will die. Today. Our buring bodies will be the ultimate protest to a society that degrades us. Fuck you all!’ It's not very subtle, but neither is blowing up a whole school, now is it? Talk about your suicide pacts, eh? When our school blows up tomorrow, it's gonna be the kind of thing that affects a whole generation! It'll be the Woodstock for the 80's! Damn it Veronica! We could have roasted marshmallows together!”

He was so talented. You would be damned if he didn’t get a role in this production. He then finished out his audition with the song “Meant To Be Yours”. He did amazing. He always put his all into his auditions. You were proud to be his friend. He walked off stage after he finished, and you both left.

—

As each day passed you absolutely could not stop thinking about callbacks. You were so anxious about whether you were gonna get one or not. You at least hoped Michael would get one so he could live out his dream if you couldn’t.

With each latte you made at work all that was on your mind was the possibility of getting a callback. At one point, you couldn’t even remember how to make an iced americano. They said they’d call you no matter what to let you know, which made you even more anxious. And everyday Michael came home from work all he talked about was callbacks and how bad he wanted this opportunity.

“I know you’ll make it, Michael. I mean come on, you’re extremely talented and you knocked that audition out of the park!”

“I did mediocre at best! You’re the one who’s gonna make it. You’re gonna be amazing in that cast. I’d rather you get it than me.”

You laid your head on his shoulder, looking up into his eyes, “You mean that, Mikey?”

“Would I lie to you? No. I wouldn’t. You’re amazing.”

—

You ran into Michael’s room after your shift at the coffee shop, shaking him awake, “I just got a callback during my shift! I get another audition tomorrow!”

“I got one too! While you were gone! We got callbacks!”

You two jumped up onto Michael’s bed and jumped in celebration. You were unbelievably happy.

“Well you know what that means… it’s a special occasion!” Michael ran to the kitchen and you followed behind him. He pulled out the boxed wine from the cabinet and got the plastic wine glasses out too.

The boxed wine was a tradition in your friendship. When you were casted in Hairspray sophomore year, he got his older friend to get it for him. It was cheap and lasted a while, so it was his number one choice. After high school graduation he brought it to your house after your grad party. And when you moved into the apartment, you had Dominos and boxed wine. It had a special place in your heart.

You put some wine in your cup and clinked your glass with his. Maybe it was finally time.

“Now let’s get wine drunk at 2 in the afternoon, shall we?” He smirked at you and you couldn’t help but laugh, knowing damn well he was a lightweight. It was gonna be a long day. Michael got up and connected his phone to the Bluetooth speaker, playing one of his playlists and taking your free hand in his.

“Michael what the hell are you doing?”

“Dancing! Duh!” He downed his wine glass and spun you around, laughing loudly.

You shook your head, putting down your glass and joining him, despite your lack of dance ability.

“You are the dancing queen, young and sweet, only… how old are we again? Who knows!” Michael was so carefree, and seeing him have no care in the world always warmed your heart.

“Hey Michael?”

“Yeah Y/N?”

“I knew I moved to New York with the right person.

—

You and Michael woke up extremely early the next morning for callbacks. The callback went well in your opinion, and Michael seemed to feel good about his as well. But after your callback it was back to the minimum wage job with less than mediocre tips. You had to wait a whole week until you’d find out if the callback resulted in you getting a role. It was gonna be the longest week of your life. As everyday passed and you made countless lattes and iced coffees all you thought of was your callback. It invaded your mind at every second of the day. No callback had stressed you out as much as this one. This one wasn’t some high school production from back home. This could be your big break for crying out loud! This was the most stress you had ever felt in your life.

When the day finally came around you and Michael waited around the apartment with phone in hand all day. The phone call you two were about to get would decide your futures. You paced around the living room, unable to stand still. Finally, Michael’s phone was the first to ring. He immediately picked up, sitting on the couch while biting his nails nervously.

“Hello? Yes this is him… yes I would. Thanks so much… alright goodbye.” He hung up, a solemn look on his face. You felt like you already knew what he was gonna say.

He then broke out into a grin, hugging you, “You’re looking at broadways new Jason Dean!”

You smacked his chest, gasping, “how dare you worry me like that, Michael!” You laughed, returning his hug happily. Shortly after, your phone also rang.

You answered, with a shaky voice, “Hello? Yes this is she… okay, yes I would, okay… thank you, goodbye.”

You were shocked. You looked at Michael, eyes dilated and full of disbelief, “I got the part… I-I’m Veronica…”

“No way! I get to lead with my best friend? This is amazing! We did it!” He hugged you, lifting you off of the ground.

You felt larger than life. You finally got to live out your dream. You were absolutely thrilled.

—

The first rehearsal was mainly just line running and song singing without much blocking and a brief dance rehearsal. Broadway was quite a shell shock. Rehearsals were triple the length of high school rehearsals, and dances were taught by actual choreographers, not the schools dance team coach. It was extremely different. It worried you- what if you couldn’t handle it? As you read lines your mind was in a whirlwind, and Michael could tell.

The director told everyone to take a 15 minute break, and you immediately broke down into a rant of how stressed you were to Michael.

“What if I’m not good enough for this? I’ve gotten so many notes from the director on things to do differently and it’s only day 1! I just wanna be the best I can be, I’m not usually cast into this type of role! I’m never usually a cocky or sassy type of character, I’m not good enough for this-“

Michael interrupted you during your extremely long rant, “Y/N! You’re doing great, it’s literally the first day. Everyone’s getting a lot of notes. You are fine. You always get in your head in the first week of rehearsals. You’re so talented and you deserve this, just calm down. Come on, smell the flowers, blow out the candles. Smell the flowers, blow out the candles. You’ve got this! I wouldn’t wanna plot revenge with anybody else, Veronica.”

You smiled, wrapping your arms around him and hugging him tightly. He always knew what to say in these situations.

“You’re not the only one getting notes ya know? You always panic, it worries me.” You frowned, you never meant to worry him. It was just the way you were. You were always hypercritical of yourself, and it got worse as you got older. It wasn’t all your fault though.

“You know why, Michael. My parents never came to any of the shows… I fought to please them, thinking maybe they’d come one of the nights of the show. They never did. They ruined my self esteem.” At that point you were just venting, and you felt bad after the realization. You quickly stopped talking, walking back on stage keeping your eyes glued to the floor.

The director loudly interrupted your thoughts with a loud clap, “Okay everyone, we’re gonna do the number for Meant To Be Yours, so get on up here, Michael.”

Michael quickly got up on the stage, flipping through his script to the right page. You had a few lines before he started singing, so you took your place behind the “closet door”.

Michael cleared his throat, putting on his angsty evil teen voice, “Knock! Knock! Sorry for coming in through the window. Dreadful etiquette, I know!” This part seemed to be written just for him. He was so good at being the odd guy.

You got out of your thoughts, replying with your line to his remark through the closet door set piece, “Get out of my house!”

Michael scoffed, jiggling the door knob and continuing on with the scene, “Hiding in the closet? Come on, unlock the door! Come out and get dressed, you’re my date to the pep rally tonight!” He then began singing the song, yelling through the door at certain parts. You had to admit, it felt like he was actually your psychotic boyfriend. He really knew what he was doing.

You were interrupted by him singing/yelling the next part of the song, “Veronica! Open the—open the door, please Veronica, open the door…” he finished the song, letting out an exasperated breath.

“So, um, any notes? To make it better…”

The director had a look of shock on her face, but good shock though. She looked at her notepad, and then looked up, “This is an amazing start, you’re making great character decisions. I think when you sing through the door you could act more desperate for her to come out, maybe beat on the door, not just yell through it. Maybe we could give you a prop? Like a gun? We’ll see. Other than that, it’s really great. Good job.”

Michael nodded, thanking her and walking down the stairs of the stage.

“Alright, y/n! We’re gonna do the opening scene, the dear diary one. Do what you think is right and I’ll give notes, as per usual. Alright?”

You nodded, sitting at the plastic table that would soon be a lunch table once the actual set was set up.

You mimed a notebook in front of you, taking a deep breath, “September 1st, 1989. Dear Diary:

I believe I'm a good person. You know, I think that there's good in everyone, but—here we are! First day of senior year! And uh... I look around at these kids that I've known all my life and I ask myself—what happened?” This then transitioned to you singing Beautiful. You only got through half of the song due to how much blocking was needed for this number in particular.

The director read off of her notes, “Alright, Y/N, so all I really have is that I want you to be more confident. I gave you this part for a reason, I believe in you. Just breathe, okay?”

You nodded, thanking her and walking off stage. You grabbed your bag and left to the subway with Michael.

“I told you you were doing good! You just need to believe in yourself, ya dingus.” He ruffled your hair and you blushed, nodding slowly.

“Michael, I think you’re the most talented person I know.”

“Well then you obviously haven’t met yourself.”

—

After what felt like a billion rehearsals, which was really just 2 months of rehearsals, costume day finally came! The best and worst day. A lot of things can go wrong. But a lot of the time, costume day is great.

You had one costume for the whole show, which you were secretly grateful for. Quick changes just stressed you out. Your costume was a grey pleated skirt that hit your mid thigh, blue knee high socks, a white blouse, and a blue blazer to go over the blouse. The director wanted everyone to be used to performing in their costumes, so you’d be rehearsing with them for the next 2 weeks until opening night.

Michael wore all black attire. His costume included a black t shirt, a black trench coat, black jeans, and clunky black boots. In all honesty, he did not look approachable. But at the same time, he intrigued you even more. With each rehearsal, you were thinking about Michael a lot more than usual, and in a different way than usual.

Were you attracted to your best friend?

Oh god. This could not be happening.

You knew way too much about him. His mother practically adopted you as her own. It would be so awkward if your feelings shined through. Your mind was racing, everything made sense.

When he would cup your cheek in one of your scenes and would immediately blush, when he would call you nicknames in your scenes and you broke into a huge grin, it was because you liked him as more than a friend.

“Y/N! How do ya like my costume?” Michael did a twirl and bowed, and you couldn’t help but smile.

“Wow what a handsome teen psychopath you are, Michael.” He laughed, muttering a thank you.

“Um, you look nice in yours. Much less psycho looking, 10 out of 10.”

You laughed, twirling to show him the whole costume, “Why thank you, JD. How kind of you.”

He smiled at you, looking in your eyes for a little while.

He quickly got out of his trance, looking around awkwardly, “Um, well, let’s take our promotional photos then shall we?”

You nodded, following him to where the photographer was.

“We’re definitely getting drunk tonight, I need a breather.”

—

You and Michael were in the living room, playing Mario Kart on the Nintendo Switch whole drinking, you guessed it, boxed wine. You were both extremely drunk, laughing at every little thing.

“Did you seriously just hit me with a blue shell!?”

Michael laughed, “Sorry! I can't accept losing to you, princess.” His voice had a tinge of sarcasm, which was far from surprising.

You pouted, desperately trying to get your number one spot back. But to your defeat, Michael took your spot at the last minute and got first place.

“How dare you!”

He laughed as you tackled him on the couch, resulting in a slight spill of both of your glasses as the coffee table shook.

“Sorry babe, I won fair and square.” His tone had a slight bit of flirtiness to it. Blushing at the nickname, you got up and got yourself more to drink.

“Alright, I lost, what do you want your prize to be? I buy your lunch tomorrow? It’s done.”

“I don’t need anything… let’s just chill now, yeah?”

You nodded, sitting beside him on the couch and laying your head on his shoulder.

“Y/N, you know I wouldn’t wanna be anyone else’s costar, right?”

“Michael, you tell me that everyday.”

“Well, it’s true. God, I’m tired of pretending,” he sat up, looking you straight in the eyes, “I came with you to New York not just to pursue acting. I came here because I care about you more than anything. You make everyday a little better. I was in such a bad place before we met freshman year. I literally love you so much.”

“Yeah I love you too-“

“No Y/N! I’m in love with you! When we do our scenes together I can’t help but think about us being together! I can’t help but imagine me affectionately cupping your cheek and kissing you outside of the show. I can’t help that I actually think I’m meant to be yours! And no, this is not the alcohol talking. I’ve always felt this way. I felt this way when we were in every other show together! I want to shout from the rooftops that I love you!” He gripped your waist and kissed you deeply, pulling you onto his waist.

His kiss was intoxicating. You didn’t know how bad you wanted this. You finally realized that he was who you wanted all along.

“You may be set out to kill the whole school so we can be together, but I love you too, Michael.”

—

Opening night you were warming up in your dressing room when a knock came at your door. The stage manager gave you your 20 minute warning, while also handing you a large arrangement of roses.

“Who are these from? No one I know is coming to see me tonight…” You looked at the notecard that came with it, and it all made sense.

My dearest Veronica,

I’m glad I get to share the stage with raw talent tonight. And you I guess (Just kidding). Break a leg, and let’s fake some deaths tonight! I love you.

- JD

You never felt more in love.

—

Taglist!!

@i-calumhood @angelbabylu

#5 seconds of summer #5sos #5 seconds of summer imagine #michael clifford x reader #5sos michael #michael clifford blurb #michael clifford fic #michael clifford #michael clifford one shot #broadway!sos #5sos one shot #5sos fanfic #5sos imagine

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salmankhanholics · 6 years ago

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★ Ali Abbas Zafar: If a superhero is selfless, half the battle is won..

Roshmila Bhattacharya | April 24th 2019

Ali Abbas Zafar explains what makes Salman Khan a crowdpuller; recounts his journey from biochemistry to Bollywood’s wonderland

In jeans and a Tee, Ali Abbas Zafar looks more like a guy-next-door than Bollywood’s A-list director. His Eid offering, the Salman Khan, Bhushan Kumar, Atul Agnihotri-produced Bharat, will open on June 5 and Ali is in the midst of post-production. But when he settles into his chair at a suburban studio, there’re no signs of rush. In fact, there’s a rare thehraav in his demeanour, a mathematical clarity in his thought process as he states that cinema is an applied art and not a fi ne art. Excerpts:

■ Mere Brother Ki Dulhan, Gunday, Sultan, Tiger Zinda Hai, and now Bharat, you are one of the most sought-after directors today. Enjoying the high or does the pressure give you sleepless nights?

(Laughs) Oh, lots of sleepless nights but since I’m doing what makes me happy, the days are satisfying. The pressure increases when it’s a big Eid release for a pan-India audience. There are people who watch one-two films a year and measuring up to their expectations keeps me on my toes.

■ You were doing your masters in biochemistry at the Delhi University. What brought you to Bollywood?

I’m a filmmaker by accident. Kirori Mal College has an active theatre group, Players, whose alumni includes Mr Bachchan (Amitabh), Satish Kaushik, Kabir Khan and Habib Faisal. I wanted to join the Indian Administrative Services (IAS) but after becoming a part of this group, I realised this is what makes me happy. So, though I had no background in TV or film — my dad is in the armed forces and my mom is a teacher — your typical-small town boy came to Mumbai to tell stories.

■ Tell us about your first attempt at direction?

That was Mere Brother Ki Dulhan (the 2011 romcom). The simple story, told earnestly, grew out of real life. It was set in Dehradun where I’d grown up and Delhi where I was studying. My brother lived in London while I was a struggling assistant director in Mumbai, like Imran Khan’s character. It was a customised Bollywood film with a three-act structure, an emotional and musical graph. It struck a chord.

■ Did you get the girl in real life?

(Laughs) No, but you can live your dreams in films.

■ What kind of films did you grow up on?

In mid-90s Dehradun, we either played sports or watched movies. I saw many films with friends after school and on holidays. But the only film I saw at home was Deewar which my dad said balanced out right and wrong in a human way.

■ Would you like to remake Deewar?

Sultan was very close to Deewar in the way its protagonist’s self-esteem/ego swings between right and wrong, and his redemption happens when he hits rockbottom and comes from within. Islam says the strongest jihad is the one you fight within yourself.

■ Sultan could have played any sport, why wrestling?

He could have been a rock star too, but I chose to make him a sportsman because I’d played hockey and football. It was wrestling because hundreds watch you fall in the akhada, making a loss a public humiliation, and the rise a public celebration. Kushti is a centuries-old sport that rises from the grassroots and has the soul of Hindustan which made it easier for the mass audience to identify with.

■ Bharat is the journey of one man over six decades, reflecting the country’s history. How old are you to attempt a fi lm with an epic sweep?

(Laughs) I’m 36, but it’s not so much about experience. If you understand life, even if you haven’t lived it but seen it in those around, you can mirror it. This is my third film with Salman (Khan) and much of the maturity in my work comes from his experience.

Bharat is the story of every Indian, of togetherness and responsibilities. A line in the film goes, “Desh logon se banta hai aur logon ki pehchan unke parivar se hoti hai.” And as the nation is a family, that’s the metaphor Bharat hinges on without being preachy or political.

■ Why adapt a Korean film, Ode To My Father, to tell the story of Bharat?

Emotions are universal and what I liked about Ode To My Father was the coherency of the emotions and the text. We’ve added a lot of Indian cultural subtext, the film reflects the events and changes from 1947 to 2010. My dad believes if you pick the right story that says the right things, you can’t go wrong. While many Hindi films revolve around the mother and son, the father has often been portrayed as a hard disciplinarian. My relationship with my dad and Salman’s with his (Salim Khan) is different and at the core of the film. That’s why only Salman could play Bharat.

■ How did the title come about?

Since the film isn’t only about a father and son, I didn’t want to translate Ode To My Father. I was tossing in bed at 5 am when the title came to me. Hours later, when I met SK and Atul I told them I had a title, Bharat. They froze for two seconds, then Salman said “yes”. Since this man symbolises the nation what better than Bharat.

■ How do your parents view your phenomenal success?

(Smiles) My father is my hero and my mother my superhero. They’re simple people, have never visited a set, not even mine. They’re happy for me but still urge me to complete my education. My brother has two MBAs and a Masters in Social Work, my parents are both post-graduates, I’m the only uneducated one (Laughs).

■ Salman’s Tiger comes out of a room full of poisononous gas, guns blazing, and the audience cheers. How do you create this suspension of disbelief?

Whether it’s Gunday, Tiger Zinda Hai, Sultan or Bharat, you have to connect with the audience in the first 20 minutes by showing something the character does or believes in that makes them root for him. Once that happens, they are with him even when he single-handedly decimates an entire army. If a superhero is selfless, and you have a star like Salman Khan, whom the audience loves, playing him, half the battle is won.

■ What makes Salman a superhero?

His honesty and earnestness. His communication with his audience is very direct. And even when he lives a character, Salman Khan doesn’t disappear 100 per cent. Whether its Tiger, Sultan or Bharat, his magical presence in there in the characters.

■ Has he evolved through the three films you’ve done together?

He was very evolved in the first film itself. I was the one who learnt from him. SK is a deep, mature and beautiful actor/human being, and when he identifies with an emotion, it just flows. There’s a scene in Sultan when he takes off his shirt and looks at his slightly out-of-shape body in the mirror. He avoided doing it till the last day, then suddenly stripped and faced the camera. It was a one-take shot and I couldn’t have asked for anything better. He’s so spontaneous when he’s in character. A star needs to be an actor, or he’ll fizzle out soon. Salman has been around for 30 years and his stardom has only grown.

■ Katrina Kaif and you share a beautiful relationship and she came on-board just days before Bharat rolled; after Priyanka Chopra confi ded her secret in you in the “nick of time” and exited.

Priyanka was doing the film but things happened. As a friend, she shared it with me and I told that her life is most important. She’s still a close friend. We laugh and talk twice a month. I’m very happy for her.

And I’m grateful to Katrina for stepping in. I was honest with her and told her I was sending her a script. If she liked it, we’d discuss it further. She’s my closest friend in Mumbai, we come from similar middleclass backgrounds, our values are the same, and we discuss everything. But on the work front, we’re very transparent with each other. If she doesn’t like something I’m doing, she lets me know and vice versa. In an industry where friendships don’t last even for months, ours has continued for over a decade.

■ What was her reaction to Bharat?

She told me it’s one of my best scripts and she’d do anything to be a part of the film. She’s done a phenomenal job. She’s grown as an actor, has a better command over the language now. She was loved in Mere Brother Ki Dulhan, Tiger Zinda Hai and even her performance in Zero was well received. She’s in top form and the maturity she has brought to Madam Sir’s character is commendable. There were times when on the sets, Salman would take me to a corner and say, “Sir, yeh scene to Katrina le gayi, ab mujhe kuch karna padega.” (Laughs) We are both very fond of her and together in a happy space, so he can crack such jokes.

■ Is your next with Ranveer Singh?

We’re friends, we keep meeting and discussing ideas, but there’s nothing concrete.

■ Sultan 2 or a Tiger 3 happening?

I have a couple of stories and I’d like to return with Tiger someday. I also want to do a love story.

■ With Salman?

(Smiles) There’s a possibility, he’s a big romantic hero. And I always narrate my stories to him first, he’s very objective. Aditya Chopra is another strong influence. In our field, it’s hard to find people you can trust, I’m lucky I have them as my first bouncing boards. But to get out of Bharat, a journey with many shades, I want to do a big action film next. But till Eid, my focus is Bharat.

Mumbai Mirror

#salman khan #Ali Abbas Zafar #interview #bharat #mumbai mirror

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roseisread · 6 years ago

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My Year in Movies: Favorite Non-2018 Feature Films (Part 1)

I watched a LOT of movies this year. At last count, I had logged 229 features and 126 shorts; and that doesn’t count rewatches--only movies that were new to me.

I set a few challenges for myself as well this year. The first one was to watch at least one non-English language/US release per week--this exposed me to so much world cinema and some really amazing filmmakers. Anyone who avoids foreign films because “I don’t like subtitles” is really missing out, and I found myself craving these narratives from voices I don’t ordinarily get exposed to in my everyday life.

Other personal challenges: Watching as many horror movies as possible in October (with horror defined pretty loosely so I could include entries from silent era and onward, as well as some comedy cult classics that have horror/thriller elements); participating in Noirvember (in addition to attending Noir City in Chicago); crossing off some major blindspots from my list (such as Bicycle Thieves, The Producers, Lethal Weapon, A Few Good Men, Grease, Home Alone 2, Brazil, and Indiana Jones & the Temple of Doom); and trying to watch movies and short films from every decade that motion pictures have existed.

In 2019, I hope to do similar personal challenges with a focus on movies made by women, LGBTQ+, and people of color, in addition to filling in the gaps of my classical/canonical movie knowledge.

OK, so that’s enough preamble. Let’s get to the list! For this list, I’m excluding movies that were released in 2018--that’s coming but this is for movies released before that.

50. Linda Linda Linda (2005, directed by Nobuhiro Yamashita, country of origin: Japan)

High school girls recruit the Korean exchange student (Doona Bae, of Cloud Atlas and Sympathy for Mr. Vengeance) to join their rock band a few days before the school talent show. This is just a feel good film, recommended if you enjoyed the likes of Sing Street, We Are The Best!, and The Runaways. Unfortunately, it’s out of print in physical form; but last I checked someone had uploaded it to YouTube so you might want to get on that before it’s removed. You can watch the trailer here.

49. The Blue Dahlia (1946, directed by George Marshall, country of origin: US)

This film noir stars Veronica Lake and Alan Ladd, and like any good noir, it deals with dark subjects including murder, blackmail, political corruption, and PTSD. It’s been on my watchlist for a long time, and thanks to Noir City Chicago, I got to see it on the big screen at the Music Box Theatre. For small screen viewing, you can catch up with it via rental on Vudu, Amazon, iTunes... the usual suspects.

48. Siren of the Tropics (1927, directed by Mario Nalpas and Henri Etievant, country of origin: France)

My dearly departed Filmstruck had a spotlight on the films of Josephine Baker, and this was among them. I fell in love instantly with the lively, beautiful Baker, here playing a woman named Papitou who deals with some super scummy dudes but manages to be herself in the face of all that nonsense. Silent films can sometimes be tougher to engage with for modern audiences, but this one flies by and contains some unexpectedly racy sequences for the time. Its racial politics don’t meet today’s cultural standards, but considering Baker’s parents were former slaves and their daughter went on to become the first woman of color to star in a major motion picture, this is still a landmark film worthy of our consideration. She broke down many barriers and contributed a great deal to both the entertainment world and the Civil Rights movement, and this serves as a nice entry point into her career. It’s available on DVD through Kino Lorber, and hopefully one day soon it’ll pop up on another streaming service that carries on the Filmstruck legacy.

47. I Don’t Feel At Home in This World Anymore (2017, directed by Macon Blair, country of origin: US)

Here’s a film that goes to some unexpected places. I had no idea what to expect from Macon Blair, who frequently appears in the movies of Jeremy Saulnier; but in his debut feature for Netflix, he pulled out all the stops. Hilarious, violent, and intense, with memorable performances from stars Melanie Lynskey and Elijah Wood, this is a movie about getting in over your head and just going for it anyway. I don’t want to tell you about the plot because it’s best discovered through watching--just go to your nearest device and add it to your Netflix queue.

46. Song of the Sea (2014, directed by Tomm Moore, country of origin: Ireland)

Absolutely gorgeous animation from the team that previously brought us The Secret of Kells, and a touching story that combines family and mythology. I adored this one. Watch it on Netflix or rent on the usual streaming sources--for a preview, click here.

45. Yankee Doodle Dandy (1942, directed by Michael Curtiz, country of origin: US)

I always watch Independence Day on the Fourth of July; but in 2018, I decided to mix it up and cross this patriotic musical off the watchlist. I’d seen James Cagney’s gangster movies like White Heat and The Public Enemy, but seeing him sing and dance was a whole new joyous discovery. This movie is entertaining, funny, touching, and full of iconic sequences that other films would go on to borrow from. I absolutely loved it. Pretty sure I saw this on Filmstruck originally, but since that’s no longer possible you should be able to find it at your local public library or you can rent it for a couple bucks on Amazon, YouTube, iTunes, and the like.

44. The Man Who Cheated Himself (1950, directed by Felix Feist, country of origin: US)

This tightly wound noir thriller pits brother against brother against the backdrop of 1950s San Francisco. Lee Cobb plays an aging bachelor and an accomplished police detective who falls for the wrong dame. His younger brother, played by John Dall (Gun Crazy, Rope), has just joined the police force and idolizes his older brother. Trouble strikes when the dame murders her no good husband and needs help from Cobb to cover it up. Naturally, Dall gets assigned to the case and as he begins to piece together the clues, he doesn’t like where they’re leading him. The climactic sequence is one of my favorite endings to a noir film, and I’ve seen a lot of them. Watch it for free if you have Amazon Prime; otherwise, there are a few versions uploaded to YouTube of varying quality or you could wait for it to pop up on TCM.

43. Los Angeles Plays Itself (2003, directed by Thom Andersen, country of origin: US)

This documentary edits together clips from movies of every era that were filmed or set in Los Angeles, and explains through voiceover narration the significance of each location and the history of the motion pictures in LA. That’s it--very simple concept but also fascinating. I split this up over a couple nights because it’s pretty long, but if you’re a film fan or a Los Angeles native, this is well worth your time. The voiceover is kind of hilariously flat in its delivery--kind of a Steven Wright sound actually--but that sort of adds to the charm for me. Get a taste by watching the trailer, and then you can rent it on YouTube for $1.99.

42. A Simple Plan (1998, directed by Sam Raimi, country of origin: US)

It’s been almost two years since we lost Bill Paxton; I don’t know about you but I don’t think any other actor can really fill those shoes. This year I caught up with three films that showcased his talent: A Simple Plan, One False Move, and Frailty. He plays very different characters in each one but in many ways they all start off with a similar premise: Ordinary guy dreams of becoming more. What that “more” is for each character is what sets each film and performance apart, but Paxton provided a great canvas to paint these unique characters onto. He inhabited the ordinary man better than just about anyone.

In this film, which I watched during Noirvember, Paxton plays Hank, a college-educated guy working a blue collar job in a small town, trying to make a better life for himself and his family. He’d like to get away from those small town roots, but his socially awkward brother Jacob (Billy Bob Thornton) relies on him. Unfortunately, Jacob is often accompanied by the hard-drinking loose canon Lou (Brent Briscoe). When the unlikely trio discover a crashed plane in the woods containing a suitcase full of cash, they each have ideas for how to handle the situation. Of course things escalate from there, and the way the movie explores human nature and family ties set this story apart. Available for online rental on the usual platforms.

41. The Iron Giant (1999, directed by Brad Bird, country of origin: US)

Given my obsession with Vin Diesel in the early 2000s, it’s pretty shocking I never saw this movie til now--sure, he and his glorious muscles don’t appear on screen, but he does provide the voice of the title character after all. When the Iron Giant made a controversial cameo in this year’s film adaptation of Ready Player One, I decided it was time I saw the source material for myself.

This gorgeously animated fable unfolds during the Cold War era, and features an ET-inspired story arc of a young boy befriending an unlikely being that the government is looking for. If you’ve never seen it, this is definitely a must-watch. Currently available on Netflix, but rentable on other platforms too.

40. The Unsuspected (1947, directed by Michael Curtiz, country of origin: US)

I adore Claude Rains, star of this film and supporting actor in Curtiz’s more famous work, Casablanca. Here, he plays the host and narrator of a popular radio show that revolves around tales of murder--basically the Law and Order: SVU of its day. We learn early on that he sometimes draws inspiration for his broadcasts from real life criminals. When people in his own life start dropping dead, the plot thickens and he finds himself at the center of the action. A very suspenseful and well-plotted film noir, which is available from the Warner Archive collection on DVD. I got to see it at Noir City Chicago, and loved every second of it.

That’s all for this entry--stay tuned for part two of this list, posting soon!

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