#and then I come home and try to understand how Paul and Richard play a particular song | Explore Tumblr Posts and Blogs

lu-undy · 3 years

Text

Chapter 107 - SBT

Here it is!

"Meow…"

"Non, mon garçon." Lucien turned his head. "Glovy, those tomatoes are not ready yet, do not bite them."

[No, my boy.]

"Meow!"

"Glovy..." Mundy added from a few metres away, in a fatherly tone. He was lying on the grass with a hat on his face and Soot lying on his chest and stomach, napping.

"Meow…!"

"Glovy, you don't want me to count to three now…" Mundy said and the kitten obeyed on the spot.

"He listens to you better than he does me." Lucien said, raising his head from the tomato plants. He had spent the afternoon there, helping Caroline to take care of the plants. He had trimmed the trees and was now on his knees, removing the weeds between the tomatoes.

The kittens were roaming around, discovering fresh grass and a garden. Most of them played with the plants innocently. Only Glovy had wanted to taste them with his little fangs.

"Kitties? Who wants some treats?"

"Mum, you gave them some after lunch already…!" Mundy removed his hat off of his face and looked up at his mother.

"It's four in the afternoon! Someone's gotta feed the little ones so that they grow strong, eh, Glovy?"

"Meow! Meow! Meow!" The kittens came jumping around Caroline's feet. She sat on a chair and bent down to deal the treats to the eager little balls of fluff.

Mundy was laying on the grass, with Soot on his chest, while Perle was inside, with Mike.

"Easy on the food, Glovy."

Glovy stopped chewing sharp before resuming. He swallowed his treat and his ears pulled back. Caroline winked at the kitten and offered him an additional treat, as she put a finger on her lips.

"Mum… Don't try and feed him behind my back."

"How did you know?"

"Cause you used to do the same with me." Mundy said as he opened his eyes and stood up. "Right, I need to go now, Mum. I'll say bye to Dad on my way."

"You need to go?" Lucien raised surprised eyebrows and turned to his lover who was approaching him.

"Yeah, but don't worry, we'll spend the evenin' together. There's somethin' I need to do first. And by the way…" Mundy crouched to whisper in Lucien's ear. "Dress up nice and come at 7pm at the crossroad between the High Street and King James Avenue."

Lucien's cheeks went pink.

"Fine, I will."

"Be there on time and put on the nicest clothes you have. We'll spend the evenin' just you and me." Mundy turned to his mother who was playing with the kittens. "Mum, you'll watch over the cats tonight, right?"

"Yeah, we will, don't worry…!" Caroline answered.

"Right, I'd better go then, I got stuff to prepare." Mundy winked at Lucien and the Frenchman felt like the most special man on Earth. "See you later, Lu'."

"See you, Mundy."

Mundy went away and Lucien stayed with Caroline in her garden. The kittens seemed to love playing there. Soot went to Lucien and sat next to him while the Frenchman went on cleaning the plants area.

And soon, the time came for Lucien to go and get ready himself.

"Don't worry, Lucien, I'll keep an eye on them." Caroline came to the living-room.

"Yeah, you go and find Micky. We'll take care of the kids." Mike answered from the sofa, brushing Perle, lying like a queen on his stomach and lap.

Lucien went to Mike and sat down next to him for a moment.

"Are you sure about this? I would understand if you changed your mind. Looking after all these little ones is quite tiring."

"What are you on about? They're lovely!" Caroline said. "Besides, playin' in the garden got them all tired and they're sleeping now."

"Yeah, and look at this one. She likes watchin' the television with the old man, eh?" Mike looked at Perle on his lap.

"I think what she likes the most is the attention, the scratches and you feeding her treats…"

"Maybe, but she likes me too! Eh, baby, tell yer dad you like your old Mike, yeah?"

"Meow!" Perle answered.

"See? She does!"

Lucien got closer to the sofa.

"Thank you very much, Mike, I really appreciate your efforts."

Mike moved his eyes from the television screen to Lucien's light blue eyes.

"Well, thank you too. Carrie was right."

"I heard that!" A feminine voice said from the kitchen and Mike rolled his eyes with a smile.

"I mean," Mike went on. "Micky really found what he was lookin' for with you."

"I try my best."

"Ya don't need to, son. Now you guys go and have yer fun. And whatever you do, you watch out for each other, yeah? And you be good to my Micky, eh?"

"I dream of nothing else."

"Did he tell ya what's the plan?"

"Mike…! It's their evening, not yours, get yer nose out of their business right now!" Caroline answered from the kitchen, surrounded by the mewling kittens.

"Non, I do not know." Lucien answered, whispering.

"Lucien!" She added and both Mike and Lucien chuckled.

"Right, you go before she gets out the kitchen and tells us off, yeah?"

"I shall, thank you again for looking after the babies."

"Meow?" Perle raised her head and her paw to her Papa. Lucien took it and left a kiss on her white fluff.

"I shall see you tomorrow."

"You have a good evenin', Lu'!"

"Merci, Caroline, see you tomorrow!"

And Lucien left the house. Mundy had told him to go back home and get ready for an evening just with him. What for? Lucien didn't know, but if Mundy thought he could surprise Lucien, he had another thing coming!

Lucien had hesitated quite a bit before deciding, but he shall do it. He headed straight for the bedroom when he arrived, he lost no time stripping naked and started the act. He had dressed as a woman before, oui, and had put on the whole elegant show. This time, it shall be different. This time, he shall play another card.

He had talked to Richard about it and the taylor agreed to help, not without having a second of surprise however. It was a request for a dress, but not any odd one.

"Cut?"

"Close to the skin, but comfortable and not compromising."

"Length?"

"Down to half of the thighs."

"Colour?"

"Bright red."

"Dinner or social event?"

"Special occasion, something intimate."

Richard blushed slightly and his moustache only seemed more white in contrast with his pinkish skin. He stopped taking notes for an instant to clear his throat, before going on.

"Fabric?"

"Enticing to the eye and the touch."

"Any special requirements?"

"The cleavage." Richard raised an eyebrow. "Generous." Lucien added.

The Frenchman had his eyes closed on the tailor's armchair, imagining the dress as he described it. The smoke of his cigarette wreathed and curled, rising in the air.

"Anything to go with it?"

"Do you happen to make lingerie?"

Richard adjusted the glasses on his nose.

"I do."

"Can you do it for men?"

"I thought you had resigned." Richard answered.

"What? Non, I am still a teacher, but what does it have to do with-?"

"No..." Richard took his eyes off of his notebook. "I thought you had resigned from your military duties."

"Of course, I have. I am not a spy anymore…!"

"Then, why the disguise?" Richard asked.

"It is no disguise."

The tailor frowned.

"I will not act a part that isn't myself." Lucien made himself clearer. "If my demand cannot be met, I understand perfectly, Richard. But if I am asking you of all people, it is because I know the quality of your work, and I wouldn't want anyone else for this. I wouldn't be able to ask anyone else."

Richard raised his eyes to Lucien.

"I shall do it. After your last request, I thought that it was for someone else…"

"Non, of course not." Lucien said. "It is for me."

"I am relieved." Richard nodded.

"What were you imagining?" Lucien asked.

"Well… If you had come back to your military duties, then surely you wouldn't work for France, and as such, I should have to treat you with distrust, at least. And if, like last time, you asked me to use your measurements to fit the dress, then surely, with M…?"

"Oh, you thought my relationship with M ended and I was now seeing a woman?"

Richard nodded.

"What else could I have understood?"

"And why would I train my walking with high heels here?" Lucien answered.

"Ah, yes, that I do not know…"

"I merely want to surprise Mundy." Lucien answered. "You should have seen his face last time when he finally understood that the woman flirting with him was me in fact." Lucien chuckled, thinking about it again. "But again, if you do not want to do it for any reason, I shall by no means force you."

"Non, please." Richard shook his head. "I must admit that your orders always push the limits of my knowledge and my craft. My apologies for judging, and badly so. I should take this as an opportunity to hone my skills and teach my sons with me." Richard nodded to himself. "You know, uhm…" He looked left and right before going on. "One of my sons, Paul, the eldest…"

"What about him?" Lucien asked.

"He… I think you and M gave him the courage that he needed." Richard blushed and Lucien didn't understand where he was going. "He… He confessed to his mother and I that he… He prefers gentlemen."

Lucien's eyebrows jumped in surprise.

"Now, we did have our doubts but he just confirmed it and… We are actually delighted that he worked up the courage to tell us."

The Frenchman smiled.

"He is fortunate enough to have a father who describes himself as 'delighted' about it." Lucien said.

"Indeed. I imagine others are not so fortunate."

"Far from it."

Richard shook his head.

"Anyway, now, to come back to the dress…"

And Lucien described the vision he had, something that was enticing, revealing and inviting. The only thing the Frenchman wished he could buy was a few years of his life back. Ah, he wished he was closer to Mundy's age…

In any case, he put on the lingerie, the stockings, the dress, and the assorted red high-heeled stilettos. Lucien then went to the bathroom and put on his make-up. Eyeliner, mascara and this time, a hint of red lipstick. He put on golden earrings, a long and thin golden necklace and looked at himself in the mirror.

His hair.

What should he do with it? Ponytail? Bun? Braid?

Non, non, non. He needed something bold, something to go with the glamourous show he had been planning.

"Fine then…" He grabbed his hair dryer and a brush, and got to work.

-- Later --

"Gosh, he should be here…" Mundy looked at his watch and his eyebrows jumped. "Ah, yeah…"

He had worn Lucien's watch for the night, the one he had broken on the day he had died. It was permanently 4.26pm.

He smiled.

Looking at that broken watch didn't pinch his heart anymore, and especially not today. It made him smile. That broken watch was an I love you in itself, it was something that Lucien had left before giving away one year of his remaining life. And for what? For the mad hope that somehow he would end up with Mundy. Somehow…

"C'mon…" Mundy wanted to wipe his sweaty hands on his trousers but refrained from doing so. "Mh." He grumbled and waited.

He had told Lucien to be there, at that crossroad, and on time. It wasn't too far from the house. But the Aussie started to be nervous. He thought back about what his mother and father had told him and kept on repeating to himself to breathe.

Take a deep breath, take a deep breath, take a deep-

"Hey there, 'scuse me," Mundy turned to the feminine voice and the pat on the shoulder. "D'you know where I could find a wild man in a van?"

Mundy's eyebrows jumped. In the night street, the Aussie couldn't see the woman clearly, but gosh, the curves, the shapes…! Mundy's eyes snapped back to her eyes, not without lingering at the wide cleavage and the golden necklace shimmering around her neck, diving down her shy chest.

"Uh, what?"

"Mundy, it is me." Lucien chuckled. "How many times can I fool you?"

"What?! How the fuck?! Hold on…" Mundy put his hands on Lucien's shoulders and pulled him under a lamp post.

"Holy dooley…! What have you… Is it really you? I mean…"

"And look at you, mon amour. What is this suit? I have never seen it."

Mundy looked down at himself.

"Well, you aren't the only one who can go to Richard and ask for somethin' special, eh? Like it?"

Lucien took a keen look. The cut was well adjusted, close to Mundy's body. It made him look even taller. The Frenchman let his fingers touch the fabric.

"Soft, yet one can feel little asperities. Mixed fabrics, satin and cotton of India."

"Gosh, you sound like Richard." Mundy chuckled. "Like the colour?"

"Dark, Burgundy red. One of my favourites." Lucien said.

"Guessed so."

"How?"

"The first time I met you, as a spook, you were dressed in dark red, the suit, the tie, the balala-thingy. Thought I might wear it this time, give it a try. Besides, Richard went about givin' me a lecture about how it would suit me cause of my skin tone or somethin'..."

"Ooh, paid attention we have, huh?" Lucien chuckled.

"Hard to ignore the tailor when he gets emotional, eh?" Mundy grinned. "But I uh… I mean I look at you and uh… Is that really you?"

"Look into my eyes." Lucien raised his eyes to Mundy and the Aussie raised a shy hand to his cheek, cupping it gently, while the other rested on Lucien's hip.

"Gosh, you're… You're even more than last time."

"More what?" Lucien asked with a smile that made Mundy's heart flutter.

Mundy was devouring him with his eyes. The red, short dress, the black tights, the red high-heels and gosh the face… The face! The eyeliner, the dark yet subtle shadow on his eyelids. Mascara? Was that mascara? His eyelashes didn't need it, they naturally were long and thin, and gently flapped like the wings of a butterfly.

"Is that… lipstick…?" Mundy squinted on Lucien's lips.

Lucien gently nodded.

"You didn't have that last time."

Lucien shook his head and lowered it.

"Hey…" Mundy put an index finger under Lucien's chin and raised it. "You're beautiful, baby doll." He smiled and Lucien blushed. "And what's with the hair…? Curly and fluffed up? That's… bold. Reminds me of a certain spook I met back in the days, eh."

"Is it too much?" Lucien asked, his eyes still evading Mundy's as the pink on his cheek deepened.

"Nah. It's… It's amazin'."

Lucien finally raised shy eyes to his lover.

"Really?" He whispered.

"Yeah, really. And look at you… Dress, purse and everythin'... A gorgeous doll you are."

"Yours, please?"

"Course, I'd never imagine that-"

"Hey!" A voice cut them. A group of men were passing by. "The doll busy for tonight?"

"Yeah, come with us, baby…!" Another man from the group added.

They were clearly past tipsy. Mundy frowned.

"We're busy." He simply growled.

"C'mon mate!"

"Sharin' is carin'!"

"C'mere baby…!"

"Hands off!" Mundy clenched his jaw and pulled Lucien to himself. "Lay a finger on her and I'll make a necklace of yer teeth."

"Wohow," One of the men went. "Possessive bloke in a suit. We're five, you're alone, what are you gonna do?"

"Pop yer teeth," Mundy pointed at the first one. "Re-arrange yer ugly mug," He pointed at the second. "Break your leg." His finger moved again. "And you two, you'll get so scared, you'll shit yourselves and run away."

The group of men laughed.

"Well, then, come and get my teeth if ye like, mister suit and tie!"

Mundy turned to Lucien. The Frenchman's heart was pounding so hard that the dress around the cleavage was shaking. The Aussie bent down to kiss Lucien's brow. "Stay here, baby doll, I'll take just a sec."

"Mundy, you don't have to-"

"No. I said no one'd touch you and I mean it."

"Then please, go easy on them. The last thing we need is the police after us, especially me, in this attire." Lucien said.

"Yeah, now stay right here." Mundy kissed Lucien's hand and turned to the group of drunken men. "C'mere then…" Mundy opened his suit jacket. One punch flew and the first man got unconscious before his body hit the ground. "Teeth out? Now, you c'mere…" Another punch flew and the second man hit the floor limply. "And you, yer leg…!" Mundy raised his heeled boot and that's when Lucien realised that those were brand new. They weren't brown, they were black, to better go with the suit. Mundy stomped his heel down the other man's tibia as he had wrapped an arm around his neck. Even Lucien heard the bone break and the Frenchman's thighs tensed.

Non, non, non, non…! The Frenchman bit his lip and stepped on his own toe to prevent his body from showing the effect that Mundy's confidence had on him.

"Now, both of you, d'you know who we are?" Mundy addressed the two remaining drunkards. Their knees had given up, they were on the floor, eyes wide and breath sort. As the Aussie didn't receive any response, he bent down and took one of them by his collar. "I said: d'you know who we are?" He spoke slowly, his nostrils flared and his eyes flashing fiercely.

"N-no, w-we don't know! We swear! Just thought the sheila was for the takin'! We swear!"

"Then take your mate to a hospital and if you mention my sheila'n me, believe me, I'll find you." Mundy said menacingly and didn't see that under the lamp post, Lucien bit his lip. The Aussie let go of the drunk man and dusted himself off before closing his jacket again and coming back to Lucien. He offered his hand and the Frenchman gladly held it as they started walking in the street. "Sorry about that, baby."

"I… It… Ah…"

"You alright?" Mundy asked with a chuckle.

"Oui… I think? This is quite an eventful way to start the evening."

"And it's only the start, luv'. Now, can you climb on the bike with yer dress?"

"Oui."

"Then c'mere and hang on tight."

Mundy straddled the motorcycle that he had parked a bit further away and invited Lucien to hop on behind him. He started the engine and drove through the streets. Lucien wondered what the Aussie had in mind for them but soon understood when the streets became familiar.

Eventually, Mundy parked and turned to Lucien, whose dress shimmered under the golden lights of the establishment that both men knew very well.

The Queen Victoria.

"Remember this place?" Mundy asked, helping Lucien out of the motorcycle.

"Of course, I do." Lucien answered but he frowned. "Did you book a table there? I cannot go inside, for them, I am dead."

"Relax, I know. I didn't book anythin'. Just wanted to bring you here."

Both stood side by side, about a dozen or so metres away from the entrance and Mundy laced an arm around Lucien's waist.

"Brought you here cause this is where I saw you for the first time." Mundy said and Lucien smiled.

"Are you feeling nostalgic?"

"Not really. Just been thinkin' about it all, from the start till today. We've done some mad stuff, eh?"

"Quite the adventure indeed." Lucien agreed and leaned on Mundy's side. From where they were they could hardly hear anything but the muffled sound of the music playing in the restaurant.

"When I saw you in there, you woke things up in me." Mundy said. "At first, I didn't really understand. But the more I came to your shows and listened to you, the more I understood that I just wanted to hold someone, I wanted to have someone to say the words you were singin' to. And then I realised that I wanted someone to sing those words to me… As pathetic as it sounds, I was on my seat there, and I just imagined you were singin' for me."

Lucien leaned his head on Mundy's shoulder.

"I just… I didn't even want intimate stuff, I just wanted to touch someone, hold their hands, be touched by their hands… Feel like I exist and not just drag my feet from one day to the next." Mundy sighed. "You… You made me fall in love with an idea."

Lucien raised his head to Mundy and smiled sweetly.

"With your voice, I just… I felt like I was head over heels for someone who doesn't know I exist, and I didn't even know if they did too. But I felt it in my heart, the butterflies in my stomach, everythin'. I was in love, but with no one."

Lucien grabbed Mundy's arm between both of his and squeezed him gently.

"I-I don't know if that makes sense."

"Oui, it does." Lucien said. "You had the same effect on me. I think what we felt was longing. We both had love to give but no one to give it to, no one was worthy enough of the pain and the sacrifices that one does when one is in love. Because when you are in love, then you do not count. Such sacrifices of your time, your space, your energy, your money, all those do not appear as sacrifices, they are investments. You are investing in something that you are building, as opposed to yielding to something that costs you more than what you gain from it."

"Yeah… Yeah, that's the idea." Mundy nodded.

Silence fell between them, only interrupted by the occasional passer-bys and cars. Lit by the yellow neon name of the place where they met, Lucien and Mundy shimmered in red, splitting the dark blue night.

"Why did you bring me here?" Lucien asked.

"Because that's where it all started. That's where you gave a point to my life that wasn't just kill a bloke to get revenge for my parents. That…" Mundy pointed at the restaurant. "That's the place you revived me, after ten years of draggin' my feet in the desert, walkin' around under the scorchin' sun like a dried lizard. So I wanted to come back and tell you all this before…"

"Before what?" Lucien looked up at his lover.

Mundy looked away.

"We need to go." He simply answered and walked towards the motorcycle. Lucien followed him, still hand in hand with him and at a loss as to what Mundy had in mind.

#tf2 sniper #tf2 spy #sniperspy #SBT

14 notes · View notes

missecharlotte · 3 years

Photo

03; Something is Wrong

~( chapter preview one )~

Seeing he wasn't caving a realization hit her as she guessed, "This isn't about the money, is it? This is about you not wanting me to save Derek?"

"Avery, listen to me." He sighed as he looked down to the wooden desk in front of him.

"They could be torturing him, dad."

He closed his eyes and tried not to think about it as he said, "I can't make that my problem, Avery. I like Derek, I really do… but this world, this supernatural world has almost killed you more than a handful of times and I can't just let you put yourself in another life or death situation."

Her jaw tensed and she couldn't believe what he was saying to her.

"I know how bad it sounds and I hate myself for it. But I'm not giving you the money for this because I'm afraid if you leave for Mexico, that you're not coming back. I'm just trying to look out for you," he admitted, his tone heavy as his shoulders dropped forward.

Shaking her head back and forth, she breathed, "What part of this are you not understanding?" With a heavy sigh, her voice raised until she was yelling, "Hunters have Derek and our best shot… my only shot at bringing him back safe is this money!"

"It's not happening," Richard stood his ground, for the first time in a long time really trying to watch out and protect his teenage daughter.

"What is wrong with you?" she shrieked, her voice hurting his ears as it echoed through the office.

Cutting her off, he yelled back, "You have no idea what almost losing you did to me, Avery. I watched you almost die, again! But this time it was by your own hand. I sat up every single night you were away wondering where I went so wrong with you… how I should have never let you check into Eichen House to help Stiles, because God knows you were never the same when you came back out of there."

Seeing tears starting to swell up in his daughter's eyes, he lowered his voice some, "I'm not perfect… close to 17 years in and I'm still struggling with how to be a good dad. I have made mountains of mistakes when it comes to you, but I'm here now and I know you don't believe it but I am really trying to protect you."

Her chin quivered and her voice trembled as she said, "I think we're long past the point of me needing to be protected. I need you to believe and trust in me enough to know that I can do this, that I have to do this to bring Derek back alive."

~( chapter preview two )~

"Derek is gone. Someone took him," Teagan said. She knew some of the others; like Stiles and Scott, were going to lie about where they were going, but she couldn't do it.

"Okay," he said slowly with a nod. "And you have to go because?"

"We know who took him and we have to go to Mexico to get him," she explained.

"That's unfortunate for Derek, and I don't mean to be insensitive here, but I'll ask again... Why do you have to go?" he questioned. "I didn't realize you and Derek were that close."

"We're not," she said. "I mean, we're not friends or anything, but I wouldn't want anything bad to happen to him. Plus he's important to Avery and Avery..."

"Is still recovering," he finished for her.

"Yeah," she said with a short nod. "And I can't let her go through this alone."

"How long will you be gone?" he asked.

"No clue. Hopefully not long," she answered honestly. "It's a family of hunters who have him, but Avery's sure he can be bought back. If that's true, then it should be a quick trip; just pay the money, grab Derek, and come home." At least she hoped that was how it would play out.

"I can imagine something like that will cost a lot," Paul said. "Where are you going to get that kind of money?" He hoped she wasn't going to ask him for any. It's not that he didn't want to help, they were doing well financially, but probably not well enough to buy back a werewolf, however much that would be.

"Avery said she has the money covered," Teagan answered with a one shoulder shrug.

"Who all is going?" He raised his eyebrows and shot her an overprotective father look. "Isaac?"

She nodded her head. "And Scott, Stiles, Kira, Malia, and Lydia."

"That's a lot of people just to buy back a werewolf," he pointed out, feeling like there was more she wasn't telling him. "And the fact that you're packing weapons..." He watched her toss a couple of daggers inside the bag. "...makes me think this is more than just a rescue mission."

"I'm just trying to be prepared. Allison..." her voice trailed off after mentioning her friend's name. She wiped a lone tear from her cheek and cleared her throat, her tone soft as she pushed to continue, "Allison always believed in being prepared for anything. That's the way she taught us to be."

Laying a hand on her shoulder, he gave it a small squeeze, then lowered his head to catch her eyes. "She would be proud of you, Sweet Tea. She would be proud of all of you."

BLUE MOON SERIES » A NEW BLUE MOON; BOOK FOUR FANDOM; TEEN WOLF PAIRING; ISAAC LAHEY X OC + JORDAN PARRISH X OC

#teen wolf fanfiction #blue moon series #update. bms #(a new blue moon: the rewrite)

7 notes · View notes

thecrownnet · 4 years

Link

October 3, 2020

Series four of The Crown takes on Princess Diana: exclusive pictures and interviews Charles has found a wife, Andy’s got a racy new girlfriend and Thatcher’s coming for tea... Megan Agnew gets an exclusive tour behind the scenes of the most wild and lavish series yet

Lasers. That’s what helped Emma Corrin understand Princess Diana in the latest series of The Crown. When the cameras were rolling, she imagined that lasers were pointing at her, as if she were in a spy film or a bank heist drama. It was her way of imagining hundreds of people staring right at her. Lasers helped her with the iconic Diana head tilt. She pretended she was shying away from them.

Corrin could also draw on her own trajectory as a 24-year-old actress. Before landing her part in The Crown, she was an unknown. Suddenly “there’s a huge amount of pressure”, she says.

When I visit the set at Winchester Cathedral, which is pretending to be St Paul’s, the paparazzi arrive to catch Corrin pretending to be Diana. She’s dressed in a replica of the outfit they papped at the actual royal wedding rehearsal almost 40 years ago. Every time she moves between buildings and trailers, Corrin has to be shielded with umbrellas. Life imitates art imitates life.

youtube

Almost every person Corrin has spoken to since getting the role has their own “Diana moment” — they might once have waved at her car in the street, been a pupil at a school she visited or knew someone who sat next to her at a dinner. Diana was one of the first celebrities to whom people laid claim. “Everyone has this ownership,” says Corrin. She was, and still is, the People’s Princess. But Corrin is trying not to think too much about it. Public expectation has been “overwhelming since the beginning”, she says. She wants to do Diana “proud”. “I know that’s strange and cheesy, but I feel like I know her.”

Emma Corrin as Princess Diana/ NETFLIX

The first television series of The Crown, which aired in 2016, was at the time the most expensive in history. Each series since has been estimated to have cost upwards of £50 million. The first two covered the first decade of Elizabeth II’s rule to wide acclaim, but series three — in which Her Majesty Claire Foy was succeeded by Olivia Colman — had mixed reviews. “The jewel in Netflix’s tiara has lost its shine,” said one. It was “okay”, said another.

Now, with series four’s reported £100 million budget eclipsing the Queen’s own sovereign grant last year of £82.2 million, The Crown is barrelling straight into the Eighties era of celebrity glamour and modern party politics grit. Peter Morgan, the show’s creator, is taking on two of the most controversial public figures of the past 50 years: Princess Diana and Margaret Thatcher. “The word ‘iconic’ is overused, but in the case of these two women quite justified,” Morgan says. Both have passionate fans and detractors. “Writing them was a bit of a high-wire act, but it was exhilarating.”

We meet Diana as a teenager, scampering around her huge family home in Northamptonshire. She is young and apologetic. The Prince of Wales, at that time dating her eldest sister, is rather distracted. A number of years later, Diana is leaving her relatively modest flat in Earls Court and her job as a nursery school assistant to move into Clarence House — but finds herself in solitude. Bored and lonely, 19-year-old Diana rollerskates down corridors to Duran Duran and sits all by herself in her chamber. One night, after finding out about Prince Charles’s affair with Camilla Parker Bowles, she gorges on puddings and makes herself vomit them back up.

Behind the scenes: the latest series of The Crown/ NETFLIX

*Spoilers*

It is a dark moment that Corrin wanted to get right. She listened to real-life accounts of people who had suffered from bulimia and talked with experts from the eating disorder charity Beat. Diana herself said that it was the most “discreet” way of harming herself: “Everyone in the family knew about the bulimia,” she said in recordings from the 1990s later made into a Channel 4 documentary.

“Drawing on my experience,” says Corrin, “not that I’ve experienced that kind of self-harm, but mental health in general, it can lead you down a very dark path when you’re struggling to cope, when things feel out of control. Diana very much doesn’t have the love and comfort and attention she needs from the man she loves or the family, who aren’t really acting as a family to her. There is a build-up of emotion she can’t deal with and making herself sick is a way of taking back control.”

When Josh O’Connor, who plays the Prince of Wales, first read the script for this series he thought: “Oh God, how can Charles be like that to Diana? But he feels wronged. He feels like she has an addiction to the spotlight,” he says. “I have to feel sympathy for him in that world. This is a family who have an intense inability to be emotional and he has inherited that awkwardness. In this series there’s an awful lot of Charles trying to explain himself and not being allowed to. He’s trying to say that if he can be with Camilla, then at least two of the three people can be happy. As it is, there’s three miserable people.”

The Crown works differently to other shows in that the “writers’ room” is not made up of writers but researchers, who constantly feed back to Morgan, the king of The Crown. It means that for each word eventually spoken on film, there are pages and pages of briefing notes. Annie Sulzberger, head of research, started this series by hiring a young team. “I wanted people who did not grow up believing one or the other [Diana and Thatcher],” she says. “You have to be curious enough and ignorant enough, I suppose, to write the kind of work we need.”

This series will span the Thatcher years — 1979 to 1990 — and will include the assassination of Charles’s great-uncle, Lord Mountbatten, by the IRA, Charles and Diana’s wedding, and the Falklands War. Once the team has laid out a timeline, Morgan picks out the events he wants to feature. The research team starts to hone in on each, getting increasingly “micro” in their investigations. In the making of this series, one of the team spent two weeks researching the label on a bottle of wine from which a character briefly swigs.

Dress rehearsal: Josh O’Connor and Emma Corrin act out Charles and Diana’s wedding run-through/ NETFLIX

As the show has progressed, the fact-checking work has multiplied, thanks to the tabloid journalism of the 1980s. “It’s not just about words being printed,” Sulzberger says, “but who wrote it. Diana will become very close with a journalist called Richard Kay and feed him information, and Charles’s team will do the same. So you need to start unpicking the biographies of all the writers in order to know that what you’re doing has some objectivity.”

Did the team speak to any of Diana’s family or friends? “No.” Do the producers give any material to the Palace to see beforehand? “No. We have no connection to them that would result in editorial shifts. These are real people, these are real stories and we are filling in the moments that aren’t recorded — private conversations, moments of reflection, philosophical moments.”

When I ask Morgan if it’s true that he meets high-ranking courtiers four times a year, he is keen to clear up that he doesn’t. “I have never had any discussions with anyone actively working at the Palace,” he says. “The two worlds, the royal household and The Crown, exist in a world of mutual deniability, which I’m sure is every bit as important to them as it is to us.”

Corrin, though, did speak to Patrick Jephson, Diana’s private secretary, who appears as a fictionalised character in this series. “I got a sense of her joy from him,” Corrin says. “He said she was so naturally happy. When she joined the royal family, she had come from living with flatmates in Earls Court and she was a very normal girl. Patrick said she was still full of that girlish silliness, very down to earth.”

The couple themselves at the real thing in 1981 MIKE LLOYD/SHUTTERSTOCK/REX

The executive producer Suzanne Mackie says that “particularly now” The Crown team feels a sense of responsibility “to living people, people’s children, people’s parents. Obviously what we don’t do is engage on a fact level with the royal family. We have a tacit understanding that they need distance from us and we need distance from them.”

It is a cold day in January and I am watching Charles and Diana’s wedding rehearsal in Winchester. About 75 per cent of the show is filmed on location around the world, over the course of seven months. The rest is filmed at the show’s base, Elstree Studios, just north of London.

Today in Winchester Cathedral there is a crew of 78 and a cast of almost 200. The sight is as epic as the show’s budget would suggest. Between takes, Corrin sits on the stone steps by the altar, scrolling on her iPhone with one hand and biting her fingernails on the other. Even before the clapperboard snaps shut, the resemblance between her and the princess is uncanny.

Sidonie Roberts, head buyer and assistant costume designer, has a timeline of photos of Diana covering the wall of her studio at Elstree. Roberts is devoted to the cause. She travels to Paris to buy buttons from the same shop the Queen’s dressmaker uses (it sells more than 30,000 types of button) and to Soho to rummage in basements for fabric. Last year she was in a Bangladeshi fabric shop in Brick Lane, east London, when she saw a roll of material right on the very top shelf. “It was still in its plastic, but I just knew — that’s Diana’s colour,” Roberts says. She got a ladder, climbed to the top, pulled down the fabric and bought it for £3.50 a metre. When Roberts got back to the studio at Elstree, she unrolled it and saw a stamp at the bottom: “The Lady Diana Collection, made in Japan.” Roberts did some research. It was real silk, from a collection made in the princess’s honour.

In the corner of the studio an assistant is gluing tiny pearls to Diana’s flat wedding shoes. She has been decorating them, exactly like the originals, for a day and a half. “We’ve had a long conversation about the size of those pearls,” says Roberts. David and Elizabeth Emanuel, who designed Diana’s original wedding dress, donated patterns to the show, which were used to make the new version. With its 25ft train, it took ten people to get Corrin into the dress. In the show it is seen in full, and only from behind, for no more than 15 seconds.

Paying their respects: Olivia Colman as the Queen and the rest of the royal family at the funeral of Lord Mountbatten/ NETFLIX

Corrin is masterful at inhabiting Diana’s coyness — hunching her shoulders towards her ears as she walks, the smirk, her intonation. Diana’s voice was the “polar opposite” of the royals’, says William Conacher, The Crown’s dialect coach. “She moved her jaw twice as much, so her voice was more forward, open, easier to access, and I don’t think it’s especially revelatory to suggest accessibility was her shtick,” he says. “She used a minor key that made her seem vulnerable. Despite the Queen’s and Prince Charles’s accents being ‘stiffer’ to listen to, I think it comes entirely naturally, whereas I find Diana’s voice more studied. I think she spoke to have an effect.”

What sort of research did Colman do for series four’s Queen? “Yeah, I don’t do research,” she says when we speak on the phone in the summer. “The research team on The Crown is a bit like the British Library. It’s extraordinary, and when they kick in, your computer can’t really cope with the amount of stuff they send you.” Was there something in particular that the team sent her that made things click? “No.” There is a longish silence. It seems Colman’s royal duty is waning. “They’ve got every image and film of the Queen ever made. I’ve also got three kids, so I can’t spend all my time going through all of it.”

As she wraps up a second series of The Crown — Imelda Staunton will take over for five and six — Colman knows that she would “really not like” to have the Queen’s job. “There are very few people who are forced into a job and have no choice about it,” she says. “She’s done it with dignity, for decades, bless her. It’s amazing.”

The funeral of Lord Mountbatten took place in 1979 BENTLEY ARCHIVE/POPPERFOTO/GETTY

If there were rumours of Elizabeth II being unhappy about the last series of The Crown, I can’t imagine she’ll be too chuffed about this one. Series four’s Queen is colder and more distant, and the effects of her duty on her children more obvious: Charles is heavy with melancholy, Anne feels unheard, Edward is portrayed as a spoilt bully and Andrew is dangerously arrogant.

Speaking of Andrew, there is a subtle nod towards recent events. At one point the prince discusses a young American actress he is dating. The actress had recently played a 17-year-old who must entertain several “old predators who seduce the vulnerable, helpless young Emily”. The real prince dated the actress Koo Stark in 1981, who had starred in The Awakening of Emily, which had a near-identical plot.

In series four, the pivotal relationship between the Queen and Margaret Thatcher begins well. They are respectful of one another as no-nonsense working mothers, but tensions arise — not least, over tea etiquette at Balmoral.

In preparation for her role as the Iron Lady, Gillian Anderson met Charles Moore, Thatcher’s biographer, as well as secretaries who worked with her. “The only way for me to go about sitting inside of her was to find the reason behind her actions — growing up, what she learnt from her father, how much she truly believed that she was the answer and as long as we all took the sour medicine now we’d be able to turn around this country, completely shutting her eyes to the people that she was turning out on the street.”

Anderson eventually “settled into” the body of Thatcher. “She walked very fast, always up ahead,” Anderson says. “She would power forward in front of presidents. With [Ronald] Reagan she would supposedly be alongside him, but was walking ahead. Always walking ahead of [husband] Denis, telling him to catch up.”

Thatcher’s barnet also features. In one scene she spends an asphyxiating four seconds hairspraying it in preparation for a showdown with the Queen. The hairdo took endless camera tests before Morgan was happy with it. “It essentially meant destroying it so it had an overprocessed ‘frothy’ quality,” says the hair and make-up designer Cate Hall. “To treat a wig so badly was against all of our instincts — they’re so expensive — but I’m grateful now that we went through the process with Peter, with him saying no, more, it’s not right, try again.”

Clash of the titans: Margaret Thatcher, played by Gillian Anderson, is filmed meeting the Queen, played by Olivia Colman, in a memorable scene from series four/ NETFLIX

Series five will have a whole new cast. Colman says she is “not the sort of person who keeps the shoes of a character they played 20 years ago”. But Helena Bonham Carter is going to miss Princess Margaret. “She does pop out [in everyday life],” she says. “The other day I was at some public event and there was the normal scramble of people and I just told them, ‘No, shut up.’ The finger came out, which is very her, and I said, ‘Shut up and wait. Don’t get hysterical.’ So I’ve got the bossy side of her.”

Originally Morgan said there would be two more series after this one. Then he changed his mind, describing series five as “the perfect time and place to stop”. Now there are two more again (“To do justice to the richness and complexity of the story,” he reneged). The show is creeping closer to the modern day. It is now said to be ending in the 2000s, spanning, perhaps, Charles and Diana’s divorce, the deaths of Diana, Margaret and the Queen Mother, the marriage of Charles and Camilla, and the teenage and twentysomething princes. “I want to end it close enough to present day to feel that we have completed a long journey and distant enough to feel historical,” says Morgan. “I have a specific incident in mind, but until I’ve actually written it and seen if it works, I can’t commit to discussing it.”

On set with Mackie, I mention Harry and Meghan. “Too often,” the couple posted on their Instagram page that month, “we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment, or the smallest act of caring.” Is it possible, I ask Mackie, for the royal family to humanise themselves while still justifying their existence as something mightier, more important, regal? “That’s where you go wrong, as a public figure, letting light in on the magic, especially as a monarch,” she replies. “You have to be an ideal. After years and years of that subjugation of self in order to put duty first, you, the essence of you, is buried somewhere. The Queen is a tiny little person inside many, many Russian dolls.”

Series four of The Crown is available on Netflix from November 15

#olivia colman #helena bonham carter #gillian anderson #the crown #the crown spoilers #tobias menzies #josh o'connor #emma corrin #princess diana #ben daniels #erin doherty #emerald fennell #charles dance #marion bailey #the crown netflix

68 notes · View notes

ratingtheframe · 3 years

Text

Lights, camera, lockdown! All the films I watched at home this November.

Last month, the UK went on a one month down lockdown, causing cinemas to shut and new releases to be put on hold.

In fact, Christopher Nolan’s Tenet was the only multi million dollar film to be released this year. It’s painful to think that Dune was supposed to be released almost two weeks from now and that we have to wait several months to see the sci fi film hit screens. Despite the post poned releases and closing of cinema chains, there are still some great films I hadn’t seen and used last month as an opportunity to look into them. Even though I didn’t see as much as I did in October, the quality of the films I managed to see this month is high.

His House (2020) as seen on Netflix

Starting off reasonably well with this horror brought to you by Netflix that centers the life around two immigrants and a spirit haunting the new lives they’re trying to build in the UK. It’s certainly a new perspective that I haven’t seen in horror and definitely isn’t a film for the fainted hearted for some of the scenes in this are genuinely terrifying. The overall message was thought provoking and poignant as it sort of spoke for those who’ve lost their lives attempting to seek asylum and those whoa are still struggling to find a new home.

His House is available to watch on Netflix. Score: 9/10

Nobody Sleeps in the Woods Tonight (2020) as seen on Netflix

Definitely one of the most surprisingly good films I watched this month, Nobody Sleeps in the Woods Tonight is a classic Netflix horror from Poland. The film follows a group of Polish teenagers addicted to social media who are sent to a camp to curb their addiction. However, when on a hike through the woods, one of the teens goes missing and without a phone to call for help, the kids are forced to face two grotesque monsters feeding upon humans. From start to finish, this film was highly entertaining and had a good structure to it. There were no gimmicks or cliches and it’s definitely a film I’d recommend to just about anyone.

Nobody Sleeps in the Woods Tonight is available to watch on Netflix.

Score: 10/10

The Ring (2002) as seen on BBC iPlayer

Gore Verbinski’s (A Cure for Wellness, Pirates of the Caribbean) infamous horror is a cult classic and must watch for scary movie fans. Usually horror films can be too gimmicky and borderline cringey without an ounce of substance to them. However, The Ring is surprisingly good in that it possesses a deep narrative with three dimensional characters, good acting and wonderful direction. When a journalist’s (Naomi Watts) niece dies in unknown circumstances, she embarks on a journey to discover a horrifying tape that if watched, kills you in a week’s time. The box office sales for this film speaks for itself seeing as the film made nearly $130 million when it was released back in 2002. The Ring is certainly not for the faint hearted, so if horror isn’t your thing, I’d advise you stay well away from it.

Score: 9/10

Misery (1990) as seen on Netflix

Stephen King’s Misery is turned into an unsettling thriller starring Kathy Bates and James Caan. Author Paul Sheldon (James Caan) ends up getting caught in a snow storm, that seems his car veer off the road, leaving him in a critical state. However, a seemingly caring and selfless woman, Annie (Kathy Bates) takes him in, using her work as a nurse to care for him. It turns out that Annie is a super fan of Paul’s work and the care she has for him soon turns nasty and sadistic, leaving Paul in a panicked state for he is in the middle of nowhere with a practical psychopath. I wouldn’t say Misery is one of best adaptations of King’s novels. There are better pieces of work by Stephen King that have been made into movies such as IT, The Green Mile and 1922. The pace was quite slow and the fact that it took place in only one settling detracted from the progression of the film. However, it’s entertaining, well cast and had a decent story to it.

Score: 7/10

Drive (2011) as seen on Amazon Prime

Drive is 1000% one of the best films I’ve seen this year, in my entire life in fact. It’s incredibly bold, ambitious, vivid, subtle and heart wrenching at moments. A stunt driver (Ryan Gosling) is torn between the world of crime he partakes in and the love he has for a young woman (Carey Mulligan) that lives in the apartment next door to his. The subtlety and sensitivity that both Gosling and Mulligan brought to this film was so pure and authentic to their characters, whilst bringing an underlying sadness to the entirety of the film. By the end of the film you want to cry but aren’t sure why and these sorts of films are rare to find. The sound track and SFX in this are unreal, again adding to the confirmation that this film is one of a kind.

Score: 12/10

Time (2020) as seen on Amazon Prime

I was delighted to see Amazon Prime had put this straight onto their service seeing as I’d missed out on Time during the London Film Festival two months ago. This is one of the most moving and deep pieces of work I’ve seen this year. Time is a documentary filmed over 20 years that details the life of a woman trying to seek justice for her husband who was put in prison for life for armed robbery. Not only is she fighting for her husband, but also her four sons, two of which weren’t even born when their father was put away in jail. Fox Rich lives in Louisiana, one of America’s toughest states when it comes to the criminal justice system. Sentences are of some of the highest in the entire country and are especially harsher to people of colour. Fox and her husband took the fatal and desperate decision to rob a bank in a bid to support their business and family. This drastic choice took Fox’s husband away from his family and for 2 decades, Fox spent time trying to get her husband out of jail. The thing that moved me the most about this documentary was her sons; four beautiful, smart and driven men who grew up without a father. It made me wonder how proud Fox must be of her kids and to see her fight for her husband and remain loyal to him is enough love to last two lifetimes.

Time is available to watch on Amazon Prime now.

Score: 10/10

The Departed (2006) as seen on DVD

Throughout this two and a half hour film I was wondering how they had managed to get Leonardo DiCaprio, Matt Damon, Jack Nicholson, Alec Baldwin and Mark Wahlberg to do a film together. And the answer is that this epic and high profile movie was directed by the infamous Martin Scorsese. It’s a mystery why I hadn’t seen this film sooner, seeing as it was a huge hit during its release making a staggering $291 million worldwide during its release. This is definitely DiCaprio’s best film (next to Revolutionary Road and The Revenant) and his performance was incredibly punchy and strong throughout. Everyone in this film was top class and the dialogue fitted well with each character with a natural story progression throughout. A top notch, Hollywood, must watch film.

Score: 10/10

Murder by Numbers (2002) as seen on Amazon Prime

One of Ryan Gosling’s earliest films follows two high school students committing a sadistic murder simply to see just how it feels. Detective Cassie Mayweather (Sandra Bullock) is put on the case to solve the murder and quickly pieces the case together, leading her to Richard Haywood (Ryan Gosling) and Justin Pendleton (Michael Pitt) two students at the same high school. I wouldn’t say this film was bad, however the ending played a big part in the overall quality of the film. It had a good pace and characters, however the ending definitely let down the film for it was rushed and unaligned to the rest of the film. Ryan Gosling’s performance at the tender age of 22 was pretty decent and definitely stated to everyone else his ability as an actor for years to come.

Score: 7/10

All Good Things (2010) as seen on Amazon Prime

As you can tell by now, I went on a Ryan Gosling whip this month. All Good Things is the true story of David Marks (Ryan Gosling), whose wife Katie (Kirsten Dunst) disappears and still to this day, has never been found. Marks was the prime suspect in the disappearance case but was never found guilty and lives a free man. Even though the story was interesting and the performances good, the fact this is a Weinstein Company Film made it hard to watch, especially with the totally unnecessary nudity and sex scenes that put Kirsten Dunst at its forefront. The film lacked a clear resolution and was left completely open ended like the case of Katie Marks, which is understandable, however not when it comes to making a good film.

Score: 6/10

Borat (2006) as seen on Amazon Prime

After finding the second Borat film to be highly entertaining, I decided to watch the first one and was certainly not left disappointed. The first Borat film introduces us to Kazakstan reporter Borat Sagdiyev (Sacha Baron Cohen) and his first visit to America, whilst taking in all the americanisms to report back to his own country. Soon his pursuit turns to Pamela Anderson whose doing a book signing across in California. The comedy has many jaw dropping moments and sees Cohen above and beyond the boundaries of comedy to bring the character of Borat to life.

Score: 10/10

Boy Erased (2018) as seen on Sky Cinema

If there’s one film worth watching on this list, it’d be Joel Edgerton’s Boy Erased. This film is the product of a real understanding of film language and the ability to make a beautiful and heart felt story. Edgerton is a well known actor, but has taken time to go behind the camera as well as in front of it in this Golden Globe nominated picture starring the likes of Lucas Hedges, Russell Crowe, Nicole Kidman, Troye Sivan, Xavier Dolan and Joe Alwyn. Like HELLO if that cast isn’t making you immediately turn off this site right now to find Boy Erased, then I don’t know what will. The film based on a true story follows Jared Eamons (Lucas Hedges) and his time spent at a gay conversion centre with fellow homosexuals Gary (Troye Sivan) and Jon (Xavier Dolan). Jared’s father (Russell Crowe) is a pastor he and his wife (Nicole Kidman) take their religion rather seriously, which is why Jared has been forced to seek help for his sexuality. It’s a hard concept to swallow, especially in this day and age when most parents, religious or not, are starting to become more acceptable of their children’s sexuality. This film exposes the reality beyond that and how some parents feel their child is damaged by something completely normal and feel the need to seek help for it. Boy Erased is made with sensitivity and beautiful acting from an a class cast. All round, it’s a perfect film.

Score: 11/10

The Girl with the Dragon Tattoo (2009) as seen on Amazon Prime

I was a little confused starting this film to see it in Swedish, as I thought I was watching the David Fincher film of the same title. However, The Girl with the Dragon Tattoo was original a book and the first adapation of it for film was directed by Niels Arden Oplev, two years before Fincher made his version, starring Rooney Mara and Daniel Craig. However, the fact that this version was in Swedish didn’t detract from the thrilling story spun onto screen. The three hour movie follows a journalist whose been hired to solve the mystery of a missing girl who is part of a high profile family. A young female hacker who once hacked the journalist and practically ruined his career, joins him along the way and the pair of them uncover a long string of untold secrets that see blood being split amongst numerous women. It’s one of the best thrillers I’ve ever seen and a must watch if you enjoyed Fincher’s version.

Score: 10/10

Still Alice (2014) as seen on DVD

A highly anticipated film on my part, Still Alice is an arresting and moving film about a mother struggling with on set Alzheimers. Julianne Moore scooped up a Best Actress Award at the Academy Awards in 2015, a Golden Globe and a BAFTA for her performance as Dr Alice Howland and her battle with Alzheimers at the age of 50. Kristen Stewart plays her daughter and Alec Baldwin her husband and their performances are equal to Julianne Moore’s. Overall, this was a touching piece that had soooo much depth to it and yet carried a satisfying simplicity throughout it.

Score: 10/10

Enemy (2013) as seen on DVD

I heard about Enemy’s synopsis via a YouTube video and was throughly excited to watch it on hearing it was directed by Denis Villeneuve, a master director when it comes to thrillers and sci fi films. Even though Enemy was difficult to fully interpret, I still enjoyed the story and performance Jake Gyllenhaal brought to the table as a man who meets another man that looks exactly like him. There’s some pure mind fuckery that plays throughout the film as you’re left questioning who is this other man or if there are even two men at all. If anything, it’s an exploration of a man having a double life, wrapped up in some sinister secrets and tied between two women. All of Denis Villeneuve’s work is exceptional and Enemy is no different. A must watch for thriller lovers.

Score: 10/10

A Star is Born (2018) as seen on DVD

Bradley Cooper’s A Star is Born certainly wins the award for making me cry the most this month. The last version I saw of this film starred Judy Garland and James Mason and was centred around a musical actress and the rocky relationship she had with her actor husband. That 1954 version possessed a lot of brilliance and it was easy to compare it to the more modern version starring Bradley Cooper and Lady Gaga. Who would’ve thought these two could be such an authentic on screen couple? The songs, the lyrics and the acting that these two brought to this picture was on another level, it was incredible from start to finish. Obviously the fact that this film had been done 4 times before honed the quality of the film, however Bradley Cooper’s direction and ability to bring out the best in Lady Gaga definitely makes this version of A Star is Born the best one yet. This directorial debut was nominated for 8 Academy Awards including Best Picture and Lady Gaga was handed the award for Best Music for a motion picture. Warning: you will cry whilst watching this or at least afterwards.

Score: 12/10

Sorry to Bother You (2018) as seen on Netflix

Netflix certainly came through this month when it put Boots Riley’s fanatical dark comedy Sorry to Bother You on its streaming service. It’s honestly like nothing I’ve ever seen before and the innuendo and hidden messages within this film make it something that you can watch several times and never get bored of. Cassius Green (Lakeith Stanfield) gets a job as a telemarketer who gets promoted to a “power caller” and through pride and greed, ends up abandoning his ideologies and friends completely. The film speaks for the gentrification of Oakland, California and capitalistic society we live in today. There are many hidden messages amongst the film that at first are hard to decipher, but soon you realise these messages are as clear as day within our own society. Lakeith Stanfield stars alongside Tessa Thompson, Steve Yeun and Armie Hammer, not a cast you’d usually put together but one that certainly worked. Sorry to Bother You is highly entertaining and will definitely make you laugh out loud at points and have you questioning your laughter right after.

Score: 10/10

The Florida Project (2017) as seen on DVD

I’m starting to think that films made between 2017 and 2018 are some of the best ever made and the Florida Project falls into that. I heard about this film through one of my favourite actors and was glad for the recommendation as this film is one of the best I’ve seen all year. The colours and character dynamics are strong and vivid throughout, as we follow the lives of people living on an apartment complex whilst speaking for the child poverty that plagues American society today. Willem Dafoe, who plays the complex’s handy man and security guard, even earned himself a Best Supporting Actor Award at the 2018 Academy Awards.

Score: 10/10

Eternal Sunshine of a Spotless Mind (2014) as seen on DVD

Usually I’d pass on a Charlie Kaufman film, seeing as they make no sense, however I felt that it was time I delved into this cult classic starring Kate Winslet, Jim Carrey, Kirsten Dunst, Mark Ruffalo and Elijah Wood. It’s a really well made film with a clear and distinct message to it that’s represented in some phenomenal filmmaking techniques. The plot line of this film follows a man trying to erase a past lover and his memories of her get wiped away physically before your eyes on screen. This film is certainly a conversation starter and one I’d recommend to just about anyone.

Score: 9/10

Moonrise Kingdom (2012) as seen on DVD

Wes Anderson’s wonderful mind is depicted in this endearing narrative about two children running away from home. This has to one of Wes Anderson’s most iconic films and next to The Grand Budapest Hotel, it’s definitely one of the films you think of when you think of Anderson’s work. His work is known for having well rounded stories, beautiful shots and A List casts, with Moonrise Kingdom being no expection as Anderson manages to squeeze Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Jason Schwartzman, Harvey Kietel and a young Lucas Hedges into this film. If you’ve seen any of Wes Anderson’s work and not Moonrise Kingdom, get on it now. No, seriously, now.

Score: 10/10

Jarhead (2005) as seen on DVD

Sam Mendes’ war film starring Jake Gyllenhaal and Jamie Foxx translates the lives of US soldiers in Iraq onto screen and the brain washing their government has done to boost the importance of the US military and the service soldiers are doing to their country. Jake Gyllenhaal’s execution in this film is a reflection of his ability as a great actor. He always has this patient and gritty approach to his work that makes him addicting to watch on screen. There’s an entire video on YouTube about Jake Gyllenhaal’s eyes and the way they communicate his emotions on screen. This is certainly present in Jarhead, as the anger, frustration, disappointment and despair is held within Jake Gyllenhaal’s eyes throughout. Jarhead was originally a memoir written by a US solider named Anthony Swofford. The only thing I wasn’t a fan of was the open ended resolution to the film and the stagnant progression of Jake Gyllenhaal’s character. He literally didn’t achieve anything, which I suppose is the point of the film and how the honour that soldiers who went to Iraq were supposed to feel, is more of a fantasy than a reality.

Score: 9/10

Silence (2016) as seen on BBC iPlayer

This film was truly summit else and a refreshing turn on genre from highly acclaimed filmmaker, Martin Scorsese. Silence certainly proved that he has the ability to be more sensitive with his films and can tells stories outside his usual New York mobster type movies. The film tracks the journey of two Portuguese missionaries (Andrew Garfield and Adam Driver) in the 17th Century who go to Japan looking for one of their mentors (Liam Neeson). However in this era, Christians faced persecution in Japan and were practically slaughtered for not following the country’s religion of Buddhism. The priests’ journey is perilous and heart rendering as they are forced to abandon their own religion in order to save their own lives and the lives of others. Despite the film being just over 160 minutes, it’s an inspiring story and one that is told in a tactful way. To believe this is a film is quite hard, as the accuracy of it makes it closer to reality than just a film itself.

Score: 8/10

Lynn + Lucy (2019) as seen on BBC iPlayer

This film recently came out in UK cinemas and was put onto BBC iPlayer due to lockdown. I found it to be interesting and enjoyed the new perspective it gave to quite a simple story. Lynn and Lucy have been friends for almost their entire lives, and when Lucy’s baby boy dies in unexplained circumstances, it drives a wedge between her relationship with Lynn, as people in their neighbourhood accuse her of being a child murderer. Eventually, Lynn stats to believe the rumours herself, leaving her best friend behind and favouring the opinions of those who hardly know her. A great debut and British film, Lynn + Lucy is profound story of friendship.

Score: 8/10

Revolutionary Road (2008) as seen on Netflix

Revolutionary Road has a metric score of 60% on Rotten Tomatoes, which I find quite offensive as the film nearly falls into the “thanks but no thanks” category of films. Directed by Sam Mendes and starring Kate Winslet alongside Leonardo DiCaprio, I don’t see what’s not to like. I only clocked halfway through the film why DiCaprio had been cast with Kate Winslet (Titanic, duh) and it made their on screen chemistry more prominent for me. I always say this about EVERY SINGLE Leonardo DiCaprio film I watch, but his performance in this was unreeeaaal. His character went somewhere intense and never returned, making the hardship on screen 10 times more powerful. There’s a scene where him and Winslet’s character are in a full blown argument and DiCaprio’s rage was on another level. Incredibly authentic and honest, Revolutionary Road showcases a wonderful example of when two masterful actors come together to make something great.

Score: 10/10

Hillbilly Elegy (2020) as seen on Netflix

Hillbilly Elegy recently got torn to shreds by critics as it was released on Netflix the other week, and I half agree with what most are saying about it, but also feel there’s unnecessary criticisms about this film. The film is based on a memoir of a Yale Law student, J.D Vance (Gabriel Basso) who comes from rough beginnings and ends up building the life he so desired from a young age. His mother (Amy Adams) is a destructive drug addict who’s moods change frequently so that she’s constantly at war with her own mother (Glenn Close) and two children (Haley Bennett and Gabriel Basso). The story follows J.D’s return to his home town to claim his mother from a hospital after she over dosed on heroin. The only problem is, he has an interview with a law firm from Washington the following morning and has to choose between taking care of his mother and landing his dream job. Sounds pretty intriguing, right? And it truly is. The film is laced with conflict and great performances from everyone, however critics have blasted this film with hate, saying that it doesn’t ring true to the entire American experience of living in poverty, without healthcare and enough money to bring food to the table. The fact that J.D made it to Harvard and now works for a successful enterprise somehow detracts from his struggle as a child, which I think is complete BS. I think this film should be taken for more face value than as a political story. It’s a straight talking, rags to riches tale that proves with hard work and dedication, you can transform your struggles into success. One critic had the audacity to say that “Selling out your origins is a kind of white trash cosplay because you were lucky enough to get out”. The irony of this is that the critic herself is white and it suggests had JD been a person of colour, it’d made a better film, which isn’t the kind of world where I want to live in when stories of people of colour are used as poverty porn rather than something to enjoy or learn from. My only criticism of this film would be the pace of conflict within the film and how things went from 0-100 waaay too quickly. This can happen in real life, but on screen it tends to look sloppy and rushed.

Score: 9/10

And that’s it! A rather short list for this month, but as the year draws to a close, I’m just really excited for the new films hopefully hitting screens next year. Seen you soon!

9 notes · View notes

punkwithpaints · 4 years

Text

The Rammstein Magic!AU no one asked for

Sorry this is kinda Richard heavy. I originally was just going to use him as an inspiration for a single character, but the deeper I went for his character, the more I started pulling in the rest of the gang until I decided it was easier to call it an AU. This is absolute word vomit and spit balling an idea, but I’d love to hear what you think and some feedback! Pardon the rambling and sorry if this makes zero sense.

Richard: Alright, so, basically he can summon spirits/entities things like that. He knows about the forest’s darker secrets. Think of those spooky writings that are like “If you’re in the woods and hear 3 knocks, knock back but leave immediately.” Like, this fucker knows every old spirit, good, bad and unknown that go through the forest. He knows all the do’s and don’t’s and people come to him when they manage to get curses put on them or their families. He also knows about monsters that lurk around at night and other things.

With summoning, it’s a skill where at first it’s overwhelming since he starts to see and hear spirits and all that, so it’s a hard power to learn. Most summon animals or things that are living, not the dead. Most people’s minds can’t handle the added effect of seeing and hearing that stuff constantly.

He goes to churches or houses that people are like, “Uh, What is happening in this place?”. And he can strut in, look around and be like, “lmao that’s a demon, I see you fucker.” And he’s gotten so good at summoning that he can kinda reverse uno whatever it is, causing to it to be able to be seen by everyone else as well.

Problem is, when he first started learning, he got cocky and ended up fucking around with something way stronger than what he could handle at the time and basically got possessed. For years he is basically a dick. He’s dangerous, reclusive, hurts his friends and those around him, yadda yadda. Finally, he has enough will power to try and stop this thing, but the only way he knows how to get rid of it is to kill himself. Because without a living soul/body, the demon has nothing to feed off of or a place to stay. So he attempts by trying to slit his wrists, however, the demon is so impressed with his willpower and determination he offers a deal. It basically says, “Listen, I’ll make you a deal. You will have free will over your body and mind, but I get to stay.” Fine. Demon doesn’t let him die, heals his wounds, but there are scars obviously.

Richard now has a demon inside him. Fantastic. Richard and the demon can converse back and forth. So, Richard will be like, “Yeah, looks like you’re dealing with *insert demon thing here*.” And suddenly his voice will change and the demon is like, “I don’t know, it seems more like *other demon thing*”. Freaks people out pretty bad usually, if they aren’t expecting it. Richard also has a regular eye and a blind eye. Regular eye is just a regular eye, but his other blind eye is what gives him the ability to see the spirits. It’s like a right of passage for his type of people, where they have to blind one of their own eyes somehow.

ANYWAY

With the demon inside him, the demon has the ability to bring things back from the dead. Hence why Richard was able to come back after attempting to kill himself. Technically speaking, Richard is sorta permanently dead but living. I considered giving him no heart beat but I’ll get back to that in a sec. So, Demon and him slowly start working together where he lets the demon influence and strengthen his summoning powers and summon the actual dead as well as see them. Now he has necromancy.

When the demon made his deal, he tells Richard he can summon him if he needs him, but it’s gonna be hella taxing. Richard has to summon him exactly as he did the first time. AKA, slit his wrists to activate it. So, demon would take back into control causing Richards magic to get stronger by God knows how much. Obviously, he can’t do this very often or for too long, but if shit really hits the fan, this could help him make it out alive. I mean, the demon really doesn’t want to lose his flesh home. I’m thinking this is where the heart beat thing comes into play. Where he’s sorta half dead, his heart would stop when he activates the demon to take over.

Till: TILL. THIS GUY. So, I figured where Till likes the water/swimming/animals so much, he’d live at the edge of the forest by the ocean cliff sides. He’s specialize in familiars and mythological creatures. Like, he’s BFF’s with the local sirens and mermaids. He’s the opposite of Richard. Till has the magic that I forget the name of but it revolves around communicating with animals, knowing what the area is saying through them, that kinda stuff if that makes any sense. He likes growing special and rare herbs for potions and rituals. He’s pretty quiet and doesn’t like being around people, so he keeps his magic on the down low usually and spends his time talking to the sirens and mermaids, creatures/animals around him. Tends to his garden and such. He sells it at the weekend markets where he does fine since he’s one of the few that can offer certain herbs. I think he would have a shapeshifting ability or have a familiar he could change into. I’m thinking a bear or a griffin. Druid-ish????

Although Till loves the water, he’s actually specializes in pyromancy. He doesn’t use it too often, since he keeps his magic mainly hidden, but hey, he can start a camp fire or his stove with it, so that’s nice. He loves to gossip with the mermaids and sirens. They were a little confused when their tricks and songs didn’t work on him, well, they did a little, but not completely. But then they put 2 and 2 together and go, “Oh….Wait….I don’t think he likes girls as much as some of the other sailors we’ve met.” So now they just accept him as their bestie and like talking to him about their crushes and the newest dumb sailors they all lured in. They both share fish catches with each other, and Till does sketches of the market/forest so he can come and show them what it looks like since they’re curious.

He also owns a dragon. Not a big one. One that’s the size of a parrot. It likes to chill on his shoulder and likes crackers and grasshoppers. He raised it from an egg. Everyone is all like, “Dude yeah he’s scary omg, I heard he has a whole dragon!!” and they stop by, only to find this burly dude having a cup of tea with the mermaids and a tiny dragon nibbling a graham cracker on his shoulder.

However, his herbs/garden is what links him to Paul and Flake.

Paul/Flake: So, these two bois live together (Definitely no homo going on here) and Flake is even more recluse than Till. They have a cloaking spell on their cabin. You have to absolutely know a certain tree with a ritual attached to it or a spell/password sorta deal to gain access/the ability to see it.

They’re in an open field/prairie area. Flake would be a healer and very good at protection based spells and rituals. He always buys a lot of his herbs from Till so him and Till are close because 1.) Both reclusive as fuck and 2.) P L A N T S.

Meanwhile, Paul has telekinesis and mind reading. He’s a cocky boi but he does care a ton. Even if everyone wants to smack him half the time. I keep thinking their first meeting was something along the lines of:

Flake brings him along when he goes to Till to stock up on herbs, and Paul meets Richard for the first time since Richard stopped by to visit. It’s probably pretty fresh after the whole “Tried to kill myself to yeet the demon out of me and now we’re roommates” deal. And They have barely shaken hands when Paul is looks smug and goes, “You regret you didn’t die but you were honestly too scared too as well.” And Richard is like “ALRIGHT I HAVE TO KILL HIM DON’T YOU DARE READ MY MIND LIKE THAT”. So, Paul and Richard hate each other for a while. Well, Richard hates Paul, Paul doesn’t mind Richard, he’s just waiting for him to come back to him cause that’s usually how first meetings go for him.

Later on, as they start to talk, Paul confides in Richard (after apologizing) that he understands what Richard felt and that he had attempted before as well. Being able to hear everyone’s thoughts and feel their emotions is horrible when you first start out, and is incredibly overwhelming. Over time, Richard and him end up connecting pretty well. Richard still hates the mind reading thing (so does Till), but despite the differences, they’re friends.

Paul can also temporarily slow/reverse time in a certain limit around him. Maybe like, 15-20 foot radius? For about 30 seconds? Let’s say Till decided to use his pyromancy towards him, Paul can decide to halt it and slow it, or it can begin to reverse itself. Richard sends out some hellhounds, Paul can cause them to slow way down once they get close so he can duck around them and hurry off somewhere else.

Flake, despite the hatred of being around people, is actually a pretty great guy once he warms up to you. He’s someone you can have a good cry with but also, he can absolutely fuck up your whole day. I’d think since he can do cloaking spells, he’d understand spells about portals and rifts. To make something ‘invisible’ (AKA, their house), he’s more so just shifting the dimensions people can see, making it into one that they can’t. And sometimes, you got to yeet your idiot friends through portals to somewhere safe cause they don’t know when to shut the hell up. One of my inspirations for his powers was the music video to the song Falling to Pieces by David Guetta, specifically around the 2:55 mark. I’d imagine that, instead of getting obliterated like the people in the music video, it more that he’s shifting every part of that person into different portals/dimensions. I mean, technically, yeah, they die. BUT HEY, who can say they died via getting blasted through different portals and shifts down to a molecular level? Flake can’t do it a lot obviously. It’s hard enough opening one or two portals, so to pull a stunt like that could kill him if he isn’t careful enough. So many times everyone has had to be like FLAKE NO HEY CHILL WE ARE OKAY DON’T DO THAT.

I imagine Flake and Paul have been friends since they were teenagers, so they watched each other’s powers develop. Once Paul starts figuring his powers out, it starts becoming too much. Flake tries his best to be supportive and encourage him and keep him sane, but Paul can feel how much he’s scaring Flake and making him worry. Paul finally tries to end it (in a similar fashion to Richard, so they have matching scars which is another bonding point for them), but Flake finds him in time. However, Flake hasn’t quite got his healing abilities down yet, but the fear and adrenaline of losing his best friend is what flips the switch to finally allow him to completely channel it. Paul heals up and startles back into reality and is like “EXCUSE ME, I THOUGHT YOU COULDN’T DO THAT” and Flake is shaking him like, “YOU DUMBASS IF YOU EVER DIE IM GOING TO KILL YOU.”

Ollie: My tall boi. I’m thinking he’s part wood elf. His magic is based off of using the environment such as tree roots or trees, manipulating and summoning eco life around him. Wanna get beat by a root system? Ollie is your guy. His powers are kinda like Till, but not as animal heavy. I know there’s a word for this magic too but my ass cannot remember it for the life of me. He’s probably one of the rarest of the bunch to spot, but unlike Till or Flake, he doesn’t put up much of a fight when it comes to seeing people or going out. People are intimidated by him cause, I mean, this fucker is 6’7 and came out of the woods like some magical sasquatch lumberjack.

But he’s very down to earth (Pun intended). Ollie crafts armor or blades in his spare time. Sometimes he’ll join Till at the market and sell his stuff or take commissions from anyone who needs new weapons/armor, or if they need anything repaired. He knows how to lace objects with magic so it can do a better job with protection or heighten the users own abilities. Ollie is able to know what’s happening in his neck of the woods. He lives in the deepest part of the forest, Richard isn’t too far from him actually. But Ollie’s area is more of a calm area of the woods, not the spooky ass weird area Richard stays in. Ollie has way more ALIVE deer, first off. No wendigos. What a difference.

I don’t know how to phrase this without it sounding dumb as hell, but basically he talks to trees. He can tap his magic into the systems of the trees and plants and pick up on conversations miles away from him. The trees become his eyes and ears, if that makes sense. It’s never super sharp or in focus (Dream like maybe?), but he’ll know when you’ve entered his section of the woods. He can sometimes tell roughly how many, and catch snippets of your conversations. He’ll make sure to keep an eye on you.

Schneider: My boy. I’m thinking he’s a witch mage kinda guy who has visions and predictions. He fucking loves crystals, tarot cards, special odds and ends, things like that. Reading the stars kinda guy. Schneider actually gets called in by the king or whomst the fuck ever is running this world I’m coming up with, to predict the futures of queens incoming babies, wars, decision making, yadda yadda. He’s hella guidance and damn good at what he does. His visions are never in perfect clarity, but with the aid of his other doodads and such, he can give you a pretty good estimate. He’s like Turbo Tax, but with life choices.

I’m thinking his powers would probably be something along the lines of a copy cat? He can usually tell what your about to do a few seconds before you do it. Somethings are super easy for him to predict (like a punch), other things are harder (complicated magic). I think he might fit under the title Warlock with a Vestige pact? Where the souls/echos of his ancestors that have passed on stay with him. They’re the ones that help him see glimpses into the future make sure he’s protected. They’re also why he can replicate (roughly) most spells that are done towards him. For example: If Paul tried to levitate something and toss it at him, there’s a chance that someone before Schneider, in his linage, had some kind of knowledge of that form of magic. If Schneider reacts fast enough, he can reverse uno that shit back at Paul or toss it somewhere else. Sometimes, it’s more of a canceling effect. So, if Richard tried to resurrect something to attack him, he could undo the resurrection spell, making the dead thing fall back apart, since you can’t double bring something back to life.

Him and Richard went through a similar process to gain their abilities. Richard is a host and dealt with/is dealing with being possessed, and Schneider is temporily possessed/influenced by his ancestors when needed. For a bit, they’re tense around each other cause both felt they were better than the other. Schneider felt like Richard “cheated” to gain his necromancy powers, while Richard is pissed that Schneider had it “so easy” compared to what he went through.

Like Paul and Richard, Schneider and Richard finally have a sit down and Schneider admits his whole ritual/process of gaining his abilities.

To gain access to all the souls/echos, Schneider had to ‘live’ through each ones most painful times via his visions. So, easily 100+ memories that he has to go through in one go. No stopping, feeling/seeing/hearing everything that happened to these people, one at a time. Sometimes it’s their deaths, sometimes it’s a fight or injury, sometimes is verbal things. It totally wrecks with a persons mind and body. A lot of times, the people who go through this process don’t make it because they try and kill themselves afterwards or during. If they stop the line of visions, they cannot ever be started again. They usually develop a severe fever and cold chills, and the process can take several days. So if the fever or themselves don’t kill them, they might make it. So him and Richard bond over that.

I know it sounds stupid, but Schneider lives in a cave. Once you enter, it’s lined with different crystals, crystal balls, dices, maps, star charts, ornate rugs on the floor, silks all over the place, just really nice and cozy.

Overall, each one could work together and combine powers. Examples include: Richard and Till combining Richard Necromancy and Till’s Pyromancy to create a physical embodiment of hell and scare the absolute shit out of anyone.

Ollie (Controlling trees/roots) and Till (connections with animals and mythical beasts) deciding to just use a whole ass forest all that lives in it to really fuck up someone’s day.

Schneider and Paul staying 50 plus steps ahead of the game. Even more so, could Schneider have Paul slow time so he could have a better chance of knowing what’s about to happen/copy a spell?

Flake and Paul working together to slow time, then open portals for enemies to run head first into at last second.

There’s some other ways but there’s a few! I’m so sorry this is so long.

#personal #rammstein #AU #till lindemann #Richard kruspe #paul landers #flake #christian lorenz #oliver riedel #christoph schneider

21 notes · View notes

thegothicviking · 5 years

Text

My Rammstein family!

(Non sexual way)

Flake Lorenz is my grandpa that loves to talk about the good ol' days and complain and b*tch about how life is so horrible NOW, (when he is actually comfy in his rocking chair with his old cat in his lap.) He tell's me stories about the great DDR and I sit on the floor and listen because my grandpa has such a nice, gentle voice. Sometimes he sings and plays the old piano in his livingroom. He has no TV, no internet or computer. Not even a Radio! The only way to reach him is by the old home-phone. He is probably the only one in his neighborhood that still has a home-number! Even newspapers and books seems boring to him. So he keeps telling me to go outside! Because if I want to know what's truly going on, around me, I have to go outside. In nature and breathe actual air and see actual human beings! He is right though! A nice walk outside never fails to lighten my mood!

Till is my pervy, cheeky uncle who has no manners what so ever!

(like my inrl uncle Richard. Yes I have an uncle Richard. My dad's brother. He always swears and has no manners.)

You see; Uncle Till only attends family gatherings for the food and to talk about di*ks and boobs... Did he mention that he once lit his buddy's di*k on fire?? That was so f*cking funny!! Because sometimes uncle Till likes to light things up with fire ....no one in the family knows exactly why, and everyone is too scared to ask him about it. I am not even sure if HE knows why??

Richard is my annoying, older "Knows-it-all" sister (or sister in law) and you can't tell her that she is wrong because she simply ISN'T!?!?!? OK!?!? Also; I am sure she is stealing my nailpolish whenever she visits me (because even though I rarerly wear any nailpolish, the bottles are always missing when I need them!). Older sister/sister in law Richard also likes to keep up with whatever is cool and trendy, NOW (even though she is getting a bit too old for certain styles). Right now she keeps talking about protein shakes because it's all about dem' shakes now...ya know? Also; she likes avocado's and tries to eat healthy. Because unfortunately she gains weight easily. (But of course I never tell her that. She can be so sensitive about those things!)

(no really! My big sister irl is much like Richard in her attitude! Except for the nailpolish.)

Paul is my goofy but gentle older brother

(that I wish I had but sadly never got irl.)

Older brother Paul is up to no good, and he teaches me how to prank people but also gives great advices in life, love and sex in general. He knows how to make me laugh when I am sad and I know he will support me no matter what! He will always be there for me...yet, he will still rub my hair and call me "a tiny piece of sh*t!" whenever he visits. Because I am even shorter than he is! And he himself is very short, considering german standard's!

Schneider is my dorky uncle from the other side of the family/the maternal side. He is a bit 'slow' sometimes and he says a lot of things that doesn't make any sense.

(like my irl uncle Ove. My mom's brother. Who even shared Schneider's moustache most of his life! I grew up seeing him with it and didn't recognize him when he shaved! One time he ate his dog food, right in front of us! Said it tasted like real crispy chicken. And kept eating.)

Just like uncle Till, uncle Schneider comes to the family parties, mainly for the food. He simply loves his sister's cooking and as long as he gets to eat and laugh dorkly at the stories and jokes that he DO understands, then he is happy. However; unlike Till, he doesn't like to talk about any sexual stuff. It makes him really uncomfortable and shy. I think he re-married and have kids on his own. But I don't think he is ready to show them off at big family gatherings, just yet. (Because pervy uncle Till might scare them off after some Schnapps when he talks about different anal sex positions, without giving two flying f*cks that we are all trying to eat! And that topic, anal sex, clearly can't be suitable for children! Right?).

Ollie is my distant cousin. I don't know that much about him since he lives so far away, but he has promised me to take me to Hawaii (where he lives) and teach me how to surf and have a few beers with me. I hope we get to do that sometime because he seems very cool. I'll try to keep in touch with him, even though it's hard; He doesn't seem to be interested in social media. I think he is too active and sporty for that. But I would still like to get to know him better, so I'll keep on reaching out and hoping he wants to hang out.

And there you have it!

My family!

❤

#the viking writes #just a little cute non smutty thing for ya rammstein fans #but its still slightly nsfw??#flake lorenz #till lindemann #paul landers #richard kruspe #christoph schneider #oliver riedel #rammstein #rammstein shitpost or text #rammstein scenario #schneider

26 notes · View notes

swisscgny · 4 years

Text

MEET NEIL ENGGIST

We recently interviewed Swiss-American painter Neil Enggist to talk about his life, work and how he is coping with self-isolation. Neil’s exhibition The Practice of the Wild was supposed to open at the Consulate General of Switzerland in New York last month as the 8th edition of Art@The Consulate but was postponed due to COVID-19.

Hi Neil, thank you for taking the time to talk to us. Where are you right now? It is my pleasure. I’m in New Jersey. I have a backyard studio near Princeton, in the old house where I grew up. I’m staying put as much as I can.

Tell us about yourself, where did you grow up? My mother is from Taiwan and my father was born and raised in Luzern, both coming for graduate studies in 1969 to Buffalo. I was born and raised in Princeton Junction in an old stone house near a small forest and the train station. My father was teaching in the Bronx and Connecticut, then trying his hand at importing Swiss Chocolate, but at some point in the 1970s, he turned to stained glass. I remember him cutting, wrapping, and soldering in the backyard. My mother worked for the state of NJ, and drew from the model in her spare time. I drew dinosaurs like a maniac, not very well I may add, but at some point around age 7, my father asked me to draw a dinosaur that he made into a stained glass panel. As a family we traveled to Luzern about every 2 years, and I still remember the smell of Birenwecken and lightning over the Vierwaldstättersee. I drew all the time but wasn’t precocious, as a youth, I was shy, quiet, hot tempered, diligent with school, perfectionist, and mostly played soccer and saxophone and you know, did my math homework.

When did you know you wanted to become an artist? I went to art school at Washington University in 2000, but it wasn’t until studying abroad in Florence in 02 that I had the feel of becoming an artist. There is a laminated portrait from first grade, age 6, where I put into writing that I wanted to be an ‘Artist.’ But in Florence my life felt like it shifted from art student to artist, 3 dear friends and I shared an apartment on Piazza Independenza, learning photography, printmaking, illustration, bookmaking, Italian and art history at a tiny art school called Santa Reparata. My future Love lived up the street and sometimes the cheap red wine would flow. Behind every door were Renaissance frescos, leaping off the walls were Donatellos, and it was the beginning of my explorations as a painter. I would paint plein-air small landscapes and cityscapes with oils, but by the end my ambition grew into a very large Kandinskyesque abstract rendition of Michelangelo’s Final Judgment fresco from the Sistine wall. A year later, back in St. Louis I declared painting as my major, and in the words of Joe Campbell, began ‘following my bliss.’

Neil Enggist, Sea on Earth, acrylic and stain on wood, 2011

How would you describe your style? Has it changed over the years? I would say it’s an Organic Abstract Expressionism, or Nature Action Painting. Over nearly 20 years, YES it has changed! Like a photon going from point A, painting the Ponte Vecchio, to B, dancing on a piece of steel with turmeric and ocean water, taking every single possible path! To say it’s moved linearly would be wrong, but there is a sequence of transformations or leaps, in the Ozarks, Mysticism, Heartbreak, Dylan, New Mexico, Traveling Europe, The Mir, snow painting, India, Brooklyn, Voice and Veil, Gardening, going cross county, yoga, India again, the dance, steel, the tides, The Tao and the Yellow Mountains, devotion. I’m very interested how Dylan’s work has transformed and shifted, beyond expectation, without calculation, yet somehow almost always in line with his poetic essence. My paintings have changed like dinosaurs and birds, from a common source, many branches, some seemingly from different worlds, some becoming bones and fossils, some soaring through the sky.

Tell us about your artistic practice, where do you paint, what inspires you? Well we can start with Highway 61.. music of the American vernacular, jazz, blues, country, rock, folk, hip hop.. from Louis Armstrong, Strange Fruit, Charlie Parker, to the early Bluesmen of the Mississippi Delta, Robert Johnson, folksingers like Woody Guthrie, onwards and outwards to Wutang and Nas. Basquiat inspires me. Ana Medieta, DeKooning, Paul Klee, David Hammons, Polke, Mel Chin, James Turrell, Richard Long, Kerry James, Doig, Ofili, Wangechi Mutu, John Akomfrah, Bonnard, Matisse, Puryear too. Gary Snyder's brilliant collection of essays 'The Practice of the Wild,' from where the title of the exhibition comes, has helped me attune to the wild systems at play in nature and within, and continues to evolve my way of thinking, seeing, and creative being. Taking a journey into nature, not just a dip into nature, but really feeling the connections, the web that runs through the forest and is woven into your own nature. The Redwoods, the Swiss Alps, the Coast of California.. I lose and become myself here. In my practice, nature is welcomed into the process of artistic creation. The imagined line between artistic intention and the creative functioning of wilderness is blurred, or more accurately, these spheres merge into a unified moment. It’s a spiritual practice, a kind of Taoist exercise, merging with the changes of the natural world, not holding, not fixing, listening to what the painting wants to become, and finding the color to enable the beholding. I paint outside and on the road, sometimes inside.. anywhere..

Neil Enggist, Odyssey III, acrylic, dye and turmeric on canvas, 2020

What role does Switzerland play in your life/art? My family has a house in Luzern, with a balcony opening to a view of Mount Pilatus that I would call perfect.. at least on the days where it’s not obscured by Nebel! Since 2012, I’ve been spending many springs / summers living there, in the bohemian remodeling of our chalet attic called the Macolette. I have painted and drawn our view of Pilatus so many times, it is ingrained in my mind’s eye. I’ve explored and hiked the mountains surrounding the Vierwaldstättersee, Grindelwald, Engadin, and Zermatt, finding places on and off the path to paint. When I am in the mountains, alone with my pack, in the quietude and breathtaking beauty, I feel something akin to being home, being one with myself, being on my true path. This feeling is fleeting and eternal. Also, during many of the summers, I have worked with my great friend and mentor, garden designer, Andre Ammann, constructing and maintaining gardens around Luzern. Working with him has taught me in so many ways, to notice the minute changes of spring, to work with contrasts of nature and culture, to understand placement of boulders and trees, how to create a riverscape, to dissolve into the consciousness of the river. When we are done with the work, all cleaned, raked, and hosed down, Andre and I look at our work, and he’ll say, ‘Now, the garden starts, try to see how this will look in 10 years, in 50 years..’ This has been a major influence in my own ‘Practice of the Wild’ and painting. It has also taught me how to shovel!

You have traveled all over the world, how has the nomad life shaped your art? As a traveler, painting becomes the act of experiencing and processing place; the painting becomes an archive of experience. Traveling serves to connect the painter with the uncomfortable and uncalculated, which forces a spontaneity and body-memory response. I aim to paint as one would do battle and dance and play jazz at once. In traveling, the painter becomes the abstraction, inhabiting transient and visionary territory. Materials from places of special significance, white gypsum sand from New Mexico, pigment from the Holi festival of India, black sand from Kanyakumari, gravel from Highway 61, layer into the topography, giving the painting a personal geographic context, while opening formal and textural possibilities. On the road, I explore the spiritual territory of color, and natural occurrences of unearthly blues.

With the COVID-19 pandemic, travel is no longer possible, in what ways has the pandemic shaped your practice / life? I just drove from California to NY in 5 days to install the Consulate show, just before the Covid situation hit the fan. I am supposed to be in India right now, doing a residency in the Himalayas! I’ve had a number of shows postponed and it just really doesn’t seem like people are buying many paintings right now.. But, really compared to people who are sick, caring for loved ones, and risking their lives to care for others, my sacrifices are minuscule. And I can most surely still paint! But I’m trying to use this time to do things I would have done in ‘normal’ times, but there are no normal times anymore. I’ve been making sculptures out of half rotten wood using an ax and a handsaw. I’ve been learning some Tai Chi from my Ma. I’ve started reading the Mahabharata. I’ve been texting whole a lot of hearts to California and writing love songs, and staying out of the bar..

Neil Enggist, That Great Mysterious Storm, acrylic, ink, oil and sand on canvas, 2010

What important lessons do you think we can learn from the impact of the pandemic? Well, first and foremost gratitude for life, health, and for the things that we used to take for granted. To be grateful for the people who are dear to us. This may sound cliché, but the pandemic has shown us how connected we are, for better and for worse. We are interdependent, and what affects one region affects the global community. I hope that people can stop and reassess their personal and collective relationship with the planet. In a profound and dire way, humans and our socio-economic systems have entered an unbalanced, virus-like relationship with this Earth. Humans seem to need wake up calls to affect changes, I hope this pandemic serves as a paradigm shift for enough of us. We are in this together. Yes when this is over, it will be great to go to a yoga class, an Indian restaurant, and to toast with friends, but we each need to use this time to reaffirm our commitments to each other and to all beings of this planet, and not go back to business as usual.

What advice do you have for people stuck at home? Can you recommend something to read, listen or watch? Well I’m a Liverpool fan, and we were just about to WIN the premier league, so I’ve had to go back and watch Liverpool highlights to cope. There’s a lovely interview with the legendary skipper Steven Gerrard in conversation with Gary Neville on youtube. I’m a very lazy television watcher, meaning I don’t really watch new things, so it’s The Sopranos, and very little else. Peaky Blinders is good, violent, but solid. Kurosawa’s ‘Dreams’ is a ravishing movie. I just saw ‘Purple Rain’ again, EPIC. When I drove across country I listened to Toni Morrison’s own reading of her novel ‘A Mercy,’ and it took my breath away, literally every sentence .. I don’t know how I even made it! She’s a true master in telling a harrowing story in pure poetry. Also reading ‘An Indigenous People’s History of the United States’ and Leonard Peltier’s ‘Prison Writings.’ Musically I needed a lil rock, so I went back to the Black Keys ‘Brothers’, Brittany Howard’s solo ‘Jaime’ is good, JS Ondara, Black Pumas, Valerie June’s ‘Love Told a Lie,’ AM!R’s ‘Parachute, ‘ and the syrupy ‘Cigarettes after Sex.’ I’ve been listening as well to Gann Brewer’s most recent ‘Absolution.’ I made the video for his ‘River Song.’ Tracy Chapman’s first album is incredible. Springsteen’s ‘The River’ is like his White Album and sometimes I need to hear the Boss sing ‘Heart and Soul’ over and over.. and hear that ‘Drive All Night’ sax solo by the late great Clarence Clemons. I am from Jersey, don’t forget. Listening to a lot of John Prine too, and with his recent passing, his music shines like a diamond ring. ‘Christmas in Prison’ is one of my favorites of many. Oh and Bob Dylan just released a 17 minute song about the assassination of JFK, and it’s .. indescribable.

Thank you Neil!

To find out more about Neil Enggist go to www.neilenggist.com, contact Neil at [email protected] and follow him @neilenggist

Scroll down for more information about the exhibition The Practice of the Wild which will open to the public as soon as it is safe to do so. Please note that all paintings depicted in this article are featured in the exhibition.

NEIL ENGGIST

THE PRACTICE OF THE WILD

8TH EDITION OF ART@THE CONSULATE

THE PRACTICE OF THE WILD by Swiss-American painter Neil Enggist is comprised of a series of abstract mixed media Nature Action Paintings, a method by which nature performs an integral part in the artistic process.

Neil Enggist, The Storm Ends, acrylic, ink, dye and sand on canvas, 2019

“My work seeks to embody the random precision through which life and spirit intersect. Within a liminal environment, I present set of conditions where the form can be born through an unfolding of natural currents. The nature of water, marks of evaporation, melting, freezing, burning, gravity, animal tracks, traces of dance, time, storms, tides and all manner of seasonal and emotional weather coincide to transform the canvas into a terrain in flux. Whether I am dripping ink into a melting tuft of snow, pouring the ocean on burning ink, or slashing the surface with a fallen pine branch, each action is composed within a system of nature. The result is a site of becoming where oceanic, emotive, and mystical stories interplay”

Raised in Princeton, New Jersey, Neil Enggist studied fine arts at Washington University in St. Louis and Santa Reparata in Florence. He earned his MFA at San Francisco Art Institute in 2016 where he made paintings on steel in the tidal zones of the Bay Area, searching for a language between art and nature, incorporating ideas of performance and sculpture imbedded in the earth art movement. Enggist has participated in a number of art residencies including the Lucid Art Foundation in Point Reyes, CA, and most recently journeyed to the land of his grandmother to paint the City of Shanghai and the Yellow Mountains of China. Through his extensive travels in Europe, the Americas, and Asia he developed a body of painting and poetry shown in New York, Milan, Mumbai, Luzern, and Paris. Enggist lives and works between New York and Luzern, Switzerland.

Neil Enggist, The Schreckhorn, acrylic, ink, pigment and oil on canvas, 2007

THE PRACTICE OF THE WILD is the eighth edition of Art @ The Consulate, a curatorial initiative by the Consulate General of Switzerland in New York to showcase the work of Swiss artists living in the United States. Follow Art @ The Consulate on Social media #SwissArtNYC

Neil Enggist, A Candle Burns at Night, Acrylic and ink on canvas, 2008

#SwissArtNYC

2 notes · View notes

pattie-remembers · 4 years

Note

A lot of programmes about the Beatles have Tony Bramwell in. Did you know him? What was he like?

When I started going out with George it seemed like a dream come true. I thought I was the luckiest girl in the world. I soon found out everything about being with George wasn’t sunshine and roses. When I met him on the set of A Hard Day’s Night, it was love at first sight for both of us. He asked me out several times that day. At first I thought he was joking, but his persistence finally convinced me he was serious. Feeling sick about it, I had to turn him down. I had a boyfriend and I didn’t feel right accepting a date with another man.

I noticed Paul, and some guy, I later learned was Tony Bramwell, laughing and teasing George about his obvious attentions towards me. I didn’t think too much about it. It had been a whirlwind day and my head was so full of everything I wanted to tell my roommate, Mary Bee, that I ignored it.

The next week, when I saw George again, I was hoping he’d ask me out once more. I had broken up with my boyfriend, Eric Swayne, and if George asked me out, I could, with a clear conscious, say yes!

We met during a break outside and, as he lit my cigarette, he asked, “So, how’s your boyfriend doing?” He cupped my hand so the lighter’s flame wouldn’t blow out, and I remember feeling a spark, run through my body, at his touch.

“Oh,” I said as nonchalantly as possible, “he’s not my boyfriend anymore, I broke up with him.” I took a drag off my ciggie and stared straight into his dark brown eyes.

“Then how about dinner tonight?” he asked. His eager grin was so endearing. My God, he was gorgeous.

“Sure,” I told him. He wrote down my address and said he’d pick me up around nine. Our heads were together but out of the corner of my eye was that guy Tony and he and Paul and John were laughing. I couldn’t be certain but I distinctly remember feeling it was directed at me and George. But the Beatles were always kidding each other and poking fun, so I didn’t really think too much about it.

That night, at nine sharp, I answered the knock at my door. To my surprise George was not alone. He’d brought along the Beatles’ manager, Brian Epstein. I was a little taken aback, but it turned out to be a wonderful night. George and I sat together on one side of the booth while Brian sat across from us, telling stories that made us laugh and relax.

Just being next to George was electrifying. Every time his hand would touch mine or his leg would brush against me, I thought I would faint. Brian sent us off in a taxi and our first kiss was long and wonderful. I know the meter was running and George joked how that kiss cost him ten pounds. But I guess he wanted another, because we made plans for the next night and from then on out we were together.

How my life changed in an instant! From being with an older man who wasn’t that exciting, to George Harrison of the Beatles made my head spin. Even if George hadn’t been famous, he was way more fun than Eric had been. He was funny and attentive. He made me laugh and gave me presents. He told me constantly I was beautiful and sexy. He couldn’t keep his hands off me. And I didn’t want him to. For the first time sex was great! I threw myself at George and wanted him as much as he seemed to want me. I had no idea what making love was about, but soon I was getting lessons every night.

At first, I thought it would always be exciting. Trips to Ireland and the South Pacific were a dream come true. John and Paul and Ringo were very friendly and so were their girlfriends and John’s wife, Cynthia. It was, in a way, a fun new family. George went house hunting and wanted us to live together. Of course I said yes! I was totally besotted.

Then the trouble started. After we moved to Esher, George wanted me tostay home while he headed to London almost everyday, or went on tour or played shows around England. And to be even more bossy, he wanted me to stop modeling. “You don’t need the money,” he’d say. “I can take care of you.”

Which was fabulous except I loved modeling and I didn’t want to stay home alone in Esher while all my friends were having a good time in London. I’d see lots of people. Mick Jagger and Brian Jones were always out and about. Tony Bramwell always seemed to be clubbing where ever I was. And Keith Richards turned me on to quaaludes. I danced with guys and girls. London was swinging and I wasn’t about to miss a minute of it.

In the beginning, George accepted that I wasn’t a stay at home kind of girl. But soon he was acting quite jealous, questioning me about who I’d seen and what did we talk about, and why did I let so and so touch me. I was flabbergasted and angry. I was a very social person but I would never cheat on George. I was stunned at his insecurity. I was so put out with him, I took to pretending to be asleep when he came to bed. After one horrible fight, I slept in the extra bedroom. I was furious to be challenged on wether I was telling him the truth or lying about what I’d been doing.

Smutty

Not long after, I was at the Alibi with some girls I knew from modeling. To my surprise Paul and Tony Bramwell were there as well. I was glad to see Paul, but not Tony. I’d over heard him one too many times making fun of George. And once when he hadn’t seen me, I heard him say, “George won’t stay with that gapped toothed ninny. He’s already got his eye on someone else.” I hated him! I should have confronted him, but I didn’t want to spare a moment for him.

“Why aren’t you at the studio,” I asked Paul. “Where’s George?”

Before he could answer, the manager of the club told me I had a phone call. I went in his office and was shocked and embarrassed that it was George calling me from EMI. He was furious and said he was coming to get me. I gave up,in defeat. I told my friends goodbye and went outside to wait for George.

He roared up and squealed to a stop. I jumped in and experienced the scariest ride of my life as he yelled at me all the way home. His rantings made no sense but finally it all dawned on me. “Who exactly has been telling you these stories?” I demanded to know.

“Tony,” he growled.

“Tony! I shouted. “Tony Bramwell is a fucking liar.” I turned in my seat to face him. “First, slow the fuck down or I will kill you when we get home, and secondly, how can you believe anything that asshole says?”

I don’t think George had ever heard me curse so many times and was so shocked he slowed down.

“Well, you won’t shag me anymore,” he kind of whined. “There must be someone else. “

“Because you have been mean! You aren’t ever home. I understand you have to work. I get it. But after all this time together you act like I’m a stranger. You believe lies about me and never ask me what the truth is.” I hit the dashboard with my fist.

“Well, what is the truth, Pattie?” George snarled. “And don’t hit my car!”

“The truth, George Harrison, is I love you. I don’t want another guy. I only want you.” I whispered it so he’d have to listen. I picked his hand up from the gear shift and kissed his fingers. “I love you and I want to be with you. And I’ll admit it, I want to go out and party. I can’t stay home alone in the country all night, every night.”

We turned into our drive and when he’d parked the car, I leaned over and kissed him. “You are the only man for me, George.” When he went to grab me, I jumped out and ran. The chase was on! We had a huge garden and it was dark. When he got close, I sprinted towards the house and didn’t let him catch me until we were in the sitting room. I laughed as he tackled me and we both fell into the pile of pillows we were thinking about using instead of a sofa or chairs.

We started kissing like it was the first time. He was on top of me his hands were under my dress and before I knew it my knickers were across the room. I pulled my dress off and laid back while George undid his tie and took of his dress shirt. I pulled his tee shirt off and unsnapped his trousers. His boots went flying and soon he was naked and his cock was huge. I started stroking him and he pushed my bra down and freed my breasts and started to kiss them, sucking my nipples while his hand went down and the rough tips of his fingers felt me up.

“Sit on my face, “ he ordered and I willingly straddled his head and lowered myself down on his mouth. I unhooked my bra so I could feel myself and I kept looking at George’s hard on with the usual fascination. I knew he was dying for us to 69 it, as they said, but I had been too shy. At that moment I couldn’t imagine anything I wanted more. So, I did what he’d been begging me to do. I leaned over and started sucking him off. I was so excited. Why had I been so hesitant? No wonder he’d been trying to convince me to do this. His moaning was a huge turn on and I wanted him as far down my throat as I could take him. I had no shame. If this is what it took to convince him I loved him, then I was happy to do it.

“Come on my face, luv, “ he urged and he gently slapped my ass as I wiggled so his tongue could hit the right spot. With my mouth busy, my only answer was to squeeze his balks as I licked his cock while moving him in and out of my mouth. I wanted to come and I wanted this to go on forever. As soon as I thought “don’t stop”, I could feel the first wave of ecstasy and then George picked up the tempo and for the first time we came together.

I couldn’t call his name but I moaned as he shot off and I swallowed before I had time to think. I was still having tremors and finally had to stop. Sometimes it just hurt too good.

Though we were spent, I think we wanted, needed more. We both fell among the pillows and George spooned up behind me. His hands cupped my breasts and I could feel he was getting hard again. I reached behind me and guided him inside me. He pushed against me and I pushed back wanting him so badly to be as deeply inside of me as he could get. He let one hand slip between my legs and fingered me until we both came again.

I rolled over and looked into his eyes. “Do you believe me now, George?”

Of course he wouldn’t say anything! Men! We just stared at each other, nose to nose and soon we fell asleep.

But that was the end of Tony Bramwell mucking things up between me and George. I had finally convinced George he was the only man for me.

#george x pattie #pattie remembers #pattie boyd

10 notes · View notes

thecultoftill · 5 years

Text

New Till interview with Zara Magazine.

"I don't think it's the last album. We've worked so hard, we've got so much music, so many songs, that we're actually ready for the next album."

Till Lindemann interview with Zhara Magazine: "I'm too honest."

You are the hero of our secular chronicle: you are credited with an affair with the singer Svetlana Loboda. These rumors are already developed, tell us what happened between you? Till: "They write and talk about us a lot, but it's a secret of two people, and I, as a gentleman, can't comment here in any way, so you won't hear anything from me."

Then let's talk about you. Your youth took place in the socialist Germany. Did it affect your work in any way? Till:"Of course. Without the GDR, Rammstein would not exist. You know, there was no freedom of speech in the socialist countries, we were always clamped down, held back, shut up, and that's why when the Berlin Wall collapsed, everything seemed to have explode under pressure. Without this, Rammstein wouldn't have existed."

What were you doing on the day the Wall collapsed? "I was at home, in the village. I saw everything on TV. I was amazed by this, because it was so unusual. And then I turned off the TV and went to bed. Back then there were no cell phones, nothing. It was impossible to call everyone quickly. But my friends managed that same night to go to West Berlin, to Hamburg, to Lubeck - where it was impossible to get to before. Well, I just went to bed and fell asleep."

Why? "I was scared. There was a fear of the future, really. I did not know what would happen next. Two of my friends from Rammstein, Flake and Paul, were then in the other band. Their band was kind of privileged because they were allowed to go on tour in West Berlin. And so it happened that just that day, they had a concert there. Imagine their faces when they suddenly saw their friends from East Berlin in a crowd of spectators. - “The wall fell apart! - "No way!" They never believed then. It's an amazing story!"

Ah, did your fears come true?

"We have justified it. I was making money back then by weaving baskets. It's an art to weave a basket. In the GDR, this work was very much appreciated, and I got good money. I really worked one day a week, and the rest of the time I was doing music and everything I wanted to do. But then it stopped abruptly, because in the united Germany my baskets were no longer needed. I was out of a job. That's it. I had to adapt to the new conditions. For two years I received some kind of unemployment benefit.

Rammstein was created after the Berlin Wall was destroyed. We all knew each other, played in different groups, but got together and we became friends. We had a small criminal world. We didn't have anything to eat, we were stealing, and we made up the whole story with the band when we were looking for food. We just decided to do something like that. We started playing for ridiculous money like 100 marks, which was nothing at the time, or for food and drinks. We began to travel slowly through Germany and we gained our own public. And now we are here."

Do not miss those days? "No, I definitely don't want to go back. Now I am absolutely happy person and very grateful to fate."

Are you an optimist? "Not. It is better to remain pessimistic and pleasantly surprised than to be optimistic and upset."

Are your poems in the new Messer collection different from the lyrics you write for Rammstein? "Very different. My books are out of control. I am the only one who decides what to write, what not to write, so I do what I want. And in Rammstein there are other people I work with, there are viewers who have everything under control. That's why everything is much more complicated there.

When you write the lyrics for a song, you have to follow a lot of rules, get to the beat, get to the rhythm. In some cases, when a word doesn't fit, it has to be removed, replaced, and because of that the content suffers a lot. Usually it happens like this: when I think that everything is already done, colleagues come in and tell me that they have changed the music a little bit. I have to edit and adapt something again. And this goes on endlessly. I have to rewrite it up to a thousand times until I finish one song. And imagine the difference. I go to sleep with it, I'm waking up with it. It's a 24 hour job that completely absorbs me."

Do you like it? "Honestly, yes. But in those moments when something goes wrong, I feel like a loser and start hating it all."

If you were told as a child that you would write poetry, would you believe it? "No way! I didn't want to do that. My father was a famous poet. And I didn't even think about it. It was all just a coincidence. First I was a drummer, then I started singing, and the guys in the band said, "Since you're a vocalist, you have to write poetry. - Why? - Because all the singers write poems. Such a cliché. I had to start slowly. And now I am still writing. But writing poems to me - never seemed to be a serious job. When I was a young man, I said that I would only become a poet if I couldn't do anything else in my life. My father just exploded and went mad about it. He was typing all day long, and I even thought he was working as a secretary, not taking his work seriously. My classmates' fathers worked in factories, factories, and they had real men's work. What about my father? He just sat there and wrote something on paper."

Now that you understand his work, are you proud to be the son of a writer? "I am proud. And I realized that the genes won. Still, I have a certain heredity. When I first picked up my own book, it was an incredible feeling, just incredible! It's hard to even convey. "Almost the same as when you take your first child in your arms after birth."

How honest are you in your poems? "Absolutely honest. Probably too much, so they are often censored. And unfortunately, a lot is lost in translation too."

Speaking of censorship. You have probably heard that young musicians in Russia have recently been accused of extremism and banned from playing concerts. Have you ever encountered such a thing? "Provocation always sells well. Now the world is like this - everything happens very quickly, and the musicians have only two options: to write some fantastic or lyrical poems that will sell well, or be provocative. Therefore, sometimes people just deliberately try to provoke someone. Just imagine, a column of cars is driving, and suddenly a car appears without a muffler, which rumbles on the whole street: “Pak-Pak-Pak”... That is, it is clear that the person in this car really wants to attract attention. So are these people. They are really trying to stand out through provocation."

Well, Rammstein, probably, can also be included in the category of those who are engaged in provocations. "We were accused of everything, both right and leftwing radicalism, and we were just doing our job. At some point, we even stopped performing in Germany because we were constantly being bullied there. We started to travel in the rest of the world, and everywhere we were greeted with open arms. Honestly speaking, we had to become "big" in order to return to our country. It was very interesting."

What advice would you give to the young musicians who are in this situation now? "First of all - focus on your goal, just keep moving. You don't have to pay attention to anything. You just have to move forward, that's the most important thing."

Your guitarist Richard hinted that the album, which everyone has been waiting for so long, will be the last album. Is that true?

"I don't think it's the last album. We've worked so hard, we've got so much music, so many songs, that we're actually ready for the next album. And, of course, we won't be able to give it up for nothing. But imagine, we haven't released an album in ten years. We performed a lot and that's why we left the studio work. And when you're not in the studio for a long time, it's not easy to get back together. We've been working on this new album for the last three years, and we have to get used to it all again. Of course, when people get tired of working, they say, "All right, that's it! So I know exactly what Richard meant. After three years of hard work, the man is simply tired."

What is the perfect day for Till Lindemann? "This will be a +18 story, and your publication has a different age limit. (Laughs.) But honestly, I can’t even tell where I would like to be, in which city, in which country. When I'm on tour, I wake up every day in a new place and I always enjoy it. I can say that I am happy to wake up in Moscow. (Smiles.) In general, I don’t have one perfect day. Because I like to be surprised!"

https://crocusgroup.ru/…/acd0f3a1c2819d1530ae651e7a90f75d.p…

Translation courtesy of Rammstein Belgium FB

#Rammstein #Till #Till interview #Till Lindemann #Rammstein interview

103 notes · View notes

wiggly-blue-shite · 5 years

Text

Chapter 6 The Bell Doesn’t Dismiss You (Tedgens)

I get out of history and head to my next class. History is always boring. I know no one in that class. Well, I know people in that class but I don't like anyone in it. I also fucking hate studying history. Like I don't give a shit about how Napolean died.

While I walk to my next class, I have the sneaking suspicion I'm being watched. Y'know that feeling when you can feel eyes on the back of your head? Yeah, that.

I turn around to see if I can spot the person staring at me. There. Oh, it's just Henry. I smile and wave at him. He probably feels a little awkward for being caught staring. Acknowledging him might make him feel a little bit better. Henry turns bright red. Aw, that's a little cute. He waves back.

We pass each other without actually saying anything to each other. I want to say hi, or like tell him how good he looks in that outfit today. He doesn't usually dress like that so he should know it's a good choice. It like outlines him. You never really think about how in shape dancers are. I can feel his eyes on me and for some reason I get nervous. Knowing that I was him staring at me, made my hands a little sweaty.

That's weird.

I step into Art and go take my spot next to Paul. We're only taking Art this year because it sounded like fun and we didn't what else we would do. It's just some painting and it doesn't even need to be that good and you can still get a good grade. Easy A. It's a really fun class.

"Hey, what's up." I pat Paul's back. He laughs a little. He's already working on our next project. We have to do an abstract painting that shows our true emotions, or something. It's a nice sketch. Paul's actually not that a bad painter, don't tell him I said that though. Comments like that would go straight to his head.

"Not much man, not much." He continues to work on his sketch. It's pretty swirly and cool looking. "You?"

"eh," I shrug and take a seat in front of my easel. Now time to do some art! Yeah. Easier said than done. I really don't know what to do. I have the feeling of being watched again. I look around again to try to see if anyone is looking at me. No one is.

His lips were so red. His skin is so clear. His hair was great. And wow, why am I thinking about him. Need to think about something else. PAINTING!

The teacher is walking around. She walks up to me and Paul. She's always really supportive of everyone's are and she's understanding when you don't know what to do. I wish all my teachers were like that.

"That's a great start, Paul." I can tell she redirected her attention to my blank canvas, "having some trouble Ted?"

"Yeah, I guess." I'm not the most in tune with my true emotions.

"Well, how are you feeling? I know that's a loaded question."

I honestly have no clue. I guess I still have that feeling of being watched. But I don't really know how to paint that. Abstract paintings are so weeeird.

"How do you paint the feeling of being watched?" She's the art teacher here, she should know what she's doing.

"You mean paranoia?"

Well, paranoia is supposed to be negative though right. This feeling isn't really that negative.

"Not really, I don't know how to explain it."

"Explain it through your art." She's a cool teacher, but every once in a while she'll say something like that. Yup, this really is an art class.

I'll just draw some squiggles and make it into something later.

LUNCH TIME! The best part of the day. I just get to chill out and not deal with bullshit assignments and bullshit people!

Paul and I meet up with Bill and Charlotte at our usual lunch spot. The English building tree! It's this lumpy old tree that doesn't give off much shade but it's cool looking.

"Here you go!" Bill makes me lunch everyday. I don't really have any food at home, and the lunches they serve here are inedible. And Bill wants me to eat so he brings me some food.

"I'm ok without lunch." He's a little too kind sometimes.

"No fuck that you need to eat." Bill shoves the food into my hands. I actually really like the food he brings me. But he doesn't need to know that.

I dramatically spread out my jacket to sit on.

"One of these days I'm going to bring a picnic blanket." Paul sits down and opens the little lunch he has. "So in Art right now we're doing this really abstract thing and I really want to work in a dick in there somewhere."

"Mrs. Hawthorn wouldn't notice." Or she wouldn't care. She's a real hippie. Pretty sure she's come to school high a couple of times. I mean they call it HIGH school for a reason! Public school really is a tragedy.

"That's true." Charlotte has Mrs. Hawthorn fifth period I think.

Paul's staring at something, a smile creeps on his face. I follow his gaze and... yup! Emma and Henry. Why are they here? I'm not complaining, they make good company.

"Hi Emma!" Paul's like a little lap dog. You can almost see his tail wagging.

Emma sits herself down next to Paul. Paul shifts a little so his arm is behind Emma, almost around her.

Henry on the other hand kind of looks around nervously. That outfit might make him look a little intimidating, but he's still a dork. In a good way!

Bill pats the ground in between me and him, signaling for Henry to sit down. Henry sits down on the ground. No wait, those pants are going to get dirty. That sucks.

Bill pats the ground in between him and Ted, signaling me to sit there. So I plop down there. I didn't bring a jacket so I have nothing to sit on, but that's fun.

"Damn if I knew you were gonna be here I would have brought an extra jacket." I really would've, to save those pants. Paul really should bring a picnic blanket.

"No it's fine." No it's not! Nice clothes should be taken care of.

"I love your makeup." Charlotte does enjoy doing crazy makeup. Sam always says some bullshit about her looking a whore. So when Charlotte's not with him she get's to express herself more.

"Thanks!" Henry's eyes light up. He's pretty cute. His punk clothes can't fool me.

"I could never rock an outfit like that." I wish I could. I don't have the body for it. Henry on the other hand...

I can appreciate someone's looks without...

Whatever.

"Sure you could!" Henry smiles and laughs a little. He knows I wouldn't he's just being nice.

"Wow I can't even imagine Ted in full makeup." Bill laughs. That sounds so bad. I'm too messy everything would be smudged so quickly.

"I'm sure Henry would love to do your makeup." Emma suggests. Oh god that will be a mess. But hey it'd be a good story.

"Sure I'm down." I shrug. It would be fun.

"Yeah ok." Henry's blushing. I made him blush. That's...

"Yay!" Emma claps. I don't remember her being this upbeat. I thought she was more cynical. I don't know her that well I guess.

"Hey any word on the school play?" Paul doesn't give a shit. He just wants to make conversation.

"Nope. I think we're just going to be left in the dark until the week of the audition." Wow he really does care. "It's not going to be a Shakespeare show, because we did Shakespeare in the fall."

"Does that mean it's going to be a musical" Paul looks like he's trying to hide his disgust. I have no clue where his hate for musicals comes from, but it's kind of funny.

"Probably." Henry shrugs.

Paul groans. It really is funny how much he hates them. Like really, we have to force him to see Disney movies. It's a Disney movie like they're all good.

"Well I'm excited for it." Bill smiles. Bill and I have been going to school plays for a while. When I had a crush on Zoey, before she got with Sam, we started going because I thought she would notice me in the audience I guess. We still go because they're pretty good productions. They're all pretty good actors.

"Thanks!" Henry smiles awkwardly. He seems confident, I never would have imagined him being this awkward.

"Those shows always look like so much fun." I know I really enjoy seeing them. Even the sadder shows they've done seem fun. Henry and Norah always seem to light up when they're talking about it.

"You should audition." I hadn't even thought of that. "I mean you don't have to, we don't even know what the show is yet. But it is really a fun experience regardless of show. Though it is baseball season, and I know you're on the baseball team. Splitting time between the show and sports might be stressful."

Oh yeah, baseball season is starting. I get to be stuck in in practice with Sam and Coach Dickwad. I've already gotten all my PE credits. I don't need to take a sport to get out of PE anymore.

"Oh shit I totally forgot about baseball." There is no reason for me to stay in it, "if I'm being honest I might quit baseball. The coach is a dick, he-who-shall-not-be-named is on the team now, and I don't even enjoy it that much." I don't know why there's a silence. It's really not a big deal.

"Well there's alway seats open in theatre club." Henry smiles weakly. He's kind of like Paul, he can barely stand awkward social situations.

Imagine that. Ted Richards front and center stage in front of all the school. Fucking performing a monologue or something.

"I do not belong on stage." I'm 100% not a performer, "Charlotte knows what I'm talking about, my singing voice is awful." Charlotte giggles. That karaoke session was a hot mess but I do not regret a second of it.

"You don't have to sing. There's other aspects of theatre, y'know."

Well of course I know it's not just singing, but my singing alone should be enough to drive me away from the stage.

"You could be a techie!" Emma gasps. Based on Henry's expression I'm guessing that's a good fit for me.

A techie? Is that like a... robot thing?

"I don't even know what that is." Ted chuckle. I'll go along with what he says. He's the professional kind of. The

"You basically work backstage." Ah Ted backstage so no one can see my hideous face. "The show hasn't even been announced yet so there's not really any desperate need for techies. But I- We'd be so happy to have you!"

Did he say "I"? As in like "I'd be happy to have you,"? Am I looking to into this? I mean he's the one who said it. But why did he say it? Why do I care, it's not like it effects me.

"I mean if I end up quitting, I'll have nothing better to do." I shrug. I will definitely be quitting. And this looks like fun! And I want to do something I might actually enjoy.

And the bell rings. Paul and Emma take their leave, hand in hand, without a goodbye. They're a cute couple but like Jesus Christ. Bill and Charlotte are at least cool enough to wave goodbye.

I brush the grass of the jacket I was sitting on. I can see some of the dirt on Henry's ass. I should have brought a picnic blanket, I will tomorrow.

"Hey, if you'd like I can talk to Mrs. Murray about it."

Oh sweet this is like actually happening. I'm gonna get to see the inner working of a play! Not that it could be that complicated. I shouldn't start until I know I'm definitely out of baseball though.

"Well I need to quit baseball first." I pat Henry's shoulder, he tenses up. Huh... sturdy. "I'm looking forward to the makeover, see you later." I hope we actually do that. It'd be fun.

"Bye!" Henry calls out after me. My stomach flips. That's so weird.

I turn around to catch one last glimpse of him. He's off the theatre room probably. What am I doing, Looking at another guy like that. I can't help it though.

That's so weird.

#tgwdlm #tedgens #the bell doesnt dismiss you #fanfic

21 notes · View notes

harrisonstories · 6 years

Photo

George Harrison performing at the Royal Albert Hall (1992)

Guitar World Interviews George Harrison (released Jan. 2001 - original interview from 1992)

George Harrison looks back at the days when he played lead guitar in The Beatles, the greatest rock and roll band the world has ever known.

By Vic Garbarini

“So, you’re a real loony too,” laughs George Harrison, with the familiar droll, nasal Scouse (as they call it in Liverpool) accent. “Remember lying in that room all day, needle in your arm, feeling dazed, staring up at that ugly lime green ceiling?”

Well, yes, actually I do. And no, we weren’t shooting dope together in some dive. The lead guitarist of the most important group in rock history is reminding me of when we met a few years back in Dr. Sharma’s clinic in London. Sharma is an M.D. who is also an internationally recognized expert in alternative medicine - in particular, homeopathic and Indian Ayurvedic medicines - and it was these treatments that appealed to Harrison’s Eastern philosophic bent. Her waiting room looked like backstage Live Aid: Tina Turner and members of the Police, Pink Floyd - and of course an occasional Beatle - were drifting in and out. Through Sharma, I’d been promised an interview with George Harrison, and now 10 years later - we were finally sitting down to talk. It was late 1992, and George was promoting Live in Japan (Warner Bros.), the concert album of his 1991 tour with Eric Clapton and the last album he released to date.

So why is this interview finally finding its way to print eight years after the fact? Simple: it was lost. Parts had appeared in Guitar World and other places, but the body of the tape disappeared when the famous 1994 L.A. earthquake turned my apartment into a cosmic Cuisinart. Recently, while I was cleaning out a closet, the long-lost tape literally fell into my lap. The timing couldn’t have been better: All Things Must Pass, Harrison’s superb 1970 solo album, had just recently been issued in a remastered and expanded format. What’s more, the massive Beatles Anthology (Chronicle Books) has once again put the Fabs back in the limelight; but while the book is crammed with minutiae that will fascinate anyone with any interest in the Beatles, it contains little information on how the group created its music, the source of its internal conflicts or how those two elements interacted over the years.

I found that Harrison needed a little prodding before he would discuss the band’s inner turmoil. Once he opened up, though, he gave a most revealing and candid interview in which he expressed his true feelings for his fellow bandmates. Although Harrison was the first lead guitarist to become an equal in a major band (pre-Beatles guitarists like Scotty Moore, from Elvis Presley’s band, were clearly hired guns), he was sandwiched between the two most towering songwriters in rock history - and they often wanted to control his playing - or even do it for him. And of course, getting a decent hearing of his songs was no picnic either.

Perhaps it is for these reasons that Harrison has a reputation as the most dour of Beatles; yet he was witty and upbeat during our talk. He forgave Paul McCartney’s controlling tendencies and John Lennon’s indifference - but, it was clear, he hasn’t forgotten. He seemed emotionally evenhanded, even when angry, balancing the good with the bad and always seeing the positive dimension to all his struggles.

“I’m a Pisces, you know,” he joked. “One half always going back where the other half has been.”

George was also surprisingly willing to talk about the Beatles from the unique perspective of a guitarist as well as that of a composer. He told how he developed a guitar style that combined the music of the Mississippi Delta with that of India’s Ganges Delta, thereby creating his distinctive sound. He spoke of his relationships with Lennon and McCartney: who was more stimulating - and difficult - to work with, and why. He also described how he sneaked Eric Clapton into the studio to rescue one of Harrison’s greatest songs, “While My Guitar Gently Weeps.” And he answered the long-standing questions about whether he was bored during the making of Sgt. Pepper’s.

This may well be the most comprehensive, free-ranging discussion Harrison has ever granted on his years with the Beatles. So, now, here’s the man from the band you’ve known for all these years: Mr. George Harrison.

Guitar World: John Lennon said, “I grew up in Hamburg - not Liverpool.” Is that also true of the Beatles as a group?

George Harrison: Oh, yeah. Before Hamburg, we didn’t have a clue. [laughs] We’d never really done any gigs. We’d play a few parties, but we’d never had a drummer longer than one night at a time. So we were very ropy, just young kids. I was actually the youngest - I was only 17, and you had to be 18 to play in the clubs - and we had no visas. They wound up deporting me after our second year there. Then Paul and Pete Best [the Beatles’ first permanent drummer GW Ed.] got deported for some silly reason, and John just figured he might as well come home. But when we went there, we weren’t a unit as a band yet. When we arrived in Hamburg, we started playing eight hours a day - like a full workday. We did that for a total of 11 or 12 months, on and off over a two year period. It was pretty intense.

GW: Paul McCartney told me that playing for those drunken German sailors, trying to lure them in to buy a couple of beers so you could keep your gig, was what galvanized the band into a musical form.

HARRISON: That’s true, because we were forced to learn to play everything. At first, we played music of all our heroes - Little Richard, Fats Domino, Chuck Berry, Buddy Holly, the Everly Brothers, Ray Charles, Carl Perkins - anything we’d ever liked. But we still needed more to fill those eight-hour sets. Eventually we had to stretch and play a lot of stuff that we didn’t know particulary well. Suddenly, we were even playing movie themes, like “A Taste of Honey” or “Moonglow,” learning new chords, jazz voicings, the whole bit. Eventually, it all combined together to make something new, and we found our own voice as a band.

GW: I can see how all this musical stretching gave you the tools to eventually create your own unique sound. But it’s hard to believe drunken sailors would want to hear movie ballads.

HARRISON: No, we played those things because we got drunk! If you’re coming in at three or four in the afternoon with a massive hangover from playing all night on beer and uppers, and there’s hardly anybody in the club, you’re not going to feel like jumping up and down and playing “Roll Over Beethoven.” You’re going to sit down and playing something like “Moonglow.” And we learned a lot from doing that.

GW: Did those tight, Beatles vocal harmonies also come out of Hamburg?

HARRISON: We always loved those American girls groups, like the Shirelles and the Ronettes. So yeah, we developed our harmonies from trying to come up with an English, male version of their vocal feel. We discovered the option of having three-part harmonies, or lead vocal and two-part backup, from doing that old girl-goup material. We even covered some of those songs, like “Baby, It’s You,” on our first album.

GW: When you broke through in America, Carl Perkins and Scotty Moore, Elvis’ guitarists, were clearly your main influences as a guitarist. And, like them, you were using a Gretsch guitar. What was it about that rocka-billy style that captivated you?

HARRISON: Carl was playing that simple, amazing blend of country, blues and early rock, with these brilliant chordal solos that were very sophisticated. I heard his version of “Blue Suede Shoes” on the radio the other day, and I’ll tell you, they don’t come more perfect than that. Later, when we met Carl, he was such a sweet fellow, a lovely man. I did a TV special with him a couple of years ago and I used the Gretsch Tennessean again for that, the one I like to call the Eddie Cochran/Duane Eddy model. And you have to understand how radical that sound was at the time. Nowadays, we have all this digital stuff, but the records of that period had a certain atmosphere. Part of it was technical: the engineer would have to pot the guitar [adjust its level and tone] up and down or whatever. It was a blend that was affected by the live “slap echo” they were using. I loved that slap bass feel - the combination between the bass, the drum and the slap, and how they would all come together to make that amazing sound. We used to think that the drummer must be drumming on the double bass’ strings to get that slap back - we just couldn’t figure it out.

GW: The other major factor in your playing was Chuck Berry. I remember being a kid and hearing you do “Roll Over Beethoven” and thinking it was a Beatles song. We never heard black artists on the radio in those days.

HARRISON: Oh, that’s still happening. We did a press conference in Japan when I played live there with Eric Clapton [in 1991], and the first question was, “Mr. Harrison, are you going to play ‘Roll Over Beethoven’ in concert?” And when I said yes, the whole hall stood up and applauded! It was such a big thing for them, which seemed so funny. Then I realized they must still think I wrote it.

GW: Going back to the Beatles’ early touring days, Ringo Starr told me that you all gave up on playing live because you literally couldn’t hear each other, due to all the screaming and the primitive amplification.

HARRISON: We couldn’t hear a thing. We were using these 30-watt amps until we played Shea Stadium, at which point we got those really big 100-watt amps. [laughs] And nothing was even miked up through a P.A. system. They had to listen to us just through those tiny amplifiers and the vocal mikes.

GW: Did you ever give up and just mime?

HARRISON: Yeah, sometimes we used to play absolute rubbish. At Shea Stadium, [during “I’m Down,”] John was playing a little Vox organ with his elbow. He and I were howling with laughter when we were supposed to be doing the background vocals. I really couldn’t hear a thing. Nowadays, if you can get a good balance on your monitors, it’s so much easier to hear your vocals and stay in pitch. When you can’t hear your own voice onstage, you tend to go over the top and sing sharp - which we often did back then.

GW: The Beatles stopped touring in 1966 around the time of Revolver. That album was a quantum leap in terms of the band’s playing and songwriting. Rock could now deal with our inner lives, alienation, spirituality and frustration, things which it had never dealt so directly with before. And the guitars and music warped into a new dimension. What kicked that off? Was it Dylan, the Byrds, Indian music and philosophy?

HARRISON: Well, all of those things came together. And I think you’re right, around the time of Rubber Soul and Revolver we just became more conscious of so many things. We even listened deeper, somehow. That’s when I really enjoyed getting creative with the music - not just with my guitar playing and songwriting but with everything we did as a band, including the songs that the others wrote. It all deepened and became more meaningful.

GW: Dylan inspired you guys lyrically to explore deeper subjects, while the Beatles inspired him to expand musically, and to go electric. His first reaction on hearing the Beatles was supposedly, “Those chords!” Did you ever talk to him about the way you influenced each other?

HARRISON: Yes, and it was just like you were saying. I was at Bob’s house and we were trying to write a tune. And I remember saying, “How did you write all those amazing words?” And he shrugged and said, “Well, how about all those chords you use?” So I started playing and said it was just all these funny chords people showed me when I was a kid. Then I played two major sevenths in a row to demonstrate, and I suddenly thought, Ah, this sounds like a tune here. Then we finished the song together. It was called “I’d Have You Anytime,” and it was the first track on All Things Must Pass.

GW: Paul told me that Rubber Soul was just “John doing Dylan.” Do you think Dylan felt that?

HARRISON: Dylan once wrote a song called “Fourth Time Around.” to my mind, it was about how John and Paul, from listening to Bob’s early stuff, had written “Norwegian Wood.” Judging from the title, it seemed as though Bob had listened to that and wrote the same basic song again, calling it “Fourth Time Around.” The title suggests that the same basic tune kept bouncing around over and over again.

GW: The same cross-fertillization seemed to be going on between the Beatles and the Byrds around that time. Your song “If I Needed Someone” has got to be a tip of the hat to Roger McGuinn, right?

HARRISON: We were friends with the Byrds and we certainly liked their records. Roger himself said that the first time he saw a Rickenbacker 12-string was in A Hard Day’s Night, and he certainly stamped his personality onto that sound later. Wait - I’ll tell you what it was. Now that I’m thinking about it, that song actually was inspired by a Byrds song, “The Bells of Rhymney.” Any guitar player knows that, with that open-position D chord, you just move your fingers around and you get all these little maladies…I mean melodies! Well, sometimes maladies [laughs] And that became a thrill, to see how many more tunes you could write around that open D, like “Here Comes the Sun.”

GW: When you did that tour with Eric Clapton in Japan, you opened with “I Want to Tell You,” from Revolver. The song marked a turning point in your playing, and in the history of rock music writing. There’s a weird, jarring chord at the end of every line that mirrors the disturbed feeling of the song. Everybody does that today, but that was the first time we’d heard that in a rock song.

HARRISON: I’m really pleased that you noticed that. That’s an E7th with an F on the top, played on the piano. I’m really proud of that, because I literally invented that chord. The song was about the frustration we all feel about trying to communicate certain things with just words. I realized the chords I knew at the time just didn’t capture that feeling. So after I got the guitar riff, I experimented until I came up with this dissonant chord that really echoed that sense of frustration. John later borrowed it on Abbey Road. If you listen to “I Want You (She’s So Heavy)” it’s right after John sings “it’s driving me mad!” To my knowledge, there’s only been one other song where somebody copped that chord - “Back on the Chain Gang” by the Pretenders.

GW: Around the time of Rubber Soul and Revolver, you met Ravi Shankar and went to India to study Indian classical music, which is full of microtonal slurs and blends. When you came back, your guitar playing became more elastic, yet very precise. You were finding more notes between the cracks, like you can in Indian music - especially on your slide work. Is there a connection there?

HARRISON: Sure, because whatever you listen to has to come out in some way or other. I think Indian music influenced the inflection of how I played, and certain things I play certainly have a feel similar to the Indian style. As for slide, I think most people - Keith Richards for example - play block chords and all those blues fills, which are based on open tunings. My solos are actually like melodic runs, or counter melodies, and sometimes I’ll add a harmony line to it as well.

GW: Like on “My Sweet Lord” and the songs on your first solo album [All Things Must Pass].

HARRISON: Exactly. Actually, now that you’ve got me thinking about my guitar playing Indian music, I remember Ravi Shankar brought an Indian musician to my house who played classical Indian music on a slide guitar. It’s played like a lap steel and set up like a regular guitar, but the nut and bridges are cranked up, and it even has sympathetic drone strings, like a sitar. He played runs that were so precise and in perfect pitch, but so quick! When he was rocking along, doing these really fast runs, it was unbelievable how much precision was involved. So there were various influences. But it would be precocious to compare myself with incredible musicians like that.

GW: When you came back from India, did you intentionally copy on guitar any of the techniques you learned there?

HARRISON: When I got back from this incredible journey to India, we were about to do Sgt. Pepper’s, which I don’t remember much at all. I was into my own little world, and my ears were just all filled up with all this Indian music. So I wasn’t really into sitting there, thrashing through [sings nasally] “I’m fixing a hole…” Not that song, anyway. But if you listen to “Lucy in the Sky with Diamonds,” you’ll hear me try and play the melody on guitar with John’s voice, which is what the instrumentalist does in Hindustani vocal music.

GW: Paul told me you wanted to do a similar thing on “Hey Jude,” to echo his vocal phrases on the guitar, and that he wouldn’t let you. He admitted that incidents like that were one of the causes of the band’s breakup. And Ringo said you had the toughest job, because Paul in particular and George Martin as well would sometimes try and dictate what you should play, even on your solos.

HARRISON: Well, you know, that’s okay. I don’t remember the specifics on that song. [pauses] Look, the thing is, so much has been said about our disagreements. It’s like…so much time has lapsed, it doesn’t really matter anymore.

GW: Was Paul trying to just hold the band together, or was he just becoming a control freak? Or was it a little of both?

HARRISON: Well…sometimes Paul “dictated” for the better of a song, but at the same time he also pre-empted some good stuff that could have gone in a different direction. George Martin did that too. But they’ve all apologized to me for all that over the years.

GW: But you were pissed off enough about all this to leave the band for a short time during the Let It Be sessions. Reportedly, this problem had been brewing for a while. What was it that upset you about what Paul was doing?

HARRISON: At that point in time, Paul couldn’t see beyond himself. He was so on a roll - but it was a roll encompassing his own self. And in his mind, everything that was going on around him was just there to accompany him. He wasn’t sensitive to stepping on other people’s egos or feelings. Having said that, when it came time to do the occasional song of mine - although it was usually difficult to get to that point - Paul would always be really creative with what he’d contribute. For instance, that galloping piano part on “While My Guitar Gently Weeps” was Paul’s, and it’s brilliant right to this day. On the Live in Japan album, I got our keyboardist to play it note for note. And you just have to listen to the bass line on “Something” to know that, when he wanted to, Paul could give a lot. But, you know, there was a time there when…

GW: I think it’s called being human - and young.

HARRISON: It is…[sighs] It really is.

GW: How difficult was it to squeeze your songs in between the two most famous writers in rock?

HARRISON: To get it straight, if I hadn’t been with John and Paul I probably wouldn’t have thought about writing a song, at least not until much later. They were writing all these songs, many of which I thought were great. Some were just average, but, obviously, a high percentage were quality material. I thought to myself, If they can do it, I’m going to have a go. But it’s true: it wasn’t easy in those days getting up enthusiasm for my songs. We’d be in a recording situation, churning through all this Lennon/McCartney, Lennon/McCartney, Lennon,/McCartney! Then I’d say [meekly] can we do one of these?

GW: Was that true even with an obviously great song like “My..uh.”

HARRISON: "Piggies”? You mean “While My Piggies Gently Weep”? [laughs] When we actually started recording “While My Guitar Gently Weeps” it was just me playing the acoustic guitar and singing it [This solo version appears on the Anthology 3 CD-GW Ed.] and nobody was interested. Well, Ringo probably was, but John and Paul weren’t. When I went home that night, I was really disappointed, because I thought, Well, this is really quite a good song, it’s not as if it’s shitty! The next day, I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, “Why don’t you come and play on this track?” And he said, “Oh, I couldn’t do that. The others wouldn’t like it.”

GW: Was that a verboten thing with the Beatles?

HARRISON: Well, it wasn’t so much verboten; it’s just that nobody had ever done it before. We’d had oboe and string players and other session people in for overdubbing, but there hadn’t really been other prominent musicians on our records. So Eric was reluctant, and I finally said, "Well, sod them! It’s my song and I’d like you to come down to the studio.”

GW: So did that cause more tension with the others? How did they treat him?

HARRISON: The same thing occurred that happened during “Get Back,” while we were filming the movie [Let It Be, (Apple Films) 1970]. Billy Preston came into our office and I pulled him into the studio and got him on electric piano. And suddenly, everybody started behaving and not fooling around so much. Same thing happened with Eric, and the song came together nicely.

GW: Yet, rumor has it you weren’t satisfied with your performance on the record. Why?

HARRISON: Actually, what I was really disappointed with was take number one [i.e., the solo version]. I later realized what a shitty job I did singing it. Toilet singing! And that early version has been bootlegged, because Abbey Road Studios used to play it when people took the studio tour. [laughs] But over the years I learned to get more confidence. It wasn’t so much learning the technique of singing as it was just learning not to worry. And my voice has improved. I was happy with the final version with Eric.

GW: Did you give Eric any sense of what you wanted on the solo? He almost sounds as if he’s imitating your style a lot.

HARRISON: You think so? I didn’t feel like he was copying me. To me, the only reason it sounds Beatle-ish is because of the effects we used. We put the “wobbler” on it, as we called ADT. [Invented by a Beatles recording engineer. ADT, or artificial double tracking, was a tape recording technique that made vocals and intruments sound as if they had been double tracked (i.e., recorded twice) to create a fuller sound. The technique also served as the basis for flanging.-GW Ed.] As for my direction I may have given him, it was just, “Play, me boy!” In the rehearsals for the Japanese tour, he did make a conscious effort to recap the solo that was on the original Beatles album. And although the original version in embedded in Beatles’ fans memories, I think the version we captured on the live album is more outstanding.

GW: Want to play rock critic for us and critique his playing?

HARRISON: Ah, well, he started out playing the first couple of fills like the original, and the first solo is kind of similar. But by the end of the solo he just goes off! Which is why I think guitar players like to do that song. It’s got nice chords, but it’s also structured in a way that gives a guitar the greatest excuse just to wail away. Even Eric played it differently every night of the tour. Some nights he played licks that almost sounded like flamenco. But he always played exceptionally well on that song.

GW: You talked about the pluses and minuses of working with Paul. What about John? He was a much looser, more intuitive musician and composer. Did you help him flesh things out?

HARRISON: Basically, most of John’s songs, like Paul’s, were written in the studio. Ringo and me were there all the time. So as the songs were being written, they were being given ideas and structures, particularly by John. As you say, John had a flair for “feel.” But he was very bad at knowing exactly what he wanted to get across. He could play a song and say, “It goes like this.” Then he’d play it again and ask, “How does that go?” Then he’d play it again - totally differently! Also his rhythm was very fluid. He’d miss a beat, or maybe jump a beat…

GW: Like a lot of old blues players.

HARRISON: Exactly like that. And he’d often do something really interesting in an early version of a song. After a while, I used to make an effort to learn exactly what he was doing the very first time he showed a song to me, so if the next time he’d say, “How did that go?” we’d still have the option of trying what he’d originally played.

GW: The melody on side two of Abbey Road is a seamless masterpiece. It would probably take a modern band ages to put together, even with digital technology. How did you manage all that with just four - and eight - track recorders?

HARRISON: We worked it all out carefully in advance. All those mini songs were partly completed tunes; some were written while we were in India a year before. So there was just a bit of chorus here and a verse there. We welded them all together into a routine. Then we actually learned to play that whole thing live. Obviously there were overdubs. Later, when we added the voices, we basically did the same thing. From the best of my memory, we learned all the backing tracks, and as each piece came up on tape, like “Golden Slumbers,” we’d jump in with the vocal parts. Because when you’re working with only four or eight tracks, you have to get as much as possible on each track.

GW: With digital recording today you can also do an infinite number of guitar solos. Back then, did taking another pass at a solo require redoing almost the entire song?

HARRISON: Almost. I remember doing the solo to “Something” and it was dark in the studio and everyone was stoned. But Ringo, I think, was doing a drum overdub on the same track, and I seem to remember the others were all busy playing. And every time I said, “Alright, let’s try another take” - because I was working it out and trying to make it better - they all had to come back and redo whatever they’d just played on the last overdub. It all had to be squeezed onto that one track, because we’d used up the other seven. That’s why, after laying down the basic track, we’d work out the whole routine in advance and get the sound and balance. You’d try and add as much as possible to each track before you ran out of room. On one track we might go, “Okay, here the tambourine comes in, then Paul, you come in at the bridge with the piano and then I’ll add the guitar riff.” And that’s the way we used to work.

GW: “Something” was your most successful song. I think every guitar player wonders, did you get that riff first?

HARRISON: No, I wrote the song on the piano. I don’t really play the piano, which is why certain chords sound brilliant to me - then I translate them onto the guitar, and it’s only C. [laughs] I was playing three-finger chords with my right hand and bass notes with my left hand. And on the piano, it’s easy to hold down one chord and mostly the bass note down. If you did that on the guitar, the note change wouldn’t come in the bass section; it would come somewhere more in the middle of the chord.

GW: But you did play that Beatles-sounding bridge riff in “Badge” on Cream’s Goodbye album, didn’t you?

HARRISON: No, Eric played that! He doesn’t even play on the song before that. We recorded that track in L.A.: it was Eric, plus Ginger Baker and Jack Bruce, and I think the producer, Felix Pappalardi, played the piano part. I was just playing chops on the guitar chords and we went right through the second verse and into the bridge, which is where Eric comes in. Again, it sounds Beatle-ish because we ran it through a Leslie speaker.

GW: Any contemporary bands that strike you as having a bit of the same spark that your early heroes had?

HARRISON: I can’t say I’ve really heard anything that gives me a buzz like some of that stuff we did in the Fifties and Sixties. The last band I really enjoyed was Dire Straits on the Brothers in Arms album. To me, that was good music played well, without any of the bullshit. Now I’m starting to get influenced by my teenage son, who’s into everything and has the attitude. He loves some of the old stuff, like Hendrix, and he’s got a leather jacket with Cream’s Disraeli Gearsalbum painted on the back. As for recent groups, he played me the Black Crowes, and they really sounded okay.

GW: You made music that awoke and changed the world. Could you sense that special dimension of it all while it was happening, or were you lost in the middle of it?

HARRISON: A combination of both, I think. Lost in the middle of it - not knowing a thing - and at the same time somehow knowing everything. Around the time of Rubber Soul and Revolver it was like I had a sudden flash, and it all seemed to be happening for some real purpose. The main thing for me was having the realization that there was definitely some reason for being here. And now the rest of my life as a person and a musician is about finding out what that reason is, and how to build upon it.

GW: Finally, any recent acid flashbacks you care to share?

HARRISON: [laughs] No, no, that doesn’t happen to me anymore. I’ve got my own cosmic lighting conductor now. Nature supports me.

269 notes · View notes

nu-metal-e-clown · 5 years

Text

Radiators are Hot

Pairing: Ringo x female!reader

Summary: Ringo and the reader have been friends since they were young and one day when Ringo gets hurt the reader has to help him out in a rather strange way.

warnings: none

I had learned to play drums when I was around 14, after I had recovering from tuberculosis. When I was still sick and at the children’s sanatorium there wasn’t much to do. They only activities they had for us were knitting and listening to music. It wasn’t all terrible though because that’s where I meet my best friend, Richard Starkey. We would sit around the radio and goof around, getting into trouble with the staff. One time a group of boys were picking on me, Richard stepped up to them and told them off. At night I would sometimes get scared that they wouldn’t be able to help us get better and that I would die in that place, but every time I was on the verge of tears Richard would show up by my bedside, like he knew I needed him, and we would quickly crawl under the bed and use it as a type of fort where we would tell stories to one another. Richard always told me how after we got better he was going to learn to play the drums and join a band and that once they got famous he would take me on tour with him and show me the world. I would tell him that after we got better I was going to make clothes and become a high end fashion designer and I would make him the most extravagant outfits. We would both giggle and lay there until we fell asleep, or until one of the staff found us and made Richard go back to his bed.

After we got better and they had to send us back home, we found out that we actually lived very close to each other, our houses only being a few streets away. Richard did as he promised me and learned to play the drums and got really good at it. I tried my hand at fashion design, but everyone said the clothes I made were tacky and no one would ever wear them, Richard tried to tell me otherwise, but in the end I just wasn’t cut out for it. Instead I asked Richard if he would teach me to play drums, and he did. He was rather impressed with how quickly I had learned to play.

Then once I was around 17 and I had a job, I saved enough to buy my own drum set and I would play any time I wasn’t at work or with Richard. Richard had gotten better as well, even joining a band. I envied him a little. I tried my best to find other people to play with, but no matter what no one would pick me up, and all for the same reason: I was a girl. No one wanted a girl in their band unless she was around for background vocals and nothing else. It was frustrating. All I wanted to do was play on a stage for even a small group of people.

Several years passed and I still wasn’t in a band, but I never gave up on drumming. Then one day Richard came to me so excited. Him and his band were going tour and he wanted me to go with them.

“Come on, Y/N! This is exactly what we talked about as kids! You have to come!”

“I don’t know, Richard. I mean I have a job and it’s not completely terrible, so I’d kind of like to keep it.” I said.

“Come on! You don’t need a job, I’ll take care of you until you find a guy and fall in love! Just come with me!”

“You’re absolutely delusional.. but OK, I’ll go with you.” I said, trying my best to hide my smile.

Richard wrapped his arms around me and swung me around. “Excellent! Pack your bags, we leave tomorrow!”

“Tomorrow? Isn’t this a little short notice? You couldn’t have let me known a couple days prior?”

“I was going to, but I kept forgetting.” Richard said, a little sheepishly.

The next morning I was up early with my bags ready to go. I was standing right outside of Richard’s front door. As soon as I knocked the door swung open and stood in the frame was a tall man with brown hair and brown eyes. He looked down on me just as confused as I was. He quickly turned his head to the side and shouted into the house, “Hey, did anyone order a bride or something?”

From inside came a shout from another man. “Not me!”

Richard also shouted a “No.”

“Oh, it might be mine, let me check” said another man.

Before I knew it another man, slightly taller than the other stepped into the door frame. He had dark brown hair and hazel eyes. He looked at me and hummed.

“Well I certainly didn’t order her, but I’d be more than will to keep her.” He said with a wink.

“Actually I’m Richard’s friend, he wanted me to go on tour with him?” I said, still very confused.

“Ahh, I see.” He said before turning his head into the house. “‘Richard’,it’s for you!” He called almost mockingly.

“I’m Paul by the way, come inside!” Paul said, stepping aside to let me in.

“Here, allow me to grab your bag. I’m John.” Said the man who had first opened the door.

Walking inside I couldn’t help but notice how the house was a mess. There were books laying on the floor and clothes strewn about. There was another man sitting at the dining table, eating a sandwich. John pointed over to him, “That’s George.” He said. George nodded his head towards me, letting me know that he acknowledged my presence.

Soon Richard came down the stairs, holding a suitcase, “Alright, we better get going before we miss the train.”

“Oi, Ringo, who’s your friend? Is she available?” Paul asked, smirking.

“Oh shut it, this is Y/N. She’ll be joining us on the tour.”

“Cabs here!” Shouted John, who was looking out the window.

Quickly everyone grabbed their stuff and ran out to the car. Paul had grabbed my bag for me and placed it in the trunk, while John had opened the cab’s door, allowing me to step in. I sat between John and Richard while Paul and George stay up front with the driver. The whole ride John and Paul had been very flirty with me, while George just sat quietly. Richard would huff every time John or Paul would ask me a question, I could tell he was getting jealous having the two of them all over me.

“Why do you call Richard ‘Ringo’?” I asked

“Well because of all the rings he wears.” Said Paul, pointing at Richard’s hands. “Everyone calls him Ringo, it’s his stage name. ‘Ringo Starr’. You’re the only one who doesn’t. The real question should be why don’t you call him Ringo?”

“Well I’ve known him since we were kids. We were sick together.” I said

“Ah, childhood lovers.” John sighed, placing his hands on his heart and tilting his head back, being dramatic.

“Oh, shut up, you daft git.” Richard said, annoyed with how the pair had been acting.

“Oh come on, Ringo. We’re just having some fun.” Said Paul.

“We’re here.” Said George suddenly as the driver pulled up lot the station.

We all stepped out, everyone quickly grabbing their bags. However, before I could get to mine, or rather before John or Paul could get to mine, Richard quickly grabbed the handle, carrying it off to the platform.

I followed closely to the 4 tall men as we rushed to get on the train before it left.

Once inside the train, everyone relaxed and prepared for the next 3 hours we would spend on our way to your next destination. I sat next to the window with Richard to my right, and George to his. In the seats facing me was Paul, who was looking out the window, and John. I pulled out the book that I had placed in my purse and got comfortable, resting my head on Richard’s shoulder.

After a while we all went to the dining cart and ate breakfast, and before we knew it the train was stopping at the station we were to get off at.

Getting off the train we were lead by the bands managers to a cab, where from there we were taken to a hotel where we were to be for a while before going to the venue where the boys would be playing. Because it was rather last second, I was sharing a room with Richard in the suite the band had booked.

John, Paul, and George has all gone off, wandering around the hotel to cause trouble. I was busy styling my hair and doing my makeup, something I hadn’t gotten a chance to do after waking up a little late, when I heard a shout come from the sitting area of the suite. I ran in to find Richard holding his right hand as he winced in pain.

“What happened? What’s wrong?” I said quickly rushing over to him.

“I accidentally burnt myself on the radiator. It’s pretty bad.” He said. I grabbed him by his wrist and lead him into the bathroom where I quickly ran cold water over his hand. Richard hissed when the cold water touched his tender flesh, but soon he sighed as the coolness eased some of the pain.

“You can’t play tonight, hell you may be unable to play for a week! We have to tell the others.” I said.

“No!” Richard jumped, “No, we can’t. I’m sure I can play, but we can’t tell them, they’ll cancel the show, and I don’t want to let everyone down!”

“Richard, there’s no way you can play, you’re hand is scorched.”

“I’ll be fine, look!” He said as he grabbed a nearby pin, holding it like he would one of his drum sticks. He looked at me for a couple of seconds with a smile on his face, but quickly he was fighting back tears and trying his best to force the smile before he finally yelped and dropped the pen.

“Richard, stop. You’re not playing tonight.” I said, placing his hand back under the water.

“Fine.” He said, in defeat. Just than he lit up. “Yeah, I won’t be playing tonight, you will!”

“I suppose I can cover for you, but we still need to tell the guys.”

“No, there’s no need. This isn’t the first time I’ve burnt myself on a radiator, I’ll be fine. What we need to do is get you looking like me!”

“Why do I need to look like you? The guys will understand if you’re hurt and I go on in your place, there’s no need to dress me up.”

“Y/N, I know you’re a great drummer, maybe even better than me, but the guys don’t know that. They think you’re just some girl. If we try and tell them you’re this amazing drummer, they’ll never believe us. And besides it’ll be fun!”

I didn’t know what to say. I stood there for a couple of seconds weighing the pros and cons. What was there to lose?

“Alright, let’s do it!” I said, giggling.

“Perfect! OK, let’s hurry and get you an outfit!” Richard beamed. We carefully took off his rings and wrapped his hand before heading out to get everything we needed to make me look just like Ringo.

After two hours of shopping we were back in the hotel suite, putting everything in a small suitcase and getting ready to go. Just as we closed the bag John, Paul, and George, who was eating, all stepped back into the room followed by their manager.

“Alright get the things you’ll need for tonight, and do it quickly. The cars waiting!” He said.

I grabbed the suitcase and headed for the door.

“Why’re you bring that suitcase? what’s in it?” John asked from behind me, making me jump a little.

“Oh, you know.. lady stuff. I have to bring it.” I said quickly trying to think of something. Me and Richard quickly rushed down to the car. I placed the suitcase in the trunk and we both sat in the front seat next to the driver. Richard kept his hand concealed in his pocket until we reached the venue.

Once inside me and Richard quietly slipped away to a hidden broom closet backstage. There I quickly put on the chest binder, suit, and wig we had bough hours prior. Richard put on a long coat and hat, trying his best to blend in with the people backstage.

“Don’t forget these.” Richard said, slipping the many rings he had bought me onto my fingers. They resembled the ones he wore almost perfectly. Before walking out he quickly fixed the wig I had on. As we walked out I caught my reflection in a mirror hanging on a nearby wall. I didn’t look too bad. Sure I didn’t look exactly like Richard and I was nearly a foot too short, but I looked pretty close. The crew must have though so as well because before I knew it I was being lightly powdered with makeup and handed drum sticks.

“Ringo! Come on, we’re going on now!” Paul called towards me. I jogged over and we were pushed on stage. I quickly sat behind the drum set and adjusted the so I was sitting comfortably.

I looked up at the curtain that was currently hiding us from the audience. I could hear the announcer over the speakers as he introduced us.

“Ladies and gentlemen, The Beatles!”

The curtains raised and I was faced with the sight of what looked like thousands of screaming girls. Some has signs saying ‘we love you’ some even said ‘Ringo’. My chest felt heavy as I look out on the sea of people. Their screams were the only things that could be heard. Feeling as though I was going to be sick, I looked to my left and there stood Richard. He gave me a smile and a thumbs up and all my fears melted away. I turned back to the crowd. Soon Paul was trying his best to shout over the screaming fans “A ONE. TWO. THREE.” That was my que to start playing. While we were shopping Richard told me how to play all the songs on the set list and he gave me some tips as well. ‘You have to watch Paul’s foot or John’s ass.’ ‘why would I watch John’s ass?’ ‘To keep time! He waggles it to the beat!’

It was nearly impossible to hear ourselves, but I had the time of my life. Before I knew it the show was over and we all bowed and ran off stage.

“That was great!” Paul Said, beaming.

“Absolutely amazing!” John said, patting me hard on the shoulder, “Ringo! That was great!”

“Y/N!” Richard yelled.

John, Paul, and George all looked up to see Richard standing a few feet away in a poorly done up disguise. I ran over to him, wrapping my arms around his neck, being careful not to hit his hand. He wrapped his arms around my waist and spun me around, making my wig fly off. When he sat me down I was so excited my hands flew up to grab his face and I pulled him down to kiss him. Richard was confused at first, but he quickly kissed me back. Pulling away we were both smiling.

“What just happened?” Paul Said.

“Y/N played with us and we all pretended she was Ringo.” George Said. Paul and John looked at George and than looked at me and Richard.

“I thought we all knew that.” George Said.

For the next week of the tour the guys would dress me up as Richard and I would play in his place. And after Richard’s hand was all healed I became the ‘official Ringo Starr emergency stand in’ as well as Richard’s girlfriend.

#ringo starr #the beatles #john lennon #paul mccartney #george harrison #ringo imagine #imagines

8 notes · View notes

sillymovietrailer · 5 years

Video

youtube

Star Wars

I didn’t plan on doing this today, even considering the date, but with some sad news yesterday, I thought I should at least say something. Yesterday we had the sad news that Peter Mayhew, Chewbacca himself, passed away. A beloved part of the franchise, he never had that much of a career beyond the Star Wars franchise, but the thing about a part like Chewbacca, where there isn’t any dialogue, is that while it sounds like that’s easy to do, anyone can pull that off, it’s quite the opposite. It takes a solid amount of talent, as you have communicate everything about them purely by body language, it’s a real skill. Mayhew bought the character to life fantastically, you understand Chewie every time he’s on screen, even if it’s a just case of “Goddamnit not again” through most of The Empire Strikes Back. By all accounts a lovely man, with a real affection for the franchise, he will be much missed. RIP.

Now I need to make a little confession; I really didn’t know that much Star Wars growing up. I caught Empire on a TV showing when I was about five or six ish, but I wasn’t hugely into it. It was the Special Edition re-releases when I saw the full thing for the first time. It was quite a while after that when I finally saw the original cuts again. So Star Wars as a franchise hasn’t quite the same sort of fascination for me as many of my friends, but I will say that I have learned to appreciate it more over the years. Notably, as someone interested in film history, you really cannot overstate what a big impact the original’s arrival had on the world of film, and indeed pop-culture in general. So yeah, it was a bit of a blind spot of my childhood, but tbh, I don’t think I really missed out a huge amount overall, I found plenty of other things to occupy myself... which as I came to realise in later years borrowed pretty damn heavily (putting it mildly) from Star Wars.

While I’m touching on the subject, here are my thoughts when it comes to Star Wars’ Special Editions. I think a lot of the hate that these have gained over the years ultimately doesn’t come from their mere existence, it’s from the fact that they have supplanted the original cuts. There have been quite a few films with notable directors cuts and such over the years, like Aliens, Blade Runner, The Wicker Man etc., but what subsequent home video releases of these have all had in common is giving you the option to watch the theatrical versions too, they don’t try to pretend that the cuts that played in cinemas don’t exist. Having the different versions that can be properly watched side-by-side does add to the fun in a way, it sparks a healthy debate about the films. Whilst officially the original cuts were released, it’s not quite the same, as they just farted out the old non-anamorphic Laserdisc masters, which in a way sells more the idea that these are “inferior” versions of the films. Also, I’m a bit iffy on the fact that it was George himself making the changes to all the films, when he only directed the first. It’s a bit much trampling over another director’s work, especially in the case of Return of the Jedi, when Richard Marquand had previously passed away, so could have no input. So yes, I can easily see Disney, who have mastered such limited release marketing with their “Disney Vault” method, seeing the money in properly releasing the original cuts. For a bit more on this, here are my brother’s thoughts on the “Despecialised Editions”.

As for this trailer then. These days we are so used to Star Wars as a packaged brand, we recognise all the things that makes something part of the series, to the degree that if a piece of it isn’t there or isn’t right, we notice immediately. That’s what makes this trailer so interesting; it comes from a time before that. First off, it’s weird hearing George Lucas’ name primarily being sold as “the mind behind American Graffiti”. Secondly, no John Williams score, just that sort of drone in the background, which really makes this feel rather sinister to be honest. Heck, you can see that they hadn’t even settled properly on the logo as yet; font’s close, but not the outline style we’re used to. Finally, it’s interesting seeing several early cuts and alternative takes of various moments we’re more used to. That leads to one of my favourite things about Star Wars on YouTube that I’ll leave you with today; the story of how the original (which being stubborn ol’ me I’ll never refer to as Episode IV: A New Hope) was almost a complete trainwreck before the editors saved the day. Yeah, when looking back on Star Wars history, Richard Chew, Paul Hirsch, and especially Marcia Lucas all deserve a lot more attention and respect (alongside Brian De Palma. Seriously, his changes to the opening text were spot on, a first impression is vital for any piece of art).

youtube

1 note · View note

justanothercinemaniac · 6 years

Text

Epic Movie (Re)Watch #242 - Paul (2011)

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) The prologue for this movie is particularly strong. For one thing, the name of the dog, “Paul,” stands out. It’s hard to watch this movie without knowing the title. And it shows that the film isn’t just making fun of sci-fi but playing in the genre. There’s a nice sense of atmosphere to the short prologue and it poses many interesting questions. Namely: what the hell just crashed on earth?

2) I appreciate how earnest Simon Pegg and Nick Frost come across as nerds in the movie. So often people who are enthusiastic about pop culture are portrayed as the joke, their existence is a joke. But with Graeme and Clive yes they can be funny but the joke isn’t the simple idea of, “Look at how funny the nerds are!”

3) Another line of humor I appreciate in the film is that while Graeme and Clive are often mistaken to be a couple, they’re never really uncomfortable with people thinking they’re gay unless they are in a situation with some homophobic assholes. And in that case the discomfort isn’t the threat to their masculinity but the threat to their safety. It’s a nice distinction from how these types of storylines typically go.

4) Look, do I even need to talk about the on screen chemistry between Simon Pegg and Nick Frost? They have proved it countless times across film and television. They’re a legendary on screen duo. Abbott & Costello, Fred & Ginger, Gene Wilder & Richard Pryor, now Simon Pegg & Nick Frost. They’re great together always, even when the films may be a little less than stellar they are not. And Paul is no exception. Their chemistry is on point, they’re as strong alone as they are together, it just works. We spend enough time with their characters before Paul shows up that we clearly understand the relationship, something which is not only the result of strong writing but strong acting as well.

5) The waitress played by Jane Lynch is wonderfully supportive of the duo’s nerdy nature. She doesn’t make fun of them for their interests, she doesn’t see it as odd. She encourages it! And even when the two jackasses show up she’s supportive and only suggests they leave because she knows the bearded truckers could start trouble. I really like that.

6) Seth Rogen as Paul.

Being the titular character of a movie carries a to of weight with it. You have to be the most memorable part of the movie. Think of Beetlejuice, for example. That’s a lot to live up to. Our intro to Paul shows off much of his character and his down to earth nature (no pun intended). We get introduced to his crude and profane language, his sense of humor, and even a little bit of his heart. It is the latter of these things which helps make Paul a character and not just a gag. You understand his intentions, what he wants, what motivates him, and you can relate. It’s a bit of E.T., actually. He just wants to go home. We get to especially see this when interacting with Blythe Danner’s character later in the film, how vulnerable he allows himself to be and how he grows to care about the safety of others.

Seth Rogen nails it as the character. Rogen is no stranger to voice over work and sometimes I honestly forget I’m listening to him. This isn’t because he does anything particularly tricky to disguise his voice, but just because it fits all the above mentioned characteristics of the alien so well. It just works and I think the film is better for Rogen’s casting.

7) Jason Bateman as Agent Zoyle is a fun addition to the movie. Bateman plays the character as reserved and intensely focused, a straight man to some of his more chaotic counterparts. That’s where most of the humor comes from and Bateman’s precision with the role only benefits it.

8) Joe Lo Truglio and Bill Hader have a fun chemistry in this film and add a nice amount of life to the movie. They have fun with their characters and each other making it all the more fun to watch.

9) This film is just dripping with references to great sci-fi films, some subtle and some not so subtle.

Paul [asking for food at a gas station]: “Hey! Reese’s Pieces!”

10) Chekov’s dead bird.

(GIF source unknown [if this is your GIF please let me know].)

Paul showcasing his ability to heal things, even partially, sets up an important alien power of his that also leads to a great gag with his little snack.

11) The film does well with giving each character their own personality and arc. Bill Hader’s character specifically gets a well written storyline of drive and upward mobility. Not everyone would think to give him that storyline.

12) I like Paul’s planet.

Paul: “Everyone’s bi on my planet.”

13) I’m a sucker for these kinds of jokes. Specifically, how Paul was SUCH an influence on pop culture. That the stereotypical alien look came from his face so people wouldn’t freak out so much when they saw him, that he talked to Steven Spielberg (who does a voice over cameo as himself) about E.T., or that, “Agent Mulder was my idea!” I dig it.

14) Kristen Wiig as Ruth.

Wiig is charming and sweet in her portrayal of Ruth. She’s a nice addition to the film and is able to hold her own against the chemistry between Pegg and Frost. She doesn’t feel out of place or tacked on, even getting a really great arc of her own (scientific?) awakening. I appreciate that.

15) On a more personal note, I disagree with the idea that there has to be this complete divide between religion and science as the film largely presents it. You’re either one or the other which to me doesn’t make a ton of sense. Not to get too into my own personal beliefs but I believe in the idea of a creator behind the universe but that doesn’t undermine things like evolution or the big bang or anything else. But I think I’m getting off track.

16) There are some surprisingly strong action scenes in the movie. Often comedy that fall into a subgenre like sci-fi or fantasy rely heavily more on the comedy then set pieces. There’s nothing wrong with that if pulled off well, I just always forget that Paul has a number of well paced chase and action sequences too.

17) I like that the film takes time to develop the relationships with Clive and Paul as well as Graeme and Ruth. They fell organic, natural, and they’re not static either they grow and change. I like it.

18) It took me a while to understand this joke because I didn’t know what Mac & Me was.

Clive: Ever since I saw Mac and Me, I've dreamed about meeting you!

For those who don’t know, Mac and Me is basically an ET rip-off that is often listed as one of the worst films ever made that some see more as a commercial for McDonald’s and Coca Cola than a film.

Also that thing is creepy as hell.

19) Ruth trying out profanity throughout the course of the movie is fun to watch and actually, now that I think about it, mirrors my own attempts with cursing as a kid.

youtube

20) At its core, Paul is a fun road trip movie. It’s about going somewhere but it’s also about the journey. The trouble you face on the road and the friends you have to see you through it. It just also involves aliens and the government.

21) The country bar version of “Cantina Band” is nice.

22) I think the bar scene works because it’s basically the eye of the shitstorm. Everything the group has been running from - the truckers, Ruth’s dad, the government - all converges upon them at the same time. It makes for a fun and ripe conflict that’s interesting to see the characters deal with.

23) Is this some sort of crack about Bob Dylan’s current music not “measuring up” to his early stuff or whatever?

Paul [about his drugs]: It's pretty strong shit. I get it from the military. I think this is the stuff that killed Dylan. Graeme: Bob Dylan’s not dead. Paul: Isn’t he?

24) Random Keith Nash is random but nice.

25) Blythe Danner as Tara is a nice late addition to the film. Danner puts a lot of heart and soul into what is essentially a tragic character. A space alien landed on her dog, was taken away by the government, and she was dubbed a freak by society only for telling the truth, something which required years of therapy. But Tara’s no push over. Danner is able to make her strong, tough, and pretty funny when the opportunity arises.

26) The whole scene where the group has to escape the feds at the farm is the film’s best action sequence. It is incredibly well choreographed, tightly paced, and there is a wonderful escalation of insanity and action as the scene progresses. I really like it.

youtube

27) This film is Wilhelm Scream certified.

28) The movie is basically a big love letter to sci-fi movies created by the likes of Steven Spielberg and George Lucas. The previous mention of Reese’s Pieces, the fact that the mountain from Close Encounters of the Third Kind is where Paul goes to phone home, and the line from Jason Bateman, “Boring conversation anyway,” mirroring Harrison Ford’s line from the original Star Wars. It shows not only just how much those kinds of films meant to the filmmakers but also how important it is they express that love in cinema. I think honesty admiration always leads to great filmmaking.

29) Sigoruney Weaver’s role as The Big Guy is basically a glorified cameo but I love it. Her casting is pitch perfect. As soon as she actually shows up you know shit just got real. Why? Because it’s Sigourney Weaver! It’s Ellen Ripley for crying out love. She just commands the scene and the fact that the oft mentioned “big gun” from earlier in the film is literally just a big ass gun is great.

30) The twist that Zoyle is actually on Paul’s side totally surprised me the first time I saw the film but it adds a lot of rewatch value. It totally makes sense in a second viewing and helps deepen his character from more than just a standard gov antagonist.

31)

Zoyle: “Call me Lorenzo.” Clive & Graeme: “Lorenzo Zoyle?”

I did not understand this reference at all when I first saw the movie. I had to google it extensively. Apparently it’s a reference to the 1992 George Miller directed film Lorenzo’s Oil that’s a family drama about a sick kid and has nothing to do with sci-fi. So after I learned what the reference was I googled some more to figure out why it was a joke in the movie. Apparently it was Nick Frost’s idea.

“It’s just one of those things that I kind of like doing, that thing that you take one letter from the surname and add it to the forename and it becomes something completely different. It’s possible someone could be called Lorenzo Zoil.” (source)

32) Graeme’s “death” actually packed a punch with me watching this. You kind of figure he’ll survive, I mean we’ve seen Paul use his healing ability before, but still I think that it does pull at your heart strings speaks to how well the film does in making you care about these characters and their relationships.

33) THE SHIP FUCKING LANDS ON SIGOURNEY WEAVER AND THAT’S HOW SHE DIES! YES! I LOVE IT!

34) I really like the in-credits epilogue. Like, the ship taking off slowly is a good final gag and leads to the emotional finale of the film. But the in-credits epilogue ties up some loose narrative strings and feels a bit more finite than just everyone standing in the now empty field. I dig it.

Paul is a lot of fun. It’s not really the same level of genre comedy as the Cornetto Trilogy per say, but why even make that comparison? I only mention that because I heard someone at work saying this movie sucked because it wasn’t Hot Fuzz and I was like, “That’s your criteria?” It is a charming, earnest, fun, well acted, and enthusiastic comedy. It’s a good time with lots of great gags and character moments. I like it and hopefully you will too.

#Paul #Simon Pegg #Nick Frost #Kristen Wiig #Paul 2011 #Jason Bateman #Sigourney Weaver #Joe Lo Truglio #Bill Hader #Epic Movie (Re)Watch #Blythe Danner #The More You Know #Movie #Film

10 notes · View notes

dweemeister · 6 years

Photo

Seven Brides for Seven Brothers (1954)

In the early 1950s, Metro-Goldwyn-Mayer (MGM) had reached the peak of the studio’s powers, becoming the de facto home of the American movie musical. Its recent releases read like an honor roll: In the Good Old Summertime (1949), On the Town (1949), Annie Get Your Gun (1950), An American in Paris (1951), and Singin’ in the Rain (1952). For 1954, MGM needed to juggle two future additions to that list: Brigadoon and Seven Brides for Seven Brothers. The former starred Gene Kelly and Cyd Charisse, was directed by Vincente Minnelli (1944′s Meet Me in St. Louis, An American in Paris), and produced by the famed Arthur Freed unit. The Freed unit produced all of MGM’s A-list musicals, so the studio relegated Seven Brides for Seven Brothers as a “B” picture – cutting its production budget, slashing advertising expenditures. Stanley Donen’s (Singin’ in the Rain, 1955′s It’s Always Fair Weather) movie came dangerously close to being permanently shelved by MGM, but production did commence. In the end, Seven Brides for Seven Brothers outperformed Brigadoon in almost all metrics. And despite its very politically incorrect premise, it has held up better than Brigadoon as well as most musical films from that decade.

It is 1850 in Oregon Territory. Adam Pontipee (Howard Keel) has come down from the mountains – chest forward, masculinity erect for all the villagers to see – to announce he is here to find a bride. After eavesdropping on Milly (Jane Powell) and noting her sassiness and dedication to finishing her chores, he proposes, and she accepts without much question or resistance. Believing she is going home with Adam and only Adam, she is surprised that he also lives with six younger brothers – Benjamin (Jeff Richards), Caleb (Matt Mattox), Daniel (Marc Platt), Ephraim (Jacques d’Ambroise), Frank (Tommy Rall), and Gideon (Russ Tamblyn) – all of whom are ill-mannered slobs, are conveniently colored-coded by the costume design, and most of the six younger Pontipee brother actors are dancers (explained below). Furious at Adam, Milly demands an explanation. He responds that living in the backwoods requires men and women depending on each other to thrive. In time, Milly decides to teach the seven brothers proper etiquette and how to clean up after themselves.

I would be remiss without mentioning the six other women who become the brides (in alphabetical order with who they are hitched with, from Benjamin to Gideon): Dorcas (Julie Newmar), Ruth (Ruta Kilmonis), Martha (Norma Doggett), Liza (Virginia Gibson), Sarah (Betty Carr), and Alice (Nancy Kilgas).

Seven Brides for Seven Brothers is based on “The Sobbin’ Women” by Stephen Vincent Benét – a parody of the Roman mythological tale of the Rape of the Sabine Women. Wait! One quick explanation, please! Regarding the Rape of the Sabine Women, the word “rape” in the classical context refers to the Latin word “raptio”, which means abduction rather than the contemporary definition of rape. But this means the six other brides will be abducted by the Pontipee siblings – setting up the film’s frantic, comedic finale. A piece of modern feminism Seven Brides is not. Yet viewers need to consider that the seven men in the film have lived their lives in the Oregonian forests, with only Adam having infrequent contact with women and society at the most. The six younger Pontipee brothers might never have met women in a social context; their only understanding of women is through the Greek/Roman myths that Milly has read to them (considering the Rape of Sabine Women and Zeus/Jupiter’s behavior, you are right to be a bit horrified).

The Pontipees know nothing of physical boundaries, being respectful of women, and believe that they – perhaps not necessarily as men, but as individuals – should have what they want. Do you really expect them to not behave like lechers? Through the musical score, Seven Brides positions itself as a satire (and, especially in a scene where the younger Pontipees are trying not to knock other men’s lights out, often a hilarious one), never endorsing the behaviors of the Pontipee brothers. This tale of frontier courtship integrates Stockholm Syndrome (a psychological condition in which a hostage develops sympathetic feelings for their captor; also a narrative trope that has been abused by numerous artistic mediums). This is the point where the film’s screenplay by Albert Hackett (The Thin Man series), Frances Goodrich (Hackett’s spouse and co-writer), and Dorothy Kingsley (numerous Esther Williams movies including 1953′s Dangerous When Wet). As entertaining as Seven Brides is from its opening minutes, the women just seem too forgiving of the Pontipee brothers. Milly, in her active and open resistance to all that Adam is teaching his younger siblings, turns a one-sided argument into a battle of the sexes – making this a far more watchable film than it might otherwise have been.

For the musical team of supervisor Saul Chaplin (1961′s West Side Story), score composer Adolph Deutsch (1960′s The Apartment), song composer Gene de Paul, lyricist Johnny Mercer (maybe the best English-language lyricist from the 1930s-50s), and orchestrators Leo Arnaud (a longtime MGM contractee best known for “Bugler’s Dream”, a theme for American television’s presentation of the Olympics) and Alexander Courage (also a long-serving MGM contractee, but best known for his theme to Star Trek: The Original Series), Seven Brides for Seven Brothers’ musical score is spectacular from the very first song.

That first song? “Bless Your Beautiful Hide”, sung by Howard Keel in the opening minutes. The catchiest song in the film, it also serves as burning a hole through any expectations of clumsy or overlong exposition that can ruin a musical. In two-and-a-half minutes of Keel’s accented, blustering, unusually expressive bass-baritone, “Bless Your Beautiful Hide” has successfully introduced Adam Pontipee – that he is searching for a woman to sling over his shoulder, that she be at least conventionally pretty and not fat, can do work around the house, and someone who is “SASSY as can be!” One could not ask for a better introductory song than this. The song, “When You’re In Love” is a demonstration of Milly’s more refined nature against the rugged Adam. It is the song’s reprise – sung by Adam? – that poses problems. Keel also objected to the reprise’s placement in the film, saying that Adam did not understand what love is the moment he reprises the song (one could interpret it as Adam parroting Milly’s song, not fully understanding the lyrics, but I am not of that camp). Other highlights include Jane Powell singing “Goin’ Courtin’” a few scenes before Adam counters with “Sobbin’ Women” – recounting the story of the Rape of the Sabine Women, and setting the film’s resolution in motion. Seven Brides might not have the most memorable score, but it’s musically fascinating and I can’t label any of its de Paul and Mercer songs – okay, maybe “Wonderful, Wonderful Day” – as a dud.

But we haven’t gotten to the film’s ultimate musical accomplishment yet. Enter the barn dance sequence – an inspired composition by Adolph Deutsch and choreographer Michael Kidd (1953′s The Band Wagon, It’s Always Fair Weather). Alongside the excellent orchestration by Arnaud and Courage, the cue that accompanies this scene is just as fun to listen to within the film as well as when removed from it. Based heavily on “Bless Your Beautiful Hide”, the melody is passed back between strings and woodwinds with infectious zest. Infectious Western-styled themes; string-crossing; finger-numbing runs from the string section set the pace; and, when timed to the athletic, rather than balletic, choreography (the actors who played the six younger Pontipee brothers, the women, and the other suitors are all magnificent dancers), epitomizes the peak of the 1950s MGM musical. Because of the technical footwork, Donen sought to cast six dancers as the younger Pontipee brothers. Three weeks of rehearsal were needed just to record these several minutes of breathtaking movement.

youtube

Why resort to fisticuffs when things can be settled with a dance-off? Instrumentalists, dancers, and those who just love a good musical number will be left in awe here. For those who wanted to see a cartoonish brawl ensue, don’t feel deflated. This film will fulfill your wishes a few minutes after this, too!

Because of the film’s lack of support from MGM executives, the original plans to shoot on-location in Oregon fell through. The screenplay calls for the depiction of all four seasons, which would require a year-round shoot that MGM did not want to cough up for a “B” picture. Thus, Seven Brides for Seven Brothers would be shot almost entirely on the MGM backlot in a soundstage – which allows for some glaringly artificial painted backdrops and foliage that the viewer needs to overlook to enjoy such an electric musical. With production design as clunky as the Yellow Brick Road backdrops in The Wizard of Oz (1939), Seven Brides for Seven Brothers feels like it could have been made decades earlier. But don’t think Seven Brides is stuck in a previous decade. The film was shot on CinemaScope (a widescreen screen aspect format, though not represented in the video provided for the barn raising sequence, that had been introduced the previous year) as well as the then-industry standard 4:3 format – not all theaters had the technology to present CinemaScope or other widescreen formats yet. As a result, Seven Brides for Seven Brothers was shot in and exists in two different formats: a CinemaScope and a 4:3 version. This review was based on the CinemaScope version shown on Turner Classic Movies (TCM), and it is also the print I recommend you watch.

This is a musical movie I had been holding off on for years, for insubstantial reasons. In the end, Seven Brides for Seven Brothers – because of its depiction of men asserting their own gendered primacy – may not appeal to all audiences, and I will not quarrel with anyone who has given Donen’s film a mindful look. The film is hampered by the nature of its narrative and external, business-side limitations. Those aspects should not define it. Seven Brides for Seven Brothers’ gorgeous musical score culminates in a stunning dance scene and contains an unexpectedly thoughtful look on how a single person can inspire change in another (not exclusively in terms of “fixing” them), making this a splendid addition to the best musical lineup produced by any Hollywood studio.

My rating: 8.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

4 notes · View notes