"Well obviously the audience in the theatre isn't going to start hollering... "
And now my thoughts are confirmed as having Over the Moon in the film is impossible.
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)
a REAL shame if what you own is in the credits, that scene should be roger driving back from Santa Fe and Mark in New York, its almost their makeup scene. I am particullary looking forward to Another Day and Take Me or Leave Me. As far as oscars go, if you read the libretto of the play which i hope the screenwriters did, it explains where every scene takes place which is hard to discern in the play. It's up to Chris Columbus to take Rent to a filmic vision, and working with the OBC actors they are after I think he will have a great time working with them and the ones they are after CAN SING AND ACT, so this could very well be another Chicago only if they get it out by the December 2005 deadline of which the oscar noms usually come from.
One thing's for sure: The subject matter will be a lot more compelling than The Producers.
"And now my thoughts are confirmed as having Over the Moon in the film is impossible."
No, not really... "Over the Moon" is actually based on a Laurie Anderson performance from the 1980s, and those were all filmed and fairly success for works of performance art. I think "Over the Moon" will work in much the same way that both Anderson's performance art and Roxie's monologue did in Chicago.
Oh please don't suggest that. The only song that needs to be in the credits is Seasons of Love, hopefully a version done by the film's cast.
Plus, I've always imagined how they would do What You Own in the film.
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)
"As far as oscars go, if you read the libretto of the play which i hope the screenwriters did, it explains where every scene takes place which is hard to discern in the play. It's up to Chris Columbus to take Rent to a filmic vision, and working with the OBC actors they are after I think he will have a great time working with them and the ones they are after CAN SING AND ACT, so this could very well be another Chicago only if they get it out by the December 2005 deadline of which the oscar noms usually come from."
I don't understand your relation between reading the libretto and the Oscar chances. (That wasn't a snark, in case you're one of those overly sensitive people.) Can you clarify?
"It's not always about you!!!" (But if you think I'm referring to you anyway, then I probably am.)
"Good luck returning my ass!" - Wilhemina Slater
"This is my breakfast, lunch and f***ing dinner right here. I'm not even f***in' joking." - Colin Farrell
I imagine, as I said, they'll throw all sorts of muscle behind this film, but that of course guarantees nothing. But I do agree that Mark is likely to be overshadowed, which is fine with me. Don't get me wrong, it would be nice to be considered for awards and all, but that is not the reason I'm doing this film.
As for what songs are in the film, at this point here's what's there (not in correct order, but in the order I'm remembering it):
Rent One Song Glory Today 4 U Life Support (in part) Out Tonight Another Day Will I...? Seasons of Love Santa Fe Tango: Maureen Over the Moon La Vie Boheme Goodbye Love Without You Take Me or Leave Me I'll Cover You and the Reprise What You Own Your Eyes
All of the other songs -- You'll See Boys, You Okay Honey, etc -- are now performed in dialogue form, as is the Mark and Roger fight in Goodbye Love.
I think that's all of them, but there may be something I've forgotten. Oh, and What You Own is sung in context, not over the end credits.
I've always pictured "What You Own" on film as cutting back and forth between Mark and Roger, and perhaps a brief split screen effect. I wonder how they'll do that.
Wow, Anthony, you've got to watch out for those plants. Hungry little buggers.
Thanks Whiteboy. I'm also scared to continue reading the spoilers because I know it's just that easy to view a film as a construction and not as a magical, moving experience! How much of Chbosky's staging for the performances has been kept? (read: Is Another Day 'intercut' with certain images?)
EDIT: While I enjoy Light My Candle and I Should Tell You, I can't say that they're absolutely necessary as song. Mimi and Roger already have Without You as a love ballad. Maybe if spoken as dialogue, the LMC and ISTY portions of the film will still be scored with the associated music. Between the two, I imagine that ISTY would have been easier to write into the film... actually, one of the sides include the line "Excuse me did I do something wrong, I get invited then ignored all night long..." so I'm actually a bit surprised that ISTY wouldn't be there. (on the other hand, I don't think it's essential as a song)
Updated On: 10/30/04 at 09:25 PM
Anthony, you have just made my night by saying they're including WYO in the film.
Also, ditto on Emcee's "Light My Candle" comment.
Good luck with those plants!
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)
I'm curious how WYO will be filmed. Someone said Roger driving home, Mark in NYC, etc and that's what I'm hoping for too. (Evelyn - did the Chbosky - wow i mangled the spelling - have WYO in the credits?)
Edit: I can live without the Voice Mails/Tune Ups. (And Santa Fe for that matter, but that's another story.)
"It's not always about you!!!" (But if you think I'm referring to you anyway, then I probably am.)
"Good luck returning my ass!" - Wilhemina Slater
"This is my breakfast, lunch and f***ing dinner right here. I'm not even f***in' joking." - Colin Farrell
I think its probably sensible to cut the voicemails and tune ups. I love them in the show, but I think it might be difficult to do on film. I just don't know if they'd work that well!
Well, they should at least include Alexi's and the final voicemails. But it would be nice (and funny!) to see one from Mark's mom.
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)
Maybe the voicemail will just been done spoken? Glad to hear that What You Own will be in context, though. I think that's a really important part. I need Light My Candle. Next to Glory, that's my favorite. *Crosses fingers and toes*
Light My Candle is one of my favorites, it's a great intro for Mimi's character and a chance to see another side of Roger. It's charming but not annoyingly so and is much-needed after a heavy song like Glory. I really, really hope you just forgot to type it, Anthony...
Without You isn't a big deal for me, but it's sad to see it go all the same.
What will they be doing with the finale?
And I really, really appreciate all of this. Break a leg on your next performance, whenever you read this.
Whiteboy listed "Without You," Insomniak. I think the tail end of it appeared on the sides I sent you (read: "the song ends").
EDIT: I think most of you fans will be able to accept "Light My Candle" being turned into dialogue as long as it's scored. You've got to admit that parts of it play out rather awkwardly -- especially when Mimi's singing while she's crawling around on the floor looking for her stash. The awkwardness is a point of comedy, yes, but I really think all that's necessary is that the number be overscored so that we still get a sense of how compositionally-diversed Larson's score was...
Updated On: 10/30/04 at 09:39 PM
I can actually picture at least the voicemails being done in my head, but yeah.. they can probably live without them in the film. Or most of them, anyways.
On top of LMC maybe not being in the movie, I don't know how needed it really is. I know it's a vital part of the stage production because that's when Roger and Mimi meet, that's when we find out Mimi's a drug user, etc..
Well, that's what makes LMC so important to the story.
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)
I think Whiteboy was including "Light My Candle" in the etc. part about songs being turned into dialogue. But don't start fretting just yet; in the Chbosky screenplay, the tunes for some of these numbers were kept in spite of the fact that they were turned into dialogue to make them work for the cinema.
Sorry 'bout that, Evelyn. I still thinking about LMC.
And LMC is important, I always saw it as a major song. I guess it may not fit with the rest of the movie well if none of the other sung scenes are being kept, but I will miss it.
Hm. I guess I shall just wait and see the film whenever it comes out and make my own decisions then.
I'm getting the feeling that it's obviously toned down a bit for the stage version. But to each his own, as they say. Although I did see Rent with my 13 year old sister.
"During this performance, please feel free to let your cell phones and pagers ring willy-nilly. However, do remember that there are heavily-armed knights on stage and you might well be dragged up and impaled."
(Pre-curtain announcement at the new Broadway musical Monty Python's Spamalot)