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Production Details
Mar. 5th, 2005 12:17 pmscript:
INT. STAGE – GRAND BALLROOM SET – NIGHT
The TRACK continues, revealing the bombed-out remains of a grand ballroom, and Brian, turning to camera, dressed as a bejeweled Maxwell Demon. He brings a microphone to his lips and begins to sing (‘Tumbling Down’/Steve Harley Cockney Rebel), slowly descending a gnarled staircase as we PULL OUT.
He stops at a half-blown landing just as a tattered chandelier is raised into frame. He mounts the shimmering beast, and finds a wreath of flowers around its cable. As he ascends, he throws flowers out to the audience below.
With a flower between his teeth he reaches out to the audience just as the lights flicker into darkness. Maxwell Demon is gone.
For me this is the most beautiful scene in the film. The music, the set, the makeup, the costume and performance come together magically to create a scene that defies logic and yet embodies the audacity that is the essence of Glam. For just a moment we might wonder 'where are we, who is he, what is he singing about' but then we are swept into the ethereal beauty of this vague underworld and Maxwell Demon's full powers as a Pied Piper lure us away. The performance of Jonathan Rhys Meyers is pitch perfect. He is alternately camp, wistful, scolding and boastful as he floats and sashays on the balconies of the Grand Ballroom.
Because Jonathan simply becomes Maxwell here, it is easy ignore the fact that he is covered in glittery green body paint that took over three hours to apply. Christine Vachon relates the details behind the scenes in Shooting to Kill. The makeup time was coordinating with the preparedness to shoot. However, despite having the set ready days before, there were lighting delays. "Jonathan is ready." ... an hour passes... "Jonathan begins to flake. Waldo [the assistant director] starts to seethe. We break for lunch without having shot anything. Makeup is sulking because Jonathan looked great two hours ago but is now starting to come apart. Maryse [the DP] works through lunch. FINALLY two hours after lunch we shoot."
We can only wonder how Johnny felt sitting around in his (itchy? sticky? crusty?) makeup, not being able to do much.
INT. STAGE – GRAND BALLROOM SET – NIGHT
The TRACK continues, revealing the bombed-out remains of a grand ballroom, and Brian, turning to camera, dressed as a bejeweled Maxwell Demon. He brings a microphone to his lips and begins to sing (‘Tumbling Down’/Steve Harley Cockney Rebel), slowly descending a gnarled staircase as we PULL OUT.
He stops at a half-blown landing just as a tattered chandelier is raised into frame. He mounts the shimmering beast, and finds a wreath of flowers around its cable. As he ascends, he throws flowers out to the audience below.
With a flower between his teeth he reaches out to the audience just as the lights flicker into darkness. Maxwell Demon is gone.
For me this is the most beautiful scene in the film. The music, the set, the makeup, the costume and performance come together magically to create a scene that defies logic and yet embodies the audacity that is the essence of Glam. For just a moment we might wonder 'where are we, who is he, what is he singing about' but then we are swept into the ethereal beauty of this vague underworld and Maxwell Demon's full powers as a Pied Piper lure us away. The performance of Jonathan Rhys Meyers is pitch perfect. He is alternately camp, wistful, scolding and boastful as he floats and sashays on the balconies of the Grand Ballroom.
Because Jonathan simply becomes Maxwell here, it is easy ignore the fact that he is covered in glittery green body paint that took over three hours to apply. Christine Vachon relates the details behind the scenes in Shooting to Kill. The makeup time was coordinating with the preparedness to shoot. However, despite having the set ready days before, there were lighting delays. "Jonathan is ready." ... an hour passes... "Jonathan begins to flake. Waldo [the assistant director] starts to seethe. We break for lunch without having shot anything. Makeup is sulking because Jonathan looked great two hours ago but is now starting to come apart. Maryse [the DP] works through lunch. FINALLY two hours after lunch we shoot."
We can only wonder how Johnny felt sitting around in his (itchy? sticky? crusty?) makeup, not being able to do much.
