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script:
In relative darkness, the Roadie is clearing a path for the band to exit the stage, cornering Arthur. Dark, wet bodies crash past.
 
As Curt comes darting by, Mandy suddenly bolts past the Roadie and grabs him.



Curt wears blue/black nail polish when he sings Gimme Danger and later on the roof with Arthur but in a minor bit of discontinuity, he has silver nail polish when he hugs Mandy backstage. In the close up of his hand on the roof scene, the polish seems to have a glittery aspect, so perhaps the silver is the undercoat to the darker color, and he did the scene before the second coat was applied.
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Happy New Year's, Darlings! I hope you all partied like it was 1969.

script:
In the foreground, Brian is revealed watching through the glass, his back to camera. When Curt doesn’t come in on the next verse, Brian twitches angrily.

BRIAN

Shit!
 
DEVINE

Cut it.
 
MIXER

Should I stop it?
 
Brian turns around, facing Devine and the Mixer who sits behind him at the board.
 
Curt continues singing.
 
Brian watches, biting his thumb.

 
He’s gonna hit the bridge a half-verse early.
 
DEVINE

Now you’re simply wasting tape.
 
BRIAN

Alright. Cut it.
 
The music stops.


Well, quite honestly darlings, your faithful reporter is stumped by this scene. We just quoted Ron Asheton about the character of Curt being unable to sing because he was under the influence, (I believe fucked up was the technical term), but that's just Ron's interpretation and it may have more to do with something Todd explained to him in pre-production about the way he was going to use the song than anything in the final film. But under scrutiny the logic of it crumbles. The scene starts with Curt already singing and he continues to sing and yet he supposedly doesn’t come in on the next verse, he missed his cue and he's gonna hit the bridge a half-verse early. Brian and Jerry sigh in exasperation as Curt continues singing, as well, so perhaps you don't have to be strung out on smack to miss that damned elusive cue. Plus, it would seem that he'll hit the bridge a half verse late if he missed his cue.
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script:
We settle on a corner table where Brian and Devine sit with Curt, a black smudge against the crimson and gold interior.

Yes, most of you have noticed that the gent at the middle table is the same man who played Brian's uncle.
The gaffe is the fact that the 'script girl' (more properly - continuity person) seems to have accidentally been caught in the shot. When the camera dollies over to Jerry, Brian and Curt's table, you can see the waitress move away and then, reflected in the mirror, is a woman in a red top. She is looking down and appears to be writing. She is not dressed in the same manner as the hotel's guests and she doesn't fit logically in the scene, like at an adjoining table; she'd be sitting next to Curt if the camera continued the dolly. Needless to say, shooting around mirrors is notoriously difficult.

Gaffe

Jul. 27th, 2004 10:52 am
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script:
BEDROOM – DAY – 1969 – SILENT SUPER-8
 
Grainy image of two men having sex in morning light – one of them is Brian.
 
Brian incorrectly has his New Year's Eve 1969 hair while he should have his Sombrero Club 1971 hair, since that is the time frame of him meeting Cecil.
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script:
EXT. LONDON STREET – MORNING – 1974
 
Arthur stands at the door of his flat reading the headline.

The newspaper Arthur is reading is dated February 17th.

but Gaffe: later in the film the voice over says the shooting took place on the 5th of February.

Gaffes

May. 31st, 2004 03:24 am
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The school boys say

"I want to be a Tailor, I want to be a Farmer. I want to be a Barrister. I want to be a Truck Driver"

(Although why children going to an upper class school like Oscar would aspire to be farmers and truck drivers...)

In England he would declare he wanted to be a lorry driver.

Then again, in 1862, automobiles hadn't been invented yet...

May 2022

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We are already at a point where an appeal to rock 'n' roll will tell us almost nothing worth knowing, though this is, finally, a rock 'n' roll story. Real mysteries cannot be solved, but they can be turned into better mysteries.

Lipstick Traces: A Secret History of the Twentieth Century
by Greil Marcus

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