28 March 2014
1 May 2011
Parlance posted an interview Paul gave with Rolling Stone elsewhere on the forum, i thought it would be appropriate to include Paul's comments on 'Nowhere Boy' in here.
When Sam Taylor did her film [Nowhere Boy], she brought the script round and we chatted about it. She's a very good friend. And I said, "Well, Sam, that's not really true. John didn't really ride on the top of the double-decker bus." She said, "No, but it's a great scene." I mean, the character of Mimi, John's aunt, I said to her, "She really wasn't how she's written in the script. She's written as a very vitriolic, mean old bitch, and she wasn't at all." She was just some woman who was given charge of the responsibility of bringing up John Lennon, and it was not an easy job, you know? She was trying her best. She was kind of strict, but it was with a twinkle in her eye. I said, "I used to go around there and write with John, and she was okay. You've got to change that." Some of the things she did change, but in the end we agreed that this is not a documentary, this is a film, and so she made inferences that weren't there. Like, this whole idea of the first song we recorded, "In Spite Of All The Danger," being John's ode to his mother. That's not true, but in a film, it works better. I remember the session, and I remember all the circumstances around that – and we wrote it together. It did not appear to be an angst-ridden ode. We were copying American stuff that we were listening to. American songs were about danger, that's why we put it in. But, for Sam, it worked much better in the film as an angst-ridden ballad.
The following people thank meanmistermustard for this post:Zig, parlance
8 November 2012
17 December 2012
8 November 2012
From an article in the LA Times about women directors:
For women like "Fifty Shades of Grey" director Taylor-Johnson, forging a career has meant refusing to accept some pervasive biases. When she raised her hand to direct her first film, the 2009 John Lennon biopic "Nowhere Boy," producers told her they had something else in mind, she said.
"They were dangerously frank to me in saying, 'We'd prefer a male director,'" she said. Irked, Taylor-Johnson emailed the producers a line of Lennon's about gender politics. "I said, 'Remember, John Lennon said this, and so I think you should employ me."
She got the job.
The following people thank parlance for this post:Bongo, Silly Girl
11 November 2013
I wrote this review some while ago:
There is a paradox inherent in making biographical movies. They purport to tell a true story but the very fact that real people are portrayed by actors means that they are false. And the story itself is inevitably a fictionalisation of reality notwithstanding that, as in this case, there is a great deal of evidence to support the main thrust of the story.
And so it is that, in Nowhere Boy, a film by Sam Taylor-Wood which tells of the relatively short period in the young John Lennon's life from the death of his Uncle George to the death of his mother Julia, we are shown various fictitious moments such as a no holds barred three way confrontation between Lennon, Julia, and his Aunt Mimi, and Lennon bloodily punching Paul McCartney to the ground in reaction to Julia's death.
But although these scenes and others did not happen - they are not true - there is nonetheless a great truth to them, in the sense that the theatrical profession constantly looks for truths in writing, direction and performance. The events portrayed in this film always seem real - if the events did not happen exactly as portrayed, then something similar must have happened. And, even if it didn't, there are still truths on display.
The film successfully evokes a sense of the 1950s and of the burgeoning rock and roll scene (I can't speak for whether it evokes Liverpool or not), and also a sense of the individuals it portrays.
The actors don't look like their real-life counterparts (in particular, the features of Aaron "Kick-Ass" Johnson are far too conventionally attractive to be mistaken for the long and angular face of Lennon), but one appreciates that the film-makers were deliberately concerned not to people the movie with what Taylor-Wood refers to as "lookie-likies". The important point is that, as intended, everyone concerned evokes something of the spirit of the characters they play, and there are some excellent performances, particularly by the three principals.
So even if this film doesn't contain the truth - and it never could - it still contains Truths and is a compelling telling of a short but highly influential period in the too-short life of its subject.
8 November 2012
BTW, Sam Taylor-Johnson is the director of Fifty Shades of Grey.
As is definitely not directing the sequels.
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