Gaga: I really apologize that I'm so quiet, but I'm so fascinated listening to you. I'm always thinking when the movie's over and I'm a bag of bones going home, that there has to be this other way for me to tell stories without abandoning myself. I still feel like I have a lot to learn in that way.
When I studied my character during COVID, I read and read and read so much and annihilated my script in a way where I was starving to understand this woman. I don't create a safe environment when I work. I chain-smoke cigarettes, and I'm writing tons of notes, and I'm working on all sorts of sense memory and personification. Hearing about you being with your loved ones and the way that you're able to balance your lives is a really important message for a lot of people. Thompson: My personal safety feels tied to every single person on set.
I don't mind the emotional brutality that is required sometimes. I think it's just the brutality of the hours and looking around at the people that you're making something with and realizing that they're losing it and haven't seen their families. It feels like we need to do better. Stewart: Emotional brutality is a really good way of putting it. It was like this reverse discovery.
If I don't try and smash my face through a plate glass window, I might actually be able to think of the scene. Also, it's just not sustainable. You smoke that many cigarettes, you're going down.
Can't do that for so long. Gaga: You're not wrong. There was this one scene in the film where my character gets served divorce papers at her child's school. My husband sends the papers through the company's family attorney. So I'm being dumped at my daughter's school. I still feel like a rock star that I have been able to pick myself up and keep going and keep working.
I hear everything you're saying about that vulnerability, but I kind of get off on that chaos for myself — reliving things that hurt me and bringing them back. It feels like I get to take something that was so painful and turn it into something meaningful. And yet I was such a f—ing wreck after that scene. It did take me down. Dunst: Well, sometimes your emotions don't stop, either. You're supposed to yell at someone and cry, and then the take ends, and you might have to find someone to give you a hug.
You do use your own s—. For me, the helpful thing is to almost make it feel like you're doing therapy between you and the character. And maybe it can become something cathartic. Even though you have to go to places that sometimes can be very painful, I feel like, hopefully, it can help other people.
Cruz: If somebody else would tell me, I might listen, but coming from him — on the set, you can see him ready to leave his life for the movie. What changed it for me was becoming a mother.
I don't want to take that energy home. In my 20s — or even my 30s — I really believed that the more I suffered the better the result will be. In a weird way, it allows me to go deeper, because I can get out and get oxygen and feel safe, feel where I am and what my life is, and then go back again. Hudson: Coming off of everything y'all are saying, it's certain things you connect to, you pull from, that you could use in those moments. And it was a discovery for me in so many ways as an artist, being a Black woman I ain't never going to be Aretha or you, Gaga, baby, but it's inspired me, to want to even —.
Hudson: I'm working on it. But that's the power of the Queen of Soul. By the time you get to the end of the movie, I hope everyone has a newfound respect for her, because I know I did. It wasn't until the Queen of Soul owned her voice that we got our queen of soul.
If all of us took the time to own that voice within ourselves, what king or queen is under there? What themes in the film did you feel were relevant to audiences? Thompson: I think [it] brilliantly uses the idea of passing in terms of race as a metaphor for the ways in which we all pass. This idea that the version of ourselves that we project out into the world doesn't always line up so squarely with who we are.
We perform and put on masks because society tells us we need to fit inside of this box. The truth is, when we are the fullest expressions of self, we're bound to spill out the sides. This woman, Irene, is someone that was just so repressed by the ideas of what she needs to be.
She's performing heterosexuality. She's performing happiness inside of domesticity. She's performing this idea of what it is to be a woman — a Black woman. This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
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The revised release has some slight changes at the end of the song. This version is available on every copy except the original pressing Canadian and Australian release in of The Fame.
The song was released on June 15, alone, or as a bundle with the single. According to Chew Fu, " [Gaga] loved [the remix] so much that she asked Marilyn Manson to record over it. This extended live version started around the Glastonbury Festival in This version was featured only at the end of the song in a shortened edit along with the band. Or you want fame?
Are you in the game? Dans the LoveGame Huh, Huh I can see you staring there from across the block With a smile on your mouth and your hand on your huh! The story of us, it always starts the same With a boy and a girl and a huh!
Dans the LoveGame. Don't think too much just bust that kick I wanna take a ride on your disco stick Dans the LoveGame. The video premiered on February 13 , The video faced censorship troubles in Australia where it has been rated M by Network Ten due to suggestive video footage involving bondage and sexual acts.
The channel has demanded to provide them with an edited version of the video which would not face censorship troubles. Australian television will still continue to air the video on music program Rage and cable networks Channel V and MTV.
The video starts with the heading "Streamline presents" and three men moving through Times Square. They open a manhole cover on which is written "Haus of Gaga". Gaga is then shown naked with blue and purple paint and glitter on her body, frolicking with two men who has the words "Love" and "Fame" etched on their hair.
It is possible that Gaga was wearing skin-coloured underwear in this scene. The scene shifts to a subway where Gaga starts singing in a grey-white leotard with a hood. She carries her trademark 'disco stick' and wears chain linked glasses made of barbed wire. The chorus starts with Gaga along with her dancers progressing through the subway and dancing down a staircase. Her trademark dogs, two harlequin Great Danes, are also shown on top of the staircase. The video shifts to a train where the second verse takes place amidst choreographed dance routines and Gaga wearing a black jacket.
Gaga is then shown with the two men again and enters a ticket booth with an inspector. This next scene shows Gaga in make-shift kissing and caressing. As the camera pans from right to left the inspector changes from a man to woman in each frame.
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