My Pop Life #220 : 3 A.M. Eternal (Live at the S.S.L.) – The K.L.F.

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3am Eternal (Live at the S.S.L.) – The K.L.F.

( The Ancients of Mu Mu )

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Alien 3  –  Paranoia In Pinewood part 2

The six stages of Film Production : as seen carved into the wall in Pinewood, Studio Five, by someone presumably better-versed in the industry than I :

  1. Wild enthusiasm
  2. Disillusionment
  3. Panic
  4. Search For The Guilty
  5. Punish The Innocent
  6. Reward The Non-Involved 

The above quote from the diary I kept in 1991 while filming Alien 3 in Pinewood Studios.  I released it into the atmosphere as My Pop Life #171 – Praying For Time.  I think it’s time for part 2, don’t you?

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Production still

Things settled down a little after the heart-thumping and deeply paranoid first month recorded in the previous episode.  No one was sacked.  I don’t think.  No one was re-cast.  There was a terrible accident one day when Sigourney’s make-up lady Linda was standing in a doorway on set – one of those science fiction doorways with a sliding panel which goes up and down with a swish.  It was a wooden contraption with a weighted pulley which failed, and it came down suddenly onto her face, right onto her nose. I wasn’t there but it was a nasty accident and she was rushed to hospital.  We never saw Linda again. Later I learned that she didn’t want to claim the medical expenses from the company, but having had a facial reconstruction and various operations I think that she eventually did settle.  Dangerous places film sets.

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The cast of Alien 3 with David Fincher on set, 1991

My relationship with Sigourney had subsided into a kind of sulk, and although she would make the odd remark, the earlier fire and brimstone had calmed down a bit.  Not that we’d made up at all.  Sadly we weren’t friends.  I’d confided in other cast members – Niall Buggy thought I was completely bonkers “What are you talking about Ralph, she’s lovely!”  Pete Postlethwaite and Phil Davis felt the same way.  Dhobi Oparei too.  I was happy that they were enjoying working with her, but just as I started feeling cornered, there was Charles Dance asking me how it was all going as we waited for a set-up.  I think I was tentative at first but eventually told him what had been going on.  He confessed that he’d had the same kind of experience. “Is that how you’re going to say it?” and all of the paranoia about how clean he looked, other competitive nonsense.  I felt relieved that I wasn’t going totally mad.  It was only people she had scenes with where the behaviour occurred.  Wait – was Charles Dutton also having this relationship with her?  No.  He was a friend already and he was not the enemy.  Charlie and I have been firm friends ever since.

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Charles Dance as Clemens

One day on set Sigourney and I had a scene on a balcony, after the fire. Men had died.  The Alien was trapped, locked in a loading bay. Dutton and his men were praying below us.  The scene wasn’t going well.  But we got it at around 8.00pm and Fincher pulled me aside.  “Dude.  She vampired that scene. Don’t worry I can cut around what you did, we got it.  But you’re letting her get to you.”  I think I said that I was trying to stand my ground.  “If you ever need to leave the set, take five minutes, regain your centre, just say it OK?  I got your back.”  It was another welcome acknowledgement that I wasn’t paranoid.  I went home, cuddled my lady and gritted my teeth for the long haul.  I had to try and protect my performance at the end of the day, that was what mattered.

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the balcony scene is in the “director’s cut” on the DVD

As the weeks progressed, all of the actors were called in every day, in case we were needed.  First thing – put through ‘the works’ – costume and make-up – and then sat in our dressing rooms to await the call, often all day.  I often went into the next-door dressing room occupied by the Prison Governor, my boss the legend Brian Glover, who’d memorably played the gym teacher in Ken Loach‘s heartbreaking film Kes.  Brian was from Barnsley and did the voice overs for Tetley Tea Bags : ‘Tetley. Make tea bags. Make Tea.

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Brian Glover as Andrews

Brian regaled me with stories from his days as a professional wrestler, fighting on the circuit with Giant Haystacks, Big Daddy and Mick McManus.There’s money in ugly Ralph‘ he would announce, his squashed ear a keepsake of his years playing rugby.  Every 45 minutes the lovely 2nd AD Marcia Gay would knock and pop her head around the door – ‘Gentlemen. You won’t be required for the next 45 minutes. Just relax‘.  This became alarmingly irritating until one day Brian swivelled his giant head in her direction and asked ‘Is the money the same?‘  Marcia was puzzled.  ‘Yes‘ she said. ‘Well Fook Off Then!‘ shouted Brian.  Rude and fucking funny.

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Fincher on the camera with Alex Thomson alongside him who had taken over as DP when Jordan Cronenweth was too ill to continue

There were eventually four units running at the same time – 1st Unit with David Fincher directing and another legend Chris Carreras as 1st AD.  The eye of any storm, the 1st AD basically runs the set, oversees all of the departments and keeps a keen eye on who is slowing the unit down.  The 1st AD is basically making the film.  Chris had an amazingly calm temperament but I saw him biting his tongue a couple of times.  Years later in 1999 I would contact him and ask him to 1st AD my film New Year’s Day, which he graciously agreed to do.  Without him it wouldn’t have got made. I was going to create a link there to the blog where I talk about the film that I wrote and which actually got made.  So scarred am I from this experience that 220 blog posts later I haven’t even started to think about discussing it.  Watch this space !

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Paul McGann as Golic

Meanwhile back in Pinewood, the other 3 units which might or might not need actors for any given day were :  2nd Unit with Martin Brierly directing (and Nick Heckstall-Smith assisting, whom I would also work with later), Action Unit doing Alien Stuff and other SFX, and a Fire Unit which set fire to things and put them out while stunt guys ran around with falmes one their clothes.   We were all required, at one point or another, on all of these units.  But there were interminable days when nothing happened.  Backgammon became institutionalised, with American actors Chris Fields and particularly Holt McCallany relieving us of our wages on a regular basis with ruthless use of the doubling dice. I soon saw the error of this form of time-wasting, likewise poker and other competitive pursuits. 

Paul Brennan, Pete Postlethwaite, Leon Herbert

One day when it was clear once again that nothing was going to happen a group of us decided to wander around the studio lot and see what else was going on.  Like a bunch of escaped prisoners escorted by a correction facility officer.  That was me.  We went into one of the bigger studio buildings (Alien 3 had the majority but some were still available for hire) – I can’t remember precisely who was in that gang but I think Peter Guinness, Paul Brennan, Clive Mantle and Danny Webb certainly were. Maybe Niall Buggy and Vincenzo Nicoli too. 

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Charles Dutton as Dillon

And there was a giant pyramid structure with lights on frames around it and people with cloaks wandering about.  We’d asked permission to visit of course, and the producers knew who we were, what we were doing there.  The band was The K.L.F. and they were shooting a video for their single 3am Eternal which had been at Number 1 in the charts that January.  A video it turned out, for the US market. We watched a take with smoke and lights, bleeps and heavy metal guitar chords, acid house beats and rap, capes and cloaks. It was all a bit mental.  Then they took a break.

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We wandered into the next studio through a heavy door.  And there was Kylie Minogue, dressed for the Shocked video. We were all introduced and I became suddenly aware of a tiny elfin Australian blonde woman being dwarfed by half a dozen dirty shaven-headed prisoners from outer space.  She shook everyone’s hand then gently wandered away and asked one of her people if they could ask us politely to leave.  Which we did.  Poor love.

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Kylie Minogue is Shocked at the power of love in 1991

There’s a curious link here because Bill Drummond, (who with Jimmy Cauty is The K.L.F.) had worked as an A&R man for WEA (now Warners) in London in the mid-80s and had apparently spent half a million pounds on a band called Brilliant who never quite took off.  Stock Aitken & Waterman were writers & producers for Brilliant, and Jimmy Cauty was in the band along with Martin Glover aka Youth from Killing Joke.  And Stock Aitken & Waterman were now writing and producing for Kylie, along with a vast stable of acts including Donna Summer, Mel & Kim and Jason Donovan.  Kylie & Jason had starred together in Aussie soap Neighbours, and to continue the odd waltz between the 2 acts, the K.L.F. had made a single called ‘Kylie Said To Jason‘ which was a hilarious rip-off of ‘Left To My Own Devices‘ by The Pet Shop Boys.  Confused Yet ??

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Bill Drummond & Jimmy Cauty

I didn’t make any of these connections at the time.  I was listening to George Michael, Public Enemy, The Breeders. Catching up with Bob Marley and Miles Davis.  Discovering Wagner – again.  Looming on the horizon was Massive Attack. The K.L.F. seemed to me a little like The Tubes, one of my favourite bands to be sure, or the Bonzo Dog Band (see My Pop Life #77), formed by musicians who wanted to lampoon the music and the industry and anything else they could gather into their fiendish net.  Like everything was in quotes. I mean who sang along with the phrase “Ancients of MuMu” without a silly grin on their face?

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And of course we were still recovering from the smiley-face rave culture moment from which the K.L.F. appeared to have emerged.  In fact they were rather more like a situationist art project that wanted to burn the whole thing down.  Anarchists.  Their career was inspired partly by the theatre show The Illuminatus Trilogy, written and directed by mad genius Ken Campbell in Liverpool where Bill had been the set designer.  He walked out one day to buy a sandwich and never came back. He formed a band called The Justified Ancients of MuMu with Jimmy Cauty and released a single in 1987.   After two? albums and a legal dispute with ABBA they became The Timelords with a big novelty hit Doctoring The Tardis, then The JAMS (Justified Ancients of MuMu) with the single What Time Is Love which got re-issued a number of times from 1988 onward, then The K.L.F.  Their brilliant warped career  peaked a year later in 1992 at the BRIT Awards when Drummond machine-gunned the audience of music industry execs from the stage, and a dead sheep was left at the door of the afterparty with the message “I died for you – bon appetit” attached. A few months later in May 1992 The K.L.F. announced that they had quit the music business and deleted their entire back catalogue.  Other stunts followed such as the infamous burning of a million pounds, the Soup Line, the 17 Choir and other innovative ideas.  Apparently Bill Drummond lived just down the hill from me when I was in Brighton but I never met him, I don’t think.

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Niall Buggy as Eric, Danny Webb as Morse

Back on the Alien3 set a few days later it was Valentine’s Day.  I had been sent a card and an AD delivered it to me as we relaxed between shots.  It was of course from Jenny my beloved.  We were not married at that point.  And I could swear Sigourney was looking over my shoulder to see who it was from.  Hahaha.  Fincher was shooting a lot of footage.  “I’m doing long pans & track so they can’t cut into my footage” he explained one day.  It meant that when we had a group scene we could open a book on how many takes it would be.  Anything under five was unpopular.  Over twelve was possible, common even.  I think we did a tenner per set-up.  Someone wrote the names down and the number they’d chosen.  Often no one would win because we went up to Take 17 and no one wanted to put ten of your earth pounds on that.

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Here’s an idea…

In fact Sigourney and I had one of our scenes discussing plans regarding telling the company their was an Alien on the planet, and playing a fella who wanted to go home to his wife and kids, rather than perish in some millennial cult group suicide, Aaron ’85’ suggested a plan.  Ripley’s response was tentatively ‘yes maybe‘.  We did a couple of wide shots, then into my single.  Can’t remember how many takes it was – probably around seven or eight.  Then turned round onto Sigourney.  David didn’t like her tone, which suggested that Ripley thought Aaron was a dick.  He didn’t think that was right at that point in the story.  So. One more.  Turn over. Sound Speed. Scene 178 take 17.  Mark it. And….Action! Blah blah blah.  Cut.  Same result.  He’s not your enemy.  Take 22.  Don’t sneer. Take 29.  You think it’s a good idea. Take 34. By which time we were all so exhausted and dizzy from the repetition that Sigourney said the line in a kind of dazed acquiescence and Fincher had the take he wanted.

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About a year later in Los Angeles, after the re-shoots, I had two days of ADR in a West LA studio on Olympic Boulevard.  David remembered the scene well, 34 takes.  He’d never done ADR before though – Automated Dialogue Replacement – where you can change the inflexion, emphasis, tone, shade and meaning of a line just by using your voice and matching the lip movements on screen in front of you precisely.  Movie magic.  Some actors hate it, I made friends with the process very early on after I had to voice the whole of my performance as Danny in Withnail & I for the US market. The test screenings had indicated that audience members couldn’t understand what he was saying.  Who could? I did that piece of work at Twickenham Studios in 1987 where the engineer consoled me having to re-do my entire performance at the same speed except more intelligibly by telling me that Michael Caine had done Alfie and Bob Hoskins had also done The Long Good Friday for America.  And yet we were expected to understand Stallone’s mumbles or Pacino’s – hey that’s what it means to be an outlying part of The Empire right?  I can’t remember if I’ve ever seen the US version of Withnail but I suspect it would be a bad idea.  But having said that the experience toughened me up for future sessions.  Especially the Alien 3 session which was two long days – the reason for that was the amount of atmospheric smoke and steam in the design of the film which was very noisy to produce.  Often back in the day on big movies the Sound Department knew that they were recording a guide track only, to be completed and polished in ADR.  So here we were down on W. Olympic and David says – if I’d known about ADR in Pinewood I would never have done 34 takes just for a vocal inflection…

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It’s hard to recall now in 2019 how difficult that experience was.  Jenny can remember quite clearly how I would come home every day, full of doubt, full of worry and anguish, just because I was trying to do my best work.  What a fantastic opportunity for me, but you know I was running fast just to stand still.   I remember a visual image I used to produce while trying to explain it to friends, as a learning curve which came from my chest, looped back over my head and stabbed me in the back.  I wondered if, at some point, whether the fact that we were making a horror film in space meant that we had to have a horrible experience in space.  I called Richard E. Grant one day who was shooting Hudson Hawk in Italy – another picnic – and he asked me how much I was getting. I told him. He said

well – that’s the amount of shit you have to eat then.”

I could almost understand why Bill Drummond had formed The K.L.F.

 

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My Pop Life #174 : Learning To Be – Eleven

Learning To Be   –   Eleven

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Slipping away I get closer each day I been looking for love to find me

Digging away I will search I will pray I been waiting for truth to blind me

Only perceive and the world will conceive there’s a seat in my heart that binds me  

awake in a dream I believe it’s extreme, ruling out that all this is magic…

“If you can meet with triumph and disaster, and treat those two imposters both the same…”  said Rudyard Kipling in his incomparable poem “If…”.   Well I can’t.  I pretend I can, but no, I prefer the triumphs.  Is that what they’re called ?  Those goals into the top corner.  Those victories.  Yes, I prefer those imposters to the failures.  But people always say wise self-help guru stuff like “you learn more from your failures”  or “crisis and opportunity is the same word in Chinese”  or even “I get knocked down but I get up again”.  You know?   I prefer not to get knocked down at all.   I feel like my life was built on crises.  But still they come.

David Fincher

In 1994 I was living in Los Angeles.  It was David Fincher‘s idea.  He’d directed Alien 3 in 1991 and suggested that Jenny and I move to California.  “Come to LaLa” is actually what he said.  In 1992, after we’d got married and shot Undercover Blues in New Orleans which coincided with our honeymoon, (see My Pop Life #158) we rented an apartment in West Hollywood and stayed for three years.  David was very disappointed with Alien3 because the studio hadn’t accepted his cut, indeed had hacked the shit out of his cut, and after the glamorous premiere in LA and razzamatazz opening weekend fizz had died down, it was a film which didn’t knock everyone out, neither the public it seemed nor the critics.  David took it very badly – personally and professionally.  He spent the following two years silently fuming and plotting his revenge, and his next move.  We spent a lot of time together, round his apartment which at the time was on Beverley & La Brea with his new wife Donya Fiorentino, and Rachel his PA, her boyfriend Paul Carafotes, and David’s friends Chip & Carol, Ron, James, Marcie, and other friends.  We had a handful of friends already there – Anita Lewton from Moving Parts days (early 80s) was in Venice Beach, Suzy Crowley and Tony Armatrading were hanging out too.

Donya Fiorentino

We ate out a lot – on Sunset Strip, on La Brea, at Pane e Vino on Beverley.  We went to the movies together.  We got drunk.  We visited Lake Arrowhead one weekend and played pool and ate mushrooms.   We drove to Malibu.  Venice.  Went to gigs, clubs, parties.  We hung out in other words.

I got a gig on the film Wayne’s World 2 playing a roadie named Del Preston, and it was rushed out only a few months after it was finished (unusually).  David and Donya were round at our place on King’s Road when the LA Times review came out – it was great for me, and David said something along the lines of “I hope you remember me when you collect your Oscar“.  He wasn’t joking, he was feeling the pain of not working for two years.  Oh the irony !   Then one day some months later we were round his apartment off Beverley and he gave me a script, saying “there’s a great part in this for you Ralphie“.   It was a film called Seven.

Awake In A Dream by Eleven

There was an album that we listened to a lot that year called Awake In A Dream, by a group called Eleven, who were from LA.    A three-piece band writing intelligent glossy pop/rock with great melodies and unusual chord changes.  Their genesis was entwined with another LA band, the Red Hot Chilli Peppers, and then later after Eleven split, Natasha Shneider played bass with Queens Of The Stone Age in their early days before sadly dying of cancer in 2008.  The other two band members were Alain Johannes (who also joined QOTSA in 2005) and Jack Irons.   Their first LP from which this song comes was released in 1991.   Two songs stood out – Learning To Be and Rainbow’s End… 

…Here at the rainbow’s end, there is no pot of gold, no matter what you’re told…

which was clearly a song about LA itself.   It was a sign.  An omen.

Me, Anita Lewton, Jen, Gary Kemp, Donya, David, Annie & Paul McGann

I’d always had a dream of Hollywood, and I’d never chased it, for fear I would fall flat on my face.  I’d been turned away from LA in 1989 on a trip across the USA in Auto Driveaway cars (see My Pop Life #147) getting as far as Phoenix on Christmas Eve before turning back to El Paso.  I’d always wanted Hollywood to ask me in, even in a small way, and in 1991 they did.   I had to shoot some extra Alien3 scenes and Fox paid for Pete Postlethwaite and I to travel to Culver City in LA (for another story).  I’d got an agent, got a job, got an apartment, and now a few years later I’d got the massive opportunity that eventually comes around.

 1994 was a watershed year for me, looking back.  After that incredible review in the LA Times I did not work for a whole year.  “Kim Basinger is fantastic and Christopher Walken marvellous, but walking away with the whole picture is Ralph Brown as Del Preston” is what it said.  It was the kiss of death of course.   I was going up for three films per week.  Everything that was made in 1994, I auditioned for.  Things To Do In Denver When You’re Dead.  The Usual Suspects.  Crimson Tide.  Devil In A Blue Dress.  Heat.  Jumanji.   True Romance.  The Quick & The Dead.  And many many others lost to the mists of time.  Learning lines, forming character, turning up with well-chosen clothing and delivering the scene, over and over and over.  Fincher helping me with auditions sometimes (True Romance – offered to Christopher Walken).   Meeting after meeting.  No.  No.  No.  No.  No.  No.  No.  No.  No.  And No.   I’d hit the glass ceiling.  Dennis Hopper and Christopher Walken were getting the gigs.  My gigs.  How could I break through that invisible barrier ?

In June the World Cup gave us some welcome respite.  We got tickets for all the Rose Bowl games in Pasadena, just by sending off for them – an advert in the LA Times, and a country that wasn’t interested, bar the foreigners, the Latinos, Africans and Europeans.  We decided to support Cameroon in an early game v Sweden and met Ashley Joyce (English) and Jeremy Thomas (Welsh, just separated from Drew Barrymore after two months of marriage) who ran The Room a groovy bar just off Hollywood Boulevard.  They are still friends of mine.

The Rose Bowl, Pasadena, 1994 World Cup Final 

The month that followed was glorious – wall to wall football, no England to disappoint us (we didn’t qualify) – over 100 degree heat for a Colombia v USA game, a July 4th game USA v Brazil in San José, a quarter final in Pasadena Romania v Sweden, a semi-final Brazil v Sweden and tickets to the actual final Brazil v Italy, a 0-0 draw, and Roberto Baggio blasting his penalty over the bar, cue Brazilian Carnivale, and meeting my old friend Stephen Woolley from Scala Cinema days and The Crying Game outside the stadium after the Final – in town doing screenings for test audiences of Interview With A Vampire.  “That’s no way to make a film” I said.  “Asking the audience which characters they prefer”  “When you’re spending 40 million dollars, it’s the only way to make a film”  he replied.  I was so green, really, so innocent.  But I was certainly living life.   Learning To Be.

Roberto Baggio has just missed a penalty at the World Cup Final

The best game was Romania 3 Argentina 2 after Maradona had been sent home for drug abuse and Hagi’s sweet left foot sent the East Europeans through to the quarter finals.   I think Germany were beaten by Bulgaria, who in turn lost to Italy.  Klinsmann was playing, Roger Milla, Alexi Lalas, Stoichkov, Romario.  We particularly enjoyed watching games on TV with absurd, nay, surreal commentary from US commentators deciphering a game they scarcely understood:  “The ball has crossed the end line” or “great touch by the goal-handler“.  Or the Latin American channels with the hyperbole of the gods :

GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOAAAAAAAAAAAAAAAAAAAAALLLLL!!!!

We had a laugh.    Then as summer turned to late summer and even later summer (you don’t really get winter in Los Angeles) – our thoughts turned to work and I carried on getting NO from meetings.  They’ve gone another way.  They loved you but it’s not going to work out this time.  Or even worse : silence.  The dwindling hope that finally extinguishes.  And then David gave me the script for Seven.   I read it – and as I’m sure you know dear reader, it was dark and clever.  My character was called John Doe.   David assured me that he wanted me to play it.   It was my gig.  This was great news.   I hadn’t worked for almost a year and was a) going slightly mental, and b) running out of money.   David then called one afternoon and said the producer would like to meet me on Thursday.  Would I mind reading?  “Course not”  I said, “no problem”.   I prepared the scenes in my own accent and also in an American accent.  I’d had an accent coach since one of the films I’d gone up for (The Ice Cream Story) had insisted on me reading again and again ( I went in 3 times and still didn’t get it).  My accent coach told me that my accent was perfect – nailed on.  But the director was nervous, and was projecting his nerves onto me.   I rationalised bitterly.

Wilshire and Fairfax in LA

So Thursday rolls around and I sit in that old space-age diner Johnie’s just above Wilshire Boulevard on Fairfax while I wait for the meeting across the road.   Then I cross Wilshire and go in.  David greets me all smiles like an old friend – he is an old friend.  Introduces me to the producer who in my memory was Arnie Kopelson.  The casting director was there too I think, Billy Hopkins who since Alien3 which he’d cast with Priscilla John had got me in for loads of things, including Speed which is for another post.  Maybe he wasn’t.  But there were a few people there watching me, and I immediately felt uncomfortable.  Like I was on the spot.  I suddenly realised that I had to make David look good.  We did some small talk then someone suggested we read.  There was probably someone there to read the off-lines.  I was shit.  My accent was terrible.  I apologised.  David smiled “It’s cool dude, just do your thing”  I tried it again.  I was shit again.  “Just use your own accent Ralphie” said Fincher, “Just do what you do“.    He was so kind and supportive.  I was in pieces. It was excruciating.

Sometimes I think that eternity blinks paying no due respect to logic

I’ve thought about this moment many times, and I don’t know why I didn’t seize it.  His dream must have seemed so close that he could scarcely fail to grasp it.  He could not know that it was already behind him…wrote F. Scott Fitzgerald…The Great Gatsby’s final paragraph.

I didn’t get the job.  Kevin Spacey did.  He smashed it.  He took a few jobs off me that year.  It was his year.  And the following year certainly was too.  We ended 1994 with one BBC job in Italy and nothing in Hollywood, broke.  We decided to move back to England, but not before I’d written a movie called New Year’s Day which would eventually get made in 1999 (see My Pop Life #75) and which is about – ouch – The Importance Of Disappointment.

..Give me your hand we are part of this plan we can force all this chaos to rhyme…

At some point during the post-production for Seven or Se7en as it was then written, David and Donya separated.  This was painful for everyone, and Jenny and I attempted our usual even-handed response to these painful events and stayed in touch with both parties.  David didn’t like that, or perhaps Donya used us against him in an argument.  In any event I have hardly seen him since 1995.   No bad feeling, just the end of an era.

Donya’s photograph of my wife Jenny Jules, 1994

It was an incredible opportunity in retrospect.  If I’d been cast in that role, it would certainly have changed my career.  I absolutely under-anticipated the stress of that meeting, thinking in my foolishness that David holding the door open would be perhaps enough to swing it for me.   It was a harsh lesson.   Many times I have played it over in my mind, re-entered the room, better prepared, psyched-up, played the scene properly like I’d planned it.  (Spacey played it exactly as I’d rehearsed it in the finished movie).   But I didn’t get it.  Even today, writing this, it bites me.  It was a gift horse and I gave it a thorough dental examination.   Oh well.  I’m still here.  Some things are just not meant to be.  No regrets.  Learning To Be.

Like all hinge moments one cannot eventually regret the way it went.  If I’d been cast in Seven we would have stayed in LA.  Or at least I would.  First and biggest problem.  We wouldn’t have bought a house in Brighton.  Tom, Millie and Lucy wouldn’t have moved down.   Scarlett and Tom wouldn’t have met.  Skye wouldn’t have been born.  I wouldn’t have played in The Brighton Beach Boys.  And on and on.  You cannot unmake a moment, even in your wishes.  And thus, once again, writing out one of my haunted moments in a blog post has allowed to me to understand the wound and clarify the misty darkness which surrounds it a little bit more.   And it becomes not a defeat but just another chapter in My Pop Life.

Look in the eyes of the water that falls
Hiding behind every flower and rock
Why do we dance on the wheel and forget
Life is a child that will never regret
Learning to be, be, be
Stepping away, I get closer each day
I’ve been looking for love to find me
Digging away, I will search I will pray
I’ve been waiting for truth to blind me

Learning To Be :

and Rainbow’s End – it’s not a great quality video, but it’s all there is :

My Pop Life #99 : La Tristessa Durera (Scream To A Sigh) – Manic Street Preachers

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La Tristessa Durera (Scream To A Sigh)  –   Manic Street Preachers

…I retreat into self pity…it’s so easy….

 The summer of 1993, West Hollywood.  132 N King’s Road just off the corner of Beverley Boulevard.   About ten blocks from The Beverly Centre.   Breakfast in Jans.   A small circle of friends centred on David Fincher‘s gang – Chip & Carol, Paul Carafotes, Rachel Schadt, Marcie, Ron, David’s girlfriend Donya Fiorentina, and a few Brits : Anita Lewton and Suze Crowley in Venice, Bruce Payne in Beverly Hills and his girlfriend Nina Kraft and a revolving door of visitors that is the lifeblood of Hollywood, or at least some of the blood – British and Irish actors – Jude Law, Richard E. Grant, Paul McGann, David Thewlis, Fiona Shaw, others whom I never met.   It’s a strange bubble, hard to find the centre, and the beating heart of LA carries on with or without you.   An indifferent city.   But it is also the centre of the film industry, where people talk about films, go to see films, compare the opening weekends of film openings, where choosing what you’re going to see on a Friday night feels like it actually matters.   I always liked that.   Getting auditions and meetings at Paramount Pictures, at Universal, at Disney.  Having a “drive-on” so you can park your car on the lot.   You never want to take that for granted.    I’d done my first truly Hollywood film in 1992 :  Undercover Blues with Kathleen Turner and Denis Quaid, Fiona Shaw, Obba Babatunde and Stanley Tucci, (all shot in Louisiana while Jenny and I were on honeymoon).

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But I’d had a “drive-on” for costume fittings and read-through at the MGM Studio Lot in Culver City at the time.    By 1993 I was into a routine of regular meetings and auditions all over town.    I can only remember one.   Billy Hopkins, who’d cast Alien3, the very reason why we lived in Los Angeles, had asked me to come in and read for the part of Howard Payne in a new thriller being directed by Jan De Bont.   Howard Payne was the bad guy.    I did one of the best auditions of my stupid life, unpredictable, whispered, snarled, charming, bisexual and deadly.   The following day one of my agents Jim Carnahan rang me to say they’d offered me the role.    Whoop!    My life – our life – turned around.    But the etiquette – indeed the common sense – of show business – means that you do not talk about jobs, work, gigs until you’ve signed the contract.   There are always quite a few days of negociating.   And so we started, the number of days, weeks, the quote (per week), the dates, the costume fittings, the billing, the whole shebang.   It did drag out.    But no more than usual.   Until the day 2 weeks after the audition when Jim rang me and told me that they’d just offered my part to Dennis Hopper.   The film was called Speed.   It also starred Keanu Reeves and Sandra Bullock.   It was an unexpected hit.   I would come across Billy Hopkins again a year later, but that’s another story, even worse than this one.   This one wasn’t my fault.   It was the glass ceiling of Hollywood.

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The Manic Street Preachers had passed me by until their second album Gold Against The Soul, which everyone said wasn’t as good as their first.   We played it a lot.   Probably heard on Radio One whilst in England, but also likely to have been played on KCRW the Santa Monica College Radio Station that everyone in LA listens to.  (All white bourgeouis I mean).   There is a morning show called “Morning Becomes Eclectic” between 9 and 12am where you could hear almost anything white and groovy.  Not much hip hop or Dance music.  A little bit of groovy mexican music.  Loads of English indie.  Otherwise American Radio is totally segmented into genres – ROCK FM, GROOVE FM, COUNTRY FM, CHART FM.  all with tons of commercials of in-un-ending banality.  So KCRW’s gentle white supremacy became the least-worst ear-bashing of a morning.

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James, Richey, Nicky, Sean in 1994

La Tristessa Durera is in an unknown Pyrenean language half-way between French and Spanish.  Le Tristesse Durera means “the sadness continues” in French, and were the last words spoken by Vincent Van Gogh according to a letter written by his brother Theo.  Vincent Van Gogh shot himself with a rifle near one of the cornfields which obsessed him toward the end of his life.   Why Richey James translated Le Tristesse as La Tristessa we shall never know, (I suspect it’s just more poetic?) but there’s a lot we shall never know about Richey James Edwards.  The song itself is lyrically brilliant, one of Richey’s best and concerns a war veteran who describes himself as “a relic, I am just a petrified cry – wheeled out once a year, a cenotaph souvenir…

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That a young writer could put themselves into the shoes of an old war veteran, singing “Life has been unfaithful…and it all promised oh so much” is a huge credit to a compassionate and disturbed individual who seemed to see through everything and everybody and only find the pain and hypocrisy, the torture and ugliness inside.  He suffered from depression and self-harmed on a regular basis, also was reported to have suffered anorexia too.  He wrote and spoke about all these issues with great humility and common sense.   He would go on to write 80% of the lyrics to the next Manics LP “The Holy Bible” (1994) which is a monument to man’s inhumanity to man and a modern rock classic, and the following year in February 1995 Richey would disappear.  Not quite without trace – his car was found near the Severn Bridge, with evidence that he’d been living in it.   The outcry and column inches would last for years.   He was finally pronounced missing presumed dead in 2008.

Richard James Edwards was born in Caerphilly in 1967 and went to school with all the other band members at Oakdale Comprehensive in Blackwood in the 1980s.  He joined the Manic Street Preachers as a roadie in 1990 after securing a 2:1 in Political History at the University Of Wales, Swansea.   His politics and poeticism helped to shape the Manics entire image, Nicky Wire playing bass also wrote lyrics, while James Dean Bradfield, guitarist and singer provided the music.  With Sean Moore on drums they were a formidable live act but I did not get to see them until the late 90s as a three-piece.

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They always had a visceral passion and anger which was grounded in punk rock, a militancy based on being from South Wales, so recently hammered by Thatcher in the miner’s strike (1982) and an intellectual and poetic analysis and understanding which came from Wire and Edwards’ voracious appetite for reading, whether it was Dostoyevsky, Rimbaud, Camus, Orwell or Mishima.  They were my favourite band for a few years in there, they seemed to have their collective finger on my pulse.    These were songs you would sing along with not necessarily understanding the exact meanings of the lines:  “the applause nails down my silence” or my favourite line to spit out “I see liberals – I am just a fashion accessory…”  but of course there he is referring literally to the use of war medals as badges on fashion catwalks.   In the final verse our old soldier admits “I sold my medal – it paid a bill…“.

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All of their songs have this deep disgust at life’s injustices at their core and their huge success is built on being able to articulate the fury of the intelligent left-over people of the world.   Another song from this album “Life Becoming A Landslide” was also instrumental in my screenplay for New Year’s Day (see My Pop Life #75) which would actually begin with an avalanche, and also hopefully bottle some of those powerful feelings of disappointment at how life unfolds for each of us, and all of us…

the video

Live at Glastonbury ’93 with Richie (turned up!)