Ultimate Houde
UC's Resident Genetic Recombinator
You don't understand the awesomeness of High School Musical.
DreamMOVIE #8 "Turn That Beat Around. . ."
- Thread starter Entropy
- Start date
You don't understand the awesomeness of High School Musical.
moonmaster
Without him, all of you would be lost souls roamin
- Joined
- Feb 23, 2005
- Messages
- 13,670
No, but I once acted out the dance number and sang to my reflection in a glass of water.
Are you suggesting that there's something not awesome about this?
[youtube]omCFKGhe5j8[/youtube]
here's my kid a manifesto
"i tend to look at it like this: everything in its right place describes the societal setting for what is about to happen: the birth of the first clone; the line "there are two colors in my head" describes the black and white of everything and the brainwashing of a nation into a singular state of mind...
the song "kid a," to me, charts the cellular growth of the first clone until finally, at the end, it is born (with the baby crying). then the national anthem kicks in- the call of the nation flouting their greatest achievement- the first clone. it's a thwomping call to arms.
how to disappear completely charts the reaction of the people living in fear- and also of the first clone... he has to come to terms with the fact that he isn't real, in the identity sense of things. treefingers is all these things in motion- happenings. actions. hence no lyrics. its things stirring up into what ends up happening in idioteque and morning bell.
optimistic seems to me to be sarcastic- all these bad things are going on, and people are still trying to see the good side of things... but everyone knows the truth. in limbo is a denial of the world situation- "i've lost myself; i'm living in a fantasy"- almost a coda to how to disappear completely... and people are starting to cry out that all these things going to hell are kid a's fault- but he's trying to save his own skin: "i'm on your side... nowhere to hide... i've lost my way"
then comes the apocalypse of idioteque: "ice age coming ice age coming; mothers and children, first the children, first the children; i laugh until my head comes off." an ice age would be one of the results of a nuclear attack (the cloud of dust would blot out the sun, lowering the earth's temperature dramatically) and there's mass chaos.
morning bell depicts the last survivors of all this chaos: "morning bell release me" and all this pillaging and stealing and "cut the kids in half..." chilling.
and motion picture soundtrack brings it all together in the end- the death of the protagonist, wishing and hoping for there to be something more, something better, something that brings him back with who/what he loves.
it's terrifying and visionary and i love it."
"i tend to look at it like this: everything in its right place describes the societal setting for what is about to happen: the birth of the first clone; the line "there are two colors in my head" describes the black and white of everything and the brainwashing of a nation into a singular state of mind...
the song "kid a," to me, charts the cellular growth of the first clone until finally, at the end, it is born (with the baby crying). then the national anthem kicks in- the call of the nation flouting their greatest achievement- the first clone. it's a thwomping call to arms.
how to disappear completely charts the reaction of the people living in fear- and also of the first clone... he has to come to terms with the fact that he isn't real, in the identity sense of things. treefingers is all these things in motion- happenings. actions. hence no lyrics. its things stirring up into what ends up happening in idioteque and morning bell.
optimistic seems to me to be sarcastic- all these bad things are going on, and people are still trying to see the good side of things... but everyone knows the truth. in limbo is a denial of the world situation- "i've lost myself; i'm living in a fantasy"- almost a coda to how to disappear completely... and people are starting to cry out that all these things going to hell are kid a's fault- but he's trying to save his own skin: "i'm on your side... nowhere to hide... i've lost my way"
then comes the apocalypse of idioteque: "ice age coming ice age coming; mothers and children, first the children, first the children; i laugh until my head comes off." an ice age would be one of the results of a nuclear attack (the cloud of dust would blot out the sun, lowering the earth's temperature dramatically) and there's mass chaos.
morning bell depicts the last survivors of all this chaos: "morning bell release me" and all this pillaging and stealing and "cut the kids in half..." chilling.
and motion picture soundtrack brings it all together in the end- the death of the protagonist, wishing and hoping for there to be something more, something better, something that brings him back with who/what he loves.
it's terrifying and visionary and i love it."
Langsta
Well-Known Member
Jimi Mistry as Freddie Mercury?
thee great one
Master of TOG-fu.
I have a sort of idea.
I need to hammer out the details.
I need to hammer out the details.
ourchair
Well-Known Member
Jimi Mistry = :heart:Jimi Mistry as Freddie Mercury?
Hellsbuttmonkey
Well-Known Member
Nothing. Nothing is quite that awesome.
As long as you are a teenage girl.
Which, you know, is great because I have been looking for someone to give this training bra to.
compound
Well-Known Member
* reposted and expanded with new updates *
Last edited:
Langsta
Well-Known Member
C I T I Z E N L A N G S T A
The Highly Fictionalized Musical Autobiopic of Langsta
"I didn't really know what I wanted to do .... But I knew the man that I wanted to become."
Verse I
The film begins with the above quote in the middle of the screen; it fades out after a few minutes. The screen fades in with a montage of events from the year 1992, narrated by Morgan Freeman.
"1992. You may remember this as the year that 263 people died near Zonguldak in Turkey's worst coal mine disaster, or as the year that John Gotti was convicted of the murder of mob boss Paul Castellano and sentenced to life in prison. You may remember it as the year Jay Leno took up the mantle of Tonight Show host, following Johnny Carson's retirement. You may also remember it as the year in which Madonna's Erotica was released, becoming the most controversial album of all time. 1992 is also memorable for the Iraqi disarmament crisis, and for being the year in which Bill Clinton was nominated for President of the United States.
"1992, however, is perhaps best remembered as the year in which the greatest man who ever lived was born; join me on this journey of awesomeness as we examine the life of a man notable for his prodigious libido; a legend they call Langsta."
2012. The world is in a state of chaos and panic as it nears its end, the cause of which is presumed to be nuclear warfare. In New York, Langsta is seen riding a custom-modified Estonian motorbike, similar to that of Kaneda's in Akira (1988), along the Vabaduse Bridge in Tartu. Dead bodies lay in the streets, half-destroyed cars sit in flames in the middle of the road. The sky is dark and hazy. Langsta accidentally crashes his bike into a car and dies.
Several days later, Langsta's body is found by some survivors and an autopsy is performed inside .... well, an autopsy room. Inside his chest, a small, 19th century musical box is discovered. The survivors who discovered Langsta's remains watch in awe as the box glows a bright green and begins to play a tearful melody - the most tearful melody ever played. Suddenly, the box's light becomes so bright that it blinds everyone in the room who still has eyes.
1992. A baby is born in the outskirts of Incheon, Korea. He is discovered near a dumpster by a young farmer couple and christened "Langsta." Cut to a montage of Langsta growing up on a plantation in Salzburg, Austria, in the care of Colonel Hjalmar Hanfstaengl and his wife Louise.
The next scene shows Langsta looking into the sunset, somehow knowing that he's destined for more than farmlife. The Binary Sunset leitmotif from the Star Wars films is heard. Langsta dreams of becoming the savior of the world.
The following scene introduces a wealthy Korean-born media magnate known only as Siobhan, who has recently taken power as the Emperor of Saaremaa, a large island belonging to Estonia. A reporter named Hwanin, who works for a South Korean newspaper called The Daily Eagle, is sent to find out about Siobhan's private life and personality, interviewing his friends and associates. He learns that Siobhan is a womanizing bastard who plans on turning the island into a xenophobic concentration camp, to fulfill some kind of ancient Aryan prophecy and mark the rise of Thule.
The character of Hwanin is revealed to have only been included in the story to show Siobhan's true evilness - shortly after taking the reporter captive, Siobhan castrates him with crocodile shears, decapitates him, films it, puts the tape in a box, puts the guy's severed balls in a separate box, puts both boxes inside a bigger box, wraps that box with Hwanin's hair instead of wrapping paper, tapes a detonator and mini-camera to the box, ships the box which contains the two smaller boxes to the guy's parents' house, and when they open the box, he tells him who he is on the message as he's watching them open it live, and after they have just enough time to conceive what's going on, detonates the detonator, killing them, eradicating Hwanin's boxed balls, and destroying their home. And Siobhan is masturbating this whole time.
In Salzburg, Langsta's adoptive parents are murdered in cold blood by Basquiat, a French hitman hired by Siobhan. Langsta, however, is spared for some reason, taken captive by Basquiat, who plans to return him to Saaremaa. Along the way, Langsta manages to kill Basquiat with his own guntar (a guitar that doubles as a rifle) and makes his escape.
It's not long before Siobhan discovers that his employer is dead - he finds Basquiat's broken guntar in his mailbox. Meanwhile, Langsta is hiding out in the Himalayan Mountains. He finds it difficult to adapt to the harsh weather, and ends up getting caught in a blizzard. Finding solace in a nearby cave, he meets what he first believes to be a mirage - the spirit of Jesus Christ. Christ sends a message to Langsta, telling him to follow his heart, to beware of a super-big revelation that's about to hit him, and to keep in mind that Heaven is looking out for him. Langsta passes out.
Hours later, Langsta regains consciousness, and finds himself in some kind of cottage isolated by the mountains from the outside world. The caretakers there have a letter for him, telling him to go to England. Langsta wonders how anyone could know about his current whereabouts, and wants to rest; he is interrupted when ninjas begin to attack and the cottage begins to burn down. The caretakers are all killed, and Langsta is the only one to make it out of the cottage alive, managing to salvage the letter. The ninjas are killed in the fire that they created in their attempt to slay Langsta.
Rushing to the nearest village, Langsta boards a train to India. He is being closely followed by more of Siobhan's men. In a nearby Hindu palace, Langsta endures Siobhan's men in swordfighting, until Siobhan finally reveals himself and engages in battle himself, demanding to fight Langsta alone. Langsta, with no swordfighting skill whatsoever, is outmatched. Siobhan nearly cuts him in half, reveals to him that he is Langsta's true father (which is, according to him, the only reason he didn't kill him outright), unveils a hidden swastika armband underneath his sleeve, and leaves his son for dead.
Verse II
The first scene is told in flashback by Langsta, beginning shortly after the end of Verse I. Langsta has arrived in England, just as his letter told him. There, he meets an English Arab fellow named Bass, joining his dojo. Bass is a member of an ancient cult of astronomers who regulate the activity of extraterrestrials. There are hints that Bass is either Christ himself or some other divine entity, and Bass himself claims that "everyone perceives [me] differently."
Bass tells Langsta that he understands his predicament, and agrees to train him in the Ancient Art of Awesomeness. Langsta asks Bass how he knew about Langsta's predicament; Bass explains that he was an old friend of Siobhan's, and that he is psychic. When Langsta asks why Bass didn't just telepathically tell Langsta to go to Europe, or just mentally probe the Ancient Art of Awesomeness into Langsta's head, Bass replies that it would just be too weird, and that one must learn the Ancient Art of Awesomeness through mind and body. Or something. Langsta asks Bass if Siobhan really is his father; Bass tells him that "[only] you can know that."
And so, Langsta's training begins. Langsta trains in swordfighting, hand-to-hand combat, and gunfighting. He learns that the Ancient Art of Awesomeness dates back thousands of years, and involves fighting aliens and fulfilling a prophecy. Langsta thinks that the reason that Bass decided to train him was because he believed that Langsta was 'the chosen one' who was destined to fulfill the prophecy. He never asks Bass, thinking that he would give him another "Only you can know that" answer.
After seven years of intense training, Langsta leaves Bass' dojo and travels the world. As he leaves, he is given a music box and a legendary blade known as the Stabikka. Bass tells Langsta to wield this weapon with intense care, and to strike with it only when necessary, as it is the only weapon in the universe that can kill Siobhan.
Roughly ten years have passed since the end of Verse I now. By this time, Siobhan has gained immense political power. He doesn't plan on revealing his true identity of Hitler any time soon, though it wouldn't matter anyways at this point, because his followers would worship him no matter what. The Saaremaan government, under orders from Siobhan, has developed twin nuclear bombs capable of eradicating all life on the entire planet.
Langsta, confronting Siobhan, questions his motives and asks if there was really any truth to his claims that he was his father. Siobhan laughs, explaining that he is an ancient, sentient, extraterrestrial, shape-shifting lifeform responsible for much of the tyranny and evil that has gone wrong with the world, including the Holocaust, when he developed his Adolf Hitler persona, gained the respect of thousands, and killed millions. Siobhan explains that his latest host body, and the development of the new Thule society, is his way of 'finishing' the job.
Siobhan gives Langsta an ultimatum: to accept his destiny as the son of an ancient alien bloodline or, simply, to die. Langsta stops for a minute, still trying to process the fact that he is the offspring of an evil anti-Semitic alien and a human woman. He then proclaims that he has his "own destiny, as the savior of the ****ing human race," pulls out the Stabikka, and slices Siobhan in half.
As Siobhan's body is cut, the plasma energy from inside his body spills out into the air. It is all that is left of the tyrant, and Langsta plays the music box that attracts the plasma to it and traps it inside. A giant plasma monster begins to attack. To trap the music box itself (thus containing Siobhan's essence), Langsta places it up to his chest, and it melts to his insides, glowing a bright green. Langsta fails to stop the nuclear bombs from detonating, however, and the world is seemingly destroyed. The same haunting tune heard in the beginning of Verse I is heard again. A bright green flash is seen; the music stops. After a few seconds, the flash fades into the next scene....
Langsta appears to be the only survivor, unscathed by the explosion, possibly due to his alien genes. The box has stopped glowing. Stealing a dead person's motorbike, he goes off in search of other survivors. He is killed in an accident and found a few days later by survivors. While the survivors investigate his body, they discover the box, which begins to glow green. The survivors are killed, and the plasma escapes from the box a possesses a lone black survivor, his face unseen at this point.
The survivor begins to speak, and his face is slowly revealed to be that of Morgan Freeman's, with glowing green eyes: "1992, best remembered as the year in which the greatest man who ever lived - Langsta - was born. 2012, best remembered as the year in which 6 billion people were simultaneously killed by an extraterrestrial tyrant. 2012, the year of Siobhan."
The movie's gloomy ending is topped off with the joyful "Singin' in the Rain" as an homage to A Clockwork Orange, not the Gene Kelly movie, as the credits roll.
Narrator - Morgan Freeman
Morgan Freeman plays the Narrator.
Langsta - Jonathan Ke Quan
Jonathan Ke Kuan, perhaps best known for his roles as Short Round in Indiana Jones and the Temple of Doom and Data in The Goonies, has taken a break from acting in recent years to focus on the stuntwork aspects of filmmaking. This will be his first major film role in over twenty years, as he attempts to fill the prestigious shoes of Langsta.
Siobhan - Chow Yun-Fat
The true father of Langsta is played by none other than Chow Yun-Fat.
The Colonel - Scott Weiland
Basquiat - Slash
Think of Basquiat as a goofier, less threatening version of Chigurh from No Country For Old Men.
The Highly Fictionalized Musical Autobiopic of Langsta
"I didn't really know what I wanted to do .... But I knew the man that I wanted to become."
Verse I
The film begins with the above quote in the middle of the screen; it fades out after a few minutes. The screen fades in with a montage of events from the year 1992, narrated by Morgan Freeman.
"1992. You may remember this as the year that 263 people died near Zonguldak in Turkey's worst coal mine disaster, or as the year that John Gotti was convicted of the murder of mob boss Paul Castellano and sentenced to life in prison. You may remember it as the year Jay Leno took up the mantle of Tonight Show host, following Johnny Carson's retirement. You may also remember it as the year in which Madonna's Erotica was released, becoming the most controversial album of all time. 1992 is also memorable for the Iraqi disarmament crisis, and for being the year in which Bill Clinton was nominated for President of the United States.
"1992, however, is perhaps best remembered as the year in which the greatest man who ever lived was born; join me on this journey of awesomeness as we examine the life of a man notable for his prodigious libido; a legend they call Langsta."
2012. The world is in a state of chaos and panic as it nears its end, the cause of which is presumed to be nuclear warfare. In New York, Langsta is seen riding a custom-modified Estonian motorbike, similar to that of Kaneda's in Akira (1988), along the Vabaduse Bridge in Tartu. Dead bodies lay in the streets, half-destroyed cars sit in flames in the middle of the road. The sky is dark and hazy. Langsta accidentally crashes his bike into a car and dies.
Several days later, Langsta's body is found by some survivors and an autopsy is performed inside .... well, an autopsy room. Inside his chest, a small, 19th century musical box is discovered. The survivors who discovered Langsta's remains watch in awe as the box glows a bright green and begins to play a tearful melody - the most tearful melody ever played. Suddenly, the box's light becomes so bright that it blinds everyone in the room who still has eyes.
1992. A baby is born in the outskirts of Incheon, Korea. He is discovered near a dumpster by a young farmer couple and christened "Langsta." Cut to a montage of Langsta growing up on a plantation in Salzburg, Austria, in the care of Colonel Hjalmar Hanfstaengl and his wife Louise.
The next scene shows Langsta looking into the sunset, somehow knowing that he's destined for more than farmlife. The Binary Sunset leitmotif from the Star Wars films is heard. Langsta dreams of becoming the savior of the world.
The following scene introduces a wealthy Korean-born media magnate known only as Siobhan, who has recently taken power as the Emperor of Saaremaa, a large island belonging to Estonia. A reporter named Hwanin, who works for a South Korean newspaper called The Daily Eagle, is sent to find out about Siobhan's private life and personality, interviewing his friends and associates. He learns that Siobhan is a womanizing bastard who plans on turning the island into a xenophobic concentration camp, to fulfill some kind of ancient Aryan prophecy and mark the rise of Thule.
The character of Hwanin is revealed to have only been included in the story to show Siobhan's true evilness - shortly after taking the reporter captive, Siobhan castrates him with crocodile shears, decapitates him, films it, puts the tape in a box, puts the guy's severed balls in a separate box, puts both boxes inside a bigger box, wraps that box with Hwanin's hair instead of wrapping paper, tapes a detonator and mini-camera to the box, ships the box which contains the two smaller boxes to the guy's parents' house, and when they open the box, he tells him who he is on the message as he's watching them open it live, and after they have just enough time to conceive what's going on, detonates the detonator, killing them, eradicating Hwanin's boxed balls, and destroying their home. And Siobhan is masturbating this whole time.
In Salzburg, Langsta's adoptive parents are murdered in cold blood by Basquiat, a French hitman hired by Siobhan. Langsta, however, is spared for some reason, taken captive by Basquiat, who plans to return him to Saaremaa. Along the way, Langsta manages to kill Basquiat with his own guntar (a guitar that doubles as a rifle) and makes his escape.
It's not long before Siobhan discovers that his employer is dead - he finds Basquiat's broken guntar in his mailbox. Meanwhile, Langsta is hiding out in the Himalayan Mountains. He finds it difficult to adapt to the harsh weather, and ends up getting caught in a blizzard. Finding solace in a nearby cave, he meets what he first believes to be a mirage - the spirit of Jesus Christ. Christ sends a message to Langsta, telling him to follow his heart, to beware of a super-big revelation that's about to hit him, and to keep in mind that Heaven is looking out for him. Langsta passes out.
Hours later, Langsta regains consciousness, and finds himself in some kind of cottage isolated by the mountains from the outside world. The caretakers there have a letter for him, telling him to go to England. Langsta wonders how anyone could know about his current whereabouts, and wants to rest; he is interrupted when ninjas begin to attack and the cottage begins to burn down. The caretakers are all killed, and Langsta is the only one to make it out of the cottage alive, managing to salvage the letter. The ninjas are killed in the fire that they created in their attempt to slay Langsta.
Rushing to the nearest village, Langsta boards a train to India. He is being closely followed by more of Siobhan's men. In a nearby Hindu palace, Langsta endures Siobhan's men in swordfighting, until Siobhan finally reveals himself and engages in battle himself, demanding to fight Langsta alone. Langsta, with no swordfighting skill whatsoever, is outmatched. Siobhan nearly cuts him in half, reveals to him that he is Langsta's true father (which is, according to him, the only reason he didn't kill him outright), unveils a hidden swastika armband underneath his sleeve, and leaves his son for dead.
Verse II
The first scene is told in flashback by Langsta, beginning shortly after the end of Verse I. Langsta has arrived in England, just as his letter told him. There, he meets an English Arab fellow named Bass, joining his dojo. Bass is a member of an ancient cult of astronomers who regulate the activity of extraterrestrials. There are hints that Bass is either Christ himself or some other divine entity, and Bass himself claims that "everyone perceives [me] differently."
Bass tells Langsta that he understands his predicament, and agrees to train him in the Ancient Art of Awesomeness. Langsta asks Bass how he knew about Langsta's predicament; Bass explains that he was an old friend of Siobhan's, and that he is psychic. When Langsta asks why Bass didn't just telepathically tell Langsta to go to Europe, or just mentally probe the Ancient Art of Awesomeness into Langsta's head, Bass replies that it would just be too weird, and that one must learn the Ancient Art of Awesomeness through mind and body. Or something. Langsta asks Bass if Siobhan really is his father; Bass tells him that "[only] you can know that."
And so, Langsta's training begins. Langsta trains in swordfighting, hand-to-hand combat, and gunfighting. He learns that the Ancient Art of Awesomeness dates back thousands of years, and involves fighting aliens and fulfilling a prophecy. Langsta thinks that the reason that Bass decided to train him was because he believed that Langsta was 'the chosen one' who was destined to fulfill the prophecy. He never asks Bass, thinking that he would give him another "Only you can know that" answer.
After seven years of intense training, Langsta leaves Bass' dojo and travels the world. As he leaves, he is given a music box and a legendary blade known as the Stabikka. Bass tells Langsta to wield this weapon with intense care, and to strike with it only when necessary, as it is the only weapon in the universe that can kill Siobhan.
Roughly ten years have passed since the end of Verse I now. By this time, Siobhan has gained immense political power. He doesn't plan on revealing his true identity of Hitler any time soon, though it wouldn't matter anyways at this point, because his followers would worship him no matter what. The Saaremaan government, under orders from Siobhan, has developed twin nuclear bombs capable of eradicating all life on the entire planet.
Langsta, confronting Siobhan, questions his motives and asks if there was really any truth to his claims that he was his father. Siobhan laughs, explaining that he is an ancient, sentient, extraterrestrial, shape-shifting lifeform responsible for much of the tyranny and evil that has gone wrong with the world, including the Holocaust, when he developed his Adolf Hitler persona, gained the respect of thousands, and killed millions. Siobhan explains that his latest host body, and the development of the new Thule society, is his way of 'finishing' the job.
Siobhan gives Langsta an ultimatum: to accept his destiny as the son of an ancient alien bloodline or, simply, to die. Langsta stops for a minute, still trying to process the fact that he is the offspring of an evil anti-Semitic alien and a human woman. He then proclaims that he has his "own destiny, as the savior of the ****ing human race," pulls out the Stabikka, and slices Siobhan in half.
As Siobhan's body is cut, the plasma energy from inside his body spills out into the air. It is all that is left of the tyrant, and Langsta plays the music box that attracts the plasma to it and traps it inside. A giant plasma monster begins to attack. To trap the music box itself (thus containing Siobhan's essence), Langsta places it up to his chest, and it melts to his insides, glowing a bright green. Langsta fails to stop the nuclear bombs from detonating, however, and the world is seemingly destroyed. The same haunting tune heard in the beginning of Verse I is heard again. A bright green flash is seen; the music stops. After a few seconds, the flash fades into the next scene....
Langsta appears to be the only survivor, unscathed by the explosion, possibly due to his alien genes. The box has stopped glowing. Stealing a dead person's motorbike, he goes off in search of other survivors. He is killed in an accident and found a few days later by survivors. While the survivors investigate his body, they discover the box, which begins to glow green. The survivors are killed, and the plasma escapes from the box a possesses a lone black survivor, his face unseen at this point.
The survivor begins to speak, and his face is slowly revealed to be that of Morgan Freeman's, with glowing green eyes: "1992, best remembered as the year in which the greatest man who ever lived - Langsta - was born. 2012, best remembered as the year in which 6 billion people were simultaneously killed by an extraterrestrial tyrant. 2012, the year of Siobhan."
The movie's gloomy ending is topped off with the joyful "Singin' in the Rain" as an homage to A Clockwork Orange, not the Gene Kelly movie, as the credits roll.
Narrator - Morgan Freeman
Morgan Freeman plays the Narrator.
Langsta - Jonathan Ke Quan
Jonathan Ke Kuan, perhaps best known for his roles as Short Round in Indiana Jones and the Temple of Doom and Data in The Goonies, has taken a break from acting in recent years to focus on the stuntwork aspects of filmmaking. This will be his first major film role in over twenty years, as he attempts to fill the prestigious shoes of Langsta.
Siobhan - Chow Yun-Fat
The true father of Langsta is played by none other than Chow Yun-Fat.
The Colonel - Scott Weiland
Basquiat - Slash
Think of Basquiat as a goofier, less threatening version of Chigurh from No Country For Old Men.
Last edited:
Langsta
Well-Known Member
James Purefoy - Himself
Where would a Langsta musical autobiopic be without James Purefoy? Hell, where would a Langsta film period be without James Purefoy?
Bass - Nathan Fillion
They say that everyone perceives him differently. Bass loves Fillion, so why not?
Jesus Christ - Naveen Andrews
Louise - Cate Blanchett
Binary Sunset:
Soundtrack:
"Flagpole Sitta" - Harvey Danger
"Learn to Fly" - Foo Fighters
"Control" - Puddle of Mudd
"Shine" - Collective Soul
"The Way" - Fastball
"Buddy Holly" - Weezer
"You Get What You Give" - New Radicals
"Two Princes" - Spin Doctors
"High Enough" - Damn Yankees
"Barely Breathing" - Duncan Sheik
"Over the Hills and Far Away" - Led Zeppelin
"Under the Bridge" - Red Hot Chilli Peppers
"How I Could Just Kill a Man" - Rage Against the Machine
"Blurry" - Puddle of Mudd
"99 Red Balloons" - Goldfinger (cover of Nena original)
"Major Tom" - Plastic Bertrand (cover of Peter Schilling original)
"Kickstart My Heart" - Motley Crue
"Binary Sunset" - John Williams ("Force Theme" from Star Wars)
"Eternal Light" - Clint Mansell ("Lux Aeterna" from Requiem For a Dream)
"Where is My Mind" - The Pixies
"Singin' in the Rain" - Performed by Langsta (soundtrack exclusive cover Arthur Freed and Nacio Herb Brown original)
Where would a Langsta musical autobiopic be without James Purefoy? Hell, where would a Langsta film period be without James Purefoy?
Bass - Nathan Fillion
They say that everyone perceives him differently. Bass loves Fillion, so why not?
Jesus Christ - Naveen Andrews
Louise - Cate Blanchett
Binary Sunset:
Soundtrack:
"Flagpole Sitta" - Harvey Danger
"Learn to Fly" - Foo Fighters
"Control" - Puddle of Mudd
"Shine" - Collective Soul
"The Way" - Fastball
"Buddy Holly" - Weezer
"You Get What You Give" - New Radicals
"Two Princes" - Spin Doctors
"High Enough" - Damn Yankees
"Barely Breathing" - Duncan Sheik
"Over the Hills and Far Away" - Led Zeppelin
"Under the Bridge" - Red Hot Chilli Peppers
"How I Could Just Kill a Man" - Rage Against the Machine
"Blurry" - Puddle of Mudd
"99 Red Balloons" - Goldfinger (cover of Nena original)
"Major Tom" - Plastic Bertrand (cover of Peter Schilling original)
"Kickstart My Heart" - Motley Crue
"Binary Sunset" - John Williams ("Force Theme" from Star Wars)
"Eternal Light" - Clint Mansell ("Lux Aeterna" from Requiem For a Dream)
"Where is My Mind" - The Pixies
"Singin' in the Rain" - Performed by Langsta (soundtrack exclusive cover Arthur Freed and Nacio Herb Brown original)
Last edited:
moonmaster
Without him, all of you would be lost souls roamin
- Joined
- Feb 23, 2005
- Messages
- 13,670
I'm finished writing the Kid A pitch and just about done with all the graphics. I just need to do a cast.
This pitch is long. Like, really long. Like, I've actually written and included dialog long.
This pitch is long. Like, really long. Like, I've actually written and included dialog long.
Langsta
Well-Known Member
Pardon my stupidity, but what's a Kid A?
Last edited:
one of the most interesting albums ever.
linky: Kid A
this concert from Paris in 2001 should tell you everything you need to know about the music of kid a
(about half of the tracks are from kid a, the other half are from its follow up album, amnesiac)
tracks in the playlist from kid a are:
Morning Bell
The National Anthem
How To Disappear Completely (which is one of the most beautiful songs ever)
In Limbo
Idioteque
Everything In Its Right Place
Motion Picture Soundtrack
songs from the album not played at the concert: Kid A, Treefingers, Optimistic
I highly recommend getting the album. You probably won't like it at first because it's weird and not very immediately likeable, but give it about 3 or 4 listens through and it'll grow on you to become one of your favorites.
linky: Kid A
this concert from Paris in 2001 should tell you everything you need to know about the music of kid a
(about half of the tracks are from kid a, the other half are from its follow up album, amnesiac)
tracks in the playlist from kid a are:
Morning Bell
The National Anthem
How To Disappear Completely (which is one of the most beautiful songs ever)
In Limbo
Idioteque
Everything In Its Right Place
Motion Picture Soundtrack
songs from the album not played at the concert: Kid A, Treefingers, Optimistic
I highly recommend getting the album. You probably won't like it at first because it's weird and not very immediately likeable, but give it about 3 or 4 listens through and it'll grow on you to become one of your favorites.
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Langsta
Well-Known Member
Thanks. I just listened to some of it online.
moonmaster
Without him, all of you would be lost souls roamin
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Yeah, I'll be including links to a music site that has most of the tracks uploaded and free to listen to so that anyone who wants to hear it will get the chance.
Entropy
Well-Known Member
God damn am I glad I came up with this round. This sounds like it's going to blow my mind.
Compound said:
Compound. . . that was awesome.
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moonmaster
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PART 1 OF 2
The following is a narrative interpretation of the album 'Kid A' by Radiohead. The story follows the individual songs in the order that they appear on the album. For those interested in hearing the songs for themselves, please click on the accompanying graphics.
YESTERDAY I WOKE UP SUCKING A LEMON
JUL2008Dylan Greene wakes up one morning and decides that he's going to change the world. A geneticist who has earned no recognition in his career, Dylan doesn't want to be a nobody anymore. There are laws against reproductive cloning in the UK, but **** the law. The world is sick and something in Dylan's heart is telling him what he has to do. It'll take people, money, time. But none of it matters.
Because Dylan Greene has a mission from God.
Maybe.
STANDING IN THE SHADOWS AT THE END OF MY BED
DEC2012Somewhere in London the first human clone is being born. Born to a couple who cannot conceive, it's a boy and his name is Jack, but he is known in the lab as Kid A.
DEC2013On Jack's first birthday, the world is changing. Dylan and his team produced six more clones before the British government found out and shut them down. But a campaign was begun to repeal the laws against reproductive cloning, and the campaign has gained a surprisingly strong swell of support from the public. Meanwhile, it becomes clear that Jack is not a normal child. He's developing faster than normal, he seems to have a fairly strong immune system, and we're witness to his mysterious visions and thoughts, which he never shares with anyone.
WHAT'S GOING ON?
DEC2032A ****ty little car careens around a corner, piloted by a skinny kid dressed like a sci-fi punk. He's Jack Savage. His partners is crime are his girlfriend Nora and his only real friend Max. It's not long before the cops catch up. It isn't until he's sitting in a cell that the cops figure out who he is. Kid A. The first human clone. Nora and Max were the third and sixth, respectively. They met in high school when no one else would get near them and they haven't left each other since. Jack's father arrives to bail him out, but first tells his son something that he's never been able to say before. He's ashamed of him. A high-school dropout with no real talents except an infectious sense of charisma, Jack's life is going nowhere fast. The next stage of human development is a failure.
One more thing, he says to Jack. We lied. You weren't cloned from my DNA, I didn't want to go through with it. Then who am I, asks Jack.
I don't know. I don't care.
I'M NOT HERE
THIS ISN'T HAPPENING
DEC2032Jack is in a daze. Who is he? Who is he really? He never took the time to properly consider the question, though you'd think someone in his situation would. He's never taken the time to do anything properly, really.
In subtle ways, we see how the world has changed in Kid A's 20 years. Clones have become a significant population, but there are still issues with the ethics of their very existence and their rights in society. The world's problems have exacerbated and conflagrated into a fearful new atmosphere. Climate change has become an issue of war. Countries that refuse to give up oil come under the threat of military action and the Middle East has been turned into a nations-wide holocaust. Several countries have begun using cloning technology for unauthorized purposes: army building, specifically. But none of this bothers Jack, and his point of view obfuscates the particulars from the audience, the current events only serve as a dark backdrop to his story. (Until the end of course.)
Nora pulls Jack from his spectral state of depression with the assurance that she and Max will accompany him to London in order to find out who he was cloned from.
JAN2032Jack and his friends arrive in London. In the city we get an up-close and personal look at just how sorry society is. Jack wastes no time in finding the lab where he was conceived, now the nation's leading clinic for reproductive cloning. At the clinic, he inquires about seeing the records on his conception. The staff seems surprised by his appearance and request. Jack is sent to speak with the director of the clinic.
The director explains why they prefer to keep their records secret. You can't know, he tells Jack, because you aren't meant to know, and once you do know you'll wish you didn't. It's like being told your future. What if you turn out to be someone you don't want to be? I don't care, Jack says. I can't live without knowing this. The director relents, but not before issuing one last warning: You will regret this. But you can't let it change you. No matter what happens, you're your own person and your destiny has not already been written.
With address in hand, Jack finds a dingy little flat on the second floor of a building in a bad neighborhood and knocks on the door. A man opens it.
Are you Dylan Greene?
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moonmaster
Without him, all of you would be lost souls roamin
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PART 2 OF 2
THE BIG FISH EAT THE LITTLE ONES
JAN2032Greene is old now, not too old, but the world has aged him far more than time has. He stares at Jack with tired eyes and marvels at the resemblance. I'd show you some pictures from when I was your age, he says, but I'm sure that would just freak you out even more. He asks Jack why he came here but he can't find an answer. Do you want to know what you're going to become? Maybe, Jack replies.
I'm nobody, Greene explains. You and the other kids were the only important thing I've ever done with my life. I've had three wives, a nasty problem with booze, and I've been pretty much ****ing broke for about 15 years. Is that what you want to here?
I don't know...
That's it. The most exciting part of my day is the off chance that I might get spat on by some zealot on the train who recognizes me and wants me to suffer for unleashing clones on the world. They send me death threats all the time, and you know what? Sometimes I wish they'd just go through with it. Just be done with it.
Isn't...isn't there something you can say to me? Some way that you can keep me from...from being you? Please...just tell me something.
I'd really like to help you, kid but I'm not even qualified to help myself. Just don't get any ideas in your head that you're going to make a mark on the world or do anything important. That was my mistake. Block out all the **** and just lay back and try the best you can to get as much enjoyment out of life as you can before it gets to be too much. That's good enough.
Jack begins to leave before Greene stops him. And watch your back if you plan on staying London any longer. The religious ****os in this town are everywhere these days and when they figure out that Kid A is in town, the **** is gonna hit you square in the face.
I'M LOST AT SEA
DON'T BOTHER ME
FEB2032It's a few weeks later and Jack has decided to stay in London. He's taken Greene's advice and become lost in the rich party culture of future London, filled with young people desperate to escape the circumstances of their city and their world. Running on alcohol, sex, and pills, he's become a sort of celebrity of the underground, floating through crowds of adoring fans at packed clubs.
Max has gone back home but Nora's stayed behind. Jack has abandoned her but she tries in desperation to pull him out of the destructive new life he's invented for himself. He wants nothing to do with her or anyone else who isn't trying to help him get off.
Outside of a club on a Saturday night she tries talking to him one last time but he lets her know that he doesn't give a **** what she has to say anymore. In the shuffle of the crowd that now constantly surrounds Kid A, a muffled gunshot is heard. Someone next to Jack drops to the ground and begins bleeding out onto the sidewalk. There's panic, and Jack realizes that someone is trying to kill him. A man with a cross around his neck and a gun in his hand walks right up to Jack and raises his weapon.
Do it! Jack shouts defiantly. In the moment of the man's hesitation, an alarm suddenly blares from above. Everyone stands still for a few seconds and then the screaming starts.
ICE AGE COMING
FEB2032The man with the gun sprints off and Kid A stands in the street staring straight ahead as the screams from the street blur into the wail of the sirens. Someone grabs Jack by the arm and pulls him along. Nora.
What is this, he asks.
You really don't know? Oh god, how far from reality have you been Jack? The sirens mean that they've launched the missiles. It's happening. It's really happening.
As the words leave her mouth, the world finally becomes clear again and Jack wakes up. He stops and grabs Nora and holds her. I'm so sorry, he whimpers.
There's no times, she says, pushing him away.
They run for several blocks. Where are we going, he asks. There. She points to a mob of people crowded at the base of a building at the end of the block. It's a bomb shelter, built when the threat of nuclear war started to become more real than it had been since the fifties. The place is obviously chaos. Jack and Nora are jostled through the crowd. They can only take so many people. As the two of them reach the door, Nora pushes Jack in front of her. The force of the crowd slips him into the door and suddenly the guards begin closing it behind him. He screams out in vain and he and Nora's eyes meet and don't leave each other as the door is closed between them.
People are packed into the underground cavern of the bunker. There's eerie quiet except for the sound of sobbing. Jack sits against a wall, lifeless. He doesn't even move when everything starts shaking and it starts to sound like the sky is falling down. The screams of the people in the bunker are drowned out by the booming above and the twists and crashes of noises that have surely never been heard before by human ears. It's hours before it's quiet again.
A child begins crying the crowd. Jack pays no mind until he hears random shouts of something about clones. He passively makes his way towards the commotion and finds that the crowd is holding down a small boy and a man is preparing to start hitting him. What the **** are you doing, Jack says in shock.
He's one of them, the man responds. He's a ****ing clone. Don't you know? He's why this is happening. We should've wiped them out! We should've killed them all!
Jack starts pulling the kid away from the men and that's when they realize who he is. As a wave of violence and shouting passes through the crowd, Jack clutches the boy and runs. He finds a closet along one of the walls with a steel door and slips inside. The men come pounding on the door but to no avail. Jack hold the crying boy and keeps telling him that everything will be alright. After an hour or so, the pounding stops. Jack and the child both fall asleep. When Jack wakes up, he doesn't know what time it is, but everything is suddenly completely silent.
He cautiously opens the door and feels like vomiting.
Everyone is dead.
THE LIGHTS ARE ON BUT NOBODY'S HOME,...
WALKING, WALKING, WALKING, WALKING...
WHOCARESNot everyone, says a voice a few feet away. A pale looking man sits among the bodies. Just most. Last night, everyone started getting sick. It's the radiation, someone said. Just like the government to build a bomb shelter without the proper shielding. Some people didn't look sick, just left. I don't know why. There are drugs you can take or something. I think...I think I'm just going to lay down for a little while now.
The man lies down and doesn't move. He's dead.
But I wasn't taking anything for radiation poisoning. He thinks for a moment. We're different, Jack says. He turns to the boy, still sleeping. I always knew we were made different. Our systems work better.
Jack leads the boy out of the shelter and out onto what was once maybe a street. The sky is black with soot and the streetlights are somehow still on. What time is it, Jack asks the boy, noticing that he has a watch.
Seven. Seven A.M. Jack looks up at the black sky and the hollowed out, ancient-looking buildings around him. Let's go, he says. They walk and walk and walk. They walk past ruinous structures and streets strewn with charred corpses. After walking for who knows how long, Jack stops and realizes where he is. He takes the boy into a half-demolished building, up the stairs to a dingy little flat on the second floor. Inside he finds a dead man sitting in a chair. He sits down on the floor and finally breaks down and starts crying.
A noise from the kitchen. A man walks out of the kitchen in dirty clothes, carrying a plastic shopping bag full of food and random items. His eyes go wild and he pulls out a gun and fires, hitting the boy in the side of the head. Jack looks at the boy's body for a moment, then the man. The man's eyes are watery and his mouth is open. He looks like he's just been shot himself. He starts stuttering something under his breath but can't get the words out. Jack lunges at the man with more speed than he's ever had. He tosses the gun out of his hand and grabs him by the head. He begins smashing the man's head into the edge of the kitchen counter until his body stops convulsing and the side of his face is caved in.
Jack picks the gun up and stumbles out of the apartment and back to the street.
IT'S NOT LIKE THE MOVIES
RIGHTNOWJack sits on the edge of the ash covered sidewalk as "Motion Picture Soundtrack"'s organ begins sounding. He sits and stares down at the gun for a long time. As the harps come in, he tries putting it to his head and quickly puts it down again and shakes his head. His eyes full of tears, he raises the gun again.
Human beings spend their entire lives trying to make their mark on the world, Jack thinks, and this is the mark they leave. I don't care whether anyone remembers me. I hope no one ever remembers who I am. Love is all that was ever important. And no one will ever love again. Not here. This isn't death. I'm just going somewhere else. Somewhere better.
He pulls the trigger.
I'll see you in the next life.
As the harps fade out, the camera rises out across the street, the block, the whole damn city. We see the horizon as we rise into the skies, to the clouds and through them, where the sky meets the edge of the dark, past the stars, until there are no more stars, only darkness. Darkness, and then a swell of sound.
Somewhere better.
Maybe.
Credits.
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pretty good. i overall like my interpretation a little better, but that's what the thing is with Kid A-everyone has their own interpretation, and its going to be their favorite because the album is so ambiguous that it allows you to form your own opinion. that said, i applaud your synopsis/movie.
moonmaster
Without him, all of you would be lost souls roamin
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I don't think our interpretations are too dissimilar. Your interpretation strikes me as being more "mythical" with a focus on exactly what the songs embody. With mine, I basically pulled a lot of original stuff out of thin air and made it a bit more personal because I thought it might help it function better as a film.
