As the fall draws closer, it brings with it the start of Oscar season, when every studio unveils its biggest, buzziest and most dramatic films in an attempt to earn some recognition on the biggest night in Hollywood. And while every year does turn out a great deal of excellent films and incredible performances, at a certain point they all start to feel the same, with one domestic drama blending into another and period pieces all attempting to outshine each other. But there is some variety hidden amongst the Oscar bait, with some films providing original, interesting stories or creative twists on classic plots. In case you’re looking to add some variety to your fall film lineup, we’ve run down the best, most original awards bait hitting theaters this fall. Once December hits, however, it's every moviegoer for himself.
Interstellar Smack dab in the middle of Oscar season, Christopher Nolan will finally unveil his latest epic, Interstellar. Part post-apocalyptic drama, part space opera, part Hollywood blockbuster, and Phase II of the McConaissance, the film follows a group of explorers who set off in for a wormhole that will allow them to travel from one solar system to another in search of resources that can save the earth now that it’s run out of food. So, you know, just your usual low-key, easy to follow, low-stakes story. Opens: November 7
The Disappearance of Eleanor Rigby Every year, there’s at least one Oscar baity film the centers on a relationship falling apart, but The Disappearance of Eleanor Rigby puts a new spin on that old classic by creating an epic, two-part film that tells the story from both his (James McAvoy) and her (Jessica Chastain) perspectives. Since premiering at last year’s Toronto International Film Festival to rave reviews, we’ve been waiting impatiently for our chance to see the film. As it turns out, we’ll actually get two: a one-film version which blends both sides together will be released along with the original two-film version. Opens: September 12
The Boxtrolls Of all the films being released at the end of 2014 – war epics, biopics, highly-anticipated comebacks – one of the most exciting is an animated film about the friendly trolls who live under the sewers of a small English village. That’s because The Boxtrolls is the latest film from Laika, the stop-motion studio that has made such wonderful films as Coraline and ParaNorman. Like its predecessors, The Boxtrolls looks like an incredibly detailed, magical, funny adventure, but unlike them, we’re hoping that the studio will finally be able to get the recognition they deserve for their labors of love. And with no Disney or Pixar films to compete, they might finally have a shot. Opens: September 26
Gone Girl We know, we know: you’re probably sick of hearing about Gone Girl. But the buzz surrounding the film, its stars, the book it’s based on doesn’t seem to be slowing down any time soon, so you might as well embrace it. Besides, it gives us yet another opportunity to study the enigma that is Ben Affleck’s career. Will he get a third Oscar for this? Will it finally make people take him seriously as an actor and filmmaker? Are we all going to stop praising him the second the first trailer for Batman V. Superman comes out? Nobody knows. Opens: October 3
Sony Pictures Releasing
Fury It wouldn’t be awards season without a World War II drama, and 2014 is no exception. However, in addition to the typical slate of inspiring biopics and domestic dramas about the home-front, Brad Pitt and David Ayer are offering Fury. It’s a small-scale – well, as small scale as a world war gets – film about the lives and missions of a single tank crew tasked with venturing behind enemy lines, and it features a cast of acclaimed, yet underappreciated actors like Logan Lerman, Jon Berenthal, and Michael Pena. Just when you thought you’d seen every single war drama that’s been made, there finally comes one that’s actually intriguing. Opens: November 14
Kill the Messenger His Avengers co-star Robert Downey Jr. might have a higher-profile film opening that day, but we’re much more interested in Jeremy Renner’s Kill the Messenger. Based on the true story of Gary Webb, a reporter who uncovered the CIA’s connection to the Nicaraguan drug trade, the film centers on the manhunt that Webb became a part of after going public with his evidence. It’s the biggest, most intense role that Renner has had since The Hurt Locker, and after years of being overlooked in favor of his showier co-star, we’re excited to see him get some of the attention he deserves. Opens: October 10
Birdman Everyone love a comeback story, right? Well, how about one that’s a little more surreal? That’s what Michael Keaton is going for with his upcoming film Birdman, which takes places over the course of the several days in which washed-up actor Riggan Thompson, who made his name as superhero, attempts to mount a comeback with a play that he wrote, directed and is starring in. With Alejandro Gonzalez Inarritu at the helm and a cast featuring Emma Stone, Naomi Watts, and Edward Norton, we’d be interested in this even if it weren’t Keaton’s first big film in years. Opens: October 17
Beyond the Lights After winning over audiences everywhere with her breakthrough role in Amma Asante’s Belle, Gugu Mbatha-Raw is set to prove that she can do more than just period pieces with Beyond the Lights. Mbatha-Raw plays Noni, a Rihanna-like pop star struggling with being a puppet for her pushy stage mom and greedy record executives, who finds joy in a relationship with down-to-earth cop Kaz (Nate Parker). The story might be familiar to anyone who saw Britney Spears’ “Lucky” video, but it’s the perfect opportunity for Mbatha-Raw to really showcase her talent with a role that requires her to sing, dance, fall in love, and break our hearts. Opens: November 14
Tribeca Film via Everett Collection
One of the breakout films of the Tribeca Film Festival, Beneath the Harvest Sky is a gritty coming-of-age story about two teenagers desperate to get out of their tiny northern Maine town. The success of the film hinges on the performances of lead actors Emory Cohen and Callan McAuliffe, who portray Casper and Dominic's unwavering loyalty to each other as they wrestle with the expectations placed on them by their fathers. We sat down with the stars to talk about the film, the time they spent preparing for their parts in Maine, storylines for a possible sequel and why Cohen is "enticed by darkness."
How’s this whole Tribeca experience been for you guys?
Emory Cohen: It’s been good. It’s still quite early in the lineup, so we’re not tired just yet. It’s been good.
Callan McAuliffe: Yeah, not too bad.
When you came onto the project, what was it about the story or the directors or the theme that made you interested in it?
Callan: Well, for me, I was just playing the game in LA and slogging through auditions, and I did this one and they gave me the job, and that’s kind of where it started, and I was happy to do it. The bonus was that it was actually decent. But at the time, I would have taken anything. But that’s how I decided to do it: I was offered it, and I was going to be able to fly to a unique place and film something, but the thing that got me excited about it was the way they were doing it, the character that I was going to play, and the story that it was going to be.
Emory: Yeah, I was kind of the opposite. Well, I mean, I was passing on a lot of stuff and I was looking for the good indies to come around. They come around normally in the spring into the fall in New York, and when I read the script, I was taken by Casper’s loyalty and I’m really interested in people that society calls “bad” or ostracizes them or puts some label on the because I think it’s harder to find the goodness in those people, and then you have to. He was someone who had been called a troublemaker from the day he was born, and I was interested in finding the parts of him that weren’t that.
Are those the kind of characters that you intentionally seek out? Your character in The Place Beyond the Pines is of a similar breed.
Emory: I am definitely enticed by darkness. Just my imagination has always been like that, and so I’m enticed by what’s behind that. Even in the opposite sense, sometimes I’ll play characters that are good guys, but I want to find the parts of them that are a little seedy. I’m moving into more vulnerable work now, which I think is just the nature of the game. I was a New York kid, coming up to be a New York kid, that’s kind of what I was, but I’ll always be in touch with darkness. Even if they’re good people in crazed, dark circumstances, that’s what excites me.
On the other hand, you have Dominic, who, in comedy terms would be the straight man.
Callan: They’re total opposites in a way.
What was it about that character that ended up being interesting to you?
Callan: Just the fact, to be honest, that it was well-written. You know, a lot of the auditions that I do, thankfully I often don’t get them, and I think I’m really quite transparent in the room, and on the audition, probably the reason I don’t get a lot of things is that I don’t feel in touch with the character. And so obviously, it’s a very spontaneous thing, I really don’t look into it that much, because I found Dominic on the surface to be quite a simple character, and then the depth is created through the story and the interactions that he has. I don’t feel as if I can give his life story through the eyes. I think it’s a cumulative effort from all the different parts of the film. But for me, it was just the fact that I could play him without feeling uncomfortable. I felt like I could do something with the character.
The third main character in this movie is the town. Emory, you’re from New York City, and Callan, you’re from Sydney – are you from a smaller town or one closer to the city?
Callan: Sydney itself is a massive world city, but I was very in touch with the country of Australia. Even still, the country of Australia is very different historically and aesthetically to rural Maine, so it was still a very unique experience. In Australia, ever year, many times I’d go out to the country and ride a horse through fields and all that nonsense, go camping and hiking, so to be in Maine was definitely very different, it just has a different air about it, which I thought was really exciting.
Being from larger cities, how did you go about accessing the emotions that are so central to this story, and the story of being stuck in this small town?
Emory: We spent about three, three and a half weeks up there before we started shooting, just kind of living it in our different ways, and got to know a lot of people, and then we’d be shooting something that’s on the farm that’s owned by our location manager’s father. Or we’re shooting in a house with a guy that had cooked me breakfast the other day because we got to know each other and stuff like that. I spent a night in the abandoned house and the owner of that, the next day, showed up and cooked me breakfast. When you’re shooting in a location where you spent the night, and you know the owner because you had breakfast with him and talked about the Arcadian way of life, you get that in you, you’ve lived in this place, you as a human. So, it’s very easy to then live out certain experiences that a character would have because you as a human have done it.
Having that guy cook you breakfast, that’s amazing. Are the any stories or anything in particular you remember about him?
Emory: He was a great [guy]. He taught me so much, and he was one of the most interesting people I have ever met. He was just really into living his own way, and being against the grid. He has been in war, and so he was distrustful [of the government], but the things he said were so unique. He talked about going to church every Sunday, but he was not into organized religion at all, because it caused way too many wars. And you’re talking about a guy who has been camping with bears in Northern Maine, too, saying these kinds of things, so it’s an interesting dichotomy between simplicity and intellectuality.
Getting to the relationship between your characters, was there anything in this movie that you wanted to access that you haven’t seen in movies about friendship before? Or were there any movies about brotherhood that really pushed you towards this film?
Callan: You always ask people to give you unique questions, and that is one, but I have no answer to it.
Emory: My thing is that, what I really dug about the story is that everything that made Casper good was because of Dom, and maybe some stuff with Tasha. But you were not gonna see the light inside of the human being if you did not see it through Dom and through his eyes and in the film, at a certain point, I feel sometimes at the fight scene, you start to realize actually what Dom sees and he’s been saying the whole film. It’s really a credit to Aron [Gaudet] and Gita [Pullapilly, the directors] and how they did that, but that was what interested me. It was him who made me whole.
Do you think the same goes for the reverse? Is it Casper making Dominic whole?
Emory: What do you think, Dom? Did I make you whole?
Callan: You did, actually. I think the contrast in the film was quite helpful to have a character like that just in how I played it, acting wise, plus the character himself. But obviously, Casper shaped him immensely and that it was probably why Dom helped.
Emory: Listen, man. You knew that some of that stuff was happening for a while, but you did the movie. I know you’re trying to get sequels going every day, “But what if I like, run this way? I could get out that way!” This is on set, we’re shooting the biggest stunt that I’ve ever shot, and then you hear Callan go, “But I can get out!” It’s like, “Alright we’re gonna call action, and you’re not gonna do that.” “No, no, no I could easily go do that.”
Callan: It’s the first example. I could go down here in a row.
What would a sequel even be like? Would they be living in Boston, what kind of story would that be?
Callan: It would completely kill the perfect vibe of the first one. It kinds of has a definitive ending with Casper’s final scene, which I think wraps it up quite nicely without putting a bow on it.
Speaking of Boston, Emory, did it pain you to have to be a Red Sox fan?
Emory: No, I didn’t think about that too much. I’m a Mets fan anyway. I like losers because of the darkness.
Since brotherhood is such a prevalent theme in the movie, I was wondering if you think this movie says anything about brotherhood that you’ve never seen before in other films.
Emory: That I haven’t seen before? I think there’s a question of masculinity in all those kinds of films, and I don’t believe that question has been answered. I don’t think that question will ever be answered, so I think there are other films that have tried to figure it out, and our film tries again, and we show a different light, the same way they show different lights about that. I think that’s at the heart of everything about brotherhood, father, son, best friends, it’s about what does it mean to be a man, and where’s the sensitivity in those kinds of things?
A lot of the relationships between men and women in this film go south, mainly Tasha and Casper. Things were relatively okay with Dom and Emma.
Callan: Relatively is the key word there.
Do you think what you said about masculinity comes into play in the way the film depicts romance?
Callan: I think the romance as it was, was perfectly shaped by the way that it had been written, because the script was somewhat of a jumping off point, so we did have room to move in terms of how we played it, but it was all there to begin with. We flew in with a film to make, and all the relationships were set up, it was just how we went about handling it. I don’t really factor in other films that I’ve seen unless they were was a key performance that I wanted to channel, I rarely think about that sort of thing, especially because the world that we were in was so intimate and so well connected, we were all in the place where the film’s set and we were there 24/7, we were staying at the Christian Life Center, all of us, it’s like a family, sitting by the fire at night, we didn’t really need to cite any other examples or anything of that kind. The inspiration was all around us.
You can catch Beneath the Harvest Sky on VOD, Amazon and iTunes.
The Frozen soundtrack continues to wow chart experts in America after scoring an 11th week at number one on the album chart. The 2013 release, which features songs by the film's stars Idina Menzel and Kristen Bell, has just notched up its biggest sales week yet, selling 259,000 units to rule the Billboard 200 again.
The album, which has now sold a total of 2.3 million copies in the U.S., has become one of 15 soundtracks to spend at least 11 weeks at number one since Billboard began publishing a weekly chart in 1956.
It also breaks a tie with The Lion King to become the outright longest-running number one animated film soundtrack.
August Alsina's debut Testimony enters the chart at a distant number two, while rockers NEEDTOBREATHE debut Rivers in the Wasteland at three, and Jason Derulo makes his first top 10 bow with Talk Dirty at four.
Ingrid Michaelson rounds out the new top five with Lights Out.
Meanwhile, Pharrell Williams has followed up two weekends at the Coachella Valley Music & Arts Festival in California with a ninth week atop the Billboard Hot 100 singles chart.
Happy makes Williams just the sixth solo male artist to spend a cumulative six months at number one on the countdown - only Usher, Michael Jackson, Sir Elton John, Sir Paul McCartney and his Blurred Lines collaborator T.I. have spent more time atop the Hot 100.
John Legend's All of Me holds onto the number two spot on the new chart, while Jason Derulo's Talk Dirty rebounds to three.
Dance music stars Swedish House Mafia have been hit with a lawsuit after a worker was injured while setting up equipment for their performance at the Ultra Music Festival last year (13). Equipment technician Joey Green suffered a major injury just before the DJ trio played their final show at the popular Miami, Florida event last March (13).
He was installing LED lights on the main stage when one of the lighting panels fell on him, and crushed his legs.
And nearly a year after the accident, Green has hit SHM and event organisers with a lawsuit, claiming he suffered both physical and emotional damage from the accident.
The 90-minute concert was a landmark gig for the trio, which disbanded following the performance after five years together.
Heavyweight rapper Action Bronson cut short his concert in Oregon on Monday (03Feb14) after becoming embroiled in an altercation with a security guard as he lit a joint onstage. The hip-hop star was performing at the Roseland Theater in Portland when he pulled out what appeared to be a rolled-up marijuana joint towards the end of his show and began to puff away, flouting the venue's no smoking policy.
Video footage of the incident shows a bodyguard running up onstage to try and stop Bronson from getting high so publicly, but the burly rapper fights him off and shoves him across the stage as his fans shout encouragement.
Bronson abruptly ended the gig there and then, walking off as the lights of the venue were turned on, and an announcement over the loudspeakers instructed the crowd to leave.
Bronson is known for smoking onstage and has previously shared his joints by tossing them out into the audience during gigs in New York and at California's Coachella music festival last year (13).
Throughout his career, Philip Seymour Hoffman has found himself under Hollywood's brightest lights and dimmest corners.
The actor has made a clear effort to diversify his résumé over the years by floating between big blockbusters, microscopic indie-films and everything in-between, but his latest project, A Most Wanted Man, is pretty hard to classify since it's sending signals in both directions. The film is premiering at Sundance which would firmly plant it on the indie side of things (even though it's getting harder and harder to call most Sundance films indie with each passing year), but it also stars Rachel McAdams who has hardly taken a step out of the romcom genre safe zone. On the other hand, the film is based on a 2008 novel by John Le Carré, the prolific spy novelist who penned the inspiration for Tinker Tailor Soldier Spy , a movie which wasn't very mainstream at all. So just how mainstream is A Most Wanted Man going to be? We've decided to rank all of Philip Seymour Hoffman's previous film by their level of mainstream appeal, starting with the bright and flashy Hollywood heavyweights, and ending with the movies that slipped out of our collective consciousness the moment they left festival screens.
Mission: Impossible 3The Hunger Games: Catching FireTwisterAlong Came PollyScent of a WomanThe Invention of LyingWhen a Man Loves a WomanThe GetawayPatch AdamsLeap of FaithCharlie Wilson’s WarThe Boat that RockedMoneyballCold MountainAlmost FamousThe Talented Mr. RipleyNobody’s FoolHard EightState and MainThe Ides of March25th HourMy Boyfriend’s BackDoubtMoney for NothingThe Big LebowskiCapoteThe Late QuartetMontanaLove LizaRed DragonNext Stop, WonderlandBoogie NightsThe SavagesThe MasterStrangers with CandyBefore the Devil Knows You’re DeadFlawlessJack Goes BoatingMagnolia Mary and MaxPunch-Drunk LoveJoey BreakerSynecdoche, New YorkHappiness
Welsh rockers Super Furry Animals are following in Iron Maiden, Motorhead and Maximo Park's boozy footsteps by becoming the latest rockers to launch their own beer. British stars Maximo Park announced last week (ends17Jan14) that they had teamed up with brewers at Newcastle's Mordue Brewery in England to release Maximo No.5, in celebration of their fifth album, Too Much Information, next month (Feb14), and now the Northern Lights hitmakers are entering the alcohol industry too.
Fuzzy, named after the band's 1996 debut album Fuzzy Logic, has been created with tastemakers at the Celt Experience Brewery and has an alcohol content level of 8.5 per cent.
The drink will be unveiled at Wales' Fire Festival on 1 February (14).
Iron Maiden, Motorhead and Mastodon all boast their own ales and lagers too.
Last I Heard
From a military academy in NY to the bright lights of Hollywood, director David Rodriguez has become a pro at taking his films from indie to gold. He shares his passion for writing, directing and what it’s like working with an ensemble cast in his latest film, Last I Heard, premiering at the Austin Film Festival.
How do you go from the New York Military Academy to directing and writing films?
I've always been enamored with show business. I can't say however that there was a clear transition from NYMA to writing films. I lived quite a bit between NYMA and directing my first film. What I did learn…was the value of strong time management skills and that has certainly informed my process as a director.
How long have you been writing/directing?
I started writing about 16 years ago and directed my first film which I wrote in 2004.
What does being a director mean to you?
That's a loaded question, and all I will say is this; directing fulfills me personally and professionally and I can't see doing anything else. I absolutely love being on set and collaborating with a team of actors and crew that are there to bring my creative ideas and thoughts to life.
Your latest film, Last I Heard, follows a gangster just released from prison after 20 years. It’s a take I haven’t seen done before, where did the story come from?
The genesis of Last I Heard came from what I saw as a demise in NY organized crime. I'm a NY '80s kid and what I saw then in the news, as compared to what I've seen now is quite different. I'm also very aware of social issues and the affect they have on the older American generation, so I felt like a deteriorating gangster thrown into having to deal with some serious social issues was a recipe for a great and original story.
The film has done very well in the festival circuit premiering at the Seattle International Film Festival, Hollyshorts Film Festival, Director’s Guild of America and the upcoming Austin Film Festival. Tell us a little about taking a film on the road with festivals.
When I made my first feature, the idea of traveling to different festivals was exhilarating. I now understand that festivals are designed to promote your film. The business of being part of a festival is daunting. You really hope your film is well received, so I do try to make it to each festival and after each screening, I find myself scouring the internet for reviews, hoping that critics love the film as much as I felt the audience had. I feel very fortunate that the love everyone had for making Last I Heard has translated into a solid film. So far festival audiences are liking it and that's all we can hope for.
Last I Heard was the first feature-length film to ever premiere at Hollyshorts. How did that come about?
I had a short film premiere at HollyShorts a few years before. It was actually a pilot presentation / TV sample called ‘The Blue Wall’ that my agent at the time thought played well as a short. The guys at HollyShorts felt it would be an inspiring thing for short filmmakers to see a feature from a director who had a short at the same fest a few years before. I feel like they may have found some success in this and hopefully we established a new standard for the festival.
You chose an all-star cast. Did you have these actors (Paul Sorvino, Michael Rapaport) in mind when writing the film?
I definitely had those guys in mind from the beginning. Working with Paul and Michael was an amazing experience. Any time you're able to work with master actors like those guys makes your time on set much easier than normal. I've learned over the years that no matter the star power of an actor, they all want to be directed. I also had Renee Props, Chazz Palminteri, Steven Bauer, Paul BenVictor, Hassan Johnson and Lev Gorn on set and that was only a part of the ensemble cast. The experience also showed in how fast I was able to move while still capturing unbelievable performances. We shot the film in 18 days and during the last week, we were looking for scenes to add on to the day. Each day was scheduled for twelve hours and the last few days we were done just after lunch. If anything, that's what experience across the board gets you.
Tell us a little about your heritage. Does this influence your films?
I'm Puerto Rican by both parents. My dad's family were new to the island via Barcelona, Spain and I do speak, read and write Spanish fluently. I'm not sure that my heritage influences my work directly but, I do have that blue collar DNA in me which is what drives me to work hard toward the professional goals I've set for myself.
What’s next for you?
I was fortunate to have sold a show to AMC called The Street Attorney this past summer. However, I'm open to everything at this point but, my main focus at this time is breaking into episodic directing. The idea of working frequently in a great time in television appeals to me more than sitting at home dialing for dollars in order to get another indie feature made. The indie business is so hard right now and fortunately, I've written and directed three features, but unfortunately, I don't have a trust or a rich family.
Last I Heard will screen at The Austin Film Festival, Tuesday October 29.
Emmett/Furla/Oasis Films and Morgan Creek Productions have come together to resurrect Tupac Shakur on the silver screen.
A biopic about the late rapper, simply titled Tupac, will be released in 2014. The film will be shot in Atlanta. Alfeni Shakur, Tupac's mother, will be an exectutive producer for the project.
Seventeen years ago, Tupac Shakur was cut down in a drive-by-shooting that changed hip-hop forever. The rap community, and the music world in general, was left with a gaping void that could never be filled. Through the release of posthumous albums, his recent hologram performances, and a few conspiracy theories, however, it sometimes feels like that Tupac never really left us. Now that there's a chance to immortalize the legend in film, the perfect actor needs to be cast. But portraying a man with such a legendary persona will be a tall order for even the most talented young actor. Tupac possessed an electric charisma and fierce intelligence, but also had a hardened edge to him. You would need an actor that would be able to convey all of these qualities in a multifaceted performance. The actor would also need to be able to spit Tupac's lyrics with a convincing amount street cred and gravitas. Here are our picks for possible candidates that could do the role justice.
Michael B. JordanA choice that is almost too obvious. We've seen Jordan's range in projects stretching from his stints on shows like Friday Night Lights and Parenthood, to his layered performance in Fruitvale Station that has even garnered Academy Award attention.
Chadwick BosemanChadwick Boseman wowed us with his heartfelt and intense performance in 42. The actor has a certain presense that allowed him to step into a role like Jackie Robinson with ease, and would also allow him to play a great Tupac.
Anthony MackieAnthony Mackie gets a nod for already having some experience. The actor already played the late rapper in the 2009 film Notorious, a film centered on the life and death of Tupac's east coast rival The Notorious B.I.G.. Mackie is a fine actor whose performance in Notorious left us wanting more of his interpretation of Tupac.
Mechad BrooksMechad Brooks is a talented actor that has had supporting roles in shows like Desperate Houswives and True Blood. Brooks hasn't had the chance to flex his acting muscles on a really meaty role as of yet, but a part like this one could really jump start his career and show the world that he's more than just a pretty face and a pile of abs.
More:Tupac at Cochella: The Greatest Holograms in HistoryJennifer Hudson in 'Winnie Mandela' BiopicThe Five Best Hip-Hop Mixtapes of 2013
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Lady Gaga has had enough of the criticism facing her latest single "Applause," and she took to Twitter to clarify a few things for the masses. Unfortunately, she only succeeded in making it worse.
Here's the tweetscript, then we'll discuss:
1. "'Applause' is a very meaningful song to me, because it addresses what many think of 'celebrities' today, that we 'do it' for the attention."
2. "But some of us are 'artists' in this group called 'celebrity,' & what we create doesn't live on unless theres an audience to remember it."
3. "So I may need your attention at first, so I can sing you my song. But its the 'Applause' after that let me know if I've entertained you."
4. "Entertainment makes people happy, I live for the 'Applause,' to know I've spread that. I live to hear you cheer, to just be a part of that."
5. "I believe in show business. The 'Applause' is what breeds that thing that I love. When I know i've made you happy. When I know it was good."
So, let's dissect this a bit. First, according to Gaga, celebrities don't do their work for attention from the public. In fact, they are "artists." But, apparently, Gaga doesn't think her art is worth creating unless there is an audience to enjoy it. Furthermore, she needs that audience attention — the applause — for validation that the art she created was good.
I thought art was about creative fulfillment. I thought art was about expression. I thought art was about catharsis. I did not think art was about validation, or was a synonym for entertainment, or needed to make people happy. Lady Gaga:
More:All the People Lady Gaga Imitated in Her 'Applause' VideoStop Threatening to Light Me on Fire: The Lady Gaga/Katy Perry BeefLady Gaga Bares All in NSFW 'Art' Video
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