Tag: Behind the Scenes

What Makes This Song Great? “Everlong” Foo Fighters – Rick Beato

@M2Mil7er
When a drum fill is so righteous, it makes a guitar instantly materialise in Rick’s hands.

@adamlewis5073
the female backing vocals – they were actually recorded over the phone, that’s why they sound lo-fi.

Sus (suspended) chords are chords where the third note is replaced by either a second or a fourth, creating a feeling of tension or unresolved sound that often leads back to a standard major or minor chord. The two main types are sus2 chords, which substitute the second note of the scale, and sus4 chords, which substitute the fourth note. They are used to add emotional tension and momentum to music, particularly in jazz, pop, and rock.

^ – Google AI overview

Laurence Olivier Trying on New Role

In the case of Long Day’s Journey one of his strategies to help him learn the lines ahead of rehearsals was to gather his fellow actors together for a series of readings of the entire play. Since the idea was that these readings should be uninterrupted I was a fairly redundant presence, but they proved useful in identifying and agreeing on certain cuts.

The first of these readings was decidedly uneasy. We were all nervous and Olivier, like the rest of the cast, was a long way from the performance he would eventually give. However, since everything he did had size, so did his present awkwardness. I was reminded of those occasions in his office at the end of a working day when he would produce a bottle of non-vintage champagne (his preferred tipple) from the fridge beside his desk and invite those present to join him. After a glass or two he would sometimes embark on some anecdote replete with impersonations and funny voices but with such excessive energy that you wanted to open a window. Those qualities of sinew and muscle that can kick a performance right to the back of a large auditorium so that everyone experiences much the same thing and which are essential to great stage acting can seem inappropriate and even embarrassing in more intimate spaces, where nuance and suggestion carry greater force.

After the reading Denis Quilley said to me, with concern rather than criticism, ‘Sir’s American accent is a bit all-over-the-place, isn’t it?’ I think we were all a little taken aback by the clumsiness of his reading. He was like a man in a straitjacket vigorously trying to punch his way free. This was unusual. His reputation was for coming to rehearsals knowing exactly what he wanted to do. On the first day of Othello he had electrified the room by giving a reading as full-throttled as a finished performance.

Stage Blood: Five tempestuous years in the early life of the National Theatre
Michael Blakemore

Noises off – Intro, Quote from

It was during the run of my very first professional show, The Two of Us, four one-acters in which Lynn Redgrave and Richard Briers played eleven characters between them. Five of those characters were in the final farce. One night I watched it from backstage, and as I saw Lynn and Richard running desperately from door to door, doing quick changes as they went, it seemed to me that this was at least as funny as what was going on round the front. It also struck me that the overwhelming obligation actors feel to make their next entrance on time, come what may backstage, was the archetype of the obligation we all feel to keep up our appearances in the world, despite all the difficulties of circumstance and the inherent waywardness of our nature. What would happen, I wondered, if the strictly ordered disorder of a farce onstage was overrun by the real disorder of the actors’ lives off…?

Noises Off
Michael Frayn

Working conditions of movie theater janitors

The major chains — AMC, Regal Entertainment and Cinemark — no longer rely on teenage ushers to keep the floors from getting sticky. Instead, they have turned to a vast immigrant workforce, often hired through layers of subcontractors. That arrangement makes it almost impossible for janitors to make a living wage.

Alvarez got hurt on the job, and a doctor recommended a lighter workload. When she made that request in April 2015, she was fired. The following year, she filed a California Labor Commission claim for unpaid wages, including overtime. The hearing officer awarded her $80,000 in back pay and penalties. But Alvarez could not collect. She did not work directly for AMC or its janitorial contractor, ACS Enterprises, which shielded them from liability. Instead, she worked for a couple — Alfredo Dominguez and Caritina Diaz — who had not even shown up to the hearing.

Even Dominguez and Diaz didn’t consider her an actual employee. In their minds, she was a contractor of a contractor of a contractor of AMC Theatres. AMC and ACS did send an attorney to fight her wage claim. In the end, the companies agreed to pay her $3,500 to go away.

Over the last eight months, Variety has investigated wage complaints from movie theater janitors across the country, reviewing class-action lawsuits, state labor commission records and investigations by the U.S. Department of Labor. A clear pattern emerged: AMC and other theater chains keep their costs down by relying on janitorial contractors that use subcontracted labor. Those janitors typically have no wage or job protections, toiling on one of the lowest rungs of the U.S. labor market.

…

After Rob Winters was barred from California, ACS took over many of his accounts, including the Regal theater at L.A. Live in downtown Los Angeles. Working conditions remained much the same, says Georgina Hernandez, who was a janitor there. She worked seven days a week, sometimes 10-11 hours a day, and was paid $400 a week. She quit after two years and took a job cleaning offices.

How America’s Biggest Theater Chains Are Exploiting Their Janitors, Variety, GENE MADDAUS