longtimeman

I know < nothing about fashion, but I love this thread.

Q&A Lana Del Rey talks about her Globe-nominated 'Big Eyes' title track
Lana Del Rey Lana Del Rey says she's long been a fan of Tim Burton, who directed "Big Eyes." (Neil Krug / Interscope) By LORRAINE ALI contact the reporter Entertainment Music Tim Burton Golden Globe Awards The Godfather (movie) Academy Awards American Beauty (movie) Lana Del Rey likes noir tones, and working with Tim Burton on “Big Eyes” was a perfectly dark matc 'When writing music, my favorite place to travel is in my imagination,' says Globe nominee Lana Del Rey Spooky midcentury paintings of big-eyed children and the equally twisted tale of the artist behind them are at the center of Tim Burton's new film, "Big Eyes." The true yet surreal story of painter Margaret Keane also resonates throughout the film's evocative title track by singer Lana Del Rey. The haunting song, "Big Eyes," now nominated for a Golden Globe, is a natural fit for Del Rey, a chart-topping pop artist who is often noted for her cinematic style. Case in point: Her last album, "Ultraviolence," is named after "A Clockwork Orange" reference and her contributions to other soundtracks, such as "Maleficent" and "The Great Gatsby," feel more like extensions of Del Rey's own work than side projects. The 29-year-old East Coast native (real name Elizabeth Woolridge Grant) spoke about working with Burton, her love of the surreal and what it's like to think in pictures.   In film as with your own records, your aesthetic is so beautifully melancholy. Is making music a sad endeavor for you?   [Laughs.] No, I really enjoy it. Making a record — it's where all the fun is. When I'm done, it's like, oh, God. I kind of go into mourning.     Wow. I would have never expected you to use the adjective "fun" when describing the process.   Sad is happy to me. I love it. When I write something bittersweet, I smile. That's why I like Tim Burton. His world has that kind of foundation too.   So you're a Burton fan?   I am a huge fan. I love "Edward Scissorhands." But it was Harvey Weinstein who wanted me to work on this. He asked six month ago if I would do a title track, then during editing he wanted one more song for the end. That ended up being "I Can Fly."   Your sound is so noirish and visual. Is the process similar when making your own music as opposed to a film track?   When writing music, my favorite place to travel is in my imagination, so having a movie like this makes it easy to go there. I can imagine another layer, what happened to Margaret [Keane, the artist played by Amy Adams], how excited she was in the beginning, how she thought she found a father for her daughter. And it turned out to be a nightmare. It's a great story to build a song around.   Right. A compelling film score should not just be echoing what you see in a film; it should, in fact, add another layer.   Tim Burton's 'Big Eyes' feels too paint-by-numbers Tim Burton's 'Big Eyes' feels too paint-by-numbers For me, the melody should also tells its own story. Whether it's minor or major, whether you choose to use a violin or a flute. In "The Godfather," so many of those little cues were just a horn or a violin. Think about the mood of the film … there was a reason why the music was so solitary.   Now your title track has a Globe nomination, competing with contemporaries like John Legend and Lorde.   I grew up watch the Oscars and Golden Globes, but I don't really remember the best song category having a lot of contemporary artists in it. But maybe it's just me because I'm more about scores.   What are some favorites?   Thomas Newman's score for "American Beauty." I remember the first time I saw the film, the score is the first thing you hear. I loved it. Or the cues that Nino Rota did for "The Godfather" or Giorgio Moroder for "Cat People." I loved writing for movies because I love anything that makes you dream. I still watch movies to dream.   Daniel Heath produced and co-wrote "Big Eyes" with you. He's been a longtime collaborator.   Yes! [Laughs.] Dan was my first boyfriend's best friend. Back then he was doing cues for reality television — the shows were terrible, but his work was beautiful. I said, "You've got to work with me on real records. The songwriting is simple: intro, verse one, a chorus, which repeats three times. The bridge is separate from everything else." That was all he needed to hear to start sending me amazing compositions. He did the title track for "Ultraviolence" for me. He adds a lot of cinema to my sound.

Q&A Lana Del Rey talks about her Globe-nominated 'Big Eyes' title track
Lana Del Rey Lana Del Rey says she's long been a fan of Tim Burton, who directed "Big Eyes." (Neil Krug / Interscope) By LORRAINE ALI contact the reporter Entertainment Music Tim Burton Golden Globe Awards The Godfather (movie) Academy Awards American Beauty (movie) Lana Del Rey likes noir tones, and working with Tim Burton on “Big Eyes” was a perfectly dark matc 'When writing music, my favorite place to travel is in my imagination,' says Globe nominee Lana Del Rey Spooky midcentury paintings of big-eyed children and the equally twisted tale of the artist behind them are at the center of Tim Burton's new film, "Big Eyes." The true yet surreal story of painter Margaret Keane also resonates throughout the film's evocative title track by singer Lana Del Rey. The haunting song, "Big Eyes," now nominated for a Golden Globe, is a natural fit for Del Rey, a chart-topping pop artist who is often noted for her cinematic style. Case in point: Her last album, "Ultraviolence," is named after "A Clockwork Orange" reference and her contributions to other soundtracks, such as "Maleficent" and "The Great Gatsby," feel more like extensions of Del Rey's own work than side projects. The 29-year-old East Coast native (real name Elizabeth Woolridge Grant) spoke about working with Burton, her love of the surreal and what it's like to think in pictures.   In film as with your own records, your aesthetic is so beautifully melancholy. Is making music a sad endeavor for you?   [Laughs.] No, I really enjoy it. Making a record — it's where all the fun is. When I'm done, it's like, oh, God. I kind of go into mourning.     Wow. I would have never expected you to use the adjective "fun" when describing the process.   Sad is happy to me. I love it. When I write something bittersweet, I smile. That's why I like Tim Burton. His world has that kind of foundation too.   So you're a Burton fan?   I am a huge fan. I love "Edward Scissorhands." But it was Harvey Weinstein who wanted me to work on this. He asked six month ago if I would do a title track, then during editing he wanted one more song for the end. That ended up being "I Can Fly."   Your sound is so noirish and visual. Is the process similar when making your own music as opposed to a film track?   When writing music, my favorite place to travel is in my imagination, so having a movie like this makes it easy to go there. I can imagine another layer, what happened to Margaret [Keane, the artist played by Amy Adams], how excited she was in the beginning, how she thought she found a father for her daughter. And it turned out to be a nightmare. It's a great story to build a song around.   Right. A compelling film score should not just be echoing what you see in a film; it should, in fact, add another layer.   Tim Burton's 'Big Eyes' feels too paint-by-numbers Tim Burton's 'Big Eyes' feels too paint-by-numbers For me, the melody should also tells its own story. Whether it's minor or major, whether you choose to use a violin or a flute. In "The Godfather," so many of those little cues were just a horn or a violin. Think about the mood of the film … there was a reason why the music was so solitary.   Now your title track has a Globe nomination, competing with contemporaries like John Legend and Lorde.   I grew up watch the Oscars and Golden Globes, but I don't really remember the best song category having a lot of contemporary artists in it. But maybe it's just me because I'm more about scores.   What are some favorites?   Thomas Newman's score for "American Beauty." I remember the first time I saw the film, the score is the first thing you hear. I loved it. Or the cues that Nino Rota did for "The Godfather" or Giorgio Moroder for "Cat People." I loved writing for movies because I love anything that makes you dream. I still watch movies to dream.   Daniel Heath produced and co-wrote "Big Eyes" with you. He's been a longtime collaborator.   Yes! [Laughs.] Dan was my first boyfriend's best friend. Back then he was doing cues for reality television — the shows were terrible, but his work was beautiful. I said, "You've got to work with me on real records. The songwriting is simple: intro, verse one, a chorus, which repeats three times. The bridge is separate from everything else." That was all he needed to hear to start sending me amazing compositions. He did the title track for "Ultraviolence" for me. He adds a lot of cinema to my sound.

http://theearlyregistration.com/2014/12/31/12314/
 
...this person stans HARD

Wait. Chuck posted a better-quality version of my favorite Lizzy pic.
 
Could it be incorporated?
 

You know what, whatever Lana does with her music, I'll be happy with it. She had me hooked for this long, so I trust that I will love her upcoming music. For some reason, we all want her to become bigger, which is exciting to watch, but honestly, fuck it. As long as she keeps making music, I'm fine with whatever happens.

I don't trust Lana when it comes to anything, except for making great music. What she's hinted at sounds like it's going to be amazing.

You can vote wahtever the fuck you feel like voting for! If you fear one of your fav songs is going to get eliminated soon, I'd recommend voting for that. But once this game is getting started you'll know what to do There's a lot of different strategies.
 
Cruel World - 5
Ultraviolence - 5
Shades of Cool - 5
Brooklyn Baby - 7
West Coast - 5
Sad Girl - 3
Pretty When You Cry - 6
Money Power Glory - 5
Fucked My Way Up to the Top - 5
Old Money - 5
The Other Woman - 5
Black Beauty - 5
Guns & Roses - 5
Florida Kilos - 4
Is This Happiness - 5
Flipside - 5

Hey
 
Have someone take pics of you when you don't expect it (mid-sentence, relaxed, sun-in-your-face...)
 
She doesn't get to "untag " herself from the Internet.

Also, FYI, this is the full image for the picture that would be the digipak centerfold or the CD inset picture if we choose the first option:
 

 
I love how well it matches the color scheme and it's a stunning picture of Coney Island. 
 
The morning-to-night theme running from the front cover-booklet-centerfold-palm trees back cover is incredibly gorgeous. I've said it so many times, but amazing work, @@PinUpCartoonBaby!

I don't trust Lana when it comes to anything, except for making great music. What she's hinted at sounds like it's going to be amazing.

8 (the horse is very gorgeous)

I don't trust Lana when it comes to anything, except for making great music. What she's hinted at sounds like it's going to be amazing.

Initially, i immediately loved the vocal grandness of  I Can Fly, but I was unable to get Big Eyes. However, now out of the two, Big Eyes has become my favorite. Both songs stand as symbols of Lana's growth as an artist, particularly, a vocal perfectionist. Big Eyes, though. Wow. It is well written, sinister in the way Lana delivers it vocally, and elegantly harsh, especially in those last lines of the second verse where Lana goes,
"Your world was burning and I stood watching
As I looked on, the flames grew high
You watched me frown
I said "goodbye" .
 
Work, Lana!
 
The first verse's "I saw you creeping around the garden; what are you hiding?" There is something about that line, the way that she sings it, as it opens the song, that captures every part of me. The image it creates is clear and vivid due to Lana's emotive skills.

It looks great! Thank you so much for all of your effort! 
 
@@Backfire
@@longtimeman
@HEARTC♡RE
@@ilovetati

This might sound very delusional but I think UV is one of the best albums of all time.

Shoot #4 July 22, 2011
 

 


 
Images from: http://www.planet-sputnik.com/locations/
 
Shoot #5 March 2, 2012
 

 
 


 
Images from: http://homeshoothome.net/residential-properties/property-1929
 
Shoot #6 March 4-5,2012 NOTE: This same set was used by Neil Krug for MAXIM
 

 


 
Images from: http://www.imagelocations.com/locations/1057

Don't worry. K is Lana fandom's holy grail. I hope we never find out, because the mystery is more interesting than us being able to say 'oh, he's Ken Jones from Pennsylvania', followed by a million comments about him being not as hot as we imagined.

Hey !
I make some fake Lana vinyls/picture disc
You can find all my vinyls and picture disc here
 


 


A:Afraid
B:Hollywood's dead:
 


 
A:Video Games
B:Without You:
 


 
Side A:Shades Of Cool
Side B:Black Beauty


 
Side A:Black Beauty
Side B:Black Beauty (demo)


 
Side A:Lolita
Side B:Diet mtn Dew


 
Side A:Shades Of Cool
Side B:Is This Happiness


 
Bonus:

 
@@Trash Magic I'm so inspired by you,all your fan arts are awesome,what do you think of my vinyls and picture disc ?
 
What do you think about my vinyls and picture disc everyone ?

Don't worry. K is Lana fandom's holy grail. I hope we never find out, because the mystery is more interesting than us being able to say 'oh, he's Ken Jones from Pennsylvania', followed by a million comments about him being not as hot as we imagined.

Don't worry. K is Lana fandom's holy grail. I hope we never find out, because the mystery is more interesting than us being able to say 'oh, he's Ken Jones from Pennsylvania', followed by a million comments about him being not as hot as we imagined.

Don't worry. K is Lana fandom's holy grail. I hope we never find out, because the mystery is more interesting than us being able to say 'oh, he's Ken Jones from Pennsylvania', followed by a million comments about him being not as hot as we imagined.

You're killing me 

For some reason, Lana's facial expressions can look different in photos than in film, and she looks less than thrilled here. Her body language is pretty clear, though.

Right! I like how the whole fandom's trying to decipher the whole story behind K, although i wouldn't mind actually finding out the truth