The kisses of the sunWere sweetI didn't blinkI let it in my eyesLike an exotic dreamThe radio playing songsThat I have never heardI don't know what to sayOh, not another wordJust -la la la la la-It goes around the worldJust -la la la la la-It's all around the worldJust -la la la la la-And everybody's singingLa la la la la-And now the bells are ringingLa la la la la la la la..Inside an empty roomMy inspiration flowsNow wait to hear the tuneAround my head it goesThe magic melodyYou want to sing with meJust -la la la la la-The music is the keyAnd now the night is goneStill it goes on and onSo deep inside of meI long to set it freeI don't know what to doJust can't explain to youI don't know what to sayOh, not another wordJust -la la la la la-It goes around the worldJust -la la la la la-It's all around the worldJust -la la la la la-And everybody's singingLa la la la la-And now the bells are ringingLa la la la la la la la..The kisses of the sunAround - around - around the worldLa la la la la-It goes around the worldJust -la la la la la-It's all around the worldJust -la la la la la-And everybody's singingLa la la la la-And now the bells are ringingLa la la la la la la la..Around - around - around the worldLa la la la la la la la..
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[Verse 1]
The kisses of the sun Were sweet, I didn't blink I let it in my eyes Like an exotic drink The radio playin' songs That I have never heard I don't know what to say Oh, not another word [Pre-Chorus] Just la, la, la, la, la It goes around the world Just la, la, la, la, la It's all around the world Just la, la, la, la, la And everybody's singin' La, la, la, la, la And now the bells are ringin' [Chorus] La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la [Verse 2] Inside an empty room My inspiration flows, now, wait to hear the tune Around my head it goes, a magic melody You want to sing with me, just la, la, la, la, la The music is the key and now the light is gone Still it goes on and on So deep inside of me, I long to set it free I don't know what to do Just can't explain to you, I don't know what to say Oh, not another word [Chorus] Just la, la, la, la, la It goes around the world Just la, la, la, la, la It's all around the world Just la, la, la, la, la And everybody's singin' La, la, la, la, la And now the bells are ringin' [Chorus] La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la [Bridge] The kisses of the sun Around, around, around.. [Chorus] La, la, la, la, la It goes around the world Just la, la, la, la, la It's all around the world Just la, la, la, la, la And everybody's singin' La, la, la, la, la And now the bells are ringin' [Chorus] La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la La, la, la, la, la – la, la, la, la, la, la, la
La La Land is a 2016 American romantic comedymusical film written and directed by Damien Chazelle. It stars Ryan Gosling as a jazz pianist and Emma Stone as an aspiring actress, who meet and fall in love while pursuing their dreams in Los Angeles.
Having been fond of musicals during his time as a drummer, Chazelle first conceptualised the film alongside Justin Hurwitz while attending Harvard University together. Moving to Los Angeles in 2010, Chazelle wrote the screenplay but did not find a studio willing to finance the production without changes to his design. Following the success of his 2014 film Whiplash, the project was picked up by Summit Entertainment. Filming took place in Los Angeles from August to September 2015, with the film's score composed by Hurwitz and the dance choreography by Mandy Moore. La La Land premiered at the 73rd Venice International Film Festival on August 31, 2016, and was released in the United States on December 9, 2016. It grossed $446 million worldwide against a production budget of $30 million.
La La Land was critically praised, particularly for Chazelle's screenplay and direction, Gosling and Stone's performances, musical score, musical numbers, cinematography, and production design. Both the American Film Institute and National Board of Review selected La La Land as one of the top ten films of 2016.[5][6] It won a record-breaking seven awards from its seven nominations at the 74th Golden Globes and received eleven nominations at the 70th British Academy Film Awards, winning five awards, including Best Film. It also received a record-tying fourteen nominations at the 89th Academy Awards, including Best Picture; it won in six categories, including Best Director and Best Actress for Stone.
Plot[edit]
While stuck in Los Angeles traffic, aspiring actress Mia Dolan has a moment of road rage with Sebastian Wilder, a struggling jazz pianist. After a bad day at work, Mia's subsequent audition goes poorly when the casting director takes a call in the middle of an emotional scene. That night, Mia's roommates take her to a lavish party in the Hollywood Hills, promising her that someone in the crowd could jump-start her career; but she is forced to walk home in disappointment after her car is towed.
During a gig at a restaurant, Sebastian slips into a jazz improvisation despite warnings from the owner to only play songs from a traditional Christmas setlist. Mia overhears him playing as she passes by. Moved, she enters the restaurant to witness Sebastian being fired for his disobedience. As he storms out, Mia attempts to compliment him, but he brushes her off. Months later, Mia runs into Sebastian at a party where he plays in a 1980s pop cover band. After the gig, the two walk to their cars and lament wasting a lovely night together despite the clear chemistry between them.
Sebastian arrives at Mia's work, and she shows him around the Warner Bros.backlot, where she works as a barista, while explaining her passion for acting. Sebastian takes Mia to a jazz club, describing his passion for jazz and his desire to open his own club. Sebastian invites Mia to a screening of Rebel Without a Cause; Mia accepts, forgetting a commitment with her boyfriend Greg. Bored with the latter date, she goes to the theater and finds Sebastian as the film begins. The two conclude their evening with a visit to the Griffith Observatory.
After more failed auditions, Mia decides, at Sebastian's suggestion, to write a one-woman play. Sebastian begins to perform regularly at a jazz club, and the two move in together. Sebastian's former classmate Keith invites him to be the keyboardist in his jazz fusion band, where he will enjoy a steady income. Although he is dismayed by the band's pop style, Sebastian signs after overhearing Mia trying to convince her mother that Sebastian is working on his career. The band finds success, but Mia attends one of their concerts and realizes that this is not the type of music Sebastian wants to perform. During the band's first tour, Mia and Sebastian get into an argument; she accuses him of abandoning his dreams, while Sebastian claims she liked him more when he was unsuccessful. Sebastian misses Mia's play due to a band photo shoot that he had forgotten about. The play is a disaster; few people attend, and Mia overhears dismissive comments. Mia is unwilling to forgive Sebastian for missing the play and ends their relationship. Despondent and unable to pay the theater back, Mia moves back home to Boulder City, Nevada.
Sebastian receives a call from a prominent casting director who attended Mia's play and wants to invite her to a film audition. Sebastian drives to Boulder City and persuades Mia to attend. During the audition, Mia is asked simply to tell a story; in response, she sings 'Audition (The Fools Who Dream)', a story about her aunt's lost loves. Sebastian, confident the audition was a success, encourages Mia to devote herself to film acting. The two profess they will always love each other but are uncertain of their future.
Five years later, Mia is a famous actress and is married to another man, David, with whom she has a daughter. One night, the couple stumble upon a jazz bar. Noticing the 'Seb's' logo she had once designed, Mia realizes Sebastian has opened his club. When Sebastian notices Mia in the crowd, he plays their love theme on the piano, and a dream sequence unfolds in which the two imagine what might have been had both their relationship and their careers thrived. Mia shares a poignant smile with Sebastian, then leaves with her husband.
Cast[edit]
Cast list adapted from Fandango.[7]
Production[edit]Pre-production[edit]
Damien Chazelle first conceived the idea for the film while attending Harvard University with Justin Hurwitz, the film's composer
As a drummer, Damien Chazelle has a predilection for musical films.[8] He wrote the screenplay for La La Land in 2010, when the film industry seemed out of reach for him.[9] His idea was 'to take the old musical but ground it in real life where things don't always exactly work out,'[8] and to salute creative people who move to Los Angeles to chase their dreams.[10] He conceived the film when he was a student at Harvard University with his classmate Justin Hurwitz. The two explored the concept in their senior thesis through a low-budget musical about a Boston jazz musician, Guy and Madeline on a Park Bench.[11][12] Chazelle was moved by the tradition of 1920s city symphony films, such as Manhattan (1921) and Man with a Movie Camera (1929), that paid tribute to cities.[13] After graduating, both moved to Los Angeles in 2010 and continued writing the script, but made a few modifications, such as altering the location to Los Angeles instead of Boston.[11]
Rather than trying to match L.A. to the charms of Paris or San Francisco, he focused on the qualities that make the city distinctive: the traffic, the sprawl, and the skylines.[13] The style and tone of the film were inspired by Jacques Demy's The Umbrellas of Cherbourg and The Young Girls of Rochefort, especially the latter, which was more dance and jazz-oriented.[14] The film also makes visual allusions to Hollywood classics such as Broadway Melody of 1940,Singin' in the Rain,The Band Wagon and An American in Paris.[15] About An American in Paris, Chazelle commented: 'That's a movie that we just pillaged. It's an awesome example of how daring some of those old musicals really were.' [16] It shares some character development and themes with Chazelle's previous musical work, Whiplash; Chazelle said:
He said that both films reflect his own experiences as a filmmaker working his way up the Hollywood ladder.[10]La La Land in particular is inspired by his experience of moving from the East Coast with preconceived notions of what L.A. would be like, 'that it was all just strip malls and freeways.'[13]
Chazelle was unable to produce the film for years as no studio was willing to finance an original contemporary musical, with no familiar songs. It was also a jazz musical, which The Hollywood Reporter called an 'extinct genre'. He believed that since he and Hurwitz were unknown at that time, it might have made financiers dubious about the project's potential.[18][11] Chazelle found producers through friends who introduced him to Fred Berger and Jordan Horowitz. With the two producers on board, the script went to Focus Features at a budget of around $1 million. The studio demanded alterations: the male lead was asked to be changed from a jazz pianist to a rock musician, the complicated opening number had to be altered, and the story's bittersweet ending needed to be dropped. Chazelle scrapped the project and moved on.[11]
Chazelle later wrote Whiplash, which was an easier concept to sell and a less risky investment.[19] After Whiplash was well received by critics upon its premiere at the 2014 Sundance Film Festival in January, Chazelle continued his efforts to bring La La Land to the big screen.[11] A year later, when Whiplash earned five Oscar nominations at the 87th Academy Awards, including Best Picture, and grossed nearly $50 million worldwide off a $3.3 million production budget, Chazelle and his project began to attract attention from studios.[18]
Five years after Chazelle wrote the script,[20]Summit Entertainment and Black Label Media, along with producer Marc Platt, agreed to invest in La La Land and distribute it. They had been impressed by the critical and commercial success of Whiplash.[10] Lionsgate's Patrick Wachsberger, who previously had worked on the Step Up franchise, pushed Chazelle to increase the film's budget since he felt high-quality musicals could not be made cheaply.[21]
Casting[edit]
Initially, Miles Teller and Emma Watson were slated to star in the leads. Watson dropped out because of a commitment to the 2017 musical adaptation of Beauty and the Beast, while Teller departed via long contract negotiations.[9] Conversely, Gosling turned down a role as the Beast in Beauty and the Beast in favor of La La Land.[22] Chazelle decided to make his characters somewhat older, with experience in struggling to make their dreams, rather than younger newcomers just arriving in Los Angeles.[11]
Emma Stone plays Mia, a struggling actress in Los Angeles.[18] Stone has loved musicals since she saw Les Misérables when she was eight years old, saying that 'bursting into song has always been a real dream of mine', and that her favorite film is the 1931 Charlie Chaplin romantic comedy City Lights.[18][8] She studied pom dancing as a child, with a year of ballet.[18] She moved to Hollywood with her mother at the age of 15 to pursue a career, and struggled constantly to get an audition during her first year. When she did, she often was turned away after singing or saying just one line.[23] Stone drew from her own experiences for her character of Mia, and some were added into the film.[17]
Ryan Gosling learned tap dancing and piano for his role
She met Chazelle in 2014 while she was making her Broadway debut in Cabaret. Chazelle and Hurwitz saw her perform on a night when the actress had a cold.[18][24] She met with Chazelle at Brooklyn Diner in New York City, where the director outlined his vision for the planned film.[25] Stone gained confidence from performing in Cabaret to handle the demands of the film.[25] In preparation for her role, Stone watched some of the musical movies that inspired Chazelle, including The Umbrellas of Cherbourg and Fred Astaire and Ginger Rogers collaborations.[20] Stone accepted the offer because Chazelle was so passionate about the project.[25]
Ryan Gosling plays Sebastian, a jazz pianist.[18] Like Stone, Gosling drew from his own experiences as an aspiring artist. One incident was used for Mia. Gosling was performing a crying scene in an audition and the casting director took a phone call during it, talking about her lunch plans while he was emoting.[18][23][26] Chazelle met with Gosling at a bar near the latter's home in Hollywood Hills, when Gosling was about to begin filming for The Big Short.[11]
Chazelle cast the two immediately after Summit bought the film.[10] He said the two 'feel like the closest thing that we have right now to an old Hollywood couple' as akin to Spencer Tracy and Katharine Hepburn, Fred Astaire and Ginger Rogers, Humphrey Bogart and Lauren Bacall, and Myrna Loy and William Powell.[17] The film marked the third collaboration between Gosling and Stone, following Crazy, Stupid, Love (2011) and Gangster Squad (2013).[27] Chazelle asked the two about their audition disasters when they were both trying to make it.[23] Both learned how to sing and dance for the film's six original tunes.[11]
The rest of the cast – J. K. Simmons, Sonoya Mizuno, Jessica Rothe, Callie Hernandez, Finn Wittrock, Rosemarie DeWitt, John Legend, Jason Fuchs, Meagen Fay – were announced between July and August 2015.[28][29][30][31][32][33] Legend plays Keith, a long-time friend of Sebastian.[18]
The film was choreographed by Mandy Moore. Rehearsals took place at a production office in Atwater Village, Los Angeles over the span of three to four months, beginning in May 2015. Gosling practiced piano in one room, Stone worked with Moore in another, and costume designer Mary Zophres had her own corner of the complex.[18][11] Gosling, with no previous experience, had to learn how to play the piano, as no hand models were used.[34] Moore emphasised working on emotion rather than technique, which Stone said was key when they filmed the Prius car scene.[18] To help his cast and crew get their creative mode flowing, Chazelle held screenings on the soundstages every Friday night of classical films that had inspired him for the film, including The Umbrellas of Cherbourg, Singin' in the Rain, Top Hat, and Boogie Nights.[11]
Filming[edit]
From the beginning, Chazelle wanted the film's musical numbers to be filmed 'head to toe' and performed in a single take, like those of the 1930s works of Fred Astaire and Ginger Rogers.[25] He also wanted the film to emulate the widescreen, CinemaScope look of 1950s musicals such as It's Always Fair Weather. Consequently, the movie was shot on celluloid film (not digitally) with Panavision equipment in CinemaScope's 2.55:1 aspect ratio, but not in true CinemaScope as that technology is no longer available.[35][36][37][38]
Chazelle wanted Los Angeles to be the primary setting for his film, commenting that 'there is something very poetic about the city I think, about a city that is built by people with these unrealistic dreams and people who kind of just put it all on the line for that.'[8] Principal photography on the film officially began in the city on August 10, 2015,[39] and filming took place in more than 60 locations both in and near Los Angeles, including the Angels Flight trolley in downtown, houses in the Hollywood Hills, the Colorado Street Bridge, the Rialto Theatre in South Pasadena, the Warner Bros. studio lot, the Grand Central Market, Hermosa Beach's Lighthouse Café, Chateau Marmont Hotel, and the Watts Towers, with many scenes shot in one take. It took 40 days to complete shooting, finishing in mid-September 2015.[11][40][41]
The opening pre-credits sequence was the first to be shot,[11] and was filmed on a closed-off portion of two carpool direct connector ramps of the Judge Harry Pregerson Interchange, connecting the I-105 Carpool Lane to the I-110 Express Lanes, leading to Downtown Los Angeles. It was filmed in a span of two days, and required over 100 dancers.[10][42] For this particular scene, Chazelle wanted to give a sense of how vast the city is.[13] The scene was originally planned for a stretch of ground-level highway, until Chazelle decided to shoot it in the 105–110 interchange, which arcs 100 feet (30 m) in the air. Production designer David Wasco said, 'I thought somebody was going to fall off and get killed.' Not every portion of the highway was blocked.[11] Chazelle compared the scene to the yellow brick road leading to the Emerald City in The Wizard of Oz (1939).[11]
The Angels Flight (pictured), which was shut down for about four years, including at the time of the filming, was re-opened for a single day exclusively for the film to shoot a scene
Chazelle scouted for 'old L.A.' locations that were in ruins, or were perhaps razed. One such example was the use of the Angels Flight trolley, built in 1901. The funicular had been closed in 2013 after a derailment. Attempts were made to repair and re-open the railway, but to no avail. However, the production team was able to secure permission to use it for a day. Chazelle and his crew then arranged to have it run for shooting (it was re-opened to the public in 2017).[13] Mia works at a coffee shop on the Warner Bros. studio lot; Chazelle considered studio lots to be 'monuments' of Hollywood. Production designer Wasco created numerous fake old film posters. Chazelle occasionally created names for them, deciding to use the title of his first feature, Guy and Madeline on a Park Bench (2009) for one poster, which reimagines it as a 1930s musical.[13]
The six-minute-long Prius car scene had to be completed during the brief 'magic hour' moment at sunset. It took eight takes and two days to shoot it.[18] When Ryan Gosling and Emma Stone finally nailed it, 'everybody just exploded,' Stone said.[25] Since Gosling and Stone were not primarily dancers, the two made a number of mistakes, especially during long uninterrupted single-take musical numbers. However, Chazelle was very sympathetic towards them, understanding their lack of experience and not minding their errors.[20] While shooting Sebastian and Mia's first dance together, Stone stumbled over the back of a bench, but picked right up and kept on going with the scene.[20]
The argument during the romantic dinner that Sebastian prepared for Mia was one of the scenes that was re-written more than any other. Gosling and Stone also helped create the dialogue of the scene to get it to be one of the more realistic scenes in a film filled with fantasy and fantastical elements.[43]
Chazelle spent nearly a year editing the film with editor Tom Cross, as the two were primarily concerned with getting the tone right.[11]
Music[edit]
The songs and score for La La Land were composed and orchestrated by Justin Hurwitz, Chazelle's Harvard University classmate, who also worked on his two prior films.[18] The lyrics were written by Pasek and Paul,[25] except for 'Start a Fire', which was written by John Legend, Hurwitz, Marius de Vries and Angelique Cinelu.[44] A soundtrack album was released on December 9, 2016, by Interscope Records, featuring selections from Hurwitz's score and songs performed by the cast.[44]
Release[edit]
La La Land had its world premiere as the Venice Film Festival's opening night film on August 31, 2016.[45][46] The film also screened at the Telluride Film Festival,[47] the Toronto International Film Festival, beginning September 12, 2016,[48] the BFI London Film Festival,[49] the Middleburg Film Festival in late October 2016, the Virginia Film Festival, held at the University of Virginia on November 6, 2016, and the AFI Fest on November 15, 2016.[50]
The film was originally set for a July 15, 2016, release;[51] however, in March 2016, it was announced the film would be given a limited release starting December 2, 2016, before expanding on December 16, 2016.[52] Chazelle stated that the change was because he felt that the release date was not right for the context of the film, and because he wanted to have a slow rollout beginning with the early fall film festivals.[17] The film was later pushed back a week to December 9, 2016, with the wide release still being planned for December 16, 2016.[53] Lionsgate opened the film in five locations on December 9, 2016, and expanded it to about 200 theaters on December 16, 2016, before going nationwide on December 25, 2016. The film went fully wide on January 6, 2017,[41] with a release into select IMAX theaters a week later.[54]
La La Land was released in the United Kingdom on January 12, 2017.[55] The film was released in the Netherlands on December 22, 2016, and in Australia on December 26, with the rest of the territories planned for a release from mid-January 2017.[56]
Home media[edit]
Lionsgate released La La Land on Digital HD on April 11, 2017, and Blu-ray, Ultra HD Blu-ray and DVD on April 25, 2017.[57]
Reception[edit]Box office[edit]
La La Land grossed $151.1 million in the United States and Canada and $295 million in other territories for a worldwide total of $446.1 million, against a production budget of $30 million.[4]Deadline Hollywood calculated the net profit of the film to be $68.25 million, when factoring together all expenses and revenues for the film, making it one of the top 20 most profitable releases of 2016.[58]
La La Land began its theatrical release with a limited release in five theaters in Los Angeles and New York City on December 9. It made $881,107 in its opening weekend, giving the film a per-theater average of $176,221, the best average of the year.[59][60][61] In its second week of limited release, the film expanded to 200 theaters and grossed $4.1 million, finishing 7th at the box office. It was an increase of 366% from the previous week and good for a per-theater of $20,510.[62] The following week, the film had its wide expansion to 734 theaters, grossing $5.8 million for the weekend (including $4 million on Christmas Day and $9.2 million over the four days), and finishing 8th at the box office.[63] On January 6, 2017, the weekend of the Golden Globes, the film expanded to 1,515 theaters and grossed $10 million over the weekend, finishing 5th at the box office.[64] In its sixth week of release, the film grossed $14.5 million (a total of $16.9 million over the four-day weekend for Martin Luther King Jr. Day), finishing 2nd at the box office behind Hidden Figures.[65] After receiving its 14 Oscar nominations, the film expanded to 3,136 theaters on January 27, 2017 (an increase of 1,271 from the week before) and grossed $12.1 million (up 43% from its previous week's $8.4 million).[66] During the weekend of February 24–26 (the weekend of the Academy Awards) the film grossed $4.6 million, exactly the same amount it grossed the previous weekend.[67] The next week, following its six Oscar wins, the film grossed $3 million.[68]
Around La La La Zippyahsre LiveCritical response[edit]
Emma Stone's performance garnered critical acclaim and earned her the Academy Award for Best Actress
Critics praised the film's screenplay, direction, acting, score, and the chemistry of Gosling and Stone.[69][70][71][72] The review aggregatorRotten Tomatoes gives the film an approval rating of 91% based on 425 reviews, with an average rating of 8.64/10. The website's critical consensus reads, 'La La Land breathes new life into a bygone genre with thrillingly assured direction, powerful performances, and an irresistible excess of heart.'[73] On Metacritic, which assigns a normalized rating based on reviews, the film has a weighted average score of 93 out of 100, based on 53 critics, indicating 'universal acclaim'.[74] It was the third- and sixth-highest scoring film released in 2016 on each respective site.[75][76] Audiences polled by CinemaScore gave the film an average grade of 'A–' on an A+ to F scale,[77] while PostTrak reported audiences gave an 81% overall positive score and a 93% 'definite recommend'.[65]
Peter Travers of Rolling Stone gave La La Land four stars out of four, describing it as 'a hot miracle' and complimenting its musical numbers, particularly the opening scene. He went on to name it his favorite movie of the year.[78]Michael Phillips of the Chicago Tribune similarly lauded the opening sequence, in addition to highlighting Stone's performance, stating 'she's reason enough to see La La Land.' Despite being less enthusiastic about Gosling's dancing and the film's middle section, Phillips nevertheless gave the film four out of four stars, declaring it 'the year's most seriously pleasurable entertainment'.[79]A.O. Scott of The New York Times praised the film, stating that it 'succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity'.[80]Peter Bradshaw of The Guardian awarded the film five out of five stars, describing it as 'a sun-drenched musical masterpiece.'[81] Tom Charity of Sight & Sound stated, 'Chazelle has crafted that rare thing, a genuinely romantic comedy, and as well, a rhapsody in blue, red, yellow and green.'[82] Writing for The Boston Globe in December 2016, Ty Burr summarized the effectiveness of the film to relate to audiences stating: '..the movie traffics in the bittersweet happiness of treasuring things that are vanishing, like the unrealized future imagined in the climatic dance number, or those inky, star-filled dance floors that go on forever in old movies, or Hollywood musicals themselves. Or jazz: Sebastian has an early moment at a nightclub where he passionately sticks up for the music he loves. 'It's dying on the vine,' he says. 'And the world says 'Let it die. It had its time.' Well, not on my watch.' In that scene, he speaks for the director. By the end of 'La La Land,' he's speaking for all of us.'[83]
The film was criticized by some for its treatment of race and jazz. Kelly Lawler of USA Today noted that Gosling's character has been referred to as a 'white savior' by some critics, due to 'his quest (and eventual success) to save the traditionally black musical genre from extinction, seemingly the only person who can accomplish such a goal.'[84] The sentiment was also expressed by Ruby Lott-Lavigna of Wired,[85] Anna Silman of New York,[86] and Ira Madison III of MTV News.[87]Rex Reed of the New York Observer also took aim at the film's intention to emulate the MGM musical classics, writing that 'the old-fashioned screenplay, by the ambitious writer-director Damien Chazelle, reeks of mothballs', and that 'the movie sags badly in the middle, like a worn-out mattress that needs new springs'.[88] The South China Morning Post remarked that aside from its racial treatment of jazz, much of the public criticism was towards the film being “a little dull”, the two leads' singing and dancing being considered unexceptional, and the lack of nuance in Stone's character, with Gosling's occasionally seen as insufferable.[89]
Accolades[edit]
Hurwitz, Chazelle, and Stone at the Mill Valley Film Festival in October 2016
La La Land received eleven nominations at the 70th British Academy Film Awards, more than any other film of 2016.[90] The film won in the categories of Best Film, Best Director, Best Actress in a Leading Role (for Stone), Best Cinematography, and Best Film Music.[91]
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At the 74th Golden Globe Awards, La La Land received a leading seven nominations.[92] The film won in all seven categories for which it was nominated, setting a record for the most Golden Globes won by a single film, namely Best Motion Picture – Musical or Comedy, Best Director, Best Actor – Comedy or Musical (for Gosling), Best Actress – Comedy or Musical (for Stone), Best Screenplay, Best Original Score, and Best Original Song ('City of Stars').[93]
At the 89th Academy Awards, La La Land received a leading six awards, including Best Director, Best Actress (for Stone), Best Cinematography, Best Original Score, Best Original Song ('City of Stars'), and Best Production Design.[94] The film received a total of 14 nominations, tying the record for most nominations by a single film with All About Eve (1950) and Titanic (1997). Its other nominations were Best Picture, Best Actor (for Gosling), Best Original Screenplay, Best Film Editing, Best Costume Design, a second nomination for Best Original Song ('Audition (The Fools Who Dream)'), Best Sound Editing, and Best Sound Mixing.[95]
Best Picture Oscar gaffe[edit]
During the Oscars ceremony, presenter Faye Dunaway incorrectly announced that La La Land had won Best Picture, reading from the card Warren Beatty opened, which was actually a duplicate of the Best Actress card for Emma Stone.[96] After the cast and crew of La La Land took the stage, it took the show's producers more than two minutes and nearly three speeches to fix the mistake. The actual winner was Moonlight.[97]
See also[edit]References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=La_La_Land_(film)&oldid=901832504'
'La La La' is a song released by British record producer Naughty Boy, featuring vocals from Sam Smith. It was released on 18 May 2013 as the second single from Naughty Boy's debut album Hotel Cabana (2013) and it appears on the deluxe version of Smith's debut album In the Lonely Hour (2014). The track reached number one on the music charts for 26 countries, including the UK Singles Chart. Upon its release, it was confirmed by the Official Charts Company as the fastest-selling single of 2013 in the UK.[3] By the end of 2013, the song was the sixth fastest-selling single of the year in the UK, selling 145,000 copies in the first week.[4]
Production and composition[edit]
According to Naughty Boy, 'La La La' was conceived from experiences similar to the song 'Don't Speak' by No Doubt, which 'came from something [he] felt'. He states that, 'It was just before everything popped up and she was somebody I neglected while I was trying to find me. When I found me, she found it best to neglect me. It's cool.. Covering my ears like a kid and saying, 'La. La. La.' It's the man-kid in me.'[5]
'La La La' was written by Khan, Jonny Coffer, Al-Hakam El Kaubaisy, Frobisher Mbabazi, James Murray, Jimmy Napes, Mustafa Omer, and Sam Smith.[6] Although Naughty Boy originally intended to write the song with Emeli Sandé, she was on tour at the time, and he wrote it with Sam Smith instead. Naughty Boy said 'It just had to be Sam because where it went from there is perfect.'[7] Naughty Boy and Komi produced the track, with co-production handled by Mojam.[6] The song was produced using Logic Pro, FL Studio 11 and Reason.[8] It was recorded and mixed at Cabana Studios (Ealing Studios) in Ealing, West London, and mastered by Stuart Hawkes at Metropolis Mastering Studios in London, UK.[6] The song was finished in three hours,[9] and was the last done for Hotel Cabana.[10]
'La La La' plays for three minutes and 40 seconds. The piece is performed in F♯ minor, with the chord progression of F♯m—C♯m—Bm followed for most of the song, and Sam Smith's vocals range two octaves, from C♯4 to C♯6. The song performs in common time at a tempo of 126 beats per minute. The track has tones of liquid drum and bass and old-school garage, and a hook layered with a Hindi and Bollywood vocal sample, taken from the sample collection 'The Sounds of India'.[11]
Release[edit]
'La La La' premiered on BBC Radio 1Xtra in May 2013.[12] Smith and Naughty Boy performed 'La La La' at the 2013 Jingle Bell Ball held by Global Radio.[13]
The track's producer and co-writer Komi also released a remix ('La La La' – Komi and JL remix) which received considerable airplay.[14]
Music video[edit]
A music video to accompany the release of 'La La La' was first released on YouTube on 18 April 2013 at a total length of four minutes and three seconds.[15] The video is directed by Ian Pons Jewell (who studied at the University College for the Creative Arts, now the University for the Creative Arts)[16] and shot in four days[9] in La Paz, Salar de Uyuni and Potosí (Cerro Rico), Bolivia. Ian Pons Jewell was commissioned by Virgin EMI to create the concept for the video, which focuses on a child's magical journey. Jewell said that others compared the video to the Wizard of Oz and a local legend of the demon El Tío and that both legends influenced the concept of the video.[17]
Synopsis of the video[edit]
The video starts with the opening of a door marked with the number 1111, a number related to be a sign of change. In the music video,[15] a young boy is being verbally abused by a man who is presumably his father. Looking out of his apartment window, he sees an unusually dressed man and his dog standing on the pavement outside. This man could be the representation of the 'Ekeko', a South American figure representative of good luck and abundance. The boy then puts his fingers in his ears and begins singing 'La la la' in response to his father's outburst. Running out of the apartment, the boy joins the mysterious figure outside and pets his dog. Seeing the boy outside, the father picks up an egg from a bird's nest on the window-sill and throws it down at the boy.
The boy and dog run away and the scene cuts from evening to daytime. The boy is walking the dog along a city street, in what is inferred to be La Paz, Bolivia, and he goes into a store front and downstairs. In the basement of the building, he finds a gymnasium and a scared-looking man who is covered in dust; this man looks like a disgraced 'Ekeko.' The man holds a stereo which is providing music for a group of women doing aerobics with one woman who is obviously a leader and abuses both the man and the others since their mascara is running down their cheeks from crying. The boy encourages the man to leave, but he appears reluctant. The boy then mimes the act of putting his fingers in his ears and singing 'La la la', and the man responds by turning off the volume on the stereo. The leader begins yelling at the man, and he puts his fingers in his ears and sings 'La la la' in response to her tirade. The dusty man, boy and dog leave the gymnasium and are followed by the woman who yells after them as they leave.
The pair then come across an ice cream vendor on the street; a popular figure easy to find on the streets of some South American cities. The boy gives him some coins, and he takes out what appears to be a human heart from a collection in his cart. He holds the heart in the air, the boy looks at him and then slips it inside the jacket pocket of the dusty man. Echoing the Tin Man in The Wizard of Oz, the man now has a heart. The boy then looks onto the road and sees a traffic policeman dressed in an unusually colored police uniform with an elephant-like mask covering his face. His uniform, as well as his exaggerated nose and ears, are made of herringbonetweed. The traffic policeman is dancing as he directs traffic, but the cars and pedestrians seem to ignore him. The boy once again mimes plugging his ears to the policeman, who then performs the gestures himself. This figure is reminiscent of artists and clowns who often perform on the streets in South American cities for money. The three leave together with the dog, and the scene cuts to their journey into a mountainous region outside of the city. They walk along disused railway tracks and pass a discarded, unplugged television that still shows images on the screen. Their journey takes them across long plains of salt flats, with the traffic policeman carrying the sleeping boy and the dusty man walking the dog.
The scene cuts to nightfall where they have set up a camp fire. The boy sleeps in the arms of the traffic policeman while the dusty man holds and pats the dog. The scene cuts to the next day, where they walk up a hillside towards an abandoned mine. Leaving the dog tied at the entrance, they enter the mine. They discover El Tío sitting immobile at the end of a tunnel. At the sight of the figure, the boy begins crying and is hugged and comforted by both men. The men then leave, and the boy remains kneeling before the figure and singing 'la la la' with his fingers in his ears. The video ends with the two men and the dog walking away from the mine.[citation needed]
Critical reception[edit]
Lewis Corner of Digital Spy gave the song a positive review, stating:
As the Wizard of Oz reimagining in the accompanying music video suggests, Naughty Boy is at his best when presenting tales of heartbreak with an otherworldly streak. 'Yes our love is running out of time/ I won't count the hours, rather be a coward/ When our words collide,' newcomer Sam Smith confesses to his beau over rattling beats and bewitching synths. It results in a soulful, ear-snagging masterpiece that will go down.[18]
Accolades[edit]
It won in both the 'Best Song' and 'Best Video' categories at the 2013 MOBO Awards.[19][20] The song was nominated for a 2014 BRIT Award for Best British Single.[21]
Commercial performance[edit]
'La La La' was announced to be the fifth biggest-selling song of 2013 in the United Kingdom.[22] Its video was the eighth most popular YouTube video of 2013, and the United Kingdom's top trending video of the year.[23] By September 2017, it had sold 1.07 million copies in the UK.[24] In the United States, it reached number nine on the BillboardPop Digital Songs chart.[25]
Usage in media[edit]
The frame between the 1:30 and 1:31 which shows the young boy at the gym with his fingers in his ears was used in a campaign against the use of a certain type of dangerous firework called 'Pokerata' in the Peruvian National Police's Facebook account.[26] However, none of the major radio stations in Peru have aired or actually airs the song.
Track listing[edit]
Credits[edit]
Charts and certifications[edit]
Release history[edit]
See also[edit]References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=La_La_La_(Naughty_Boy_song)&oldid=892431170'
'Around the World (La La La La La)' is the debut single by German Eurodance group ATC (also known as A Touch of Class). The song is a cover of the Russian hit 'Pesenka' by Ruki Vverh! and uses the song's melody with additional English lyrics. Both songs feature the phrase 'la la la la la' in a call and response format.
The song is ATC's most successful single, reaching the top 20 in most countries where it was released.
Background[edit]
'Around the World (La La La La La)' was released as ATC's debut single from their debut album Planet Pop on May 9, 2000 in Europe, and on May 17, 2002 in the United Kingdom. It was produced and recorded by German producer Alex Christensen with its melody almost entirely based on 'Pesenka'. The single reached number one on the German Singles chart in 2000.[1] It also reached number one in Austria and Switzerland, and the Top 20 in Australia, Belgium, Canada, the Netherlands, Finland, France, Italy, Sweden, United Kingdom, Denmark, Poland, Romania and Scotland. It peaked at 24 in the Irish Singles Chart.
The song was also a surprise one-hit wonder in the United States, peaking at number 28 on the US Billboard Hot 100 and having a chart run of several months. It was later featured on the 2001 compilation album Now That's What I Call Music! 6. However, because of scant promotion for the album and a lack of touring in the USA and Canada, follow-up singles failed to make any impact in North America.
In 2002, the song was released for the first time in the United Kingdom in a newly remixed version, peaking at number 15.[2]
Track listings[edit]
Music video[edit]
The music video was filmed in 1999, and part of it was filmed in a pedestrian tunnel near Internationales Congress Centrum Berlin in Berlin, Germany.
A yellow Melkus RS 1000 with a blue license plate containing the text 'ATC' features in the video. The car was perhaps chosen because of its Gull-wing door. It is seen drifting or dashing through the tunnel. In between shots of the car moving, you can see the group members dancing in a room with a small swimming pool. They dance on a small stage, and never enter the water.[3]
In popular culture[edit]
In 2007, the song was released with new lyrics as 'Magic Melody' by German pop group beFour. 'Sing La La La', an interpolation of the song, was released by Colombian/Italian singer Carolina Márquez featuring Flo Rida and Dale Saunders in 2013. A cover version of the song was used in a television commercial for General Electric in the United States in February 2002 during the 2002 Winter Olympics.[4]
Charts and certifications[edit]
R3hab version[edit]
In 2019, Dutch DJ R3hab released a cover version titled 'All Around the World (La La La)', with the band being credited as A Touch of Class.
Weekly charts[edit]
See also[edit]References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Around_the_World_(La_La_La_La_La)&oldid=905175948'
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