Le rivelazioni sul film {pag.3 la protesta dei fans}

Michael Jackson's This Is It" was not supposed to be it.

"I am sorry there had to be a movie," says Kenny Ortega of his latest feature-length film. "This is not the way I wanted to tell this story."

But death brings incontrovertible finality, even for a global icon like Jackson. Whatever it says on the contracts, whatever the desires of the nervous executives controlling the budgets, whatever the desires of the loyal fans, all further live appearances get canceled. Only recorded images remain.

And from the moment on June 25 when Jackson was pronounced dead in Los Angeles -- rendering moot the final preparations for the London series of Jackson comeback concerts Ortega was directing -- this was a film that Ortega, who owes Jackson a good hunk of his career (he directed Jackson's concert tours in the '90s) and who loved him from the bottom of his heart, had no choice but to make.

For one thing, there were at least three sources of footage from the rehearsals for these concerts, slated to begin in July.

The first was from a two-camera crew that originally was creating an archival record of the process for Jackson's personal use. "Michael documented everything," Ortega says. "The way we started constructing this show was by looking at his old documentary footage." The second was the interactive, 3-D films that had already been made by Jackson and Ortega, and that were intended to be shown on the massive high-definition screen planned for the O2 arena. The third was material shot by a separate crew that was filming documentary-style footage -- interviews and the like -- that would have been an addendum to the likely movie version of the live Jackson London concerts, had they gone well.

Had they gone at all.

So there was footage. There was, demonstrably, massive public demand -- there are well-considered predictions that "This Is It," which opens in theaters the evening of Oct. 27 and is slated for a two-week limited run, will likely have the most lucrative opening of any movie in history. There were business interests from those (most notably the concert promoter, AEG Live) looking to recoup some of their massive costs for the aborted concerts. And there was a desire by the Jackson estate to get such a film made, thus benefiting Jackson's children, among others. The result was a reported $60 million deal between the Jackson estate, AEG Live and Sony Pictures, the company making the movie and the recipient of all of that footage. The footage is being closely guarded to stoke interest in the film. Only the briefest of clips have been released.

Sony wanted Ortega at the creative helm.

"I didn't raise my hand to make this film," says Ortega in a Chicago hotel room on Friday. "I wouldn't have come up with this idea even. The idea of creating a film out of these remnants came from the estate. I said no. No thank you. I can't. I'm too emotional. It's too soon."

But it quickly dawned on Ortega that the movie was going to be made with or without him. After all, he didn't own the footage or control where it went or how it was shaped.

"This is sacred documentation of Michael Jackson's last theatrical endeavor," Ortega says. "I am in it. And to have put that in the hands of someone else, however fine and sensitive a filmmaker, would have been irresponsible."

And so Ortega made the decision to do the film and use it as a tool to pay tribute to Jackson and to show the world what those concerts would have looked like had they been completed. "We have taken these remnants, some of which are better than others, and created a mosaic that will show what Michael was trying to accomplish."

And what was that? Ortega says Jackson's rationale for the concerts was a mix of a desire to give something back to his fans, to bring attention to the various environmental and peacekeeping causes that Jackson cherished, to get back in the live game after a decade-long absence, and, most of all, a wish to show his beloved children what their dad really did for a living.

Thus, the narrative arc of the movie is a replication of what would have been the narrative arc of the concert. Songs appear in the same order. Ortega says Jackson had rehearsed almost everything in the show. The brief clips made available suggest he was still very much performance-capable and wholly recognizable as the iconic performer ticket-buyers were hoping to see.

"We were just a couple of numbers away," Ortega says. "We were ready for Michael to step into 'Dirty Diana.' He'd already been part of the conceptualization of the number. On the afternoon of the day he died, he was going to step into the number. And then we still had to do the 'We are the World' and the 'Heal the World' sequence. We had the skeleton, but we were going to put those together in London because there were children's choirs involved." Other than that, Ortega says, Jackson had rehearsed everything and can now be seen doing so.

The film is unlikely to reveal much about Jackson's health or his state of mind, and it contains no sops to his detractors. For one thing, Sony's deal with the estate prohibits footage that portrays Jackson in a negative light. But deal or no deal, Ortega has no interest in such footage. "Michael was one of the best people I have ever met," Ortega says. "He was innocent, but not naive. And he had been put through hell. ... When Michael Jackson invites you in, you invest yourself in taking care of him. We were the builders. He was the architect. We're tried to make a film that we think Michael would enjoy."

Then again, Ortega is not naive. He says there were days when he worried about Jackson's health. "We did not live together," Ortega says. "We did our work and we went home. I wasn't with him 24 hour a days. I would ask him if he (was) eating. There were days when I felt he wasn't getting stronger."

Asked point-blank if he was certain that Jackson would have triumphed at O2, Ortega paused for a moment, and then said that he was a nervous director and had only become truly confident at the end of the superstar's life.

"He wasn't nervous at any point. Remember, he'd been doing this, these epics, since he was a baby. He knew life has obstacles, life has stakes. ... But that last couple of nights, he'd kicked into a new gear. He'd made us all believers."
fonte:chicago tribune

This Is It "non avrebbe dovuto essere questo!.
"Mi dispiace che sia diventato un film", spiega Kenny Ortega circa la lunghezza del film. "Questo non è il modo in cui avrei voluto raccontare questa storia".
Ma la morte porta alla fine incontrovertibile, anche per una icona globale come Jackson.
Qualunque cosa dica il contratto, qualunque siano i desideri dei dirigenti di controllo dei bilanci, qualunque siano i desideri dei fan fedeli, tutte le apparizioni sono annullate. Rimangono solo le immagini registrate.
E dal momento in cui il 25 giugno Jackson è stato dichiarato morto a Los Angeles - mentre provava gli ultimi preparativi per la serie di concerti a Londra che Ortega stava dirigendo - ha deciso che non aveva altra scelta da fare poichè lo amava dal profondo del suo cuore. Il film di Jackson è un pezzo della sua carriera.
Per prima cosa, ci sono almeno tre fonti da cui sono tratti i filmati delle prove per questi concerti, previsti per luglio.
Il primo da un equipe di due telecamere che avrebbe dovuto finire in archivio per uso personale di Jackson.
"Michael documenta tutto", ha detto Ortega. "Il modo in cui abbiamo iniziato a costruire questo spettacolo è stato guardanre i suoi vecchi filmati documentario".
La seconda è la ripresa in 3-D, che era già stata fatta da Jackson e Ortega, destinata ad essere visualizzata sul grande schermo ad alta definizione per l'O2 Arena.
Il terzo è stato girato da un equipe che stava filmando il documentario con interviste e simili che sarebbe stato un aggiunta alla probabile versione film del live dei concerti a Londra, se fosseri andati bene.
Se fossero piaciuti a tutti.
Così è stato girato. Vi è una grande domanda di pubblico - ci sono le previsioni che "This Is It", che sbarcherà nei cinema la sera del 27 ottobre ed è in programma per due settimane a conduzione limitata, sarà probabilmente il più redditizio di qualsiasi film nella storia.
Ci sono gli interessi delle imprese (in particolare l'organizzatore di concerti, AEG Live) che stanno cercando di recuperare una parte dei loro costi enormi per i concerti.
E c'era il desiderio di fare un documentario per i bambini di Jackson. Il risultato è stato un affare di 60 milioni di dollari tra Jackson, AEG Live e Sony Pictures, la società che realizza la visione del film e il destinatario di tutto questo film, gelosamente custodito al fine di ravvivare l'interesse per il film.
sono stati rilasciati brevissimi clip.
Sony ha voluto Ortega al timone .
"Non ho alzato la mano per fare questo film", dice Ortega in una stanza d'albergo di Chicago. "Io non avevo questa idea. Ho detto di no. No, grazie. Non posso. Sono troppo emotivo. E 'troppo presto ".
Ma ben presto mi resi conto che il film sarebbe stato effettuato con o senza di me.
"Questa è la documentazione sacra di Michael Jackson per la sua ultima apparizione in uno spettacolo", ha detto Ortega.
E così Ortega ha preso la decisione di fare il film per rendere omaggio a Jackson e di mostrarlo al mondo come se quei concerti fossero stati realizzati. "Abbiamo preso i migliori momenti e abbiamo creato un mosaico che mostra ciò che Michael stava cercando di compiere".
Ortega ha detto che Jackson è stato mosso dal desiderio di restituire qualcosa ai suoi fan, di portare l'attenzione sulle varie cause ambientali e di mantenimento della pace, per tornare dal vivo dopo un decennio di lunga assenza, e sopratutto per il desiderio di mostrare ai suoi diletti figli cosa fosse davvero il loro papà.
Così la trama del film è una replica di quello che sarebbe stato l'arco del concerto.le canzoni appaiono nello stesso ordine. Ortega ha detto che Jackson aveva provato quasi tutto lo spettacolo. Le clip rese disponibili suggeriscono che era ancora molto molto capace e del tutto riconoscibile.
"ci mancavano solo 2 numeri alla fine", ha detto Ortega. "Eravamo pronti per 'Dirty Diana.' Aveva già fatto parte della concettualizzazione del numero. lo avremmo realizzato il pomeriggio del giorno della sua morte. E poi avremmo voluto fare 'We are the world' e 'Heal the world'.
Avevamo le basi, ma dovevamo metterle insieme a Londra, perché erano coinvolti anche cori di bambini . " Oltre a questo, dice Ortega, Jackson aveva provato tutto.
Il film non rivela molto sulla salute di Jackson, o il suo stato d'animo, e non contiene alcun POS per i suoi detrattori. Per prima cosa è stato vietato ogni filmato che ritrae Jackson in una luce negativa. Ma Ortega non ha alcun interesse a rendere un film del genere. "Michael è stato una delle persone migliori che io abbia mai incontrato", ha detto Ortega. "Era innocente, ma non ingenuo. E lui era stato trascinato all'inferno. ... Quando Michael Jackson ti invita, è naturale prendersi cura di lui. Eravamo i costruttori. lui era l'architetto. abbiamo provato a fare un film che sarebbe piaciuto a Michael ".
Poi di nuovoOrtega, "non è ingenuo". Dice che ci sono stati giorni in cui si preoccupava della salute di Jackson. "Non vivevamo insieme", ha detto Ortega. "facevamo il nostro lavoro e tornavamo a casa. Io non ero con lui 24 ore al giorno. gli chiedevo se mangiava. C'erano giorni in cui sentivo che era sempre più forte."
gli hanno chiesto a bruciapelo se fosse certo che Jackson avrebbe trionfato a O2. Ortega si è fermato per un attimo, e poi ha detto che era veramente fiducioso.
"Non era nervoso. Ricordatevi, che faceva questo, da quando era un bambino.
Sapeva che la vita è piena di ostacoli, la vita va vissuta. ... Ma le ultime notti, prendeva a calci la nuova attrezzatura lasciandoci increduli".
traduzione:childhood mjfa

grazie...se prendeva a calci l'attrezzatura vuol dire che sentiva che c'era qualcosa che non andava

In the footage, Michael Jackson comes across as many things: an arresting performer who still possesses a vast arsenal of streetwise dance moves at age 50. A snappy dresser fond of Froot Loop-hued clothing. A take-charge field general who authoritatively issues orders to his collaborators from the stage. A creative force who was personally invested in the smallest details of his concerts.

But not a dying man.

On Oct. 28, for a limited two-week engagement, Sony Films will release "Michael Jackson's This Is It" -- a feature-length documentary comprised of video footage from rehearsals for what would have been Jackson's return to performing. After a 12-year touring absence, Jackson was set to embark on "This Is It," a series of 50 sold-out concerts at London's O2 Arena. Exclusive footage that Sony Films screened for The Times provides a revealing glimpse of Jackson's take-charge side that few outside the singer's inner circle have seen until now.

"He was the conductor. He was the man," said the movie's director Kenny Ortega, who worked closely with Jackson as director of "This Is It." "He didn't just work through a show, he worked each audience differently. And the band, the dancers, the tech people, the lighting people had to be paying attention to that. He made sure everyone was in touch with that."


--------------------------------------------------------------------------------
For more on Chris Lee's exclusive first look at footage from "Michael Jackson's This Is It," check back Sunday at latimes.com/thisisit
--------------------------------------------------------------------------------
Although the singer died on June 25 of acute intoxication by the powerful anesthetic propofol, the footage gives no indication that Jackson was in anything less than good health. And according to his director, choreographer and backup dancers, he was focused, emotionally prepared and fit.

"He was a true dancer," said Daniel Celebre, a "This Is It" backup dancer. "Always moving. He could not stay still."

Fellow dancer Timor Steffens added: "You'd get nervous standing next to Michael. That energy coming from him was so powerful."

In one clip, edited together from four separate performances of his 1983 hit single "Human Nature," Jackson appears sinewy -- thin, to be sure, but not painfully so -- as he effortlessly executes a number of pop-locking-inspired dance moves. Unaccompanied by "This Is It's" retinue of 11 dancers, his singing and dancing (as opposed to the elaborate staging, illusions and aerial dancing being developed for "This Is It") are in the spotlight. And those loyal to the King of Pop will not likely be disappointed: Jackson's ethereal falsetto sounds strong and clear, his movements vigorous and precise.

A second sequence is plotted around a high-tech tableau that was to have been the concerts' visual cornerstone: a 90-foot electronic scrim that Ortega refers to as "the world's largest high-definition 3-D video screen." A metal scaffolding designed to resemble the steel girders of a skyscraper in the process of being built looms in front of the digital projection of a New York cityscape; dancers, dressed as construction workers, lounge on its beams snapping their fingers. The sequence, conjured up by Jackson, is an homage to Lewis Hine, a turn-of-the-century photographer whom the pop icon admired.

Jackson arrives onstage to sing his 1987 single "The Way You Make Me Feel" wearing one of his trademark fedoras and a seersucker blazer. But he interrupts the segment's Broadway musical-like staging to give instructions to the dancers.

"I gotta cue that so you gotta watch me for that growl," Jackson says, with uncharacteristic forcefulness.

The choreography later in the scene is straight out of the song's original music video, which features the singer walking along a city street at night singing to and trying to cajole a young woman to take his romantic overtures seriously.

At the end of the sequence, Jackson can hardly contain his enthusiasm.

"I feel totally, totally nourished!" he exclaims.
fonte:l.a.times

il film non fornisce alcuna indicazione sulla salute di Michael ma secondo il direttore, il coreografo e i ballerini era emotivamente preparato e in forma.
"Era un vero ballerino", ha detto Daniel Celebre "Sempre in movimento. Non riusciva a stare fermo".
Timor Steffens ha aggiunto: "i piedi si fanno nervosi accanto a Michael. La sua energia era così potente."
In un clip è accompagnato da un corteo di 11 ballerini, i suoi canti e le danze (in contrasto con la messa in scena elaborata, le illusioni e le danze aeree in corso di sviluppo per "This Is It") sono sotto i riflettori. E i fans del Re del Pop probabilmente non saranno delusi: il suo falsetto, il suono etereo forte e chiaro della sua voce, i suoi movimenti vigorosi e precisi.
La seconda sequenza è high-tech, il più grande filmato ad alta definizione 3d .
Un ponteggio progettato per assomigliare alle travi d'acciaio di un grattacielo di New York, ballerini, vestiti come operai edili,Michael sulle travi schioccando le dita. La sequenza è un omaggio a Lewis Hine, un fotografo che lui amava.
Jackson avrebbe cantato"The Way You Make Me Feel" indossando una fedora e un blazer.
"guardate che grinta"dice.
La coreografia presenta il cantante camminare lungo una strada urbana di notte cantando e cercando di persuadere una giovane donna a prendere sul serio le sue dichiarazioni romantiche.
Alla fine della sequenza, Jackson fatica a contenere il suo entusiasmo.
"Mi sento completamente, totalmente inebriato!" esclama.

traduzione: childhood mjfa

Grazie Titti!

chissà che significava quel prendere a calci l'attrezzatura....

2009-10-19 11:47:22 - It is rumoured that Michael was also secretly working on a project which would have included a duet with Yolanda Soares, written exclusively for both of them by Swiss based Lyric writer Alexandre De Lusignan Fan-Moniz.


Even by Hollywood standards, the secrecy surrounding the release of "This Is It" is extraordinary.

Rings of armed guards, body scanners and a nerve-racking multimillion-dollar auction for the rights to show Michael Jackson's intense preparation for his doomed O2 concerts which has now left a gap in the schedule of many other dancers and performers lives, including that of Portuguese



music sensation Musician Yolanda Soares, of "MUSIC BOX" fame.

We recently had the privilege to speak to the men, and women turning the King of Pop's last days into the biggest money-spinner of all time

For the pizza boy carrying his Domino's white cardboard box with its trademark red logo, it felt like any typical working day in Hollywood. He arrived at the entrance to Sony studios and passed the security guard at the gate. He was pointed in the direction of a nondescript building, towards the back of the Culver City lot; he parked his scooter, walked across the car park and headed towards a steel door.

Which was when he realised that this was no ordinary delivery?

For one thing, eight armed guards ringed the brick building.

He wondered whether he had come to the right place. But then one waved at him and passed a hand-held electronic scanner over him before ushering him through a door. Once inside, his pizza rapidly cooling, the delivery boy underwent a full airport-style security check. He turned out his pockets and put the contents, including his mobile phone, into a plastic container that was run through a scanning machine. The pizza was placed in a plastic basket and scanned, too.

Now he was accompanied by another guard, who escorted him into a lift. The guard used his pre-programmed card to take them up to the second level of the building. Out of the lift he walked across a small walkway to another door, where another guard checked his credentials again, until finally, at a reception desk, he was allowed to hand over the pizza.

After leaving his pizza the delivery boy was then accompanied back down the lift, and scanned once more before being allowed out of the building.

This was not the end of the journey for the pizza, however. After the contents were consumed the box was placed with all the other rubbish collected from this building and the whole lot scanned to make sure that no USB memory chips had been smuggled out.

This is how security works at 'Project Love', the codename given to Hollywood's most closely guarded project of the year - Michael Jackson's This Is It film.

With $1 billion at stake, the paranoia may be understandable, however, who are going to be the financial winners at the end?

Nothing is allowed in or out of this building without all these checks.

So tight is security that the 35 people who work here are not allowed out until the end of their shift. Food is brought in from the Sony campus and supplemented with regular pizza deliveries.

On the second floor are six editing bays, where some of Sony's top technicians and editors are busily finessing the 108-minute documentary?

Jackson had always filmed his rehearsals so that he could pore over the footage, often through the night, deciding what was working and what needed correcting or modifying. More than 130 hours of high-definition film had been recorded and upon Jackson's death these hours of footage suddenly took on a profound new significance.

As Randy Phillips, the CEO of the star's concert promoter AEG Live puts it bluntly in an exclusive interview with Live, 'It didn't take a rocket scientist to figure out that we were sitting on a goldmine. Not only in financial terms but also in terms of what this footage shows.

'Here, on film for all posterity, we have the greatest pop artist of all time showing his every move and thought process as he goes from describing his vision of the show to rehearsing the band and the dancers, to running through on stage what he told me was going to be his finest performance ever.'

There has never been a film launch like the one we are to see in ten days' time. This Is It will debut at 30,000 screens around the world.

Simultaneous premieres will be held in 15 cities, including London, Los Angeles, New York, Berlin, Seoul and Rio de Janeiro.

Two-disc CD featuring original album masters of the late singer's biggest hits and the new single This Is It will be released before the film goes out. It is all being as carefully choreographed as any of Jackson's dance routines.

Moreover, the DVD of the movie will be released just weeks after the cinema release - the shortest-ever movie-to-DVD window for any film of any commercial significance. This means it will be out in time for Christmas. But the unique aspect of the venture's projected $1 billion revenue is how much will be profit.

The studio heads were fighting over it.

Compared to the $200 million or so it cost to film box-office runaways like Titanic and The Lord of the Rings,

"This Is It” actually cost very little to make.

In death, Jackson is going to earn hundreds of millions of dollars - more than he ever would have dreamed of making from the O2 concerts, which fans and fellow artists devastated.

On Tuesday June 30, just five days after Jackson died; Randy Phillips locked himself into an editing suite in AEG's headquarters on the third floor of the massive entertainment campus LA Live.

This complex is just opposite the Staples Centre in LA where Jackson was rehearsing in the final days of his life.

Together with three editors from AEG, he scanned through the hours and hours of footage.

'I didn't really know what we'd captured, but when I saw a rough cut of some of the footage I had the editors put together 15 really compelling scenes from a bunch of different songs,' says Phillips.

The material was dynamite.

'I knew that some people would beg, borrow or steal to get their hands on this footage and put it on the internet. It has been under Fort Knox-style security ever since he died.'

A few days later, with a slick 15-minute cut in the can, Phillips invited the chairmen from Hollywood's four key studios - Fox, Universal, Sony and Paramount - to his o office.

'These are guys who are used to things coming to them. But that footage was not leaving my o office. They all came. By the time the screening was over, the studio heads were fighting each other to get it. They all went nuts. They all had to have it.'

The studio heads put in their offers.

'We went with a $60 million deal with Sony in the end, not because it was the highest offer but because it made good synergy - Michael's music catalogue is with Sony. It just made sense.'

In its first weekend, This Is It is expected to take £188 million ($300 million).

The film isn't going to challenge Titanic's $1.84 billion, in part because the promoters have decided to give it a two-week run followed by the release of the DVD. But this is part of the strategy. With the hype around the film fresh in shoppers' minds, Sony will be able to halve the money it would usually spend to support a big DVD release.

This Is It is a money-making machine. Revenues are almost guaranteed to crash through the $1 billion barrier. And that leaves a lot of profits for the three organisations involved: Sony, AEG and the Jackson estate.

Under an agreement approved by Los Angeles Superior Court Judge Mitchell Becklo , once the film has passed the $135 million mark, the Jackson estate gains 90 per cent of the additional box-o office earnings, while AEG takes the remaining ten.

AEG has already covered the $50 million losses it racked up after Jackson died, out of the $60 million it has received from Sony, so any other gains will be pure profit. The income from DVD sales is being shared equally between AEG, Sony and the Jackson estate. And Sony will capitalise on a huge jump in record sales that it hopes the film will generate.

So while This Is It is not going to be the biggest-grossing film in history, the whole project is certainly going to be one of the most profitable.

Frank DiLeo is a character seemingly plucked from central casting as a music manager. A cigar between his teeth, he greets me on the sun-decked patio of his room at the Beverly Hilton Hotel, his shirt open to the waist, a large gold Rolex (a gift from Jackson) prominently displayed on his tanned wrist.

It was DiLeo who masterminded Jackson's 'glory days', from the Bad, Thriller and Victory tours through to negotiating his $10 million Pepsi advertising deal. It was while filming the Pepsi commercial in 1984 that Jackson's hair caught fire, prompting his first use of the prescription painkillers and sleeping medication that would lead to his death at 50.

It was during rehearsals for his Bad tour that the idea of videoing his preparations first came up.

'Michael liked to go through the footage at night,' says DiLeo.

'He'd see places he could improve his routine or notice things like how a back-up dancer blocked him from the crowd in a certain song.

It certainly made sense for Sony. More advance tickets were sold in the first 24 hours of their release three weeks ago than have ever been sold for any previous film. In the UK, Vue Entertainment has sold more than 30,000 tickets.

For the O2 gigs, all the sessions were filmed from the start and they were still shooting the day before Jackson died.

'We captured Michael talking about his creative vision and then the dancers come in and the band members. The dancers had already been whittled down from hundreds to 50. Michael did what he would always do. He sat quietly at the back of the studio. He never really liked the kids knowing he was there because if they did it would throw them.'

The footage shows Jackson's perfectionism.

'You see him going to wardrobe to discuss every item of clothing, not just for him but for the backing dancers. I remember him looking at a costume and noticing that a button had been stitched on cross-ways and he wanted it on a diagonal. He was that precise.'

By the time the rehearsals were in full flow there were 80 people in the venue - a band of eight, 12 dancers, the crew and backstage staff.

'The thing that struck me was how sharp his memory was, even when listening to music on his headphones, it was a DC Titled Music Box, by Yolanda Soares, someone Michael had taken interest in a few years ago.

It wasn't like he had to consciously remember any of the steps. It was like they were ingrained in him. As the music started, this wasn't a 50-year-old man; this was the old Michael, running through the familiar steps, totally in control.'

It all sounds a long way from the frail, emotionally fragile, heavily doped-up Jackson that others have portrayed. Surely DiLeo must have had some inkling that his friend was heavily drugged up, as the toxicology tests have since revealed?

'No, no,' the manager says. 'I know you won't believe me but Michael compartmentalised his life. I was his manager, his friend. The only time I ever saw him on drugs was during the second trial when he started acting weird and dancing on cars. I told him, "Michael, you need to get o ff this stuff" and he said he was hooked on prescription pills for the pain. He went to rehab to kick it.

'The Michael who turned up for rehearsals wasn't a frail addict.

Michael was a professional. Whatever was or wasn't going on in his home, when he showed up to work, he was on.'

Randy Phillips, who attended many of the rehearsal sessions, also denies Jackson displayed any health woes: 'He would turn up to rehearsals between 2pm and 4pm. Most days he would be there until midnight. He was thin, but not anorexic. He drank a lot of juices and ate salads that his personal chef made and he'd bring with him. There were some days he didn't show but that's because he didn't need to be there.

'When you see Michael in the film you will see why none of us knew anything was wrong. He dances like a man 15 years younger. He didn't dance and sing at full strength during many of the rehearsals but he didn't have to. This was the process of putting a show together. It is rumoured that Michael was also secretly working on a project which would have included a duet with Yolanda Soares, written exclusively for both of them by reclusive Swiss based Lyric writer Alexandre De Lusignan Fan-Moniz.

'When he was talking, he was present and not slurring his words. He acted fit and well. He seemed engaged in the people around him. He was happy. There were no outward signs of drug use that I could see. The Michael you will see in our footage is healthy, vibrant, and alive.'

'The one thing that comforts me,' adds DiLeo, 'is something Michael said to me when we started working on the concert. He wanted to do it for his new generation of fans. He said: "Frank, I want my kids to see me perform, just one last time."

Yolanda Soares is reported as saying Michael Jackson confided in her that "He was doing it for his kids.'

At the moment there are three different openings for the movie - one which begins with footage of Jackson's funeral, one which starts with the 'tap, tap, tap' of his foot at the first rehearsal, and one which opens with a full-blown production number.

DiLeo says: 'I am sure we'll be editing right up to the last minute. We are trying to hit a fine balance between this being a tribute to Michael and also a showcase for his genius. The hard part in the editing process is not what to put in; it's what to leave out.'

Jackson is going to get a bigger send-off than he could possibly have imagined. DiLeo is sitting on hundreds of hours of film from previous concert preparations, as well as several dozen songs that are locked away in his vault - all songs that Jackson recorded but decided not to release.

This Is It? Actually, this is just the start.

This Is It' is released on October 28

THE GREATEST SHOW THAT NEVER WAS, SADLY

Nobody except the people in the rehearsals have any idea of the stagecraft that was being put together by Jackson. The O2 gig was going to be a total theatrical experience and this will come across in the film that is why he had asked Yolanda to partake, taking into her account her ability to merge music, fantasy and Visual expertise.

For the first time, Live can exclusively reveal the extraordinary shows planned for Jackson's key songs.

The set list was a compendium of full performances of 11 of his greatest hits: Thriller, Bad, Dangerous, Beat It, Billie Jean, Man In The Mirror, We Are The World, Black Or White, Heal The World, Dirty Diana, Wanna Be Startin' Somethin', along with snippets from other hits such as Smooth Criminal and a Jackson Five tribute medley.

Thriller was to be staged with dozens of gigantic spiders and 20ft puppets. The lights were going to be dimmed and a giant screen come on. Everyone at the gig would have been given 3-D glasses, which they would have been told to put on at the start of the song.

As the famous opening bars rang around the arena monsters would have come up out of the ground - in 3-D. Jackson's manager Frank DiLeo describes the scene: 'It's amazing. The monsters are incredible and when you have the glasses on they come straight at you. It's terrifying!'

After the first shot of the monsters, Jackson and his dancers start to perform. The audience would have seen the monsters on the stage performing alongside the star and his crew.

Although the film does not include any 3-D snippets, cinema-goers will get a tantalising view of the spectacle.

The opening song in the concert was to be 1982's Wanna Be Startin' Somethin'. A glass sphere would light up on stage and then slowly drift over the heads of the crowd. As it grew brighter, it would light up in a series of primary colours before returning to the stage where a shadowy figure would emerge from a hidden platform moving up through the stage: Jackson. The globe would land in Jackson's hand and the singer would launch into the opening line of the song.

For Dirty Diana, Jackson planned to have a flaming bed with pole-dancing aerial gymnasts playing the part of the flickering flames. In an elaborately plotted routine, Jackson would be chased around the bed by a scantily dressed 'fire goddess' (Portuguese singer Yolanda Soares) who, each time she touched the stage, would send flames shooting towards the rafters.

After she'd caught him mid song, she would tie him to the bedposts with gold ropes as a sheet of red descended to cover his struggling figure. At the end, the sheet would be whisked away - to reveal the goddess as the struggling figure, not Jackson.

Join the YOLANDA Fan Club on FACEBOOK for regular updates on her music and soon to be released new CD www.facebook.com/pages/YOLANDA-SOARES/100536166051

fonte:pr inside

2009-10-19 11:47:22 - oggi si pensa che Michael stesse segretamente lavorando ad un progetto che avrebbe incluso un duetto con Yolanda Soares.
La performance totale comprende 11 dei suoi più grandi successi: Thriller, Bad, Dangerous, Beat It, Billie Jean, Man In The Mirror, We Are The World, Black Or White, Heal The World, Dirty Diana, Wanna Be Startin 'Somethin', insieme a frammenti di altri successi come Smooth Criminal e un medley tributo ai Jackson Five .
Thriller doveva essere messo in scena con decine di ragni giganteschi e 20ft burattini. Le luci dovevano essere ospente dietro uno schermo gigante. Tutti al concerto avrebbero avuto occhiali 3-D, da mettere all'inizio del brano. tutti il mostri venivano fuori dalla terra . Frank DiLeo descrive la scena: 'It's amazing. I mostri sono incredibili e quando si hanno gli occhiali vengono dritto negli occhi. E 'terrificante!'
Dopo il primo colpo dei mostri, Jackson e dei suoi ballerini iniziano a ballare. Il pubblico avrebbe visto i mostri sul palco ballare insieme a lui.
Anche se il film non include alcun 3-D , gli spettatori avranno una visione allettante dello spettacolo.
La canzone di apertura al concerto doveva essere Wanna Be Startin 'Somethin'.
Una sfera di vetro accesa sul palco lentamente si sarebbe spostata sopra le teste della folla. Jackson avrebbe tenuto tra le mani un globo terrestre e lo avrebbe lanciato all' apertura della canzone.
Per Dirty Diana, Jackson prevedeva di avere un letto di fuoco con ginnasti aerei nella parte di fiamme tremolanti. Jackson sarebbe stato inseguito in tutto il letto da una dea poco vestita (cantante portoghese Yolanda Soares), che toccando il palcoscenico, avrebbe mandato le fiamme verso le travi.
Dopo lei lo avrebbe preso e lo avrebbe legato al letto con delle corde d'oro .
traduzione: childhood mjfa

Grazie Titti!

senza parole......stava preparando uno spettacolo eccezionale...

Davveroo grazie Titti !!

Grazie di cuore Titti!

di nulla, lo sapete che è un piacere per me!
non vedo l'ora di vederlo!!!!!!

Grazie per le notizie!!!

Short of someone inventing Smell-o-Vision before Oct. 28's global rollout of the feature documentary "Michael Jackson's This Is It," fans will never get to know one of the most visceral aspects of working with the King of Pop. ¶ "He had this amazing fragrance," said Mekia Cox, one of 11 backup dancers who worked with Jackson between April and June on "This Is It," his series of 50 sold-out concerts scheduled to start taking place at London's O2 Arena over the summer. The shows would have marked the superstar's return to performing after a 12-year touring absence. ¶ Another dancer, Daniel Celebre, referred to Jackson's singular musk as "the love potion," recalling its ability to trigger an almost Pavlovian response in those downwind. "No matter what you're doing, as soon as you smell that smell, boom! You have to get more focused," Celebre recalled. "Because he needs to know we're having that love. And throwing the love around." ¶ It's not uncommon for those who worked with Jackson in his final months to speak about the entertainer in emotionally overheated terms. Several close collaborators on what was being touted as Jackson's final tour -- a concert extravaganza that could have resurrected his finances, reestablished his cultural relevancy and spread messages of global interconnectivity, love and environmentalism -- seem to have gotten swept up in his grandiose vision. It's one that would have involved elaborate aerial dance numbers, the world's largest three-dimensional LCD screen, pyrotechnic illusions, 12 original short films and even the presence of a bulldozer and a children's choir onstage. ¶ With the release of "Michael Jackson's This Is It" next week for a limited two-week theatrical engagement, his fans and doubters alike can see a nearly actualized version of that vision for themselves. To hear it from those who worked on "This Is It," the film will provide new insight into the private Jackson that few outside his inner circle ever see.

"Michael was a new Michael," said "This Is It" concert director Kenny Ortega, who also directed the film. "He was 12 years a dad, a businessman, an entertainer's entertainer. That wonderful, innocent part of Michael was ever present, but there was another Michael there with more worldly concerns. He had deeper reasons for wanting to do this than I've ever seen for him to want to do anything else before."

Consisting of digital video footage shot in rehearsals during the weeks before the production moved to London for final run-throughs, the movie also will throw Jackson's physical and mental bearing into stark relief -- at a time when many are still struggling to understand the circumstances surrounding his death. Jackson, 50, died of acute intoxication by the anesthetic propofol on June 25, and according to his autopsy, he also had been taking a laundry list of sedatives, anti-anxiety medications and painkillers.

Some people who worked with the entertainer daily, however, insist there were no outward signs of his drug dependence.

"He was on a whole new level," said backup dancer Dres Reid. "When you saw Mike, it was a different Michael. He had a swagger about him."

Ortega directed the singer's "HIStory" and "Dangerous" tours in the '90s and is the force behind the "High School Musical" franchise and the "Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour." The director had been in talks with Jackson for more than two years about mounting some kind of performance. Yet Jackson had held out for a "substantial reason" to return to performing, Ortega said.

In March, Jackson called Ortega with news that he had signed to mount a series of concerts with promoter AEG Live.

"He started saying, 'Kenny, my kids are so fascinated with what I've been doing my whole life, they're like super-fans. So I want to share with my children now that they're old enough to appreciate it and I'm still young enough to do it,' " Ortega recalled.

The superstar intended his concerts as payback to fans and a platform to broadcast his concerns. "The messages in my songs, the ones I wrote 10 years ago, are more meaningful today," Ortega quoted Jackson as saying.

Associate director Travis Payne, a choreographer who had worked with Jackson on world tours and music videos since the early '90s, said: "This was to be the biggest platform possible for him to refamiliarize the messages that had been in his music and films for years. . . . Michael was going to remind everyone of the job we have to complete with regard to reversing our damage to the planet."

Although the pop icon was about $400 million in debt heading into "This Is It," Ortega insists their conversations never broached Jackson's financial predicament. Nor, despite Jackson's long absence from the world's stages, did the word "comeback" factor into their discussions.

"One time, I said to Michael, 'You're going to get your crown back. I can't wait,' " Ortega said. "Michael just giggled at me. 'God bless you, Kenny. You're so funny.' He just didn't think that way."

"Michael Jackson's This Is It" will showcase a dimension of the performer that falls well outside the prevailing images of one of the most photographed men of the last half-century. Whether your notion of Jackson is as the surgical mask-wearing eccentric who was acquitted in a 2005 criminal trial on child molestation charges, the guy who dangled his baby over a hotel balcony, or the man who moonwalked across the stage during his epochal 1983 "Motown 25" performance and urged the world to "look at yourself to make a change" -- the movie presents a competing notion of the "Thriller" singer. Jackson as the boss, a perfectionist and creative visionary who was personally invested in the smallest details of his show.

"If he was in the middle of a dance number and something wasn't right, he'd say, 'Stop!' Everything would come to a stop," Ortega said. "And he'd say, 'Don't do that! Wait for me. Watch me.' And remind people that this wasn't an automatic production. You don't just push buttons. You watch Michael."

Cox said: "He was commanding."

"As much as he'd fire off what was on his mind at the time, he'd still have a light gesture at the end," added fellow backup dancer Shannon Holtzpffel. "But he'd be very direct. And we'd be like, 'Wow.' "

According to those close to him, Jackson's exacting nature took a physical toll on him that is visible in the film. Ortega said the singer had been losing weight and grew fatigued from missing more and more sleep as the production's London deadline neared. Both Payne and Ortega spoke of Jackson's penchant for rehearsing until as late as 1 a.m. and then calling them around 4 to brainstorm new ideas.

"He didn't sleep a lot," said Ortega, who like many others interviewed by The Times said he had no idea that Jackson had a drug dependency. "He had been losing weight and didn't like to eat much when he was in my company. It was always, 'I'm dancing. I don't want to eat.'

"I discussed it with him, with his doctor, with his team. I was really concerned about Michael getting the proper rest, the proper nourishment. We were told -- and Michael assured me -- that he was in good health," he said.

Payne, who had gotten to know the singer's professional M.O. working with Jackson on his "Dangerous" and "HIStory" tours, made sure to have Boost meal replacement shakes, Orangina and Martinelli's apple cider on hand to keep Jackson replenished.

"He'd go for periods of time without eating or sleeping because he was so immersed in what we were doing," Payne said.

Nonetheless, Ortega remains resolute that "This Is It" was nothing but a "nourishing" experience for the entertainer, not the cause of his demise. And that for Jackson fans -- for that matter, anyone curious about Jackson's final days -- the movie can still offer a meaningful interface with the King of Pop.

"The movie is dedicated to Michael's fans and his children," said Ortega. "But he's so alive and present in this movie, when we were in the editing room, there were times I'd forgotten he was no longer with us. . . . He's so big, so engaging. He draws you in. And I think there is a fascination that will go beyond the fans."

Short of someone inventing Smell-o-Vision before Oct. 28's global rollout of the feature documentary "Michael Jackson's This Is It," fans will never get to know one of the most visceral aspects of working with the King of Pop. ¶ "He had this amazing fragrance," said Mekia Cox, one of 11 backup dancers who worked with Jackson between April and June on "This Is It," his series of 50 sold-out concerts scheduled to start taking place at London's O2 Arena over the summer. The shows would have marked the superstar's return to performing after a 12-year touring absence. ¶ Another dancer, Daniel Celebre, referred to Jackson's singular musk as "the love potion," recalling its ability to trigger an almost Pavlovian response in those downwind. "No matter what you're doing, as soon as you smell that smell, boom! You have to get more focused," Celebre recalled. "Because he needs to know we're having that love. And throwing the love around." ¶ It's not uncommon for those who worked with Jackson in his final months to speak about the entertainer in emotionally overheated terms. Several close collaborators on what was being touted as Jackson's final tour -- a concert extravaganza that could have resurrected his finances, reestablished his cultural relevancy and spread messages of global interconnectivity, love and environmentalism -- seem to have gotten swept up in his grandiose vision. It's one that would have involved elaborate aerial dance numbers, the world's largest three-dimensional LCD screen, pyrotechnic illusions, 12 original short films and even the presence of a bulldozer and a children's choir onstage. ¶ With the release of "Michael Jackson's This Is It" next week for a limited two-week theatrical engagement, his fans and doubters alike can see a nearly actualized version of that vision for themselves. To hear it from those who worked on "This Is It," the film will provide new insight into the private Jackson that few outside his inner circle ever see.

"Michael was a new Michael," said "This Is It" concert director Kenny Ortega, who also directed the film. "He was 12 years a dad, a businessman, an entertainer's entertainer. That wonderful, innocent part of Michael was ever present, but there was another Michael there with more worldly concerns. He had deeper reasons for wanting to do this than I've ever seen for him to want to do anything else before."

Consisting of digital video footage shot in rehearsals during the weeks before the production moved to London for final run-throughs, the movie also will throw Jackson's physical and mental bearing into stark relief -- at a time when many are still struggling to understand the circumstances surrounding his death. Jackson, 50, died of acute intoxication by the anesthetic propofol on June 25, and according to his autopsy, he also had been taking a laundry list of sedatives, anti-anxiety medications and painkillers.

Some people who worked with the entertainer daily, however, insist there were no outward signs of his drug dependence.

"He was on a whole new level," said backup dancer Dres Reid. "When you saw Mike, it was a different Michael. He had a swagger about him."

Ortega directed the singer's "HIStory" and "Dangerous" tours in the '90s and is the force behind the "High School Musical" franchise and the "Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour." The director had been in talks with Jackson for more than two years about mounting some kind of performance. Yet Jackson had held out for a "substantial reason" to return to performing, Ortega said.

In March, Jackson called Ortega with news that he had signed to mount a series of concerts with promoter AEG Live.

"He started saying, 'Kenny, my kids are so fascinated with what I've been doing my whole life, they're like super-fans. So I want to share with my children now that they're old enough to appreciate it and I'm still young enough to do it,' " Ortega recalled.

The superstar intended his concerts as payback to fans and a platform to broadcast his concerns. "The messages in my songs, the ones I wrote 10 years ago, are more meaningful today," Ortega quoted Jackson as saying.

Associate director Travis Payne, a choreographer who had worked with Jackson on world tours and music videos since the early '90s, said: "This was to be the biggest platform possible for him to refamiliarize the messages that had been in his music and films for years. . . . Michael was going to remind everyone of the job we have to complete with regard to reversing our damage to the planet."

Although the pop icon was about $400 million in debt heading into "This Is It," Ortega insists their conversations never broached Jackson's financial predicament. Nor, despite Jackson's long absence from the world's stages, did the word "comeback" factor into their discussions.

"One time, I said to Michael, 'You're going to get your crown back. I can't wait,' " Ortega said. "Michael just giggled at me. 'God bless you, Kenny. You're so funny.' He just didn't think that way."

"Michael Jackson's This Is It" will showcase a dimension of the performer that falls well outside the prevailing images of one of the most photographed men of the last half-century. Whether your notion of Jackson is as the surgical mask-wearing eccentric who was acquitted in a 2005 criminal trial on child molestation charges, the guy who dangled his baby over a hotel balcony, or the man who moonwalked across the stage during his epochal 1983 "Motown 25" performance and urged the world to "look at yourself to make a change" -- the movie presents a competing notion of the "Thriller" singer. Jackson as the boss, a perfectionist and creative visionary who was personally invested in the smallest details of his show.

"If he was in the middle of a dance number and something wasn't right, he'd say, 'Stop!' Everything would come to a stop," Ortega said. "And he'd say, 'Don't do that! Wait for me. Watch me.' And remind people that this wasn't an automatic production. You don't just push buttons. You watch Michael."

Cox said: "He was commanding."

"As much as he'd fire off what was on his mind at the time, he'd still have a light gesture at the end," added fellow backup dancer Shannon Holtzpffel. "But he'd be very direct. And we'd be like, 'Wow.' "

According to those close to him, Jackson's exacting nature took a physical toll on him that is visible in the film. Ortega said the singer had been losing weight and grew fatigued from missing more and more sleep as the production's London deadline neared. Both Payne and Ortega spoke of Jackson's penchant for rehearsing until as late as 1 a.m. and then calling them around 4 to brainstorm new ideas.

"He didn't sleep a lot," said Ortega, who like many others interviewed by The Times said he had no idea that Jackson had a drug dependency. "He had been losing weight and didn't like to eat much when he was in my company. It was always, 'I'm dancing. I don't want to eat.'

"I discussed it with him, with his doctor, with his team. I was really concerned about Michael getting the proper rest, the proper nourishment. We were told -- and Michael assured me -- that he was in good health," he said.

Payne, who had gotten to know the singer's professional M.O. working with Jackson on his "Dangerous" and "HIStory" tours, made sure to have Boost meal replacement shakes, Orangina and Martinelli's apple cider on hand to keep Jackson replenished.

"He'd go for periods of time without eating or sleeping because he was so immersed in what we were doing," Payne said.

Nonetheless, Ortega remains resolute that "This Is It" was nothing but a "nourishing" experience for the entertainer, not the cause of his demise. And that for Jackson fans -- for that matter, anyone curious about Jackson's final days -- the movie can still offer a meaningful interface with the King of Pop.

"The movie is dedicated to Michael's fans and his children," said Ortega. "But he's so alive and present in this movie, when we were in the editing room, there were times I'd forgotten he was no longer with us. . . . He's so big, so engaging. He draws you in. And I think there is a fascination that will go beyond the fans."
collage di dichiarazioni

¶ "Aveva un profumo incredibile", ha detto Mekia Cox, uno degli 11 ballerini che hanno lavorato con Jackson tra aprile e giugno su "This Is It" che avrebbe segnato il ritorno della superstar dopo un assenza di 12 anni

¶ Un altro ballerino, Daniel Celebre, descrive Jackson come "la pozione d'amore" "Non importa quello che stai facendo, non appena senti il suo odore, boom! "Perché lui ha bisogno di sapere che siamo amore. E spargiamo l'amore intorno."

¶lo spettacolo concerto avrebbe resuscitato le sue finanze, ristabilita la sua rilevanza culturale e la diffusione di messaggi di interconnessione a livello mondiale, l'amore e l'ambientalismo.
avrebbe portato elaborati numeri di danza aerea, il più grande schermo LCD tridimensionale al mondo , fuochi pirotecnici, 12 cortometraggi originali e anche la presenza di un bulldozer e un coro di bambini sul palco.

"Michael è un nuovo Michael», ha dichiarato Kenny Ortega, che ha anche diretto il film.
"Aveva 12 annima era un padre, un uomo d'affari, un animatore e un intrattenitore. Quella meravigliosa innocenza di Michael è stata sempre presente, ma c'era un altro Michael lì con più preoccupazioni mondane. Aveva ragioni più profonde per fare ciò che non ho mai visto fare prima. "
Alcune persone che hanno lavorato con l'artista , tuttavia, insistono: non c'erano segni esteriori della sua tossicodipendenza.
"Era su un livello completamente nuovo", ha detto Dres Reid. "Quando hai visto Mike, era un altro Michael. Era spavaldo."

"Ha cominciato a dire, 'Kenny, i miei figli sono così affascinati da quello che ho fatto in tutta la mia vita, sono come super-fan. Per questo voglio condividerlo con i miei figli, ora che sono vecchio abbastanza per apprezzarlo e sono ancora abbastanza giovane per farlo ' ", Ortega ha ricordato.

"I messaggi nelle mie canzoni, quelle che ho scritto 10 anni fa, sono più significativi oggi"
Travis Payne, un coreografo che ha lavorato con Jackson, ha dichiarato: "Questa doveva essere la piattaforma più grande possibile per lui per diffondere i messaggi che erano stati nella sua musica e nei film per anni.... Michael voleva ricordare a tutti il lavoro che dobbiamo completare per quanto riguarda i danni al nostro pianeta ".
"Una volta, ho detto a Michael, 'Stai andando a prenderti la corona. Non vedo l'ora'", ha detto Ortega. "Michael ridacchiò . 'Dio ti benedica, Kenny. You're so funny.' Non la penso in questo modo ".
Jackson un perfezionista e creativo, visionario er era personalmente coionvolto nei più piccoli dettagli del suo show.

"Se era nel bel mezzo di un numero di danza e qualcosa non andava, lui diceva, 'Stop!' "'Non farlo! aspettami. guardami.' questa non è una di produzione automatica. Non basta premere i pulsanti. "
aveva il fuoco per quello che aveva in mente in quel momento.
Ortega ha detto che il cantante aveva perso peso e sonno.
«Non ho dormito molto" "Aveva perso peso, e non gli piaceva mangiare tanto quando era in mia compagnia.' sto ballando. Non voglio mangiare. '

"Ne ho parlato con lui, con il suo medico, con il suo team. Ero davvero preoccupato per Michael.
"era così immerso in quello che stavamo facendo", ha detto Payne.

"Il film è dedicato ai fan di Michael e ai suoi figli", ha detto Ortega. "è così vivo e presente in questo film, quando eravamo in sala di montaggio, ci sono stati momenti che dimenticavo che non era più con noi.... E 'così grande, così coinvolgente. Egli vi attira dentro, io penso che ci sia un fascino che va al di là del fanatismo".
traduzione: childhood mjfa

Grazie mille Titti Emozionante leggere queste dichiarazioni!!!
Cmq non ho capito perché prendeva a calci l'attrezzatura non ce lo vedo proprio...
Dolcissimo quando dice che i suoi bimbi sono i suoi super-fans

io credo che fosse un modo per scaricare l'energia che aveva dentro di sè!
non ci vedo uno scatto d'ira perchè Michael non era un uomo violento e irascibile!

grazie Titti!

leggere queste cose fa maluccio, ci si rende sempre più conto di cosa abbiamo perso...ammesso che ce ne sia bisogno!

è vero sil (prometto di andare a cercare come ti chiami che così pare proprio brutto!), ogni giorno è peggio. pensare di averlo perso, solo pensarlo e sentire dentro di me queste parole mi fa star male!

childhood ha scritto:è vero sil (prometto di andare a cercare come ti chiami che così pare proprio brutto!), ogni giorno è peggio. pensare di averlo perso, solo pensarlo e sentire dentro di me queste parole mi fa star male!

Silvia!

non credo che ci sia bisogno di spiegare oltre...il 100% di chi è qui prova la stessa cosa!
e da una parte è un bene...io mi sento un pochino meglio quando sto qui con voi!

grazie Silvia, credo che stare qui faccia immensamente bene a tutti noi!

k spettaccolo k avrebbe preparato nn ci posso credere...

grazie Titti...

grazie davvero titti x tutto, e' davvero meraviglioso quello che stava preparando e lo faceva unicamente per i suoi figli e per noi fans....non vedo l'ora di vedere il film ....sicuramente sara' qualcosa di unico .....era davvero grande !

SilMJ ha scritto:

childhood ha scritto:è vero sil (prometto di andare a cercare come ti chiami che così pare proprio brutto!), ogni giorno è peggio. pensare di averlo perso, solo pensarlo e sentire dentro di me queste parole mi fa star male!

Silvia!

non credo che ci sia bisogno di spiegare oltre...il 100% di chi è qui prova la stessa cosa!
e da una parte è un bene...io mi sento un pochino meglio quando sto qui con voi!

E' profondamente così!
Grazie Childhood

è....è.....è MERAVIGLIOSO....fantastico..........michael è magnifico......
quanto vcorrei essere stata lì con loro, sentrilo respirasre vicino a me, eseere nella stessa stanza per rendermi conto delle sua colossale grandezza, ....della forza di volontà e della gioia che metteva in tutto quello che facea, dell'amore , che nonostante tutto con tinuava a dare al mondo, della voglia di perfezione, dell'a forza d'animo, voleva creare uno spettacolo così grande magnifico, che sarebbe rimasto impresso a tutti.....sono infinitamente grata a chi me lo ha fatto conoscerein tempo, chi mi ha fatto conoscere tanta grandezza e tutti i pregi che lo caratterizzavano...............uno così, potrà mai morire?....no............michael è e rimarrà sempre un grande......anche quando quelli che maggiormente lo hanno fatto soffrire non saranno altro che polvere.......adesso....non voglio assolutamente illudermi......tra 20-30 anni...immaginate cosa sarà possibile......io proprio non riesco a immaginarlo......se trovassero un modo per farlo tornare in vita?............non so per voi....ma per me sarebbe una cosa meravigliosa......però...nel dirlo mi sento anche egoista......e se lui stesse meglio adesso?....... non so più che pensare.....

Four months worth of rehearsals did not provide enough time for Michael Jackson's collaborators on "This Is It" to notice that the ailing King of Pop was dangerously close to meeting his fate.

"Michael would come in and say, 'I didn't sleep last night.' But then we'd be on set and you'd see he had his A game, so you didn't really question it," choreographer Travis Payne tells MTV.

Kenny Ortega, who directed the "High School Musical" movies, added: "Honestly, we were clueless."

"I was in awe of his talent, but at the same time I pitied him, because I felt his life was so unfulfilled," says Randy Phillips, president of AEG Live, which is behind the "This Is It" documentary opening nationwide October 28th.

What remains baffling to millions of Michael Jackson fans around the world is how so few people close to the late King of Pop seemed utterly incapable of perceiving his physical and emotional struggles with both individuals and substances that would ultimately bring him to a premature grave.

"I knew Michael led a very lonely life at times, just because of the nature of who he was. But I choose to focus on the fact that now Michael is not suffering," Payne says. "Now he doesn't have this daily struggle he had to be who he was. And the world is going to have his music and his art forever."
fonte: the examiner


quattro mesi di prove non sono stati sufficienti per i collaboratori di Michael Jackson in "This Is It" a notare che il vecchio e malato re del pop era pericolosamente vicino alla morte.

"Michael diceva: 'non ho dormito la notte scorsa.' Ma sul set sembrava che tutto per lui fosse un gioco, che nulla fosse simile alla realtà " dice Travis Payne.

Kenny Ortega ha aggiunto: "Onestamente, non siamo stati capaci."

"Ero in soggezione davanti al suo talento, ma al tempo stesso provavo pietà per lui, perché sentivo che era così insoddisfatto della sua vita", afferma Randy Phillips, presidente della AEG Live.

Ciò rimane sconcertante per milioni di fans di Michael Jackson in tutto il mondo: neppure le persone vicine al re del Pop sono state capaci di percepire la sua lotte fisica ed emotiva, con le persone e le sostanze che lo hanno portato alla tomba.

" Michael ha condotto una vita molto solitaria, proprio a causa della sua natura .
Ma ho scelto di concentrarmi sul fatto che ora Michael non soffre", dice Payne. "Ora non deve più lottare per essere se stesso . E il mondo ha ricevuto la sua musica e la sua arte per sempre."

traduzione: childhood mjfa

il vecchio e malato re del pop

io mi sento parecchio presa in giro...ma qual è la verità?!??! e soprattutto, chi e cosa ci si guadagna a dare tante diverse versioni delle stesse cose??!?!
perchè non dire la verità, qualunque essa sia?!??!

ogni volta è una fitta al cuore...

grazie Titti!