Hello all, its that time of year again as we get closer and closer to the beginning of a new year that we look back at this receding one and what we can remember of it. Luckily, i can recall most of what i have seen. And it is tinged with certain regrets over the films I have not seen but grateful for the ones I have. So in no particular order the films of the year from me, the populist cinemagoer are:
INCEPTION (Christopher Nolan, US, 2010)
TOY STORY 3 (Lee Unkrich, US, 2010)
THE TOWN (Ben Affleck, US, 2010)
MADEO (Mother) (Joon-ho Bong, South Korea, 2009)
EASIER WITH PRACTICE (Kyle Patrick Alvarez, US, 2009)
KICK-ASS (Matthew Vaughn, UK/US, 2010
HOW TO TRAIN YOUR DRAGON (Dean DeBlois, Chris Sanders, US, 2010)
FORBIDDEN (Frank Capra, US, 1932)
THE MAGNIFICENT SEVEN (John Sturges, US, 1960)
SALT (Philip Noyce, US, 2010)
The films may not all be new, but nevertheless in the last calender year these are the films that have thrilled me and entertained me and will grace you a brief description of them all.
INCEPTION - Christopher Nolan follows up 'The Dark Knight' with another bohemoth of a film that is large in scale and subject matter, dreamscapes abstract onto landscapes as dreams become reality and vice versa. Matched by astounding central performances none more so than DiCaprio as the man who may or may not be locked in his dream world. Vast in its idea, and brilliant in its execution; Nolan returned with another summer blockbuster that entertained and treated the audience with respect rather than popcorn fed dunces.
TOY STORY 3 - The trilogy is complete, with the film that could mark it down as the greatest third film of any trilogy (sorry Mighty Ducks 3). Woody, Buzz, Jessie Rex, Hamm all returned in a film that was as much about acceptance of your lot in life, so careful in its depiction of ageing and mortality. Yes, it made me cry and anyone who did not was a person of stone. Full of memorable moments; the Great Escape parody, the talking phone as informant, the Spanish talking Buzz and the greatest reach out and touch someone moment in cinema history.
THE TOWN - When you have so many films to see, you miss out on some. I still have not seen 'Gone Baby Gone' which was Affleck's directorial debut, it might have given me some briefing on his style, but if his sophmore effort or difficult second album is anything to go by, Affleck conducts himself as a director of great competence and assurance handling a very generic cops and robber film with great purpose and vigour, even throwing in one of his best smouldering performances to boot.
MOTHER - First seen at the LFF in 2009, and seen again on release this year, the film is mesmerising in its depiction of a women who would go to great lengths to protect her beloved son. Featuring a great performance from TV star Hye-ja Kim as the synoymous mother, another example of South Korea slowly becoming a powerhouse in world cinema and producing distinct cinematic works.
EASIER WITH PRACTICE - I always have a soft spot for small independent American cinema that can connect with people universally, and this picture starring the brilliant Brian Geraghty ('The Hurt Locker') as Davy who answers his motel phone one night and changes his life when he connects with the voice on the other end. A road movie, with no clear end but one that is helped by a great lead role that is witty instead of relying on gross out American humour . I hope this film finds a wider audience to appreciate it.
KICK ASS - Matthew Vaughn's eventual stab at Hollywood comic book cinema (after his removal from X-Men 3) was a film that took you by surprise as you did not thing it would be that good. Visceral in its violence, laugh out loud funny in its knowledge of the genre and endorsed by Nic Cage doing his best Adam West impression along with help from Aaron Johnson, Mark Strong, Chris Mintz-Plaase and the scene stealing Chloe Moretz as 'Hit Girl' the cussing true kick ass star of the film.
HOW TO TRAIN YOUR DRAGON - Odd I know to have two animated pictures in a year end poll, but this Dreamworks effort from the directors of 'Lilo and Stitch' gave us a film that was a little grower on you, in that it took itself on directions you did not expect. Taking a hero who has flaws but finds respect in his peer group through his use of initiative; a role model for the youth of today who is not afraid to wear his battle scars in public, a nice nod to the serving military in Afghanistan of the allied forces.
FORBIDDEN - The BFI ran a complete career retrospective of Frank Capra's oeuvre from his work with Mack Sennett and the Keystone cops to George Bailey via Barbara Stanwyck. Offering a rare opportunity to see his films on the silver screen in all their glory. I afforded myself the pleasure of a matinee showing of this forgotten gem from 1932 in which Barbara Stanwyck fights for the love of the married Adolph Menjou versus the advances of the whimsical Ralph Bellamy. A political storyline with her as the other woman in a marriage is quite perscient at the time due to the expenses scandal and other political shenanigans of this current climate. The shooting, editing and acting went hand in hand with the Columbia trend of the early 1930s, but it is astonishing to see how he developed from this to the eventual triumph of 'It Happened One Night' and the other Oscar winners. Just as astonishing is the neglible influence this film must have had on 'Citizen Kane' that many are either unwilling to testify for or just will not believe in terms of plot points, camera shots and general feel. A gem that I will always remember, as much for the experience than the film.
THE MAGNIFICIENT SEVEN - A treat for my father who is a big Western genre nut, and can recite passages of this film off by heart. Seen countless times huddled round a small television in my youth, a pleasure to see on the big screen by the Southbank. All sat there quietly, the curtains draws back and Elmer Bernstein's unforgettable score roars off the screen and my Dad sat by the aisle (the original aisle seater) is greeted by the other six people in his group all looking at him to see a big smile grow upon his face. Fascinating screenplay in its economy of words, acting of the highest order, McQueen duelling with Brynner for screen time but losing; adapted from Kurosawa's 'Seven Samurai' and itself influencing countless generations of filmmakers and audiences are still encountering due to the general power of its filmmaking. A highpoint for so many involved in it, a highpoint for this year.
SALT - An admirable effort by Philip Noyce to sex up spy films with Anglina Jolie as the is she/isn't she a Russian spy. To think this was originally intended for Tom Cruise (who lifted motorcycle stunts for 'Knight and Day'), Jolie creates the role of Evelyn Salt for herself, becoming her and in so doing, creating the necessary franchise that every Hollywood starlet should have. One of the better action films of this year, and to think it was written by the same pen that gave us this year 'Law Abiding Citizen' one of the lesser action films of the year, that embraced violence as a form of retribution.
Disappointments
The Other Guys - a let down in that I found many of the punchlines flat and unoriginal, Will Ferrell to be at his annoying shouting worse, Mark Wahlberg criminally miscast and a shame that Dwayne Johnson and Samuel L. Jackson are underused in their all to brief cameo.
Date Night - again another American comedian shouting a lot, this time Steve Carell who along with Tina Fey seems lost, it tells you something when the best punchline was in the post-credit gag reel. A bit of a mess that makes 'Dude, Where's My Car?' look like Dickens and after the previous years success with 'The Hangover' coupled with the above title, 2010 was a step back for American comedy cinema.
The Wolfman - was going so well until the reveal of the truth, and then the poor CGI which delayed the original release date and so should have been an improvement, meant this film that had a decent turn by Benecio Del Toro soon descended into an unnecessary monster mash up that does not give you nightmares.
Gentleman Broncos - an unfortunate mess considering it was written and directed by Jared Hess (Napoleon Dynamite) and the talent he had at his disposal, you expected something akin to Galaxy Quest and instead you get sub-par sci-fi mumbo jumbo.
I hope you like my thoughts and thank you for taking the time to read them. Regards
Tuesday, 14 December 2010
Monday, 6 December 2010
TRON:Legacy
Tron (1982) is the typical cult film, in the fact that even though you may not have seen it in its entireity, you feel as if you have because it has been parodied and spoofed in many shows and cartoons as in 'Family Guy', coupled with the famous one-sheet poster, with its pop icon imagery of frisbees as weapons, motorbikes in a computer grid and the now brilliant casting of Jeff Bridges as a zen-like maverick of computer technology.
Bridges returns in the film as Kevin Flynn, the patriarchal creator of the world where all the action takes place as it enters the thousandth cycle of its being. We enter the film at 1989, Flynn is sitting with his six year old son, Sean in his bedroom having to go to work late again. Flynn never returns, presumed missing as if vanished from the face of the world; Sean (Garrett Hedlund - smouldering) grows up to become the major shareholder of the company, EnCom, which is about to enter the Japanese stock market but Sean attempts to rebel and cause a meltdown of the company using his technical ability to hack and hijack the programs.
His surrogate father and Flynn's long-time friend, Alan (Bruce Boxleitner) approaches Sean after his latest hijinks saying he received a page from Flynn from a number that has been disconnected for 20 years. Sean goes down to his fathers office at the old arcade (full of nostalgic games including the spin-off 'Tron'), after finding a hidden wall to his office and intialising the last run program, Sean is beamed into the world of Tron.
Confronted by people who capture him, the world learn he is a user/human, and so after a series of survival contests - set pieces reminiscent of gladiatorial warfare involving said frisbees and then the trademark motorcycle variant of 'Rollerball'. After these set pieces whet your appetite in glorious 3D we are then thrust into a father-son relationship film as after being hoodwinked by Clu (a computer version of Bridges), whom has taken over control of the world from Flynn, Sean finally comes face-to-face with his father in a room not too dissimilar from the end room of '2001'. This is Flynn's sanctuary in the outer regions away from the mess of Tron that he is established with the help of Quorra (Olivia Wilde), who may have answers to the future of our real world in terms of religion, science, philosophy.
They attempt to get back to the portal that Sean came through, before it close and the chance has gone. And so the film becomes a chase film and reminiscent of those films from the original film's era 'Battle Beyond the Stars' and even the original Star Wars trilogy; a motley crew going against an ordered system to gain victory without a hint of irony in the sense of sacrifice that may be committed.
With the help of a great scene involving Michael Sheen as Zeus, a deal maker in this world, that could make the journey easier, Clu tracks him down and the pursuit is ongoing. Sheen pouts around the stage in his 70s Bowie persona, using his identifiable cane as a character in his own right to make him more memorable; and even the music producer Daft Punk are afforded a cameo as his personal DJ's in the 'End of the Line' club; one of those bars that will go in movie folklore such as the Mos Eisley cantina and the Milk Bar from 'A Clockwork Orange'.
Directed by debut helmer, Joseph Kosinski (an architecture major, but geek at heart) with great clarity and purpose, in the fact that he takes a lot of the action and exposition with a pinch of salt; a sense of general disbelief would be appreciated in this film. But the film, whilst it will not win a barrow load of awards, is nevertheless good action/sci-fi cinema. A script that is brisk and bouncy, characters that are believable helped in part by the commendable actors; Bridges brings his Dude-like persona to the party ('You're really messing with my Zen, man.'); Hedlund injects just enough vulnerability into his would-be rebel in need of a father and Wilde gives doe-eyed innocence to a role (similar to Daryl Hannah did in 'Splash' ) by the film's conclusion, as she takes a look around the world she is now a stranger to.
The promise of a sequel to this film itself the longest gestated sequel is foreboding, but necessary when you consider the possibilites of an uncredited cameo of Cillian Murphy (wearing his evil glasses) going up against all-American Hedlund on this Earth.
With so many people invested in a film that happened so long ago, the prospect of them falling flat in their collective faces could so easily have happened. However, it must be said that the film is a triumph and a good box-office banker; thrills, spills, laughs, action, adventure and a kick-ass soundtrack from the people born to do it.
It is formatted for 2D, 3D and IMAX, but whichever form you see it in you will not be disappointed by this roller coaster action yarn; science-fiction action film is back with a bang; from a film we thought that had disappeared without a whimper.
Released nationally on December 16th.
Bridges returns in the film as Kevin Flynn, the patriarchal creator of the world where all the action takes place as it enters the thousandth cycle of its being. We enter the film at 1989, Flynn is sitting with his six year old son, Sean in his bedroom having to go to work late again. Flynn never returns, presumed missing as if vanished from the face of the world; Sean (Garrett Hedlund - smouldering) grows up to become the major shareholder of the company, EnCom, which is about to enter the Japanese stock market but Sean attempts to rebel and cause a meltdown of the company using his technical ability to hack and hijack the programs.
His surrogate father and Flynn's long-time friend, Alan (Bruce Boxleitner) approaches Sean after his latest hijinks saying he received a page from Flynn from a number that has been disconnected for 20 years. Sean goes down to his fathers office at the old arcade (full of nostalgic games including the spin-off 'Tron'), after finding a hidden wall to his office and intialising the last run program, Sean is beamed into the world of Tron.
Confronted by people who capture him, the world learn he is a user/human, and so after a series of survival contests - set pieces reminiscent of gladiatorial warfare involving said frisbees and then the trademark motorcycle variant of 'Rollerball'. After these set pieces whet your appetite in glorious 3D we are then thrust into a father-son relationship film as after being hoodwinked by Clu (a computer version of Bridges), whom has taken over control of the world from Flynn, Sean finally comes face-to-face with his father in a room not too dissimilar from the end room of '2001'. This is Flynn's sanctuary in the outer regions away from the mess of Tron that he is established with the help of Quorra (Olivia Wilde), who may have answers to the future of our real world in terms of religion, science, philosophy.
They attempt to get back to the portal that Sean came through, before it close and the chance has gone. And so the film becomes a chase film and reminiscent of those films from the original film's era 'Battle Beyond the Stars' and even the original Star Wars trilogy; a motley crew going against an ordered system to gain victory without a hint of irony in the sense of sacrifice that may be committed.
With the help of a great scene involving Michael Sheen as Zeus, a deal maker in this world, that could make the journey easier, Clu tracks him down and the pursuit is ongoing. Sheen pouts around the stage in his 70s Bowie persona, using his identifiable cane as a character in his own right to make him more memorable; and even the music producer Daft Punk are afforded a cameo as his personal DJ's in the 'End of the Line' club; one of those bars that will go in movie folklore such as the Mos Eisley cantina and the Milk Bar from 'A Clockwork Orange'.
Directed by debut helmer, Joseph Kosinski (an architecture major, but geek at heart) with great clarity and purpose, in the fact that he takes a lot of the action and exposition with a pinch of salt; a sense of general disbelief would be appreciated in this film. But the film, whilst it will not win a barrow load of awards, is nevertheless good action/sci-fi cinema. A script that is brisk and bouncy, characters that are believable helped in part by the commendable actors; Bridges brings his Dude-like persona to the party ('You're really messing with my Zen, man.'); Hedlund injects just enough vulnerability into his would-be rebel in need of a father and Wilde gives doe-eyed innocence to a role (similar to Daryl Hannah did in 'Splash' ) by the film's conclusion, as she takes a look around the world she is now a stranger to.
The promise of a sequel to this film itself the longest gestated sequel is foreboding, but necessary when you consider the possibilites of an uncredited cameo of Cillian Murphy (wearing his evil glasses) going up against all-American Hedlund on this Earth.
With so many people invested in a film that happened so long ago, the prospect of them falling flat in their collective faces could so easily have happened. However, it must be said that the film is a triumph and a good box-office banker; thrills, spills, laughs, action, adventure and a kick-ass soundtrack from the people born to do it.
It is formatted for 2D, 3D and IMAX, but whichever form you see it in you will not be disappointed by this roller coaster action yarn; science-fiction action film is back with a bang; from a film we thought that had disappeared without a whimper.
Released nationally on December 16th.
Tuesday, 30 November 2010
Kyle Patrick Alvarez Interview
In anticipation of this Friday's release of EASIER WITH PRACTICE, which i have already reviewed, I was granted an interview with the debut director, Kyle Patrick Alvarez; allowing me the chance to discuss his influences, aspirations and future plans:
- What would you pinpoint as your influences/reference points for 'Easier With Practice'?
Visually, I definitely took a lot of inspiration from Wong Kar Wai, 'In the Mood for Love' in particular. I love how he'll use a single sustained image to imply so much and trusts the audience with his pacing. David Morrison and I also looked through a lot of photographs and we had a wall of images that inspired us.
- Was the shoot enjoyable or a steep learning curve for you?
I had done a lot of short/student films before, so I had a general sense of being on set and it some ways it was more enjoyable because it was the first time I actually had worked with a full crew, where I wasn't the director/cameraman/sound guy all at once. The learning for me really came in working with actors, cause it was the first time I dealt with professional actors. I always wanted to make sure to respect them and the challenges they face, but I would say that's where I learned the most, in learning how to talk and work with actors.
- What relationship did you have with David Morrison (DOP)?
My relationship with David was one of the strongest I had on set, and one I'm continuing with on my next films. He's just an extraordinary talent and works so collaboratively with everyone. It's rare to find such connectivity with another filmmaker so I'm excited to keep on making films with him.
- Were you worried about the pressure you put on Brian Geraghty's shoulders in terms of being on screen throughout?
I was never worried in terms of Brian's abilities, but just in that we all knew that those scenes were going to be so delicate and difficult to pull off. It's a lot to ask of an actor to sustain entire scenes the way he had to, but Brian was always on and prepared. In fact, the 10 minute take at the beginning of the film, was only the second time we ran through the scene. When we were auditioning actors for the film, we were primarily looking for watchability, that certain thing that pulls an audience in to an actor's performance. Brian has that in spades.
- Would you change anything now looking back?
I try not to watch my film in terms of what I'd change or not, since I can't, but I definitely learned a lot I hope to bring with me into my next films. Primarily on a writing level, of just learning to reduce dialogue down it's minimum necessities. It's a challenge to put on yourself, but so much extraneous dialogue got cut throughout the shooting and editing of the film. I've definitely learned how to write a tighter and more concise script.
- What is next for you?
I've got two projects I'm working on and hoping to shoot in the next year. One is a film based on a David Sedaris short story. He's been really gracious and open about letting me adapt his work, which I'm so grateful for. It's a dream project for me, so I'm putting my all into it. The other is a high concept thriller, that's going to be a real challenge and a total change of pace for me. I couldn't be more grateful to have the opportunity to make another film.
- What would you pinpoint as your influences/reference points for 'Easier With Practice'?
Visually, I definitely took a lot of inspiration from Wong Kar Wai, 'In the Mood for Love' in particular. I love how he'll use a single sustained image to imply so much and trusts the audience with his pacing. David Morrison and I also looked through a lot of photographs and we had a wall of images that inspired us.
- Was the shoot enjoyable or a steep learning curve for you?
I had done a lot of short/student films before, so I had a general sense of being on set and it some ways it was more enjoyable because it was the first time I actually had worked with a full crew, where I wasn't the director/cameraman/sound guy all at once. The learning for me really came in working with actors, cause it was the first time I dealt with professional actors. I always wanted to make sure to respect them and the challenges they face, but I would say that's where I learned the most, in learning how to talk and work with actors.
- What relationship did you have with David Morrison (DOP)?
My relationship with David was one of the strongest I had on set, and one I'm continuing with on my next films. He's just an extraordinary talent and works so collaboratively with everyone. It's rare to find such connectivity with another filmmaker so I'm excited to keep on making films with him.
- Were you worried about the pressure you put on Brian Geraghty's shoulders in terms of being on screen throughout?
I was never worried in terms of Brian's abilities, but just in that we all knew that those scenes were going to be so delicate and difficult to pull off. It's a lot to ask of an actor to sustain entire scenes the way he had to, but Brian was always on and prepared. In fact, the 10 minute take at the beginning of the film, was only the second time we ran through the scene. When we were auditioning actors for the film, we were primarily looking for watchability, that certain thing that pulls an audience in to an actor's performance. Brian has that in spades.
- Would you change anything now looking back?
I try not to watch my film in terms of what I'd change or not, since I can't, but I definitely learned a lot I hope to bring with me into my next films. Primarily on a writing level, of just learning to reduce dialogue down it's minimum necessities. It's a challenge to put on yourself, but so much extraneous dialogue got cut throughout the shooting and editing of the film. I've definitely learned how to write a tighter and more concise script.
- What is next for you?
I've got two projects I'm working on and hoping to shoot in the next year. One is a film based on a David Sedaris short story. He's been really gracious and open about letting me adapt his work, which I'm so grateful for. It's a dream project for me, so I'm putting my all into it. The other is a high concept thriller, that's going to be a real challenge and a total change of pace for me. I couldn't be more grateful to have the opportunity to make another film.
Sunday, 28 November 2010
LA SIGNORA DI TUTTI
Max Ophuls one and only foray into Italian cinema during his European exodus from his homeland Germany following the rise of Adolf Hitler and the Nazis, brings us a film that fits nicely into his oeurve, but not necessarily one of his best work.
Ophuls is famed for his melodramatic work, involving female characters whom are downtrodden by society and are not blessed because their beauty is seemingly a curse and not a gift.
Ophuls is famed for his melodramatic work, involving female characters whom are downtrodden by society and are not blessed because their beauty is seemingly a curse and not a gift.
Isa Miranda, plays the role of a star (in the part that made her a star) pressed to revisit the entire history of her lovers to the present moment through an inexorable web of flashbacks... brought on by the anaesthetic following a failed suicide attempt. From the record revolving on a turntable in the picture's opening moments, Ophuls sets into motion one of those roundelays with fate that he alone could pull off with such eminent elegance. The film made in 1934, is startling in its use of flashback and differing fade in techniques are ahead of its time, we are fed different flashbacks and are granted a greater understanding of her desperate mishaps in love, starting with the unfortunate suicide of a teacher who loved her as a student up to all the men in her life from admirers to publicists to managers all hustling and bustling wishing for the best for her - whilst missing out on the fact that she is a person, not an object.
This serves as a contradictory point of Ophuls oeurve; he was a great admirer and lover of women, yet the films he made in Hollywood, for example, Letter from an Unknown Woman and The Reckless Moment clearly objectify women in the sense. The BFI issued 'Letter' earlier this year, the sheer melodrama whilst indicative of the 'Now Voyager' era, nevertheless the objectificaton of Joan Fontaine's character is very harsh and judgmental. Isa Miranda's character is no different, attempting suicide to thrust the narrative into its flashback structure. The film may argue it is a critique of a grande dame's narcissicm, but would any narcissist take their own life over the joy of seeing one's self again in the mirror.
The filmmaking contains strong thriller elements for psychological suspense and good use of offscreen sound, which would bode well for his Hollywood career, but the female(s) in his films although endangered, are supplied with memorable roles in the European pantheon.
The Masters of Cinema Series is proud to present La signora di tutti [Everybody's Lady], the stunningly beautiful '30s masterpiece by famed auteur Max Ophuls (Letter from an Unknown Woman, The Reckless Moment, La ronde, The Earrings of Madame de..., Lola Montès) starring the legendary Italian actress Isa Miranda. Released for the first time on DVD in the UK on 29 November 2010.
Monday, 22 November 2010
Where is the rain?
Where is the rain?
Where has it gone?
Will it come back again?
Its been so long.
The sun has shined for far too long
the temperature has risen and we all look brown.
We've got hot under the collar
and the burns are there to see.
We're tired of being perky
and sick of looking pink.
I see the clouds roll down from the coast
get here quick I miss you more than most.
The storm is coming and its starting to brew,
come on rain we've been waiting for you.
So pour down on me
so pour down on me
pour down on me.
Cos I haven't felt this way for so long
and I'm soaked right through to the bone
So pour down on me
rain down on me.
Where has it gone?
Will it come back again?
Its been so long.
The sun has shined for far too long
the temperature has risen and we all look brown.
We've got hot under the collar
and the burns are there to see.
We're tired of being perky
and sick of looking pink.
I see the clouds roll down from the coast
get here quick I miss you more than most.
The storm is coming and its starting to brew,
come on rain we've been waiting for you.
So pour down on me
so pour down on me
pour down on me.
Cos I haven't felt this way for so long
and I'm soaked right through to the bone
So pour down on me
rain down on me.
Look
I look at you one way
You look at me another.
One look is full of love
the other looks of desire.
Can't ignore it,
a look just like this
cos if we do
there will be no kiss.
Sitting here all by myself
searching for a reason
look at the cards
that have been dealt.
Then a bit of luck
comes to the fore
A queen of hearts
22 years old.
So i take a chance
maybe have a dance
not much to lose.
But the look she gave,
was one I'd save
wouldn't pick or choose.
So she looks at me
and i look at her.
Where else is there to turn.
Buy a drink
an invite for coffee
as the song plays on.
Look
i can't ignore
what I've seen before
this is my chance
at romance.
If she is the one,
there is no need to run.
You look at me another.
One look is full of love
the other looks of desire.
Can't ignore it,
a look just like this
cos if we do
there will be no kiss.
Sitting here all by myself
searching for a reason
look at the cards
that have been dealt.
Then a bit of luck
comes to the fore
A queen of hearts
22 years old.
So i take a chance
maybe have a dance
not much to lose.
But the look she gave,
was one I'd save
wouldn't pick or choose.
So she looks at me
and i look at her.
Where else is there to turn.
Buy a drink
an invite for coffee
as the song plays on.
Look
i can't ignore
what I've seen before
this is my chance
at romance.
If she is the one,
there is no need to run.
Time Fly
Lets make time fly,
Time fly together
Time fly right out of the window
Lets hold hands, hold together
and never let go.
Always be there - in mind and spirit.
One way or another I'll be
I will be there by your side
though not actually.
But lets make time fly,
time fly together
Time flies lets sit on the wing
Lets drink to it,
drink together
and see what it brings.
If love is cruel,
then why is it kind
and speak for itself.
If i can see you,
then i am blind
Blind beyond belief.
Never be the one to choose
or make a decision you don't like.
Never be the one to decide whether to stay alive.
Cos you'll like it I know you will
more than I will
And before you know you would have grown wings
and can fly on your own.
Time fly together
Time fly right out of the window
Lets hold hands, hold together
and never let go.
Always be there - in mind and spirit.
One way or another I'll be
I will be there by your side
though not actually.
But lets make time fly,
time fly together
Time flies lets sit on the wing
Lets drink to it,
drink together
and see what it brings.
If love is cruel,
then why is it kind
and speak for itself.
If i can see you,
then i am blind
Blind beyond belief.
Never be the one to choose
or make a decision you don't like.
Never be the one to decide whether to stay alive.
Cos you'll like it I know you will
more than I will
And before you know you would have grown wings
and can fly on your own.
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