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    Looking back on Purple Rain


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    Looking back on Purple Rain

    Post by maxim9691 on Sat Jun 20, 2015 8:42 pm

    Looking back on Purple Rain what are people saying after all these years.

    Last edited by maxim9691 on Thu Dec 03, 2015 1:05 pm; edited 1 time in total

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    Re: Looking back on Purple Rain

    Post by maxim9691 on Sat Jun 20, 2015 8:56 pm

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    By Larry Getlen

    November 29, 2014 | 9:54pm
    Modal Trigger
    Inside the unlikely making of ‘Purple Rain’

    Prince’s tour in support of his 1982 release “1999” found him following closely behind Bob Seger in headlining arenas around the country. One night, he asked his keyboardist, Matt Fink, to explain the working class rocker’s appeal.
    Fink told him it was “Seger’s big, gut-punching ballads,” such as “We’ve Got Tonight” and “Turn The Page,” that melted the fans so, and that “Prince should try writing that kind of anthem if he really wanted to conquer the pop world.”

    Following Fink’s advice, Prince wrote “Purple Rain,” the linchpin of the album and film of the same name that made Prince both a superstar, and the first performer ever to have a simultaneous No. 1 single, album, and film all from the same project.
    “Purple Rain,” as veteran music journalist Alan Light’s new book about the project tells us, was a defining success for the era. The film earned $70 million at the box office (given lower ticket prices, about $300 million today), and the album spent 24 consecutive weeks at No. 1, eventually selling more than 20 million copies worldwide. The music also earned Prince two Grammys and an Oscar.
    Prior to “Purple Rain,” Prince was a star on the rise, with one hit album (“1999”), a few semi-hit singles, and a desire to eclipse them all with something grander.
    When his contract with his managers came up for renewal, he told them he’d only re-sign if they arranged for him to make a movie.
    To those around him, the move came as no surprise.
    “Prince’s band watched him assume a superstar’s persona long before he had actually earned the status,” writes Light.

    “Growing up, like anyone would practice their instrument, he practiced his face; he practiced what you look like on camera,” said keyboardist Lisa Coleman in the book. “He would videotape himself in his bedroom at night, just talking or doing things, and he’d watch himself to see what he looked like. He really worked on it as if he was a dancer or something, training himself for being a big star.”
    Modal Trigger
    Photo: Everett Collection
    While a Prince movie made little objective sense, as he simply wasn’t that famous yet, Prince was determined, and invested $500,000, matched by his managers, to launch the project.
    One of his managers, Bob Cavallo, began the search for a screenwriter and a director. He connected with William Blinn, an Emmy-winning screenwriter for “Roots” who also wrote for the musical television show “Fame.” Blinn met with Cavallo and Prince, and found the shy musician “inarticulate” and “not verbally comfortable” in laying out his vision.
    But Prince managed to convey his desire for a film rooted in his troubled relationship with his father, with his bandmates and members of his various offshoot bands playing (sometimes barely) fictionalized versions of themselves. Based on this, Blinn wrote the first draft of the film, which was then titled “Dreams.” (Blinn said that Prince initially wanted his parents in the film to die by murder-suicide. This idea was later dropped.)
    Cavallo now sought a director, but none would meet with him, as “awareness of Prince in Hollywood was close to zero.”

    - Keyboardist Lisa Coleman

    He was advised to see a film called “Reckless,” helmed by new director James Foley, and when he did, he found himself alone in the theater. As he emerged afterward, a young man asked what he thought.
    The man, Albert Magnoli, was a recent USC film school graduate who, it turned out, had edited “Reckless.” Through Magnoli, Cavallo got the script to Foley. He read it, called Magnoli, and said, “Have you read this? It’s terrible, and I will not do it.” Cavallo, baffled as to why no one wanted to work with him and Prince, asked Magnoli to read the script.
    Agreeing with Foley that it was awful — “it was not musical, [and was] too cerebral” — Magnoli wound up conceiving a direction for the film that emphasized the music, and served as Prince’s “emotional biography.” After hearing the new story, Cavallo hired Magnoli to direct the film.
    Before the shoot, Prince arranged for the musicians to attend acting classes three times a week, and for some to take dance as well. Co-star Morris Day, lead singer of the Prince offshoot band The Time and the singer’s friend and rival, was kicked out of class for “clowning around.” This clowning, however, revealed a natural comedic ability that was later used to great effect in the film.
    Prince’s female co-star was originally set to be Vanity, lead singer of another Prince offshoot band, Vanity 6. But when she left the project and the group, feeling she wasn’t being paid enough, auditions were held for a replacement.
    These auditions alerted the world that “Purple Rain” was shaping up to be as sexually explicit as much of Prince’s music, as one actress told Rolling Stone that she “fled from the tryout because what was being asked of her was excessively explicit.”
    “It was way too pornographic for me,” she said, adding, “they had stuff in the script I wouldn’t even let my boyfriend do to me in my own bedroom.” (Magnoli later said the audition scene was more risqué than the filmed version.)
    It was in these auditions as well that they discovered Patricia Kotero, a B-list actress and model for “the Elyria, Ohio-based Ridge Tool Company’s pinup calendar.”

    Once it was determined she wasn’t too tall, as Prince is reportedly just 5-foot-2, she was hired, and Prince, telling her, “You’re going to be one of those one-name girls,” christened her Apollonia, after Michael Corleone’s first wife in “The Godfather.”
    Despite being chosen from a reported 300-500 actresses, her acting left most unimpressed. Prince’s stand-in was fired after telling a reporter that she “can’t act to save her life,” and a third of her scenes were later reshot in the hopes of securing better performances. She was even nominated for a Razzie Award for “Worst New Star.”
    Some of her takes were so bad that Magnoli was forced to scrap a steamy sex scene between her and Prince. “She was playing it a little bigger than she was supposed to,” said the film’s editor, Ken Robinson, “and you could see the awkwardness, the uncomfortableness on his face. When we saw that, the scene was immediately gone.”
    But however shoddy her ability, no one questioned her dedication. A scene where Prince — known in the film as The Kid — asks Apollonia to purify herself in Lake Minnetonka was filmed in the freezing cold. Kotero “plunged into the water three times for the shoot,” but the fourth almost killed her.

    Immediately after the shot, a nurse on the set yelled, “She’s going into hypothermia — we have to call the ambulance!” Kotero later recalled how everything “started to fade to black,” and she thought, “I don’t want to die now! I want to finish this movie.” Prince, his voice cracking, held her, saying, “Please don’t die. Please don’t die, Apollonia.” She didn’t, and the scene was later completed at a lake in sunny Los Angeles.
    While Kotero was a trooper, some pointed to the incident as just one example of women being treated horribly both on- and off-screen. In the film, The Kid’s father beats his mother; many of the women surrounding Prince are often scantily clad; and in the most egregious example, when a woman accosts Day about standing her up, his sidekick Jerome “grabs the woman and slam dunks her into a Dumpster.”
    Magnoli defends the latter scene in the book by saying it was taken from The Time’s real-life experiences. “I really did hear them say that they threw a girl in a garbage bin once,” he said. “If you’re going to make a film about a culture, you have to honor that culture and show what it is.”

    to evaluate the film’s attitude toward women are complicated by the fact that Prince was dating several women on the set at any one time, including backup singer Jill Jones, Vanity 6 singer Susan Moonsie, and several others including, later, Susannah Melvoin, twin sister of Prince guitarist Wendy Melvoin.
    “He’s mean when it comes to what he is in a relationship to a woman,” Wendy Melvoin said. “He may seem like he glorifies them and exalts them and puts them on a pedestal, but it couldn’t be further from the truth. He is so debilitated by the idea of true intimacy that he needs to be in complete control. And it has been consistent with every female long-term relationship he’s ever had.”

    - Lisa Coleman

    While Prince miraculously managed to avoid serious problems with all of his women on the set, Day was another matter. He and Prince had an ongoing dispute about who was really in control of The Time, the band Prince had formed, but Day fronted. The bitterness he carried was eventually exacerbated, Light writes, by drug use, which led to Day occasionally not showing up to film his scenes.
    “Morris was a real pain in the butt,” said tour manager Alan Leeds, who noted that “there were days when they had to frantically change the shoot schedule because he didn’t show up.” The situation got so bad that when Day showed up late to set one day, “reportedly he and Prince came to blows,” with Time drummer Jellybean Johnson breaking it up.
    While editing the film, Magnoli came up with the idea for a montage that would highlight all the personal demons plaguing The Kid, and decided he needed one more song.
    “I told Prince it was about his father, his mother, loss, redemption, salvation — all the themes we’re dealing with in the film,” said Magnoli.
    Prince responded with “When Doves Cry,” a song he pulled the bass track from at the last minute, giving it a uniquely crisp tone. Susannah Melvoin says in the book that the moment everyone heard the last minute entry, “everybody knew this was gonna be history.”
    Everybody was right, as the song became Prince’s first No. 1 single, and the best-selling single of 1984.

    The film’s soundtrack was released in June and sold 1.5 million copies its first week, elevating Prince to superstar status. The film came out the following month and shot straight to No. 1, making back its entire budget in the first week.
    Still, not everyone loved it. Michael Jackson had long had a strained relationship with the purple one, as Prince once “freaked Jackson out by presenting him with a voodoo amulet,” causing Jackson to tell his lawyer, “I never want to talk to that guy again.” Jackson also once suggested making his song “Bad” a duet with Prince, which Prince rejected.
    Jackson saw the film at a Warner Bros. screening, and left ten minutes before the end.
    “‘The music’s okay, I guess,’ he reportedly said to someone in his entourage. ‘But I don’t like Prince. He looks mean, and I don’t like the way he treats women. He reminds me of some of my relatives. And not only that — the guy can’t act at all. He’s really not very good.”
    The world disagreed. “Purple Rain” not only made Prince a superstar, but also represented a high point he would never match, as he never again came close to the album’s 13 million copies sold, and his subsequent film efforts were disasters.
    Whatever would come after, “Purple Rain” marked the unquestionable highlight of Prince’s career.
    “I think part of the success of ‘Purple Rain’ was that [Prince] did open up and examine himself, and that it was real,” said Coleman. “It was an authentic thing; you could feel it, there was all this excitement around it. And I don’t think he’s ever done that again.”

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    Purple Rain Bloopers

    Post by maxim9691 on Sat Jun 20, 2015 9:01 pm

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    Continuity mistake: Apollonia jumps into the lake. She is soaking wet, naturally. However, soon after, she's riding on the back of Prince's motorcycle and her hair is completely dry.
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    Continuity mistake: Prince concentrates on the chalk mark of his father's suicide attempt in the basement just before he flips out. Funny, but I thought they only made chalk outlines for people who actually died.

    Continuity mistake: During the "Lake Minnetonka" scene, Prince's motorcycle tire automagically changes from knobby to street and back.

    Continuity mistake: When Apollonia originally tries to get into the club, the door slams on her foot. When she opens the door and sneaks in later, the door slowly closes behind her.

    Continuity mistake: When The Kid goes home and sees his mother's crying in the front yard it is daytime. He immediately goes inside to confront his dad and the windows show that it is now night.

    Continuity mistake: When the woman confronts Morris and Jerome on the street about how long she waited the night before for Morris, she first appears without an over the shoulder pocketbook. The camera angle changes and you can see the strap on her shoulder. The camera angle changes again and the strap is gone.

    Continuity mistake: The Kid receives a white guitar from Appolonia placing it in his lap. They kiss. His arms are still placed on the guitar. She tells him that she is going to join Morris's group. As he jumps up and slaps her in the face, the guitar is gone.

    Continuity mistake: When The Kid goes home after playing at the club, he arrives home without his guitar that he left the house with, and the guitar is seen inside the house later on.

    Continuity mistake: When the waitress posts Apollonia's card on the board, the large white folded paper that was seen on the board in the previous shot of The Kid seeing her for the first time is no longer there.

    Visible crew/equipment: When Morris turns to face the mirror to see what the suit that he is holding will look like pressed against him, as soon as he turns and faces the mirror, look at the right side of the mirror where the edge of the open door is, you can see a crew member with the white baseball cap ducking behind the door trying to stay out of the shot.

    Continuity mistake: When The Kid Looks at Apollonia's card that the waitress is holding, it states that she is 5'7" and her weight is also filled out. Later when he looks at the card when it's posted on the board it now says 5'6" and her weight is not there.

    Other mistake: When Apollonia is smacked in the face by the Kid after announcing she's joining Morris's group, she falls into a dresser and knocks all the magazines off the top of the dresser on to the floor. When the same scene is replayed during the 'When Doves Cry' sequence, the magazines don't fall to the floor.

    Continuity mistake: Right after The Kid rescues Apollonia from Morris in the alley, he drives her to a secluded area where the makeup on her face is now brighter and heavier than it was in the alley.

    Continuity mistake: When The Kid knocks Morris into the pile of boxes in the alley, you can see that the stunt double taking the fall is white, and when he lands in the pile of boxes he is seen in the next camera angle laying on a different set of boxes.

    Continuity mistake: When Morris first meets Apollonia he sits at her table and if you notice the straw in her drink, it changes positions during the entire scene and she never touches it.

    Continuity mistake: When The Kid first takes Apollonia for a ride on his motorcycle, his white scarf is blowing in the wind. The camera angle changes and the scarf is tucked into his jacket. The camera angle changes again and the scarf is blowing in the wind again.

    Audio problem: Morris addresses The Kid: "Why don't you stay a while to see how it's done?" Then Jerome is mocking The Kid, saying, "So sexy!" Part of Jerome's line can be heard right before Morris' line.

    Audio problem: When The Kid and Apollonia first arrive at the lake, you can hear them talking, but their mouths are not moving as they walk along the edge of the lake.

    Continuity mistake: When The Time are first introduced, they start walking onto the stage and the camera cuts to Apollonia who is standing at the bar. The guys behind her are moving their heads and bodies to the sound of music, but The Time hasn't started playing yet.

    Factual error: Right after The Kid's father shoots himself, The Kid is seen in the basement being interviewed by two police officers in uniform and one detective. One of the police officers is asking the questions while the detective is writing in his notepad. Standard procedure is for a "Lead Detective" to be assigned to the case and he conducts all interviews.

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    Post by maxim9691 on Sat Jun 20, 2015 9:03 pm

    [size=16]014 8:03 AM ET
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    [size=16]Prince celebrates his birthday and the release of [size=16]Purple Rain
     at 1st Avenue in Minneapolis.

    Paul Natkin/Getty Images[/size]
    Here's a recipe for disaster: a low-budget movie with a cast that's never acted before, a first-time director, and a star who refuses to do publicity.
    That's the story of Prince's iconic 1984 film Purple Rain. Music critic and journalist Alan Light provides the details in his new book, Let's Go Crazy.
    The music world of the early '80s was heavily segregated, Light says. Black music existed in a "post-disco isolated space" and rock 'n' roll in another. Prince faced daunting challenges in making the film — and in making a rock 'n' roll album, rather than another R&B record.
    "Really, it was Michael Jackson's triumph with Thriller that obviously transformed the scale of pop music in general," Light says. "[It] made visible the impact of MTV, transformed all kinds of possibilities, including the possibilities for much greater integration at the pop-radio level."
    It was in this newly opened space that Purple Rain existed. As Light tells it, it's the moment when Prince became the Prince we know today: a bizarre experimenter and a pop genius in a single package. The popular success of Purple Rain, Light says,confirmed him as a talented, disciplined visionary.
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    [size=26]Let's Go Crazy

    Prince and the Making of Purple Rain
    by Alan Light
    Hardcover, 298 pages[/size][/size]

    • arts & entertainment
    • nonfiction
    • biography & memoir

    More on this book:

    • NPR reviews, interviews and more
    • Read an excerpt

    Light recently spoke with NPR's Arun Rath about the difficulty in making the film, the tension between Prince and his band The Revolution, and how Prince took inspiration from Bob Seger in the writing of "Purple Rain." Hear the edited interview at the audio link and read the full conversation below.
    Now, Prince, around that time before Purple Rain, he had achieved some crossover with white audiences with 1999. It's kind of wild that the first single off of Purple Rain is, I think, maybe the most bizarre hit single ever.
    It's probably true. Yeah. There was a little bit — there was starting to be some crossover interest in Prince, especially with "Little Red Corvette," you know, with a big guitar solo in it, big MTV exposure. The members of Prince's band during the 1999 tour, not only could they see that they were moving from bigger to bigger venues as the tour went along, moved from theaters up to arenas, but also could see the crowd, you know, could see more and more white faces in the crowd, you know, week to week as the album was going, and especially as "Little Red Corvette" was taking off.
    But still, it's astonishing when you think back. I think that we look at Purple Rain now a little bit and think there was a sort of inevitability about Purple Rain. You know, Prince was the great genius of his day, and there was gonna be some vehicle that was gonna come along and translate that to the world. But if you look at the moment that it happened, when Prince went to his managers and said, "You have to get me a feature-film deal or you're fired." And what came out was a movie with a first-time director, first-time producer, you know, Prince as the star who'd never acted, his band as most of the cast — and they said, "We're gonna shoot in Minneapolis in the winter." Now, which piece of that sounds like it was going to be a big success?
    Sounds like a total recipe for disaster.
    Yeah, it made no sense at all. And I think what I really came to appreciate more than anything doing this book was getting this sense of the vision and the way that Prince just willed this thing into happening. And could see a potential and possibility that really didn't even make sense to the people who were closest to him at the time.
    "When Doves Cry" is the first single off of the album, before the movie even comes out, and it still sounds bizarre 30 years later.
    Yeah, there's really never been — certainly there was nothing before that sounded like it. And despite limited attempts at imitating that, nothing that could capture it afterwards. And I remember so vividly — I was already a huge Prince fan, and counting down and waiting for the new music and staying up 'til midnight with a cassette recorder by the radio station, by the radio, because the station was going to premiere the new Prince single at midnight. And that was what came out of the box. That sound that you just played. And, you know, this weird, grinding, almost industrial feel to it. And this processed vocal. And keep in mind all of those weird lyrics about, you know, "Maybe I'm like my father, you're like my mother," this was months before the movie came out. And so the song was kind of written as this summary statement about Purple Rain the movie, but none of us had seen the movie, so we didn't know what any of this was talking about. It was so arresting and, you know, it's the risk that you take when you put something really brilliant and really visionary out there. And, happily, the world responded immediately, and I think it spent five weeks at No. 1 and was essentially the biggest single of 1984.
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    'Purple Rain' Taught Me How To Be In A Band

    Now, when it comes to the film, how much ofPurple Rain is really Prince's story? How much is he a kid?
    Well, I think there's always tension around that. It was obviously so much of the fascination at the time when the movie came out. We didn't really know much about Prince. Here was this guy — he didn't do any press. It's amazing to look back and think Prince did not do one interview during the entirePurple Rain cycle. From the time that 1999 came out until after Around The World In A Day, the next album, came out, he did not do one — any kind of interview, any kind of press, anywhere.
    He was on the cover of Rolling Stone a bunch of times —
    Several times without talking to them. So there was this incredible mystique and mystery and aura around him. And though a lot of the details in the movie are not accurate to his life — most prominently, he certainly at the time was playing with this idea that, you know, he had one white parent, one black parent. He sort of was never really clear that he had two black parents. He is a black man. That's who he is. But this idea that he could keep any doors open for his identity was something that, obviously, was really interesting to him.
    I think Purple Rain a little bit the way that I think Bob Dylan's autobiography, hisChronicles book. If you go back to Chronicles and you go through it, there's all of this stuff that's clearly not true. People have gone through and — he remembers which model car he drove when he came to New York and they didn't make that car until three years later and, you know, all this stuff. But I think there's a difference between what's accurate and what's true. And I think there's something about Purple Rain that felt real and felt honest to his experience, to his experience of being an outsider, of not feeling like his music fit in, of not feeling that he fit, that he was trying to build this community around him but he didn't really know how to build community and work with other people. There was something about that that rang true and that, whatever the limitations of the acting in the film, was something that resonated with an audience.
    And so Prince, as you mentioned, is notoriously interview-shy. He seems to hate talking with journalists. But he's talked with you, right? What have your interactions been like with him?
    I've done several lengthy interviews with him, spent a lot of time with him over the years. I didn't even approach him to talk for this book because his thing is really that he will not talk about his past. Any time he surfaces, it's to talk about what he's doing now, what he's doing moving forward. But I was with him the 20th-anniversary year ofPurple Rain, and he said, "I know what that was. I know what it took for us to do that. We don't need to revisit that stuff. We just keep moving forward." So there really wasn't any point in trying to pursue him for this. But my own interactions with him — they've been really complicated. It takes a lot of jumping through hoops to actually get there in the room with him. But when you're with him, I've always really enjoyed my time with him. He's not like some crazy space alien who can't interact with humans. You know, he likes basketball. He likes movies. And he loves talking about, obviously, old music and the stuff that inspired him and the new artists that he loves. He comes across very passionate about that stuff.
    It's amazing to be around someone who's constructed a world that enables them to create at any moment, wherever they are. If it's 4 o'clock in the morning and he's in Dayton and wants to go in and record, everybody knows they have to get everything set up for him to do that. And that means that there's nothing that touches him that he doesn't go out and bring in. There's no casual contact. There's no accidents in that world. It means entering this very strange bubble when you're with him and when you're around him. But, you know, he's very funny and he's very personable, and I hope I can — if I couldn't get him to talk specifically about Purple Rain, I hope at least in the book I can give some sense of what it's like to be around him.
    One of the interesting things that you talk about in the book is that some of the most real stuff in the film is the tension in the band, between Prince and The Revolution, and between Prince and Morris Day.
    It's still something that's obviously very tangible to the band members. And while, in general, speaking to the members of the band, their memories of the time are all very positive and very good, certainly there was this sense of, "Were they really a band, or were they just there to execute Prince's vision?" [It] became a very complicated relationship. I think that he made a really deliberate decision that if he was gonna cross over to a bigger audience, especially to a big rock 'n' roll audience, he was gonna position himself as a guitar player who's the frontman of a rock band. ... Purple Rainwas not an album by Prince. It was an album by Prince and The Revolution. And he made a very clear distinction that he was gonna bring the band forward, put himself at the center of that. But the fact is, this is a guy who writes and sings and produces and, you know, is capable of doing everything himself. So how much actually input he's willing to take, how much that was just about how he could use the band for positioning, and how much they were actually a creative force was something that became a source of real tension as the project went on and as they went out touring and playing stadiums. Were these guys just hired hands, or were they actually a real band? And that's still something that they struggle with.
    Talking about the rock 'n' roll context, it's interesting. You write [about] one of the few critical things the people involved in it said. Alan Leeds, who was Prince's road manager, he was a little bit unhappy that the music in Purple Rain was... he thought it was too white.
    Yeah, I mean, it's funny. Alan is sort of a mythic figure in some of the music business. He was James Brown's, essentially, road manager for many, many years. You know, he's the guy who can work with these mad geniuses and corral them to get out into the world. And he said, coming from that James Brown background, you know, the feeling was you never desert your base. You never leave behind the core of your audience. And he felt like what Prince was doing by making a rock record risked alienating his black audience and the R&B following he built with the four albums he made previously. It's one of these things that's a roll of the dice. If it comes off false, if it comes off artificial, then you don't gain a new audience and you lose the folks you had before. And we've certainly seen many artists fall victim to that. But I think Prince's vision was so clear, and his sense of how he could bring those musics together and how he was capable of making all of that feel very organic and very honest together. Well, if you hit that right, that's when you shoot the moon and not only keep your audience happy, but extend everyone around you.
    It's wild, reading about how the story in the movie changed over time. Apparently, in Prince's original concept of it, it was a lot darker, a lot more death.
    Yeah. It's a — the thing that really stayed in play until just about the last minute was, if you remember the movie, there's the scene where his father shoots himself and in the movie he pulls through. And in the last scene is the scene of Prince at his side in the hospital bed, and this is after he played "Purple Rain," and you see there's a happy ending here. For a long time, Prince was fighting for the father to actually kill himself in that scene and be done with it. And what Prince wanted in this film was a much darker conclusion and a much darker feel throughout.
    And again, these were all rookies. Albert Magnoli, who directed the film and handled much of the rewrite of the film, he was kind of just out of film school, had not directed a feature. The producers who were Prince's managers hadn't made a movie before. Everybody was kind of fumbling around, figuring out how to do this so ... it was keeping Prince happy, keeping him engaged, how much you could compromise to please Warner Bros. studios and make this something they could get behind. They had no idea who Prince was. There was no awareness in Hollywood of who this guy was, and no confidence that he could go open a feature film. So this was something that really played out through the whole making of the film: just how those parts were gonna break.
    You write, and this is actually something that a number of people have said, this is an album that every song on this is terrific. Every song is pretty much a classic. We talked about "When Doves Cry," this is another thing. That opening chord, that's nothing like anybody had heard either in a pop song.
    And what's really amazing is that recording of "Purple Rain" that we know so well, that we know every second of, that is 98 percent the first time that they played that song on stage, the first show that Wendy Melvoin is in the band. That is the first time that they played "Purple Rain" to the world. Now, if there is anything that shows what kind of discipline and what kind of rehearsal Prince puts his band [through], the fact that they went out and the first time they played that song is the version that 30 years later we still know every second of. That's amazing. There's a little bit of editing. There's a verse that they dropped. There's some editing in the guitar solo. They added a little bit of echo. But essentially, it is that exact performance. And that is mind-blowing. Like, to understand that they could just go out there in such perfect fighting shape that they could nail it like that. So it's an amazing thing.
    There's a funny moment that several people talked about. Prince had this big bodyguard, this guy Big Chick who you might remember had a big Santa Claus beard and was with him everywhere. And the first time he heard them play that in rehearsal, he ran in I think to Alan Leeds' office and said, "You gotta hear the song the boss wrote last night. Isn't this song so good? Willie Nelson's gonna cover it." So the fact that it came from that very American place, almost a sort of a country and western song... And Prince, what inspired him to write "Purple Rain" was that when they were touring on the 1999 tour, he was following Bob Seger into a lot of arenas, and was really interested in why was Bob Seger such a big star, especially in the Midwest. And Matt Fink, the keyboard player, remembers that he was talking to Prince and said, "Well, it's these big ballads that Bob Seger writes. It's these songs like 'We've Got Tonight' and 'Turn The Page.' And that's what people love." And Prince went out to try to write that kind of arena-rock power ballad that resulted in "Purple Rain."
    Now, after Purple Rain, it's actually while Purple Rain was still in the air, Prince decides to move on fast. It's kind of put to him, the way you have it in the book, you know, "Prince, you need to pick. You can't be both Elvis Presley and Miles Davis."
    It's such a great line. That's Bob Cavallo, who was one of his managers at the time, said that to him. He was like, "I get it. But you can't be," you know, "a pure artist. You can't be Miles Davis and follow your own whims and directions, and also be Elvis Presley and be the biggest pop star in the world." And I think Purple Rain created a struggle for Prince that he's fought with for the 30 years ever since then. Is this guy the biggest cult artist in the world, who has a million people who will follow him wherever he goes and however experimental he gets? Or is he a guy who fills stadiums and plays the Super Bowl halftime show and is one of the, you know, biggest pop-music artists in history? He's capable of both of those things, but what does he want?
    And I think you do see that happen within the course of Purple Rain. What's remarkable going back is, he cut off the Purple Rain tour after six months, very abruptly — never went overseas, never took it to Europe, really didn't ride this wave as far as he could take it. And said, "That's it and I'm done." And I think at that moment ... there's kind of two things going on. On the one hand, he gets to the mountaintop and sees, "To be a pop star means I've gotta go play that same show for the next two years. I've gotta keep playing the hits. I've gotta give the audience what they want when they want it, and I'm not capable of doing that."
    And on the other side, you see this guy who had a vision for this movie when everybody told him he was nuts. He went out and did it. It was a huge success, and at that point it became very difficult for anybody to say no to him. It became very difficult for him not just to assume, "Well, then every decision I make is gonna work. I know better than anybody else. I just showed you that." So I think right at that moment, he slams the brakes on Purple Rain. He puts out Around The World In A Day, a very different record, a kind of psychedelic feeling, inspired by The Beatles, inspired by the '60s kind of a record, and goes in a very different direction. Now, in some ways, that salvages — you know, if he'd gone off and made Purple Rain 2, then you're just on a — you started a long descent that's hard to get out of. Once you've shown, "I can go and do other things," then you leave all the doors and the possibilities open.[/size]

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    ONE-ON-ONE: Apollonia Kotero on making 'Purple Rain'

    Post by maxim9691 on Sat Jun 20, 2015 9:06 pm

    ONE-ON-ONE: Apollonia Kotero on making 'Purple Rain'

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    It's hard to believe that Prince's movie "Purple Rain" is now 30 years old, but Apollonia Kotero -- one of the stars of that film -- hasn't missed a beat since the movie and album introduced her to the world.

    On Friday night, Kotero was back in the Twin Cities to attend a Heart Association benefit with Bobby Z, Prince's former drummer -- and Fox 9's Maury Glover got the chance to catch up with her and see how she feels about the 30-year anniversary.

    "It seems like it was just yesterday," Kotero remarked. "I can't believe it's been so long!"

    More than 3 decades have passed since Kotero set foot in Minnesota, and she said it feels a lot different than what she remembers.

    "The last time I was here, we had foot heaters and hand warmers, parkas," she reflected. "It was extremely cold and now, I'm wearing a halter top and it's humid outside. It's amazing. It's so clean. The city's so clean."

    Back in the early 80s, Kotero was an aspiring actress. She auditioned for a little movie starring an up-and-coming musician from Minnesota.

    "They said, 'We are going to fly you out to meet Prince,'" she recalled. "So, we go for a ride in his purple limo. I'm wearing white slacks and my 'Flashdance' sweatshirt and trying to be really cool."

    She got the part, but she said filming the iconic scene where she jumps into one of the state's 10,000 lakes wasn't as easy as it looked. In fact, she got hypothermia and nearly blacked out.

    "I broke a sheet of ice because it was icing up already," she recalled. "We did four takes. Everyone freaked out. Prince came in the tent; he hugged me. I could hear distant voices and I was like, 'darn, am I going? Lord, don't take me now!'"

    That didn't frighten her away, however. In fact, she packed a swim suit just in case she gets a chance to take another dip in Lake Minnetonka.

    Her persistence paid off. "Purple Rain" made Prince a global superstar and even spawned a minor hit for Kotero's all-girl group, Appolonia Six. Yet, despite the steamy love scenes with her co-star, Kotero says the two were never more than friends.

    "It was fun. He's a great kisser. His lips are really soft and wet. He smells good. It was just like -- it was sexy. I was turned on," she admitted, but added that the two were never officially a couple. "No, great friends -- family."

    After the movie, Kotero landed roles in other films and television shows, like "Falcon Crest." Soon after, however, she dropped out of the limelight to focus on producing and mentoring talent behind the scenes. Even so, she never lost touch with her musical mentor.

    "I spoke to him a few days ago on the phone. I started crying, and I was like, 'Thank you for picking me! I love you so much,'" she relayed. "We told each other we loved each other. It was full circle. I hope to see him on this trip."

    That love for her Minnesota men is what brought Apollonia back. She hosted the VIP area at First Avenue to help her friend and Revolution drummer Bobby Z raise awareness about the heart attack he had at the 3rd annual Benefit 2 Celebrate Life on Saturday night and prove that even after all this time, her blood still runs purple.

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    Re: Looking back on Purple Rain

    Post by CKJ505 on Fri Jun 26, 2015 9:39 am

    Thanks for the read ... I will read in more detail...

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    Re: Looking back on Purple Rain

    Post by ddemax71 on Wed Jul 01, 2015 6:16 pm


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    Re: Looking back on Purple Rain

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