Menschen die sich an eine Begegnung mit Michael Jackson erinnern

[geli2709]

'Michael is too fragile to handle it all…
I feel a responsibility to him,’ she told me, ‘just from one human being to another. He so needs love.’
‘You have to stop trying to find strength in other people,’ she told him one day during one of their talks. He was at her home in the library with her; I was in the outer office… ‘Michael, sweetheart, you’re an adult, now,’ she said. ‘Why not find your own strength, within?’
She doesn’t think Michael could understand what she was saying. ‘Can you help me?’ he asked her. ‘I’m so miserable… It hurts so bad.’ They embraced. ‘You’re having a wonderful life, Michael,’ she said. ‘These are just hard years, but it’ll get better. I promise.’
‘Michael sobbed like a baby,’ said Bernice. ‘My heart ached. I stood outside of the library and just cried. It was so sad. He was so sad. It was as if he was an alien, just visiting, from another world.’

— Bernice Littman - Jane Fonda’s personal assistant 1980 (via alchrista) —

http://billiejeans.co.vu/post/108631...-it-all-i-feel


Übersetzung:

„'Michael ist zu zerbrechlich, um damit umzugehen … ich spüre Verantwortung für ihn'“, sagte sie zu mir, „'einfach von Mensch zu Mensch. Er braucht jedenfalls Liebe.'

'Du musst aufhören zu versuchen Stärke in anderen Menschen zu finden,' sagte sie ihm eines Tages während einer ihrer Unterhaltungen. Er war mit ihr in der Bibliothek bei ihr zu Hause; ich befand mich im Büro nebenan … „'Michael, Liebling, du bist jetzt erwachsen,' sagte sie. 'Warum solltest du nicht deine eigene Stärke finden, in dir selbst?'“

Sie glaubt nicht, dass Michael verstand, was sie sagte. "'Kannst du mir helfen?' fragte er sie. 'Ich bin so unglücklich. Es tut so weh.' Sie umarmten sich. 'Du hast ein wunderbares Leben, Michael,' sagte sie. 'Dies sind nur gerade schwere Jahre, aber es wird besser werden. Ich verspreche es.'“

„Michael schluchzte wie ein Baby,“ sagte Bernice. „Mir tat das Herz weh. Ich stand draußen vor der Bibliothek und weinte nur. Es war so traurig. Er war so traurig. Es war, als wäre er ein Außerirdischer, nur zu Besuch aus einer anderen Welt.“

Bernice Littmann, Jane Fondas persönliche Assistentin 1980

http://www.mjjackson-forever.com/ind...2105&pageNo=54

[BlaueBlume]

Michael and Hazel "Gil" George

http://www.originalmmc.com/gilgeorge.html

"Gil" George war der Name, unter dem Disney Studio Krankenschwester Hazel George Songs für Disney-Filme und TV-Shows schrieb, darunter den Mickey Mouse Club.
Sie war Walt Disneys langjährige persönliche Krankenschwester, Therapeutin und enge Vertraute, und sie war auch die HauptMitarbeiterin und Partnerin von Disney Komponist Paul Smith .

Hazel wurde vom offiziellen Disney Biographen Bob Thomas im Jahr 1975 interviewt.

Bob hat Michael Jackson auf Wunsch des Pop-Sängers Hazel vorgestellt (ca. 1985/86).
Jackson besuchte Hazel in die nächsten zehn Jahre weiterhin regelmäßig, sendete ihr Blumen und brachte klassische CDs als Geschenk.

[Tijaju]

Maureen McCormick erzählt in that sie mit Michael Jackson liiert Krieg. '... Wir hielten die Hände und küsste auf den Wangen, nie auf den Lippen, "Maureen aufgetischt, und rühmte sich, dass die Jackson 5 waren große Fans der Brady Bunch. "Es war so süß, er liebte unsere Show - sie alle aber taten. Früher haben wir immer und Kneipe gehen und beobachten sie proben. " "Wir würden viel reden und träumen viel, nur, ich glaube, wir bewunderten einander und, ja," mit einem Lächeln verwöhnt sie.

[BlaueBlume]

Maureen McCormick erzählt, daß sie mit Michael Jackson liert war.

Alter Artikel dazu: https://lacienegasmiled.wordpress.co...-marcia-brady/

[rip.michael]

Ergänzend TV IV von 2009:

The Brady Bunch schauspieler treffen die J5 1970.

[BlaueBlume]

Ergänzend TV IV von 2009:

ist beides im Link in meinem Post .......

[rip.michael]

... so ein grosses bild hasde aber nicht
....... 'in schöner':



Die obige datumsangabe stimmt wohl nicht.
Das treffen fand am 9. Juli 1971 in den ABC TV-Studios statt.

[Tijaju]

Komisch. Ich hatte auch 2 Links eingefügt. Jetzt sind sie weg

[Michaela]

Hallo, ich hatte mal ein Video auf Youtube gesehen, in dem ein Künstler (leider weiss ich's nicht mehr) davon berichtete, wie er Michael erzählte, dass er pupsen müsse. Weiss noch jemand wer das war? Thx a lot.

[Memphis]

schade.......................wäre sicherlich ein sehr interessantes video gewesen

[Tijaju]

Giorgio Moroder über MJ im IV mit Alex Gernandt

einestages: Apropos Michael Jackson. Haben Sie ihn jemals getroffen?
Moroder: Mehrfach. Das erste Mal 1987 in Beverly Hills, bei der Hochzeit meines Anwalts John Branca, der auch sein Anwalt war. Michael war damals Trauzeuge. Und dann um 1993, als er in New York erste Tracks für sein Album "HIStory" aufnahm. Da haben wir ein gemeinsames Projekt entwickelt.
einestages: Um was ging es?
Moroder: Michael war beseelt von dem Traum, eines Tages ein großer Schauspieler zu werden, als Musiker hatte er ja alles erreicht. Er wollte unbedingt ein Remake des Mystery-Thrillers "Der mysteriöse Dr. Lao" aus den Sechzigerjahren drehen und die Hauptrolle spielen. Es hat ihn fasziniert, dass er als Dr. Lao in sieben verschiedene Rollen schlüpfen konnte. Ich sollte die Musik dazu schreiben.
einestages: Dieser Film wurde nie realisiert. Warum?
Moroder: Wir wollten gerade mit der Arbeit beginnen, da gingen die Schlagzeilen um die Welt, dass Michael des Kindesmissbrauchs bezichtigt wurde. Das Filmstudio zog sofort den Stecker. Aus, vorbei! Das Budget für den Film lag bei 100 Millionen Dollar. Aber wir haben nie einen Song aufgenommen. Schade, ich hätte Michael gern produziert.

http://www.spiegel.de/einestages/giorgio-moroder-der-disco-gott-vom-dorf-a-1023902.html

[rip.michael]

Fragen von MJJC und antworten von Video Director Steve Barron

Last month (February) MJJC had the honor of getting in touch with famed video director Steve Barron who has worked with many big names in the music industry from The Human League ("Don't You Want Me") and A-Ha ("Take On Me") to the man, Michael Jackson himself. Mr. Barron was kind enough to sit down and answer some questions from the Michael Jackason fan community. Most questions surrounded his work with Michael on the iconic short film "Billie Jean", but Mr. Barron also answers some questions about his newly released memoir entitled "Egg n Chips & Billie Jean: A Trip Through The 80's".

Click on the images above (or here) to purchase Egg n Chips & Billie Jean on Amazon.

The back cover reads: "Throughout the 80's, when the music scene was at it's most vibrant and exciting, and pop video was king, there was one man that every artist wanted on their side. Michael Jackson, Madonna, Aha, Dire Straits, the Human League and a hundred more- all called on Steve Barron to bring his creative genius to their videos, making Barron one of the most sought after and successful video makers of the decade.
In this vivid and highly entertaining memoir he lifts thelid on life on both sides of the camera, to bring you the definite insider's guide on the most tumultuous period in pop music."

We aired the audio verson of this Q&A session on our radio station, MJJC Radio, on Friday March 20, 2015. But in case you missed the show, or would like to listen again, we have included it here for you to listen to at your convenience. The transcript for the Q&A can be found below.

---

"Hi Jenn Niles and Michael Jackson Community, thank you for the questions. This is Steve Barron, I'm talking to you from London. And I am just going through the questions you sent- thank you very much for sending in Q&A questions. I hope to do the "A" part.

The first one is from Zakk, in England, interesting order of how they came in, really. But Zakk in England he says "First of all, thank you for this wonderful opportunity. Secondly, I would like to ask; How was Michael's attitude on set? We all know he was craving his perfected vision to become a reality, but was he also lenient with the crew? i.e did he have a sense of humor, when surrounded by the cameras? Also.. the significance of this short film transcends the meaning of the song, the artistry that you and Michael created together to pave a story of such a deep topic is wonderful, and I hope we see a high resolution scan in the future.. to really feel the magic that I'm sure was present on set each day!"

Thank you, Zakk. Yeah, the high resolution scan, I've still got a 1-inch of the master of Billie Jean in the closet somewhere. And one day it would be great to get that put onto digital and make sure it's as close to the first generation as possible. I mean, [inaudible] get back to the film, but you know we definitely get a good strong master of it if we do that one day.

But he was, Michael was exemplary on set. He was curious and charming and the best way to see that, that are some dailies from the shoot that we recently found, and you can see, you know as the day goes on in these dailies, that he got more and more comfortable with it. You can actually get those in Egg n Chips and Billies which is the title of the book. Eggnchipsandbilliejean.com is a website with about a minute of the dailies, and you get a sense of the atmosphere on the set outside of the actual video, around the video. But on the day, he was great. He asked me about my wife and baby we were about to have, and I can remember him talking about that- me being quite surprised he even knew about that. I think I told him we were going to get married in Oxfordshire, and he was just great. Really tolerant with our budget restrictions too. We only had $50,000, which sounds like a lot of money then to make a video, but compared with 'Beat It' which six weeks later was like $300,000 and 'Thriller' was a few million dollars, so we were the low-budget opener for the kind of videos for the Thriller album. It meant that the ambitions of how everything would light up around Michael had to be a bit home made. He was really understanding of that.

The next question is from "etoile37", it says: "Can you tell us a funny memory from the time you spent with Michael?"

Yeah- I mean, obviously it was a long time ago now, but I'm using a moment I can remember kind of amusing, was in the post-production. He came into the edit suite when we were cutting the video back in London after having filmed it in LA. I can remember, by then we had constructed most of the video- how it would look, which pieces we were going to use, and where they were going to be. And we had done the center section of the dancing piece, where there were the three split screens of Michael, and we were just getting those completely right and showed it to him. As he lookeed through it, Michael said "I prefer the one on the right", and he was talking about them as if the split screens had been put up as multiple choice for what we were going to choose as we went. He didn't realize that that was going to be the concept. It wasn't in story boards and things, so it was like something we were doing to jazz up that center section. So it was quite funny that, you know, it was just a misinterpretation of what this process and what was going on in this cutting room and whether we were just looking at different options. I quickly told him- he had a chuckle about it because I quickly told him, "Well, that's what we're going to do. That's how it's going to look. And you're going to get three of you on screen at the same time." So, that was a funny moment.

This one is from Jay Hoffman, in Cardiff, UK. Another UK! "Mr. Barron if Michael was still with us, what song from his catalogue would you like to create a short film for?"

After Billie Jean, Michael rang up a few years later- I can't remember how much later, but he asked me to make a video from old footage for 'Who's Loving You', which was footage of him when he was really young, when he was just a little kid, and the song is so charming and brilliant. And I think I would like to do another from the same time, perhaps, and if given a choice of any of them, I'd love... 'Got To Be There' is incredible. Just so evocative and beautiful and innocent and so emotional a song, I suppose that one if I had a choice of any to do, I'd love to do some sort of video for that- it would be amazing.

This is another one from Zakk from England. His question is, "Did Michael speak with you about his desire to perform this song [Billie Jean] on stage, and that when he was innovating the dance on the sidewalk he had future performances in mind?"

I didn't talk to him about any stage performance. We got into a discussion about choreography and he had a dance planned for the song, for Billie Jean, but not completely planned because he was still open to what was going to happen on the day, and luckily, because what really haoppened was, because of the limitations of the lighting up of the paving stones and everything, he was able to really bring in a choreography that was a merge between what he might have thought about before, planned, practiced a little bit, and what was going to be necessary to make it work with what was going on around him. You know, the way the stones were being lit up manually. With no real rehearsal he brought this sort of trepidation into the dance, which I thought was amazing. That was all really as he went along. I've got a feeling that the moonwalk and things, which he obviously had in mind, and I think was something that was around in South LA at the time, didn't really come up with the Billie Jean shoot itself, but obviously became big time into the stage performance.

Okay, Pat Minton from the USA has a question in a few parts. First of all, "How did you meet Michael?"

Well, I met him at his manager's office after he had seen the Human League on MTV- the "Don't You Want Me Baby" video that I had made. He then, through the management got in touch, and that's where I met him in LA.

Pat Minton also says, "How excited was Michael about doing the Billie Jean short film?"

He seemed very excited about the idea and the magic of filmmaking, and the potential of story-telling, and cinema generally. He just seemed fascinated by that. And we used a lot of the old cinema techniques in the video. He had asked for some "magic" and tried to bring in some of the magic of filmmaking as well. The 3M material that goes around the lamp post is actually something that I worked on when I was a camera assistant on the first Superman with Marlon Brando. He had worn an outfit that got lit up, really, through the camera, through a mirror through the camera. Not really by eye, but just through a light on the same access and things and just, that kind of magic of filmmaking he was really fascinated with. And us painting the set as well in front of the camera and so three feet in front of the camera we had the whole second story of the set, of the street, which was another filmmaking technique that he was really excited about.

And your other question, Pat Minton, was "What was it like working with Michael Jackson?"

That's a hard one. I mean, there was a special kind of feeling, a special aura around him, that came from a mix of things. He was ambitious, obviously, and curious, with little helpings of driven ambition and things. And when he danced, that was like another world. It was like entering another world. He was like... watching him and being that close to him when he did dance, I've never seen anything like it before. It was like being drawn into another universe, almost. That was really thrilling.

Okay, this is from "Snow White Loves Peter Pan", in Mexico (that's the name of the tag on it). And a few questions. One is "Did Michael contribute in any other way for the short film besides the dance sequences? Was it your idea [to have] Michael wearing that leather tuxedo?"

It wasn't my idea. We worked with a costume designer, Francine was her name I think. Yeah, I'm pretty sure it was Francine. She helped gather ideas together that complimented the set design, you know the pink and the black look and was all really nicely coordinated. And also perhaps, I can't totally remember, Michael probably brought in one of his people, too. She [Francine] was more of the film-side styling/stylist for the story and things.

And it says here, the second question from Snow White Loves Peter Pan is "How did he influence you in your later work?"

Well, I think you take influences from everything in life, and there, I had the special chance to see a master at work; I had worked with a complete master mover and performer. I think the influence from being that close to a master can trickle onto and into everything you do. I don't know how else to put it.

This is from Mike Fann: "Hello, Mr. Barron. Do you remember Michael Jackson's reaction to the final version of the Billie Jean music video? Did you continue to listen to Michael's music after doing the video?"

Yeah, I remember he liked the look of the video. In fact, he asked how did we get that look, and he was referring to that grainy cinema look with the contrast, and I said we crushed the blacks. I said that, and then there was a silence, and it was kind of one of those awkward silences where I thought he might have took that the wrong way, and I didn't know how to get around that. That wasn't the technical term for it, but that is what we called it whenever we worked within the music video world- we called it "crushing the blacks". I can be taken completely the wrong way, obviously, and it was awkward in that moment. But yes, I watched in awe alongside everybody else when Thriller came out, you know, talking about listening to the music that followed and watching the videos that followed. I was totally blown away by Thriller along with the rest of the world.

This is from "Daryll748", Daz, from Brugges, in Belgium: "Dear Mr. Barron, what was the 'inspiration' behind the name of your book "Egg n Chips & Billie Jean"?"

The title comes from the point that I was trying to sort of get across which is, I felt a lot of my '80's journey was sort of contradictions that went from sublime to the ridiculous. I left school at 15- I hated it [school] to be honest. I hated the discipline and I questioned everything and I was just a bit lost and angry and stuff, and fell into the world of music videos that was just beginning. So much was timing and incredible luck. I used to go down the road and get egg and chips for 12p in one cafe and it was 13p in another cafe. Those were the days that you had to think about that 1p- 1 pence, 1 cent- whether you could afford it. So egg and ships was my favorite meal because it was the cheapeast thing on the menu. It was delicious! And it just went from there within a few years, to there I was on the set of Billie Jean, and directing Michael Jackson and that was such a contradiction that I wanted to sum up in the title of the book.

Question 2 from Daryll 748, Daz, from Brugges in Belgium, "Can you tell us a bit about the schedule, the hours, how a 'usual' shooting day was when you did "Billie Jean"?"

This was a long time ago so I've got to recall that. I think it was an 8am call, two days shooting. There was plenty of prep days, getting the set together, painting the set, getting it all prepared. The shooting day was probably 8am, and I don't think Michael was called until probably about 10 o'clock, and he'd then take a bit of time. By the time we got to shoot with him it was probably mid-day when we did the first shot. In that time, I would walk him around the set and say "Look, this is being built here, that's is being built there". I would show him how the second story of the street was going to be a particular method- a cinema method- of increasing/extending the set without having to build the whole thing up high. It was all done in glass in front of the camera. Then we would work late. Usually with music videos you'd work late. I think it was a two-day shoot, so we probably did until 8 or 9 the first day, and maybe even later the second day by the time we got everything. This was quite a long track, I think it was nearly 5 minutes, the actual video for Billie Jean, when you'dhave a lot of them that are three/three-and-a-half minutes. It's a lot of screen time to gather in a short space of time so you have to move fast as a unit, far from what it would be on a movie or television show.
Daz's question number 3, from Brugges in Belgium: "You worked with other artists, did you do anything 'different' working with Michael Jackson?"

Yeah, I mean, the thing that was different working with Michael Jackson is this was somebody extraordinary. I've worked with David Bowie and Madonna and quite a lot of big names over the years. But there was something extra special, I'm sure you've heard this many times, but there was a certain aura about Michael that kind of was very seductive and he was obviously quite a young age just before Thriller came out, and there was a real sort of charm around him and absolute stunning brilliance came out when he performed and things. That was all very different [from] working with anybody else. I never found anybody that extraordinary, although there was a lot of amazing people that I worked with.

This question if from Ankita S. in India, where I've just been, actually. "Hello, Mr. Barron. Thank you for all your lovely work. What an honour to have worked with the King! Could you please tell us what, according to you, was that one quality that distinguished Michael from other artists/celebrities in the show business? Do you remember any fun moment(s) you shared, and do you think Michael would be happy with the songs and videos (and the way they are being created) that are being released now after June 2009? Thanks, and regards." That is from Ankita in India.

I just came back from India. I've just been producing a movie over there- a comedy- and it's an incredible country. It's kind of a cliche to say that because it's a country, but it's like a continent; it's like saying Europe is an incredible country, because there's so many different parts of India. But I had a great time, finished up in Calcutta. Anyway, the question... I kind of answer the question about what distinguished Michael from other artists and the atmosphere working with him. Would Michael be happy with the songs and videos and the way they are being created, that are being released now after June, 2009? That is a tough one. I mean, I don't know. Would he be happy? I think he... he was a perfectionist. I think he would want everything done his way. He had exceptional taste and style and ideas, so I don't think so, no. I think he'd want to change everything to be the way he wanted it to be.

This is from MIST in Sweden: "I wonder about the cloth with tiger stripes that later became a tiger cub, whose idea was it and what does it really mean? Also, I am interested to know more about the homeless man who became rich- or did he just got better clothes? Anyone can have their own ideas about it, but what was the purpose about it when you made the video? Whose idea was it?"

The idead of transformation was really kind of an extension of the idea of the Midas touch really, everything changing and turning and glowing. I was pretty obsessed by the idea of transformation at the time. I don't know why, I just see parallels in things and how things could become things and transform. So the ideas really, I think just came out of that. And the Midas touch, turning from a bum in the street to somebody as rich as a king, you know is an old idea, an old Grimm's fairy tale. Those are things that were always around in the ethos, so it was just another part of the video to do that do to. And the cloth and the little leopard... I'm racking my brain, but I think on the single there was a little leopard, wasn't there? Or am I imagining that? And that might have inspired that moment. But yeah, it was really transformation and change.

This is from barbee0715 in Texas, she says "Hi Mr. Barron: First I’d like to thank you for participating in this Q&A. We all really appreciate this." [It's my pleasure.] "And second, I’d personally like to thank you for directing “Teen Age Mutant Ninja Turtles”-you made me a hero to my little nephews at the time, as I took them to see it repeatedly."

Thank you for that. She goes on to say, "I’m very curious about the Billie Jean film. I’ve seen outtakes from the shoot and Michael seems very relaxed and he’s smiling. I know this is before the outrageous fame made him more shy and reclusive, but he looks so comfortable here, and I know you and your crew had probably not met before. Were there any members of his team there, or did you all just hit it off immediately? What was the shoot like?"

The outtakes that you've seen, we put up I think about 45 seconds of the dailies from the shoot, and they were just kind of a really good insight into what the atmosphere was, really, which was pretty relaxed. You see when the camera rolls, you see Michael before he jumps into his dance, and you see before the camera cuts how the crew are just puttering around, getting on with it. The atmosphere was great. I think we made it very comfortable for him. It was at A&M studios that was down in, it was called a "Chaplin" studio, actually, on La Brea in Los Angeles. The stage was comfortable, there was a really good creative crew, production design, the lighting team- Daniel Pearl- were all really good professionals. Everybody was excited to see Michael but it wasn't... we were all just working together. It was a feeling of we were all working together to do this, not, you know, different "camps" or anything. It was a good vibe. You can see in those rushes [dailies], he was shy and reclusive, but as the day wore on he kind of just got comfortable and enjoyed playing around with what was going on.

Also, barbee0715 from Texas says "I also read before that you came up with the “Midas Touch” idea for the video. Did you already have this vision in mind for another video and then used it for Billie Jean? His team said he wanted a “Peter Pan” quality video-did you take that to mean magical? Did Michael have any input into your vision besides the dancing?"

Well... yes. The Midas touch idea was initially I think it was for [inaudible], it was an idea for a video for her, and we didn't do the video for some reason or another. So the idea was in the back of my mind when I heard this track and from the management that they wanted... that he enjoyed that "Peter Pan" quality to things, which I am a massive Peter Pan fan and love a little bit of fantasy and magic and that sort of thing. So I did take it to mean "magical". When I think of Peter Pan I think of Tinkerbell and I think of this special, almost childish magic that I wanted to bring to it. So I suppose the colors and the vibe gave it that, but I also wanted to go into, to make sure it hit the atmosphere of the track, because in a way, I didn't feelt that the atmosphere of Billie Jean was condusive to like a kid's vibe- it wouldn't be the sort of thing that you would use as a score in a kid's magical film, so I wanted the magic to be slightly older. Hence the lovr and the private detective and that kind of vibe. But still not a dangerous environment, and just... off reality and everything. That's about it.

Also, barbee0715 from Texas, she says "I didn’t have MTV for many years, so I didn’t see your actual video until after Motown 25. I did, however, see parodies of the video-primarily the one that Steve Martin did. I loved that personally, because I took it to be a homage, as he did with Fred Astaire’s Dancing in the Dark with Gilda Radner. How did you feel about parodies of Billie Jean? Were you flattered? Were you annoyed?"

I definitely wasn't annoyed. I was totally flatterd. The Steve Martin parody was hysterical. He was wearing these trousers that were totally having a row with his shoes. And you know, the lights weren't working on the sidewalk, they weren't lighting up, which was exactly what was happening and obviously we tried to hide that in the video, but you can get a sense that the delays are there from the lights. We just had unavoidable problems with our coordination with Michael's movements having never rehearsed it and not having enough of a budget to do something that was more electronic. So it was right to be laughed at and parodied. And Steve Martin- I'm a massive fan of Saturday Night Live and Steve Martin. I later did Cone Heads with Lorne Michaels, and talked about this, and I loved that he parodied the video. Big honor. So it was good.

(video ...)

I just want to thank everybody for their questions and for their interest and I hope I've given a bit of an insight- given you all a bit of and insight- into the world of Mr. Jackson, and the brilliance of Michael. I can't tell you how lucky I was to have worked with such a brilliant artist, a legend and hopefully it will be there forever for generations to see and all his work to enjoy and to listen.

Source: MJJCommunity

[geli2709]

Telefonstreiche
31. März 2015

Schauspieler Russell Crowe scheint keinen Spass zu verstehen: “Zwei oder
drei verdammte Jahre lang” habe ihn Michael Jackson mit
Telefonstreichen geärgert.

Im Interview mit “The Guardian” lässt sich Russel Crowe über Streiche
aus, mit denen ihn Michael Jackson geärgert hat. Der Schauspieler
promotet “The Water Diviner”, den ersten Film, den er selbst gedreht
hat.

“Ich habe ihn nie getroffen, nie seine Hand geschüttelt, aber er fand
den Namen raus, unter dem ich in Hotels logierte”, sagt Russel Crowe.
“Egal wo ich war, rief er an um diese Art von Ding zu tun, wie du es
tatest, als du 10 warst, weisst du.” Michael Jackson habe ihn “zwei oder
drei verdammte Jahre lang” mit Telefonanrufen verarscht.

Ein Streich von MJ, den Crowe als Beispiel nennt: “‘Is Mr Wall there? Is
Mrs Wall there? Are there any Walls there? Then what’s holding the roof
up? Ha ha.’ (Ist Herr “Wand” da? Ist Herr Wand da? Sind da überhaupt
irgendwelche Wände? sodann, was stützt die Decke? ha ha)

Als Erwachsener spiele man doch keine solche Scherze mehr, fügt Russel
Crowe abschliessend hinzu. Nun, wenn er meint.

Das komplette Interview, siehe hier: The trials of Russell Crowe:
pranked by *****, goaded by paparazzi, threatened by al-Qaida
http://www.theguardian.com/film/2015/mar…ned-by-al-qaida

Quelle: jackson.ch, billboard.com

Weiterlesen unter http://www.jackson.ch/jacksons-telefonstreiche/
Copyright © jackson.ch

[rip.michael]

Diese story rauschte durchs netz als gäb's kein morgen mehr !

MJ soll dieser art albernem streich noch eins drauf gesetzt haben:

"... Back in 2013, The Water Diviner star first revealed the prank calls he was receiving from the music legend, who passed away in 2009. "He'd ring me and in a strong voice and say, 'There is an emergency and you need to leave the building,'" Crowe told The Sun. "I'd ask, 'Who is this?' And he'd say, 'Do not worry Russell, just kidding, this is Michael.' "

Hhm ... ich weiss nicht, ob's MJ im umgekehrten fall noch irgendwie lustig gefunden hätte, wenn ihn auf reisen mit seinen kindern und übernachten in hotels ein solcher "scherz"anruf erreicht hätte. Russell Crowe wird wegen seiner reaktion auf diverse MJ-scherze als humorlos bezeichnet. Hhm, ziemlich ungerechtfertig wie ich finde ... spätestens dann hört aller spass auf, wenn erwachsener mensch MJ eine notfallwarnung in sein scherzprogramm einbaute ... das wiederum finde ich ziemlich fern jeden humors .. mit sowas scherzt man nicht, selbst wenn man's zum schluss auflöst! *MJposthumvorsschienbeintret*

Seltsame art der kontaktaufnahme ... .. Michael, Michael ..

[rip.michael]

(...)

Being recruited by Quincy Jones to perform on MJ’ “Don’t Stop Til You Get Enough” :

“When Quincy Jones called me in to provide percussion on a Michael Jackson song, “Don’t Stop ’Til You Get Enough,” which would soon be the number-one hit from his Off the Wall album, I contributed the distinctive percussive sound. It was the perfect song title for my pace at the time—I wasn’t stopping, and I was nowhere near getting enough.We were going after a particular sound on that number, and after trying various instruments I ended up putting water into a glass bottle. Once I’d pitched the key, I tapped it with the metal beater from my triangle. If you listen closely, you can hear that exact sound.”

(...)


www.okayplayer.com/news/sheila-e-first-time-met-prince.html



Music Interviews

The Full Escovedo: What You May Not Know About Sheila E.

Originally published on Sat September 6, 2014 4:39 pm
By Arun Rath

(...) RATH: And while we're dropping names I got to mention one other fun discovering in this book and that's Michael Jackson from "Off The Wall." You play on "Don't Stop 'Til You Get Enough."
ESCOVEDO: Yeah. That bottle sound, that very distinct bottle sound.
(SOUNDBITE OF SONG, "DON'T STOP 'TIL YOU GET ENOUGH")
ESCOVEDO: I remember Quincy saying, you know...
RATH: Quincy Jones.
ESCOVEDO: Yeah, Quincy Jones there's a sound that Michael wants on the record can you kind of emulate it so I got two bottles - and put in it and I just pitch them to the key of the song and then played that as percussion. So, when you hear, dun, dun, dun, dun dun dun dund, that kind of thing, those are the bottles.
(SOUNDBITE OF SONG, "DON'T STOP 'TIL YOU GET ENOUGH")
MICHAEL JACKSON: Keep on with, the force don't stop. Don't stop 'til you get enough. Keep on with, the force don't stop. Don't stop 'til you get enough.

(...)

www.kunc.org/post/full-escovedo-what-you-may-not-know-about-sheila-e