"He was the best. Emotionally I communicate with him. At times I’ll just get blindsided by hearing a song. And in my dreams, I’ll think, Oh my God, it’s Howard.”x
On the twenty-third day of the month of September, in an early year of a decade not too long before our own, the human race suddenly encountered a deadly threat to its very existence. And this terrifying enemy surfaced, as such enemies often do, in the seemingly most innocent and unlikely of places…
Are you ducking kidding me?
haha, this blog is so hilarious!
Little Shop: The Imitation Workprint! Approximately five minutes! Be there!
Some news on “Little Shop: The Imitation Workprint.” Mainly, I forgot there was a new episode of SNL this week, and I planned on hanging out with a few people and watching a movie before, so, because of that, I’ll be exTENDING IT TO 15 HOURS!!!!
THAT’S RIGHT! 15 STRAIGHT HOURS!
The stream begins at 10 AM EST (after I get home from a meeting) and it’ll be ending anytime the film finishes after 1 AM. Also, there’ll be an about ten minute intermission after each showing. (I’m putting together the intermission screen now.)
Now, what are the edits I’ve done for this? I took out the 10+ second gaps between the reels, corrected the color, and I restored the ending. That’s it. I didn’t replace any or take out any footage. I didn’t clean up the audio. I just edited the workprint into a complete film.
TL:DR: I’ll be streaming “Little Shop: The Imitation Workprint” all day today, starting at 10 AM EST.
The livestream will be at http://livestream.com/justinhoskie
a very early, unseen print of the Little Shop of Horrors movie will be live streaming at the above link ALL DAY! I’ve heard there is a lot of early, unseen footage that will be amazing to see.
Happy Birthday Howard Ashman ♫ Born May 17, 1950
Howard’s artistic vision was crystal clear, vivid, tangible, manifesting itself in everything he created. He believed in the power of purpose, structure and style to convey the emotional and sometimes cynical truths of his work. Although often painful, but more than often silly, “beneath the puppetry and games beats the heart of a romantic idealist longing for a world that doesn’t and never did exist”. Said of one of Howard’s most childlike and tragic characters, perhaps this unwavering longing underpins all.
Howard’s first proper show was a modest hit, and remains a forgotten classic. Then suddenly, and without warning, Howard’s second show became one of Boradway’s most iconic productions of all time. Howard was a force of nature that, with no evidence to the contrary, emerged from the womb as talented as an artist as can be. He had no buffer period of uncertain experimentation and critical disappointment before the creation of masterpieces. Perhaps he had to fit in as much perfection as he could in his short, fruitful life. In the decade of his prominence, Howard changed the world
Howard was as solid as a rock, seemingly unbreakable. He was strong, persuasive, dynamic, and fiercely intelligent. But, almost as inconceivably as he entered this world, he slipped through our fingers, we perhaps undeserving of him after all. He has brought joy to children, understanding to the misunderstood, and a therapeutic sensation to those in need of feeling. It is in those moments of deep evocation that Howard lives, because at one time, Howard felt those things too. Those sunken eyes, that delicate voice, that steadfast artistic vision. Howard breathes.
Happy Birthday Howard Ashman ♫ Born May 17, 1950
"Howard knew the work he was doing was good. He had no false modesty and like most artists, he managed to be both sure of himself and insecure at the same time… But it hardly mattered, really, how he did it. It was all part of the magic I believed in. The magic only Howard could make.” x
Over 20 years after he conceived the story and wrote the score for Aladdin, Howard Ashman has been nominated for Best Original Score at the 2014 Tony Awards this week. This is his last chance at a Tony.
When Howard left this world, the score to Aladdin was completed by his song-writing partner Alan Menken alongside lyricist Tim Rice; three songs were included in the film from the original score, and three from the Rice score. Howard was nominated for two Academy Awards for Best Song. He lost the award to Rice.
The Broadway staging of Aladdin is being called the best Disney musical staging since The Lion King (which was the best Disney musical staging since Ashman’s Beauty and the Beast). This may be true, but it is so much more. The three Ashman songs that were not included in the film have been reworked into the story and included in the Broadway show. Of those three songs, there is one of the most beloved, and heartbreaking, songs of the entire Ashman repertoire.
Proud of Your Boy could have possibly won him the Oscar had it appeared in the film, but it may just win him the Tony. The genuine and innocent tragic beauty so often seen in the best Ashman ballads is at its most elemental here. A young man pleads for redemption, redemption for his flaws, flaws for which he needn’t apologize. But the listener is an abstract, an other; an angelic yet absent mother-figure unable to comfort her hurting son. And oh what hurt. Just like Smile's Disneyland, Proud of Your Boy exists almost in another realm of understanding. We feel the meaning, as if we were a hurt and lonely child in need of comfort once more.
We all mess up, screw up, and we all need someone to be proud of us for who we are anyway. Well, Howard, I am proud of you. We are so, so proud of you. Your art never stops effecting people in very profound ways. Now Howard’s own sort of redemption is playing out, every night, when those rejected songs are given their rightful place in the ears and hearts of adoring theatregoers.
Every night, life is finally breathed into those unsung songs, long forgotten and dormant for all those years. It cannot be expressed how much this means. How wonderful that Howard’s vision is being played out in those few precious, honest moments on stage every night. In a beautiful and profound moment of stillness and calm, Howard’s light shines, it burns.
When I hear Proud of Your Boy, it makes me think of Howard. How he must have wished this song would make it into a production he knew he would never see completed. How he poured out his soul into this character, this reflection, this moment of truth in what turned out to be a very flashy show. But at heart, this text, and this medium, is an internal experience. When theatre truly reaches greatness, it has the ability to show us a reflection of ourselves. Howard created that moment in Aladdin. Just like Aladdin, he was a child at heart.
The meaning of this Tony nomination is two-fold. Many fans feel that because his iconic work Little Shop of Horrors was never eligible for any Tony Awards, he is most deserving of this recognition from the authorities of the medium to which he dedicated, and gifted, so much. We hope, but we know that truly, this is enough. Just that Howard’s work is coming to life and effecting people in new ways is enough. But we hope.