Lady Gaga was also featured on Tom Ford's 2016 Campaign.
Tom Ford used a new version of Lady Gaga's cover of “I Want Your Love” on the runway for his new collection. The song, produced by Nile Rodgers, will be featured on Chic's new album "It's About Time" available from September 28 here.
Lady Gaga was also featured on Tom Ford's 2016 Campaign.
The SAG-AFTRA Foundation will present this year’s Artists Inspiration Awards to Harrison Ford and Lady Gaga at its third annual Patron of the Artists Awards.
The event will be held on Nov. 8 at the Wallis Annenberg Center for the Performing Arts in Beverly Hills. The SAG-AFTRA Foundation annually honors two artists who have used their platform to advance humanitarian and philanthropic causes with Artists Inspiration Awards. Previous honorees include Leonardo DiCaprio, Lionel Ritchie, and Kate Winslet.
“We are honored to recognize two of the most iconic and beloved artists worldwide who have not only made indelible impacts on our culture and the arts, but who have chosen to use their influence to make a difference for others,” said SAG-AFTRA Foundation Board President JoBeth Williams.
“Lady Gaga, whose monster career as a performer and actor has won her hundreds of millions of fans around the world, has also worked tirelessly on behalf of young people, focusing on mental wellness and building a kinder, braver world through her Born This Way Foundation. Harrison Ford and Lady Gaga are shining examples of how extraordinary success and true legacy are about creating a better world.”
Gaga has won six Grammy Awards and will next be seen in Bradley Cooper’s directorial debut “A Star Is Born,” which premiered Aug. 31 at the Venice Film Festival. She has supported charities including the American Red Cross, the National Alliance to End Homelessness, Re*Generation, the MAC AIDS Fund, and efforts for Haiti disaster relief.
The Patron of the Artists Awards benefits the foundation’s assistance and performers programs for SAG-AFTRA members and its children’s literacy program Storyline Online.
This article originally appeared Here.
Venice, August 2018, 7:15 PM.
Lady Gaga enters the Main Hall for the first time to watch her movie at the Film Festival. Since a couple of hours, the critics have been allowed to share their reviews on the morning screening. The world was waiting for the first impressions to come out, alongside with the 76 millions fans who are following the new Hollywood star into this new surprising journey.
The reviews are groundbreaking and to some extent some of them are hard to get, knowing the reputation of some journals. This overhype gives us hope. At the end of the movie, the entire room was thinking the same thing: the film is a success! But we were carefully wondering: are the top reviews spoiling the fans’ expectation? Or do we just need to understand their perspective?
The movie begins with Bradley and his first song. The room vibrates and becomes instantly excited, a solo rock guitar sound fills the air and immediately everyone understands something they may have underestimated: Bradley’s voice is unbelievably good. Deep, controlled and rock.
Lady Gaga has undoubtly one of the most powerful and interesting voice in the modern industry, but Bradley shows unexpected skills which confirm that the main male character of the movie is as solid as his female counterpart.
While still watching this incredible first scene, hype and expectations go to their highest, but an unexpected movie direction takes away the fun. Still confused, we see Gaga for the first time, almost immediately put on trial by an important scene. Are we satisfied but her first impression? Of course we are, but maybe we are blinded by our feelings for her. At the moment she is still Gaga in our eyes, the true Ally still has to show herself. And she will come kinda late.
During the first half of the movie, Bradley’s directing hands stand out. The fast screenplay and the character’s background are thrown into a cauldron that makes the viewers feel a bit dizzy, and may result confusing. The photography seems accurate, but some scenes are so hard to digest that, before it happens, another one starts.
We start to feel that we are far away from the modern style of La La Land; Bradley surprises us with his directing skills, every songs looks like a live tour video, but still he does not convince us entirely even if it is just the first half of the movie.
A Star is Born is a raw movie, rock, almost dirty. There’s nothing colourful or fresh in this movie like the recent musicals. This remake feels like something new, a fresh wind that smells like whiskey. A movie like this really stands out against the other. We are very far from the dialog-songs of Les Miserables, and also much farer than the catchy pop songs of The Greatest Showman. The Soundtrack sounds immediately like a Titanic work.
The more you go on with the movie, the more you understand that each song is a hit. Not just commercially; if every musical in history has a couple of songs that stand out and represent the movie in the coming years, with A Star Is Born we find a dozen of songs that already sound immortal.
Bradley Cooper himself said that he wanted to make this movie after attending a Metallica Concert. That is the main reason why Bradley songs are totally rock, meanwhile Gaga’s ones are lighter, but still immortal.
The first half hour of the movie does not let the viewer feel comfortable with the screenplay. Probably that’s because we are more focused on watching Gaga, but some of the first dialogues sound like nothing special. Still, there are some highlights in some of these dead moments of the movie which wake up the entire room. In the first scenes, for example, we find some known faces from Ru Pauls’ Drag Race, who gives the movie that little taste of Gaga.
It feels like Gaga dropped some little pieces of her essence in this movie. But the more we keep watching, the more we understand that it’s not just a little piece, it’s the entire movie that smells like Gaga. The entire Ally’s background and story, totally recalls Gaga’s s career since she was Stefani.
Some lines sound literally ripped of from a bunch of her famous interview. We think that this choice was made to make Gaga feel closer to her character. But for us Little Monsters, it feels like an never ending way of referencing Gaga’s story. There are even a lot of familiar faces in the movie and there is also an entire dialog (which will probably be remembered forever) about Ally’s nose.
Getting closer to end of the movie, when Ally’s story goes a little in the background and the movie switches to Jack’s problems, the viewers finally understand the deep meaning behind. Depression, addiction, fame and family, all these topic are interconnected in a perfect direct and not censored way. Sam Elliot (who plays a very important role) sparks like a gem, thanks to his acting skills, which we think could totally lead him to a nomination for Best Supporting Actor.
At the end, the movie seems simple, dark and it makes you feel like to watch it again. The core is undoubtedly the soundtrack. It almost feels like the entire movie was recorded around it. Imagine the underground - rock stile of Born this Way mixed with the eternal old school and simple style of Joanne. BAM! This is what it feels like. The soundtrack is all sung LIVE. This details should not be forgotten, because it really gives the movie a lot of good points in production.
We are really sure that every fan will love the movie and will also be surprised by his deep and dark mood. Probably even the general public will. Some people will find it boring and cheap, but it is okay to have different opinion. Personally we loved it very much, Gaga really plays a convincing Ally character most of the time, and Bradley is a PERFECT partner. The screenplay could have been written better, just like the picture, and the directing that makes the viewer feels a little lost sometimes. Each song still brings the public down on earth, and gifts us something that will accompain us in the coming years. Each Gaga song makes you cry (except for the few pop songs that have a particular role in the movie), and this makes you understand the power and beauty of the composition.
The true hit in the soundtrack shows up during the first part of the movie, where the characters are introduced. The song gets stuck in the head for the hours and days later.
Everything, anyway, becomes tiny if compared to the masterpiece that is the final song. Whitney Houston. A perfect song in the style of The Bodyguard, which Gaga wanted to customise with an amazing falsetto, giving that touch of originality without any fear to dare. From the first 2 seconds of the song you already feel like it will become an immortal song that everyone, even the future generations, will remember.
The movie is solid and it certainly has some flaws, but with some other highlights and its soundtrack becomes a very enjoyable movie, in which a lot of people will see themselves. It will mark history for sure, even without all the overhype from the press that usually distorts the expectations and the focus; A Star Is Born doesn’t need any push to get directly nominated for an Oscar.
The soundtrack for Lady Gaga and Bradley Cooper's upcoming film "A Star Is Born" is now available to pre-order on iTunes! It consists of original music by Lady Gaga and Bradley Cooper, and sneaks in a few classic covers. Collaborators include Luke Nelson and Promise Of The Real, DJ White Shadow and Diane Warren. The album will be released the same day as the film, on October 5th. Check out the full tracklist below:
1 Intro Cast 2 Black Eyes Bradley Cooper 3 Somewhere Over the Rainbow (Dialogue) Cast 4 Fabulous French (Dialogue) Cast 5 La Vie en rose Lady Gaga 6 I'll Wait for You (Dialogue) Cast 7 Maybe It's Time Bradley Cooper 8 Parking Lot (Dialogue) Cast 9 Out of Time Bradley Cooper 10 Alibi Bradley Cooper 11 Trust Me (Dialogue) Cast 12 Shallow 13 First Stop, Arizona (Dialogue) Cast 14 Music to My Eyes 15 Diggin' My Grave 16 I Love You (Dialogue) Cast 17 Always Remember Us This Way Lady Gaga 18 Unbelievable (Dialogue) Cast 19 How Do You Hear It? (Dialogue) Cast 20 Look What I Found Lady Gaga 21 Memphis (Dialogue) Cast 22 Heal Me Lady Gaga 23 I Don't Know What Love Is 24 Vows (Dialogue) Cast 25 Is That Alright? Lady Gaga 26 SNL (Dialogue) Cast 27 Why Did You Do That? Lady Gaga 28 Hair Body Face Lady Gaga 29 Scene 98 (Dialogue) Cast 30 Before I Cry Lady Gaga 31 Too Far Gone Bradley Cooper 32 Twelve Notes (Dialogue) Cast 33 I'll Never Love Again (Film Version) 34 I'll Never Love Again (Extended Version) You can Pre-Order the soundtrack and pre-save it on Spotify/Apple Music here.
She walked downstairs and there he was, staring at her. He stepped toward her, examined her face: concealer, mascara, rouge.
“Take it off,” Bradley Cooper told Lady Gaga.
She noticed something in his hand. It was a makeup wipe. With it, he erased the colors from her forehead down to her chin.
This is the woman Cooper wanted in his film, “A Star Is Born.” Not the pop star masked with face paint and headdresses and hairpieces. Just Stefani Germanotta. “Completely open,” he said. “No artifice.”
Until that moment in 2016, during a screen test in her home, Gaga didn’t realize how much she wanted the part — one played by Janet Gaynor, Judy Garland and Barbra Streisand before her. And to get it, she was going to have to “completely let go and trust” Cooper. She couldn’t be that girl from the Lower East Side who spent hours doing her makeup before her gigs. She had to let the camera zoom in on her face wearing chapstick and eight-hour cream and nothing else.
“It put me right in the place I needed to be, because when my character talks about how ugly she feels — that was real,” Gaga recalls. “I’m so insecure. I like to preach, but I don’t always practice what I preach.”
Just days before flying to Italy for the world premiere of “A Star Is Born” at the Venice Film Festival, Gaga was sitting in the living room of her Malibu home — a $23-million, six-acre estate with a two-lane bowling alley, dressage ring and safe room. The movie, Cooper’s directorial debut, is the fourth version of the story to be made for the big screen. In this latest take, which will be released by Warner Bros. on Oct. 5, Cooper stars as Jackson Maine, a rock ’n’ roll star whose success is at risk as he struggles with drug and alcohol addiction. But his life finds renewed purpose when he meets Ally (Gaga), an aspiring singer who becomes both his creative muse and his girlfriend. Jackson decides to take Ally on tour with him, but as her career takes off, his demons threaten to sabotage their happiness.
Although she’d already won a Golden Globe for her performance on “American Horror Story” and performed on some of the world’s biggest stages — including at the Oscars and the Grammys — Warner Bros. still wanted Gaga to audition to play Ally.
“That was the studio — that wasn’t Bradley or the producers, but a former executive at Warner Bros. who wasn’t convinced Gaga should get the role,” explains Bill Gerber, one of the film’s producers who has been attached to the project since 2007, when Clint Eastwood was set to direct it. “So we convinced them. Bradley believed in her, and Warner’s was generous enough to budget a proper screen test. It wasn’t unanimous until we did the test, and when they saw it, it took them seconds to say yes.”
Gaga says she understood why the studio wanted to test her, noting that some people “don’t really know what I look like.” Anyway, naysayers fuel her: “I’m totally that girl that’s like, ‘Bring it. I’ll show you.’”
At 17, after studying at the Lee Strasberg Theatre & Film Institute, Gaga was admitted to New York University’s prestigious Collaborative Arts Project 21, a musical theater conservatory and off-Broadway theater company. But she didn’t thrive there. She wasn’t getting auditions, and the ones she went on went poorly. She was almost cast on a domestic tour of “Rent,” but producers ultimately decided she was too young. So after just a year at NYU, she dropped out.
"I was frustrated with the system,” she says, “so I decided to go off on my own and pay my own rent, work three jobs, make my own music, and record in my apartment.”
It’s somewhat difficult to envision that version of Gaga as she perches on the edge of her couch, back erect, still wearing the black Alaïa dress and stilettos she put on for a photo shoot earlier that afternoon. The coffee table in front of her is covered with pink crystals and magazines, including one with her on the cover.
An assistant walks into the living room to offer bottled water. Also floating around Gaga’s house: her manager Bobby Campbell; a member of her publicity team; and her mother, Cynthia Germanotta, who is visiting from New York. Gaga’s French bulldogs are outside on the patio, which overlooks the Pacific, and whine occasionally at the glass sliding doors.
All of this is being watched from afar by cameras over in the barn, which houses both Gaga’s horses and her security team, which holds cellphones for guests while they are inside the performer’s residence.
To play Ally, Gaga tried to distance herself from all this. She remembered the little girl who grew up obsessed with Garland — the one who would watch the Oscars wrapped in a gown made of blankets, accepting a fake Oscar on a crate in front of her television. And she thought a lot about how she came up in the music industry when — just like her character — she was told she had the right sound but not the right look.
“I never cried, but I would just hold on to my records for dear life and say, ‘You’ll pry them from my cold, dead fingers,’” Gaga recalls of her early conversations with music executives. “What made things easier for me is that I wrote my music, so I didn’t have to beg for songs or for anyone to help me. I did it myself.”
For Ally’s musical performances — some of which were filmed onstage at Coachella the week between Gaga’s two headlining gigs at the 2017 musical festival — she decided to tone things down. She wouldn’t grit her teeth or shout at the audience or throw her hands in the air. And she tried to hone in on the character’s depression, focusing on how close Ally was to giving up her dreams before meeting Jackson.
“What’s different from Ally than me is that when I wanted to become a singer, I hit the concrete running,” she says. “I was dragging my piano from dive bar to dive bar to play music. I was calling people, faking being my own manager to get gigs. I really believed in myself that I could do this and that I wasn’t going to stop until I made it. ...The truth is, when we meet Ally, she’s given up on herself. And that’s very different from me. I just wasn’t overwhelmed by the odds. The truth is, if we were not sitting here today and I hadn’t sold as many records as I have, I’d still be in a bar somewhere playing the piano and singing. It’s just who I want to be.”
Gaga worked with acting coach Susan Batson, who has trained Nicole Kidman and Juliette Binoche. The teacher said she found the fledgling actress “exceedingly receptive to the work,” describing her as “almost beyond professional.”
“It was her first [leading role], but you would have never known it, and I think that has something to do with the fact that she’s done so much performing already,” Batson says. “The Lady Gaga that the public knows? They won’t see her.”
Getting comfortable on set, Gaga admits, took some time. After months of preparation, she turned up for the first day of shooting with her lines memorized. Cooper came on set to join her in a scene, but he started off by saying a line that wasn’t in the script. He was trying to get Gaga to loosen up, but she didn’t understand and responded by saying the same line over and over again.
“Finally, he said, ‘Are you OK?’ And then I started crying,” she says with a laugh. “Then I got that out of the way and then we did the scene. I had to let go of the words.”
The two would go on to form a close bond during production, developing a shorthand while working on set. If Cooper wanted Gaga to evoke a feeling of warmth, he’d whisper “Tony,” knowing that she has a close relationship with singer Tony Bennett and that whenever she thinks of him she gets “a certain feeling of love.” If he needed her to focus, he’d say things like “ninja” or “assassin.”
“Her learning curve was insane, just from the first day to the second day,” Cooper remembers. “Everybody already knows that she’s got a God-given talent as a singer, and she was able to utilize that plutonium to act. If this is something she wants to pursue, I will just have been lucky to have been part of her story as an actress.”
Gaga also helped inform Cooper’s performance as a musician. She wrote a handful of songs for the movie’s soundtrack and sat with the actor in the studio, answering his questions about the logistics of what goes on backstage during a big concert. She was also candid about her personal experience with drugs, sharing how readily available substances were to her after she became famous.
“There was a buffet of options,” Gaga says. “It’s very lonely being a performer. There’s a certain loneliness that I feel, anyway — that I’m the only one that does what I do. So it feels like no one understands. And the urge to use is because you’re searching for a way to quell the pain. When I first started to perform around the country doing nightclubs, there was stuff everywhere, but I had already partied when I was younger so I didn’t dabble. I was able to avoid it because I did it when I was a kid.”
As “A Star Is Born” embarks on the fall awards circuit — the film is headed to the Toronto International Film Festival after Venice — Gaga says she’s proud of her performance because she knows she “gave it everything.” After being forced to cancel a slew of concert dates this year due to her fibromyalgia, she’s readying a return to the stage on Dec. 28, when she’ll launch a Las Vegas residency. (She won’t reveal whether songs from “A Star is Born” will make the cut.)
She’d like to do more acting, but not just “for the sake of being an actress. I want to tell great stories that pull from real places inside of me, from real pain, from real emotion, from my real life.”
Gaga does seem to have a gift for easily accessing her emotions. When the conversation returns to self-confidence — how she began to feel beautiful after that early industry scrutiny over her looks — her eyes fill with tears.
“To be honest, I think what makes me feel beautiful is when I see happiness in my fans,” she says, her voice choking a bit. “When I see or hear from them that the music that I’ve made has changed their life in some way, that’s what makes me feel beautiful. Because this is just the outside, you know? And at the end of the day, I could be in a million movies and put out a million songs and everyone could say, ‘She was so beautiful,’ but that’s not really what I want. I want them to say, ‘I saw that movie and I cried my eyes out and I learned something about myself.’”
Lady Gaga by Jay L. Clendenin for LA Times. Click on the picture to see the full photoshoot.
This article originally appeared here.
In recent years, Kesha's legal battle against her former producer and alleged abuser, Dr. Luke, has become one of the most prominent legal battles in the industry, garnering tremendous support across social media, fans and fellow celebrities. In case you're unaware, Kesha came out as a sexual assault victim in 2014, accusing her then producer Dr. Luke of said abuse, thus opening a legal battle against him in hopes of getting out of her multiple album contract with the producer and his record label under Sony.
As of recently, texts between Kesha and several other female artists in the industry have been made public, including those between herself and Lady Gaga, in which Kesha alleged that her former producer may have also sexually assaulted Katy Perry.
On August 27, 2018 Lady Gaga's deposition on aforementioned texts had been made public. In her deposition, she recalls talking with Kesha and CEO of Intercope, John Janick, about a rumor that Mr. Janick had heard regarding Katy Perry's alleged abuse. She states that Mr. Janick and herself had been talking with Kesha about what they could do to help Kesha out from her legal binding with Sony and Dr. Luke's record company, Kemosabe Records, suggesting that somehow they could bring Kesha over to Interscope and that Gaga would look after her.
Later on, in his own deposition, Mr. Janick redacted his claims of ever alleging Katy Perry had been raped, making it seem as if Kesha was lying to Gaga with her claim over text, ultimately contradicting both Kesha and Gaga's claims that they had heard the rumor from Mr. Janick and making Gaga's deposition appear to lack knowledge of the subject and evidence.
Ms.Perry herself also stated on record that she had not been raped, assaulted, or drugged.
Lady Gaga's support for Kesha throughout her legal battle has been anything but secret, taking to her various social media accounts to advocate for the singer and helping Kesha continue to spread her message and shine her light as this lawsuit draws on. #FreeKesha
After years of waiting Lady Gaga's music video for 'Don't Give Up' featuring The Midway State has surfaced the web. A previous low quality version is this video was available on Youtube.
If you want to play this video, open it on your mobile browser, not Twitter or Facebook, and close all popup.
Thanks to Ruslan Calderone for sharing this video.
This article has been momentary suspended. No official review can be posted before Friday.
Producer and indie veteran Lynette Howell Taylor talks about Lady Gaga & Bradley Cooper's 'A Star Is Born'
As director Bradley Cooper’s high-profile remake debuts at the Venice Film Festival, producer and indie veteran Lynette Howell Taylor opens up about the one thing that star Lady Gaga insisted upon.
Bradley Cooper's A Star Is Born, in which the actor makes his directorial debut starring opposite Lady Gaga, will be unveiled Aug. 31 at the Venice Film Festival before traveling to Toronto's fest and hitting theaters Oct. 5. The $36 million Warner Bros. release is the fourth telling of the time-tested showbiz love story (the first was in 1937) about a male star whose career nosedives while that of the female star he discovers rises — and for producer Lynette Howell Taylor, it is the most high-profile project of her career.
A native of Liverpool, England, Howell Taylor, 39, first worked on stage productions for East of Doheny before segueing into independent film with such critical successes as Half Nelson, Blue Valentine and Derek Cianfrance's 2012 The Place Beyond the Pines, where she first collaborated with Cooper, who invited her to come aboard Star two years ago. Her new production company 51 Entertainment, which has three employees, has also partnered with Shivhans Pictures on the currently filming Wander Darkly, directed by Tara Miele and starring Sienna Miller and Diego Luna as a couple in the aftermath of a devastating car crash.
She and husband Graham Taylor, co-president of Endeavor Content, live in Pacific Palisades with their young children, daughter Avery and son Atticus — and a third is on the way in October. But they don't spend much time talking shop, says Howell Taylor with a laugh. "With two children and soon a third, when we get home, we talk about schedules, who's going to be where and who takes what shift."
Why is A Star Is Born such an enduring story?
Ultimately, it's a love story, and audiences love to watch stories about love. It's also a love story told with music, which is why it is timeless and why it is fresh. The music is fresh to this generation, and each previous incarnation has very much been about that time period when the movie came out. So this new one stands alone as its own contemporary retelling.
Even though you shot the film before the Time's Up movement, has the balance between the male and female characters changed?
I don't think it changed the story. The movie is about a woman in a man's world. There are not a lot of women in the film, and that's by choice, because the music industry has been very dominated, especially behind the scenes, by men. That's very much a part of the contemporary telling of this story.
You were the fifth producer to join the project. How did you each divide up roles?
Jon Peters made the '70s version. Bill Gerber came on in 2009, and he had very much been spearheading it. Todd Phillips and Bradley are producing partners and have a wonderful creative collaboration. So we all collaborated and supported Bradley's vision. Each individual producer on any project could often do what the other producers are doing, but on any given day, you naturally fall into a rhythm — OK, today I'm going to sit with the first A.D. and do the schedule and you're going to deal with how to get Coachella to let us film there.
Does working with a first-time director like Cooper change the dynamic for you as a producer?
I've been working with first-time directors since I started. My first movie Half Nelson was with Ryan Fleck and Anna Boden. And I've worked with several actors turned directors, like Matt Ross and Brie Larson. What I love about actor-directors is they so fully understand what everybody needs in front of the camera. They're always so great at getting performances out of other actors because they really understand the craft.
Lady Gaga hasn't had a lot of experience as an actor. Did you make any adjustments, like extra rehearsal time, for that?
It was not about extra rehearsal time. It was about the environment that Bradley created on set that allowed everybody to bring the best that they had to give. All the music in the movie was sung live, which was something that Lady Gaga insisted on to have the most authenticity. Bradley fully embraced the idea and committed to it. And she was a real warrior. She performed both weekends at Coachella — and then we shot on their stages, and brought in our own crowds, during the week.
Live Nation also produced — what was their involvement?
It was a financial partnership on the movie. And music is such a huge part of the movie, there was an element of that, too, in terms of support.
Did your background in indie film come into play?
Obviously, it was very much a Warner Bros. movie, and you have the support of the Warner Bros. back office and the wonderful people who work at that studio. But then there's never enough money to make movies like this, and you have to get really creative — Bradley called Kris Kristofferson, who [starred in the 1976 version and] was performing at [the] Glastonbury [Festival], and asked if he could have part of his set, and Kris gave us four minutes. Bradley went with our cinematographer and one camera and our sound guy, and they went up on the stage and he performed a song twice, and it has a very electric feel to it. That was more in the spirit of independent filmmaking — beg, borrow and steal — and sometimes it makes the film feel more alive.
With the emphasis on hiring more women and minorities, how was that reflected in your staffing?
Bradley's a very inclusive filmmaker, so there was a lot of diversity on the set. That happened naturally. Our first A.D. was a woman, our costume designer, our production designer, our music supervisors were women. The area that needs to be addressed is on the union level. It's not that there aren't amazing, competent people available; it's that the unions in certain departments haven't caught up to that. If you're shooting a movie in Los Angeles and you want to hire a diverse, female location manager but the person you want is not in the union, the union is telling you to go through its list before you can hire a non-union person, and that list is full of men. There's your conundrum.
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