Black Horizons; 3503; Leroy's Blues

Y 'all watch for it too when you're singing the y 'all, sorry. There seems to be a problem, and I thought we were doing just fine. I heard your father know the telephone with an old friend of mine. I heard you tell him, darling, you were planning on running away. I want you to remember me, every dog has a day, you better think. You better think if I survive it. Yeah, you oughta

think about it, darling. You better think before you act. I lied to you. Listen, I've been good to you. Better than I've been to myself, and now I'm finding out. You're leaving me with someone else. I'm getting tired, darling, of the changes you put in me through. I can't seem to find happiness. No matter what I do, you better think. You better think if I survive it. Yeah, you oughta think about it, darling. You better think before you act. I'm going to play some blues for you. Come on, baby. Come here. Come on.

Hey. Come here. Come here. Hey. Hey. I'll go this way. Well, you better think while it's getting to you. Well, you oughta think about it before you make your move. The grass might seem greener

over on the other side. What if your cross overdollard found out the grass had died? Said you better think. You better think if I survive it. Well, you oughta think about it, darling. You better think before you act. Think about it. Think about it, darling. I've been real good to you. Girl, you oughta think about it.

I've been real good to you. Think about it. All right, man. Got something for you. Lord, have mercy.

Come on, y 'all. Lord, have mercy. Come on, y 'all. Tie the meat in you in secret places. Three full times a week. I'm tired of being introduced as your cousin. To your suspicious friends that we sometimes meet. I'm tired of waking up in the morning, baby. Been in your kid in a shame. I'm tired of checking if it's your hotel room. I'm a post -efficacious man. I don't have to be strong. I have a master degree. I don't have a diploma. A P -A -P -B, but that's fine. Fine, I know. B -B's back three. In the two world low. I said three. In the two world low. I drive for

your house late at night. Just to see if your old man's car's at home. I'm tired of calling, hanging up, baby. When a man asks a telephone, I believe you know what I'm talking about. Trying to watch the clock. While we're getting in on. Half of my job. So we get me to back home. I want more fame, baby. That's all my mind. You're kind of a baby. It hears a mind. I know I'm gonna miss what I never really had. Too much of a good thing. Can I also be bad? And that's fine. Fine, I know. B -B's back three. In the two world low. I said three. In the two world low. Come here. I don't have to be

a star. I'll have a master's degree. I don't have a diploma. A Ph .D. A bad one. Fine, I know. Baby, that's three. In the two world low. I said three. In the two world low. I drive by your house. Late at night. Just to see if your old man's car is at home. I try to call and hang in a baby. When a man asks your telephone, I believe you know what I'm talking about. Try to watch the clock. While we're getting in on. Half of my job. So we can beat him back home. I want more fame, baby. That's all my mind. You're kind of a baby. You're here tonight. I know I'm going to miss what I never really had. Too much of a good thing. And I'll also be better than one. Fine, I know. Baby, that's three. In the two world low. I said three.

In the two world low. Sorry, I had to pinch the baby. Said I won't go now. Trying to boss the clock. Said I won't go now. Though I just try to beat him high. Said I won't go now. Said I know. Oh, no, no, no, no, no, no, not long. Shoulder, no, no, no, no, no. T strips. No, no, no, no, no, no, no. Don't throw it at me. Did I do it? Three and a half Hundred. Well, well, well. Oh, what's going on, baby? How you doing? How you feeling up there? All right. Be back.

Good. If you were going to bite me, I don't think you'd warn me, huh? Find out. Hold it. Come on. My

muggles. Of course. Oh! You may feel more comfortable without that garment, Miss Everdeen. You'll have to touch me a new one, though. Hold. Anything in your pockets tonight? Oh, I ain't started working yet. What about that locket that I gave you? Oh. Apologies,

my dear. Pick it up. Whoopsie, Daisy! Now it's couldn't broke. I can't seem to get anything right tonight. Oh! We hold in our hearts the memory of our fallen brothers. Those blood stains the very streets we walked today. Also, on this night, we pay tribute to the leader of our enemies, an honorable man who crossed over bravely, fighting for what he believed in. To defeat my enemy, I extinguish

his life, and consume him as I consume these flames, in honor of Prince Fallon. Come, leave me, Fallon! That's a wound. God! I once used all to meet the son of Prince Fallon. I took him under my wing, and see how I'm repaid, saves my life one day, so he can kill me the next like a sneak thief, instead of fighting like a man. A beast of filer, unworthy of a noble name. The

whole city created, isn't it? It's downtown New York, it's there. I mean, wherever you go, you go around the corner. You go further, go down to the dock, come back. That's the warehouse, I mean, it's extraordinary. You don't have to suspend your disbelief for very long. Anywhere you look on that set, you can't imagine that it's something that was created a couple of months before. The aging, the timelessness of the peace itself, and then it transports you completely back in time, and you're looking at it and you're going, wait a second, I'm confused here at what I'm seeing, because it seems so real, but at the same time, it can't be real. It was literally, and I'm sure everyone will say that it was like stepping back into time. Every corner, every place you looked was the city at the time, and New York had to be recreated there, because it's not the same New York. You know, there's skyscrapers now and buildings now. At that time, it was literally like wooden shacks and two -story buildings

and pigs running in the streets. I was bulldoven, still, I'm by the set. It's a stone. I love these facilities worn on the outside, and looking at the places and pictures and individual histories in that place. The Chinese Becode had this amazing candle chandelier with probably a couple hundred candles on it, and they had to light it every time before they took it. It takes like 20 guys to light it, and it was so beautiful, it was so rich. There's the old Thomas Garandal barbershop that you built. These rock formations are everything and based on real photographs of the period. And over here, there was an alley here that was a famous Jacob Rees photograph. Yeah. It was actually one of the inspirations for the movie, when I first saw that photograph. But you know, I read the book, The Gangs in New York, The Herbert Azbury Book, back in 1970, the first day, January 1st, 1970, founded in somebody's house, read the whole thing. That's 31

years ago. That's 31 years ago. Yeah. It was 31 years ago. And then, you know, I saw the pictures of Jacob Rees, but of course they were of a later period. But this alleyway here is a direct replication as best we can of Robert's Roost. Yeah. It's called Robert's Roost, or Mulberry Bend. I'm not quite sure. One of the two. He was a lot of guys standing this way. And this way. Guns. I've seen a few people out here, people up here. We've used it a few times in the picture, and it goes all the way in here. Yes, I remember. Oh, there was today. People standing here. People standing out the window. And clothes, lines, and things here. In 1977 or 1978, we did a double truck ad, and Hollywood reporter in a variety. It was literally the picture of this alley. Yeah. Announcing the production soon. But that was in 1977. Now, the costumes are very important, because it was a very colorful period, particularly the Underworld.

And I think we have many records of what the upper classes and what the middle classes wore. But only a few of the lower classes in the criminal world or the Underworld. Like any period film, the first stage is looking at the actual period, looking at things from the real period, so that was from 1840 to 1860. And you begin, you look at paintings from the period, but luckily for us with this, the daguerreotype had been invented, so we had photography to look at, and looked at lots and lots of photographs. Also, Martin's company had already done, like years worth of research. So I had a good start, they sent me a whole package, and I, a lot of reading material, a lot of stuff to look at. So I had a good start, and that's where I began. Designers tend to be very faithful to the historical aspect of costumes. She manages to do both. She manages to be faithful to the historical side and at the same time, give it the flair that it needs. And that is her genius. A lot of what we've done isn't

strictly, historically correct. I mean, we went through various stages, and it does end up getting fairly stylized as well, although all being based, with historical accuracy, I then taken it a few steps further. Sandy came up with different ideas, a certain kind of hat, a certain way of walking, a certain, the shirt tails, we sort of elaborated on the shirts being outside the pants, you know, making them longer than they would have been, in reality, so that we've heightened the fantasy of the place. That first great influx of immigration from Ireland was the first great test of what America is supposed to be. This brings us your homeless and your poverty stricken and those who are oppressed, et cetera, come to our country and become a citizen, and work with us. But there was so many, so fast, and for such a prolonged period of time, that it created that who has the right to be here, in a situation which is something that we deal with every day, I think, in America. It said there were more Irish during that point, and history than there were in America than there were in all of Ireland.

They were basically perceived as the lowest of the low. You've got to see the caricatures of how they portrayed Irish people, almost like these beasts that couldn't even speak. They were constantly drunk and mindless. One of the reasons they reacted against the Irish, of course, was that they didn't speak English, didn't have trades. For the most part, I'm just generalizing now. But most importantly, they were Catholic. This is a period of time where they're still fighting, and they preserve a country that had a separation of church and state. There's a cloud on the New York skyline. Oh, my love's finished. It's a long way we've come. From the track on hills to the steel and glass can you. Who's don't you

feel too hanging still from sky? From beginning our pockets for a reason, not to say goodbye. I've been to America, I've been to America, I've been to America, I've

been to America, I've been to America, I've

been to America, I've been to America, I've been to America,

I've been to America, I've been to America,