Joined September 2011
When í was a kid, í thought Love would feel like this...
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This is everything that one could wish to know about the creation of the @Criterion Complete KUBRICK 🔥 Via the great @nessuno2001 & Box Set Producer Michael Chaiken 🙏 youtube.com/watch?v=WImm2nf3…
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This is fucking wild 🔥
Thank you Dick. We started mixing right after we finished Moonage Daydream and because I so greatly preferred playback in 12.0 I asked Paul if we could just mix blackout in 12.0 as our native format. After the decision was made to convert the film for arenas, Paul created 14 7.1 stems from the 12.0. He then took the mix to a stadium in Pennsylvania to do final tweaks.. The folks who were present who work in concert audio, said it was the best mix they had ever heard. Paul was also elated by the transition. It’s David Bowie. This needed to sound better than any concert you can attend this year.
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Joe Frady 🎗️ retweeted
The best parts of “STAGE” are seeing the joy on David’s face. He is smiling and laughing throughout. There are moments where the band will go off, and we follow David to the side of the stage, and he’s just so full of life and engaged. Dancing when no one can see him but you. It’s a celebration of art, life, and creativity.
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Joe Frady 🎗️ retweeted
Replying to @U2
@U2.com : Carnaval de luz : Global listening parties From 12th November 2026! (More details to follow) u2.com/pages/listening-parti…
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⚡️🙏⚡️
Nearly ten years ago, I first approached the David Bowie estate about creating “STAGE”—an immersive, multimedia arena show that would let audiences of up to 17,000 experience one of David’s finest filmed performances in a room full of like-minded fans. It seemed destined to be one of those ideas that arrive and vanish almost in the same breath. But for some reason, this one stayed. DAVID BOWIE “STAGE” will have its world premiere on February 14 at the Uber Arena in Berlin as part of the Berlin Film Festival. What is it? It is not a movie screened in an arena. It is a curated multimedia experience designed specifically for arenas and presented on screens so large they require an arena setting. There is not one screen but several, each with its own image and perspective, inviting the audience to look where they want—more like theatre than cinema. Expect the unexpected. We began our first assembly in 2018 and have been refining the sound and color grading since completing Moonage Daydream in 2021. The sound was designed and mixed by the team that collaborated on Moonage Daydream, led by Academy Award winner Paul Massey and three-time nominee David Giammarco. The sound design was created by Academy Award winners John Warhurst and Nina Hartstone and will be presented in 7.1. The Lighting for the show has been designed by OBE Patrick Woodroffe, who collaborated with the Rolling Stones for decades. The lighting is as much a part of the experience as the sound and will be choreographed and integrated with the film elements in a way we’ve never seen. Hopefully, it will all work together seamlessly. One wonders. I suppose Berlin will be a bit of a high wire act. This show was built for 2027 and would not have been possible without recent technological advances. I am so grateful to the David Bowie Estate for entrusting me with this once in a lifetime opportunity. And am beyond grateful to Tricia Tuttle and her staff at the Berlin film festival for providing us with the most apropos launching pad. And to the Bowie community who have been so supportive throughout this 10 year journey, this one is for you.
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My inner bitter cynic about yet another #DavidBowie Estate release {a 'new' db Tour..?🤨} is ENTIRELY negated after reading the press release for "STAGE". AND believing in the intent & skill of @brettmorgen ~ "Moonage Daydream" IMAX was a life-changer. Hoping for more of same ⚡️
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Joe Frady 🎗️ retweeted
Well, was she given it or not?* This report doesn't say. It's from the BBC. * The answer is yes, according to every other outlet. bbc.co.uk/news/articles/crwy…
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Joe Frady 🎗️ retweeted
New low for normalized Jew-hate in the American Democratic Party. Very sad: Painting your political opponents as puppets of Jews, as this El-Sayed ad does, and as crazed baby-killers and money-grubbing villains who are the root cause of every bad thing not just in the world, but in your life—from wars to the price of eggs to the reason you can’t have free healthcare—is not just low-grade Jew-hate. It’s pure Third Reich stuff, translated directly from the original German. Do you remember when Jewish Democrats in Michigan explained that they would vote for El-Sayed despite his open disdain for Jews, since there are many other important issues they need him to fight for? That anything was worth it to “defeat MAGA”? Well, here’s El-Sayed’s answer to them: Don’t worry, all those issues we agree on, like healthcare, inflation, and climate change, I’m going to make them about Jews too! I will tell the public that the Jews are the reason they can’t have those things.
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Joe Frady 🎗️ retweeted
Because a certain kind of man believes that not getting everything he wants from women is oppression. This applies both to incels and to the type of trans-identified man who insists that speech, laws and physical spaces should be reconfigured around his self-image.
Why is asking for female-only spaces called hateful?
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Joe Frady 🎗️ retweeted
Replying to @TheCinesthetic
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Mesmerising... 😵‍💫🤩 @U2 #CarnavalDeLuz Zoetrope Vinyl Variant @BloodRecs 5000 pieces ~ 1500 already sold, and counting... #U250❤️‍🔥♾❤️‍🔥
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5K ~ Sold Out in two hours flat 😵‍💫🤩 @U2 #CarnavalDeLuz
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Joe Frady 🎗️ retweeted
NEW DROP! Carnaval De Luz, the 16th album from @U2 comes to zoetrope, picture disc limited to 5,000 and hand-numbered: blood-records.co.uk/products…
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Joe Frady 🎗️ retweeted
I'm seeing quite a bit of comment about this, so I want to make a couple of points. I'm not owed eternal agreement from any actor who once played a character I created. The idea is as ludicrous as me checking with the boss I had when I was twenty-one for what opinions I should hold these days. Emma Watson and her co-stars have every right to embrace gender identity ideology. Such beliefs are legally protected, and I wouldn't want to see any of them threatened with loss of work, or violence, or death, because of them. However, Emma and Dan in particular have both made it clear over the last few years that they think our former professional association gives them a particular right - nay, obligation - to critique me and my views in public. Years after they finished acting in Potter, they continue to assume the role of de facto spokespeople for the world I created. When you've known people since they were ten years old it's hard to shake a certain protectiveness. Until quite recently, I hadn't managed to throw off the memory of children who needed to be gently coaxed through their dialogue in a big scary film studio. For the past few years, I've repeatedly declined invitations from journalists to comment on Emma specifically, most notably on the Witch Trials of JK Rowling. Ironically, I told the producers that I didn't want her to be hounded as the result of anything I said. The television presenter in the attached clip highlights Emma's 'all witches' speech, and in truth, that was a turning point for me, but it had a postscript that hurt far more than the speech itself. Emma asked someone to pass on a handwritten note from her to me, which contained the single sentence 'I'm so sorry for what you're going through' (she has my phone number). This was back when the death, rape and torture threats against me were at their peak, at a time when my personal security measures had had to be tightened considerably and I was constantly worried for my family's safety. Emma had just publicly poured more petrol on the flames, yet thought a one line expression of concern from her would reassure me of her fundamental sympathy and kindness. Like other people who've never experienced adult life uncushioned by wealth and fame, Emma has so little experience of real life she's ignorant of how ignorant she is. She'll never need a homeless shelter. She's never going to be placed on a mixed sex public hospital ward. I'd be astounded if she's been in a high street changing room since childhood. Her 'public bathroom' is single occupancy and comes with a security man standing guard outside the door. Has she had to strip off in a newly mixed-sex changing room at a council-run swimming pool? Is she ever likely to need a state-run rape crisis centre that refuses to guarantee an all-female service? To find herself sharing a prison cell with a male rapist who's identified into the women's prison? I wasn't a multimillionaire at fourteen. I lived in poverty while writing the book that made Emma famous. I therefore understand from my own life experience what the trashing of women's rights in which Emma has so enthusiastically participated means to women and girls without her privileges. The greatest irony here is that, had Emma not decided in her most recent interview to declare that she loves and treasures me - a change of tack I suspect she's adopted because she's noticed full-throated condemnation of me is no longer quite as fashionable as it was - I might never have been this honest. Adults can't expect to cosy up to an activist movement that regularly calls for a friend's assassination, then assert their right to the former friend's love, as though the friend was in fact their mother. Emma is rightly free to disagree with me and indeed to discuss her feelings about me in public - but I have the same right, and I've finally decided to exercise it.
“I think she’s going to find that you can’t sit on the fence... The real win is when ordinary people can say these things.” @DerryBanShee speaks to @joshxhowie about Emma Watson’s comments about JK Rowling. 📺 youtu.be/r2OGEITYe2Y
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Joe Frady 🎗️ retweeted
We don't realize how fascinating of a cinematic time we are currently witnessing. Two of the greatest filmmakers of our generation have actually come together to make a film. This is the modern equivalent of Alfred Hitchcock directing a screenplay written by Orson Welles. Or, Stanley Kubrick stepping in to direct a Billy Wilder script. It is a legendary crossover of cinematic royalty that feels completely surreal. With Quentin Tarantino providing the text and David Fincher commanding the camera, The Further Mis-adventures of Cliff Booth is a historic anomaly. We are living in a rare moment where absolute mastery meets absolute trust, and we shouldn't take this pairing for granted.
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