Embedded Files
by C.A. Chicoine
Introduction
In late 2004, Marco Spatuzzi began writing the music to Blade Runner: The Rock Project. Its debut was in early 2006. By the end of 2007, the performances had reached its end. Between the Italian audiences not fully embracing his music, and conflicts within the band, the show was slowly coming to a close.
When I began working with the group on the English lyrics in mid-August 2007, the project was just coming to a close. But then, with my enthusiasm and devotion to their music, it seemed to have brought a sense of hope. And my English lyrics had given this project a new life. (A chance to begin again.) But, inevitably, it was too late. With such a great physical distance between us, they in Italy and I in the United States, there was no reasonable means to effectively participate in all aspects of this extraordinary phenomenon. Because the Italian audience did not have an appreciation for their music, the group felt that the music was not of any interest to anyone else. As a result, they lost faith in the production and decided to move on. How could I make them see the potential of this production when they hadn‘t seen it there? How could I convince them of the magic this music possess when they hadn‘t experience it there?
This opportunity to work with Marco and the group on this project has been a dream for me. I believe in this music. If this music had even a hint of being mediocre, I would not have invested the amount of time that I have into the lyrics. The lyrics that they inspired were gifted from the ‘Gods of Muse‘. My hopes of success for this were only a dream away. And I will follow the path through to the end to make this dream a reality.
Memoria were more than delighted that I came aboard. Alessandro Bianconi, the keyboardist, wrote at the time, “...I'm very happy to - virtually - meet you. I'm really proud of your job for the band, and I'm sure we'll do big things together. You and your enthusiasm are very welcome in the "marvelous Memoria universe".
Marco wrote, “We have been so lucky to find you!! Well, I should say to be found by you! I can't say enough how much we're thankful for all the precious work you're doing with us. I really hope that this ‘marriage of creations’ will guide us somewhere! I believe in fate!”
And so ... in this article you’ll read about the evolution of the English lyrics set to this beautiful music. It will include commentary from the members of Memoria from conversations we had via our forums and emails while discussing and critiquing each set of lyrics.
On the most part, each song was sent to me individually, via email, with a set-up of the scene. Once I completed one, I sent it back. And another song was sent to me to work on. By the end of August, I was juggling a few at a time. As I was struggling with “Rachael”, (retitled "I Wanted to See You"), for example, I’d work on “Off-World Colonies”. Each time I heard the songs for the first time, I was taken aback by their diversity in style. I have never heard such consistent perfection in one group of songs as I have with this production!
The bulk of the lyrics were written between the beginning of August and December 31, 2007. In one instance, five sets of lyrics were written within a week. One song took nearly a month to complete.
With each song, I’d take into consideration what was originally written. I’d also watch the scene play through with the music of Memoria as the soundtrack. In some cases, I’d actually research the situation, whether it be a character, plot, or place. I’d refer to the various movie scripts, interviews, and documentary sources. I’d listen to the song over and over until it was embedded in my brain. Then, I’d work out the details in my head.
The Translators
The very first song we worked on turned out to be the very last one that we would later revise. It is called “My Mind Lies“. The original intent was for me to have an English translation of this song for an interview I wrote for KippleZone. I first got an interpretation by a friend from the Off-World Forums, Michele (also in Italy, but unrelated to the group). Then I got Marco’s interpretation. And I also used an online language interpreter tool, in the hope of being able to get the best possible English translation. I took a little poetic license with it because the translations, in general, from the beautifully elegant and romantic Italian to the considerably short English syntax and grammar did not do the music any justice.
I’d like to present the following interpretations to illustrate how the verse transformed into the verse that was used in the first and second versions of this song. However, in the final cut, an entirely different verse was created in its place. But this is part of the creative process.
As Marco described the song to me, “My Mind Lies is the final song of the show; the lyrics are about Deckard thinking if there are really any differences between being human or being a Replicant. He's thinking about Rachael, how different would it be if your memories were real? Or how do I know if my memories are real?”
The first verse, as translated by Michele:
The limit is to choose a short lifespan destiny,
looking at your life that is turning off,
a candle that starts to melt,
four years that seem centuries...
Marco’s translation:
Limit to choose for ourselves a short end future.
watching your life turning off (Deckard is standing beside Rachel, she's still sleeping)
like a candle slowly melting
Four years that seem to take a century
My first translated version:
Limited.
Given a short lifespan.
Is that your destiny?
Watching as your life comes slowly to an end.
Like a candle slowly melting. This is my greatest fear.
Four years that seems to take a century.
My second translated version:
Limited.
Given a short lifespan.
Is that your destiny?
Like a candle softly flickering incessantly
Fate of the flame’s tear comes imminently
Four years seem to take a century
“At the bridge of the song,” Marco continues, “Deckard is thinking to himself. In the scene, he sees the 'origami unicorn' on the floor, representing the one he had dreamt earlier in the movie. He's having doubts about his identity. The lyrics here are images that recall part of Roy's monologue (tears in the rain) when he goes:
caddero gli dei
navi in fiamme
luce che travolse
il buio fra le stelle
tra i ricordi che svaniscono nel tempo
che mi resta se la mia mente mente?
The gods fell,
burning starships,
light swept away (ripped?)
darkness among the stars
my memories are vanishing through the time (like tears in the rain)
what's left (for me) if my mind lies?”
Marco’s interpretation, with explanations/scene set-up:
“MY MIND LIES “
Limit to choose for ourselves a short end future.
watching your life turning off (Deckard is standing beside Rachel, she's still sleeping)
like a candle slowly melting
Four years that seem to take a century
I don't know, how different would it be
if your memories were real (authentic)
at the end I can't deceive(?) myself
about who I really am. ...but I was there...(in my memories) Can you tell me
if we dream dreams
we are copies of a man
who wrote memories for us The gods fell,
burning starships,
light swept away (ripped?)
darkness among the stars
my memories are vanishing through the time (like tears in the rain)
what's left (for me) if my mind lies? My mind lies....my mind lies...
And so...it began. As this was only to be a translation at first, I tried to remain faithful to what was originally written, whilst trying to match the syllables to keep the same musical rhythm.
The result:
My Mind Lies
Limited. Given a short lifespan. Is that your destiny?
Watching as your life comes slowly to an end,
like a candle slowly melting. This is my greatest fear.
Four years that seem to take a century.
I don’t know. How different would it be if your memories were real?
Wouldn’t know what to believe in the end.
But who I am has never eluded me.
For I am here. It’s not surreal.
Can you tell me...
Do we dream our own dreams
Or maybe they’re someone else’s
Scenes from a play, or movie.
Or from some book of spells.
Angels that fell from up high
Soar down like starships on fire
Their light had been swept away
Only their remnants remain
Like memories being lost to time.
So, what is there left? If my mind lies...my mind lies.
If my mind lies, my mind lies
If my mind lies, my mind lies
If my mind lies, my mind lies...
It later transformed into the following:
Limited.
Given a short lifespan. Is that your destiny
Like a candle softly flickering incessantly
Fate of the flame’s tear comes imminently
Four years seem to take a century
I don’t know.
How different would it be if memories weren’t real
Would we really know what to believe
Aren’t they just as vulnerable as you and me
Lost between today and tomorrow
Can you tell me...
Do we dream our own dreams
Or maybe they’re someone else’s
So elusive
I don’t know how we’d tell
Through this door there lies
A better life
Away from all that we know
Away from all this madness
We’ll make our own memories
And if they are not real
If my mind lies
Then... my mind lies
If my mind lies, my mind lies
If my mind lies, my mind lies...
Over the course of a little more than a year, this song would be transformed into a more refined and definitive final cut. At the end of this article, you'll find links to the lyrics of the final cuts.
In order of appearance, we’ll follow through some of the song’s developments.
Intro. L.A. 2019
At this point, I was still wanting to remain faithful to the lyrics already written...but was now finding it very difficult to do so. The group was really adamant about keeping this song to its original format. At the time I wrote of this, “...it just doesn't make sense, nor fit in with the movie.” As I saw it, I felt the introduction should be a ‘welcome to the show '. I wanted to have it address the meaning(s) of the film. What is it to be human? Is this what the future/fates have in store for us? Our polluted environment? All that will survive are these humanoid Replicants...mirror images of Man? Will they tell of the Fall of Man? Will alien civilizations "see" what we can't (or choose not to) see?
In the original version, it was being sung from the perspective of a Replicant, through the voice of Roy Batty. As Gianfranco Vigneri, the bassist, explained: “In L.A:2019, our objective was to introduce to the public a principal concept of the whole film: time. The feeling transmitted from who introduces had to be of the type (Replicant), “I have seen things you people wouldn’t believe ...". But, despite this fortune of seeing these exceptional things, time was not enough for him. And as a hungry beast, it races behind him to put an end to his life.
“So the main concepts were not only ‘what is it to be human‘, but ‘what is it to be human through the eyes of a superior Replicant like Roy? How much he can love life as we know it? How much he would like to be a human... to have more time, and so on.”
I had come up with the idea of changing the introduction to a Prologue, and adding an Epilogue to the end, which would be based on the same musical theme as this intro, only adding medleys from a few of the more popular songs from the production. As Gianfranco wrote, “If we think about the music, personally I agree with your idea about the reprise. "La mia mente mente", (“My Mind Lies“), works as a stand-alone piece. But I think that we can work on your idea to recall important themes, using it as a big send-off that leaves the public breathless.”
Marco made a good point, however. He wrote: “... An Epilogue would be appropriate. But I think that by putting more music after "My Mind Lies", it would lower the effect of the final song.”
The consensus made was to keep the music the way it is. It works.
The original translation:
INTRO L.A. 2019
I've already seen
the whole universe
I was there
But I've never lived
till the end the time
How much left?
Hungry beast which is hiding and slowly
confuses us
Have you ever seen
the whole universe?
you
who give life.
My first treatment:
INTRO L.A. 2019
Look into my eyes
And you will see
I am in my prime
Traveled the universe
I was alive, yet
I never "lived"
Time's so perverse
Hidden Beast of prey lurks waiting
Taunts as it awaits my final hour.
I look in your eyes.
But, what have you seen
You, who gave me life
Haven't seen what I've seen
With your eyes
I gave detailed instructions for this song, for it was not an exact match with the Italian rhythm. Marco commented that he and Carolina Di Gregorio, the vocalist, liked it: “We love how it comes! It seems a song from a Broadway musical.”
However, I was never really happy with it. But I wanted to move on to the next song, especially since they were happy with it. This song, too, would be given a final revision that year. And, I’m sure you’ll agree, the new version is a perfect fit.
Off-World Colonies
I felt I captured the scene very well in this set of lyrics. I used cues from the scene, such as the Advertisement Blimp (“All they say... selling us freedom.”), Deckard reading the newspaper (“I turn another page. It’s the same old drear”), and so on.
“I am very happy about your interpretation of the text of this song. To listen to it in English has given me some positive vibrations.” - Gianfranco Vigneri
Bryant (retitled "Bring on the Night")
With Bring On the Night, I actually dug deep to try to come up with these lyrics. It is a song from Bryant's perspective of Deckard. I had to re-familiarize myself with Bryant and step into his shoes. I watched the scene. I read an early screenplay of the scene. I read two other treatments/perspectives of that scene, and I read an interview with Walsh, who played Bryant in the movie. So...I really feel the lyrics are true to Bryant's qualities.
This is one of those songs that took a lot of time to complete. I wrote several versions. This particular version best suited the scene. Although the lines are not "true" in the sense of the whole picture, they are "true" from Bryant's perspective. For example, Bryant feels that all he has to do is dangle a "skin job" in front of Deckard, and he'll jump on it. However, we (the audience) know different.
The last verse would later be changed. I wanted to make the song as universal as possible, yet maintain its exclusiveness to the film. Only hard-core Blade Runner fans would understand the reference to “Mr. Nighttime“.
Into the night
Set out for the hunt
Make no mistake
You’re Mister Nighttime
You are the only one
Time Enough
A beautifully haunting melody. With the line "Auld lang syne", I offered the option of "Days gone by”. They mean the same thing. It's just a matter of preference. I liked the Scottish version myself. It also ties in with the "Father Time" implication. So, we used “Auld lang syne”.
Rachael (retitled "I Wanted to See You")
In the original version, the first four verses were as if Rachael was speaking to Deckard. Then the last verse was Deckard’s reply. I rewrote it from the perspective of only Rachael. I believe I captured the mood of the music and the scene splendidly.
I felt the "Deckard" reply was not appropriate at that stage of the movie. His lyrics were comforting, believing that she was real, and that he’ll help her to understand. However, at that point in the movie, Deckard had no expectation of ever seeing Rachael again or the desire to help her, despite his conflicting feelings for her at that moment.
Rachael's mission was to first confront Deckard about his findings of her being a Replicant, and also to confirm or disprove any doubt within herself of being a Replicant.
Some songs I sang (karaoke style) and sent to Marco as an aide to help Carolina hear where the English words fit in where the Italian ones were. This was the first one. This was also the first song, I believe, that I wrote through without any editing once down on paper. And this was the first that boosted my confidence in taking on this project. Both the writing and the recording of it went perfectly the first time.
Federico Berchi, the drummer, commented: “The best one for me at the moment! Carolina's voice is amazing and really ‘swing-able '."
Gianfranco wrote: “Regarding “Rachael”, the English version is decidedly better than the Italian one. It really gives more of a feeling. And it is absolutely more poetic and musical.”
I Make Friends
A short but sweet song. I had in mind to do a remix of this as an extra on the CD. Who knows.
A perfect song for a perfect scene. It describes the scene beautifully. I gave them the option of using “‘Til the end of time” or “’ Til I die” for the ending of the song. They chose the latter.
Merchants of Souls
Originally titled Merchants of Spirits (Mercanti di Anime).
This set of lyrics, I must admit, is incredible. And it is a workout for any vocalist. This is the only song that does not describe the feelings or thoughts of a character in the movie. This one paints the scene of Animoid Row, a section of the city where merchants sell artificial animals.
Gianfranco wrote: “I have listened to both the first version and the most recent, and my impression is that the last one is better. In particular, I like more the work you've done on this phrase: ".... Prey victim. Caught in webs of deceit. Pandemonium runs rampant through the streets." Sounds good. Also, the part "Here the merchant lures, by selling their brands of reality. Remedies that cure all cursed. They'll seize control, with one last kiss to humanity, before they capture your soul." It is really winning! I like a lot the global effect that it gives. I like this song very much. And, as I told you before, I'd like to re-record it and use it to promote the project. Well done.”
Leon (retitled "He Must Die")
Originally titled Time to Die.
I'll have to admit...I really had a tough time with this one. For such a short lyric, I spent WAY too many hours on it; between the different versions I had and rewrites, it's a wonder I settled on this!
Retitled Leon, it's a rockin' tune. In an earlier version, I used a line that included, "He must die." This is what Leon is mumbling to himself when we see him in the previous scene, in the background, after Deckard shoots Zhora. Leon loved Zhora. So...this is Leon's perspective, expressing them towards Deckard.
All I could think was...
He must die, he must die. Die!
This song forced me to think about death. Would you see life flash before your eyes...with significant memories?
“Perfect... excellent [with] Leon's point of view!” -Federico.
“I love the verse, "When every spark of life has died", and how Carolina sang it! Awesome!” - Marco
Zhora (retitled "On The Run")
Originally titled Zhora’s Death.
With this song, Marco requested the last verse be repeated...and he stressed "...it's very important that the rhythm of the syllables and vocal notes of this verse coincide with the original Italian version."
Well, the spirit of William Blake was with us.
Roy Batty paraphrases a line from "America: A Prophecy", by William Blake. Not only was this original verse from Blake’s poem able to fit with the Italian syllables, it also fit with the scene perfectly. I changed the second verse slightly. Then returned to the original in the third. In parentheses is the action on the screen as the words are being sung.
Fiery the Angels rose--{to coincide with Zhora getting up}
As they rose
Deep thunder roll’d around their shores
Indignant burning with the fires of Orc
Fiery the Angels fell ---{to coincide with Zhora's death}
As they fell
Deep thunder roll’d around their shores
Indignant burning with the fires of Orc
Fiery the Angels rose --{to coincide with Leon and Spinner door opening}
As they rose
Deep thunder roll’d around their shores
Indignant burning with the fires of Orc
“Good composition, Craig. A truly inspired work. Your inspiration is not in any case a simple coincidence. Don't you know that Marco is also a great fan of William Blake's novels and poems?” - Federico
Looking Through the Eyes of a Child
Originally titled Shadows in the Mind.
The subject of the original lyrics was Rachael coming to grips with being an android. She wants to know if Deckard is going to retire her...hunt her, or if she can trust him. She wants to know what it's like to be human. What it's like to have real memories.
She wants to know her future...her destiny. Will she have a new beginning? Will she live again...a new life? Or will she die?
My thoughts on this scene, and what is going on in Rachael's mind, go a little bit deeper. Questioning what life is...and whether there is a difference between artificially created life and life that is born under natural conditions. What makes life so special? Is it the amount of time we live? Is it what we do with the time we have? Or do we live for one task, then die? We live to stay alive. We don’t live to die. We’ll do what we can to stay alive. Life is not so alien. Rachael doesn't know what to believe. Is this all just a dream? The goals, aspirations, dreams, desires we have in life...of what we hope to accomplish, whose decisions are they really? Is what we decide and choose to do programmed in our genes like the roles bees have in their colonies? If so, what difference does the source make?
Anyway...obviously all those, and more, cannot be expressed in this one song. But, they are some of the thoughts that came into my mind for consideration when writing it. It really is not all that difficult to put oneself in Rachael's shoes in regard to her alienation, and wanting to know the meaning of life.
That said...this is the one song that took me nearly a month to complete. Day in and day out.
On October 24th, 2007, I wrote: “Why Oh Why? This song is so beautiful and inspirational...that it has been baffling my senses. There are sooooo many things I can do with this.”
“Go on! You're doing great!” encouraged Marco.
November 5th, 2007, I wrote: “WTF, I am going insane with this! I'm not complaining...just venting. I have been working on this... I'm not happy with what is coming out. I have NEVER spent this much time on ONE set of lyrics. And worst of all...I haven't much to show for it! But...it IS coming along. Please remain patient. Keep the faith.
"I had to make some tough decisions about where the lyrics were leading. I wanted to express different elements in this piece. One being the "transformation" of Rachael. From a child to a young, maturing lady. She starts to gain insight at this point in the film. She has to come to terms with a lot. Knowing that Deckard did not see her termination date (if she indeed had one) was a relief to her. However, she is still full of questions. Still room for much growth.
"It was hard finding the words that fit the syllables, and at the same time make sense. VERY restrictive. The direction on this changed...and more ideas would come to mind to try to incorporate into the lyrics. How can you describe her transformation with a three-syllable word? Using "butterfly" as a metaphor? "Enlighten?" The word "confidence" was almost used. But Rachael really didn't display much confidence in that scene.
"I also wanted to try to describe the scene instead. But that wasn't working out. Again...the restrictiveness."
Needless to say...I did finally finish it.
“BRAVO!! It is amazing how it grows as long as you go on reading!
You have the sensation that rhymes never end! And every single verse flows naturally.” - Marco
“I'm impressed. Probably one of your best works, Craig. Excellent. - Federico
“Wow, Craig! I think it's perfect...it should fit exactly and the lyrics are so touching!
AMAZING.” - Carolina
Perfect
Originally titled Perfection.
Another one that came out rather well the first time. Later, I added the dialogue in place of where Roy Batty and J.F. Sebastian are talking in the movie.
The idea I have for this set of lyrics is J.F.'s fascination with these Replicants. It is strictly from J.F.'s perspective.
The Last Breakfast
Originally titled Fermare il tempo (“Freezing Time”).
I had two directions I was going to go with this one. The title of one draft was Mirror of Time. It was in relation to Pris holding the hand mirror.
Once again, I had to delve into research mode for this set of lyrics. I watched the scene with the music numerous times, read one script, looked at some scenes in the book DADoES, read the section in the book "Future Noir" about this scene (interesting tidbit: there was a scene cut that took place before Pris applies her mask), studied the still shots of the scene, and just racked my brain.
The version used is what I consider her "war cry". Pris puts on her war paint and is singing of her intentions. She is full of confidence. J.F. will lead them to their "Creator". The battle is on... and they intend to win. Of course, we know what happens. (I won't give it away.)
This lyric is closer in accuracy to the scene at hand than the original. Pris is confident...and expects the plans Roy has put into play to will work...as they have thus far. I have expressed this in the lyrics.
This lyric mirrors the Christian motif found throughout the film Blade Runner. In this scene, Pris introduces J.F. Sebastian as her "Savior".
The first line, "Time is with us!" is the "war cry".
Drive
Originally titled Two Left.
This was a tough one, initially. It was a song expressing what was going through Deckard’s mind. I played around a bit, creating the following as a warm-up.
Rubik's Cube
Me and my
Rubik's Cube
Can't remember
Which way to turn
Thought that
Red and White
Were side by side
But not mine
No, not mine
Why is that
Me and my
Rubik's Cube
Then I got down to business. It flowed rather well once I got going. Deckard is driving to the Bradbury Hotel where Pris is hiding out. The song sounds like a driving song. Thus, I stuck on that ‘route‘. This is what driving does for me...it summons the mind to wander the fields... sets me free. One of my top favourite songs.
I kept visualizing a music video with this song. Strictly the band. (No movie tie-in.)
As you know, most words in English have multiple meanings. I am deliberate with my words. For example, "In the heat of the night" can imply that it is hot outside...as in temperature. However, another meaning for "heat", and the one implied, is a slang term meaning "an intensification of police activity in pursuing criminals."
“Craig, another brilliant and inspired work.” - Marco
House of the Rising Dolls
This song was originally titled La casa delle bambole (The House of the Dolls).
Had some play on words. She is wearing a veil when Deckard first enters the room. The phrase vale of tears refers to Earth and the sorrows left throughout life.
This song was interesting to work on. Marco wished to have words describing the action at certain points. Such as when Pris kicks Deckard as he unveils her, “Fight to the death”. And when Pris has him on the floor, between her legs, “I’ll have you down on your knees”. And, “Flight to the death,” as Pris attempts to give her final gymnastic lunge at Deckard, only to find she is shot. “Silence my scream,” as she screams, etc.
“Your job of precision in the detail is, from me, very appreciated, and it is exactly in agreement with what has been since you’ve been with us. Bravo.” - Gianfranco
I'd like to thank Marco, Carolina, Gianfranco, Federico, and Alessandro for this opportunity, and for believing in me. It has truly been an honour to work with you all on this project. I look forward to moving this project further into the future...and out to the rest of the world.
Thrive!
~ Craig
Update: You may listen to the original Italian lyrics HERE.
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