anonymous asked:

Do you know any cool/interesting facts about the 2004 movie?

I dunno about cool or interesting, but here’s a few:

  • Ramin Karimloo, who was Raoul in the London production at the time and would later go on to play the Phantom, played Christine’s father in the film.
  • The wax dummy of Christine at the end of ‘Music of the Night’ is not a dummy; it’s actually Emmy Rossum, in makeup and costume and holding very still.
  • There are several allusions to Leroux’s original book, such as the horse the Phantom uses (though in Leroux’s book it’s white) and the room full of mirrors Raoul drops into at the end of ‘Why So Silent’.
  • One noticeable goof is that Christine’s stockings are missing between the end of ‘Music of the Night’ and when she wakes up in ‘I Remember’. A popular fan theory said that this indicated the Phantom had sex with her, or something similar, at the end of ‘Music of the Night’, but the real world explanation appears to be that Emmy Rossum had an allergic reaction to the stockings and had to take them off.
  • Though interestingly the original script for the movie did have the Phantom going into bed with Christine as the screen fades to black.
  • Two songs in the 2004 film would later be reused in LND. The song playing over ‘Madame Giry’s Tale’ is later used for ‘The Coney Island Waltz’ in LND, while the song for ‘Journey to the Graveyard’ (an extended version of the one in the stage production) would become ‘Beneath a Moonless Sky’.
  • Gerard Butler apparently had to wear some kind of butt padding.
  • He was also apparently meant to do the ‘Final Lair’ sequence shirtless.
  • Christine is canonically 16 in the film, as her grave says she was born in 1854 and the film takes place in 1870. There’s a theory that her death in 1917 was due to the Spanish influenza pandemic. (Still better than being shot by Meg.)
  • There are no such things as ballet dormitories in opera houses, so God only knows where Christine lived during her childhood.
  • In 1870, France was undergoing the Franco-Prussian War and Paris was under siege, yet somehow, so kudos to the Opera Populaire for being open and somehow attracting audiences during this time.
  • Unlike the stage production, the 2004 film has the Phantom interacting and teaching Christine from a young age. This necessitated a slight change in the lyrics: Meg sings “Who is your great tutor?” instead of “Who is your new tutor” as in the musical (which implies Christine only came to the Phantom’s attention recently).
  • If you watch ‘Think of Me’ closely, you can see that Emmy Rossum has chewing gum in the back of her mouth. If you look at the audiences, you might also notice some dummies sitting in the audience. (Clearly an allusion to the stage production’s use of dummies in ‘Masquerade’.)
  • During ‘Masquerade’, a group of dancers on the steps strikes a famous pose from ALW’s musical Cats.
  • During the section where old Raoul is journeying towards the graveyard, we see a deer hopping along the road. This was definitely not planned by the film crew, but they threw it in anyway, and there was a segment of fans for a while who liked to make theories about its symbolism (knowing full well it was unplanned, so it was very much in the spirit of fun).
  • Margaret Preece dubbed over Minnie Driver’s Carlotta. I have heard, but do not have it confirmed, that Rohan Tickell dubbed over Piangi. Additionally, some well known London musical theatre actors appeared in the ensemble, including Liesl Dowsett, Tess Cunningham, Jackie Marks, and Annalene Beechey. There are probably many more.
  • Christine’s ‘Think of Me’ dress is based off the famous Winterhalter portrait of Empress Elisabeth of Austria.
  • If you listen closely to the long note at the end of ‘Music of the Night’, you can hear Gerard Butler’s last note being looped because it wasn’t long enough.
  • As part of preparation for the role, Emmy Rossum rehearsed with Gary Mauer, a Phantom in the US tour at the time, and also visited the Broadway production backstage to watch Hugh Panaro get his makeup put on.
Cosette to Christine Full List

Here is my full list of actresses that have played both Christine and Cosette, doesn’t matter the production, Broadway/London, Professional/Non, Regional/Tour. As long as they played both they are on this list. There may be a couple missing as I accidentally deleted a bit of my list a while ago and some were hard to find in the first place. This is a super long list so the list is all under the “read more” line. (Updated: June 14th 2016)

Keep reading


In this room I was born. And I knew I was in the wrong place: the world. I knew pain was to come. I knew it by the persistence of the blade that cut me out. I knew it as every baby born to the world knows it: I came here to die.


Somewhere a beautiful woman in a story I do not understand is crying. If I strain hard enough I will hear a song in the background. She is holding a letter. She is in love with Peter. I am in love with her.


Stand on the floor where it’s marked X. I am standing by your side where it’s marked Y. We are a shoulder’s length apart. I’m so close you can almost smell the perfume. If I step ten paces away from you, there could be a garden between us, or a table and some chairs. If I step another 20 paces there could be a house between us. If I continue to walk away from you in this way, tramping through walls and hovering above water, in 80,150,320 steps I will bump into you. I can never get away from you, and will you remember me? Distance brings us closer. There is no distance.


In 1961 I was in Berlin. It was a dusty Sunday in August. In the radio news was out that Ulbricht had convinced Khrushchev to build a wall around West Berlin. I remember it precisely: By midnight East German troops had sealed off the zonal boundary with barbed wire. The streets along which the barrier ran had been torn up. I lived in that street. It was the day after my birthday. I remember the dust covering the sky. I remember being scared. Father had not returned from the other side. The Kampfgruppen der Arbeiterklasse had orders to shoot anyone who would attempt to defect. Father had not returned.


Happiness is simple.
Sadness forks into many roads.


Before the time of Christ, Aristotle believed that the earth was the center of the universe because he needed a stationary reference point against which to measure all other motions: a rock falling, a star reeling through the sky, his heart beating against his chest like a club. He needed to believe in certainty, in absolute space. Without it, the world would not be known absolutely. Without it, the world cannot be known.

Twenty centuries later Hendrik Lorentz needed to believe that every single molecule in the universe must move through a stationary material called the aether, as every human being in his various turnings must move through God. Scientists looked everywhere for proof of this aether. And everywhere they found nothing.


I have sometimes been accused of being a bore. I beg to differ: people laugh at my jokes, and I’m handsome. I would like now to talk more about myself: I don’t like going to airports and hospitals. They make me uneasy. In both cases, somebody is always going to leave. I was born in 1983, and have never been to Berlin. But I have a memory of being in Berlin in 1961. I have a memory of something that never happened.

I would like to elaborate on myself, but you will understand if I talk instead about the sky in Berlin in 1961: it was covered with dust. There were no birds. There was no sky.


Memory is brutal because precise.


She said: give me more space. I said: don’t you love me anymore? She said: give me more space. I said: why? Did I do something wrong? Is there something wrong? Is there someone else? When did you stop loving me? In what precise moment? In what room? What city?

I held her tight as one who’s about to lose his own life holds on. Then she said: give me more space. I said: no.


I have only one purpose: to live intensely.


I wish I never met you
and I wish you never left.

You taste like a river in June.


I’m going to say something important. Look at my face. Ignore my eyes. Just listen to me. But listen only to the timbre of my voice, not to what I am saying. They are different. They are two different rooms. The first is an exhibition of despair, the second only an explanation.

The first is all you have to listen to. So listen carefully because I cannot repeat myself:

“Everything/ one suspects to be true/ is true.”


In 1879 a boy is born in Germany. At age five he’d throw a chair at his violin teacher and chase him out. In time he would develop the capacity to withdraw instantaneously from a crowd into loneliness. At twenty-six he would publish his theory of relativity in Annalen der Physik. He looks crazy, but he is certain: there is no aether, no absolute space.


Sometimes they thought it was the words.
What they wanted to say could not be said.

They fixed the TV, vacuumed the rug,
dusted the furniture, looked out the window.

Sometimes she would purposefully lose hold of
a plate and it would smash to the floor.

Then they would have something to say,
only to begin to say it then stop.


Look at this box. It is empty except for a diary, a book, and this picture in my hand. Now look at this picture. It weighs nothing and occupies almost zero space. I can slip it in anywhere and it will fit: inside the diary, under the box, through a crack on the wall. If I tear it several times, it will occupy a different volume, many and various. It mutates, you see. If I burn it, it will smoke into the air. It will take up a whole expanse.


How many more times
are you going to let the world
hurt you?


My father is an incorrigible storyteller. He would tell the same stories in different ways. I wouldn’t know which ones to believe. So I believed all of them. “There is no story that is not true,” said Uchendu.

Father would point at the TV. He would repeat lines, rehearse the beginnings and ends, explicate with his hands the elaborate twists and turns of every road.

He said: “I am dying.”

I said: “But aren’t all of us dying.”


And I thought the world
was about this leaving,
not about anybody’s leaving
but about this leaving.
The next day it was the same.


A beautiful woman walks into a room. The room is dark. There are no windows. There is one light bulb but any time now it will go off. I pretend not to notice and look away, my heart beating against my chest like a club. If I strain hard enough I will hear a song in the background. What other forms of happiness are there than this?


In 1989 the Berlin wall falls down.


I believe in love only when it rains.


To appreciate the value of land, one need only look into a painting: so much beauty. Buying land means buying the layers of beauty directly above it. It means buying the sky above it. And the birds above it, the clouds, the gods.

In truth you are buying a corner of the universe. You are saying: this is my room. You are saying: I live here. Here I exist.


Your sadness is immaterial. You did
not come into the world to be happy.


You came to suffer/survive.


How many words have you spoken in your life?
How many did you mean?
How many did you understand?


Somebody picks up a phone. He dials a number. His voice travels a thousand miles into another country. On the other end somebody picks up and hears the voice. Who is this?– This is me. The phone is hung up. The voice travels back a thousand miles.

Elsewhere somebody picks up a phone and before he could dial forgets the number.


Sometimes wars are waged because there are too many people in too few rooms.


Memory is incomplete–lost.
The world is incomplete–vanishing.

Nothing more happens. You open your eyes and it’s over.

Memory is brutal.
Memory is precise.


In the next room people I do not know are talking with hushed voices. Their secret slips out the window like a cat. It is raining, and I press my ear to the wall. I imagine that one of them is smoking a cigarette. I imagine that one of them is covering his mouth in surprise.


When my aunt died the doctors said the fat clogged her arteries. Every week she visited the hospital, and every week the vein on her wrist had to be ripped out so a catheter could be stuck into her body to suck out her blood. You could see the plasma pass through a filter and then back to the body. If you put your ear to her wrist you would hear her heart.

Before my uncle died the heart attacks were so excruciating he said he’d prefer to just die. They transported him to the hospital, and on the way to the emergency room his heart gave. Mother said my uncle ate too much pork and drank too much beer. She wonders if he’s going to be happy in heaven.


In some house in some province in some country in some novel there is a story of a man a father a child a lover who dies because of too much sadness.


Nobody thought that what was wrong was the love.


She said: give me more space.

—  Arkaye Kierulf, “Spaces”
Einstein, twenty-six years old, only three years away from crude privation, still a patent examiner, published in the Annalen der Physik in 1905 five papers on entirely different subjects. Three of them were among the greatest in the history of physics. One, very simple, gave the quantum explanation of the photoelectric effect—it was this work for which, sixteen years later, he was awarded the Nobel prize. Another dealt with the phenomenon of Brownian motion, the apparently erratic movement of tiny particles suspended in a liquid: Einstein showed that these movements satisfied a clear statistical law. This was like a conjuring trick, easy when explained: before it, decent scientists could still doubt the concrete existence of atoms and molecules: this paper was as near to a direct proof of their concreteness as a theoretician could give. The third paper was the special theory of relativity, which quietly amalgamated space, time, and matter into one fundamental unity. This last paper contains no references and quotes no authority. All of them are written in a style unlike any other theoretical physicist’s. They contain very little mathematics. There is a good deal of verbal commentary. The conclusions, the bizarre conclusions, emerge as though with the greatest of ease: the reasoning is unbreakable. It looks as though he had reached the conclusions by pure thought, unaided, without listening to the opinions of others. To a surprisingly large extent, that is precisely what he had done.

C. P. Snow


Full Evolution of the West End Star Princess Costume

Starting at the Saloon Girl (UPDATED!)

  1. Sarah Brightman
  2. Claire Moore (Alt.)
  3. Maria Kesselman (u/s)
  4. Rebecca Caine (Alt.)
  5. Claire Moore (1988)
  6. Jan Hartley-Morris
  7. Jill Washington (1994)
  8. Annalene Beechey (u/s)
  9. Beverley Worboys (u/s, picture may be from her run in Basel but it looks like a UK dress to me!)
  10. Zoe Curlett (Alt., picture possibly from her time in the UK Tour, it’s really hard to tell and is never labeled with just “West End” or “UK Tour”)
  11. Meredith Braun
  12. Charlotte Page
  13. Claire Louise Hammacott
  14. Deborah Dutcher
  15. Celia Graham
  16. Katie Knight Adams
  17. Rachel Barrell
  18. Tabitha Webb (u/s)
  19. Robyn North (she had been a u/s in the past but this is when she split the role 50/50 with Leila Benn-Harris)
  20. Leila Benn Harris
  21. Gina Beck
  22. Katie Hall (u/s)
  23. Katy Treharne (u/s, 2009)
  24. Tabitha Webb (Alt.)
  25. Sofia Escobar (2012 picture however it is the old styled dress)
  26. Katie Hall (2011)
  27. Claire Doyle (u/s)
  28. Katy Treharne (Alt.)
  29. Sofia Escobar
  30. Anna O'Byrne (Alt.)
  31. Ashleigh Fleming (u/s)
  32. Olivia Brereton
  33. Harriet Jones (current 2014 dress)
  34. Emmi Christensson
  35. Lisa-Anne Wood (u/s)

(There were also no pictures I could find of Irén Bartók, Shona Lindsay, Lisa Hull, Debra Stables, Megan Kelly, Nikki Ankara, Ana Marina (u/s), Josie Walker, Zoë Curlett (u/s), Myrra Malmberg, Fay Richardson (u/s), Colleen Patrice Taylor (u/s), Amanda Jane Callaghan (u/s), Katrina Murphy, Louise Walsh, Mia van den Eykel (u/s), Nicky Adams, Jane Mark, Sarah Ryan. If you know of any PLEASE submit them to me and I will add them!)

NOTE: I tried my best to do the list by dress and not by actress or year but the ended up badly and this was the easiest way, if you see any errors and I am sure there are a TON let me know and I’ll start a list and try to fix them all! <3

E=mc2: Einstein’s equation that gave birth to the atom bomb

Albert Einstein’s famous equation E=mc2 for the first time connected the mass of an object with its energy and heralded a new world of physics

This is the most famous equation in the history of equations. It has been printed on countless T-shirts and posters, starred in films and, even if you’ve never appreciated the beauty or utility of equations, you’ll know this one. And you probably also know who came up with it – physicist and Nobel laureate Albert Einstein.

The ideas that led to the equation were set down by Einstein in 1905, in a paper submitted to the Annalen der Physik called “Does the Inertia of a Body Depend Upon Its Energy Content?”. The relationship between energy and mass came out of another of Einstein’s ideas, special relativity, which was a radical new way to relate the motions of objects in the universe.

Continue Reading