“It’s not necessarily the case that it’s all or nothing. I think there’s a place for both.” A lot of the platforms that are launching are more flexible with how they share those windows,” Wald continued. “You have more splicing of windows and stacking of rights. Selling to streamers, he said, represents a big part of Sony’s business. There are also different ways to do it.
The discussion was dominated by the impending launch of a raft of deep-pocketed streaming services, including Disney Plus, Apple TV+, and NBCUniversal’s Peacock, which will soon join a content arms race powered in recent years by Netflix and Amazon.
“Creators are always on the hunt for original ideas,” said Furst. “When you have IP that’s already been somehow planted in the market, and has an awareness and developed a little bit of a following, that tends to bode well for us when we try to connect with creators that are looking for something that might have already a path being paved.”
Having struck gold with “The Walking Dead,” which began as a comic book series, Skybound is trying to develop more IPs across a range of comics, novels, video games and merchandise, “so that when we go to distribution partners, and when we go to platforms, there is maybe a heightened receptivity to that project,” said Furst.
They’re hoping to find a buyer, we’re hoping that the shows that we’re putting out find subscribers,” said Cotton. “We have the same existential crisis that they have anyway. “One way or another, all we can do is control content that we really believe in.”
Though the announcement of each new programming slate or development deal might make it seem as if the streaming giants are cornering the market on A-list talent and premium content, Miller suggested the industry as a whole has hardly scratched the surface of its growth potential.
“And the truth is, all of these places want to have someone’s favorite show.” “I think everyone is going to look at what platform—what over-the-top, what streaming platform, what subscriber platform—is right for them,” said Lederman.
We have to be better. “The bar is higher now. Is it a limited series? Does it have legs to continue? That’s where it falls back on us to support the creatives and make sure that what they’re doing, and before they take it out to the market, it’s undeniable.” We have to be better at developing,” said Lederman. How long is it good for? “We have to be better at thinking through, what is the story we’re telling?
“There’s actually an opportunity for a creator to have a choice of every buyer, and really determine who is the best buyer brand-wise,” said Lederman. “Who is the best buyer in the way they see the rollout of that show? And that gives them incredible freedom, rather than working for a platform which, of course, has upside, but the downside is that if the platform doesn’t love that idea, they can’t make it.”
However much uncertainty clouds the weeks and months ahead, the fact remains that creators, producers, distributors and the various platforms vying for our eyeballs will be exploring the new landscape together.
“In many territories, the global streamers have opened up the doors for new content, and for producers and others to create content in those territories.” “We’re obviously seeing a realignment of the business with the global streamers…but they’re not covering the entire world of content,” he said.
Practically speaking, there’s still a lot to distribute.” Of course there’s much more being produced for the global platforms,” he said. Wald agreed. “There’s no question that it’s changed over the years. “But the reality now is that…there’s still a lot of content out there that doesn’t fall in that bucket.
“It’s really important that you think what that buyer needs, and what that channel or service is catering to,” he said. “When you are in the creative phase, even if there are 12 buyers, probably each of those 12 needs something different.”
A host of top producers, network executives, and international distributors gathered during the MIA market this week to discuss their strategies for creating and packaging fresh content for the global market. Moderated by Skybound Galactic CEO Rick Jacobs, the panel included Mike Wald, EVP of television distribution and content strategy at Sony Pictures Television; Sean Furst, co-president of TV and film at Skybound Entertainment; Andrea Scrosati, group COO of Fremantle; Nina Lederman, EVP of global scripted development and programming at Sony Pictures Television; Nancy Cotton, EVP and head of scripted programming at EPIX; and Ted Miller, a partner at CAA.
ROME – In an increasingly complex TV market, with a host of new big-ticket streaming services preparing to enter an already crowded arena, both buyers and sellers are rethinking some of the fundamentals of the TV business as they grapple with the best way to reach global audiences.
As long as we all stay committed to that, that’s one constant no matter what the distribution vicissitudes are going to be.”” /> She continued: “No matter what has happened over the decades that we’ve all been in this business, people need content.
There’s not going to be one size fits all, but as a consumer, what does it mean for us?” said Cotton. “I think it’s very confusing. “How do you find the content that you want to watch, and are you going to be frustrated that there’s going to be too many people that you have to pay along the way?” A similar process will be playing out in the minds of consumers, for whom the growing array of subscription options is becoming a pricey proposition.
With the impending rollout of a dizzying range of new streaming services, the calculus of buying and selling content is about to undergo another radical shift. In that environment, said Scrosati, producers and distributors have to be sensitive to the needs of each new platform.
Creators might have more platforms than ever before to distribute their content, but with increasingly fierce competition to discover the next “Succession” or “Fleabag” or “Game of Thrones,” they face an uphill battle to stand out from the crowd. “If you can have a successful book, a podcast, an article, any kind of IP that’s behind it, it’s almost in a way de-risking the idea.” “The bar is high,” said Lederman.
“If you have the luxury of being able to work with great talent and great creators, this world now gives you the opportunity to bring in front of them a portfolio of options,” said Scrosati. There’s one that is bad or good for that project.” “And you have to be agnostic about them. A wealth of buyers doesn’t simply mean more opportunities for distributors. There’s not one that is bad or good.

In its own way, her performance is deeply felt. As for Chevallier, she makes the most of Mado’s limited mobility. With Mado unable to move or speak, “Two of Us” becomes Nina’s show. He also surprises us with the bold choice of handing the back half of the film to Nina. Ever so subtle changes to her expressive eyes and mouth prove that Mado, to her great frustration, knows what’s unfolding around her but can do nothing about it. When you consider how easily this tale of secrets and lies could have tipped over into melodrama, Meneghetti, who previously only directed shorts, scores big points for avoiding cliché. Sukowa does not project a lot of warmth, which accounts for our occasional sense of emotional remove, but she still gives a hardworking performance that requires a lot from her.
This is big-city art-house cinema all the way, not only for the subject matter but because its commendable lack of melodrama can, at moments, render the film a bit cool to the touch. This often-moving film, which premiered as part of the 2019 Toronto Film Festival’s Discovery program, is an affirmation of our universal desire for emotional intimacy and how the right connection can overcome all social and physical limitations. But all is forgiven, even the occasional schematic plot development, when arguing that love is able to not only survive tragedy but also be strengthened by it. The fact that the relationship is between two lesbians well into their retirement years only makes the film even more quietly groundbreaking.
For free-spirited Nina, this is less of an issue. For decades, they’ve been passionately in love, a fact they’ve somehow managed to keep a total secret. She will have to fess up, however, after agreeing with Nina to sell her beautifully decorated apartment and run away with her to Rome, living out their remaining years where “we can be who we want.” But at her modest birthday party, Mado, with Meneghetti’s camera lingering over her in anticipation, backs down from her promise, leaving Nina enraged. But they’re not just neighbors. For Mado, as Madeleine is nicknamed, she’s never been able to bring herself to tell her two adult children.
Here he makes the argument that maintaining a lie, especially one that compounds itself with the passing of time, can take not only a mental toll but a physical one as well. And since Nina is known to Mado’s family as nothing more than “the neighbor,” she is shut out of aiding in her recovery. This only makes Nina more desperate to see her secret love, convinced that their connection is strong enough to pull her out of her stroked-addled state. Meneghetti’s screenplay, written with Malysone Bovorasmy and Florence Vignon, deftly adds layers of thematic complexity that go beyond the facile, if touching, notion that love conquers all. Mado’s failure to relieve the burden of her secret, along with Nina’s explosively angry reaction, leads to her having a devastating stroke that renders her unable to move or speak.
Some of this suggests we may be heading into thriller territory, but Meneghetti avoids leaning too heavily into developments added to juice things up. The introduction of Muriel’s vengeful son may feel like a cheap way to work in some danger, but it ultimately helps sell the primary takeaway of Meneghetti’s moving, deceptively complex drama: Even if you have nothing else, if you have each other, you have all you need.” />
Convinced the key to Mado’s reawakening is acknowledging the love they share, Nina becomes increasingly desperate, cutting side deals with Muriel and even getting violent. Soon after Mado returns home, her live-in caregiver, Muriel (Muriel Benazeraf), becomes suspicious of Nina’s constant offers to help and requests for a visit. With Mado in the hospital, Nina processes her grief by sleeping in her lover’s bed and sulking around her own bare bones apartment, spying through the peephole.
As in last year’s “The Heiresses,” a rare other example of a film to depict a lesbian couple of a certain age, “Two of Us” comes at its central relationship from an angle that promises some darkly-shaded intrigue. An arresting, foreshadowing dream sequence featuring a game of hide and seek gives way to our introduction to Nina (Barbara Sukowa) and Madeleine (Martine Chevallier), pensioners living across the hall from each other in the same apartment building.
Neither a hot-blooded tale of sexual discovery like 2013 Palme d’or winner “Blue Is the Warmest Color” nor a coolly alluring bauble like Todd Haynes’ “Carol,” Italian director Filippo Meneghetti’s debut feature “Two of Us” is an entirely unique and uniquely vital lesbian love story. The tale of two older women whose decades-long secret relationship is threatened after tragedy strikes covers emotional and thematic ground that transcends the sexual preferences of the two main characters.

Piero Tosi, a famed costume designer who worked on films such as "The Leopard" and "Death in Venice," died Saturday in Rome, the Franco Zeffirelli Foundation announced on Facebook. He was 92.
"I was happy but never a slave because I always thought the best reward was the satisfaction for doing a good job."” /> "Hollywood movies had their own identity in the past. Majestic and elegant scenes of Busby Berkeley’s musicals, as a child, made me dream, making me forget for a moment war and misery Italy was going through," he said.
Later on, he earned another three Oscar nominations for "Ludwig," "La Cage Aux Folles" and "La Traviata." Several years later, Tosi made his film debut with Visconti's 1954 "Senso," setting him on a path toward world-wide renown within the costuming industry. In 1963, Tosi garnered his first Oscar nomination for "The Leopard," followed by another nod for Visconti's "Death in Venice," for which he designed almost 700 period costumes.
In a recent interview with Variety, Tosi spoke to his love of films and the legacy he is leaving behind.
Over the course of his 50 year career, Tosi established himself as one of Hollywood's greatest costume designers, earning five Oscar nominations for costume design and an honorary Oscar in 2013. Other film credits include “La Cage Aux Folles,” “The Night Porter,” “Toby Dammit” and the Oscar foreign language film-winner “Yesterday, Today and Tomorrow.” He also garnered international acclaim for a number of popular films including, “The Damned,” “Ludwig,” “Death in Venice” and “The Leopard,” in which his elaborate, period-piece designs took center stage.
Soon after, Tosi went on to work as a costume assistant on Visconti's 1949 Florentine production of "Troilus and Cressida," moving to Rome shortly after. After growing up in Florence Italy, Tosi landed his first job as a costume assistant on a stage production of "Le chandelier," before meeting the legendary stage and film director Luchino Visconti.

“BAD DAYS”
“COLT”
Leone’s children Andrea and Raffaella are producing through their Leone Film Group banner. In pre-production. Stefano Sollima (“Soldado”) will direct this high-profile English-language pic based on an idea developed by Sergio Leone centered around the six-shooter packed by Clint Eastwood in “A Fistful of Dollars.” The gun, passed from one character to the next, is the narrative device for a fresh take on the Western genre.
“HAMMAMET”
“DIABOLIK”
Director Mimmo Calopresti has described it as a non-conventional Western. Cast also includes Valeria Bruni Tedeschi, Francesco Colella and Sergio Rubini. The score is by Oscar-winner Nicola Piovani. In post.” /> The locals decide to build one themselves, but the local mob boss isn’t pleased. Marcello Fonte, who won the best actor award in Cannes last year for “Dogman,” stars as a poet in a small town in Southern Italy in the 1950s where a woman dies of childbirth because there is no road to get her to the hospital.
“MARTIN EDEN”
“BORN TO BE MURDERED”
In production. Luca Guadagnino is producing this English-language manhunt thriller directed by Ferdinando Cito Filomarino (“Antonia”), toplining John David Washington and Alicia Vikander as a couple vacationing in Greece who become enmeshed in a tragically violent conspiracy. Pic also boasts “Call Me by Your Name” lenser Sayombhu Mukdeeprom and editor Walter Fasano, as well as Oscar-winning composer Ryuichi Sakamoto.
“VIA DALL’ASPROMONTE”
In pre-production. Their arch-enemy is a police inspector named Ginko. Dressed in a skintight black body suit, when not impersonating someone else with his set of lifelike masks, “Diabolik” is a quasi Robin Hood-like character who works with partner, and lover, Eva Kant. The Manetti brothers, whose Naples-set Mafia musical “Love and Bullets” was a critical darling in 2017 Venice and went on to win five David di Donatello Awards, Italy’s top film prizes, are set to shoot “Diabolik,” an adaptation of a popular Italian comic book about a master thief who takes on different identities and steals from other criminals.
Gianni Amelio’s portrayal of the final years of Italy’s corruption tainted Socialist Prime Minister Bettino Craxi in the Tunisian seaside villa where he fled from Italian justice stars Pierfrancesco Favino, who will be in Cannes as protag of “The Traitor.” Thanks to prosthetics, the resemblance between the actor and the late Craxi is uncanny. In production.
Shooting is scheduled to start in July. Plot details are being kept under wraps other than it’s an ensemble movie with a dozen characters, half of which are kids between the ages of 10 and 13. Twins Damiano and Fabio D’Innocenzo, who made a splash in Berlin two years ago with crime drama “Boys Cry,” which explores Rome’s criminal underworld through the prism of two street kids, are set to direct this dark fable set in the seaside outside Rome.
Besides a shift toward genre moviemaking, they reflect a more international mindset while remaining firmly rooted in the Italian cinema canon. A comic book about a chameleon-like master thief done as a live-action movie, a reinvention of the Spaghetti Western and a manhunt thriller with a Hollywood A-list cast are among buzz titles by Italian directors in various stages expected to soon be hitting the international festival circuit and, more important, entering the global movie market.
This unconventional costumer is co-written with Maurizio Braucci (“The Intruder,” “Piranhas”), shot in Naples and is already believed to have landed a Venice competition berth. Jack London’s novel about a young self-taught American sailor struggling to become a writer is being freely adapted and transposed to a fable-like 19th century Neapolitan setting by Pietro Marcello, who is known on the festival circuit for docu-fiction hybrids “Lost and Beautiful” and “The Mouth of the Wolf.” This is his bona fide fiction film debut. In post.

Rovere’s credits includes “Italian Race,” which grossed more than €2.4 million euros ($3.1 million) in Italy and won six David di Donatello Awards.
The film was produced by Ascent Film and Groenlandia, in co-production with Rai Cinema and Gapbusters. "Romulus & Remus: The First King" was released in Italy on Jan. 31 by 01 Distribuzione and had a healthy B.O. run, grossing more than $2.5 million.
Indie Sales' Cannes slate also boasts Chinese actor-turned-director Zu Feng’s feature debut, “Summer of Changsha,” which will have its world premiere at Cannes in Un Certain Regard and will vie for the Camera d’Or award, and Lav Diaz’s black and white sci-fi film, “The Halt,” which is set in Manila in 2034 and will unspool at Directors’ Fortnight. Other titles on Indie Sales’ current slate include Rémi Chaye’s animated film, “Calamity – The Childhood of Martha Jane Cannary,” and the Marion Cotillard-produced documentary “Bigger Than Us.”” />
The film is based on the legend of Romulus and Remus, twin brothers and shepherds who lived in peace near the Tiber river and embarked on an incredible journey to found Rome. "Romulus & Remus: The First King" is headlined by Italian star Alessandro Borghi (“Suburra") and shot in Proto-Italic language, the ancestor of Latin.
"The brutal journey of two brothers battling the forces of nature and primitive humanity to create one of the greatest empires in the world is something audiences around the world will want to see." “'The First King' is an intense action epic in the hands of a cinematic auteur that takes the founding of Rome out of legend and grounds it in history," said Doris Pfardrescher at WellGo USA.
The Paris-based sales company has sold the film in North America (WellGo USA), Germany and Austria (Capelight), Spain (Mediaset), Switzerland (Pathé), South Korea (KTH), Poland (Wistech Media), Czech Republic and Slovakia (Cinemart).
Indie Sales has announced a slew of major deals on Matteo Rovere's ambitious Italian epic film "Romulus & Remus: The First King" in the run-up to Cannes, where the movie will have a market screening.

[Intro]
This is (ouu!)
[Chorus: JAY-Z & Beyoncé]
Cash, hit deposit
24-carat faucets
Louis V and Goyard trunks all in the closet
Ain’t sh*t change, the streets is still watching
And my little baby Blue is like “Who gone stop us, huh?”
Ain’t no way to stop this love
Ain’t no space if everything is love
Representing for my hustlers all across the world (still)
Still dippin’ in my low-lows, girl! (still)
I put it down for the 713
And we still got love for the streets (ow!)
[Verse 2: JAY-Z]
I never knew a lo-, lo-, love like this
Gotta be special for me to write this
Queen, I ain’t mean no disrespect
But the way I network, it’s hard for me to connect
My first time in the ocean went exactly as you’d expect
Meanwhile you going hard, jumping off the top deck
A leap of faith, I knew that I was up next
I never told you, but I told a few people we wet
Me, I’m off to Rome, you going back home instead
My first time in my life alive, nigga felt that
You coming back, I had to act like it was cool in my head
Thoughts of jumping the brooms, never been swept
[Chorus: JAY-Z & Beyoncé]
Cash, hit deposit
24-carat faucets
Louis V and Goyard trunks all in the closet
Ain’t sh*t change, the streets is still watching
And my little baby Blue is like “Who gone stop us, huh?”
Representing for my hustlers all across the world (still)
Still dippin’ in my low-lows, girl! (still)
I put it down for the 713
And we still got love for the streets (ow!)
[Outro: JAY-Z]
To all the good girls that love hustlers
To the mothers that put up with us
To all the babies that suffered cause of us
We only know love because of ya
America is a motherf*cka to us
Lock us up, shoot us
Shoot our self esteem down, we don’t deserve true love
Black queen, you rescued us, rescued us
Rescued us (still)
I put it down for the 713
And we still got love for the streets (ow!)
[Verse 1: JAY-Z]
We played the pool at the pool of the Cancun VMA
Confidence you exude make the fools stay away
Me, I played my room, let the fools have they say
Fake, had me sitting next to you on the plane
And I knew straight away, the next time we would speak was like two years away
You had a man, you shut it down until you two had a break
I beg that dude ruled the day
You kept me up on the phone while you were away
You came back I let you set the date
No [?] on the plate
I brought my dude to [?], my first foolish mistake
[Chorus: JAY-Z & Beyoncé]
Cash, hit deposit
24-carat faucets
Louis V and Goyard trunks all in the closet
Ain’t sh*t change, the streets is still watching
And my little baby Blue is like “Who gone stop us, huh?”
Ain’t no way to stop this love
Ain’t no space if everything is love
Representing for my hustlers all across the world (still)
Still dippin’ in my low-lows, girl!

[Intro: Hannah Williams]
Do I find it so hard
When I know in my heart
I’m letting you down every day
Letting you down every day
Why do I keep on running away?

[Verse 1: JAY-Z]
Look, I apologize, often womanize
Took for my child to be born
See through a woman’s eyes
Took for these natural twins to believe in miracles
Took me too long for this song
I don’t deserve you
I harass you out in Paris
"Please come back to Rome," you make it home
We talked for hours when you were on tour
“Please pick up the phone, pick up the phone”
I said, “Don’t embarrass me,” instead of “Be mine”
That was my proposal for us to go steady
That was your 21st birthday
You mature faster than me, I wasn’t ready
So I apologize
I seen the innocence leave your eyes
I still mourn this death and
I apologize for all the stillborns
‘Cause I wasn’t present, your body wouldn’t accept it
I apologize to all the women whom I
Toyed with your emotions because I was emotionless
And I apologize ’cause at your best you are love
And because I fall short of what I say I’m all about
Your eyes leave with the soul that your body once housed
And you stare blankly into space
Thinkin’ of all the time, you wasted it on all this basic shit
So I apologize

[Chorus: Hannah Williams]
I’m never gonna treat you
I’m never gonna treat you like I should

[Verse 2: JAY-Z]
I apologize
Our love was one for the ages and I contained us
And all this ratchet shit and we more expansive
Not meant to cry and die alone in these mansions
Or sleep with our back turned
We supposed to vacay ’til our backs burn
We’re supposed to laugh ’til our heart stops
And then meet in a space where the dark stop
And let love light the way
Like the men before me, I cut off my nose to spite my face
I never wanted another woman to know
Something about me that you didn’t know
I promised, I cried, I couldn’t hold
I suck at love, I think I need a do-over
I will be emotionally available if I invited you over
I stew over, what if you over my shit?

[Chorus: Hannah Williams]
I’m never gonna treat you
I’m never gonna treat you like I should

[Verse 3: JAY-Z]
And if my children knew, I don’t even know what I would do
If they ain’t look at me the same
I would prob’ly die with all the shame
"You did what with who?"
What good is a ménage à trois when you have a soulmate?
"You risked that for Blue?"
If I wasn’t a superhero in your face
My heart breaks for the day I have to explain my mistakes
And the mask goes away, and Santa Claus is fake
And you go online and see
For Blue’s tooth, the tooth fairy didn’t pay

[Chorus: Hannah Williams]
I’m never gonna treat you like I should

Wait til I exhale my flows ability
The Dragon the fire the gold and shimmery
I burn with desire in cold assemblies
My voice thru da wire control the energy
MC OG Chicago and Sicily
Rap everywhere see me Rome like Italy
Microphones gets blown in close proximity
I don’t stop kickin’ these goals, without penalties
Show you how to make it when I zone out mentally
Make moves physically
billin me you feelin me?
liars, they wanna steal my whole identity
I rain on they’ parades like the hole in Kennedy
Drop top,
diamond in the back,
solar energy
Global warming,
penguins meet the centipedes
Wisdom,
maybe you consider me
Ministry of dentistry
Menace to Society
Nobody denying me

[Verse 1]
When the lights go dim
Everything around us begins
All the people run to get a piece of the sin
Everybody wanna be the star of the spin
And the city’s full of folks that are in it just to win
Bones break fast on the chain, let em know
In deep thoughts, not today, let it go
Little boy blue, where the hell is your dough?
Look at everybody else in the same choke-hold
This is space age
One night in the face paint
Why would anybody wanna leave they home?
Anybody in their right mind ’bout to see the fine line
I don’t really think that they should, bro
This world here, is encased in gold
All of us are chasin’ it slow
It’s been years in the fears of the people in this place
I’ve been keeping all of them in control

[Prehook]
(They been on the run)
Button’s getting pushed for fun, you don’t need air in your lungs
(Take a little rum)
Bet it feels nice and numb livin’ underneath my thumb
(Get it in, get it done)
They been in the minds of the young to make it feel like you ain’t sprung
(Hand over the guns)
It’s the new world, my son, where everybody is like one
Here they come

[Hook]
All around me
I feel like I’ve been surrounded by, cornered by, infected by
Taken over by the clones, clones, clones
In a world full of clones, clones, clones
Nobody is safe from the clones, clones, clones
You better run from the clones, clones, clones

[Verse 2]
When in Rome, you should probably just do it as the Romans did
Slaughtering the heathens on stage
Sneaking death into the city on some Trojan shit
Now who wanna get murdered today?
Got an ax pack for the fuck of it, swinging Jim Duggan shit
Cutting through the people that ain’t fittin’ for the mothership
Hundred million sheeple in the same damn covenant
Facebook live the event, and now you doublin’
All across the globe we can feel this now
Everybody’s thinkin’ the same
If you feel any different would you please sit down
This thing here ain’t a game
If they wanna come in and control the crowd
I know what they chancin’ to say
Everybody listen to this here loud
This is your chance for the fame

[Prehook]
(They been on the run)
Button’s getting pushed for fun, you don’t need air in your lungs
(Take a little rum)
Bet it feels nice and numb livin’ underneath my thumb
(Get it in, get it done)
They been in the minds of the young to make it feel like you ain’t sprung
(Hand over the guns)
It’s the new world, my son, where everybody is like one
Here they come

[Hook]
All around me
I feel like I’ve been surrounded by, cornered by, infected by
Taken over by the clones, clones, clones
In a world full of clones, clones, clones
Nobody is safe from the clones, clones, clones
You better run from the clones, clones, clones

[Outro]
When you least expect them
They’re there, everywhere

Lyrics Wrekonize – Clones

When the lights go dim
Everything around us begins
All the people run to get a piece of the sin
Everybody wanna be the star of the spin
And the city’s full of folks that are in it just to win
Bones break fast on the chain, let em know
In deep thoughts, not today, let it go
Little boy blue, where the hell is it though?
Look at everybody else in the same choke-hold
This is space age
One night in the face paint
Why would anybody wanna leave at home?
Anybody in their right mind ’bout to see the fine line
I don’t really think that they should, bro
This world here, ..
All of us are chasin’ the ..
It’s been years in the fears of the people in this place
I’ve been keeping all of them in control.(clones)

(They been on the run)
Button’s getting pushed for fun, you don’t need air in your lungs
(Take a little rum)
Bet it feels nice and numb livin’ underneath my thumb
(Get it in, get it done)
They been in the minds of the young to make it feel like you ain’t ..
(Hand over the guns) versuri-lyrics.info
It’s the new worl.d, my son, where everybody is like one
Here they come

All around me
I feel like I’ve been surrounded by, corned by, infected by…
Taken over by the clones, clones clones
In a world full of clones, clones, clones
Nobody is safe from the clones, clones, clones
You better run from the cloneees, cloneees, cloneees.

When in Rome, you should probably just do it as the Romans did
Slaughtering the heathens on stage
Sneaking death into the city on some Trojan shit
Now who wanna get murdered today?
Get an ax pack for the fuck of it, swinging .. ducking shit
Cutting through people that ain’t fittin’ for the mothership
Hundred million sheeple in the same damn covenant
Facebook lie, ..
All across the globe we can feel this now
Everybody thinkin’ the same
If you feel any different would you please sit down
This thing here ain’t a game
If they wanna come in and control the crowd
I know what they chancin’ to say
Everybody listen to this here loud
This is your chance for the fame.

(They been on the run)
Button’s getting pushed for fun, you don’t need air in your lungs
(Take a little rum)
Bet it feels nice and numb livin’ underneath my thumb
(Get it in, get it done)
They been in the minds of the young to make it feel like you ain’t ..
(Hand over the guns)
It’s the new world, my son, where everybody is like one
Here they come.

All around me
I feel like I’ve been surrounded by, corned by, infected by…
Taken over by the cloneees, cloneees cloneees
In a world full of cloneees, cloneees, cloneees
Nobody is safe from the cloneees, cloneees, cloneees
You better run from the cloneees, cloneees, cloneees.

When you least expect them…
They’re there, everywhereee.
Wrekonize lyrics
Video Wrekonize

Pilate:
And so the king is once again my guest
And why is this? Was Herod unimpressed?

Caiaphas:
We turn to Rome to sentence Nazareth
We have no law to put a man to death
We need him crucified – it’s all you have to do
We need him crucified – it’s all you have to do

Pilate:
Talk to me Jesus Christ
You’ve been brought here – manacled, beaten
By your own people – do you have the first idea
Why you deserve it?
Listen king of the Jews
Where is your kingdom?
Look at me – am I a Jew?

Jesus:
I have got no kingdom in this world –
I’m through, through, through

Mob:
Talk to me Jesus Christ

Jesus:
There may be a kingdom for me somewhere – if I only knew

Pilate:
Then you’re a king?

Jesus:
It’s you who say I am
I look for truth and find that I get damned

Pilate:
But what is truth? Is truth unchanging law?
We both have truths – are mine the same as yours?

Mob:
Crucify him!

Pilate:
What do you mean? You’d crucify your king?

Mob:
We have no king but Caesar!

Pilate:
He’s done no wrong – no not the slightest thing

Mob:
We have no king but Caesar! Crusify him!

Pilate:
I see no reason – I find no evil
This man is harmless so why does he upset you?
He’s just misguided – thinks he’s important
But to keep you vultures happy I shall flog him

Mob:
Crucify him!

Pilate: (person wipes Jesus after every number)
1,
2,
3,
4,
5,
6,
7,
8,
9,
10,
11,
12,
13,
14,
15,
16,
17,
18,
19,
20,
21,
22,
23,
24,
25,
26,
27,
28,
29,
30,
31,
32,
33,
34,
35,
36,
37,
38,
39

Pilate:
Where are you from Jesus? What do you want Jesus? Tell me
You’ve got to be careful – you could be dead soon –
Could well be
Why do you not speak when I have your life in my hands?
How can you stay quiet? I don’t believe you understand

Jesus:
You have nothing in your hands
Any power you have comes to you from far beyond
Everything is fixed and you can’t change it

Pilate:
You’re a fool Jesus Christ – how can I help you?

Mob:
Pilate! Crucify him!
Remember Caesar – you have a duty
To keep the peace so crucify him!
Remember Caesar – you’ll be demoted, you’ll be deported
Crucify him!

Pilate:
Don’t let me stop your great self destruction
Die if you want to you misguided martyr
I wash my hands of your demolition
Die if you want to you innocent puppet!

I wanna kiss you in Paris
I wanna hold your hand in Rome
I wanna run naked in a rainstorm
Make love in a train cross-country
You put this in me, so now what, so now what?

Wanting, needing, waiting
For you to justify my love
Hoping, praying
For you to justify my love

I want to know you, not like that
I don’t wanna be your mother
I don’t wanna be your sister either
I just wanna be your lover
I wanna be your baby, kiss me, that’s right, kiss me

Wanting, needing, waiting
For you to justify my love
Yearning, burning
For you to justify my love

What are you gonna do? What are you gonna do?
Talk to me, tell me your dreams, am I in them?
Tell me your fears, are you scared?
Tell me your stories, I’m not afraid of who you are, we can fly

Poor is the man whose pleasures depend
On the permission of another
Love me, that’s right, love me
I wanna be your baby, yeah

Wanting, needing, waiting
For you to justify my love
I’m open and ready
For you to justify my love

To justify my love
Wanting, to justify
Waiting, to justify my love
Praying, to justify
To justify my love
I’m open, to justify my love

Allelu, allelu:
I have died happy
And lived to tell the tale to you
I have slept for forty years
And woke to find me gone
I woke safe and warm in your arms
In your arms, your arms
In your arms

Not informed of the natural law
Squatting, lordly, on a stool, in a stall
We spun gold clear out of straw
And, when our bales of bullion
Were stored
You burned me like a barn
I burned safe and warm in your arms
In your arms, your arms

I’m afraid of the Big Return
There’s a certain conversation lost
And that loss incurred
With nobody remaining
To register who had passed this way
In the night
In the middle of the night
(negating their grace and their sight)
Till only I remember, or mark
How we had our talk:

We took our ride
So that there was no-one home
And the lights of Rome
Flickered and died
And, what’s more
I believe that you knew it, too;
I think you saw their flares
And kept me safely unawares
In your arms
Your arms, in your arms

The grass was tall, and strung with burrs
I essayed that high sashay which
In my mind, was my way;
You hung behind, in yours
Anyhow, she did not neigh
I do not know
What drew our eyes to hers;
That little black mare did not stir
Till I lay down in your arms

Poor old dirty little dog-size horse! —
Swaying and wheezing
As a matter of course;
Swaying and wheezing
As a matter of pride
That poor old nag, not four palms wide
Had waited a long time
Coated in salt
Buckled like a ship run foul of the fence
And in the middle of the night
She’d sprung up
No provenance
Bearing the whites of her eyes

And you, with your
‘arrangement’ with Fate
Nodded sadly at her lame assault
On that steady old gate
Her faultlessly etiolated fishbelly-face;
The muzzle of a ghost

And, pretty Johnny Appleseed
Via satellite feed
Tell us, who was it
That you then loved the most?
Pretty Johnny Appleseed
Leave a trail that leads
Straight back down to the farm
Lay me down
Safe and warm in your arms
In your arms

[Verse 1: Fat Joe]
You should leave the house for a moment
Lately I can’t help but to notice
That he don’t acknowledge you
Nah, he don’t be out with you
I get it, I get it, where I’m from we on that bullshit
Yeah you love that bullshit
Real shit, I can’t even lie to you
But you gotta ball for me
You said you’ve got friends, I said [?] for me
I’m out of time, you know it gets hard for me
I gotta respond, the money keep calling me
You know it be calling me

[Chorus: The-Dream]
Now I can’t prove my love
Heartbreak 101
And you stay here in my arms until the song’s done
They say nothing lasts forever, but forever’s always wrong
Now we’re in that moment where you wanna do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na

[Verse 2: Remy Ma]
Come boy, you know that I’m wit it
Yeah, anything you want, you know that I’ll get it
Cuz I’ma get it girl, you get it boy
I’m a city girl, let’s leave the country for a minute
Let’s go, pack up the bags now
Let’s go to Tokyo
Let’s go to Paris, yeah
Let’s go to Rome
I’m so all insecure, I can’t contain it now
His love good, but your love’s the best
And it only gets better so let’s not forget
Want me out of my clothes and turn the lights down
I wanna give it to you, I’m talking right now
Do you got a pillow, I need to bite down
I ain’t ready to go, I’m [?]
You know I know that you wanna give me your love now
And I know you know that I wanna give it back

[Chorus: The-Dream]
Now I can’t prove my love
Heartbreak 101
At least stay here in my arms until the song’s done
They say nothing lasts forever, but forever’s always wrong
Now we’re in that moment where you wanna do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na

[Bridge: Fat Joe]
We at the Pablo show in the Kardashian row
With the Kardashians sipping the Kardashian show
We at the Pablo show, minks down to the floor
Got six bad bitches in the back of the row
We at the Pablo show
We at the Pablo show
The father’s back

[Chorus: The-Dream]
Now I can’t prove my love
Heartbreak 101
At least stay here in my arms until the song’s done
They say nothing lasts forever, but forever’s always wrong
Now we’re in that moment where you wanna do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na
Do anything but go home
Na na na na

[Outro: The-Dream]
I wanna be with you baby, I wanna
That’s why I’m tryna leave with you, baby
See I wanna be with you, baby
That’s why I’m tryna leave with you, baby
I wanna be with you, baby
That’s why I’m tryna leave with you, baby
I wanna be with you, baby
That’s why I’m tryna leave with you, baby

Tu ne pourras rien me cacher
Je n’ai pas besoin d’être médium
Mais dis toujours la vérité
Si Tu Es Un Homme
Je ne pourrai pas te soigner
Ne me prends pour un sérum
Mais n’aie pas peur d’être blessé
Si Tu Es Un Homme
Si Tu Es Un Homme
Tu prendras rien pour acquis
Si Tu Es Un Homme
Je te donnerai toute ma vie
Et tu aimeras ce que nous sommes
Et la femme que je suis
N’y va pas par quatre chemins
Je ne mène pas à Rome
Mais ne craint d’aller trop loin
Si Tu Es Un Homme
N’essaie pas de m’impressionner
Je me passerai du décorum
Mais n’aie pas peur de pleurer
Si Tu Es Un Homme
Si Tu Es Un Homme
Tu prendras rien pour acquis
Si Tu Es Un Homme
Je te donnerai toute ma vie
Et tu aimeras ce que nous sommes
Et la femme que je suis
Ne cherche jamais à me plaire
Je ne chanterai pas ton te deum
Mais ne fais jamais semblant de faire
Si Tu Es Un Homme
Tu pourras vouloir me quitter
Mais à défaut d’un erratum
Tu auras le droit de te tromper
Si Tu Es Un Homme
Si Tu Es Un Homme
Tu prendras rien pour acquis
Si Tu Es Un Homme
Je te donnerai toute ma vie
Et tu aimeras ce que nous sommes
Et la femme que je suis

In the shadows of tall buildings
Of fallen angels on the ceilings
Oily feathers in bronze and concrete
Faded colors, pieces left incomplete
The line moves slowly past the electric fence
Across the borders between the continents

In the cathedrals of New York and Rome
There is a feeling that you should just go home
And spend a lifetime finding out just where that is

In the shadows of tall buildings
The architecture is slowly peeling
Marble statues and glass dividers
Someone is watching all of the outsiders
The line moves slowly through the numbered gate
Past the mosaic of the head of state

In the cathedrals of New York and Rome
There is a feeling that you should just go home
And spend a lifetime finding out just where that is

In the shadows of tall buildings
Of open arches endlessly kneeling
Sonic landscapes echoing vistas
Someone is listening from a safe distance
The line moves slowly into a fading light
A final moment in the dead of night

In the cathedrals of New York and Rome
There is a feeling that you should just go home
And spend a lifetime finding out just where that is

In the cathedrals of New York and Rome
There is a feeling that you should just go home
And spend a lifetime finding out just where that is

‘Cause baby it’s time we let down on the ride
Running from the city
Running from its crimes

Sleeping on the streets of Rome
[?] to pass the time
We could seal our faiths alone
We could deal, oh, baby it’s time to lose our vicious pride
‘Cause we can’t run, there’s nowhere else to hide

They said we’d never get too far
Just fugitives on the runaway
Now with all the passing cars

Now with all the skies [?]

Baby, it’s time we lose our vicious pride
Running from the city
Running from its crimes

Baby, it’s time we let down on the ride
Running from the city
Running from its crimes

The loveliness of Paris seems somehow sadly gray
The glory that was Rome is of another day
I’ve been terribly alone and forgotten in Manhattan
I’m going home to my city by the Bay
I left my heart in San Francisco
High on a hill, it calls to me
To be where little cable cars climb halfway to the stars
The morning fog may chill the air, I don’t care
My love waits there in San Francisco
Above the blue and windy sea
When I come home to you, San Francisco
Your golden sun will shine for me

Ice Age or a heat wave
Earthquake or a plague
Terrorism or class warfare
Or the end of days
I asked mama, but she didn’t know
Dad just shook his head
Put a couple ice cubes in his whiskey, sipped it, and went to bed
Can I just pray to God to give me those Vegas odds
I ask on behalf of a friend
Should I buy my folks a round
Or dig my cash in the ground
I’m starting to think it’s the end

I know, I know we’ll live for a thousand years
What’s in your crystal ball
Tell me, tell me oh where do we go from here
Rome is too big to fall

Other night I was riding on a C train
Packed car, bad mood
When this peabrain drunk-ass slicked back hair, having, leather-jacket wearing ass Roger Klotz grease stain dude stumbles through the train mad rude shoving a finger in our grills with this attitude
Yelling fuck you, fuck you, fuck every one of you
Yeah, Yeah that means fuck you too
So when the train pulls in the next station
This one big ass hardcore bouncer kinda Teamster kinda Paul Bunyon kinda motherfucker shoves a fool out the car door
Throws a haymaker, hits him in the chin
The whole train cheers the win
We’re all high-fiving, feeling excellent
Having extra fun like we’re next of kin
Save all your Kumbayas
Don’t take this shit too far
You don’t make no friends on no New York subway car
How come when we gotta come together
We wait until we got someone that we can all come together to hate
And then for the hottest minute we set our shit aside and relate?
And then forget again

[Hook]

Nobody wants to die so nobody thinks of it
What if at the blink of an eye we be at the brink of it
We tend to be blind when we’re right up in the thick of it
We got this life to live and it’s at our fingertips
I’m taking my time and trying to be making the most of it
Let’s open a wine bottle and we can all toast a bit
And I never get light when I’m drunk
So fuck all the poser shit
I’m tapping a vein, craving the truth, give me another dose of it
I’m not digging for danger but I decided that I won’t be taking time for my day for denying how I was made or fighting my human nature
I’m only looking to savor the ride
I’ve paid for my pride
Back when I would cry, cry, cry
Spending my life wondering why, why, why
Taking the view soon I know it’s all gonna fly right by
I will not go out like that
We won’t go out like that
We won’t go out like that
We won’t go out like (won’t go out like)
We won’t go out like that

[Verse 1]
5 o’clock moving like a rattlesnake in Venice
Shedding off my monkey suit well that’ll take a minute
Hold the door for me brothers and sisters it’s time to jettison
The world’s passing by I think it’s bout time that they let us in
My medicine is like better gin
Ice cold juiced sentiments
By all means I’m meddling
With a vibe to thrive like gentlemen
If I said I’m in i meant I’m in Cuz life’s short like seconds and
I don’t sleep I’m on bed of pins I’m trying to live in excellence
I feel my heart pumping blood pressure rising
Time is racing by me think a lot about my dying
I know it sounds morbid but my Scorpio is rising
And there’s final destinations all around me multiplying
I’m vying finding the Mayans to ask about my compliance
With living another life and buying up all the zions
They say this life is short but I got many more to give
Shit What would you wanna do if you had 24 to live?

[Hook]
Another day another plateau
Enjoying every place that i go
This may be just a tad taboo
But let’s get it like it’s running past due
Another night another chateau
Enjoying every place that I go
Just get it
Ya see cuz you never know
You never know
It could be your last day alive

[Verse 2]
And if it was my last day on this spinning shrub
I’d feel above cuz I lived it up
I’ve broke hearts i’ve been in love
I’ve got money i spent money
I’ve overfed and i been hungry
Ive moonlit and I been sunny
What more could they get from me
Been to Paris been to Rome
Been mobbed up and I been alone
Been a basket case on a simple throne
Masking tape on a sinful dome
Patches holding my right to fly
Strung up fast to the light an sky
If time runs this here fountain dry
Theres a few things i’d still like to try
Jump out of a plane and in 2 minutes feel relief
Cuz life is pretty sweet
When you’ve just fallen twenty thousand feet
I’d like to see the northern lights
I’d like to shoot around the sun
I’d like to see more of my wife
I’d like if we produced a son
This playing field is made to kill
But we survive what a crazy deal
If you want more time better pray for real
Cuz we all ain’t trained like navy seals
They say this life is short
But I got many more to give
Shit What would you wanna do if you had 24 to live?

[Hook]
Another day another plateau
Enjoying every place that i go
This may be just a tad taboo
But let’s get it like it’s running past due
Another night another chateau
Enjoying every place that I go
Just get it
Ya see cuz you never know
You never know
It could be your last day alive

[Verse 3]
Well what a life if i could hit that button twice
I’d stuff it like i want another strike
Trying to cut it like a butter knife
I seen things i wanna see more
Trying to cheat death on a detour
I wanna plant life Audrey’s store
Like come on feed me Seymour
What you doing if you ain’t living life like
To the top of cup and the light bright
You better get a ticket to the fight night
Cuz it’ll hit ya when you not up night night
I ain’t trying to leave quick
Trying to do the right thing Spike Lee shit
Better hold it down with a viking grip
Cuz the world moves quick with a lightning tip
I need to feel the breeze and the ease of ibiza
Soaking in all the features of being overachievers
I know i’ve said it before this life is truly caustic
So i refuse to be it’s hostage and that’s a promise
So gimme smiles and gimme fam
Gimme sights from another land
Gimme guile and gimme grand
Running miles for the modern man
They say this life is short but I got many more to give
So i’mma live it like i just had 24 to live

[Hook]
Another day another plateau
Enjoying every place that i go
This may be just a tad taboo
But let’s get it like it’s running past due
Another night another chateau
Enjoying every place that I go
Just get it
Ya see cuz you never know
You never know
It could be your last day alive

[Electronic music]

‘Cause baby it’s time we let down on the ride
Running from the city
Running from its crimes

Sleeping on the streets of Rome
[?] to pass the time
We could seal our faiths alone
We could deal, oh, baby it’s time to lose our vicious pride
‘Cause we can’t run, there’s nowhere else to hide

They said we’d never get too far
Just fugitives on the runaway
Now with all the passing cars

Now with all the skies [?]

Baby, it’s time we lose our vicious pride
Running from the city
Running from its crimes

Baby, it’s time we let down on the ride
Running from the city
Running from its crimes

If God had a name what would it be?
And would you call it to his face?
If you were faced with Him in all His glory
What would you ask if you had just one question?

And yeah, yeah, God is great
Yeah, yeah, God is good
And yeah, yeah, yeah-yeah-yeah

What if God was one of us?
Just a slob like one of us
Just a stranger on the bus
Tryin’ to make his way home?

If God had a face what would it look like?
And would you want to see if, seeing meant
That you would have to believe in things like heaven
And in Jesus and the saints, and all the prophets?

And yeah, yeah, God is great
Yeah, yeah, God is good
And yeah, yeah, yeah-yeah-yeah

What if God was one of us?
Just a slob like one of us
Just a stranger on the bus
Tryin’ to make his way home?

Just tryin’ to make his way home
Like back up to heaven all alone
Nobody callin’ on the phone
‘Cept for the Pope maybe in Rome

And yeah, yeah, God is great
Yeah, yeah, God is good
And yeah, yeah, yeah-yeah-yeah

What if God was one of us?
Just a slob like one of us
Just a stranger on the bus
Tryin’ to make his way home?

Just tryin’ to make his way home
Like a holy rolling stone
Back up to heaven all alone
Just tryin’ to make his way home
Nobody callin’ on the phone
‘Cept for the Pope maybe in Rome

[Hook]
I want (I want) a place in Rome
I want (I want) my paper long
I want (I want) my haters gone
I want (I want) my bitch bad with no make-up on
And I want my beat on slap
Bending corners with my seat thrown back
Every other fucking week blow stacks
‘Till I’m living lavishly won’t nap
Oh no no no no I want
La di da di da la di da la di da di
La di da di da la di da la di da di la la la la
La di da di da la di da la di da di
La di da di da la di da la di da di do

[Verse 1: Kenny]
Main thing on my mind is doe
And trying to make the hottest chick of all time get low
Eye lids low
While she’s showing me her privates, private show
Nigga just wait, please let me just state
That my mind’s in this state
Imma buy in this state
In that state in this state
Don’t believe me just watch nigga just wait

[Verse 2: Julius]
My bitch gotta be very very thick
I mean Mary Mary thick oh yea that derriere is sick
I sound cool nigga, like the bottom side of that pillow beat
I’m from Long Beach probably find me on Willow Street
Probably find me up in them streets sippin’ Hennessey & Coke
While I’m banging KXNG Crooked nigga sick of being broke
I just p-p-p-p post nigga my swag too G
White T cut off sleeves call it amputee

[Hook]
I want (I want) a place in Rome
I want (I want) my paper long
I want (I want) my haters gone
I want (I want) my bitch bad with no make-up on
And I want my beat on slap
Bending corners with my seat thrown back
Every other fucking week blow stacks
‘Till I’m living lavishly won’t nap
Oh no no no no I want

[Verse 3: Demetrius]
Tat the belly like Makaveli then clap the dezzi on niggas
Niggas beat is slappin’ heavy on niggas
Hold up rap’s deadly on niggas
Hold up chants catchy on niggas
Hold up right hips right hooks but I’m scrapping lefty on niggas
Hold up hold up hold up hold up
King Kong ain’t got shit on me
We crawling through East Long Beach
If she flawless then she gon’ get her ass eatin’ in the four seasons
Introduce her to my wood staff meeting board meeting

[Verse 4: Dice]
When I’m in the corners I need my music cranking up
Shiiid I don’t fuck with liquor but you can drink it up
Bitch we be grippin’ on them chromes
You seen the Wizard of Oz she Shoes send you bitches home
Hold up this your favorite song
Hold up When they turn it on
Hold up No this win’t no hold up but Imma need your hands to go up (no what)
I be on that G shit, we be on that G shit
No matter what way you look at it it’s a G shit or a G’s hit

[Hook]
I want (I want) a place in Rome
I want (I want) my paper long
I want (I want) my haters gone
I want (I want) my bitch bad with no make-up on
And I want my beat on slap
Bending corners with my seat thrown back
Every other fucking week blow stacks
‘Till I’m living lavishly won’t nap
Oh no no no no I want
La di da di da la di da la di da di
La di da di da la di da la di da di la la la
La di da di da la di da la di da di
La di da di da la di da la di da di do

Come è bella c’è la luna brilla e strette
Strette come è tutta bella a passeggiare
Sotto il cielo di Roma

Down each avenue or via, street or strada
You can see ’em disappearing two by two
On an evening in Roma

Do they take ’em for espresso
Yeah, I guess so
On each lover’s arm a girl I wish I knew
On an evening in Roma

Though there’s grining and mandolining in sunny Italy
The beginning has just begun when the sun goes down

So please meet me in the plaza near your casa
I am only one and that is much too few
On an evening in Roma

Don’t know what the country’s coming to
But in Rome do as the Romans do
Will you on an evening in Roma

Come è bella c’è la luna brilla e strette
Strette come è tutta bella a passeggiare
Sotto il cielo di Roma

Don’t know what the country’s coming to
But in Rome do as the Romans do
Will you on an evening in Roma
Sott’er celo de Roma
On an evening in Roma