Elton John is not a nostalgist. He met Taupin Jamie Bell onscreen by chance after both answered an ad in a British music magazine. He splits his time among multiple homes with Furnish and their sons, ages 8 and 6. In separate phone interviews — Taupin, 69, from his home in California, and John from a tour stop in Copenhagen — the pair discussed putting their lives on film. These are edited excerpts from the conversations. Is the movie hard for you to sit through? It certainly had a huge impact on me, especially the family stuff and the Bernie stuff. It makes me happy and it makes me sad. I think the film eventually is about redemption, and how anyone can get redemption, if they try. When did you first get wind of the project?
As far as as race and the priesthood, Mormons still believe the priesthood ban was divinely inspired. I wouldn't just start bringing up the ces letter and the problems in it. I hate to be so undiplomatic, but it will always create friction in your life to have this level of religious difference. We started dating 16 years ago, and both resigned from the church earlier this year. This is right for me and for us. My actual birthday is Monday and he'll be working all day. It will be up to you, her man, to support the positive expectations. Besides the obvious brain damage that you will be made to suffer your entire married life, there are future kids to think about. Please see above link for full rules. He is on call ALL the time, he arrives home 9 pm and barely sit down for diner and then gets called away, then again 2 am heart attack.
The pop-music bio-pics keep coming because they fulfill several basic needs, for viewers and for musicians. For artists or their estates , bio-pics are a crucial marketing tool; they provide the ability to both produce and control their legacies and public images—and, for that matter, to propel themselves back into the forefront of mass media.
In the film, it happens in The martial choreography and the Steadicam pursuits do little for, or to, the songs, but Egerton, who gamely if only efficiently does his own singing throughout, is no Channing Tatum. Born Reginald Dwight, the young John displays a precocious sunburst of musical talent at the family piano. Reggie drops into the office of a small record label and, taking the first name of Elton from a bandmate and the last name of John from Lennon, promotes himself as a songwriter.
Creation is both a black box and a miracle, suggesting transcendence and ecstasy, possession and abandon—even if the physical action that it involves is comparatively plain and simple. He struggles briefly and inconsequentially with the need to maintain a strong and cheerful public face despite his private sadness and anger. That lost mainstream is spotlighted in passing when Elton learns, at a particular moment in the nineteen-seventies, that his albums account for five per cent of all records sold worldwide. The edge was in the public persona, in the costumes and the manner, in the coded gayness.