Okay, I'm going to say this, and I'm sorry if I'm inadvertently offending anyone who has felt or acted the way I'm describing before, but I've gotta get this off my chest or it will simply fester within me until my head explodes!

Ramin & Sierra fanatics: I understand that you love this pair, but you need to learn to shut. up. We do not need to hear about it every single time there is a comment bar attached to something Sierra posts on her sites, or on any Phantom of the Opera related video, article, or image. They are already immensely popular. You will have no trouble at all finding others with similar tastes as there are entire message boards and fan pages, fan tumblrs, fan instagrams set up just for them. But why must you push to the rest of the world that they are the best Phantom and Christine to ever exist? Why must you also remind others that you think Ramin and Sierra are better than so-and-such? Why do we all need to hear it so often, even on posts that have nothing to do with them? Why would either one of them need to hear it again? I'm certain that at any given moment they are aware, probably with the hairs rising on the back of their necks, that you're fapping to their videos and wishing Ramin would divorce his wife for Sierra. (Which, by the way, is the pinnacle of disrespect to the both of them, whose choices about who they marry or don't marry are none of your business.)

Also, I just want to throw out how douchey it is towards other fans to say (as many but not all of said fanatics have said) that one's favorites are THE best or THE characters, because the implication of that is that it's objectively true, and anyone who doesn't agree has lesser taste. I love Sierra to death; she is my favorite ALW Christine, but damnit, there is no objective "best". She suits my tastes. She resonates with me. She's how I see Christine. She sounds good to my ears. Similarly, Ethan Freeman works for me. He's how I see Erik. I feel he comes closest to the Erik that I have perceived in the book. But everyone should be able to find their own performers whose interpretations of the roles resonate with them the most, so I would never push him (or Sierra, or anybody else I like) on others. I don't have an undying need to advocate for them like anyone who doesn't see how great they are is missing out. You alienate others by saying so-and-such is "the best". You disregard other actors by plastering Ramin and Sierra's names all over the comments on their performances. I don't even like Ramin, but I can't imagine writing on a video of him "Ethan Freeman is so much better" (even if that's true for me.)

Well okay, it's not that I dislike Ramin. He can be quite poignant with his body language, his expressions, his reactions; I see a lot going on with his interpretation: a lot of realism, a lot of personal fuel. There's nothing wrong with that; it's necessary to be convincing. But he's convincing as a separate but similar persona to me, not as Leroux's Erik. I can enjoy him, but I can't help but be irritated that he's become so many's ultimate favorite when Leroux's Erik is so absent in him, which (for me) really matters. Ethan Freeman seems to have read the book cover to cover a dozen times, with a determination to channel it in his performance, and that's probably what makes him obscure. I understand what's going on. Leroux's original character is nowhere near as suave, romantic, mysterious, or even wholesome as ALW's Phantom was designed to be so he would hold the layman's affection, which is what has kept the show running 25+ years. I would even go so far as to say that we might not even be talking about The Phantom of the Opera these days if ALW hadn't found that book sitting on a coffee table (or whatever it was that happened, memory doesn't serve me) and decided to, as I said, transform it into the layman's fantasy. Many who fall in love with his musical first (like I did when I was 15) are depressed and even disillusioned by the book, although many go through with reading it because they want to feel like they are more "legitimate" a fan. Anyway, going astray here, but I understand why the simple nod to the book that performers like Ramin give is preferred over the loyalty to it performers like Ethan Freeman show, and I can't force anyone to like Leroux Erik better or be looking for signs of him if they like the adaptation better than the source material. However, it's still disappointing and alienating being part of a fandom with that issue. A fandom with so many people chanting the same fucking names. (And to be fair, I do not like reading comments about how superior Michael Crawford was on videos of other Phantoms. That is equally obnoxious even IF I agreed with everything they said.)

Also, damnit, I need to do my Ethan Freeman post. The guy is a true character actor, similar to Max Schreck, for me (in fact my friend Emily recently said when I showed Ethan to her that he was moving around like Orlok!) He's no beefcake, no classic hero type, and he was not about to inch a character like Erik in that direction. He's also played other delightfully naughty roles, like Dracula, and now he's doing JAFAR in the Europeon production of Disney's Aladdin.

So there's the end of my rant, after not being here a week because I kept getting sick, but I will make more pleasant posts in the future. Here's the Ethan preview:

Edit: Chapter 41 was ever so slightly altered. If you've read it, you may want to go in and see if there's something new. ;)

Chapter 40, it turns out, was the longest chapter of HT I've ever written. It was 8,000 words. I posted it last night and now, for the month of October, the story has almost a thousand hits and it's only the 8th. In past updating periods, I'd be impressed to see a thousand hits at the end of a month, so it's making me wonder just how much feedback I might be able to get if I start updating weekly and the story stays at the top of the lists.

Well, anyway, I'm happy to present to you the next chapter of HT early, which will be shown to the rest of the world next Friday. It's only eight pages, but I found a cliff-hanger that I rather liked. I named the chapter after an ALW lyric, which has been my first nod to the musical in the story in a while. It was the musical that inspired me this time, or (I think, actually) some combination of the book and the musical. My passion was just ignited after I saw the 25th Anniversary performance. I had never, ever, in my life, seen it so clearly or been so close, and I couldn't have been if I'd seen it live anyway. They were as close to the camera as movie actors - I saw everything in their faces, every small reaction - it was beautiful.

I never did like Ramin Karimloo very much. In fact, there's a video on youtube of him singing Music of the Night that I find abrasive and not at all charming, and I think I once wrote that he was a phantom that inspired pepper spray, and I hate how hunky he sometimes looks. But... I admire those who aren't so stubborn that they can change their minds, and I want to be one of those people. So... well, I take back my dislike of Ramin. He's still not at the top of my list, but he did a phenomenal job. Maybe that MOTN video I watched was old and he's learned since now. I know he's been playing the Phantom for at least three years. But yes, I take it back, I take it back! I have to give him some respect because he knows who Erik is. No one gives a performance like what I saw and doesn't know.

That said, the performance also solidified that Sierra Boggess is my #1 ALW Christine. She has a beautiful voice, a beautiful face, and she clearly loves the role. She makes the character very real and likable when it's easy for Christine to look like a vapid bimbo. But even though Christine can be overlooked or seem like a sue, or what have you, I actually give props to anyone who plays her. Everyone's always giving the Phantom the most attention, he's the last at curtain call and gets the loudest cheer, and he's the one showered in roses when its his last performance, but... the truth of the matter may be that the Christines of this show work their asses off the hardest. It's their story. Erik is on stage for about 40 minutes in this two and a half hour production. Christine is there in most every scene. I read that, while Phantoms actors perform 8 times a week, Christine actresses aren't allowed to do more than six because of the high toll the show takes on their voices. It seems to me that being Christine on Broadway is like the theatrical Olympics, every night. I suppose that's why I got a little choked up watching Sierra take her bows.

Anyway, I've been watching this clip over and over again and marveling at how interesting it is. The clip's going to be poor quality after being turned into an wmv and clipped up and...ugh. But here we go:



My favorite part is when he says "this loathsome gargoyle... who burns in Hell, but secret yearns for Heaven! Secretly, secretly..." and he pauses... Is it just me, or does he say "but Christine," just like Robert Englund Phantom does? To me, he was suddenly Robert - it was weird, but I loved it. The next sentence "fear can turn to love" seemed to come off the top of his head.

And then Sierra, the way she looks on and the music clearly shows he's suggesting an odd thing. Right before the shot ends, she's raising her eyebrow.

Ramin's quiet little "no!" after he let his hand fall a little and she was grossed out, that was so perfect, too...

It's hard to say what exactly I put into Chapter 41 that came from this performance, but... it's something. So, finally:

( Chapter 41 - From His Solitude )

Favorite Quotes

“You know, it’s beautiful the way you mean that question. I’ve heard it twice, lately, haven’t I?”

“Ladies should sit.”

...I looked down, and he had that sharpness coming back. It made me feel like a gun was pointed at me; expecting something immediate...

"Think of a day when I don't hurry anywhere. Not away from you, not towards you. I'm always with you."

He wanted us both to be lost and gripping to each other. Instead, he gripped to me as I orbited a bigger thing and… he couldn’t quite say directly yet that I should do him a great favor: plunge into nothingness. Orbit him, and him alone. Breathe him, as he breathed me.

I like this man a lot. I always know it but forget what it really means to like him. Luckily, a night ago, I rewatched Lon and Mary and it seems like every time I see the 1925 movie I appreciate it a little more.

The first time I was like "eh. It dragged," and I think I had a headache afterward. The second didn't come for years later and I thought to myself "you know, this deserves way more credit and has great physical acting", and the third I was actually sort of entranced by the scene where Erik takes her down to the lair for the first time.

I specifically noticed that it was a lot like the 2004 movie's scene of the same thing, and it was fascinating to think "here, this modern movie has everything it can to tell the story: great high definition camera that could pick up on a mark on someone's teeth, vibrant colors, top-notch music (singing the famous The Phantom of the Opera theme no less) and yet..." This silent film was the one that captured the real meaning and mood of that journey down.



You could practically imagine it. Going into the ground, where the air gets cold and damp, where you can sort of sense the immense pressure above you, knowing civilization is somewhere outside the range of your screams if you realize you don't want this. And there's no more day; no more light. That's without saying that you're with some strange person covering his face and urging you down nearly without a word. Who you're going to find out looks like a walking corpse, which is more eerie given that a lot of people were buried in the same ground the cellars were made. You're in a world not meant for life, or your warm colored skin, or your beautiful showy clothes.

I also think of Erik's POV - being down there alone seems like it'd just blanket you in depression, but tonight you've retrieved this young defenseless girl, that you know is going to end up wanting to run away from you, and yet, even as you lead her quietly, your heart is pounding at the thought that such perfection is in your domain - breathing your air, laying eyes, for the first time, on things you've seen a million times. You're finally doing it. Even if you know it won't go well.

Yes, I just mused hard, didn't I?

I had to set that up, because then I remember that scene in the aforementioned 2004 movie, with candlestick arms that move out of the way as Erik and Christine come forward, and flickering flames every which way you turned. That set didn't at all make you feel you were deep down where no one could hear you, alone with the man. What a shame it didn't, too, given that the musical itself, which it was supposed to capture, was half-way there! (I mean yeah, they glamorize it.)

*sigh* I think Lon Chaney is a good dose of reality. This story I love to pieces is a lot darker and less attractive than it's been made, even if I love hawt Eriks and pretty sanctuary lairs like Charles-Phantom's. The thought of being in the real lair with the real Erik is the stuff of nightmares, but I think that's fascinating in its own right. A story has conquered if it can make you feel something intense, no matter what that something is. It takes skill and imagination and an understanding of the psyche to make people uncomfortable and frightened.

So, I have realized, if Lon Chaney is really the most famous and most liked rendition of Erik: for his accuracy, body-language, self-created make-up, and horror-factor, I'm okay with that. Charles Dance might resonate with me more, and Robert's just so bad-ass *purr*, but I would never argue with a Chaney fan. I know he's great. Probably comes right after those two.

You know what's also neat? When phantoms inspire each other.



I love this picture. XD Who'd think it! This ALW Erik, Anthony Crivello, takes something away from the man. What, I don't know. I've never seen or heard him, but Google introduced me. Maybe I'll look him up.

Well, I've said plenty tonight, haven't I? :) Just wanted to get down what was going on in my creative mind since I've neglected the journal for two weeks now. I've kind of laid He's There down so I can finish some illustrations for my Adventures in Wonderland site, but I assure you...*cough* chapter 43 is... coming along slowly. As slowly as molasses, but at least it moves.

Andddd! I'm pleased to inform you that it finally has 50 favorites! That might not be a lot in comparison to authors on ff.net that are actually popular; I certainly don't feel popular, but it's still cool.

....Igh.

I don't know why, but I have just lost it. I felt pressured this month, then I haven't written for over a week, and I think I just need more time to plan this out. I don't feel good about my serious-writing right now and telling myself what I have to work on whether I want to or not is taking the fun out of being creative. I could be getting more done as a whole by stopping with the limits.

I'm going to take my time figuring out what happens between now and when Mariam does somethingggg~ which I will not say to preserve the unknown. Then I will do ch43 when I'm damn ready.

I still broke last year's Nano record. I still broke it by like 7,000 words! I could still break it by more.

But no more pressure. >o<

Is it cheating to add on to your word count with writing for a different story? I might do that. I want to do an AIW fic again. Yes, again!

I'm still gettin' my Phantom on, though, I promise. :) I just moreso want to appreciate it right now, rather than try to pull a rabbit out of my freaking ass that will never reach the heights of the interpretations I love. I'm putting a better translated version of Leroux on my Christmas list (in the form of an Amazon card, rather.)

SPEAKING OF WHICHHH,
Automatic addition to my favorite phantoms, John Owen Jones. He is spectacular. His high notes make me sway and go "jesus" every single time.  THAT'S the way a phantom's supposed to make you feel! *curls fingers*

Also, he's adorable. Rather than feeling intimidated by him, I think I'd just want to hug him and pat him on the tummy. lmao It was sweet at the end when he said "come see us!"

Oh hey look, he sings it in English.

Somebody say something. I miss getting comments. :/

Still failing at NaNo, but hey, maybe every year I'll get a little better at it. I might have 20k words and around 40pgs done for this month.

Word Count

16328 / 50000 words. 33% done!

This next chapter is a real pain in the ass. There's so many things they need to talk about, it's probably not even feasible to have an understanding of all that at the same time, so I might have to go back and cut out what she can figure out later. I mean, seriously -- I told myself this today: I'm an ambitious idiot. I want to write epic stories that get complicated but come time they do, my brain explodes. I just end up staring at the screen and telling myself I'll worry about it later.

I don't know what I'm going to do. I'm stupid. My storytelling has been so stupid lately. I don't even know if I'm a good writer anymore. (Yeah, my feelings on what I do are like a rollercoaster, I've felt this way before, I know it passes, BUT NOTHING MAKES ME FEEL BETTER DURING A LOW.)

Speaking of exploding brains, I'm totally fried from musical videos too.

I think I actually like Music of the Night sung in German more than English. o_o

I came rather close to figuring out who "Nazi-Phantom" is, too, but no dice. Several people told me he looked and sounded like Christian Müller, who started playing the role when he was (apparently) 25 years old. I was like "NO WAY", as I mostly oppose young phantoms, but I looked him up and found that he actually has an astonishing voice. I mean there's a REASON he got picked (even though American phantom Ramin Karimloo, who I don't like, was picked even though he kind of fails.) I guess the German production has higher standards, although what about Uwe Kröger?! HE SOUNDS LIKE HE'S SINGING AT A KARAOKE BAR. But the point is, this guy can sing Music of the Night like he's had the breakfast of champions. I mean, check this out: http://www.youtube.com/watch?v=Xk3sL8T62JA.

HOWEVER, I spent a lot of time listening to him sing this song, and the way "Nazi-Phantom" sang it and, not only do their voices differ (Christian is smoother, Nazi Phantom is sharper), their styles and the way they pronounce are just different. Christian's videos were consistent, so I doubt he just randomly sang everything differently for that one performance, anyway.

There was the fact about them looking similar, which made me second-guess myself a lot, but after giving that some attention, I found where they had differences. My mystery-phantom just ain't that attractive. This guy is freaking hawt. XD


(He looks like he's gonna do somethin' bad to Christine, doesn't he?)

While Christian resembles him, he looks more like his attractive brother that everyone likes more and whom stole his 9-leaf clover-- wait, that's Futurama... Well still. Yeah. He looks like a rounder, cuter, more baby-faced version of Nazi-Phantom. But this in no way puts him down because, in my book, the more quirky the phantom, the better.

Am I sad I still haven't figured out who he is? A little. I don't know why I like him as much as I do (even though I acknowledge that he sings/acts well), but if he's going to remain a Phantom-Phantom, I guess it keeps him in that little box of fiction, and magic, and I should just be happy I found him. It saddens me that I can't see his whole performance, though. I'd want to see his Angel of Music, and Point of No Return. I bet he was great. *sigh*

If nothing else, I've discovered a bunch of phantoms I didn't know about that are good too, like Christian.


(It's so symmetrical with all the hands!)

It makes me more excited to see the musical some day and be less picky about it. Great phantoms are out there besides Michael Crawford. Right now, today. Not just in the past. Entering the 21st century hasn't tainted the show or made everyone turn out like Ramin Karimloo.

I don't think I even care if I see the musical in English. I know it so well I don't need to recognize the specific words to know what's being said. I actually looked into the Japanese production and they have really good Phantoms and Christines! Like, the phantoms sound insanely powerful and can become soft or intense at the drop of a hat. o_o

THAT GUY'S VOICE IS LIKE LIQUID MAN.

I think I've spouted about this enough. It doesn't even have to do with my writing so I'm not sure why I'm posting it here. And I haven't gotten any comments so you guys are probably annoyed with me, but... *raises hands* my journal? :D

I end this entry with another fine picture of Christian Müller and a quote...


♥

As you dive deep into phantom fandom... you understand that your appreciation of the character runs deep, and in many directions. Sometimes he touches you in your heart, sometimes in your brain, and sometimes in your very soul. But you also have to admit when he just plain touches you in your crotch.

Ugh. I'm so behind on NaNo, it's disgusting. I can kind of explain why it's been taking me so long, though. I've got 5 pages of segments for Chapter 43 and I realized this chapter is going to be extremely significant. Like, the very heart of the story, probably.

I've made an outline, written quotes, plan to use like all of them, it's just a matter of finding the right mood. I actually went to the dock on Tuesday night in my Robert-Phantom get-up except for his hat and just spent the time being "Erik". It was very intriguing. The sky was beautiful. It inspired a nice fitting setting that actually emphasizes an idea I wanted to express in the next installment.

But yeah... no chapter yet. I hope that it comes tomorrow. I tried doing it tonight but I failed. And instead of doing any movie or book appreciation, I realized this Autumn/Winter is probably going to be musical appreciation! Oddly enough, I never dove into it as much as I should have. I just stuck safely next to Crawford and ignored everyone else. But it's actually really interesting seeing how different people pull off this same role, time and time again. It makes a world of difference - it's like if someone came in and did Robert Englund's role in his movie... you'd have another movie.

I can almost see why people go and see Phantom like 287 times until they're middle-aged and still love it. You build up this wonderfully complicated, intimate knowledge of how the characters could behave... aghgh! ♥ The scene on the roof when Erik is on the angel statue - he sings, cries, yells, and laughs maniacally (so much opportunity to put in your own flavor!) I'll have to upload some clips I particularly like some time.

As you can sorta tell, the musical's the only thing that's been on my mind all week. I even drew the charming German phantom I posted about in the last entry while in Astronomy class, whom giannamon has, tonight, named "Nazi Phantom". (Jesus Chriiist. XD)



....sighhhhhhh. For some reason I'm stuck on him even though I don't know who plays him. I listen to him on my ipod while I'm drifting off! The way he whispers to Christine at the end of MOTN is just precious.

I don't know what else to say except I'm trying, and the musical is making me incredibly aroused. lmao There will probably be mild sexual content in Chapter 43.

NaNoWriMo Word Count

15000 / 50000 words. 30% done!

:(

H'omg. I'm not done with Chapter 43, but I have three pages. At the rate I've been going, this would constitute it being half done, but I'm trying to get my chapters longer again (like 10 pages.)

In the mean time, I wrote that I was going to be sinking back into the old-skool Phantom stuff and I haven't at all yet. Instead, and don't ask me why, I have been watching a bunch of youtube videos of people singing the musical in other languages and I came across this charming German Phantom who only has three videos on all the site but I really like him AND he's recent. For all I know he's still off doing his thing. (Although what difference is it to me, he's in Germany.)

I'm picky with stage-Phantoms, so it's always a pleasant surprise to find one where I think "I wish I could see this guy" or "wow, his Music of the Night doesn't suck." My true test is this: the same way when I like a guy I think about baking for him, when I like a Phantom I walk into a room and he comes to mind and I forget what I was doing. <-- Happened with this guy, and for the life of me I can't discover his full name or any information about him!

Anyway, to my phan-readers, if you stop by, what do you think of him?!

Music of the Night/Music der Nacht


The Phantom of the Opera/Phantom der Oper


It starts slow without any visuals but stick around for when he takes off his cape! O_O

All I Ask Of You (Reprise)


I'm not in the best place to judge since I've never seen the musical live, ever, (call the wAmbulence), but I've seen plenty of videos from sneaked in cameras like the ones above. I think he's got a very fitting, dynamic voice, and he makes it low and powerful and soft at all the right times... Like I just closed my eyes and listened and thought "yes yes yes, he's not making mistakes!" I like the way he goes "naaaacht" like "YEAH, IT'S THE NIGHT, BABY, AND I'M IN IT." AND HIS LAUGH AT THE END. ♥

Also, he's just kinda hawt and eccentric! I don't know why, but the way he walked around with his hands up a little, it reminded me of Nosferatu or something. lol I like when a Phantom has peculiar body language. It's fun to interpret. (And he totally emulates Michael Crawford sometimes. I think it's cute that he wanted to pay him some homage. x3)

On the subject of stage phantoms, is it not true that some just overdo it or they're too vanilla? That's partly why I get picky. I hate it when Raoul-actors play the Phantom, I don't like baritone-Phantoms - it just sounds weird, I don't like when they sing MOTN using the same strength in their voice the whole way through and ruining the moment... Actually, I made a status on FB today about that this is very fitting to this entry: some phantoms just sing Music of the Night way too strongly. His voice has to be both "hard as lightning" and "soft as candlelight" at the appropriate times. I know the song could subliminally be about Erik saying "I think we should have sex" but if you just walk into the room with your pants down, she might not be interested. It's a strip-tease! Work your way up to a nipple! Shake the goods. Then calm down, alright?!

Surname "Becker" I can only assume (the German guy above)... he did it just right. Except I never got to see a real nipple. *cry* XDDD

Anyway, if I can fit it around my studying, I'll watch Lon Chaney/Mary Philbin tonight.

Here's my word count:

13676 / 50000 words. 27% done!

P.S. I'm gonna go crazy if I don't find out who that guy is! I want MOARRRRR.

Jesus, this took a while. I didn't imagine I would be at it for as long as I was, but it got quite elaborate as I went on...

Weeks ago, I took out a piece of paper and was deciding what percentage of other phantoms did mine have in him. I thought it was an interesting subject to dive in since in the past run with writing HT I was often comparing him to Robert or Charles. The numbers altered a little but I came up with the following and hope to anyone who knows these phantoms well that it rings true. Phew!

So I guess I'll just get right to the list.
......................................................................................................................................


(10%) Julian Sands - 1998
You know, I really can't ignore my roots. So many people hate this version with a passion, or just plain make fun of it, but it was my introduction to The Phantom of the Opera and the past can't be re-written. I give it credit because it must have retained something significant in order for me to appreciate it through its faults and want to move on to bigger and better movies.

Julian was one of only two phantoms that influenced mine at the time that the story was created. I had been bought and disliked Robert Englund, was bored by Lon Chaney, and didn't find Charles Dance memorable (for some fucked up reason on all three accounts), so it was ultimately he and the musical's Michael Crawford that did most of the inspiration, luckily more on the surface than characteristically.

How are they alike?

1. Physical - On several accounts. They're similar in height and build, although I really did not think Julian was hot when he started taking off his clothes. lol Both have sharp profiles, and I feel absolutely certain that "Erik" inherited long hair from this guy. (cue cries of "WIG!") He's the only phantom with hair of this length and I myself loved long-haired guys when I was 14/15 so it all points in his direction.

2. Voice - I know Julian has some preposterous lines in this movie, but I do think he has a pretty smexy voice and it's the closest to sounding like "Erik"'s, both the sound and tones he uses. I love Robert's voice but I could never hear it coming out of my Phantom, and Charles sounds like Snape. You can't hear Lon for obvious reasons, Claude Rains is way off, and Gerard Butler is freaking Scottish.

3. Manipulation - They manipulate by entirely different means, but I still feel it should be acknowledged since it produces a unique ending to the Phantom story. Julian makes Christine believe she loves him and is committed to him by using, er, psychic powers, but I see the practical equivalent to that just being "Erik"'s ability to dig into her past, having been a stalker, and make her feel attached to him in various ways, like acting out dreams she had (we'll get to that soon) and making her feel like everyone else is suppressing her spiritually. Rather than just trying to "oo" and "ahh" her, like "I can give all of this to you", he sets aside material and really drills into her head that they should be together and so does Julian.

How are they different?

1. Origin - First and foremost, my phantom is not feral! It really didn't make a whole lot of sense that Julian had all that stuff down there and could speak fluently but was raised by rats. Really. XD But the fact that he was really made him strange in the wrong ways and took away from his appreciation for Christine. She had to share the lair with his ... companions, and I doubt he was willing to make a compromise. It was kind of like he had a family, lol. My Erik does not have companions, human or otherwise.

2. Aggression - Yeah yeah, it's easy to relate him to Robert Englund since they both come from horror interpretations, but I thought Julian's behavior was beyond the pale. He made it plenty easy for people to wander down to his lair but he still went out killing people, with brutal signature, just because he was in the mood, rather than because it met some end. My phantom is not reckless like that. If he has to hurt people, it's very strategic. He also would never rape Lily.

3. Aimlessness - I never got the impression Julian had plans for anything but to pluck Christine from the opera house and have ferocious sex. He seemed to operate like a cave man, really. Kill, eat, kidnap Christine, sex, wake up the next morning and do it again... My Phantom absolutely requires the use of his brain, and stimulation, and ideas. He likes romance and tons of foreplay, lol.

 

 

* * *


(20%) ALW/Michael Crawford - 1986 to present
At its beginning, HT was homage to the musical. It was one of two versions I knew/liked and the most spectacular, so a lot of my fantasies about having a phantom came from this. I pictured a phantom in this way, and often so has Lily. It was the version that captivated her as a child, and me, so "Erik" had to be very much connected with it if he wanted to win her heart.

That said, what went into "Erik" was more the feel of the musical rather than concepts or character traits. At least, I think.

How are they alike?

1. Physical - The most obvious similarity of all! He dresses like he should be on stage. The musical presented a very clean black and white Erik and so became "Erik", but maybe worse, as he not only wears the tux, but covers up more of his face and has died his hair black. (But that was something he did even beforehand.) He and ALW phantoms are very sharp.

2. Promise of Freedom - It seems to me like "Erik" is often preaching The Music of the Night in different ways. Both he and ALW Erik are very intent on proving to Christine that she isn't free: creatively, spiritually, intellectually... until she embraces the darkness and embraces him, the only one that knows her true potential and appreciates her in full.

3. Sexual Tension - There are hints of sexual tension in the musical as well, and it's mutual, which is kind of interesting because The Phantom of the Opera was not seen as that type of story beforehand. It was the musical that romanticized him, and instead of just making him dangerous, he became tempting. He became someone you wanted to follow rather than run away from. "Erik" is able to bring that feeling out of Lily even though he has kind of an odd appearance, and I think it's because he's a careful mover and has a... special touch. lol. Michael Crawford had that whole thing going on with his hands and being very aware of his body, and "Erik" is the same way.

4. Mystery-factor - Not only did they up the mysteriousness of Erik's character in the musical, but they designed a stage that made it much easier for him to be. He had a supernatural element to him, being able to disappear from the stage and reappear in different places. Sometimes you don't always know he's on stage (unless you're one of those that have seen it more times than you can count, and to that I would say HEY, GIVE ME A TICKET.) And definitely when you think of the stage production, which has been spoofed in many other things (Disney's Phantom of the Megaplex, Are you Afraid of the Dark? etc etc), you imagine his shape in dry-ice, a rustle of the curtains and a disembodied voice. The appeal is completely obvious. "Erik" was extremely f'ing lucky to have such an intimate connection to a theater (of that size, even) where he could use parkour and other neat tricks to screw with Lily's head.

5. Audience Appeal - This kind of ties in with mystery-factor, but I see it as a similarity because the musical and HT keep in mind that other people are experiencing it on the outside. HT aims to identify with all phans with the fantasy that would like to know a little more about what it could be like, and when you go to the musical they try to freak you out by making the chandelier fall right over your head and have Erik show up near the ceiling on the angel statue. It's not interactive, but it's exhilarating. It's why for a child (like Lily was), he seemed real. He seemed the way character actors do. When you go to Disneyland you don't know it's not the Mad Hatter... it just is... And on that night, there was a scary but fascinating man in the same room with her, that she thought she had lost afterward, little did she know. :)

6. Singing - Alright, I admit, "Erik" can carry a tune. ♥
   

How are they different?

1. The part where he's a musical genius - Yeah, um... Obviously being a musical, music was a big deal, and while "Erik" has a high appreciation for it, he in no way compares.

2. Onstage "Debut" - "Erik" would never... ever...ever confront Lily via joining her on stage in front of a whole audience of people! I mean like never. That is a level of boldness that he does not possess. Plus, no situation would even call for it. If it happened, Lily would walk offstage, not humor him, anyway.

3. Taking 'No' For an Answer - I commend ALW Erik for his humanity, but I think my phantom lacks it. As I said under Charles Dance, he would no longer have the will to live if circumstances made him realize Lily was really ready to say goodbye for good. He will reach a point when he thinks that is on its way to happening and then we will have our climax.

 

* * *


(20%) Charles Dance - 1990
Charles Dance... oh, witty pessimistic Snape-voiced Charles Dance. Although he was ignored for years, I'm more than grateful that later he turned the tables. There are a few big ways that he is nothing like my phantom, but other ways where it's through the roof, which'll make this analysis interesting.

 

How are they alike?

1. Projection - Charles is extremely good at acting like a gentleman even if inside he would like to be down on his knees, or otherwise, around Christine. Being unable to leave the Opera House, and unseen by most people, it was still his decision to wear an over-the-top suit, and talk to Christine like she is much higher status than a costume-girl. This has long been my phantom's strategy, but there is sincerity in it. "Erik" takes it steps further though, trying to pretend he can appear any time Lily needs him, even when the weather turns him numb or he has gotten no rest to speak of. Charles is good at appearing when she needs him to, or standing outside to hear her sing~, and I think he has the dedication to help her in any situation as well. I will never forget he waited for her all night in their singing lessons room. That was so sweet. :)
   
   Also, I feel it fit to mention here that when Christine breaks out of the formal and starts trying to convince him how important he is to her, he shrivels up inside with distant eyes, just like "Erik". Aghh. ♥
   

2. Mask - Both have very concealing masks! It really can make it difficult reading them if you don't know what to look for, but both can be told by their eyes, as long as they aren't being shadowed. Depending on their sharpness. Both of them lose focus when they feel uncomfortable.

3. Non-ghostly - Charles, along with Claude Rains and Julian Sands, never used the whole "I am an angel your father sent" ploy to gain trust from her, but... he alone maintained a really enigmatic omnipresent feel that I think "Erik" can do too, just from preparation and trap-doors, instead of claiming to be non-human. He did well that feel of "maestro, but I don't know what his name is or where the hell he lives," and it's basically the same thing in HT except they roleplay instead of have singing lessons, hahah.

4. Romantic - Self-explanatory! I can think of no other phantom that even tried to give Christine a good time, whereas to Charles and "Erik", this is a priority. They really see their life as bettering hers, it seems, compared to many Phantoms that kind of want to just keep her as a thing. I mean not that "Erik" and Charles don't want to keep her, and are desperate to do so, but I find it to be a deeper appreciation. Charles built an underground forest, had this world just waiting for them to share together, and had a picnic with her in said forest, for God's sake. XD This is why I would want to be kidnapped by Charles. We'd get tipsy and cuddle and he'd take me on a boat ride. ;) And "Erik", he wants to make that underground world too, with Lily.

5. Suicide Threat - The feeling I get from the other phantoms is that even though they may love Christine, they would move on with their lives, and in versions where they weren't killed by the public, they disappeared and left us in the dark from there. Charles, however, had run out of options. He stumbled upon Christine and suddenly that was everything that ever mattered, to the point where when he realized he had been exposed and couldn't have her, he essentially committed suicide, even if it was someone else he asked to shoot him. Similarly, I think that's the point "Erik" has gotten to. He's really just living and perfecting himself to fulfill what he sees as his purpose: to set Lily free and to live the delusion. He has said goodbye to who he was, because there was nothing to like and nothing worth keeping. Both seem to be suffering a mental issue, although it's hard to say with Charles since anyone so cut off from society would suffer effects, but either way it makes them a danger to themselves if they can't get what they want.

6. Wit - Besides Robert, and sometimes in ALW, I don't really find wit in the other phantoms. "Erik" and Charles use it around different people, "Erik" more with Lily, and Charles more with his father, but they both have somewhat dark... realist... self-deprecating humor. XD They would rather put it on the table that they're freaks and laugh at things. I like it. :)
   

How are they different?

1. Violence - Charles seems to be a rather moral guy when he's not threatening to blow up the Opera House. He doesn't like killing people and only does it if he absolutely has to. It's just not what he's into, in his spare time. "Erik" on the other hand, finds himself in situations where he has to be a little tougher, and doesn't feel nearly as much remorse if he has to slam his switch-blade into someone's back. He doesn't appreciate humanity the way Charles does, ultimately, even if he's made threats.

2. Outside Relationship - For some reason, in this movie, they decided they needed to implant Burt Lancaster as the Phantom's father and past Opera House owner, who knew where to find him and had conversations with him in the cellars. Overall, it worked out okay, even if it was far-fetched, but it took away from the feeling of solitude, and of having no one to depend on but Christine. Never in a million years would my phantom have a good relationship with either of his parents.

3. Exclusion of the Outside World - Charles planned on keeping Christine underground, alone, and seemed plenty content with that. I think "Erik" was a little more able to navigate society, and wanted to. He knows Lily can't just give all that up. It has its benefits.

 

 

* * *


(30%) Robert Englund - 1989
Here I have this touching chronicled story of a 17-year-old girl into acting falling in love with a man who takes her out to dinner and sleeps by her side, and I say inside he is so much of this?! -->

Men are interesting creatures, always holding back aggressive and sexual urges, and pretending to be more thoughtful than they actually are at times. I'm just stating the facts. But that does not mean that they can't suffer real love, or lust, over a woman.

"Erik" can hardly identify with Robert's real conditions in this movie, but I can't shake that they have a similar heart and perception.

How are they alike?

1. Misanthropists - Robert and "Erik" couldn't give a lesser shit about humanity. It's done them a lot of wrong, never gave them anything but negative attention, and most people are dumbasses, who are also not praising their beloved Christine enough for what a special snowflake she is. Despite all of this, they want the world to admire her, and for "Erik", to let her go. They are raining on her beauty and making her feel trapped.

2. Really Hot - (Subjective.) I know they do some shit-things, but something about them is still appealing. Perhaps it's physical, perhaps its how careful they can be with Christine, maybe it's their voices (purrrr), but you almost want to jump on top of them, bad guy or not!

3. Collaboration with Christine - For Robert, it's music. For "Erik", it's theatre. Both take a lot of pride in the skill of their Christines. Instead of just wanting to raise her up, they want it to be something a lot more intimate, so partnership is very important. Robert wants to write music, seemingly directed at her, and have her sing it, and "Erik" wants Lily to realize the strength she can put into living differently than herself and be his Christine constantly, and always. He feels that that will benefit the both of them, just as Robert thinks being with Christine will give them fame and fortune. For "Erik" it's more fortune spiritually, though.

4. Time Elements - This is a really interesting one that I only realized so long ago! In Robert's movie, the facts are that they are fated to live the same soul over and over, and meet each other in each life. He is chasing her through time, basically, hoping that she will eventually accept fate and fall in love with him. I don't know if or why he knows this is happening and Christine doesn't, but I found a large parallel between that and the fact that my phantom suffers some deep delusions about his identity. In his eyes, Erik and Christine were real people, as "stated" in Gaston Leroux's book; that the story has much truth in it even though people interpret it as fictional. He does not believe he is Erik, but that he inherited the remnants of him inside, and so has Lily for Christine. So, it's a bit like they are reincarnations, and he is a modern version who has found her again, ready to try again, which happened in Robert's movie. Christine had to kill him twice. lol

5. Slight Masochists - They might mess with their faces for different reasons... but they still do it. Repeatedly. When hardly anyone knows they are. Robert stitches on other people's skin to appear normal, and it looks like it freaking hurts, whereas "Erik" purposefully mutilates his face to feel more deformed. It's not near as bad as Robert, it's not like he has a plastic nose, but... I mean, he causes himself a great deal of pain, in front of the mirror, and enough for it to be normal nowadays. Both Christines oughta slap them and say "that could get you an infection!"

6. Gothic - Both have the gothic thing going on. They're just both so dark and angry. Seeing them next to flickering flames is like peanut butter and jelly, really.

7. Active - Neither are stuck underground with little human contact. They know how to live on the surface, they're socially intelligent, they can appear very normal, albeit reserved, if they want to.

8. Not a Virgin! - Phantom fans seem to make a huuuge deal about Erik being virginal, like if he's not then his love isn't pure or he really doesn't have 100% commitment to Christine, but I kind of think it's bullshit. This movie presented more of a practical Erik in my opinion. Yeah, he's had sex. What of it? My "Erik" is not perfect either; Lily wasn't the only girl he ever had feelings for. Does he have feelings for someone in the past or present beside her? Nope.

How are they different?

1. Aggression - I hate to be comparing Robert to Julian Sands, but both are cold-blooded killers, and though my phantom can be violent, he doesn't want murder on his record. It's hard enough running from the cops with the crimes he has already committed. If he could get away with it, he might, but I haven't put a lot of thought into who he runs into in the streets and what would call for that urge.

2. Interest in Fame - "Erik" has none whatsoever, even though Robert really has his hopes on being renowned for his music. In fact, "Erik" would really like it if everyone left him alone and let him be crazy.

3. Shamelessness - Robert can kill Christine's boyfriend right in front of her and still act like they can get married. If that isn't shameless, I don't know what is! I'd be lying if I said "Erik" was never shameless about anything he did, because he has been, but over things where his own right is concerned. It's his right to slit his wrists. Robert was really insane, though.

That leaves us with 20% Undefined, which I suppose could've been a larger number, but I want to make sure it's well known that these versions inspire me well and have done so for every year that I have worked on the story. But rightfully so, "Erik" is no replica or combination of replicas. He is his own character, and some things about him aren't seen in the others. For example, he's...

1. A Perfectionist - Not in the strictest sense of the word, because he has never been called perfect. Most people in his life have been disappointed by him, weirded out, angered, intimidated... But when he finally said "fuck them" he came to construct his own view of perfect, and has since striven to become it.

2. Schizophrenic - he has a defined diagnosed mental illness which effects his perceptions and judgments, which other phantoms never had, even though they pulled psychotic behavior. But all of them lived under the Paris Opera House, alone, and were legitimately deformed, whereas "Erik" came into a pretty normal world and was not deformed. It's hard to say if any of them had conditions or were driven by bad treatment and obsession alone.

3. Interested in the Smaller Picture - It's a little unfair to make a critique about other phantoms not having a whole lot of depth since movies need to cut to the chase, but it was not a presence like a goddess or angel that ever drew him to Lily. He loved her POV, her writing, her humor, her hidden creativity. Driving her acting, and on their own. Charles came close - he was the only one to have a really inane conversation with Christine just because they could. But it should happen more often because it's cute. ;3
   
   

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If you read all of that, I owe you an applause. Next up, I will be analyzing Lily and the Christines. ;) Not tonight, though. Oh God, no.