“Things will never changeAnd our hearts will always separate.
Forget about you, I’ll forget about you.
The things we never say
Are better often left alone.
Forget about you, I’ll forget about this time.
But it’s the same old situation,
We made it through this far, ooh.
We watched the rockets kiss the sky,
I saw the flames burn out in your eyes.
Nothing that I do
Will ever be enough for you,
Whatever I do, whatever I do.
Take me as I am,
I’ll never be the other man.
Forget about you, I’ll forget about this time.
So won’t you save this conversation
And find a better time, ooh, ooh?
Don’t you ever understand
That if it hurts I’ll do whatever I can?
And if it’s set in motion,
I’ll watch it all pass by
And leave the rest unspoken:
I’ll never change my mind.
I’ll leave it unspoken, leave it unspoken,
Leave it unspoken, leave it unspoken now.
I’ll leave it unspoken, leave it unspoken,
Leave it unspoken, leave it unspoken now.
I’ll leave it unspoken, leave it unspoken,
Leave it unspoken, leave it unspoken now.
I’ll leave it unspoken, leave it unspoken,
Leave it unspoken, we’ll fly away tonight.
So just let me go, I won’t change my mind:
I’d rather be lonely than be by your side.
And nothing you say can save us this time:
I’d rather be lonely.”
[ Unspoken – Hurts ]
Unspoken is one of my favourite songs on Happiness, in particular its live version (which can be found on the Live In Berlin DVD). Nevertheless, it was one of the last songs from the album that inspired me with a possible visual rendition. The theme of this song is breaking up, pretty much the same as Blood, Tears & Gold, but Unspoken is different in that it doesn’t have a visually immediate title and has a very subtle approach to the theme. Rather than a very heartbreaking story, it tells how a relationship can simply die off, regardless of what one might try to say and do. No drama, no blood, no shouting: just leave some things unspoken because you know they won’t do any good and walk away. To some extent, this is even more heartwrecking.
The idea to represent such an emotional situation with two chronologically ordered images in a diptych was quite immediate, as was the black and white, grainy appearance. The rest of the image, like the location and the specific weather conditions, came quite easily: the Molo Audace in Trieste is a rather romantic place, but it gets melancholic with gloomy weather. Also, on a cloudy day, light is less dramatic and the sea very bright, which gives the scene a somewhat more peaceful ambiance. Indeed I wanted the drama to come from the models’ pose and acting in a mundane, mostly indifferent setting.
The choice of models was quite simple, too: I wanted BriarRose in it because this song is very meaningful for her, and I wanted to be in it because I like how well we work together in this kind of photos. The combination of the very specific location, weather conditions and models forced me to postpone the shoot for several months until now (BriarRose and I originally planned to shoot it when she came to Trieste last year in July, then postponed it to October, and then to February). Finally, beside those three right conditions, I also had the assistance of Richard Novak, which was extremely helpful given my lack of a remote control. I could set my camera on a tripod with the right angle and stuff, but the timing could prove to be very tricky give the distances from the shooting to the modelling points, and the second photo would be nearly ipossible anyway. Things went smooth and I’m very satisfied with the photo. I hope you like it as well.
The idea to represent such an emotional situation with two chronologically ordered images in a diptych was quite immediate, as was the black and white, grainy appearance. The rest of the image, like the location and the specific weather conditions, came quite easily: the Molo Audace in Trieste is a rather romantic place, but it gets melancholic with gloomy weather. Also, on a cloudy day, light is less dramatic and the sea very bright, which gives the scene a somewhat more peaceful ambiance. Indeed I wanted the drama to come from the models’ pose and acting in a mundane, mostly indifferent setting.
The choice of models was quite simple, too: I wanted BriarRose in it because this song is very meaningful for her, and I wanted to be in it because I like how well we work together in this kind of photos. The combination of the very specific location, weather conditions and models forced me to postpone the shoot for several months until now (BriarRose and I originally planned to shoot it when she came to Trieste last year in July, then postponed it to October, and then to February). Finally, beside those three right conditions, I also had the assistance of Richard Novak, which was extremely helpful given my lack of a remote control. I could set my camera on a tripod with the right angle and stuff, but the timing could prove to be very tricky give the distances from the shooting to the modelling points, and the second photo would be nearly ipossible anyway. Things went smooth and I’m very satisfied with the photo. I hope you like it as well.
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