RICHARD VAUGHAN & RACHELLE BENTLEY APRENDE INGLES CON @CANCIONES - Cony ray Vaughan Limro: “Autores: Richard Vaughon y Rachelle Bentley Redaccién de texto adicional: Guy Wiliams Coordinacién del proyectos Rubén Palomero Edicion: Justin Peterson Diseiio y maquetacién: ZAC disco grifico Fotografias de os autores: Paco Torres & Hens Pleza Mata “Maquillaje: Jaume Polo ‘Vestuarios Adolfo Domingues ISBN: 978-84-92879-95-8 Dep. Legal: Mio.992-2014 Propiedad dela presente edicién: (© 2014 VAUGHAN SYSTEMSS.LU. Imagenes @ 2014 Getty ImagescD Produceién ejecutiva: Richard Vaughan ‘Recopilaci6n: Richard Vaughan and Rachelle Beatley Idea original y coordinacién del proyecto: Rackelle Bentley Produceién musical y arreglos: Mariano Diaz Arreglos orquestales (0g): Juan Pablo Compaired Grabacién, mezcla y masterizaci6n: Pedro Baselga y Pablo Basslen Estudio de grabaci6n: Infinity Studios, Madrid Rachelle Bentley ‘Vor Coros (01,06) Richard Vaughan CComeataties Vox (08) Mariano Diaz Piano, telados Joaquin Chacén Guitarra elévtica, guitarra aeistiea Fernando Lupano Contrabajo, bajo eléetrioo David Gémex Bateria Belén Gomez C0708 (01,02, 06, 07,09) Andy Phillips Cores (01,09) ‘Maureen Choi Violin (02) Jonathan Badichi ‘Trompeta, Flugelhora (04, 05) Daniel Jusrez Saxotén (08) Juan Pablo Compaired Asreglos orquestales (03) Pablo Baselga ercusiones adicionales (01, 04,7)REGISTRATE AHORA xy descarga los audios del libro en rupovaughan.com con este ebdigo YQAERWSWQASW (1 de 1) Qué encontraras? Todo el material de audio disponible para descarga en MP3, para quello escuches donde quieras y cuando quieras. Sitienes problemas para descargar el audio envianos tn mail ‘a vaughantienda@grupovaughan.com y te contestaremos 10 antes posible. REGISTRATE AHORA en: audios.; ovat .COm Vaughan canalRICHARD VAUGHAN & RACHELLE BENTLEY APRENDE INGLES CON CANCIONES DE PELICULA _Avanzé haefa la vecepeién con paso decidido pera relajada ‘por ellarguisimo pasillo de Vaughan Systems. Fabia un toque reminiseente de los presidentes estadounidenses en esa forma de andar. Con una sonrisa earismitiea me extendlié la mano, aeereando « la vez su majila. "2Qué pasa ‘com fu puntualidad briténica™, me pregunts fruriciendo ligeramente el cena. Asi empers este proyecto. Richard ‘Vaughan no es un empresario cualquiera. E3 un apasionado de la miisica y de la vida que podria haber sido el autor del slogan “Just Do it" de Nike. Ante todo, gracias a Richard por hacer realidad este proyeeto, por su confianza, energia y su visién. Gracias al equipo de Vaughan Systems, en particular a Rubén Palomera por todas sus ideas yun trabajo impecable, a Guy Williams por dar un contexta emocionante alas canciones yal equipo de ZAC por dares vida soe el papel Porsuentrega y talento, mis mas sinceras gracias aloe mdsieos Joaquin, Chacén, Fernando Lupano, David Gémez, Belén Gomez, Andy Phillips, Maureen Choi, Jonathan Badiehi, Daniel Juarez y JuanPablo Compared. Gracias, sobre todo, « Mariano Diaz por le ‘exodlenci en su labor como misico, arreglistay productor, por su sabidusiay su euidado en la elaboracién de este dlbum. 'Yporlo que nos ‘hemos reido juntos en l estudio de geabocn! Gracias « Pedra y Pablo Baselga de Infinity Studios por su pacienca, profsionalidd y buenas ‘vbraciones. A Elena Plaza y Paco Torres mi agradecimiento por su Aisparo certeroy eu dadiencién. Gracias a Jaume Polo por su calory si color Gracias extras a mi hermana Clarazul y a David Briones por si inspzaciény cariRo., especialmente gracias a mi hija yam marido por ser mi constante uz. Rachelle Bentley APRENDE INGLES CON CANCIONES DE PELICULA BIOGRAFA DE RACHELLE BENTLEY INTRODUCTION A. CALIFORNIA DREAMIN’ 2. EVERYBODY'S GOT TO LEARN SOMETIME .SPEAKSOFTLY LOVE, . RAINDROPS KEEP FALLING ON MY HEAD 5.STORMY WEATHERBIOGRAFIAS DE Los MUSICS RACHELLE BENTLEY uefa do una voz ena de maticesy con un ampli rgistrotibrico eal pera reerear las més sues melolas, Rachelle Bentley es una cantante ‘quelleva la mica en sus genes, ija de mssioo y bsnieta del chelisa dela Filarmbaiea de York, Douglas Bentley, Rachelle nacié y se edueé en Inglaterra, iniciando sus estudios en ‘misiea desde tomprana edad. Con 16 afios debuta como setri.ea su primer especticulo musical profesional. on 24 vaja a New York donde ‘en la Greeawich House Music School en el Village prosigue sur estudios 4e piano, mientras nila sus escareeos con la misiceen directo, adentréndose en los eaminas de jar, Posteriormente se traslada y fa su resideneia ea Madd estudiando ‘canto oa la soprano Carmen Gonzileay comenzando a tctuar coa asiduidad en las salas de misica en viv dela capital. Desde el primer ‘concerto su personalidad musical cobra especial relevancia,lamando la atenciéa del piblicoyenableciende ensoguida contacto y estecha colaboracién con renombrados misicos y areglisas del ambiente ‘musial madris ‘En 2010 graba su primer CD de standards de Jazz. Un aio después dita 1 lbum Christmas Gift (Karonte, NUBA Records), contando con la produccién musical de Gladston Gallic, y con Ie claborscién de miscos8 : i i 2 : 2oto: Paco Torres Petia, Manuel Machado, Jost San Marti, Hamish Binns, Ken Slavin, ‘Nicolés Quinta y Sergio Menem. ‘Bn 2015 gabe el presente lbum Aprende Inglés con Canciones de Pelieala prod por Richard Vaughno, un proyecto dead por ‘propia Rachaleyenel quesu seductora vor srodea de grandes Actulment, Rachele rab a awe en varios provestos masials. Si ‘bum con temas propis de marcada veriente pp wer laluz eGximamente. Rachelle Bentley es uaa aetist con presente futuro, una ocanada de irefreseo enelereno de a msi, una cantante destinadaaeerbie ‘una piging propia en el terreno dela cansén, Solo ex cues de tiempo. (Quit fl el ques anda en eacuchar este dbum qu nes ents Fernando Martin, febrero de 2014 mr sachellebentey.com, sun fashaok com/RachelleRentlaMusc ‘ello and weleome! Yes, weleame to new opportunity ta learn English. elcometo an interesting new way tolearn English. What kind ofnew way? Singing... through songs, through popular songs, rough songs that you low, songsthatT know, songs that you ike, songs that ke and songs fom that past and from the preset sung by a beaut voice, Rachelle Bentley. Learning English with Richard Vaughan and ‘Rachelle Benley, oF peeps Learning English with Rachelle Benley and ‘Richard Vaughan. Thats the ida, And here we are together and wee ‘going to cover nine songs. The beautiful, ting, soft oie of Rachel will ‘ring the song to you through your heat. But before she sings, I wl make a commentary, provide a few word, offer you a shor preamble bout each song ll ofthe songe ae annong my faves, Ihave hundzede of favorite songs andifwe indude classical music thousands perhaps. Bat the nine songs that Rachelle and Thave chosen are nine songs that ‘wll help you improve your English an wl help you enjoy English more ‘Rod oat sical we? And les tat with song from the 196052 ong froma group called The Mamas and the Papas, California Dreamin’ Richard VaughanCALIFORNIA DREAMIN’ ‘The Mamas & The Papas, 1965 FICHA TECNICA Song: California dreamin’ by The Mamas & the Papas Released in September 1965 Album: If You Can Believe Your Eyes and Ears ‘Authors: John Phillips and Michelle Phillips ms Forrest Gump, (1994) “The original song by The Mamas & the Papas, s landmark song of the ‘ountercalture era appeared onthe soundtrack ofthe Academy Award {3d Golden Globe winning American film Forert Gump (994), based on the book Forrest Gump, by Winston Groom, Directed by Robert Zemeckis Produced by Wendy Fincrman, Steve Tisch, Stove Starkey, charles Newirth ‘Musiby Alan Sivestet ‘Staring: Tom Hanks, Robin Wright, Gary Sinise, MiykeltPISTA 01 CD ‘By Richard Vaughan Sofiando con California. California Dreaming, but inthe ‘pronunciation, the callgial Amesan promunciation, wes “dreamin”, como sila “g"al final no eistera...California _Drecin’. Iwasa song tat wes made by te group The Mamas and ‘the Papas. And they made it famous. Iwas released. it was released in 1965 and it's ranked numer 8g inthe top 500 greatest songs ofall time published bythe magazine Rolling tone. The magazine Rolling Stone is among the mest popular magazines fr reck music andfor pop music, and fora publication Ike the Rolling Stone o rank California Dreamin’ as ‘number 89 in history isa very high ranking. Two ofthe four singers inthe ‘group, John and Michelle Philips, were an are husband and wife. They are fom Los Angeles or .A as they cal it inthe song Los Angeles is ‘LA. However, in 969 they weren'in California, They were living inthe cold Adirondack mountains in New York State, about two hours north, oFnorthwest, of New York City, and it's eel in that area. And Joh the Ibusband, one ofthe members ofthe group, was dreaming about a song. He dreamed shout the ong “California Dreaming”. And he woke up in the middle of the night. And he woke up his wife, who was ying nex to Dim, and he said: *Tehink Thave a song. Think Thave a song”. And together in the middle ofthe night, they began to write out the song, to ‘compose the soug. Aad from the Iyrcs Rachelle is going to sing, you will see that John Philips misses Californie, and he dreams about Califor ‘And inthis aso, he was missing LA. Dut some people say that they were in Nex Vork because Michelle was participating ina drug rehabilitation rogram and, because of that, Jon, her husband, couldn't go back to California, But he says: "YT didn' teller, I could leave today’‘And well lok at it. California Dreaming. Is considered the mumber ‘one recordin the year 1966. I 1968 and 1969, twas one of the songs that {performed personally in my ck group in OMahoma. California Dreaming. All the leaves are brown. ‘And the sly is gray. (ilo gris) ve been for awalk. (On a winter's day. Yeah. abe safeand warm, Uf wasin LA. (ano wn paso en un da invernal) Ingorroxt grammar. If] were in LA. but hore they way “YT was. (startasequroy caentto de estar en Las Angels ahora). Dreamin’ on such a winter's day. le Twas walking) ‘Well (me puse de rodillasy hata como srezara) ‘Well got down on my knees and Ipretend to pray. ‘You know the preacher likes the cold. {He know I'm gonna stay. ‘Ye, the preacher knows thatthe cold weather outside will bring people into the chase. California Dreamin’...on such a winter's day. Etc. All heleaves are brown typical of the winter or ypiea of the put. Brown Faves. ‘And that's the story. But think ifs Better toisten to Rachelle She sings ‘much bette than Tdo. So, Rachll, it’ your bay. Take it away. The oar {syours. Callfornia Dreamin’.PISTA 02 CD aa PON EL CD Y COMPLETA LA CANCION CALIFORNIA DREAMIN’ John Phillips & Michelle Phillips -The Mamas & The Papas (1965) Allthe are andthe is Ye fora__ona day Tdbe and if wasn California dreamin’ on a day ‘Stopped intoa 1 the way Well, down __ my Aad to Youknow the liked the He__Ym___stay California dreamin’ ona. (instrumental interlude) ‘Allthe___are___and the__is Te fora ona If didn’t __her, [could __ today. California dreamin’ on Bis day day dayCONTEXTO HISTORICO By Guy Williams Clifoenia Dreamin’ 2965 / Forrest Gump 2094 California called the “Golden Stato" and it occupies a prominent position in many peopl’s dreams. Pus it was the gold miners, then the ‘ln tas, who gave the world the shining vision that in Cliforia, reams wil come trueifyou have what it takes. Many “runaways {children who escape rom ther familie), go directly to California Decause fantasy and reality are easily mixed in such abeniga climate. is ‘the hame of the lin industry, which for generations has been the work's “dream factory’. ‘the narrator ofthis song abandons everthing, she to willbe able to participate in the California dream, However, while Joking or solace in a church, the has an ntutive ash of understanding: leaving ix ont ofthe ‘question for er. In thi song, ae is condennning herself o perpetual cold (to such a winter's day") because she doosn't hove what it takes to uproot Ihersef and escape to California. Sheis divided and sed. ‘This song resonated very strongly with the natonal mood a that ime. It touched 2 chord inthe national psyche. The singers destiny, and in the ‘end, her resignation and ove conformity with her uahappy reumstances, moved people deeply. n the 19608, unprecedented levels, ‘of prosperity and change had given Americans an encrmous amount of ‘enuberance and energy, ope, anda wonderful vibrant world of endless possibilities. Bu this song is saying something diferent. Clforia, and its promise, arena within our etch, We won do what it takes to makethe dream come true, The year 1965 wes time af plitial chaos and sei unrest fr us inthe United States, The very real thest of maslear annileton for ourselves ‘nd our fales caused pani and hysteria, The asuaination of President John Kennedy made us doubt both present and foto. The wielent tesitanoeto racial iategration end the begining of a war in remote Vietnam waa like desolation, ike such a winter’ day. A very popula musical on Broadway atthe ime wae titled: "Stop the World, 1 Want 0 Get Of twas. phrase heard frequently in those year America iteelf was divided and sad; the dream of running away to a better fatuce was not realistic, As est, this song spoke disectly tous, Is ‘considered emblematic of thoee times. Por hat reason, it waa natal hoi for the soundtrack of the film “Forrest Gump”. The film follows {Gelife ofa man who, unknowingly, has a hand in every major event in {he history of the United States over throe decades is personal destiny i imextricably linked tote fate ofthe country itself ust ike the singer in ‘his song) The secret ofthe film was in the soundtrack. In that flin-seare, \wehear music and lyrics that were iconic ofthese days and weare transported back toa time when those songs were frosh and new. The fm won Oscars for Best Fi, Best Director and Best Actor in 1995. It propelled Tom Hanks to fame.LECCION GRAMATICAL California Dreamin’ By Guy Williams (ON SUCH A WINTER'S DAY ‘En oma fesse hay das puntos que laman al stancfn, Hl primero sol ‘manejo del genitvo anglosajén ye segundo tiene que ver con la palabra euch” en tal coatesto, Aqulse apéstrofe aeguida dee letra“ dencta posssién y proviene del ‘mundo anglasaja, del lado germnico de nuestzo pasado Po ejemplo: “Tom's brother” el hermano de Tom’)0 “Our neighbors’ daughter” (la hija de nuestros veeinos) A vets se oyen cosas como: “Tom's brother's wife is our neighbors’ daughter's best friend? (la saujer del hermano de Tam es la mejor amiga de la hhija de nuestros vecinos’. siempre se utiliza después del nombre de la persons quelo pose, as que dtamas: “Paco's Bar (y nunce "Bars Poco" Elsisternsanglonj6n se trastoud en 1066, Por entonces, nvadieron los normsindos eon cl idioms franos. La esa se complies, pero so un poe. {Los normandos e hicieron eon l pat, eran loa defi einpusienon las eyes. Terminaron mareando la posesiin co ia preposieiin “af”. Por ‘jempla: “An act of Parliament” ‘una ley parlamentaria’), “The {ane ofthe jungle” (la ley deta jungle’, “The Kingdom of Spain” (Cel Reino de Espaia’, Desde que se mont6 ta fo, nadia impuesto una rgla i, sno que nos sia instinto ala hora de eligi entre as dos maneras de haces. Si se ‘vata do algo humano algo fimo o informal, se suele uiza Ta forma anglossjans. En contrast, para algo conceptual, astrteto o menos nuestro, adoptamos la preposein que heredamas de los nomandos. Ain asi exsten muchas casos en los que se puede optar por uno w otro, Por «jempla: "My ear's door” o “The door of my ear” (Ia puerta de smi coche’) En la primers instance, el autom6vil pare més Inumanizad yl segunda se dia un entorao mAs formal ‘La pran exepeiin consist en los periods de tempo. Por liye, levaian 1a preposiciin “a ya que son abstracciones Bn la précten, sin embargo, ‘asisiempre van con apéstro, Por gjemplo: “Today's newspaper” Cel periddico de hoy), “Last month's report” el informe del mes pasado”), “A Midsummer Night's Dream” (el suefio de una noche de verano). A winter's day, ealalctra de esta cancion, forma parte del mismo patron. ‘La otra palabra Damatve, “auch”, s sule utilizar para enfaizarla ‘ualidad do un adverbio oun adjetive. Después del sustantive se utliza so" paralo mismn: “It's 60 easy” Ces tan sencillo?), Sin embargo, cconelaijetivoo adverbiocolocadodelante del sustantiv, se explea “such “It's such an casy exercise” (es un ejercicio tan sencillo), Compara "The weather was so beautiful that we went to the park"(‘l tiempo era tan bueno que fuimos al parque’) con Tt was suck a beautiful day that we went to the park” Cera ‘un dia tan bueno que fuimos al parque’). ‘Porotro lado, cuando flan los adjetvoso adverbios la palabra “euch”(Caunea he escuchado semejante disparate), Otrs veces se treduce conla palabra “tal” “Tn such a way” (de tal modo’), “to such an ‘extent (atal punto’). La lesa dels cancia dive: Yon suck a winter's day” osoa “on a day ‘ofsuch a wintery entendesnos quel acto de sofiar con California era propio de tl inviema. IFTWASINLA. ‘Los estudiantes de inglés aprenden a reconocer musta forma de tratar ‘una supesicibnimposfble, un tiempo irreal. La forma bésica para hablar “since”. Algunos libro d estilo sugieren evitarlo porquelos autores, ‘pian que “as” (igual que “since” tiene demasadas acepciones y solamente “because” puode serapto para expliar el porquéde alg, ya ‘que no tiene ora faneién. Otros sia embargo, encuentran en “as una lorma carta yelocuente de presenter I cause: “I turned off the phone ‘as knew perfectly well why she was ealling me”. Bruen este sentido, el de explicacién, qu el signified de “as” comonab sensancharsey a mutar a través del tempo, “As” halegado a veferese@ 1a even y desarrollo dela eventos, y ae puede traduce al exstellana por‘a medida que’: “As Iget older..”, “As our eyes ajusted to the night ky,..”, “As her words began to penetrate,..” Naturalmente, “as” erale palabra idénea para expresar os cambios alo largo de las décads que nos afectan a todos. Como die la eancéa: “the fundamental things apply." las cosas fandamentales, como ‘ortejary enamorarse perdidament, ce ponen en prctiea a medida que tiempo trasourse “as time goes by”. NO MATTER WHAT THE FUTURE BRINGS“Ne matter” suse trade como ‘no importa’. Aqui se puede dese ‘No importa lo que depara el futuro’. La eta de vas muchas ‘canciones expresan seatimientos parecidos: "No matter what they tellus, no matter what we do, no matter what they teach us, what we believe is true” (Boyzan0. Sin embargo latraduccén aidecuada de *No matter how hard you try, you can’t stop me now” (Hobby Digital) ,ode "No matter how far Igo, and no ‘matter how long it takes..."(Ushes) seria ‘por mucho que’ obien ‘por muy... que. Ea otras canciones se ve*No matter what ‘people say” (Pail Daddy) traduibe pr ‘digan lo que digan los demas’. ESTILO ‘Se puede coneshir una obra dart como un ogo entre a reptisin sus variants. Cualquercaneiiabusea un equa entrelo conocido yla novedad. En As Tine Goes By estamos de auevo ante elrtmo yimbico. Igual que elt ta de rele oe atido del corazin, el inglésablado tind steser en un ito de una sabe acentuadsy otra laa neta. ‘You MUST reMEMber THIS a KISSis JUST a KISS aSIGH isJUSTa SICH ‘asta aquitedo bien, aunque la nia forma de jugar con elite a sido ceploar una palabra detressfabas (“remember”) eal primer linea ‘Todo lo dems consisteen palabras monosiibiees Enlas siguientes ines, sila cancién quer inspzamnns, tone que romper ritmo. Afortunadamente, una eancién noes un poemay se juga con ctr elemento pare stistacer al oente el comps, Sin cambiar a lternancia entre aba scontuada y neues el compositor complace nuestro a ntrdueir ua juego en su duracién, Som ocho las sabas en Ja primera barra y eat en a segunda, pero taxa lo mismo al cantare. the FUNdaMENtal THINGS apPLY as TIME goes BYLOVE IS ALL AROUND ‘The Troggs, 1967 FICHA TECNICA Song: Lave is all around ‘by The Tropes Released in October 1967 Single: Lave fs All Around Author: Reg Presley (Cover by Wt Wot Wet sein the flim Four Weddings anda Funeral, 990) ‘ilu: Four Weddings anda Funeral, (1994) ‘Thenumber shiteover by Wer Wet Wet was usa for the soundtrack of the British romantis comedy flm Four Weddings and a Funeral, 1994. ‘The song spent 5 weeks at number on the UK singles Chart Dinected ty Mike Newell Produeod by Duncan Kenworthy, Tim Bevan, Erie Feliner, Richard Curtis [usicby Richard Rodney BennettStaring: Hugh Grant, Andie MacDowell, James Fleet, Simon Callow, John Tanna, Kritin Seott ThomasPISTA 17 CD aa COMENTARIO By Richard Vaughan ‘The Troggs..yts, the Troggs...one of my.-one of my favorite groups! ‘Wall, not really, but they had two songs inthe 1960s that Teal liked. "The Troggs, aa Halsh group, but most ofthe people in Amarin ‘thought they were an American group, because thei fst song, the song ‘that made them famous, was Wild Thing...you make my heat sing. Wd Thing! But ne year later, they came outwith another song called Love fa AIT Around.» clamor estven todas partes and tis songs by The ‘Troggs, one of my favurite groupe when Iwasa tecnager, maybe 12.013 years ld, and I remember acting sly while I played their most famous ‘song, Wild Thing. After Wid Thing, their next song Love is All Around, was eased in 1967 and isa softer, more melodic tune. Bat it ‘was also abig succes. It became even more universal. even more suossfl. in 1994. many years Tate, when itwasinludod inthe soundtrack forthe movi Four Weddings and a Panera. Cuatro boda y sun funeral..wthabeautifl rendition bya British group called Wet, ‘Wet, Wet. Thisnew version, aor the movie came oui 94, spent 15 ‘works at number one onthe pop chars inthe Unitod Kingdom. Beautfl song, Let's it fol it in my fingers, eel itin my toes. Lo sento en los dedos de las manes ytambitn en os dedos dels pes. "eel itin my Fingers, feel itin my toes. Love ial around me. (El amore por todos ls lados..0 mi atredeor). Aad so the feeling grows (yas a erecendo a sensatn). 1's written on the wind (enel vent esté escrito).Is everywhere I go (eaya donde vaya esé en todas partes) Son. (por lo tanto, asf que), if you really love me (side verdad, de verdad me quieres) ‘Come ont And let it show. (iVenga ya! Demuéstramelo, Salo) ‘You know love you, T always will. Sabes que re quiero y que fempre te querré.) ‘My mind's made up (Yo le he decdido...estoy devdido). ‘Mii mind is made wp... dpor qué? Why is my mind made up? ‘My mind’s made up by the way that I feel (.por la manera en que ‘me siento.) "There's no beginning, there'll be no end. (No hay principio, ni habré final. presentey futuro aqut.). ‘There's no beginning, there'll be no end. ‘Cause on my love you ‘can depend. Agut “depend” ex més confiar que depender, porque en mi ‘amor puedes confar see your face before me as I lay on my bed (Veo tu cara delante de mi mientras estoy tonbada en la cama). kind of get to thimlking (“kindof significa dso menos" empieza un ‘poco a pensar). Ukind of get to thinking of all things you said. Yes. _pensar-un poco enrodas as casas que me djs. Eso si empiczo a ‘You gave your promise to me, and I gave mine to you. (Me dite‘upromesa y dla mia. dla mia at). need someane best ‘ami lado.. necesito a alguien a mi Jado. everything do (en todo lo que hag). ‘You know Ilove you, Talways will. My mind's made up by the way that Lect. ‘There's no begianing, there'ilbe no end, ‘Cause on my love you can depend. (0b, 1k this Song. Thope you ik it. Both versions, the Sst version by ‘The Troggs andthe later version more than 20 year ate, by Wel, Wet, Wet, for themmovie Four Weidings and a Funeral they're both ‘esi renitions fora beatiful one, Loves All Around. PISTA 18 CD aa PON ELD Y COMPLETA LA CANCION LOVEIS ALL AROUND Rog Presley The Togs 1967 (Fim: 994) 1__tinay, Love sal around me Andsothe Ws___onthe__ ws. eo, Soifyou. —onand__it__ love ‘You__Iove you,1___willMymind’s____bythe Obnts___ onthe — that Obst ge,yeshola_—_ ‘There'sno__, Soifyou___love_loveme, love me ‘There __no ——eaand_it__ i Obws___onthe___ (rastrumontal ntertde) Obs ___1go,yeabohh__ 1 see your__before_ Soifyou___love_ lovee, love me AsI__onmy__ onend_it__ 1__of hinds get to ‘is Of allthe you aid, oh yea did You___your___tomeand mine to you need beside me Inde, You___1___ you, 1__wall, Myminds__bythe that ‘There'sno, ‘Therel__no___ “_onrmylove you can Gott get thingsCONTEXTO HISTORICO By Guy Wiliams Four Weddings and a Funeral wast supposed odo very wal was mado on miniscule budget in jst a fow wes. Bveryone who had ‘nything to do wit it was filed with doubt about its prospect It was trying to combine two ingredients ina novel way, England had given the vworida sees of istorical dramas and literary adaptations that oflercd sophisticated dslg en alented performances in sumptuous stings. ‘England hed also popularized a unique approsch to comedy (in Mr. ‘Bean for example), ln retespet, thse are wo clemeats that wee ready tobe combined bt, at the tine, did't Lok a hough the formal could work Richard Curtis the writer responsibefor Mr. Bean, was 94 years ld snd had atended 65 wodngs nthe previous years. At aneof these ‘wedding, be teneddonm the chance to pend he night wth a sMtraetive woman and ad never forgiven himself What if she had ben “the one”? The seri ws the reaul ofhis bazsion. Thereis something sidiealous bout alin in lov, after al, Wy not laugh? A group of| resolute frends who ae single ane proud arop like Miesint the ot of love losing git inthe proces. Ttisa timeless story bt this movic oes ita tat Mike Newel, who dizecte i, sud: “1's @romant fl about love and Jendship thar swims i sa of joke He bad to vse isl fame ‘cepeting the ull comic ponies of them in onder to hoept ‘eaberantly stary-cjed with romance. It avigalor hat 22 of ok Without sinking into them. I's neither A Room with a View (‘ThaAabitacin com vistas’ nor is it Benny HT. Its abybrid anda viable one. ‘When things are so typically English, writers often hold « mirvor upto the society i the form of an autside, en uninhibited or unsophisticated “American (here played by Andie MasDovel). Tis alee provides comic potential fr misundersandings betweea “wo mations dulded by a ‘common language” a8 George Bernard Shaw once defined us. This practice was also thought to be necessary togive British fms an {international projetion. twas shot for $4.4 milion but promoted inthe ‘States with over twie thet budget. Tt was wildly popolar among audiences ‘that had never seen anything Brish before, except maybe a James Bond

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