Song | Film Noir |
Artist | Peter Hammill |
Album | Patience |
Download | Image LRC TXT |
He casts himself as an adventurer, | |
all foot on floor and hell for leather; | |
she never told him what he meant to her – | |
perhaps that's for the better. | |
She's never clearly seen dividing lines | |
between real life and parts she's chosen, | |
confuses character and rising sign, | |
sex and emotion. | |
She waits in the caravan | |
at the side of the set | |
for the scene with her leading man | |
that he'll not forget... | |
Things get crazy on location | |
and they had their little swing; | |
only yesterday he told her | |
that it didn't mean a thing. | |
She's in love with the hero of the movie | |
but she's lost herself on some dark trip; | |
she's in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. | |
So she waits in the caravan | |
for the film's final scene | |
and her love/hate for the action man | |
will fill the silver screen... | |
On the dresser is the pistol, | |
in the chamber are the blanks, | |
in her pocket are the bullets | |
with his name upon the shanks. | |
She's in love with the hero of the movie | |
but she's lost herself on some dark trip; | |
she's in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. |
He casts himself as an adventurer, | |
all foot on floor and hell for leather | |
she never told him what he meant to her | |
perhaps that' s for the better. | |
She' s never clearly seen dividing lines | |
between real life and parts she' s chosen, | |
confuses character and rising sign, | |
sex and emotion. | |
She waits in the caravan | |
at the side of the set | |
for the scene with her leading man | |
that he' ll not forget... | |
Things get crazy on location | |
and they had their little swing | |
only yesterday he told her | |
that it didn' t mean a thing. | |
She' s in love with the hero of the movie | |
but she' s lost herself on some dark trip | |
she' s in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. | |
So she waits in the caravan | |
for the film' s final scene | |
and her love hate for the action man | |
will fill the silver screen... | |
On the dresser is the pistol, | |
in the chamber are the blanks, | |
in her pocket are the bullets | |
with his name upon the shanks. | |
She' s in love with the hero of the movie | |
but she' s lost herself on some dark trip | |
she' s in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. |
He casts himself as an adventurer, | |
all foot on floor and hell for leather | |
she never told him what he meant to her | |
perhaps that' s for the better. | |
She' s never clearly seen dividing lines | |
between real life and parts she' s chosen, | |
confuses character and rising sign, | |
sex and emotion. | |
She waits in the caravan | |
at the side of the set | |
for the scene with her leading man | |
that he' ll not forget... | |
Things get crazy on location | |
and they had their little swing | |
only yesterday he told her | |
that it didn' t mean a thing. | |
She' s in love with the hero of the movie | |
but she' s lost herself on some dark trip | |
she' s in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. | |
So she waits in the caravan | |
for the film' s final scene | |
and her love hate for the action man | |
will fill the silver screen... | |
On the dresser is the pistol, | |
in the chamber are the blanks, | |
in her pocket are the bullets | |
with his name upon the shanks. | |
She' s in love with the hero of the movie | |
but she' s lost herself on some dark trip | |
she' s in love with being in the movie. | |
Call for action! | |
This is it: the method actress | |
and the shooting script. |