EFFETS SECONDAIRES

Effets secondaires is a song featured on Side B of the CD single and CD maxi from the single Je te rends ton amour (released in June 2000)

Lyrics by Mylène Farmer and music by Laurent Boutonnat

The song appears to depict Farmer as suffering from insomnia due to the taking of drugs which have side effects. Farmer counts the hours as they go by and seems to read though sounds delirious. She mentions Krueger, a reference to the main antagonist from the Nightmare on Elm Street horror film series which has sleep deprivation as a central theme.  In terms of structure, only refrains are sung, while the verses are spoken in low tones. The song ends with a long ringing alarm clock.

This song is included on Mylene Farmer’s greatest hits album Les Mots in 2001 but has never been performed on stage or on television.

Did you notice that intoxicating low tone will resurface a few decade later in Desobeissance album especially? Those unforgettable lows are served to us deliciously in the Untitled and in the very main course of Au Lecteur

I’ve noticed this low tone of voice with the touch of tiredness tone of voice in her Devant Soi song for the soundtrack of Jacquou le Croquant back in 2006 (perhaps for the very first time since the Effets secondaires). The chapter for that song I have only released yesterday.

This text for the Effets secondaires Mylène directly refers to another famous film as she refers to Freddy Krueger the dark hero created by Wes Craven who can be found in all the films of the “Freddy” saga including the by the film “Les griffes de la nuit” (A Nightmare on Elm Street). I am sure the horror legend left an unforgettable impression on the twenty something year old back then Mylene.

This horror movie staple tells the story of a teenage girl, Nancy, who dreams of a man with a frightening face deformed by multiple burn scars and some of whose fingers are replaced by knife blades. She finds out that some of her friends have dreams identical to hers until one of them is murdered. The young girl will then understand that Freddy Krueger uses nightmares to kill, one after the other, those who dream of him. She then has only one solution to stay alive: not to sleep!

In the lyrics of the song Effets secondaires Mylène uses the rhyme: “1,2,3, we will go to the woods”…the song captures the delusional and haunted state of mind very well…it is indeed similar to those visions you get if you sick and on medication.

In the fashion similar to Psychiatric (the song proposed on the supports of the single Allan in 1990 and then on the album L’Autre … (1991), Effets secondaires support a single Je te rends ton amour from Innamoramento but it will not be included to the actual album. So this song just like the one I covered before Devant soi are quite uncommon. Enjoy, if you just discovered them though my Mylene Farmer Book 😊

There is an interesting story behind a creation of the cover for the single Effets secondaires .

I had no idea Mylene actually used one of the fan’s creation just like she did with a Monkey me. Single cover competition information here: https://www.innamoramento.net/mylene-farmer/concours-creations/10

Also if you didn’t know both www.innamoramento.net and www.MonAlice.net are official affiliates of www.Mylene.net. You can trust their info as they come from the same official Mylene Farmer source.

Let’s talk a little about the source of inspiration, shall we?

A Nightmare on Elm Street contains many biographical elements from director Wes Craven’s childhood. The basis of the film was inspired by several newspaper articles printed in the Los Angeles Times in the 1970s about Hmong refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after. Medical authorities called the phenomenon Asian Death Syndrome. The condition afflicted men between the ages of 19 and 57 and was believed to be sudden unexplained death syndrome or Brugada syndrome or both. Craven stated that “It was a series of articles in the LA Times; three small articles about men from Southeast Asia, who were from immigrant families and had died in the middle of nightmares—and the paper never correlated them, never said, ‘Hey, we’ve had another story like this.” The 1970s pop song “Dream Weaver” by Gary Wright (beautiful song!) sealed the story for Craven, giving him not only an artistic setting to jump off from, but a synthesizer riff for the movie soundtrack. Craven has also stated that he drew some inspiration for the film from Eastern religions.

Other sources attribute the inspiration for the film to be a 1968 student film project made by Craven’s students at Clarkson University. The student film parodied contemporary horror films, and was filmed along Elm Street in Potsdam, New York.

The film’s villain, Freddy Krueger, is drawn from Craven’s early life. One night, a young Craven saw an elderly man walking on the side path outside the window of his home. The man stopped to glance at a startled Craven and walked off. This served as the inspiration for Krueger. Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film (unfortunately, the actuality of the topic doesn’t seem to go away – just to mention Jeffrey Epstein 😥)

On Freddy’s nature, Craven states that “in a sense, Freddy stands for the worst of parenthood and adulthood – the dirty old man, the nasty father and the adult who wants children to die rather than help them prosper. He’s the boogey man and the worst fear of children – the adult that’s out to get them. He’s a very primal figure, sort of like Kronos devouring his children – that evil, twisted, perverted father figure that wants to destroy and is able to get them at their most vulnerable moment, which is when they’re asleep!”.

By Craven’s account, his own adolescent experiences led him to the name Freddy Krueger; he had been bullied at school by a child named Fred Krueger. Craven had done the same thing in his film The Last House on the Left (1972), where the villain’s name was shortened to Krug. The colored sweater he chose for his villain was based on the DC Comics character Plastic Man. Craven chose to make Krueger’s sweater red and green after reading an article in a 1982 Scientific American that said these two colors were the most clashing colors to the human retina. Funny how those exact color are chosen for a Christmas theme 😊

Craven strove to make Krueger different from other horror film villains of the era. “A lot of the killers were wearing masks: Leatherface, Michael Myers, Jason,” he recalled in 2014. “I wanted my villain to have a mask, but be able to talk and taunt and threaten. So I thought of him being burned and scarred.” He also felt the killer should use something other than a knife because it was too common. “So I thought, ‘How about a glove with steak knives?’ I gave the idea to our special effects guy, Jim Doyle.” Ultimately two models of the glove were built: the hero glove that was only used whenever anything needed to be cut, and the stunt glove that was less likely to cause injury. At a time Craven had considered a sickle to be the weapon of choice for the killer, but around the third or fourth drafts of the script, the iconic glove had become his final choice.

Wes Craven began writing the screenplay for A Nightmare on Elm Street around 1981, after he had finished production on Swamp Thing (1982). He pitched it to several studios, but each one of them rejected it for different reasons. The first studio to show interest was Walt Disney Productions, although they wanted Craven to tone down the content to make it suitable for children and preteens. Craven declined. Another studio Craven pitched to was Paramount Pictures, which passed on the project due to its similarity to Dreamscape (1984). Universal Studios also passed; Craven, who was in desperate personal and financial straits during this period, later framed the company’s rejection letter on the wall of his office, which reads in its December 14, 1982 print: “We have reviewed the script you have submitted, A Nightmare on Elm Street. Unfortunately, the script did not receive an enthusiastic enough response from us to go forward at this time. However, when you have a finished print, please get in touch and we would be delighted to screen it for a possible negative pick up.”.

Finally, the fledgling and independent New Line Cinema corporation, which had up to that point only distributed films, agreed to produce the film. During filming, New Line’s distribution deal for the film fell through and for two weeks it was unable to pay its cast and crew. Although New Line has gone on to make bigger and more profitable films, A Nightmare on Elm Street was its first commercial success, and the studio is often referred to as “The House That Freddy Built”. 😊

New Line Cinema lacked the financial resources for the production themselves and so had to turn to external financers. They found two investors in England who each contributed 40% and 30% respectively to the necessary funds; one of the producers of The Texas Chain Saw Massacre contributed 10%, and home video distributor Media Home Entertainment contributed 20% of the original budget. Four weeks before production began, the English investor who had contributed 40% backed out, but Media Home Entertainment added in another 40% to the budget. Among the backers were also Heron Communications and Smart Egg Pictures.[30] According to Shaye, all the film’s original investors backed out at one point or another during pre-production. The original budget was $700,000. “It ended up at $1.1 million … half the funding came from a Yugoslavian guy [N 3] who had a girlfriend he wanted in movies.”

“I looked at hundreds of guys and a lot of old men. I wanted somebody that was very agile. I learned from making films like The Hills Have Eyes that it wasn’t the bigness of the villain that paid off, it was the evil he was able to transmit as an actor. I wanted somebody who was an actor rather than a stuntman, somebody who could convey a sense of evil and who was very enthusiastic about getting to an evil state. You really have to get malicious and malevolent, and a lot of actors just don’t want to get there; their heart isn’t in it. You have to find somebody who is comfortable with that idea and isn’t threatened by it; he knows it isn’t him but can go there. Robert Englund filled the bill after we found him quite late in the casting. His delight with it is that he had been playing nebbishes and good guys and was looking forward to playing somebody older and evil.”

Wes Craven https://www.imdb.com/name/nm0000127/ on the casting of Robert Englund https://www.robertenglund.com/

Actor David Warner was originally cast to play Freddy. Make-up tests were done, but he had to drop out due to scheduling conflicts. Replacing him was difficult at first. Kane Hodder, who would later be best known for playing fellow slasher icon Jason Voorhees, was among those who Wes Craven talked with about the role of Freddy. According to Hodder, “I had a meeting with Wes Craven about playing a character he was developing called Freddy Krueger. At the time, Wes wasn’t sure what kind of person he wanted for the role of Freddy, so I had as good a shot as anybody else. He was initially thinking of a big guy for the part, and he was also thinking of somebody who had real burn scars. But obviously, he changed his whole line of thinking and went with Robert Englund, who’s smaller. I would have loved to play the part, but I do think Wes made the right choice”. Hodder would in a way eventually play Freddy, as the hand that grabs Jason’s mask at the epilogue in Jason Goes to Hell: The Final Friday (1993).

Wes Craven explains that “I couldn’t find an actor to play Freddy Krueger with the sense of ferocity I was seeking,” Craven recalled on the film’s 30th anniversary. “Everyone was too quiet, too compassionate towards children. Then Robert Englund auditioned. [He] wasn’t as tall I’d hoped, and he had baby fat on his face, but he impressed me with his willingness to go to the dark places in his mind. Robert understood Freddy.”

Nancy (Heather Langenkamp) https://www.imdb.com/name/nm0000486/

Craven said he wanted someone very non-Hollywood for the role of Nancy, and he believed Langenkamp met this quality. Langenkamp, who had appeared in several commercials and a TV film, had taken time off from her studies at Stanford to continue acting. Eventually she landed the role of Nancy Thompson after an open audition, beating out more than 200 actresses.  Langenkamp was already known to Anette Benson as she had auditioned for Night of the Comet and The Last Starfighter previously, losing out to Catherine Mary Stewart at both occasions. Demi Moore, Courteney Cox, Tracey Gold, and Jennifer Grey have all been rumored to have auditioned for A Nightmare on Elm Street, but Benson definitely ruled out Moore and Cox while also being unsure of Gold and Grey. Langenkamp returned as Nancy in A Nightmare on Elm Street 3: Dream Warriors (1987), and also played a fictionalized version of herself in Wes Craven’s New Nightmare (1994).

There were no separate auditions for the characters of Tina and Nancy; all actresses who auditioned for one of the two female roles read for the role of Nancy, and upon potentially being called back, were mixed with other actresses trying to find a pair that had chemistry. Amanda Wyss was among those switched to Tina after a callback. Wes Craven decided immediately upon mixing Wyss and Langenkamp that this was the duo he wanted. Craven then mixed the duo with auditioners for the male teenage roles trying to find actors who had chemistry with Wyss and/or Langenkamp.

Glen (Johnny Depp) https://www.imdb.com/name/nm0000136/

Johnny Depp was another unknown when he was cast; he initially went to accompany a friend (Jackie Earle Haley. According to Depp, the role was originally written as a “big, blond, beach-jock, football-player guy”, far from his own appearance, but Wes Craven’s daughters picked Depp’s headshot from the set he showed them. Depp got his own nod in a cameo role in Freddy’s Dead: The Final Nightmare as a man on TV and later in the Freddy vs. Jason intro, in clips from earlier films. Charlie Sheen was considered for the role but allegedly wanted too much money. Anette Benson states that they did in fact offer the part to Sheen, but he passed on it due to his agent demanding twice of the weekly wage of $1,142 for Sheen, which New Line Cinema did not consider themselves to have the budget for.

Sheen himself objects to the sentiment that he turned down the role for the reason of money, saying “I didn’t price myself out of it because I didn’t get greedy until years later. That came much later. I just didn’t get it, and I’ve never been more wrong about interpreting a script” … “I just didn’t get it completely, but I still took a meeting with Wes. And when I met him, I said, ‘Look, with all due respect, and as a fan of your talents, I just don’t see this guy wearing a funny hat with a rotted face and a striped sweater and a bunch of clacky fingers. I just don’t see this catching on.’” I guess it was a lapse in judgment for Charlie after all?

Fast forward to Johnny Depp and Vanessa Paradis and their kids:

Lily-Rose Depp, 22, ex high-profile model with mother Vanessa Paradis

Mark Patton, who would later be cast as Jesse Walsh in the sequel, auditioned for the role of Glen Lantz and claimed that the auditioners had been winnowed down to him and Johnny Depp before Depp got the role. Other actors like John Cusack, Brad Pitt, Kiefer Sutherland, Nicolas Cage, and C. Thomas Howell have been mentioned over the years, but Anette Benson has failed to definitely recall those actors as having been among the auditioners. Though Cage had probably not auditioned for A Nightmare on Elm Street, he was in fact involved in introducing Johnny Depp to acting, through Cage’s own agent who introduced Benson to him, resulting in an audition for the film.

Principal photography began on June 11, 1984, and lasted a total of 32 days, in and around Los Angeles, California. The high school the protagonists attend was filmed at John Marshall High School, where many other productions such as Grease and Pretty in Pink have been filmed. The fictional street address of Nancy’s house in the film is 1428 Elm Street; in real life this house is a private home located in Los Angeles at 1428 North Genesee Avenue. The Lantz’ family home was at 1419 North Genesee Avenue on the other side of the road. The boiler room scenes and police station interior were shot in the Lincoln Heights Jail (closed since 1965) building, while the exterior used for the police station was Cahuenga Branch Library. The American Jewish University on 15600 Mulholland Drive was used for the Katja Institute for the Study of Sleep Disorders visited by Marge and Nancy.

During production, over 500 gallons of fake blood were used for special effects production. For the blood geyser sequence, the filmmakers used the same revolving room set that was used for Tina’s death. While filming the scenes, the cameraman and Craven himself were mounted in fixed seats taken from a Datsun B-210 car while the set rotated. The film crew inverted the set and attached the camera so that it looked like the room was right side up, then they poured the red water into the room. They used dyed water because the special effects blood did not have the right look for a geyser. During filming of this scene, the red water poured out in an unexpected way and caused the rotating room to spin. Much of the water spilled out of the bedroom window covering Craven and Langenkamp. Earth’s gravity was also used to film another take for the TV version in which a skeleton shoots out from the hollowed-out bed and smashes into the “ceiling”.

More work was done for Freddy’s boiler room than made it into the film; the film crew constructed a whole sleeping place for Freddy, showing that he was quite a hobo, an outcast and reject from society, living and sleeping where he worked, and surrounding himself with naked Barbie dolls and other things as a showcase of his fantasies and perversions. This place was supposed to be where he forged his glove and abducted and murdered his victims.

The scene where Nancy is attacked by Krueger in her bathtub was accomplished with a special bottomless tub. The tub was put in a bathroom set that was built over a swimming pool. During the underwater sequence, Heather Langenkamp was replaced with a stuntwoman. The melting staircase in Nancy’s dream was Robert Shaye’s idea based on his own nightmares; it was created using pancake mix. The film’s special effects artist Jim Doyle portrayed Freddy on the scene where his face and hands that stretch through the wall and reach out for Nancy when she dreams; the wall was built by Doyle out of spandex.

In the scene where Freddy walks through the prison bars to threaten Rod as seen by Nancy, Wes Craven explains that “we took triangulations of the camera so we knew exactly the height of it from the floor and the angle towards the point where the killer was going to walk through”, and then “we put the camera again at the exact height and walked the actor through that space. Then those two images were married and a rotoscope artist went through and matted out the bars, so it appeared they were going straight through his body.” Jesu Garcia, who was cast as Rod and credited as Nick Cori, says the production was difficult for him. He was dealing with depression due to recent homelessness by snorting heroin in the bathroom between takes. In 2014, he revealed that he was high on heroin during the scene with Langenkamp in the jail cell. “His eyes were watery, and they weren’t focused,” Langenkamp said. “I thought, ‘Wow, he’s giving the best performance of his life.'”

About halfway through the film, when Nancy is trying to stay awake, a scene from Sam Raimi’s The Evil Dead appears on a television. Craven decided to include the scene because Raimi had featured a Hills Have Eyes (Craven, 1977) poster in The Evil Dead. In return, Raimi featured a Freddy Krueger glove in the tool shed scene of Evil Dead II: Dead by Dawn, and later in Ash vs Evil Dead.

Sean Cunningham, whom Wes Craven had previously worked with while filming The Last House on the Left (1972), helped Craven at the end of the shooting, heading the second film unit during the filming of some of Nancy’s dream scenes.

Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.

According to Craven, the original ending of the script has Nancy come out the door. It’s an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She’s startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that’s it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, “That’s so 60s, it’s stupid.” I refused to have Freddy in the driver’s seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn’t not use it.

Craven explains that the effect of the mentioned fog did not work out for the team, and they had to film without it: there were around 20 persons with fog machines, but the breeze at the time was too much, and the fog was gone before they had the opportunity to film the intendedly foggy scene. Though several variants of an end scene were considered and filmed, Heather Langenkamp states that “there always was this sense that Freddy was the car”, while according to Sara Risher, “it was always Wes’ idea to pan to the little girls’ jumping rope”. Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy’s Revenge (1985). Filming wrapped at the end of July, and the film was rushed to get ready for its November release.

The film score was written by composer Charles Bernstein and first released in 1984 on label Varèse Sarabande. The label re-released the soundtrack in 2015 in an 8-CD box for the franchise soundtracks excluding the remake and again in 2016 in the 12-CD box Little Box of Horror with various other horror film scores. Bernstein’s film score was also re-released in 2017, along with the soundtracks of the first seven films, on the label Death Waltz Recording Company in another 8-LP vinyl box set named A Nightmare On Elm Street: Box Of Souls. In 2017 and 2019, the label also released standalone extended versions of the soundtrack with many snippets that were left out of the original releases.

Freddy’s theme song:

The lyrics for Freddy’s theme song, sung by the jump rope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp’s boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. Bernstein integrated Pasqua’s contribution into his soundtrack as he saw fit. One of the three girls who recorded the vocal part of the theme was Robert Shaye’s then 14-year-old daughter. Per the script, the lyrics are as follows:

One two, Freddy’s coming for you.
Three four, better lock your door.
Five six, grab your crucifix.
Seven eight, gonna stay up late.
Nine ten, never sleep again.

When the film was submitted to the Motion Picture Association of America film rating system (MPAA), they required two cuts to grant it an R rating. The theatrical version was released with an R rating and thirteen seconds of cuts. In the United Kingdom, the film was released theatrically and on home video uncut. The Australian theatrical release was edited to an M rating, but the VHS home video was released uncut in 1985 with an Australian R rating. The uncut version would not see a release in the United States until the 1996 Elite Entertainment Laserdisc release. All DVD, digital, and Blu-ray releases use the R rated theatrical version; the uncut version has yet to be released on a digital format.

Robert Englund observes that “in Nightmare, all the adults are damaged: They’re alcoholic, they’re on pills, they’re not around”. Blakley says the parents in the film “verge on being villains.” Englund adds: “the adolescents have to wade through that, and Heather is the last girl standing. She lives. She defeats Freddy.” Langenkamp agrees: “Nightmare is a feminist movie, but I look at it more as a ‘youth power’ film.”

It was released in the United States on November 9, 1984 through New Line Cinema and in the United Kingdom in 1985 through Palace Pictures.

YDG Official remix: https://soundcloud.com/search?q=effets%20secondaires%20mylene%20farmer

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lyrics with translation

1 heure...
2 heures... pas dormir il ne 'faut pas dormir
3 heures... point dormir
4 heures... pour vivre heureux vivons cachés
5 heures... vivons cachés
6 heures... effets non souhaités et gênants
7 heures... gare à l'ataxie ! Ah bon ?
8 heures... il n'y a pas d'ataxie
9 heures... il n'y a pas d'ataxie, il n'y a pas d'ataxie
10 heures... il n'y a pas d'ataxie, il n'y a pas d'ataxie
11 heures... il n'y a pas il n'y a pas
12 heures...

Tous les effets secondaires sont dits
Tous les effets de Krueger sont ici
Tous les effets secondaires maudits
Tous les méfaits de Krueger sont la nuit

4 heures… les musées sont pornographiques
5 heures… une vision pharmaceutique
6 heures… mon idéal ? C'est d'aimer avec horreur
7 heures… un précipice entre vous et moi
8 heures… est-ce qu'on en voit jamais le bout ? Non répondent mes yeux.
9 heures... seulement quand on est au bout ! Ah bon ?
10 heures… pas dormir il n'faut pas dormir faut pas dormir
11 heures…
12 heures… il n'y a pas d'ataxie il n'y a pas d'ataxie il n'y a pas d'ataxie
1 heure… il n'y a pas d'atatxie
2 heures…
3 heures…
4 heures… en cas de doute demandez l'avis de votre médecin
5 heures… confusion mentale troubles psychiques
6 heures… ah bon ? 1 2 3 nous irons au bois
7 heures… 4 5 profondeur
8 heures… tous les effets secondaires
9 heures… sont dis Accélération du rythme cardiaque
10 heures… tous les effets de Krueger Mauvaise coordination des mouvements
11 heures... sont ici Attention !
12 heures… tous les effets secondaires
1 heure... maudits y a l'plafond qui m'regarde !
2 heures… tous les méfaits de Krueger Un faux-plafond un mensonge
3 heures... sont la nuit Je mets de faux cils à leurs yeux
4 heures…pour un regard plus profond…

1 hour...
2 hours ... not sleep you must not sleep
3 hours ... not sleeping
4 hours ... to live happily, live in hiding
5 hours ... let's live in hiding
6 hours ... unwanted and annoying effects
7 hours ... beware of ataxia! Is that so ?
8 hours ... there is no ataxia
9 o'clock ... there is no ataxia, there is no ataxia
10 a.m. ... there is no ataxia, there is no ataxia
11 o'clock ... there is not there is not
12 hours...

All side effects are said
All of Krueger's effects are here
All the damn side effects
All of Krueger's misdeeds are at night

4 hours ... museums are pornographic
5 hours ... a pharmaceutical vision
6 hours… my ideal? Is to love with horror
7 o'clock ... a precipice between you and me
8 hours… do we ever see the end of it? No answer my eyes.
9 hours ... only when you are at the end! Is that so ?
10 hours ... not sleep you must not sleep must not sleep
11:00…
12 hours ... there is no ataxia there is no ataxia there is no ataxia
1 hour ... there is no atatxia
2 hours…
3 hours…
4 hours ... if in doubt ask your doctor for advice
5 hours… mental confusion psychic disorders
6 hours… ah? 1 2 3 we will go to the woods
7 hours… 4 5 depth
8 hours ... all side effects
9 o'clock… are said Accelerated heart rate
10 hours… all the effects of Krueger Poor coordination of movements
11 o'clock ... are here Attention!
12 hours ... all side effects
1 hour ... cursed there is the ceiling watching me!
2 hours… all the misdeeds of Krueger A false ceiling a lie
3 o'clock ... is the night I put false eyelashes in their eyes
4 hours ... for a deeper look ...