Where is dialogue in love crimes by frank ocean from

He is the history of American movies, revised. In an interview with The New York Times , Ocean describes being inspired by "the anonymity that directors can have about their films. Here are some of the movies that Ocean returns to again and again, paired with the corresponding tracks in his catalog:. View Iframe URL.

In Kubrick's swan song, Tom Cruise's Dr. Hartford stumbles upon a secret society that hosts masked orgies. The bed full of women, the seedy voyeurism, the play on Eyes Wide Shut 's title—Ocean cherry-picks from the tropes of this erotic thriller. And Eyes Wide Shut might not the only Kubrick film being referenced here; the little red light is potentially a nod to HAL , the sentient computer represented by a blinking red eye in A Space Odyssey , while "Novacane"'s music video takes place in a hotel room whose s-style paisley patterned wallpaper recalls The Shining 's Overlook Hotel.

Eyes Wide Shut crops up again in "Lovecrimes", though this time Ocean samples Nicole Kidman's scornful, marijuana-fueled diatribe on infidelity in relationships. In the film, the scene plays out as a back-and-forth between the couple, but Ocean strips away Cruise's retorts. The effect is a monologue that makes Kidman's Alice sound completely irrational—in keeping with the protagonist who "pleads insanity" in "Lovecrimes". In The Matrix , Keanu Reeves' Neo is famously presented with two pills—the red pill, which allows him to wake from the virtual reality he is trapped within, and the blue pill, which offers him the chance to live in comfortable obliviousness once more.

The narrator of "Sweet Life" encourages with winking irony, of course the song's privileged protagonists to take the blue pill and continue to luxuriate in their moneyed bubble of ignorant bliss.

In both the film and the song, Ladera Heights is a pejorative. Not all of Ocean's references are quite so highbrow. A scene in which Chris Tucker and Jackie Chan are mistaken for a gay couple during a visit to buy suits is a fun nod to Ocean's own interest in style and fashion—and possibly his queerness, too.

Gere was paired with Julia Roberts who is 18 years his junior in both Pretty Woman and Runaway Bride , and it's possible Ocean is playing homage to both films.

Importantly, in Pretty Woman Gere waves the magic wand of money, rescuing Roberts' down-and-out sex worker from financial ruin and immersing her in a capitalist version of fairytale romance. Ocean touches on the delicate relationship between sex, work, and money in Nostalgia, Ultra , though it's not until Channel Orange that he explores this theme explicitly in songs like "Sweet Life", "Super Rich Kids", and "Lost".

Yet, as with his use of Alice's soliloquy from Eyes Wide Shut , he only quotes from the female lead. By doing so, he embodies Lisa London's character New New in all her wide-eyed vulnerability, flipping the gendered script at stake.

The sound of keys locking a car plays in the transition between "End"and "Golden Girl", another nod to the romantic confession scene from which London's speech is taken—which happens in a car. In the film's most famous scene Forrest's childhood sweetheart Jenny urges him to sprint from his tormentors; here, Ocean's Forrest races through his mind. Here, Ocean quotes the scene in which Forrest whose jersey number is 44 literally runs past the end zone and into the locker room.

In Forrest Gump , Jenny initially rejects Forrest's marriage proposal though she does concede to sleeping with him. While the film has a happy resolution, in "Forrest Gump" Ocean is interpolated as this earlier version of Jenny—the recipient of Forrest's unrequited love. The two Forrests run headlong into heartbreak, past the end zones of their respective relationships, leaving both Ocean and Jenny regretting what they have enabled.

Lastly there's "Forrest Gump"'s mention of cigarettes. She tasted like cigarettes. In the opening verse, which features there-and-not energy, Frank is more concerned with owning his partner than loving her. Demanding one thing and expecting another, we get the sense Frank does not know what he wants. This is important because it illustrates the fraught nature of trying to own and command your partner. These beginning lines feel like a whirlwind of desire and confusion, bringing us right into the storm of premature love.

This brings us to the first declaration of committing a lovecrime. In the first verse, this very clearly suggests Frank is having an orgasm. Pair this with the hook, where Frank suggests this love and his lover are both killing him. In the pursuit of pleasure—lovecrimes, as they were—Frank is realizing his partner has the power over him.

Now, we realize Frank Ocean is playing the victim. Here, we open with the subject leading the discussion. Now, the woman in question is in the pursuit of love and control over Frank, whose desire is overtaking his good sense. As with the preceding songs on the mixtape, Frank Ocean loves his morphing themes and images. All of this brings us to the Eyes Wide Shut outro, which illuminates the notion of an evolving lovecrime even further.

This outro affirms our reading of control versus freedom of aimless pleasure, necessitating a weak love. This sample, beginning with a tirade against the sexual immorality of men, is the first nod to our original reading of a lovecrime as an orgasm.

From there, we get a conversation surrounding jealousy—a cardinal sign of desiring ownership. It reads as if the woman is first condemning the man for not being jealous; then, she begins to demand he be envious.

The structure of this dialogue mirrors the structure of the first verse. We see Frank using the sample to uphold his broader thesis: We are all guilty of lovecrimes. The crime of ownership is not intentional, just immature.

Young love is not inherently evil, just inexperienced. He uses the track to showcase how we subtly wrong each other in pursuit of pleasure when our understanding of love is bodily and shallow.