There’s the Metallica I live and breathe every day, and then there’s the Metallica I read about. Often I feel like there’s two Metallicas. Lars: Probably because there was a group of people who had a different view of what Metallica was – that we were a lot more of a one-dimensional entity. Why did people react to it the way they did at the time? By the time Cliff and Kirk had come onboard, we felt we had the ability to go down that path. That kind of song was always in the background for us – we knew in our hearts that was part of the Metallica sound, but we just didn’t have the skill or finesse to tackle it on Kill ’Em All. But if you step back further than that, you get to Deep Purple’s Child In Time and Judas Priest’s Beyond The Realms Of Death, even Stairway To Heaven – those big, brooding, epic songs. You can hear that the New Wave Of British Heavy Metal inspired the first record. Lars: Everybody seemed to be caught off-guard by the fact we’d done it. At the time, thrash purists screamed “sell-out!” The album’s big left-turn – a brooding semi-acoustic ballad. Did anyone ask us to make the intro shorter? No, we were all 100 per cent committed to every single note, every single beat. It’s just highly unconventional even to this day. Again, that intro was a Cliff thing – he’d play it all the time, and the rest of would stiffen up and go, ‘What the heck was that?’ That was completely his own creation - it’s just this weird chromatic thing, the note choice. Which we never seem to be able to do any more (laughs). Lars: We often use For Whom The Bell Tolls as a reference point for chasing simplicity. That immortal intro is actually built around a Cliff Burton bass part… In which Metallica showed they were capable of more than just heads-down thrashing: a sweeping mini-epic that was loosely inspired by Ernest Hemingway’s Spanish Civil War novel of the same name. It stuck in my head, so I wrote it down and told James. I was reading the book The Stand by Stephen King, waiting to do my parts, and I read that phrase. It was when we were recording the first album, when we were staying the house of this guy named Gary Zefting. Kirk: I was the one who spotted the phrase ‘Ride the lightning’. Those sort of things became the lyrical tentpoles over the next couple of records. Big Brother, The Man, fear and manipulation. Lars: Ride The Lightning is a song about being trapped in a situation you can’t get out of. The first of many Metallica songs to tackle the big topics: death, claustrophobia and the inescapable hand of fate. Related: Lee Minho Meets Fans on Last Night Filming Pachinko in Vancouver.Kirk’s slicing guitar intro ushers in a stone-cold classic Metalli-riff in this tale of a death row inmate facing the long walk to the electric chair. Lee Min-ho filming in his white suit at Steveston’s Britannia Shipyards as a fishing village in Korea. Lee Minho fans in Vancouver will be crushed if he does not return to film here. In season 2, we will see Sunja raising her two boys Noa (Hansu’s son) and Mozarasu (Isak’s son) and build on Koh Hansu’s path to redemption.ġ989 Japan: Mozasu and his son Solomon Baek in one of Mozasu’s Pachinko parlours.ġ989 Japan: Jin Ha filming at the HSBC Bank Tower in Downtown Vancouver as Solomon’s investment bank.ġ989 Japan: Sunja gifts the Koh Hansu’s pocket watch to her grandson Solomon, saying she originally thought of it as a curse but now it will “save our family”. And to give him the pocket watch that he’d originally gifted to Sunja?ġ930s Japan: Sunja starts selling Kimchi in the Osaka market. 1930s Korea: Koh Hansu in a white suit in a fishing village near Busan.ġ930s Japan:: Pregnant Sunja and her new husband Isak Baek arrive in Osaka, played by Vancouver’s Pacific Central Station.ġ930s Japan: Koh Hansu reappears in a white suit in Osaka in the season one finale to counsel his biological son Noa.
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