#& all those other critically acclaimed and actually memorable shows because of how unique they were | Explore Tumblr Posts and Blogs

fuckyeahscootmcnairy · 4 years

Text

How Scoot McNairy Became One of the Busiest Actors in Hollywood

In a wide-ranging conversation, the actor reflects on working with Quentin Tarantino, 'Halt and Catch Fire,' 'Narcos: Mexico' and 'True Detective' season three.

Over the past decade, few actors have been as busy as Scoot McNairy, but now that the health of the world has forced everyone to slow down, McNairy is finally able to take stock of the work he’s done. McNairy first became a name to watch on the indie circuit as 2007’s In Search of a Midnight Kiss and 2010’s Monsters garnered critical acclaim and numerous awards. But 2012’s Killing Them Softly really unlocked the floodgates for McNairy as Softly filmmaker Andrew Dominik eventually referred him to Ben Affleck for a role in Argo, which went on to win Best Picture at the 85th Academy Awards in 2013

At his Argo audition, McNairy shocked Affleck when he reminded him that they’d already worked together on a 2006 Axe Body Spray commercial. The two actors teamed up again in 2014’s Gone Girl and 2016’s Batman v Superman.

“I think [Ben] was very, very good to me in sort of championing me. I don’t know how much influence he had on the other jobs, but I assume that he did,” McNairy tells The Hollywood Reporter. “So, I just felt really lucky and grateful that I had anyone supporting me. It’s really hard to get people to get behind you in the business, so you don’t take anybody for granted that does so. So, yes, I was and am very grateful to him.”

After two electric scenes with Brad Pitt in Softly, McNairy has also gone on to work for Pitt’s production company, Plan B, on three more projects including another Best Picture winner, 12 Years a Slave, War Machine and Blonde — Dominik’s first scripted feature since Softly.

“Plan B, Dede Garder, Brad and Jeremy Kleiner have just been really, really great to me by just thinking of me for projects,” McNairy explains. “They’ve thrown some really great, interesting work my way. I am fully aware that, yes, they’ve been very, very good to me and have taken care of me. I’m still in contact with Dede, and I talk to her a lot. She’s a really close friend of mine.”

This week also marks the one-year anniversary of Quentin Tarantino’s Once Upon a Time in Hollywood, and McNairy is now reflecting on the fact that he’s the only actor Tarantino has ever cast without meeting first. Since McNairy had a small role as Business Bob Gilbert, a character in the film’s fictional recreation of the real-life TV show, Lancer, McNairy credits Timothy Olyphant for bringing him up to speed on the proceedings.

“Timothy Olyphant saw me when I walked on set, and I was sort of a deer in the headlights because I wasn’t able to read the script. And so, he walked over to me and was like, ‘You didn’t read the script, did you?’ and I was like, ‘No,’” McNairy shares. “He goes, ‘All right, cool. Let me sit down and explain to you what’s going on.’ So, he sat down and chatted with me for about 25 minutes in the morning to sort of give me the lay of the land. He was really great.”

In a wide-ranging conversation with THR, McNairy also reflects on Monsters, Halt and Catch Fire, Narcos: Mexico and True Detective season three. He also looks ahead to his work as Rod Rosenstein on The Comey Rule, which premieres on Showtime in late September. He can currently be found on HBO Max’s first original series, Love Life.

Since this week is the one-year anniversary of Once Upon a Time in Hollywood, how did the role of Business Bob Gilbert first pop up on your radar?

I think my manager found it and knew that they were casting for it. And the normal circuits of how it works got me in there, I think. I put an audition on tape, mailed it in to them and didn’t hear anything for, like, two and a half months. And then, a week and half, two weeks before the show started, they called me and said, “Hey, they want you, and you work in two weeks.”

And they only provided you with the sides for Business Bob’s scene?

Yeah, my manager requested the role and the sides, and yeah, those were sent to me and put on tape. Just sort of your classic process.

Were they the real sides?

Yeah, what I auditioned for is pretty much exactly what I ended up doing in the movie, I believe.

Was Business Bob loosely based on a real actor or character to your knowledge?

No, not that I know of. You know, it’s funny. Timothy Olyphant saw me when I walked on set, and I was sort of a deer in the headlights because I wasn’t able to read the script. And so, he walked over to me and was like, “You didn’t read the script, did you?” and I was like, “No.” He goes, “All right, cool. Let me sit down and explain to you what’s going on.” So, he sat down and chatted with me for about 25 minutes in the morning to sort of give me the lay of the land. He was really great.

There’s a scene in the movie where Leo’s character, Rick Dalton, rehearses his lines with a tape machine that has his scene partners’ lines already recorded by himself. Apparently, you set up a more modern version of this technique while on the True Detective set, right?

Oh, that was the actual recording of the self-tape... It was standard. If you have two cell phones, one of them you can hook up to a speaker and one of them can record. And so, I would just record the other person’s lines and then leave the gaps in between so that nobody else had to read with me off-camera in order to send in the self-tape. But the gaps between the lines is something that I’ve always done. That’s how I’ve been learning my lines for, I don’t know, 20 years. Just record it, so you can sit there and rehearse the dialogue with yourself.

Once you’re on set, will you grab a castmate to rehearse your lines whenever it’s possible?

Man, I’ll ask anybody. I always have my sides on me, and if anybody will run them with me, then they’ll run them with me. But yeah, I generally like to run it five or six times with somebody before we even walk on the set just to hear it out and hear what they’re doing and whatnot.

After you sent your tape in and were eventually cast, you never met Quentin until you were on set, and if I have the story right, that’s the first time he’s ever cast someone without meeting them first. Has this ever happened to you in the past?

Without meeting them in person? Yes. But usually, there’s a phone conversation or a Skype call or a couple meetings before it happens. You may not necessarily meet them in person, but I hadn’t talked to Quentin or even met him until the day I walked on the set. So, yeah, it’s amazing. I’m incredibly lucky, too.

What was the vibe of the set like?

It was great, man. He’s incredibly charismatic and sweet and nice and funny, and that sort of goes all day long. He’s just really, really entertaining. I think we’ve all been entertained by Quentin, as an individual, for, I don’t know, 30 years. But to actually see him hold court and whatnot was really fascinating to watch. He’s a really, really interesting guy and incredibly talented. And it was just great. I think we shot over two days, I believe. It was quick, in and out. I think a cell phone had gone off the day before I got there, and that was a really, really big deal. And so, you had to take your cell phone and put it into a bucket before you could walk onto the set. That was a first.

[The following question contains spoilers for Halt and Catch Fire.]

Moving to Halt and Catch Fire, your character, Gordon Clark, had one of the most unique sendoffs I’ve ever seen. What do you remember most about shooting that sequence where his life flashes before his eyes?

I remember them telling me about it. I think it was [co-creator] Chris Rogers, [co-creator] Chris Cantwell and [writer-producer] Zack Whedon. And I think Chris told me it was Zack Whedon who came up with this idea of a coma or him sort of fading out, where his life flashes before his eyes. I remember shooting it, and I thought it was incredibly beautiful, incredibly creative and thoughtful in how they orchestrated and designed it. It was really cool. I knew the show was ending, and having your character die in the last season of the show is something that sort of gives you closure to the show, to the role and to everything. It was great, man. I had such a great time working on that show, working with all of those people and with the Chrises. It was one of my first series I ever did. So, it’s definitely one of the most memorable to me.

Is there a Halt and Catch Fire group text?

Oh yeah. We still chat with each other. For sure. I think everybody’s schedules are pretty busy, but we try and get together when we can.

You guys are all doing incredibly well, but Mackenzie (Davis) is already a movie star. Did you see this coming a long time ago?

Yeah, I’ve always thought Mackenzie was incredibly talented, ambitious and just a wonderful person. So no, it doesn’t surprise me one bit that it would be happening for her. She deserves everything that’s coming to her.

I’ve heard a lot of people say that Hollywood feels much smaller once you’re in it. Considering that you and Kerry Bishé played husband and wife on two different projects (Argo and Halt), do you agree with that premise?

Yeah, I’d say the world is really small once you’re in it. It just feels like the older you get, the more you start running into people all over. But I guess it makes sense over time. You meet and meet and meet new people, so there’s more people for you to run into. But no, I definitely think the business is really small. If you work with somebody once, there’s a good chance you’re going to work with them again over the lifetime of your career, if you’re lucky. Once I’d come on board Halt, the Chrises told me that they cast Kerry to play my wife. So, I knew it going into the show, but yeah, I was really excited to work with Kerry again.

The first time I saw you was in 2010’s Monsters, and a couple years later, I heard Affleck singing your praises in an interview, which amounted to three films together (Argo, Gone Girl, Batman v Superman). Could you feel a shift in your career once he supported you as openly as he did?

Yeah, I’m not aware of that article or interview where Ben said those things. But with that said, yes, I think he was very, very good to me in sort of championing me. I don’t know how much influence he had on the other jobs, but I assume that he did. So, I just felt really lucky and grateful that I had anyone supporting me. It’s really hard to get people to get behind you in the business, so you don’t take anybody for granted that does so. So, yes, I was and am very grateful to him.

We just talked about Hollywood feeling small, and I don’t think the point can be better illustrated than the Axe Body Spray commercial you guys did together in 2006.

(Laughs.) When I left the audition room after auditioning for Argo, I reminded him as I was walking out. I said, “Oh yeah, Axe Deodorant.” And he was like, “No fucking way, that was you!? No fucking way.”

As far as Monsters goes, Gareth Edwards has said that you filmed in “cartel country.” Did things get pretty dicey at certain points?

Yeah, for sure. But you kind of feel unsafe every once in a while on any film set. (Laughs.) But yeah, we were a really small crew of, like, seven people, and so there were a couple of hairy situations we ran into in Guatemala and a couple other situations. But for the most part, no. A couple of situations here and there, but granted, how much time that we were down there, no, we didn’t run into that much. And the people of Mexico were all really, really, really kind individuals and really great people. When I worked on Narcos, the Sinaloa Cartel came to set one day when we were shooting on location and just sort of sat there and watched us. They just said, “We’re letting you know that we’ve allowed you guys to be here, so you guys carry on.” I know they’re noted for doing some awful things, but they didn’t seem to be… If you don’t bother them, then they don’t bother you. But Monsters was really one of the funnest movies I’ve ever worked on. I had such a great time.

Since its release in 2012, I’ve been a part of the Killing Them Softly choir, as it’s criminally underrated. Last year, I talked to Mendo (Ben Mendelsohn) about your time together on that set since I want to see you guys team up again with dishwashing gloves.

(Laughs.) Fucking love Mendo.

And he told me a story of how you guys lived together during filming and that you got on each other’s nerves, which you can recognize in the car scene on the way to the stickup. Would you like to offer your vantage point on this experience?

100 percent correct. The two of us met, we made friends really quickly, we moved into a house together really quickly, we were living together and we were working together. And it became this sort of tiff between the two of us. We’d get in these little spats at the house, and we’d be riding to work together, in the same spat, and then, we’d go to work and be in the same spat at work. I love that about Mendo. He dishes it out a lot, but he also can take it a lot. So, 65 percent of it was us having fun with each other, and the other 35 percent was probably frustration. But I think as Ben says, “It’s always great when two people that are working together are getting at each other because that’s usually when the goods come.”

After working with Brad Pitt on Softly, you were eventually cast in Plan B’s 12 Years a Slave, War Machine and Dominik’s Blonde (2021). Around the time of 12 Years, did you get the sense that Brad had become your latest champion a la Ben?

I don’t 100 percent know. However, with that being said, Plan B, Dede Garder, Brad and Jeremy Kleiner have just been really, really great to me by just thinking of me for projects and stuff. They’ve thrown some really great, interesting work my way. So, I’m not quite sure, but I am fully aware that, yes, they’ve been very, very good to me and have taken care of me. I’m still in contact with Dede, and I talk to her a lot. She’s a really close friend of mine.

As expected, your work on True Detective was excellent. Was that role quite the juggling act since you were essentially playing two different characters via 1980 Tom and 1990 Tom?

Yeah, but it wasn’t as hard as what Stephen (Dorff) and Mahershala (Ali) had to juggle with three characters in three different eras. No, we had a really great team of hair and makeup artists. It was also a really great show and script to be a part of. So, not necessarily. 10 years have passed with the two characters, and it’s one of the things that I love about the show. Over these 35 years, you really get to see how much people change over time. I thought [creator] Nic (Pizzolatto), as a writer, did a really good job at showcasing that, explaining that and also bringing the realism to that. So, no, it was fun. I enjoyed playing the same character in different time periods. It’s something I’ve only been able to do once before on Halt.

When you were on set with Dorff, did you guys expect the audience to theorize about your characters potentially having a romantic relationship?

To be honest with you, no. That may be a seed that Nic sort of planted. And I also don’t know what he had said to Stephen. But that was not a conversation that had ever really come up or was talked about with Nic. Maybe that is Nic trying to withhold that information from me intentionally; I don’t know. I haven’t really asked him about it since, if that was his true intention. That was something that I heard, but it’s not something that me, Stephen or Nic ever talked about. At least, they didn’t talk about that with me.

Nic ultimately rejected the theory on Instagram, and he’s never really been shy about shooting down fan theories.

Yeah, I was going to say… I think it’s something that was sort of speculated through the audience viewership and not something that he’d ever really thought about.

I thought your introduction on Narcos: Mexico season one was pretty ingenious. You weren’t originally supposed to narrate the season, right?

I think their first initial thought, if I’m correct, is that Kiki Camarena (Michael Pena) would be narrating from the grave. I think that Eric Newman, the showrunner, had molded over and over in his mind, and it just didn’t sit right with him. The thought was, “If this guy is dead at the end of the story, then how is he telling the story?” Once I was cast to come into this, I think the new idea that they had was, “Oh, well, here’s this new character coming. Maybe he could be the one who’s telling this story.” So, it’s definitely something that came at the last minute before the show was locked.

Narcos doesn’t mess around and shoot Albuquerque for Mexico. Both versions of the show have strived for authenticity by way of locations that actually correspond to the story. Did that set feel more immersive than most?

I mean, it was awesome and crazy. It’s Mexico. It’s full-on down there. I was breaking some glass one day, and I was like, “That’s real glass!” And they’re like, “Yeah!” and I’m like, “Oh, okay. Maybe they’ll put in the sugar glass next.” And they put it right back in. You just slam another piece of glass, and the glass goes in the other actor’s eye. It’s awesome. It’s like making movies the way we made them back in the ‘60s and ‘70s where the shit’s real. We didn’t have as many tricks down there. We just sort of did it as is. So, it was awesome, man. It was really fun filmmaking to be down there, to be doing that in Mexico and working with the filmmakers I got to work with.

Do you get the impression that you give better performances when you’re in a real environment as opposed to a soundstage?

100 percent, man. As a kid, I just didn’t like being inside. So, working on a soundstage is never really as exciting as working at a real house, a real mountain or, obviously, a real river or location and whatnot. So, fortunately, I feel like I’ve been really lucky as most of the jobs I’ve done have all been on location. I haven’t really worked that much on a soundstage. But yeah, your environment’s right there; it’s right there in front of you. You can react to everything around you because it’s real. I find that to be rewarding when you’re in the environment, and it’s less work for you to do as an actor.

Your Narcos character, Walt Breslin, pursued a goal so intensely that he ultimately ended up being reassigned behind a desk. Is there an experience from your own life that you channeled in order to capture how Walt felt by season's end?

Yes, the fear of also having to work behind a desk or having to be indoors for 8 hours a day. That would be a nightmare for me.

Overall, I thought you did tremendous work throughout season two. Are you returning for Narcos: Mexico season three, which supposedly started shooting in secret?

Not sure, really. There's been a lot of talk, but as you know, nothing’s certain until it’s certain. And even then, it can fall apart.

You’ve talked a lot about your struggles when you first came to L.A. and how you were living in your car and couch-surfing. At this current point in your career, are you finally able to say no? Or do you still feel like you have to say yes to almost everything because you remember those early days?

There’s two sides to that question. Yes, I can say no to projects. Some of the stuff that comes my way I’m just not interested in. It’s just movies or scripts that I just wouldn’t go see, that I’m not that interested in. And it’s mostly just based on that: “Oh, I wouldn’t really go see that movie.” But there’s also another side to it too. Like, you sit around for long enough, and I don’t want to sit around. So, after two or three months of sitting around, you say to yourself, “Okay, well I want to go work.” I enjoy myself on a set and working and playing around and exploring characters and exploring blocking and ideas and dynamics of the scene. It’s something I really enjoy doing. So, to sit around and say, “Okay, I’ve got nothing in front of me that’s good,” — I think my attitude more so is, “Let’s take this other thing right here that’s not that good and let’s try and make it good. Let’s do it, let’s get to work on it and get creative and try and make this show or project good.” And so, there’s a certain sense with some people where it’s like, “Well, you know, that person’s overexposed.” You know, crucify me for just wanting to work. I really enjoy my job; it’s what I do, and I’d like to do it as much as I can or am able to do.

Christopher Cantwell’s The Parts You Lose is a really beautiful film. How was that experience and reunion with Chris, Aaron Paul and Mary Elizabeth Winstead?

It was great. I enjoyed the entire time I worked with Chris Cantwell and talking to him. And I just think he’s a really great guy. He has a really kind heart, and he’s a really smart individual. Aaron Paul is somebody I’ve known for, I don’t know, 25 years out here. So I was excited to go work with Chris, Aaron and Mary. I think the film’s really good. If Chris called me up tomorrow and said, “Let’s go work on something,” I would jump out of my chair to go do so.

I rarely root against your characters, but this role was an exception. What did you and Chris discuss as far as your character is concerned?

Chris and I spoke about the character, and we both agreed to not worry about making this guy likable. We leaned more towards mainly making the viewer hate him but maybe hate him so much that you begin to feel for him. Like, it’s not his fault; it's just the life he has been dealt.

Regarding The Comey Rule, the release date has now been changed to late September, but were you as perplexed as everybody else when the show's premiere date slid to after the election?

Yes and no. Unfortunately, the country is so polarized at the moment. So divided. Naturally, that bleeds into large corporations protecting their interests. However, [creator] Billy Ray worked so hard to get this thing done before the November election, and he was promised to get a certain release date. I'm glad everyone was able to agree and that the show will air sooner.

Peter Sarsgaard recently told me that when he plays real people, he pretty much approaches them like they don't exist. Since you played Rod Rosenstein, did you take a similar approach, or did you go down the YouTube rabbit hole and whatnot?

Tough question. I find that it is different for me each time, each job, and each role. Sometimes I like to talk to them, sometimes I don’t. I followed the Russia investigation very closely, so when this job came along, I really felt like I had a lot of data on the players involved. Rod was not front and center in the media on a day-to-day basis. So I was really interested in looking at his body of work. He was the longest serving U.S. Attorney in history, and certain things made him stand out among those in Washington. I did find myself going down a rabbit hole by watching interviews and speeches that he did. I watched some of them over and over. I also had a collage of photos of him with all these different facial expressions. I would just go through them and wonder what the hell this guy must have been going through during all that chaos.

Do you prefer playing real people from the distant past since the audience typically doesn't have a frame of reference for them via video, audio, etc.?

They all are a bit terrifying to play, whether or not the audience has a frame of reference. You still have a responsibility to the audience, the story and the filmmaker to make it real and believable. The audience may not know this person, but it just has to be really specific to me and the director. All I have control over is doing my best to make it real.

Ana de Armas told me that Blonde is quite the movie, and of course, you reunited with Killing Them Softly filmmaker, Andrew Dominik, for it. On a side note, this conversation continues to prove that your peers love doing repeat business with you — whether that's Affleck, Pitt, Cantwell and now Dominik. How was your second experience with Dominik?

I really enjoy working with Andrew. Obviously, he is a very talented director. He is also very entertaining to work with, and I love all his films, so I am happy to have the opportunity to work on anything he is doing. As far as "repeats," I’m not sure. I do like working with people I have worked with before because we know each other, and there is a certain comfortability. Just feels like you just cut through the fat much quicker.

[x]

#Scoot McNairy #Halt and Catch Fire #Killing Them Softly #True Detective #Narcos: Mexico #Monsters #The Comey Rule #Argo #12 Years a Slave #War Machine #Once Upon a Time In Hollywood #The Parts You Lose #interview

16 notes · View notes

gibelwho · 4 years

Text

Top 5: Directorial Debuts

This Top 5 reviews Directorial Debuts, considering the film that was the opening gambit in a director’s career. The requirements for this list are straightforward - the films considered must be full length and had a theatrical run, so short films (although oftentimes a way into the business for directors) were not counted and neither were made for TV movies. Additionally, this list is considering films that were directed by a single person, so first films with co-director’s were not considered (although some fantastic films fall into this category, such as On the Town or Monty Python and the Holy Grail). The final consideration, although not a firm requirement, was that this first film was an opening artistic achievement that became a launching point for a notable and long career to follow.

Gibelwho Productions Presents Directorial Debuts:

5. Spike Jonze / Being John Malkovich

4. Rob Reiner / This is Spinal Tap

3. Pete Doctor / Monsters, Inc.

2. Alex Garland / Ex Machina

Rob Marshall / Chicago

Spike Jonze / Being John Malkovich (1999): This film was not only the theatrical directorial debut for music video savant Spike Jonze, but was also the first feature penned by the now acclaimed screenwriter Charlie Kaufman. Their appreciation for bizarre storylines and unique artistic sensibilities combined to make a mark on the cinematic landscape of Hollywood and opened the doors for both to careers that continue to tell non-traditional stories. Jonze had to contend with a confounding script, but managed to keep the audiences engaged with the twists and turns, and also tuned into the emotional journeys of his main players, including a representation of real-life actor John Malkovich himself. The film is filled with memorable visual sequences, including an office floor with cramped ceilings, John Malkovich’s point of view shot when ordering bath towels, and the incredible mind-bending sequence when John Malkovich enters the portal into his own mind, encountering a world filled with multiple John Malkovichs.

Rob Reiner / This is Spinal Tap (1984): Not only is Rob Reiner’s first feature a hilarious mixture of conceits with a generous helping of improvisation from comedic actors, but it also launched an entirely new genre - the mockumentary. To keep the documentary feel, Reiner produced a mix of shooting styles, including hand-held cinema-verite style, titles to introduce band members, creating black and white faux television “archival” footage, traditional documentary interview footage, and also capturing onstage theatrics. While most of the humor is in the actor’s improvised lines, the camera is not just silently observing, but also gets into the jokes and elevates the gags with visual commentary. With this film, Reiner transitioned from an actor to an established director and continued into a fabulous career that dipped into a multitude of different genres, producing several films now considered modern classics.

Pete Doctor / Monsters, Inc. (2001): While Toy Story was the original revolutionary release from the new animation studio Pixar (also with a first time director), Monsters, Inc. earns its place on this list because of the genius of Pete Doctor. The film was the fourth feature from Pixar, and the first to be helmed by a director other than John Lasseter. Pixar’s legacy (and now future, as he has assumed the role of Chief Creative Officer at Pixar following Lasseter’s exit for inappropriate behavior), was in safe hands with Doctor, who has consistently produced the Pixar films with the most unique conceits and beloved characters. This all started with his story development and leadership on Monsters, Inc., a film that achieved technical advancement with the realistic rendering of monster Sulley’s fur, but also one of the most breathtaking action sequences Pixar has ever envisioned, involving the hunt for little Boo’s bedroom door amongst a cavalcade of children’s doors, all swirling around madly in the warehouse storage space. Doctor’s first effort at Pixar produced a delightful tale, proving that Pixar could still herald the magic when the reigns were handed to other directors, and setting him up for more delightful classics to be directed.

Alex Garland / Ex Machina (2014): Alex Garland transitioned from a successful screenwriting career to directing with this astonishing piece of art - intellectual, challenging, visually stunning, and with a twisting plot that ensures the audience is on the edge of their seat throughout the film’s runtime. The screenplay was especially tight, as to be expected from a writer of Garland’s quality, but his work behind the camera was also incredibly solid, playing with the various textures of the setting’s remote mansion’s stone, wood, metal, and glass and also with the robot Ava’s combination of machine metal and human flesh. Garland expertly uncoils a new element in each conversation, scene, and session, slowly expanding the audience's understanding of the world and motivations of each character, until an explosive ending that revels in a woman taking control of her own destiny.

Rob Marshall / Chicago (2002): What are the odds that a directorial debut revitalizes the musical genre for a modern audience - and then goes on to win the Academy Award? Rob Marshall’s background as a dancer and choreographer masterly transferred to the filmmaking space - expertly conceiving the musical numbers (and entire film!), using all the tools at a filmmaker's disposal that a live theatrical experience cannot - camera composition such as close ups, crafting pacing through editing cuts, and matching sound to image. In the best tradition of Bob Fosse, newly minted director Rob Marshall set his mark upon the filmmaking landscape and brought back musicals as a viable avenue for the industry - a popular success at both the box office and amongst critical circles. Plus the film is so damn fun, with inspired performances by Renee Zellweger and Catherine Zeta-Jones as the two murderers on death’s row that just want to make it in show business. Each number tops the next and (with the small exception of Richerd Gere’s tepid singing and dancing skills) are executed with such spirit and razzle dazzle. And all that jazz!

Honorable Mentions:

Orson Welles / Citizen Kane (1941): For the movie that is consistently hailed as the greatest cinematic film ever to be made, it is quite amazing that it was created by a first time director who also cast himself as the lead role. After Orson Welles notorious stunt with the radio broadcast of The War of the Worlds (which caused mayhem as many in the public believed the play was in fact news outlets reporting actual happenings), Hollywood courted this untried director, giving him immense freedom inside the usually structured studio system. The result was a film that experimented with cinematography, editing, writing and narrative structure - all which have since been hailed as innovative leaps forward in the conception and construction of filmmaking. While the film at the time was a box office flop, Welles left his indelible mark on the industry after the promotion of his efforts by the celebrated French film critic and auteur theory supporter Andre Bazan in Cahiers du Cinema. The film can be a bit rough to the tastes of modern audiences, including the exaggerated performance style, but its technical achievements are not to be missed.

Frank Darabont / The Shawshank Redemption (1994): Another film that did middling during its initial box office run, but has since achieved the status of cult and critical favorite, came from the creative spirit of Frank Darabont, who adapted a Stephen King novella and, by sticking to his resolution to lead the film, was eventually given the chance to direct the feature. With a tight screenplay, phenomenal performances by Tim Robbins and Morgan Freeman, and cinematography by the masterful Roger Deakins - it flourished in the rental market and endured to become one of the highest rated films across many critical lists.

Andrew Niccol / Gattaca (1997): Another writer / new director’s debut contains provocative ideas and powerful imagery paired with striking production design. It is incredible what Andrew Niccol accomplished on a smaller budget, all in service of the story’s dystopian future that feels as though it could be only a few generations away from our own time, where genetics determine a human’s entire future and those who were conceived naturally are condemned to live as a lower caste. The human’s desire to improve their lot in life and explore the universe comes in direct conflict with how science can be used to create fissures in society, enabling human expansion to space, but also limiting a single human’s rights and liberties. Grand ideas and grand design are the drapery for a compelling human story.

Upcoming

Lin-Manuel Miranda / tick, tick...Boom! (TBD): Based on the first stage musical by Jonathan Larson, this will be Lin-Manuel Miranda’s first foray into the directorial seat. Since the debut of the smash hit Hamilton, his career has been expanding by leaps and bounds, but he has taken a studied, measured approach to stepping into the director’s role. Miranda cited one reason for signing on to the Mary Poppins Returns movie as a chance to study under the masterful Rob Marshall, receiving a front row seat to a masterclass from one of the best filmmakers to capture musical theater in the cinematic format. Miranda himself was part of a theatrical production of tick, tick...Boom! earlier in his career, so he is very familiar with the material (although the screenplay will need to significantly expand the set of characters from a modest three to include the many roles that have been cast). Unfortunately, at the time of writing, due to the pandemic, filming has shut down; but once they have resumed and the film has a chance to see the light of day on Netflix, I will be eagerly awaiting one of my most beloved musicals to come to life through Miranda’s nascent directorial vision.

#spike jonze #being john malkovich #rob reiner #this is spinal tap #pete doctor #monsters inc.#alex garland #ex machina #rob marshall #chicago

3 notes · View notes

gibsonmusicart · 4 years

Text

Turning Your Story From Pain to Profits

People often ask me how I got started writing one-person shows and I’ve never been able to quite, definitively nail down a concrete answer. Oftentimes I’ve said, "out of artistic necessity," and while that is an absolute truth, it’s only part of the answer. Although I had been a professional actor in Los Angeles, for many, many, many years, I felt like I wasn’t landing the caliber of roles that showcased my unique set of skills. I was an actor who could sing. I had superb comedic timing and I could conjure up such emotional depth in characters that allows me the ability to be totally present, and if need be, authentically cry on a dime. I also possess the rare ability to portray many different walks-of-life from the seediest of characters to the noblest of gentlemen. Why wasn’t I working? Early in my career I had booked a few leads in several independent films, and guest-starred in many television shows, but most of those roles did not lead to more fulfilling parts or a steady acting career. I was at a stalemate and did not know how to dig myself out of the trenches. It wasn’t until a former acting teacher, who knew I was also a writer, asked, "Why aren’t you writing material for yourself?" I thought about the question a while, and honestly didn’t have a concrete answer. So, I responded by saying, "I don’t know." I had never really thought about it. I had written a few books, articles and plays for others, but the thought of writing something specifically for me never crossed my mind. In fact, my first thought was that it seemed a little bit egocentric. Then I started thinking about film actors/directors I admired like Sylvester Stallone, Robert Townsend, Matt Damon, Barbara Streisand, and Spike Lee. These artists had the tenacity to create film projects for themselves when Hollywood wasn’t banging down their doors. But I didn’t have any money or the knowledge of how to get a film script made into a movie. However, I did innately understand theatre, so I set out to develop a stage play for myself. That turned out to be a daunting task as well. It wasn’t until I was introduced to the works of Roger Guenveur Smith, Whoopi Goldberg, Lilli Tomlin and John Leguizamo that a light bulb went off in my head and I thought, "I could do that." However, that "Ah ha," moment was easier said, then done. First off, who wants to perform an hour and a half long monologue? The thought of trying to memorize pages and pages of the dialogue was intimidating enough to make me want to give up before I even started. Especially since, even though I was an actor and trained to memorize lines, I didn’t have the best long-term memory. As I continued to "toy," with the idea, I relaxed my racing mind and finally got around to, "What would I write about?" What I discovered was; I had a lot to say and even more to write. I started thinking about the essays and emails I had written and the topics I passionately spoke about with family and friends. Then it became clear that I would write about the plight of urban education. Alas, my first solo show, Did You Do Your Homework? was born. However, crafting it wasn’t easy. I knew I had something important to say and that getting it out of my head onto the page would be vital in developing the story, but I really had no clue how to start. Everything seemed to be jumbled up and every time I sat sit down to begin, I always found myself getting stuck in a "brain freeze." Frustrated, because I knew I had a story to tell, I almost allowed myself to give up. Then I thought to myself, "I need to approach writing this piece from a different perspective." I can’t start by simply writing the story from beginning to end. I have to first, alleviate my frustration by purging my head and hashing out all the ideas I have in it. Then I thought, "How do I do that?" The answer, "brainstorming." Once I got all my ideas on paper, I could physically see them and go about organizing and arranging them, piece by piece, into an "outline," that was cohesive and chronological. It was only then, that I could begin writing my story. But it didn’t stop there, because what I found, after my first couple of drafts, was that even though my story had a lot of content and interesting characters, it had no heart. It had no deep, pressing purpose or reason why I was telling the story and what made this story so uniquely personal to me. It had no depth. What I discovered was that I had not made the story deeply personal to me. It did not contain what made me a uniquely giving and passionate individual and artist. Even though I intellectually knew that by doing so, would make my story stronger and more affable to audiences, I didn’t want to be that vulnerable. I didn’t want to risk opening up my heart and letting complete strangers in. I wrote, Did You Do Your Homework? out of a need to talk about urban education. Most importantly I wrote this show so that educators could recognize, that although urban kids sometimes come to school with a myriad of social, economic and physical issues, at their core, many of them want the same things out of life as everyone else. They just may not know how to access their own feelings and ambitions because of the trauma they may be dealing with on a daily basis. They haven’t been taught to dream. I was once one of those urban kids who had gone through and survived trauma. I was physically and mentally abused and as a result used drugs and alcohol to numb my pain through middle and high school. In high school, I would go to school all bruised up and sleep through my first-period class because I had been up all night, taking extreme blows to my chest, in order to keep my step-father off of my mom. I would then sleep through the sixth period because I needed the rest and the strength for the night to come. I suffered in silence. My ninth-grade teacher would constantly kick me out of class if I showed up late or slept in her first period. It wasn’t until I got to tenth grade and had a teacher by the name of Jim Underhill who recognized that there was more to me than just the appearance of defiant behavior. He lifted my spirits by encouraging me to be and do more than what I thought was physically possible. He, along with my mom, constantly reinforced the notion that there’s greatness inside me, even when I didn’t believe it. Once I actualized my perspective on why I needed to tell this story and how teachers needed to remove all preconceived notions of who and what urban students are, then I had a way into the hearts and minds of my audiences. They could relate to the struggles and pains of physical and substance abuse and how a man struggling with his own demons is trying to make a difference in the world. At first glance Did You Do Your Homework? is a 12-character solo show about the bureaucracy of urban education and one substitute teacher’s journey through the inner dealings of an urban classroom. However, once you peel back the onion, it becomes a human being’s way of recognizing pain and using it as a catalyst to heal and inspire students going through seemingly insurmountable odds. I wrote this play having been a former teacher. Initially, it was a means to an end. A way to showcase my talents as an actor, singer, and writer. It was also a way for me to use social commentary to perform and talk about issues that were important to me. What I discovered during the writing process was the more it became deeply personal the more authentic and profound my script became. The result; a show, that was slated for one weekend, ran 9 months at the Beverly Hills Playhouse, making it the longest-running show in the history of that organization. It also amassed national and international, critical acclaim, and garnered several awards, including an International Gala Star from Bacau, Romania, a Roar of the Crowd recognition from Goldstar, and an NAACP Theatre Award. This came to fruition because I made a conscious decision to open my heart and let the story I had inside me out. By telling my own deeply personal narrative, from my perspective, in a voice that was uniquely mine, I unleashed my own power, motivated others, and authentically moved audiences. I said, "YES!" took a leap of faith and jumped. It is the best decision I have ever made involving the empowered trajectory of my career. Sometimes you have to get out of your own way and forge your own path in order to fulfill your true passion. You’ve got to, "Jump without a net, and let your conscious passion guide your subconscious dreams into figuring out how you are going to fly." Everyone has a story. What is yours? Whether you feel your life has been ordinary, extraordinary or somewhere in between, you have a life experience that warrants the probability of connecting with and inspiring others. Most people think they have nothing to say. They think their lives are boring, monotonous, or mundane. That there is nothing special about them that would warrant people paying attention, let alone paying money, to sit and watch their story unfold. When I hear people say, "I don’t have anything to write about," "I have nothing to say," or "My life is boring," it drives me nuts because those statements cannot be further from the truth. They’re unreal and firmly rooted in fear. Storytelling is an art that encourages personal narrative. How many people think they do not have anything to write about? How many think they have nothing to say? How many think their lives are boring, meaningless or mundane? Millions! Saying, "I have nothing…," connects you with a community of folks who feel invisible, isolated, undervalued, and even worthless. How many of us have felt this way at one time or another in our lives? I know I have. How many people have said, "There, but for the grace of God…," in recognition that other’s misfortune could have been our own? That statement alone connects us with the experiences of others. So, instead, start with, "I have nothing to say." What you will discover is that you will instantly connect and draw in people who will hear that statement tugging at their heartstrings. The reason; so many people feel that way. It is that simple. What is the story you want to tell and how do you authentically want to create it from your perspective? You are unique. Whatever the topic or subject matter, no one has your life experiences or point of view. No one can tell your story, from your perspective, better than YOU. The real purpose of your life is to fulfill your dreams. Your only responsibility in this process is to fully commit to your own joy and challenge yourself to go beyond what is comfortable. The time is "now," to develop your creative abilities and finally step into your true artistic greatness. Exercise your mind to get out of its own way and turn your "pain," from "passion," to "profits."

Source: ArticleBiz .com

#songwritingblog #Making it Big #performers #entertainmentbusinessarticle #Solo Performance #performingarticle #soloartists #musicbusiness

1 note · View note

aion-rsa · 3 years

Text

Resident Evil vs. Silent Hill: Which Franchise is Scarier?

https://ift.tt/eA8V8J

The release of Resident Evil Village and the always persistent rumors of a Silent Hill revival seem to have these two famous franchises on the minds of more horror fans than ever. Then again, these two franchises tend to live rent free in the minds of most gamers most of the time due to the simple fact that they feature some of the greatest scares in video game history.

“Scare” is the key word here. Maybe you have an opinion on which games are better, more memorable, or more fun, but at the end of the day, which franchise do you think is scarier: Resident Evil or Silent Hill?

Instead of trying to answer that question today, we’ll instead present an argument for each franchise’s status as the scariest and leave the honor of settling this debate up to you.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Resident Evil vs. Silent Hill: Why Resident Evil is Scarier

The thing that impresses me most about the Resident Evil series after all this time isn’t just how scary it has consistently been but how the series has evolved to scare us in different ways over the last 25 years.

The original Resident Evil game used a combination of limited resources, cumbersome controls, and limited defensive options to make the player feel helpless. While some say that those early RE titles were only as scary as they were because they were more “difficult,” that’s kind of an odd sentiment considering that Resident Evil was trying to prove that horror games could be as scary as films while trying to also make the most of a particularly rough era for 3D game design. That fact that Resident Evil was even that playable has to be considered a minor technological miracle.

Besides, can you honestly say you can play through Resident Evil or its remake and not still feel a little scared? There’s something about the first game’s blend of intimate, almost claustrophobic design and expertly timed scares that has aged shockingly well. We may now know that a dog is going to jump through that hallway window, but it’s almost impossible to not feel your body tense up in the moments leading up to even the game’s most iconic frights.

As their respective remakes showed, Resident Evil 2 and 3 were such well designed pieces of horror that their basic ideas and best moments still managed to terrify players even when you remove their more restrictive design elements. Granted, it didn’t hurt that both games successfully utilized the classic “a giant monster is chasing you, run away as fast as you can right now” concept, but as those still clamoring for a Resident Evil – Code: Veronica remake will probably tell you, these classic Resident Evil games balanced quick “jump” scares and lingering dread in such innovative and unique ways that it’s almost hard to expect modern developers to replicate their magic.

Some will argue that the Resident Evil series sacrificed scares for action with Resident Evil 4-6, but that too feels like a bit of an extreme take on the matter. While I’d also argue that those three games suffer from some diminishing returns in terms of their scares (especially compared to the original RE games), they represent a time when Capcom clearly experimented with how they could make the scariest action games possible. While some titles gave them a run for their money (Alan Wake and The Suffering come to mind), those Resident Evil sequels remained some of the scariest on the market at another time in gaming history when people were questioning whether or not gaming horror was even viable.

Besides, Resident Evil 7 once again showed that when the RE team just wants to scare the hell out of you, they’re arguably still the best at doing it. After titles like Amnesia and Outlast set a new bar for scary video games, Resident Evil came out swinging at the very idea that anyone would dare come after their crown. It may have borrowed from some of the other games of that era, but Resident Evil 7 managed to tie so many ideas from so many different styles of horror together so cleanly that it’s only after you stopped screaming that you probably appreciated it the scope of the soft revival’s accomplishments. Of course, those who played the game in VR are probably still screaming.

With Resident Evil Village, Capcom continues to find ways to keep the Resident Evil franchise scary even at a time when others in the industry cling to the narrative that the public doesn’t want games like scary, short, narrative-driven titles like Resident Evil Village. We’ve seen so many horror franchises lose their bite after only a couple installments, but Resident Evil has been scaring and entertaining us in shockingly equal measures for over 25 years now. At its best, it’s the source of some of gaming’s greatest scares ever.

Resident Evil vs. Silent Hill: Why Silent Hill is Scarier

When I think of Silent Hill, I think of fog. That’s not exactly a mind-blowing reveal given that fog is arguably this series’ trademark visual element, but Silent Hill‘s fog also perfectly represents the almost oppressive feeling of terror that these games surround you with.

Thanks largely to the contributions of the brilliant Silent Hill 2, this franchise is best known as one of gaming’s greatest sources of psychological horror. It’s a reputation that’s more than earned. While it’s always a little tricky to outright condemn the idea of the “jump scare” and stick by that argument, many horror fans will at least begrudgingly agree that shocking someone is often easier than scaring them in a way that truly scars them.

Yet, Silent Hill games have this way of getting under your skin and still terrifying you hours after you’ve walked away from actually playing them. Again, Silent Hill 2‘s personal Hell narrative and incredible character moments are arguably the best examples of that quality, but Silent Hill Homecoming‘s way of performing subtle psychotically tests on the player and then projecting their true fears onto the screen may just be one of the most impressive feats in horror game design history. As for Silent Hill 4: The Room…well, after 2020, most of us can probably attest to the terror of being locked away in a room because you’re terrified of what’s outside.

What Silent Hill sometimes doesn’t get credit for, though, are the more visceral elements of its horror. The Silent Hill series boasts some of the greatest monster designs in horror game history, and the games have this way of throwing them at you when you’re at your most emotionally vulnerable. Silent Hill may not be best known for its jump scares, but when the games want to go that route, they do it better than anyone.

Of course, how do you talk about Silent Hill without talking about P.T. It may have just been a demo for a Silent Hill game that never got made, but in just a couple of hours of gameplay, P.T. managed to establish itself as one of the scariest experiences ever. You could argue whether or not Silent Hills would have been able to maintain P.T.‘s adrenaline shot of terror across an entire game, but at the very least, P.T. showed that when Silent Hill games are firing on all cylinders, there is nothing quite like them.

On that note, it feels necessary to mention that the Silent Hill series has had some pretty low moments. Titles like Homecoming and Origins largely seemed to feel that this franchise’s trademark elements are enough to make any Silent Hill game scary, but those two titles proved that this is not an easy style of horror and that there are no expressways that run through Silent Hill. The series has also historically never been a best-seller despite including some of the most critically acclaimed games of all-time.

When you’re talking about what separates Silent Hill games from other horror titles in terms of scares, though, I think the word that you’re looking for is intimidation. Maybe that intimidation factor is part of the reason why these games have never really sold as well as others, but you almost have to respect how they often seem unconcerned with whether or not you’re enjoying them.

So, which franchise is scarier? Let us know what you think in the comments below.

The post Resident Evil vs. Silent Hill: Which Franchise is Scarier? appeared first on Den of Geek.

from Den of Geek https://ift.tt/2Spoho3

#aion-rsa #Den of Geek

0 notes

thisaintascenereviews · 7 years

Photo

Album Review by Bradley Christensen Steppenwolf – Steppenwolf / The Second Record Label: ABC Dunhill Release Date: January 29 1968 / October 1968

You know how I mentioned in my review of Queen’s The Game that I talked about how I had a bunch of old vinyl records from my parents? Well, one of those albums in there was a Steppenwolf greatest hits LP. The idea of a greatest hits album isn’t new whatsoever. I just picked up a 1967 greatest hits from The Byrds, and I’ve decided to talk about more greatest hits albums, because they’re often considered to be “canon” albums from bands / artists. These were released in the 60s and 70s, sometimes 80s, so they’re actual records that came out, especially when these bands were popular. They’re not like a lot of these other ones that came out in the last ten years, so these are the kinds of albums I count, but I decided to pick up their first two albums, 1968’s self-titled and 1968’s The Second (what a clever title, huh? I’m being heavily sarcastic there, for the record). Both of these albums feature the two songs that they’re known for. This band isn’t a one-hit-wonder, but they’re a two-hit-wonder. I mean, they kind of get the same treatment as a one-hit-wonder, because I bet not a lot of people remember this band, or really know who they are. I wouldn’t be shocked if you’re Googling this band right now, because you have no idea who they are, or at the very least, they seem familiar, but you can’t place them. Well, let me save you some trouble, because they’re known for the songs “Born To Be Wild,” which is every single montage in a movie or TV show (it was actually made famous in the movie Easy Rider, but it’s more commonly associated with the biker culture and lifestyle), and “Magic Carpet Ride,” which isn’t as popular, but it’s a song that’s definitely played on classic rock radio.

I decided to review both albums at once, because both of these LPs sound awfully similar. They’re essentially the same kind of album, a blues, hard-rock, and psychedelic-rock hybrid, and they came out months apart, so it makes sense to talk about them at the same time. Even so, both of these LPs are quite good, especially because they have a neat little hybrid sound that you don’t hear a lot of. I’m not too sure why this band flew under peoples’ radars, because there’s a lot more to them than their couple of big singles. They’re a couple of the best songs, no less, but the albums have some great songs on them. “Sookie Sookie,” “Hoochie Coochie Man,” “Born To Be Wild,” obviously, and a few more on the first album are great songs. There’s a really cool blues-rock, hard-rock, and psych-rock inspired sound that really blends each style together to make for a unique sound. The second album doesn’t feature as many really memorable tracks, but it still has an interesting and enjoyable sound to it. The thing is, though, there’s not a lot to say about these albums. That could be why they never got the same critical acclaim as tons of other bands from this era, because they’re pretty basic. Their sound is unique, sure, but that can only last them for so long. I do like this a lot, though, and I’m happy that I gave these albums a listen, because they’re solid hard-rock / blues-rock records. Hell, some people consider “Born To Be Wild” the first heavy metal song ever written, mainly because it features the lyrics “heavy metal” in it, but I’d say the first metal song is “In-A-Gadda-Da-Vida” by Iron Butterfly, as that has some very, very harder-edged and heavy metal-ish guitarwork, at least before Black Sabbath came along to totally change the game.

The albums a bit long, and even though the second one is only around 40 minutes, they’re both awfully repetitive. They’re not bad, or anything close to that, but I haven’t felt like coming back to them a whole ton, because there’s just not that much to really dive into. With a lot of the stuff that I’ve been listening to, there’s something worth coming back to, usually in the vocals, lyrics, or overall sound, but this band doesn’t have a lot of that. The vocals are fine, the lyrics are fine, and the overall sound is fine, but when I’m listening to a lot of stuff, a lot of which is great, “fine” doesn’t quite cut it. I’m still happy I checked these out, though, because they’re solid albums. Similarly to what I said about The Doors’ Waiting For The Sun, these albums are totally fine for what they are. If you’re looking to get into blues-rock, hard-rock, or some psychdelic-rock, these are some really nice albums for that. They won’t necessarily blow you away, or anything close to that, but they’re still very serviceable. Sometimes that’s what you need, because not every singe thing you hear has to blow you away. Every now and again, an album that’s just good for what it is can come your way and very much impress you. That’s how I feel about a lot of the Grand Funk albums that I’ve been into, because they’re not a band that I’d say is necessarily great, but they were cool for what they were. Hell, I wouldn’t say that Waiting For The Sun is one of my favorite albums of all time, but in terms of psychedelic music, it’s totally fine for what it is. If you’re looking to get into that kind of music, hey, that totally works. You can’t really go wrong with it. I wouldn’t recommend these records if you’re not into any of the few styles I mentioned, but if you happen to like one of those styles, or even all three, pick these up. Steppenwolf is a band that’s been forgotten about, and I guess for good reason, but still, they’re a little underrated.

#steppenwolf #the second #born to be wild #easy rider #magic carpet ride #rock #classic rock #1968 #rock and roll #hard-rock #blues-rock #heavy metal #metal

5 notes · View notes

justanothercinemaniac · 7 years

Text

Epic Movie (Re)Watch #115 - Fantasia

Spoilers Below

Have I Seen It Before: Sort of.

Did I Like It Then: I was...11, I think. I fell asleep.

Do I Remember It: The parts I was awake for.

Did I See It In Theaters: No.

Format: DVD

The format for my Fantasia post will be a bit different from previous Epic Movie (Re)Watch posts since the format of Fantasia is unique as well. Walt’s original vision for the film was that it would be re-released every few years, with older segments swapped out for newer ones. But Fantasia was a flop upon initial release and so this plan was scrapped. However the film ended up making its money back and then some following the 1969 re-release when its psychedelic imagery was promoted.

Disney released a new sound system to theaters for the film - Fantasound - so the idea of the, “film concert,” would be even greater. This was a precursor to surround sound!

Introduction

Each segment of Fantasia is introduced by Deems Taylor, the host of the film. It helps create the film’s unique format, although in future releases Taylor’s dialogue is dubbed by talented voiceover artist Corey Burton (since the original audio of Taylor was so scratchy).

This leads to an interesting point about Fantasia: after its original roadshow version, it was almost impossible to find a complete version of the film. Taylor’s segments would be cut and/or some scenes were totally omitted from the film (including the famous Night on Bald Mountain scene since it was deemed too frightening for children). It wasn’t until the 60th anniversary DVD in 2000 (the version I own) that the film was fully restored for home video. This is now the version which Disney releases today.

Toccata in Fugue in D Minor

“Toccata in Fugue in D Minor” is probably the least narrative piece in the film. It’s really just a showcase for the beautiful music and amazing animation working hand in hand. It’s mostly landscapes and lights which are pretty to look at but can get a bit dull after a while (which can be said of a lot of Fantasia).

The Nutcracker Suite

“The Nutcracker Suite” is almost like a mini-Fantasia in its own right, with each unique segment containing a different set of characters. It is when the film starts to feel Disney-ish, with dancing mushrooms with a lot of character and fun fantasy elements throughout. It has more characters and more conflict than “Toccata” and starts to feel like a narrative film. One of the best pieces in the film. Although...I don’t remember the bit with the fish halfway through. That was sort of dull.

The Sorcerer’s Apprentice

Honestly, this is the best part of the whole freaking film and the reason it even exists. According to IMDb:

Walt Disney himself related the story of a chance meeting with [conductor] Leopold Stokowski at Chasen's restaurant. They agreed to have dinner together. As they talked, Disney told of his plans to do "The Sorcerer's Apprentice" and other possible projects using classical music with animation. Disney said that he was stunned when Stokowski, then one of the two most famous conductors in the country (the other being Arturo Toscanini), responded by saying, "I would like to conduct that for you." It was an offer he couldn't pass up.

This segment introduced Mickey’s new/now-classic design including more human eyes and a flesh tone face. Originally the piece was meant to star Dopey from Snow White and the Seven Dwarfs, not Mickey, and if you pay attention to how Mickey’s sleeves behave you can definitely see that.

There’s a lot to say about this piece. It feels like a classic “Silly Symphony” (shorts Disney used to make) and is the most narrative part of the film. Mickey is a joy to watch as always, things like the broomsticks have so much classic Disney character, and it’s just a total joy to watch!

And then you have the wizard, Yen Sid. Which is Disney spelled backwards. Originally the name “Yen Sid” was going to be associated with the demon now known as Chernabog at the end of the film, but the animation team decided to secretly model this wizard after their boss. Everyone thought the little smirk he gave and the one eyebrow being raised when he catches Mickey was a dead give away though. Still, Yen Sid is the canon name for the wizard (even being used in the Kingdom Hearts series).

The Rite of Spring

From one of the best segments in the film to one of the most dull. “The Rite of Spring” starts out interestingly, watching the earth boiling in a molten form before it cools. But then it just...drags. The arrangement is a little dull (and the composer of the piece hated how it was arranged in the film), and we get to watch single celled organisms develop. Yay? The best part is when the t-rex shows up and fights a stegosaurus but that moment is just not long enough compared to the rest of the piece.

On one note, however, according to IMDb:

While perceptions of dinosaurs by both scientists and the public at large have changed considerably since this film was released, aspects of their depiction in the film are considered more progressive and accurate than most of their contemporaries. They were generally depicted in the film as "dynamic and agile" creatures, while most of the contemporary depictions had them as slow-moving reptiles. Certain scenes portray them as social animals and the image of the baby Triceratops staying close to his/her parents implies family life. This was nearly unheard of in contemporary depictions.

The DVD even has a 15 minute intermission, which I took to my advantage by pausing it (on the DVD it’s not actually 15 minutes but Deems Taylor says it is) so I could get food. When the film comes back Taylor introduces us to “The Soundtrack.”

It was probably more fascinating in 1940 when you had surround sound, as this little string (given so much character by the animators) demonstrates all the sounds of the orchestra and moves wonderfully to them. Although it does go on a bit long, but that can be said for most of this film.

Beethoven’s 6th Pastoral Symphony

Perhaps the most beautifully animated piece in the entire film, “Beethoven’s 6th” is one of the most memorable parts of the film. It’s Olympian setting was a precursor to Hercules years alter (the Zeus-s in those films even look a bit similar), it’s characters are funny and a treat to watch, and it is just filled with a lot of imagination.

It also has - or HAD - one of the most racist caricatures in Disney history with Sunflower the centaur. Don’t believe me. Well...

It’s not just the Disney of Sunflower, which in and of itself may not be too horrible. It’s that she’s the only black character in the entire segment and she is seen happily dotting on the white centaurs who are designed to be more traditionally pretty. According to IMDb:

In the "Pastoral Symphony" segment there was originally a scene showing stereotyped black assistant centaurs shining the hooves of white centaurs. The chief of these was Sunflower, who had a very stereotypical look: big, red lips and wild, messy hair. It was not until the 1969 re-release that this was thought to be objectionable, and all subsequent releases until 1980 had an abrupt cut at this point. Every subsequent release after 1990 includes the scene, but with the section blown up so that it only shows the faces of the white female centaurs.

When you’re looking for these crops, they’re painfully obvious. If you want to see a comparison of the two, I found this video:

youtube

Dance of the Hours

“Dance of the Hours” is another quite memorable piece from the film, if only because of the very Disney decision to have the dancers be ostriches, elephants, hippos, and alligators. It’s a lot of fun with nice slapstick that’s just a joy to watch.

A Night on Bald Mountain

One of the darkest and most frightening scenes in Disney’s animated canon, “Night on Bald Mountain” is also tied with “The Sorcerer’s Apprentice” for the most memorable segment in the film (but for different reasons). Even 60 years after the film’s initial release Disney gets complaints from parents about this scene being too scary, and who can blame them? The animation is harrowing, with ghosts and demons brought to life in glorious horror and monstrosity.

Bela Lugosi (Dracula) provided reference footage Disney used for the design of Chernabog, possibly the most frightening character the studio has ever created. His image has lived on in such media as “Fantasmic!” at the Disney parks, various fireworks shows, and even as a boss in at least two different Kingdom Hearts games. It leads into the final piece of the film to compliment this hellish imagery...

Ave Marie

The only piece in the film with any vocals, Ava Marie is a nice five minutes to end the film own (especially after the jarring “Night on Bald Mountain” segment). According to IMDb:

The filming of the final "Ave Maria" sequence was plagued by mishaps. To achieve the effect of moving through the scene, several panes of painted glass were used. The whole setup was over 200 feet long and had to be redone three times. The first time the wrong lens was placed on the camera, and the subsequent film showed not only the artwork but the workers scurrying around it. The second time around an earthquake struck the studio, and the shot was once again scrapped. The next morning the shot was redone, the film was shipped to the lab, processed and couriered to the premiere in New York where it was spliced into the final print with only four hours to spare.

Just a truly nice way to end the film.

Fantasia is film history and one of the most critically acclaimed films in the Disney catalogue. But it’s okay if it bores you at times, I was bored at times and I’m a Disney nut. Fantasia is not for everyone but if you’re a fan of animation, music, or are just curious, put it in. Or at least fast forward to your favorite segments.

#Fantasia #Disney #The Sorcerer's Apprentice #Night on Bald Mountain #Mickey Mouse #Epic Movie (Re)Watch #Fantasia GIF #Movie #Film #GIF

8 notes · View notes

terryblount · 4 years

Text

Spyro: Reignited Trilogy – PC Review

Spyro Reignited Trilogy is a remake of the three original fun-loving, cartoon-like Spyro games, originally created by Insomniac Games in 1998, 1999, and 2000 for the PlayStation. However, before discussing this modern ‘reignited’ collection, I need to go back to the late 1990s and share with you my personal history with Spyro.

Back in the Nintendo 64 Days

For his 7th birthday my brother received a Nintendo 64 from our grandparents. This was our first home console, and with this gift we now we had the ability to play so many yearned-for games which, until that moment, could only be played in our most improbable dreams. Indeed, now the two of us no longer were limited to my GameBoy and an old PC, and seeing games in full 3D (limited as it was back then) was a once-in-a-lifetime experience, a unique moment in my gaming life.

Spyro the Dragon flying majestically in astounding 3D graphics!

Thinking about that moment, now, makes me almost cry. I had never seen something like that before, and what was even more amazing was that I could also explore such huge, colorful, and incredible worlds thanks to the invention of the analogue stick. I ate up so many games. Super Mario 64 was unprecedented, Mario Kart 64 was so fun, and Banjo-Kazooie was difficult. Through all these games, I felt like my only limit was the time per day I had to explore them because there was always a new corner to discovery and enjoy.

The freedom of flying, with modern graphics, recreated from the original 1998 gameplay.

Besides feeling like the cool kid with my Nintendo 64, I also remember thinking that only Nintendo could possibly provide me with such vibrant worlds. But I realized how wrong I was when, a few years later, I went to a friend’s house and become initiated in the ways of the original PlayStation.

Enter the PlayStation Glory Years

When visiting my friend (thanks to our mothers being busy socializing), my friend and I could play all night long, and we could choose from his wide collection of games since he was one of those friends who had all the games you can’t ever afford. (For the record, my personal PS1 was bought some months after launch, but I just got a few games and lots of demo discs.)

It’s a dinosaur or something who talks and says things!

I remember one night in particular in which my friend (named Matteo, in case you were wondering) decided that evening that we should play a new game he received (probably from his grandparents), which according to him was the real Super Mario 64 competitor on Sony’s console. You guessed it… that game was Spyro the Dragon.

Prior to this night, I had only gotten a chance to see a few screenshots of the game on some of the earliest videogame websites and in some Italian magazines, so I didn’t know much about it. What I did know was that there were no other free-roaming 3D platformers available around that time on any other home consoles, apart from the N64 with the aforementioned Super Mario 64.

There were some other games that tried to be open in their world design. I had the chance to try a PC demo for a game called Croc (which was great!), but it wasn’t very open like Mario. Crash Bandicoot (on the PlayStation) was obviously a great game, but it was built to be “on-rails”. The Tomb Raider series was certainly a thing, but those games were still limited to the confines of the caverns and hallways you were in.

Spyro lets you enjoy the freedom of open 3D platforming like never seen before (in 1998).

Introducing Spyro: A Decent Mario Competitor

With all these things in mind, we now come to my history with Spyro the Dragon, itself (himself?). Sure, Mario was (and likely always will be) the real platformer king, but back in the late 1990s I really wanted to find a decent competitor in order to widen my choice of games to play. And Spyro delivered.

I recall booting up the game. Spyro magically started to live when the disc was inserted into the PlayStation, and it was love at first sight, sound, and play. From the start the humor was there that really made me laugh. The bright, vivid colors popped out at me, and the game was one of the best looking at that time. (Keep in mind that many of the ‘hot’ PS1 games were ‘mature’ with dark colors and themes.)

Spyro’s full of colorful characters who sometimes carry around creamy cakes!

Last, but not least, for us Italians, it was one of the first times where the whole game was completely dubbed with Italian voices, thanks to Italian voice actors. If I wasn’t already smitten with the game before, this last selling point was all it took to totally fall in love with Spyro, the pretty-friendly Dragon!

Thanks to all of Spyro’s charms and much more, the developers, Insomniac (who recently, in 2018, put out the universally acclaimed smash hit Marvel’s Spider-Man on PS4), strongly entered the videogames industry, and Universal (the publisher) made lots of money.

The new graphics are just as impressively beautiful and vivid as they were back in the day.

Much more importantly than fame or money, many players finally got to enjoy a real open-world 3D platformer on a console other than Nintendo, and there clearly was an appetite for this style of game. Consequently, Spyro, in his cool purple dragon style, sauntered himself through two additional Insomniac-developed chapters also on the PS1.

Hard Times for Old Heroes

Unfortunately, Spyro soon declined in popularity as game design evolved past the joys of simple 3D platformers. A couple PlayStation 2 titles (2002 and 2004) were developed and were moderately memorable. Other spin-off titles were also made to milk the franchise.

Then there was an attempt to revive Spyro in the 128-bit era by Activision (who bought the rights and owns them to this very day). This led to the creation of less interesting and semi-forgettable titles, including a dubious 2006-2008 rebooted trilogy with big-name voice actors and a planned movie tie-in (yuck).

Given Spyro’s rocky years, Activision shifted gears and directed one of their wholly-owned studios, Toys for Bob, to create a new type of game that mixed real-life collectible toy figures with videogames. This new vision would become the insanely successful Skylanders series. So in 2011 Spyro found himself becoming a ‘collectible toy’ video game designed to be inoffensive and accessible with RPG ‘hooks’ to keep the player engaged (and buying toys).

It’s ironic, then, that Skylanders began as a spin-off of Spyro but soon came to completely eclipse the Spyro brand. Soon enough, Spyro was mostly forgotten about as Skylanders went on to create an entire genre full of collectible toy creatures and mildly interesting ‘children’s’ videogames over the 2011 to 2016 period. Quite a fall for Spyro from being the up-and-coming threat to dethrone platforming-king Mario back in the early 3D days.

Finally, Spyro Returns, Reignited!

Having been dormant for some years now, and thanks to the trend in remaking old 3D classic games, Activision has finally brought back the original Spyro in this modern remake of the three very original games, much like how Activision remade the Crash Bandicoot saga in the ‘N. Sane Trilogy‘ in 2017. To accomplish this remake, Toys for Bob was called back to the action, which is fitting since they’ve had years of experience with Spyro-inspired games since 2011’s Skylanders series began.

Spyro can smile again, having been returned to his glory days in this modern remake!

First released in 2018 on PS4 and Xbox One, this remake has been a huge success from both critics and players, in part because it has allowed so many of us to relive old childhood memories in modern accommodations while retaining the appreciated ’90s gameplay mechanics. Accordingly, sales were huge, and Activision has successfully ridden the wave of instant nostalgia and given fans a real blast-from-the-past treat.

How Faithful is the ‘Reignited’ Remake? Very!

As far as the faithfulness of the remake goes, Toys for Bob have created a very faithful product, with the same story, worlds, and enemies of the originals. This is very much a 1:1 remake, much like its reboot-cousin, Crash’s ‘N. Sane Trilogy.’ With this reboot, from the first moment when you boot the game, it’s like traveling through time with some magic trickery.

Happiness and sunshine is what Spyro feels now having been given a quality remake.

Everything is there, in the same place I remember it, with all the same gems and chests right where I left them some 20 years ago. Even all the enemies are in the right places, with the same movements and noises. Indeed, all the gameplay and mechanics are basically identical to the original games. Even the beloved dragonfly character Sparx is faithfully recreated, who shows how much health is still available before collapsing and losing a life (you’ll understand when you play the game).

The only big difference in this remake is the technical, not structural, changes. Under the hood, the game hums along with excellent performance thanks to the Unreal Engine 4 engine, and all the modern effects create a visually pleasing, if still simplistic, style. The game engine also provides lots of configuration options to fit the power of various PCs, and the semi-cartoon visuals mean the game looks good even on lower settings.

Overall, this remake is ultra-faithful gameplay-wise but also has excellent additional details to make these original games come alive in ways never before seen. All the new aesthetic details are a treat to behold, even if they don’t change the underlying gameplay, and the few minor gameplay tweaks are welcome.

Very strong art and graphics create a new view of these old treasured games.

The Same Gameplay: Both Good and Bad

Delving into the actual gameplay, it should be noted that it’s both good and bad that this remake is so faithful to the originals. There’s no denying that these games are dated in design with gameplay that has aged a bit badly, but as long as you know what you’re expecting, you’ll likely find lots to appreciate.

As far as the structure, all three games maintain the world hub and its respective world zones scattered around it. Just like before, the player needs to collect all the gems, free all the dragons, and find all the stolen eggs using Spyro’s powers.

There’s just a few new additions here and there: for example, Spyro now has a new way of moving, inspired by feline movements, which make him smoother than before. The same treatment was used for every 3D model, allowing cleaner movements, making the game easier to appreciate in our time.

Out exploring, enjoying the smooth movement (but the gameplay is a bit stiff).

An Italian Aside

For the readers out there from Italy, let me once again say that we yet again have a completely localized game with redone (and superior) voice acting. Gone are the questionable accents of the original games, so the localization efforts deserve praise.

Game Difficulty: Not Hard

Let’s bring up Crash Bandicoot again. That series was cruel and difficult despite its happy cartoon-like design, and both the originals and remake were obviously aimed at experienced players. Spyro, on the other hand, was always aimed at younger players, and both the originals and remake have much easier controls and laid-back design.

Mind you, Spyro can still be a tough game at times, but it’s only ever difficult, not nightmarish, and most of the game is easy to explore and enjoy. Basically, Spyro is the type of game everyone (including kids) can play through and reach the end, feeling satisfied at the result.

It would have been nice to have some way to select or unlock more difficulty options in this remake, but whether you’re young or old there still is enough challenge to keep most players focused. Still, you can decide for yourself if the lesser challenge is a plus or minus for you, personally.

Concluding the Spyro Reignited Trilogy

Now I’ve taken you on my person journey through Spyro, leading up to this recent remake. I’ve enjoyed my time with this modern Spyro, and it’s been like a homecoming for me, reliving my old cherished memories. However, even if you’re never played Spyro before, there’s much to enjoy. The game is colorful, smooth, and interesting with a cartoon-like story and charming characters.

There’s much to love in this charming game world, if you don’t mind old game mechanics.

Make no mistake, this Reignited Trilogy is nothing more or less than a totally faithful, high-fidelity remake of the first three games (some would say the only legitimate Spyro titles). New players might not be willing to endure the old-school mechanics and simple challenge, but with the right mindset it’s really enjoyable to play.

At the very least, it’s nice to have Spyro back in a nice modern three-in-one package, reliving his 3D platforming glory days.

Faithful to the original trilogy

Remastered graphics

Easily customizable

3 games for the cost of 1!

Suitable for all ages

Probably too easy for some

No additional levels

No original graphics mode

No bonuses or extras

Playtime: 12 hours total (and counting). Mathieu has not completed the game, but he’s still playing it to collect all the gems!

Computer Specs: Windows 10 64-bit laptop computer, with 16GB of Ram, Nvidia 1050Ti.

The post Spyro: Reignited Trilogy – PC Review appeared first on DSOGaming.

Spyro: Reignited Trilogy – PC Review published first on https://touchgen.tumblr.com/

0 notes

sarahburness · 5 years

Text

And The Oscar For The Best Speech Goes To…

Also called the Oscars, the Academy Awards is one of the most significant and highly anticipated annual events in the film industry. The set of awards is given by the Academy of Motion Picture Arts and Sciences to recognize cinematic excellence.

And there is no actor/actress that won’t love to hear his/her name called after the much-awaited “And the Oscar goes to…” announcement.

According to the speeches of the actors who were lucky enough to carry the Oscar statuette, they’ve been dreaming for that moment ever since they were kids.

For example, when Kate Winslet received her Best Actress Award during the 81st Academy Awards for the movie “The Reader” in 2008, she shared about how she’d dreamt of winning an Oscars from when she was eight that she would hold a shampoo bottle to imagine the moment.

“Well, it’s not a shampoo bottle now! I feel very fortunate to have made it all the way from there to here…” – Kate Winslet

Or do you remember Whoopi Goldberg when she received her award for Best Actress in a Supporting Role back in 1990 during the 63rd Academy Awards for the movie “Ghost”?

In her acceptance speech, she said, “….Ever since I was a little kid I wanted this.”

But apart from having their names called, these actors and actresses were also thrilled to share their remarkable acceptance speeches. People search them on YouTube and other platforms to find inspiration and get an idea on how to prepare a great Oscars speech the people won’t forget.

Viola Davis

Via oscar.go.com

Her speech was one of the most emotive and powerful acceptance speeches. In fact, it was considered the best during the 2017 Oscars. Jimmy Kimmel, the main host, joked that Viola had just won an Emmy Award for her speech.

Excerpt: “You know, there is one place that all the people with the greatest potential are gathered and that’s the graveyard.”

Halle Berry

She nailed one of the best Oscars speeches of all time. She made it even more memorable as she opened the door for black women in the industry. Halley Berry was the first African-American woman to receive the prestigious award in 2002.

Excerpt: “And it’s (the moment) for every nameless, faceless woman of color that now has a chance because this door tonight has been opened.”

Robin Williams

After his humorous and sweet speech, he broke down and express appreciation to his father who told him to have a backup profession when he expressed his intention to be an actor.

Excerpt: “Most of all, I want to thank my father, up there, the man who when I said I wanted to be an actor, he said, ‘Wonderful, just have a back-up profession – like welding.'”

Tom Hanks

Showing the qualities of a notable man and a lovable film artist, the 1994 Best Actor awardee for the movie “Philadelphia” delivered a very memorable speech paying tribute to AIDS victims. And that’s one thing that made his speech one of the best of all time.

Excerpt: “The streets of heaven are too crowded with angels. We know their names. They number a thousand for each of the red ribbons we wear here tonight.”

See Also: 4 Lessons from Oprah’s Golden Globes Speech You Need to Remember Each Morning

Tips for Giving a Great Oscars Speech

Before that big day comes, prepare for it. Apart from a designer gown or suit, you should get your speech ready to prevent a potential mental block, which then becomes a disaster.

Don’t try to thank everyone or you’ll end up forgetting someone. After all, no one wants to hear a parade of names without actually noting who they are or what they did to help.

Be spontaneous and let it out! No one wants a thoroughly rehearsed speech, one being practiced since you were 10. You should use that euphoric spontaneity. Besides, speeches are the only unrehearsed moments at the Oscars.

Share a brief story of someone that had influenced your life. This person can be from the movie industry or the past. It can be your father or high school drama teacher.

Rehearse! If rehearsing your lines for the movie helps to master the kind of emotion to put into them, you will also benefit from rehearsing your speech. But again, leave some space for spontaneity.

Do you still believe that Hollywood stars have an inborn talent in public speaking?

They don’t. In fact, it took them a lot of time and effort before they become a real artist. However, it can be easy to forget that because each celebrity is uniquely talented.

But just like the rest of us, they’re humans who also struggle with challenges. This includes speech disorders that, fortunately, have made them stronger.

For example, Marilyn Monroe, who had a trademark breathy voice, had stuttering issues that persisted throughout her life. Thanks to her speech therapist who taught her ways on deliberate breathing before speaking to improve fluency, she shone like the real star that she was.

Via pinterest

And then there is Samuel L. Jackson. He’s one of the highest grossing actors of all time and he happens to be a stutterer. The prolific and powerful American actor who received commercial and critical acclaim for roles in dozens of films, including Jurassic Park and Pulp Fiction, also struggles with stuttering. Most people may not even know about it.

Until now, Jackson is not without the bad days. He’s still having his G days (G-g-g-e-t…), B days and S days. But then, he noted that he figured out a way to overcome them.

He also found that acting is a good way to deal with the problem, as also suggested by his speech pathologist. And in his speech at the 2013 American Institute of Stuttering Gala, he addressed stutterers and told them that it is okay for people to wait for what they (stutterers) have to say because it’s important.

Jackson also said that everything could make them stronger and that they’re even stronger than the people who do not have stuttering issues.

Final Thoughts

It is always a wonderful reminder to more than 68 million people who stutter that they can be just as engaging, brilliant, funny, unique and award-worthy as those who don’t. The fact that even some Hollywood stars who now enjoy global stardom are no stranger to the condition can also inspire them. With hard work, patience, and professional help, they can gain fluency over time and be speech-ready!

The post And The Oscar For The Best Speech Goes To… appeared first on Dumb Little Man.

from Dumb Little Man https://www.dumblittleman.com/inspirational-oscar-speeches/

0 notes

mktgdesign · 7 years

Text

Feed your soul with unexpected discoveries: the uncharted makes Movement a monumental and historic event time and time again.

The banter started months ago; if not half a year. It began trying to decide on the appropriate accommodations for Movement 2017. I felt like a bride trying to wrangle my bridesmaids into making decisions for my bachelorette party. Which, in fact, I did have to do for my actual bachelor party for Movement/DEMF weekend a few years back. A very similar set of assholes were also in attendance (they would agree, trust me).

From there we traversed many group text message tangents over the course of the next few months. Most ranged within simple reflections of earlier times: long lost parties from late 90’s Detroit, memorable sets and djs, how a reclusive artist ends up in the national news for ordering a TV online and receiving a rifle instead, even a few scanned rave photos cracking daylight for the first time in years.

Some flirted with darker realms. Anywhere from accusations of man-crushing Richie Hawtin, to inviting each other to a 90s party of has-been djs, to crude innuendos involving Sarah Palin and throwing Kogel Viennas down the Windsor Tunnel. And that was the nice stuff.

A host of other rude comments and opinions flooded our cellular networks for weeks. It was not uncommon to leave the office to 187 messages awaiting your amusement. It gave you a chance to catch up on the last 4 hours of general mockery and drop a few one-liners to show you having lost your touch. These things may bring a lesser group of friends past fighting-words. And at the very least would leave at least one member in tears at night. Usually from uncontrollable laughter, but quite possible from actual deep, root-infested hurt.

Needless to say a group of five ol’ school, dedicated house and techno heads were once again ready to take Detroit head-on for Movement weekend.

Friday: A Little Techno History

The first stop once we arrived in Detroit was Atwater brewery. Atwater makes a few of my favorite beers. We wanted to stop for a few drinks while awaiting more peeps to come through. Unfortunately they were playing the worst pop music station imaginable. Two drinks were all we could handle. Unacceptable for Movement weekend in Detroit.

After sliding by the hotel to pick up another member of the crew it was time for some long overdue lunch. Off to Mudgies corner deli in Corktown for some of the best sandwiches in the country. I was ecstatic Submerge had open hours for the entire weekend. We decided to hop there Friday before the festivities got into full effect (and the wax got picked over).

This was my first time shopping at Submerge and it was exactly what I expected. Upon stepping out of the car we were immediately greeted with Kenny Dixon Jr.’s “Prince house.” A big red brick home complete with wide open windows to let long, purple sheets free-flow in the wind–granting the the funk and soul music to pour out onto the street.

http://www.djfrequencies.com/blog/wp-content/uploads/2017/06/IMG_5091-Moodymann-prince-house.m4v

Once inside Submerge we headed downstairs to peep the records in stock. To the left there was a quick pop-up shop more dedicated to soul, funk, and Detroit house. In the main room to the right was Detroit techno of all kinds. Classic cuts, new releases from Detroit labels, some imports and used obscure EPs. They had four listening stations setup and a majority of UR crew on hand to assist. I picked up some classic cuts from Transmat, Metroplex, a few newer Planet E releases, and even a couple used original Nine Inch Nails singles.

Before walking out with our bags of wax we hit the Techno museum on the ground floor. The room was full of display cases with everything from the classic Roland drum machines that helped kick-start the Detroit sound to releases that put the city on the map. The ceiling was lined with artist passes from years of UR events across the globe and on the back wall was a small enclosed studio.

This slideshow requires JavaScript.

After stocking up at Submerge we headed to Greektown Hotel to settle in and await the remainder of the crew to arrive. Before our opening Movement party we needed a good meal. We hit Selden Standard for some amazing small plates. We headed to the Smartbar Movement Opening Party & BBQ at TV Lounge for the night. Delano Smith in the main outdoor area was killin’ it. Such a smooth and groovy set; great mixes and fire tracks. The highlight of the night for me. The other stand out set was Jason Kendig during his b2b with Derek Plaslaiko; rocking it from the alley stage. Everyone was in a great mood and sharing positive vibes throughout the night. Close to each stage was pretty packed but there was plenty of room to walk from room to room. There was enough space to dance and conversate. TV Lounge is always a safe bet to start a festival weekend and it did not disappoint.

“Detroit Michigan. If you ain’t ready to party, take your bitch ass home. T-Shirts!”

Saturday

On the way to the festival Saturday afternoon a street vendor shouted a line that defined the now Mantra for Movement weekend, Detroit Hustles Harder. “Detroit Michigan. If you ain’t ready to party, take your bitch ass home. T-Shirts!”

Once inside we first caught a bit of Alton Miller‘s set on the Made In Detroit Stage. He was playing those soulful vocal tracks that hit. A few mixes were sub-par but a fun set to start the festival. We hit Matrixxman at the Underground Stage next. They kept the Underground Stage setup the same as last year, which sounded the best in years. The sound was still great this year, but wow, it was already aggressively loud. Not even in the pit the bass was thunderous, earplugs were definitely necessary.

We headed to Luke Hess on the Main Stage to support and represent. What a good set. Early on there was a noticeable, consistent clicking coming from the right stack. But Paxahau staff was on it and remedy a quick fix. Josh Wink, up next after Hess, was to Luke’s right cheering him on and having a great time. I always feel like a bit of a tool holding out my phone for a quick photo or video. But after seeing Wink whip out his phone for some photos of the crowd, I though… yeah it’s acceptable.

We popped over to the Redbull Music Academy Stage to catch the tail end of John Arnold‘s (live) set just to head back to finish off with Hess. We headed back to the Underground to catch Rrose (live). His live set from Movement 2013 was amazing. His music is on the more spacial, heady, and surreal side of techno the sound was still crazy loud. We found a spot to the right of the stage that had the most agreeable sound.

After Rrose it was off to one of our favorite stages for every Movement weekend–the Stargate Stage to see Octave One (live). Octave One was great as always, but we could not miss our chance to see Larry Heard, a king of house, live. Heard had a live vocalist on stage with him while also layering his own vocals on top for choruses. His set was honestly a little tough to get into at first. I assumed it may be as it was not quite party-mode enough for 7pm open day. I didn’t stick around for the entire set but I heard by the end he brought his A-game to Detroit.

Next I caught a bit of Nicole Moudaber on the Main Stage from VIP. I was also very much looking forward to seeing Ben Klock (as always). He’s an amazing Dj to which I have never seen a bad set. Always quality, always on point. I was excited because the last two times he played at Movement he was at the Underground and now we got to see him outside at the Pyramid Stage. Well, we tried our best. We made our way to a decent spot on the floor but there was a steady stream of people flowing both in and out of the stage area. It was to much to bare. We tried several spots and half the group ventured to the VIP stage atop the pyramid structure. This newly added section was also overflowing and lacked good sound for the set. Earlier in the day the Pyramid Stage sounded great from the Beirgarden. We decided to have a bit of a rest, grab a few drinks, and see how Klock sounded from the garden. Out of luck again. The sound was not as full as earlier and was now competing with the Main Stage. Good thing I’ve seen Klock many times.

Next I made my way to the Main Stage to secure a good spot for The Belleville Three.

Titans of Techno: The Belleville Three & Richie Hawtin

Having seen each of The Belleville Three perform solo numerous times over the years I’ve grown accustom to their unique style, music, and stage presence. I wasn’t sure what to expect having all three of these influential figures on the stage performing together as one. The group had attempted a similar outing back in 2010 at Amsterdam’s Awakenings Festival to which they deemed a disaster. Taking that as a lesson they premiered the new project at Coachella this year to critical acclaim. It was now time for these three to bring it back home and show the hardcore techno fans of Movement what they had in store.

The set began with a dark, lush, and ominous soundscape backdropped by nothing more than a visual of three triangles joined together as one, pulsating on a black background. These three triangles represent each figure from The Belleville Three and together form their official logo. Kevin Saunderson positioned in the middle, Juan Aktins to his right, and Derrick May to his left.

The intro resonated the presence of Juan Atkins, the Originator. The ambient sounds built into minimal Detroit techno as the screen visuals progressed in tandem. A simple vocal repeating “Detroit” layered over the haunting sounds while the visuals projected images of the industries that built the city. Inversed black and white videos crisscrossed the Detroit skyline, the very scenery we were witnessing live. This imagery gave a glimpse into the apocalyptic conditions of late 1970’s Detroit that helped fuel the creative ambitions to conceive what we now know as techno.

The set morphed into the juxtaposition of the soulful sound Detroit became known for and the dark, pounding minimal Atkins provided. As each new track was added you could feel who’s selection it was. Each member bringing their unique styles together as one and playing upon their strengths on stage. The performance was planned to sound very much like each individual was playing their own set, yet glued together as one cohesive piece. Aktins presumably played live. Saunderson, the hulking figure in the middle, controlled the main mixing board as he cut in tracks and used effects for the break-downs. May flipped through vinyl as he added tracks to both a turntable and a CDJ, working the mixer by chopping the crossfader and track faders and manipulating the EQ’s like no one else can. The group ripped through a myriad of songs during the performance. Everything from their own hits to music that inspired them (Afrika Bambaataa’s “Planet Rock”) fused with 2nd and 3rd wave Detroit artists their music helped inspire (Jeff Mills’ “The Bells”).

The Belleville Three did a beautiful job crafting the peaks and valleys that make for an unexpected and energetic set. The meshing of these three solitary styles and egos worked remarkably well on stage. As expected with three strong and creative individuals each working on the same timeline, the performance was not without the occasional hiccup. Tracks would go slightly off-beat or out of phase. At times Atkins or May would peer over to Saunderson for a visual confirmation, but the three always ventured forward moving the crowd in-sync. These longtime friends who always pushed each other creatively over the years, and not without a healthy dose of personal competition, forged their own paths into the music industry. Each creating and managing their own labels and careers. But tonight, for this performance, after all the years of success and failures, ups and downs, and the countless electronic acts who have also found success in the wake of their own, the Belleville Three came full circle, bringing old fans and new fans alike under one banner.

Arguably the most well known artist that emerged from the earlier Detroit scene was next up on the Main Stage. Richie Hawtin brought his new ��CLOSE” concept to Movement 2017. As did The Belleville Three, Richie also debuted this new performance at Coachella. He was now primed to rock the audience here in Detroit. Rich has always been at the cutting edge of Dj performance technology. He is one of the best at matching tracks to mix, has a great stage presence, and he knows it takes more than just talent on the decks to be the best… it takes inventive marketing genius.

CLOSE is Richie Hawtin’s attempt to remove some of the shrouded mystique behind Djing (but while also adding back in some amaze and bewilderment). Nearly all electronic artists perform from behind a console outfitted with a mixer, a computer, and either turntables or CDJs. The gear, while necessary, also serves to separate DJs from their crowds. Hawtin wanted to remove this barrier and bring the crowd closer to what we was doing while on stage. The result is a stage setup that removes the wall in front of him and instead splits his gear between two tables angled towards the crowd. This gives amble space to view the entire body of the performer, not just a head and torso.

The performance doesn’t end with opening up the Dj physically to the crowd. Hawtin performs his improvised mix while cameras directed at him create abstract representations of his mixing and controlling in real time. In effect showing his fans exactly what it takes for him to mix up to four tracks and samples at a time while also layering in multiple effects. These visuals are amplified by sets of lighting across the stage synchronized to his beats. The lighting stared as simple yellow globes pulsating on the pitch black stage. Until all at once waves of lights blast across the stage emerging the crowd from the depths of anticipation.

http://www.djfrequencies.com/blog/wp-content/uploads/2017/06/IMG_5174-CLOSE-5.m4v

The visuals continue to grow and interact with the music, blurring the lines between electronic artist and performance art. Deep reds are projected upon the massive screen behind while blinding lights shine directly behind Hawtin as he reaches across both tables to his side, flipping back and forth between his gear. The lighting seems to lift the man, elevating his on-stage persona to almost godly, unattainable heights. Rich has always been a master at constructing the dramatic within his sets. Using effects during extended breakdowns followed by massive drops and powerful beats. The introduction of digital djing, and the unlimited possibilities to loop samples and create on-the-fly remixes, has allowed electronic artists to concoct a perfectly timed tension and release that makes for dazzling mixes. Richie has now harmonized this sonic technology with the visual artistry rock bands have been using on stage for some time.

One thing I can say about Richie’s sets is they can at times become predictable. Every few minutes or so I expect a break with his unique mash of effects culminating into an immense drop that drives the crows wild. It still gets me, I admit, but without everything else this new concept has to offer, I want to ensure the music still surprises me. Which is one thing I’ll give to The Belleville Three performance. Even though I’ve heard most of the tracks they played for years, I could never confirm exactly how the mixes would play out. The reverse seemed to be true for Hawtin’s sets. I rarely recognized the tracks, except for his signature Plastikman samples and effects, but I almost always knew how the mix would play out.

The crew and I do like to clown on Rich fans as they’ve gushed over him and his various accomplishments throughout the years. But that’s only because we’ve been with him from the start. There was a period within his CLOSE set which festival goers were throwing glow sticks from high elevated areas of the stage down into the pit. Which propelled those fans to throw them again and lead to numerous plastic glowing projectiles shooting across all manners of the crowd. This isn’t Woodstock kids (I know, I was there in 1999 too). Enjoy the music. Respect your neighbors. If they only knew how Rich used to ban glow sticks and flashy raver toys from his early parties and instead paid homage to the dark entombed warehouse vibe with either a single strobe or one color bay of lights. And of course with absolutely no smoke machine.

I agree what used to work best for the dank basement clubs and abandoned warehouses of the 1990’s does not transfer well to the festival space in 2017. Hawtin has transformed his music and his performances many times over the years, usually leading the trends and at times inventing them. It seems like all his years as a live performer, electronic artist, and Dj may have led up to this point. I applaud him for moving that needle once again.

The first day of Movement 2017 was a success. There was almost to many acts to see to close out the night. I was disappointed not to catch Function (live) or Robert Hood (live). I’ve seen both of these sets before and no one can foretell when or if I could see The Belleville Three or Richie Hawtin CLOSE again.

Tresor in Detroit, Once Again.

After such an amazing ending to the first (official) day of the festival it would be challenging to top. Topping one performance is not always the hope for the next. Like any great mix you must invite the ebb and flow of the day and night, from set to set, to guide your experience. The Tresor after party was actually the only thing we planned before the festival besides Movement itself. We had a great time last year and I love the Tangent for events.

Claude Young was on in the side room when we arrived and Silent Servant was in the main room. Claude was putting down a good mix with classic industrial influences such as Nitzer Ebb, Depeche Mode, and lots of good electro. I love that music and these have been huge influences of mine as well, but it wasn’t what I was looking for at the time. I kept waiting for him to break into those groovy, banging house and techno tracks he played lasted year at Tresor. He did break out some of his mixing and turntable skills, such as his signature cross-fade with the nose trick, but a Movement after party should keep the party going right off the bat, not ease into it.

There was a surprise guest coming on at 4am and I saw Function in the building. Given I had missed his set earlier in the night and heard it was great (as always) I was crossing my fingers. Civil Defense Programme (live), Roger Semsroth’s (aka Sleeparchive) experimental noise project, was coming on in the main room and Thomas Fehlmann + Terrence Dixon (live) was taking over the side room.

Civil Defense Programme was way too heavy, and well, noisy, for my attention at this time in the morning. Terrence Dixon was in fact some of the reasoning behind us choosing Tresor for the night. Earlier in the week I was geeked to find a Terrence Dixon set on Slam’s podcast.

“What a great way to get me pumped for his set Saturday night,” I thought. Unfortunately the podcast was quite boring. It had a 38 minute intro for a 53 minute set and didn’t pick up much after that. Needless to say the set Saturday night at Tresor wasn’t much of a difference, even standing there live. I’ll also note that the sound, the low-end particularly, in the side room was a bit underwhelming. When a name like Tresor comes to town for a single night you bring your A-game on all accounts. During Movement weekend no less. Not to mention just days after developer Fernando Palazuelo broke ground at the legendary Packard Plant where Tresor boss Dimitri Hegemann vows to construct a new club in Detroit.

Finally! Someone brings the fucking heat to the floor.

Christina Sealey, one half of the duo that form Orphx, was next up in the main room bringing a hybrid live / Dj set. Finally! Someone brings the fucking heat to the floor. It was an inventive set of broken beat techno, interesting tracks, and low-end heaters. Up next in the main room was the surprise guest. No, it was not Function (though he was billed as the surprise guest for No Way Back at Tangent Monday night); it was Dj Deep. I had never heard Dj Deep before and didn’t realize he played the festival earlier in the day. I wasn’t sure what to expect but he as well brought a quality set. He started out with some more house to techhouse tunes for a few mixes then dropped the heat for the rest of his set.

We spent a fair amount of the party traversing from room to room, outside in the back area, and also out in front. During one of our longer stints out back we noticed a small team setting up a tent. We got wind that Dan Bell would also be appearing for a surprise Dj set outside! Great news and completely unexpected at a Tresor after hours. We stuck around to watch the sunrise during the smooth and funky grooves Mr. Dan Bell brings to the decks so well.

The end to a very solid opening day for Movement 2017.

Sunday

Sunday started how Sundays in Detroit usually start–at the Grand Trunk Pub for $2 Bloody Mary refills. The Lobster and Spinach Benny hit the spot and three bloody’s took the edge off. Most of the crew wasn’t quite yet ready to face the day. We contemplated hitting the Resolute day party to keep the Dan Bell vibe going, but I decided to head down to the festival solo.

This day was mostly filled with acts playing the Underground Stage and the first one I caught was Orphx (live). The bass and volume seemed to be toned down just a bit at the Underground Stage today (which was a good thing). Orphx and their rare form of live improvised industrial-techno sounded great. I caught them a few years back, also in the Underground, and the set was good, but the sound that day in the Underground did not do it justice. I was pleased this year.

The weather decided to start not cooperating Sunday afternoon. First a bit of rain, then tapering back to just a sprinkle. I was trying to get everyone down to the festival before it got too objectionable, but then the real rain reared it’s ugly head. I wasn’t planning to see Ryan Elliott this year. Last time I saw him at Movement his set was just ok. This year he brought some serious sounds. I was very much hoping to see Audion (live) on the Stargate Stage. Mathew Dear is always a solid choice and after hearing his new release “Starfucker” on Hot Creation just the night before I was ready.

I hate to be a fair-weather raver, but shit… I didn’t bring any rain gear and didn’t feel like walking around in wet clothes the rest of the day. It’s a good thing Ryan was bringing a proper set. I decided to stick around and stay dry. Unfortunately so did a bout half of everyone in Hart Plaza. I’ve never seen it so packed in the underground at that time of day. I had to squeeze my way through the crowd and find a spot way off in a corner just to breathe.

Towards the end of his set the sunshine started too peek out once again. Which was perfect as I wanted to get a decent spot to catch Sleeparchive (live). I’ve heard plenty of live sets from Sleeparchive and own plenty of his tracks but never the chance to see him live. The set was exactly what I was expecting. His signature sound of hard, dark, and uncompromising techno channels earlier works from Regis and his Downwards imprint. There were very few breaks in the menacing bass. Which seemed to scare most of the crowd out of hiding in the underground and out to sunnier pastures. These sounds have been a part of my techno DNA for decades and they still have their place and time. I will admit as my interests and tastes flow through the years and the seasons this style of techno just isn’t what I’m seeking at this particular place in time.

I needed a break from the underground and the crew was finally making it through the gates. I opted for a rest in the open air and a chance to re-connect with friends. We first popped by Cajmere at the Stargate Stage to catch the Chicago house and techno legend do his thang. He was putting down a good set as always. Though IMHO he was lopping and holding on to the breaks way too long. At times he would drop the beat in, then go straight back into the break. I felt like half my time spent there was just waiting for the beat to drop.

Paranoid London (live). An instant classic!

We swung by the underground to catch the start of DVS1. Maybe it was because I just came from Cajmere but DVS1 was playing noticeably fast for techno these days. I didn’t tap out the bpms but it was mid 130’s at least. Admittedly I don’t know much about Paranoid London but my boy was destine to see them play live so we ventured over to the RBMA stage. So glad we did as this was the surprise set of the weekend. Paranoid London has a wide range of house/techno music and let gets down and dirty with dope ass bass lines, thumpin kicks, and of course signature live vocals. They have managed to create tracks reminiscent simpler times in dance music with some fun and dark twists. Paranoid London (live) was an instant classic!

BXT was next on our schedule. I was thoroughly impressed with Amp Fiddler with Will Sessions live last year at Movement so I was very excited to see what he and Niko Marks bring together as BXT. We talked about leaving Paranoid London to catch the opening of BXT. It was a tough call. We were having such a great time with PL and it was a known vs and somewhat unknown. We had to stick around to finish PL. Once we arrived at BXT at the Made in Detroit Stage… Whoa. We did question the choice to stay at PL. Honestly I wish I could have just seen both full sets, B2B. (Festival Choices…)

BXT is the next generation of Detroit soul and funk. Period.

BXT is the next generation of Detroit soul and funk. Period. The duo’s vibe together on stage is transcendent. Both artists are exceptional on the keys as they flip positions and allow each other to shine. Both radiate brilliant presence while remaining humble and poised to feed off each others energy. Another highlight of the weekend. Cannot wait to see more from these two.

After awakening our pineal gland with Detroit soul it was time to see Amsterdam’s legendary techno icon Steve Rachmad as his Sterac alias. It doesn’t matter where or what alias Rachmad is playing, he is consistently one of the best Djs of all time. There was just enough room to grab a good spot outside of the pit when we arrived. Shortly the place was massively packed with people sweating and grooving to the proper techno Sterac was laying down. I’m sure the rain that had now returned steered a few unsuspecting Testpilot fans towards the underground and could now not escape the alarming, yet irresistible, techno hammering out of the subs. I believe the rain also delayed some sets around this time, but fans of Testpilot and Juicy J still got to see their shows that night. I’ll leave it to Sterac to end out my night for day two of the Movement festival thanks.

This slideshow requires JavaScript.

Unfortunately this is where my Movement festival weekend comes to a close. Responsibilities led me from Detroit before any of the solid activities got started on Monday. For those that stuck around it was off to Industry Brunch at Tangent for daytime party vibes where FBK from Ohio threw down a live set full of dark techno.

One of the main highlights from the festival was the Ben Sims B2B Truncate set. The duo added some rave-time fun to close out the Underground Stage for the weekend. Lots of classic jackin’ techno mingled with new grooves.

Then it was back to Tangent for The Bunker NY party. Function came through as the special guest with a three deck CDJ set. Hot Mix (Mike Servito, Justin Cudmore, Gunnar Haslam) served up some tasty deep house and techno with a side of acid (yum!). Antenes was the surprise hit for this Movement close out. Electro and varied styles of techno were fair game for her mixed vinyl and CDJ set.

What It’s All About

While the friendly ridicule and chaffing brought my group of friends together leading up to Movement festival, it’s always the music and camaraderie that keeps us coming back year after year. It is the obvious that brings us to Detroit for Movement: the artists we know, the dj’s we can count on, the performers we’ve been waiting for. But it is the uncharted that truly makes Movement weekend a monumental and historic event time and time again. It’s the surprise sunrise sets from your favorite djs. It’s the artists you anticipate holding the torch into the next generation of Detroit. It’s stumbling across a stage and staying for the entire set. It’s you discovering something that has never existed before this moment, and will never again be present in the future.

Movement Detroit and the events, happenings, and beliefs behind it have grown into a living entity. It’s nothing you can touch or hold. It’s difficult to describe to those who cannot already feel it. It is an abstract concept that unifies thousands of minds, bodies, and souls from across the world. It’s a movement for the city of Detroit and the music that feeds the soul of it’s people. It remains admirably purposeful, determined, and unwavering for fans of electronic music in the year two thousand and seventeen. And I see it feeding their souls for years to come.

Movement 2017 Review: Detroit’s Electronic Music Festival Feed your soul with unexpected discoveries: the uncharted makes Movement a monumental and historic event time and time again.

#House #Movement 2017 #Music Festivals #Techno

0 notes