Hermann Vaske with 99 Records founder Ed Bahlman and Anne-Katrin Titze on the journey to interview Cate Blanchett for Can Creativity Save the World?: “It started when Cate was shooting The Monuments Men [in 2013] in Berlin with George Clooney. And the Dp was a friend of mine, Phedon Papamichael who works with James Mangold.”
Hermann Vaske’s evermore timely Can Creativity Save The World? (with a lively score by Mark Reeder and Micha Adam) features on-camera interviews with Cate Blanchett, Golshifteh Farahani, Isabella Rossellini, Angelina Jolie, Willem Dafoe, Umberto Eco, Shirin Neshat, Garry Kasparov, Marina Abramović, John Cleese, Salman Rushdie, Luisa Neubauer (of Pussy Riot), Bono (of U2), Oscar Niemeyer, David Bowie, Marlene Knobloch, Sean Penn, Radu Jude, Amos Oz, Christo and Jeanne-Claude, Oliviero Toscani, Björk, Campino (of Die Toten Hosen fame), Ernst Ulrich von Weizsäcker, Lakshmi Thevasagayam, and Lia Mizrahi Goldfarb (co-editor and production designer of the documentary).
Hermann...
Hermann Vaske’s evermore timely Can Creativity Save The World? (with a lively score by Mark Reeder and Micha Adam) features on-camera interviews with Cate Blanchett, Golshifteh Farahani, Isabella Rossellini, Angelina Jolie, Willem Dafoe, Umberto Eco, Shirin Neshat, Garry Kasparov, Marina Abramović, John Cleese, Salman Rushdie, Luisa Neubauer (of Pussy Riot), Bono (of U2), Oscar Niemeyer, David Bowie, Marlene Knobloch, Sean Penn, Radu Jude, Amos Oz, Christo and Jeanne-Claude, Oliviero Toscani, Björk, Campino (of Die Toten Hosen fame), Ernst Ulrich von Weizsäcker, Lakshmi Thevasagayam, and Lia Mizrahi Goldfarb (co-editor and production designer of the documentary).
Hermann...
- 4/17/2024
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Having already proven their bona fides with both 1986’s Evol and 1987’s Sister, Sonic Youth delivered their most cohesive, accessible album to date with their 1988 opus Daydream Nation. Originally inspired by the ferocity of hardcore punk, the cerebral art rock of acts like the Velvet Underground and Public Image Ltd., and the avant-garde compositions of Glenn Branca, the album saw the four New York bohos sweeten their no-wave edge with anthemic songwriting.
Thurston Moore and Lee Ranaldo’s detuned guitars strum plaintively and hypnotically as Daydream Nation slowly shakes itself awake on “Teen Age Riot.” Bassist-singer Kim Gordon channels the Stooges’s eerie chants on 1969’s “We Will Fall” and even cribs from its lyrics: “Spirit, desire/We will fall,” she mumbles before the song’s dual-guitar riff tears the track apart.
“Teen Age Riot” is an articulation of the alternative nation—which saw Dinosaur Jr.’s lead noisemaker, J Mascis,...
Thurston Moore and Lee Ranaldo’s detuned guitars strum plaintively and hypnotically as Daydream Nation slowly shakes itself awake on “Teen Age Riot.” Bassist-singer Kim Gordon channels the Stooges’s eerie chants on 1969’s “We Will Fall” and even cribs from its lyrics: “Spirit, desire/We will fall,” she mumbles before the song’s dual-guitar riff tears the track apart.
“Teen Age Riot” is an articulation of the alternative nation—which saw Dinosaur Jr.’s lead noisemaker, J Mascis,...
- 10/17/2023
- by Fred Barrett
- Slant Magazine
Former Sonic Youth singer-guitarist Thurston Moore will tell his side of how the band came together in his long-promised autobiography, Sonic Life: A Memoir, due out in October.
“Sonic Life tells the story of my childhood and teenage years as I fell in love with music (for the most part unbridled rock & roll) and how it drove me to New York City, where I would co-found Sonic Youth,” he wrote in an Instagram post. “It’s an adventure that would take me around the globe throughout the 1980s, Nineties, and onward,...
“Sonic Life tells the story of my childhood and teenage years as I fell in love with music (for the most part unbridled rock & roll) and how it drove me to New York City, where I would co-found Sonic Youth,” he wrote in an Instagram post. “It’s an adventure that would take me around the globe throughout the 1980s, Nineties, and onward,...
- 5/4/2023
- by Kory Grow
- Rollingstone.com
In The Court Of The Crimson King: King Crimson At 50 director Toby Amies with music producer and 99 Records founder Ed Bahlman and Anne-Katrin Titze on a pause with Robert Fripp: “I want the whole film to feel as much as possible as if it’s happening in the moment.”
In the second instalment with Toby Amies, the director of the perceptive and imaginative In The Court Of The Crimson King: King Crimson At 50 (dedicated to his mother Elisabeth and Bill Rieflin), music producer and 99 Records founder Ed Bahlman joined us on Zoom to share a memory of Robert Fripp from the April 28, 1973 King Crimson concert (with Redbone and The Flying Burrito Brothers), seeing the world premiere of his brilliant Frippertronics, the New York music scene (White Lines (Don’t Don’t Do It), Liquid Liquid, Grandmaster Flash and Melle Mel; Esg, Glenn Branca, Bush Tetras, Konk), and the challenges of remaining independent.
In the second instalment with Toby Amies, the director of the perceptive and imaginative In The Court Of The Crimson King: King Crimson At 50 (dedicated to his mother Elisabeth and Bill Rieflin), music producer and 99 Records founder Ed Bahlman joined us on Zoom to share a memory of Robert Fripp from the April 28, 1973 King Crimson concert (with Redbone and The Flying Burrito Brothers), seeing the world premiere of his brilliant Frippertronics, the New York music scene (White Lines (Don’t Don’t Do It), Liquid Liquid, Grandmaster Flash and Melle Mel; Esg, Glenn Branca, Bush Tetras, Konk), and the challenges of remaining independent.
- 11/6/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Twyla Tharp on Zoom with Herman Cornejo and Misty Copeland in Steven Cantor’s Twyla Moves Photo: Zoom Stick Figure Films
Steven Cantor’s intimate and fierce Twyla Moves showcases the legendary Twyla Tharp working on a Zoom dance from New York during the height of the pandemic with Misty Copeland, Benjamin Buza, Herman Cornejo, Maria Khoreva, Kaitlyn Gilliland, and Charlie Neshyba-Hodges in other locations. She invites the great production designer Santo Loquasto to have a look. Twyla has collaborated with composers Philip Glass, David Byrne, David Van Tieghem, and Glenn Branca, won the Tony Award for Best Choreography for Movin’ Out, featuring the songs of Billy Joel, staged dances for Miloš Forman’s Hair, Ragtime, and Amadeus, and Mikhail Baryshnikov and Gregory Hines in Taylor Hackford’s White Nights.
Dancer, featuring Sergei Polunin, and Tyler Peck’s Ballet Now round out Steven’s trilogy of dance films.
From New York,...
Steven Cantor’s intimate and fierce Twyla Moves showcases the legendary Twyla Tharp working on a Zoom dance from New York during the height of the pandemic with Misty Copeland, Benjamin Buza, Herman Cornejo, Maria Khoreva, Kaitlyn Gilliland, and Charlie Neshyba-Hodges in other locations. She invites the great production designer Santo Loquasto to have a look. Twyla has collaborated with composers Philip Glass, David Byrne, David Van Tieghem, and Glenn Branca, won the Tony Award for Best Choreography for Movin’ Out, featuring the songs of Billy Joel, staged dances for Miloš Forman’s Hair, Ragtime, and Amadeus, and Mikhail Baryshnikov and Gregory Hines in Taylor Hackford’s White Nights.
Dancer, featuring Sergei Polunin, and Tyler Peck’s Ballet Now round out Steven’s trilogy of dance films.
From New York,...
- 6/1/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Celine Danhier with Joel Coen and Ethan Coen at the table behind us at The Odeon on the evolution of Blank City: "James Nares said 'Let me call Jim Jarmusch.' It was really like that. And then at the same time I had the music scenes and I interviewed Pat Place." Photo: Anne-Katrin Titze
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
- 4/24/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Exclusive: Punk rock documentary Kill Your Idols is coming back with a series of special event theatrical screenings and its VOD debut after Submarine Deluxe picked up the worldwide rights.
The film, which was directed by Scott Crary, who went on to be a music consultant on HBO’s Vinyl, tells the story of New York City’s diverse art punk and no wave music scenes across three decades and features bands such as Sonic Youth, Suicide and the Yeah Yeah Yeahs (pictured).
It was originally released by Palm Pictures as well as Showtime and Sundance Channel in 2006 but is being re-released by the Searching for Sugar Man and Citizenfour firm. In addition to theatrical screenings, it will be released digitally for the first time as well as a two-part DVD set, which will include over 90 minutes of bonus content, including 20 minutes of never-before-seen footage from the original production, commentaries and two brand new featurettes.
The film, which was directed by Scott Crary, who went on to be a music consultant on HBO’s Vinyl, tells the story of New York City’s diverse art punk and no wave music scenes across three decades and features bands such as Sonic Youth, Suicide and the Yeah Yeah Yeahs (pictured).
It was originally released by Palm Pictures as well as Showtime and Sundance Channel in 2006 but is being re-released by the Searching for Sugar Man and Citizenfour firm. In addition to theatrical screenings, it will be released digitally for the first time as well as a two-part DVD set, which will include over 90 minutes of bonus content, including 20 minutes of never-before-seen footage from the original production, commentaries and two brand new featurettes.
- 6/29/2018
- by Peter White
- Deadline Film + TV
As told to Jennifer Vineyard It started with my own punk-rock band. I recorded a single and an Ep. I was friends with Ed Bahlman, who ran 99 Records, and he put out like Esg, Bush Tetras, Glenn Branca, Liquid Liquid—just kind of cool, more underground records. He walked me through the process of putting out my own records independently. As my love of hip-hop grew, I felt like it would be fun to make a hip-hop record. At that time, there were no hip-hop albums, only 12-inch singles, and the 12-inch singles that were coming out weren’t really reflecting what the hip-hop scene was like. The hip-hop records that were coming out were slick, and were basically like R&B records, just with people rapping on them. The club I was going to in those days, Negril on Second Avenue, one night a week they had a hip-hop...
- 3/28/2014
- Vulture
If you’ve seen Drive, Nicolas Winding Refn‘s culty arthouse noir starring Ryan Gosling, you’ll know exactly what I mean when I say Nightcall immediately and effectively set the tone for the entire film. Music turned out to play an unexpectedly important role in the movie, but then again, what about that movie ended up as expected?
I loved Drive and could gush about it here all day, but if I did that I’d never get around to telling you the good news. Johnny Jewel, the mastermind behind Drive‘s brilliant soundtrack and part of the featured Chromatics and Desire, just released Symmetry: Themes for an Imaginary Film. At 2.5 hours long, it’s every bit as 80′s synth-driven as the real film score we’ve come to love, plus we’ve got it streaming free. Check it out below.
This 36-track work is a behemoth, and I...
I loved Drive and could gush about it here all day, but if I did that I’d never get around to telling you the good news. Johnny Jewel, the mastermind behind Drive‘s brilliant soundtrack and part of the featured Chromatics and Desire, just released Symmetry: Themes for an Imaginary Film. At 2.5 hours long, it’s every bit as 80′s synth-driven as the real film score we’ve come to love, plus we’ve got it streaming free. Check it out below.
This 36-track work is a behemoth, and I...
- 12/26/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Updated through 4/8.
"Less a movement than a barely unified period of gnarled transitions, No Wave is still best defined by its practitioners' aggressive nascence." Joseph Jon Lanthier in Slant: "The shrugging cancellation implied by its title — and alternate name, the 'Blank' Generation — suggests the awkward cusps inhabited by New York City's art scene circa 1977; it was post-Warhol and Underground but pre-indie, post-Beat and hippie but pre-punk, post-bohemian but pre-gentrification. The environment lacked a cohesive ethos save for an obligatory disdain for studied mainstream culture. And though it encompassed the first works by artists such as Amos Poe, Jim Jarmusch, and Glenn Branca, nearly all of its participants would move on and mature by the mid 80s. No Wave was indeed so brief, baroque, and localized that it might be most conveniently considered an amorphous prototype."...
"Less a movement than a barely unified period of gnarled transitions, No Wave is still best defined by its practitioners' aggressive nascence." Joseph Jon Lanthier in Slant: "The shrugging cancellation implied by its title — and alternate name, the 'Blank' Generation — suggests the awkward cusps inhabited by New York City's art scene circa 1977; it was post-Warhol and Underground but pre-indie, post-Beat and hippie but pre-punk, post-bohemian but pre-gentrification. The environment lacked a cohesive ethos save for an obligatory disdain for studied mainstream culture. And though it encompassed the first works by artists such as Amos Poe, Jim Jarmusch, and Glenn Branca, nearly all of its participants would move on and mature by the mid 80s. No Wave was indeed so brief, baroque, and localized that it might be most conveniently considered an amorphous prototype."...
- 4/8/2011
- MUBI
I Need That Record!
DVD, Wienerworld
The one thing that everyone agrees on in this Us documentary about independent record stores is that they are, basically, just places to sell music. But no one would ever state that's all they are. They are hassle-free places to hang out, to talk rubbish fearlessly, to argue loudly without being asked to move on, to form bands, to see bands, to hand out flyers – even to not buy music. Indie record shops have something the major chains will never replicate no matter how many surveys and spreadsheets they employ: they are cool. Here, customers and workers alike tell tales of arriving before opening hours, of discovering some classic tucked away, of being recommended a life-changing album, of learning they are not the only one in a 1,000-mile radius who likes Minor Threat. This may get more than a little rose-tinted at times, but...
DVD, Wienerworld
The one thing that everyone agrees on in this Us documentary about independent record stores is that they are, basically, just places to sell music. But no one would ever state that's all they are. They are hassle-free places to hang out, to talk rubbish fearlessly, to argue loudly without being asked to move on, to form bands, to see bands, to hand out flyers – even to not buy music. Indie record shops have something the major chains will never replicate no matter how many surveys and spreadsheets they employ: they are cool. Here, customers and workers alike tell tales of arriving before opening hours, of discovering some classic tucked away, of being recommended a life-changing album, of learning they are not the only one in a 1,000-mile radius who likes Minor Threat. This may get more than a little rose-tinted at times, but...
- 8/6/2010
- by Phelim O'Neill
- The Guardian - Film News
Reverberating with all the miniature histrionics of a liberal arts classroom project, ''Antigone/Rites of Passion'' is the cinematic equivalent of putting on a play in the backyard. It ends this year's AFI USA Independent Showcast.
In this ambitious interpretation, first-time writer-director Amy Greenfield has choreographed a cacophony of dissonances -- musical and visual -- to convey ''Oedipus at Colonus'' and ''Antigone.'' While the choreography is often powerful, conveying the agony of Antigone's suicidal defiance of the state, the project is all left feet as a film.
Greenfield also stars as the conscionable Antigone, Oedipus' stalwart daughter, who not only comforts her stricken father following his banishment from Thebes but defies his successor Creon's cruel edict that her brother, whom he has unfairly banished as an enemy of the state, not be buried but be left to rot in the desert as an example to all those who oppose his iron-fisted rule.
In this screechy, bare-bones production, Greenfield follows Sophocles' writing literally, trudging through the tragedy with unswerving rigor. Unfortunately, this dance interpretation is shackled by Greenfield's inability to distill the emotional essence; by slavishly following the dramatic structure she has sapped the emotional ebb and flow of her choreography.
Propelled by narrative voiceover, this shot-in-the-woods production is, essentially, a textural narrative in which assonant music, swirling sounds, ponderous movement and bodily gropings congeal into one big tedious heap. It's a relentless blast of artistic constructs which, amazingly, show their seams at every excruciating moment. Within the framework of a grant proposal, all this new-age artsiness may have sounded significant, but as realized in this cumbersome film, it merely serves to suck the complex blood out of the Orestian tragedy.
Technical contributions, most obtrusively the awkward camera movements, are further reduced by the blast of the pompous voiceovers.
ANTIGONE/RITES OF PASSION
Eclipse Prods.
Screenwriter-director-producer Amy Greenfield
Based on ''Oedipus at Colonus'' and ''Antigone''by Sophocles
Directors of photography Hilary Harris, Judy Irola
Music Glenn Branca, Diamanda Galas, Paul Lemos, Elliott Sharp, David Van Tieghem
Associate producer Robert Haller
Sound designer-editor Bernard Hajdenberg
Costumes Betty Howard, Jane Townsend
Color/Stereo
Cast
Antigone Amy Greenfield
Oedipus Bertram Ross
Ismeme Janet Eilber
Creon Bertram Ross
Polynices Henry Montes
Eteocles Silvio Facchin
Haemon Sean McElroy
Running time -- 85 minutes
No MPAA rating
(c) The Hollywood Reporter...
In this ambitious interpretation, first-time writer-director Amy Greenfield has choreographed a cacophony of dissonances -- musical and visual -- to convey ''Oedipus at Colonus'' and ''Antigone.'' While the choreography is often powerful, conveying the agony of Antigone's suicidal defiance of the state, the project is all left feet as a film.
Greenfield also stars as the conscionable Antigone, Oedipus' stalwart daughter, who not only comforts her stricken father following his banishment from Thebes but defies his successor Creon's cruel edict that her brother, whom he has unfairly banished as an enemy of the state, not be buried but be left to rot in the desert as an example to all those who oppose his iron-fisted rule.
In this screechy, bare-bones production, Greenfield follows Sophocles' writing literally, trudging through the tragedy with unswerving rigor. Unfortunately, this dance interpretation is shackled by Greenfield's inability to distill the emotional essence; by slavishly following the dramatic structure she has sapped the emotional ebb and flow of her choreography.
Propelled by narrative voiceover, this shot-in-the-woods production is, essentially, a textural narrative in which assonant music, swirling sounds, ponderous movement and bodily gropings congeal into one big tedious heap. It's a relentless blast of artistic constructs which, amazingly, show their seams at every excruciating moment. Within the framework of a grant proposal, all this new-age artsiness may have sounded significant, but as realized in this cumbersome film, it merely serves to suck the complex blood out of the Orestian tragedy.
Technical contributions, most obtrusively the awkward camera movements, are further reduced by the blast of the pompous voiceovers.
ANTIGONE/RITES OF PASSION
Eclipse Prods.
Screenwriter-director-producer Amy Greenfield
Based on ''Oedipus at Colonus'' and ''Antigone''by Sophocles
Directors of photography Hilary Harris, Judy Irola
Music Glenn Branca, Diamanda Galas, Paul Lemos, Elliott Sharp, David Van Tieghem
Associate producer Robert Haller
Sound designer-editor Bernard Hajdenberg
Costumes Betty Howard, Jane Townsend
Color/Stereo
Cast
Antigone Amy Greenfield
Oedipus Bertram Ross
Ismeme Janet Eilber
Creon Bertram Ross
Polynices Henry Montes
Eteocles Silvio Facchin
Haemon Sean McElroy
Running time -- 85 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 11/21/1991
- The Hollywood Reporter - Movie News
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