Today's the birthday of Wes Craven, and if you pay attention to movies, you probably know his name already: as a film director and writer, he's shaped the American horror film for decades, from 1972's The Last House on the Left, to the Nightmare on Elm Street franchise and the Scream series. Today, we're going to take a look at his excursions beyond the horror genre.
1982's "Swamp Thing" was his comic book movie, his attempt to show that he could handle action films, big stunts, and big-name actors (the film starred Adrienne Barbeau, Louis Jordan, and Ray Wise. The film garnered enough of a cult reputation to inspire a sequel and a popular TV series.
At one point, Craven was signed to direct "Superman IV: The Quest for Peace". Those legendary "creative differences" (with star - and eventual director - Christopher Reeve) got Craven replaced.
How did Wes Craven end up directing the Meryl Streep movie "Music of the Heart"? He demanded it. In fact, he only agreed to direct a third Scream movie if he got to direct "Music". At the time, Madonna was attached to the biopic about a music teacher in New York that was saving the world one violin at a time. Madonna and Craven had "creative differences", but Craven got to stay in his chair this time.
The film would end up nominated for two Oscars. Critics spoke well of Craven's directing, surprised by his understated handling of the film's melodrama.
"Vampire in Brooklyn" should have worked. Craven and Eddie Murphy wanted to work together; Murphy wanted something darker than his typical urban comedies, and Craven knew how to inject humor into his macabre movies. And "Brooklyn" has real-deal horror fx, plus Eddie Murphy in multiple roles; it's got the two great tastes...
...that taste kind of off. Was Murphy trying too hard to be a leading man(is it a coincidence that he got the gothic mullet look, ala Tom Cruise's Lestat one year prior?) or was he leaning too much on his comedic timing? Was Craven trying too hard to make a comedy, or did he just lose control of the film? "Brooklyn" has its fans, but most people call it an Eddie Murphy film...
Finally, we feature Craven's contribution to the motion picture menagerie known as 'Paris Je T'aime'. As befitting the theme, it's a short romantic comedy about love in Paris, and the most supernatural element is Oscar Wilde.
Apparently, this was Craven's concession to his reputation as a horrormeister. (BTW, "Paris Je T'aime" is a warm and fuzzy film, but the chapter before Craven's has a hot and savage vampiress versus Elijah Wood... so everybody's happy!)
Showing posts with label classical. Show all posts
Showing posts with label classical. Show all posts
Sunday, August 1, 2010
Thursday, July 29, 2010
July 29
It's time to wish 'Hyvää syntymäpäivää!' to Finnish cellist Paavo Lötjönen. A Sibelius University graduate, he first picked up the cello at 7 years old. And he might have ended up a cello teacher or symphony member, except for a band he and his friends started in college, called Apocalyptica.
Their first album, "Plays Metallica by Four Cellos", is exactly what it says it is. It's wonderful.
Their second album set the tone of the band's musical evolution: they delivered some more Metallica covers, along with some songs from other metal stalwarts, and four original compositions, allowing the four cellists to exhibit individual identities.
Paavo, for example, tends to provide the backbeat and deeper refrains.
By the way, Paavo's the short haired one, and the member with the most umlaats in his name (and therefore, the most metal one...)
It doesn't seem likely that a band would achieve any longetivety by playing metal music with classical instruments. Heck, starting a band with four people playing the same instrument seems ridiculous enough. But Apocalyptica's a great example of how to build a band right: start with playing your versions of your favorite songs, until they're your best versions, then write songs that show off your best talents - and just rock. Apocalyptica's evolved since their humble beginnings: they became three cellists and a drummer in 2003. They also began collaborating with accomplished vocalists and guitarists from around the world.
That's "I'm Not Jesus", featuring Slipknot's Corey Taylor; it was the lead-off single
of 2007's "Worlds Collide" album, their most successful album to date. Personally, I like the songs as songs, but think the collaboration songs are so traditionally structured that the cellists have to assume traditional rock arrangements (cello as rhythm guitar, as lead, as bass); fine for the radio audience, but not what I listen to Apocalyptica for.
I'm going to finish this post with what I consider Apocalyptica at their best. This track's called "Farewell," from their self-titled fifth album; Paavo said in an interview that the band self-titled it because they felt the album best represented Apocalyptica. This video, BTW, is a fanvid, using clips from the Kurt Wimmer film "Equilibrium":
Their first album, "Plays Metallica by Four Cellos", is exactly what it says it is. It's wonderful.
Their second album set the tone of the band's musical evolution: they delivered some more Metallica covers, along with some songs from other metal stalwarts, and four original compositions, allowing the four cellists to exhibit individual identities.
Paavo, for example, tends to provide the backbeat and deeper refrains.
By the way, Paavo's the short haired one, and the member with the most umlaats in his name (and therefore, the most metal one...)
It doesn't seem likely that a band would achieve any longetivety by playing metal music with classical instruments. Heck, starting a band with four people playing the same instrument seems ridiculous enough. But Apocalyptica's a great example of how to build a band right: start with playing your versions of your favorite songs, until they're your best versions, then write songs that show off your best talents - and just rock. Apocalyptica's evolved since their humble beginnings: they became three cellists and a drummer in 2003. They also began collaborating with accomplished vocalists and guitarists from around the world.
That's "I'm Not Jesus", featuring Slipknot's Corey Taylor; it was the lead-off single
of 2007's "Worlds Collide" album, their most successful album to date. Personally, I like the songs as songs, but think the collaboration songs are so traditionally structured that the cellists have to assume traditional rock arrangements (cello as rhythm guitar, as lead, as bass); fine for the radio audience, but not what I listen to Apocalyptica for.
I'm going to finish this post with what I consider Apocalyptica at their best. This track's called "Farewell," from their self-titled fifth album; Paavo said in an interview that the band self-titled it because they felt the album best represented Apocalyptica. This video, BTW, is a fanvid, using clips from the Kurt Wimmer film "Equilibrium":
Sunday, July 18, 2010
July 19
Here's a discovery: Dame Evelyn Glennie, professional solo percussionist.
Before her, a percussionist (drummer, xylophonist, etc.) would be part of an ensemble, band or orchestra. Growing up loving the drums, she noticed there were no solo percussionists in the way there are solo pianists or guitarists. So she created the job.
Her musical skills allowed her to advance to the Royal Academy of Music. From there, she focused on a solo career: searching for solo pieces to perform, commissioning performance pieces, until she became the world-traveling, Grammy-winning artist that she is today.
To explain just how much of a unicorn she is, perhaps I should add that she has been profoundly deaf since the age of 12. (No, she didn't read Oscar's lips.) She's learned to use the rest of her body to listen to her environment, so she hears her music, among other things, in a very different way.
In 2010, she received an honorary Doctorate of Music from Cambridge University, and she continues her worldwide crusade to move the percussionist's place from the back of the orchestra.
Here's a collaboration with Bjork, called "My Spine":
Before her, a percussionist (drummer, xylophonist, etc.) would be part of an ensemble, band or orchestra. Growing up loving the drums, she noticed there were no solo percussionists in the way there are solo pianists or guitarists. So she created the job.
Her musical skills allowed her to advance to the Royal Academy of Music. From there, she focused on a solo career: searching for solo pieces to perform, commissioning performance pieces, until she became the world-traveling, Grammy-winning artist that she is today.
To explain just how much of a unicorn she is, perhaps I should add that she has been profoundly deaf since the age of 12. (No, she didn't read Oscar's lips.) She's learned to use the rest of her body to listen to her environment, so she hears her music, among other things, in a very different way.
In 2010, she received an honorary Doctorate of Music from Cambridge University, and she continues her worldwide crusade to move the percussionist's place from the back of the orchestra.
Here's a collaboration with Bjork, called "My Spine":
Wednesday, May 19, 2010
May 19
Is Australian David Helfgott a geniune savant, or does he just play piano better than we'd expect him to?
Helfgott is known for his piano playing, along with his psychological burden. As a youth, he showed genius potential in his musicianship, but by the time he was awarded scholarships to international music conservatories, he was also battling mental illness. By his 30's, he was institutionalized.
Eventually, he found the coping mechanisms that allowed him to return to society. He got a job playing piano at a wine bar in Perth, and from that ignominious perch, began dazzling everyone that could hear with his music again.
It's the kind of story that the movies love to tell (and the movie based on his life, Shine, would be nominated for 8 Academy Awards.) But there are music critics who feel he's been too mythologized by the movies; that beyond his on-stage tics and behaviors, his piano playing is only slightly better than ordinary. So are crowds gathering to listen to a genius? Or just to cheer on a man who they wouldn't expect to play piano at all? Is he being appreciated or exploited?
Undeniably, his story has brought to light the challenges of dealing with mental illness and trying to find a place in the world. In 1999, he played piano on the Silverchair track, "Emotion Sickness".
Helfgott is known for his piano playing, along with his psychological burden. As a youth, he showed genius potential in his musicianship, but by the time he was awarded scholarships to international music conservatories, he was also battling mental illness. By his 30's, he was institutionalized.
Eventually, he found the coping mechanisms that allowed him to return to society. He got a job playing piano at a wine bar in Perth, and from that ignominious perch, began dazzling everyone that could hear with his music again.
It's the kind of story that the movies love to tell (and the movie based on his life, Shine, would be nominated for 8 Academy Awards.) But there are music critics who feel he's been too mythologized by the movies; that beyond his on-stage tics and behaviors, his piano playing is only slightly better than ordinary. So are crowds gathering to listen to a genius? Or just to cheer on a man who they wouldn't expect to play piano at all? Is he being appreciated or exploited?
Undeniably, his story has brought to light the challenges of dealing with mental illness and trying to find a place in the world. In 1999, he played piano on the Silverchair track, "Emotion Sickness".
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