Tuesday, August 31, 2010

Beautiful Girls

My article on Beautiful Girls appears in the Charleston City Paper.

Australia's Beautiful Girls try to woo America

Beauty and the Beat

After almost a decade of toiling and climbing the charts in their native Australia, the Beautiful Girls (actually a trio with nary an XX chromosome between them) are ready to hit the big time in America. Their strategy is reasonably sound: release the quintessential summer album and make it heavily reliant on reggae beats, trumpets, and gentle surf 'n' sandals rock.

It's a notable departure from the Girls' earlier records, most often labeled roots-rock, but singer-songwriter Mat McHugh feels the shift on the latest disc, Spooks, is organic.

"We all grew up with reggae and punk rock as part of our musical education, and it's been a part of our music since day one," McHugh says. "Being from Australia, where reggae isn't the best way to pay the bills as a musician, we've kept that side of ourselves fairly subtle until now. This time I think we realized we've reached a place where we could start doing whatever we felt like, and this record is the result."

The sound of Spooks might be summery, but the album's inspiration was anything but. McHugh secluded himself in his home for more than a year following the end of his solo tour in 2009, ultimately crafting the songs that would become Spooks, which evokes everything from the rhythmic pulse of the ocean to the opening credits of COPS. Even the song titles, like "My Mind is an Echo Chamber" and "Home/Family," offer revealing glimpses of the man as an artist.

"In my opinion, all the records we made before these have been about finding our feet," McHugh says. "This time around, I just wanted to talk about things I cared about in the way that I wanted to talk about them. I have to be inspired to write lyrics, and, in that sense, every song I write is somewhat cathartic. I'm always getting things off my chest to varying degrees, and I don't see any other way around it. The alternative is just writing down a bunch of words that have no meaning to me, and I honestly wouldn't want to waste my time."

And while certain songs, like the slickly-produced "Rockers!," do little to support the notion of catharsis, other songs ring so genuinely true they become impossible to resist. "B Some Melody" is humble and simple, a sweet ukulele number that tiptoes its way into your heart. But probe too deeply and McHugh's quick to retreat behind his well-crafted wall of words. On his own website, he acknowledges that taking responsibility for his own "fuck-ups" was the inspiration behind the album's sole ballad, "My Latest Mistake," but he's not eager to elaborate during our interview.

"I think every single human being on earth is a constant fuck-up," McHugh says. "Contrary to some people's opinion, nobody is perfect. I think the song is about realizing that fact and finding out a way to move forward. I have absolutely no intention of sharing with you my biggest mistakes. I'm a real person with real relationships in my life, and I value them too much to trivialize them. Besides, everybody has their own mistakes to deal with."

McHugh seems ready to put whatever mistakes he's made behind him and focus on the Beautiful Girls' future. He admits that the last decade's been "a long, slow climb," but stands behind the band's decision to start independent and stay that way.

"Sometimes it's difficult, and we've come up against obstacles, but I think that is to be expected when we have to compete against big labels and their large marketing budgets," McHugh says. "I think that having a deep love for music and an in-built outsider mentality have kept us motivated to take the big corporations on at their own game. We've always relied on the connection we make with people and the word of mouth that comes from it. No amount of money can buy that. We're super lucky."

This North American tour will be the first time the band's had the chance to play the exact same show they would in Australia, with five members taking the stage every night, including a keyboardist and a DJ. Though McHugh's confident that this will be the tour where his band really breaks out, he also knows that even if that doesn't happen, it will be easy to stay motivated.

"I think we all just consider ourselves musicians, and what we want to do with our lives is play and contribute music," McHugh says. "In that spirit, I believe we'll just keep doing what we do, more records and more touring. We're especially committed to spending a lot of time in America and growing our band over there. I think America and the Beautiful Girls are in the early stages of a beautiful, blossoming love affair."

Now the only question is, will America reciprocate?

Xavier Rudd

My preview of Xavier Rudd's show in Charleston appears in the Charleston City Paper.

Xavier Rudd amplifies his worldly grooves

Rudd and Izintaba: From Australia to Africa

It's thought that there's not much love for a man wielding a didgeridoo, let alone three, but Australian singer-songwriter Xavier Rudd has built an entire career on confounding expectations.

Over the last decade, Rudd has built a loyal, if laid-back, following, capitalizing on the surf 'n' sand folk-rock phenomenon led by acts like Jack Johnson, Ben Harper, and the Beautiful Girls. The 32-year-old environmentalist has also become a popular fixture on the festival circuit, famed for his live shows where he often acts as a one-man band surrounded by a mind-boggling arrangement of instruments.

Rudd shows just how eager he is to keep revolutionizing his sound on his most recent album, Koonyum Sun. The collection is the first effort to feature his new band, Izintaba, which is essentially a South African rhythm section comprised of Tio Moloantoa and Andile Nqubezelo (formerly of the late Lucky Dube's band). Charleston actually enjoyed a preview of this collaboration last summer, and the response to the group's funk-filled jams was overwhelmingly positive.

After playing together for more than a year, the trio is tighter than ever, proudly showing off their well-reviewed Sun. The album's buoyed by unrelenting drum beats, Rudd's soaring, scratchy vocals, and some epic world rhythms. "Set Me Free" calls to mind early Peter Gabriel, while "Fresh Green Freedom" embodies the loose, carefree vibe of a sunny day, masking the song's earnest environmental message. "Love Comes and Goes" earns its Paul Simon comparisons and offers a gentle and sweet take on fleeting romance.

Possibly the best song to get the crowd revved for a night of nonstop hands-and-hips waving is the electric "Badimo," a crazy-cool amalgamation of haunting sounds and muttered musings. It's a truly original, mind-melting tune that begs to be recreated live in a sea of sweating, happy music aficionados who love to be surprised.

Friday, August 27, 2010

Hugh Hefner documentary

My review of Hugh Hefner: Playboy, Activist and Rebel is in this week's WE.

The Playboy founder and icon of the sexual revolution is the subject of Brigitte Berman’s new documentary, Hugh Hefner: Playboy, Activist and Rebel.

The Playboy founder and icon of the sexual revolution is the subject of Brigitte Berman’s new documentary, Hugh Hefner: Playboy, Activist and Rebel.

Credit: Supplied


HUGH HEFNER: PLAYBOY, ACTIVIST AND REBEL

Directed by Brigitte Berman
The morality of Hugh Hefner’s social influence has been debated ad nauseam — after all, the Playboy founder has built an empire on the objectification of women. Brigitte Berman’s documentary, Hugh Hefner: Playboy, Activist and Rebel, argues he’s also promoted an open dialogue about sexuality, fought censorship, and been at the forefront of liberal activism for civil and women’s reproductive rights.

So, the question is: Filthy pornographer or revolutionary?

With its objectives listed plainly in its title, it’s obvious what side Berman’s film takes. Savvy audiences, however, may want more than an overly fawning — though thoroughly engrossing — account of this iconic octogenarian’s cultural impact.

Berman’s range of interview subjects adds interesting details to Hefner’s fascinating life, and are themselves a delightfully strange assortment of people. From Pat Boone, the former singer-songwriter turned Christian activist, to KISS bassist Gene Simmons, to famed sex therapist Dr. Ruth, Berman moves in a linear fashion through the publishing magnate’s personal and professional development. She also makes a strong case for both his rebellious and activist natures, including founding a jazz festival in the 1950s, prominently featuring African Americans in print and on TV before the Civil Rights Movement, and waving a middle finger at the Communist blacklist.

An artful mix of archival footage and stills from Playboy, the doc falters when brief, animated sequences are used to clumsily segue from one subject to the next. Additionally, its lack of substantive objectivity makes for a very lopsided experience that reveals less about Hefner and more about Berman’s shaky self-confidence as a filmmaker. We’re offered soundbites from a smattering of feminist authors about the dangers of Playboy, but the gulf between Hefner’s vision and the reality of that vision is largely ignored. This is more of an exercise in infotainment than in journalism. —Andrea Warner

Margaret Cho

My interview with Margaret Cho appears in this week's WE.

A host of Canadian indie-rock luminaries graces Margaret Cho’s first music album, Cho Dependent.

A host of Canadian indie-rock luminaries graces Margaret Cho’s first music album, Cho Dependent.

Credit: supplied


Margaret Cho’s musical career is no joke

Because ‘comedian-actress-author’ wasn’t enough of a hyphenate nightmare, Margaret Cho officially adds musician to her lengthy list of professional descriptors with her new album, Cho Dependent. This isn’t a typical comedy album, heavy on jokes and low on musicality. Instead, Dependent is a lushly produced collaboration between Cho and a variety of established indie-rock musicians, including Tegan and Sara, Fiona Apple, and Andrew Bird. Cho spoke with WE about making music, her ode to dicks, and the murder that motivated the album’s darkest song.

Looking through the list of collaborators on Cho Dependent, there’s Tegan and Sara, and I see AC Newman. I know you’re also working with Broken Social Scene’s Kevin Drew. The truth seems pretty obvious: Margaret Cho loves Canada.
I have worked with so many different Canadians, I wonder if I qualify for a Juno? (Laughs)

The fact that you even know what a Juno is means you should get one.
I love the New Pornographers. They’re, like, the greatest band, and also Broken Social Scene. I have an affection for giant Canadian supergroups. And, of course, Tegan and Sara are phenomenal.

AC Newman co-wrote “Your Dick.”
It’s so funny that a straight guy wrote the most beautiful song about a guy’s dick. And it’s very much his style — that orchestral pop — and Ben Lee produced that track.

When you’re writing a song called “Your Dick,” is there a particular inspiration?
I wrote a really long poem, and it’s not really about — we’re so hard on men all the time; I wanted to do something that was just really celebratory. And it can also apply to anyone who’s a top. It’s also for lesbians, too; anyone doing the topping... We didn’t have a recorder when we made the demo, so we recorded it on my BlackBerry in one-minute increments. We had to do, like, five of them.

The song “Intervention” really captures the bizarre impact of reality television.
What’s weird about Intervention [the reality-TV show] is that the people don’t know they’re going to be intervened, you know? They’ve agreed to be in a documentary about addiction. I mean, what other documentary about addiction...? These people must be fucked up. They have no idea what’s going on... I like it the more crazy they are: It’s not enough for people to just be drunk or smoke crack; they have to inhale some sort of weird compressed air. That kind of shit, to me, is so awesome. Going to the Office Depot to get her drugs is so crazy!

How did the process of writing music differ from writing stand-up material?
In a lot of ways it was the same. I try to sit down every day and just hammer something out. This was just more rhyming couplets and stuff.

Do you think you’re telling stories about other people in the music process, or is it still intimate for you?
It’s very intimate. All the songs are very honest in their own ways, and they’re talking about really truthful things. In the Andrew Bird song, “I’m Sorry,” I wrote that because I had something weird happen where I was in love with somebody and he ended up killing someone; he killed her and stuffed her body in the attic of their house and she had partially mummified. I was so horrified, you know — I’d been in love with him for 17 years. He never left my heart, and you idealize somebody and then they do something so hideous you can’t even believe it. I was so mortified and I didn’t really know how to process it, and I wrote the song because I just didn’t really know what else to do. And sometimes dark humour is the only way we can overcome really horrible tragedy.

What are some of the major topics at the front of your mind for your stand-up material?
Well, I’m so mad about this gay-marriage ruling in California. They overturn Prop 8 because it’s unconstitutional, and then they have a stay of gay marriage, so I want to talk about that. It’s also a lot about my family history and coming from a family of immigrants and my relationship with my grandparents — all stuff I haven’t talked about very much, like Asian-American identity. And, lots of dick jokes. (Laughs)

Margaret Cho performs Saturday, Aug. 28, at Queen Elizabeth Theatre (Hamilton & W. Georgia), 7pm. $35.50-$49.50 from Ticketmaster.

Thursday, August 12, 2010

The Expendables' Dolph Lundgren

I spoke with Dolph Lundgren for WE. Apparently afterward he said I seemed cool. And then I almost shat myself.

Dolph Lundgren stages a comeback in old friend Sylvester Stallone’s action flick, The Expendables.

Dolph Lundgren stages a comeback in old friend Sylvester Stallone’s action flick, The Expendables.

Credit: Supplied

Dolph Lundgren still has fight left in him

Dolph Lundgren’s publicist calls to let WE know his client is terribly sorry for running late: For the first time in almost two decades, the actor is a hot commodity, and everyone wants a piece of him.

Best known for his 1985 turn as Russian boxer Ivan Drago, who took on Sylvester Stallone’s American underdog at the height of the Cold War in Rocky IV, the all-but-forgotten brawny blond is back in the limelight with an upcoming guest role on TV’s spy series Chuck and shares top-tier billing in The Expendables (opening Aug. 13).

Written, directed by, and starring Stallone, the balls-out, testosterone-fueled flick features action heavyweights from the past three decades (plus cameos from Arnold Schwarzenegger and Bruce Willis), countless explosions, and some of the bloodiest, most bad-ass brawls and stunts ever choreographed on celluloid. For Lundgren, it’s a once-in-a-lifetime career resuscitation. “I’ve not been in a big movie for 15 years, so... the audience is like, ‘Oh, there’s the Swedish guy — thought he was dead,’” Lundgren jokes.

Over the course of the conversation, the hulking 52-year-old proves witty, humble, and soft-spoken. It’s a marked contrast from his character, Gunner Jensen, the loose-cannon member of a gang of honourable mercenaries who call themselves the Expendables, a damaged collection of men scarred emotionally and physically by the carnage of their work. Lundgren culled from his own personal experience in the Swedish military to help bring authenticity to his role. “There’s a certain discipline, inner-strength, and perseverance that comes both from martial arts and from being a soldier,” he says. “It’s all about being a warrior, about putting your life on the line for something you believe in. Or, at least something you’re told you’re supposed to believe in, and to do it without fear, or to overcome your fear. Stallone knows a lot about that; overcoming fear is his whole life.”

Lundgren has plenty of admiration for his mentor and boss, calling The Expendables a welcome return to “square one.” But a 25-year friendship with Stallone didn’t spare him from the writer-director’s artistic temperament on the set. “Being directed by a friend is both good and bad,” he says. “If it doesn’t turn out after a few takes, he might blow his cool and start yelling at you. Like, ‘C’mon! You gotta get this right. I wrote this for you. We gotta move on.’ That’s what happened in one scene we did.”

A few bruises to the ego are nothing compared to the long tally of physical injuries incurred while filming. Lundgren admits the battle scars can be partly attributed to the macho posturing between the aging athletes, though he escaped relatively unscathed, having undergone only one surgery (on his elbow) during training. “I got clipped by Jet [Li] in the face a few times, but that didn’t hurt too much, and my face is one of my least vulnerable parts,” Lundgren says, laughing. “Stallone got his neck broken, and hurt his hand really bad, and I think he had surgery on his shoulder, and another surgery as well. The guy’s over 10 years older than me and did twice as much action as I did in the movie, and he was directing on top of it, so no wonder he got hurt. It’s amazing he pulled it off.”

Scott Pilgrim vs The World

My review of Scott Pilgrim vs The World

Michael Cera kicks ass for the girl he loves in Scott Pilgrim vs. the World.

Michael Cera kicks ass for the girl he loves in Scott Pilgrim vs. the World.

Credit: Supplied


SCOTT PILGRIM VS. THE WORLD

Starring Michael Cera, Mary Elizabeth Winstead, Jason Schwartzman
Directed by Edgar Wright

Fans of Bryan Lee O’Malley’s six-part graphic-novel series, Scott Pilgrim, have been nervously anticipating its film adaptation, Scott Pilgrim vs. The World, for over three years. Reasonably enough, there were some legitimate questions, including: How does one condense six books that rely heavily on video-game references, metaphor, and music-geek culture into a two-hour movie? The answer, it seems, was to hire director Edgar Wright (Shaun of the Dead), who brings O’Malley’s deceptively simple novels to vivid, eye-popping life.

Scott Pilgrim (a surprisingly physical Michael Cera), the titular hero, is a 22-year-old slacker bass player in a Toronto-based garage-rock band called Sex Bob-Omb. He shares a bed with his gay roommate, Wallace (Kieran Culkin), is unemployed, and has a 17-year-old girlfriend, Knives Chau (Ellen Wong), who’s still in high school.

Scott first sees his soulmate, Amazon.ca delivery girl Ramona (Mary Elizabeth Winstead), in a “dream” (it’s actually a portal in his brain) and finally asks her out after running in to her at a house party. Before they can be together, however, Scott learns he must defeat her seven evil exes, brought together by her latest ex, music executive Gideon Graves (Jason Schwartzman).

Translating the stylized “graphic” elements of the original graphic novel from the page to the screen is a daunting task, but Wright and his team provide a look that’s positively fierce. Whether it’s the remarkable cinematography (ho-hum Toronto is practically picturesque), CGI video-game homages (as exes are felled, their bodies dissolve into coins), or the frequent nods to O’Malley’s art and design, Scott Pilgrim is a visual tonic for the ADHD generation — in the best possible sense.

As a fan of the graphic novels, Wright makes some intriguing decisions about how to condense the series. The opening 20 minutes are almost entirely faithful to the first book, but, out of necessity, he moves away from O’Malley’s narrative structure without losing the story’s heart. Even those going in cold are likely to be wooed if they allow themselves to be.

Scott Pilgrim is the kind of movie that could very well define a generation, perfectly capturing that potentially lethal combination of naivete, cynicism, fear, and apathy that gets in the way of growing up.—Andrea Warner


Robin Hood at Queen Elizabeth Park

My review of ITSAZOO's wonderful Robin Hood. Go see it now, please.

Kaitlin Williams and Chris Cook star as Marion and Robin in ITSAZOO Productions’ unique take on Robin Hood, which is set in a dystopian Vancouver.

Kaitlin Williams and Chris Cook star as Marion and Robin in ITSAZOO Productions’ unique take on Robin Hood, which is set in a dystopian Vancouver.

Credit: Supplied


Newfangled ‘Robin Hood’ a biting satire

In the three years since ITSAZOO Productions first staged co-founder Sebastien Archibald’s Grimm Tales at Queen Elizabeth Park, the Olympics have come and gone, homelessness in the city has continued to spread like a cancer, and provincial arts funding has been slashed. And while this never-ending quagmire of hopelessness feels rather suffocating, it’s proved to be just the material Archibald needed to write Robin Hood, his most incisive and cathartic work to date.

Loosely arranged around the familiar premise of the original Robin Hood, which detailed the uprising of the working class against the rich, this production is set in a not-so-fictionalized Vancouver where Mayor Nottingham (Archibald), evil MLA Rich White (David Benedict Brown), and power-hungry, Taser-happy Chief Gisborne (Julie Church) plot to strip citizens of their civil liberties and pump wads of cash into landing the “International Big Deal.”

Robin Hood (Chris Cook) and his band of merry thieves steal from the rich to give to the poor, ultimately kidnapping MLA White’s daughter, the spoiled Marion (Kaitlin Williams), in the hope that her ransom will fund Robin and Little John’s (Colby Wilson) dream: a huge mansion with beds and resources for homeless people. After she’s roughed up by Chief Gisborne’s cops simply because they think she’s homeless, Marion joins Robin and the group to help defeat her father and the Mayor.

As this is a roving-theatre experience, the audience is led throughout Queen Elizabeth Park by Alan (Joel Stephanson), a minstrel-busker whose own story is heartbreakingly familiar: he has kids, loses his job and can’t find another one, which leaves him grappling with a depression that, in turn, manifests as substance dependency. It’s a dark, vicious cycle, and one that’s likely all too real.

The cast is energetic and youthful. Cook excels in his role as leading man, with a cocky charm that doesn’t detract from Robin’s believability. It’s also almost impossible to keep one’s eyes off Wilson in any of his scenes, so compelling is his line delivery and presence.

There’s plenty of bleak humour to be mined from this oft-unfortunate reality, and Archibald is fearless in turning scathing indictment into incisive satire. At times he branches into preaching territory, particularly with Marion, who’s often saddled with spelling out the obvious (i.e., poor people are no less deserving than the wealthy). What Archibald and ITSAZOO accomplish recalls their efforts with last summer’s Canterbury Tales, which also used theatre as a venue in which to call for social change. For those stymied by Vancouver’s seemingly insurmountable social ills, Robin Hood is both a breath of fresh air and a fire under your ass.

Robin Hood runs to Aug. 19 at Queen Elizabeth Park (Main at 33rd; audience meets at Bloedel Conservatory), 7pm. $13-$17 from ITSAZOO.org or 778-888-2435.

Tuesday, August 3, 2010

Scott Pilgrim's Musical Little Life

My cover story for August's Exclaim! features Edgar Wright, Bryan Lee O'Malley, Jason Schwartzman, and more talking about the music of Scott Pilgrim.




Scott Pilgrim's Musical Little Life
By Andrea Warner

Scott Pilgrim will knock you on your ass. His superpower? Being awesome. Thanks to Bryan Lee O'Malley's six-part graphic novel series, the 23-year-old slacker musician has become the unlikely literary hero for a new generation ― a jobless bass player in a band called Sex Bob-omb who transforms into a lover and a fighter when he falls for ninja delivery girl Ramona Flowers and learns he'll have to defeat her seven evil exes.

This month he embarks on the coveted, if rocky, path set out before him by the likes of Batman and Spider-Man when director Edgar Wright's Scott Pilgrim vs. The World hits the big screen on August 13. A live action adaptation of all six books, filmed and set in Toronto, the movie features Brampton-born Michael Cera, the young prince of awkward comedy, in the title role, Jason Schwartzman as a big bad evil ex, and a host of high profile Canadian bands in the background.

Scott Pilgrim's ascent to the top of the pop culture pyramid is the culmination of six years of slow-building buzz. The series is perhaps the first to successfully meld all aspects of geek culture, from videogames to comic books to music, in a humorous and heartfelt way. The story also flirts with a slightly alternative reality: a Toronto with subspace travel, where defeated exes dissolve into coins the hero can collect. Think of it as the precursor to the popularity of The Big Bang Theory and a further indication of the importance of San Diego's Comic-Con: geeks have inherited the earth, they are the harbingers of cool.

What really attracted me is that the books are amazing and the central premise is really interesting," director Wright says. "It was a chance to make a comedy that was really magical and fantastical. It has a great sense of metaphor and there's this fantastic chance to be really visually interesting with it."

If the British filmmaker (Shaun of the Dead, Hot Fuzz) is successful, he will have accomplished more than just making a hit out of his biggest film to date. Wright will be presenting a new blueprint for the Hollywood blockbuster: make it all about the music. "I'd done comedy and action before, but I hadn't really had a chance to do a film that indulges my passion in music as well," Wright says.

The writer-director got his wish when he was recruited to adapt Scott Pilgrim. Both the film and the books are in essence a love story set to music; the universe of O'Malley's creation was ultimately inspired by just one song: Plumtree's "Scott Pilgrim." And like all the best love stories, this one started with a mixtape.

"I made this mixtape called Scott Songs before I even started writing [the books], so I had this mood board I would go back to all the time," O'Malley says. Scott Songs became the sonic foundation for the architecture ― thematic, visual, and narrative ― of Scott Pilgrim's "precious little life." It included everything from '70s AM gold to '90s Canadian indie rock, including Plumtree, the relatively obscure and long defunct, all-girl Halifax band. (See sidebar.)

Plumtree's songs are way more complicated than they seem," O'Malley says. "They seem like harmless pop songs, but there are complicated guitar parts and the lyrics have a lot more shading. Obviously I listened to them in high school and that was a big influence on the way I view the world and the way I write."

The band also featured prominently on the first mixtape O'Malley gave Wright, and their shared penchant for playlists helped forge their initial bond. "Scott Pilgrim's" lyrics ("I've loved you for a thousand years") are a faint blueprint for the series, which follow Scott and Ramona's tumultuous relationship and the ongoing fight against her evil exes.

As their collaborative relationship deepened, Wright and O'Malley bonded further over music. According to O'Malley, songs from those initial compilations were played on set during filming, and several became the bones of the film's soundtrack, itself the last word in Scott Pilgrim mixtapes. An energetic explosion of indie rock, snarling garage punk, and Britpop, the album features a diverse group of award-winning musicians, from Beck to Broken Social Scene.

Wright wanted to stay true to O'Malley's books by filming in Toronto, though as of press time we can't confirm which local haunts made it into the movie. We can confirm that it was Canadian filmmakers and music aficionados Bruce McDonald and Don McKellar who pointed Wright towards Kevin Drew and Brendan Canning of BSS to help authenticate the film's Toronto vibe.

"Someone arranged for Edgar and I to go have dinner and we kind of went on this blind date," laughs Drew. The "date" went well, and BSS ended up working on the film's score with music supervisor Nigel Godrich (famed Radiohead producer), as well as writing the music and performing as rival punk band Crash and the Boys with actor Erik Knudsen.

"In the book there's this joke that Crash and the Boys do songs that are 0.4 seconds long and stuff," O'Malley laughs. "Kevin and Brendan, they really embraced that. Like, really ridiculous, songs that are only one note. Their longest song is, like, 50 seconds... It sounds kind of like the shitty bands I used to play in, but way better obviously."

Grammy-winner Beck wrote the music for Pilgrim's fictional band Sex Bob-omb, as well as writing and performing an original song. "When I first heard Beck was doing it, I was like, wow, that's really weird," O'Malley admits. "I was a fan of his Mutations, and his singles, like the crazy over-the-top stuff, but I didn't know the breadth of his work."

Wright was convinced that Beck was the right choice, particularly when he revealed that his inspiration for Sex Bob-omb's songs came from the first book where O'Malley had scrawled 'The Archies' across a drum riser. He ended up turning the songs around in just 72 hours.

"I think it goes back to some of his earlier, more punky garage stuff," Wright says. "The Sex Bob-omb songs are very much in that raw and rough sounding garage-bubble gum mode."

The actors portraying Sex Bob-omb also needed to know how to play, so Wright hired Sloan's Chris Murphy to run his own school of rock on set, working tightly with Cera, Alison Pill, and Mark Webber. "Michael can play guitar and he's a multi-instrumentalist, but Mark and Alison both had to learn their instruments," Wright explains. "The Canadians in the cast ― well, like, Alison was extremely dumbstruck that Chris Murphy was going to be her teacher."

According to Wright, music became such a huge part of the process that everyone kept rocking behind the scenes, thanks in part to the numerous actors who happen to lead double lives as musicians.

"Michael's a really good guitarist, and you can see he really goes for it," Wright says. "There are two scenes in the film where he's playing live and he sings the Beck 'Ramona' song himself live on guitar, and he sings the whole thing in one shot. He was completely on top of it. There was a lot of music on set. Even people not playing [in the movie], like Jason Schwartzman ― there were all these guitars around, either prop guitars or people just bringing them in, so there was a lot of music in between takes."

Schwartzman, a long time fan of Wright's work and a musician himself (The O.C. theme song "California" is by his former band Phantom Planet), plays Gideon Graves, the leader of Ramona's evil exes. He bonded with the director the same way O'Malley did: through mixtapes and play lists.

"We met in Los Angeles, and we found a lot of the same things funny and liked a lot of the same music and it just seemed like, you know, we could be friends," Schwartzman says. "My dream was to work with Edgar one day and we became friends after having that meeting, emailing each other movies to see and records to listen to and it was an exciting friendship. One day he called me and we had a Scott Pilgrim discussion. He described the movie, gave me all of the books, and he gave me the script. It was very unusual. That's not usually how ― or at least for me ― that seems like how a lot of the big stars get a movie, you know what I mean? I'm used to auditioning ― and failing ― a lot."

The sixth and final book, which came out July 20, is the first one to prominently feature Schwartzman's character. It hadn't even been written when filming began, though O'Malley provided an outline to help finalize the script. Schwartzman says he relied on music to help him flesh out the character. It's a practice he's come by honestly after a long working relationship with filmmaker Wes Anderson.

"When I first met Wes, right after I got the part in Rushmore, he gave me a cassette tape of the soundtrack to Rushmore," Schwartzman says. "We would shoot the movie with the songs actually playing on set, and I think that just kind of spoiled me or conditioned me to make music so much a part of what I do. One thing that I find really helps ― well, it's a really dumb thing, but, like you hear about Robert DeNiro gaining all this weight or Christian Bale losing all this weight ― I like to make iPod play lists for my characters. So it's not as in-depth, but I make these play lists and then I listen to that music exclusively." (For the record, Gideon's play list includes Pulp, Stereolab and Blur.)

And, also just growing up in the '80s and then the '90s, and watching really cheesy TV shows and the girl walks away so queue the song," Schwartzman laughs. "When I was in high school and a girl would leave me, I would queue the song in my own head. I've always done everything to music."

Exactly like something Scott Pilgrim might say.


********************
Who is the real Scott Pilgrim?

Carla Gillis of folk-pop group Sister is a little floored. Her former band, Plumtree, a female power pop quartet from Halifax, broke up ten years ago, but suddenly they are the second song on a soundtrack to a movie they inadvertently inspired, sandwiched between Beck and Frank Black. "It's crazy!" Gillis laughs. "Never in our wildest dreams did we ever imagine something like that would happen." It's all thanks to their song "Scott Pilgrim," a catchy ditty with driving guitar riffs, an earnest low-budget video heavy on cheesy charm that has over 40,000 views on YouTube.

There isn't really a Scott Pilgrim," Gillis reveals. "It's just a general feeling of pining for people but feeling a bit helpless on acting on those feelings."

In fact, the song title came after the song, the result of an inside joke. "We had a friend named Scott Ingram, and someone was telling a story about him at practice," Gillis explains. "We'd also been recording with a guy named Philip Pilgrim, and whoever was telling this story about Scott mixed up the two names and said Scott Pilgrim and we thought it was the funniest thing, just trying to imagine these two guys merged as one, and we were like, okay, that'll be the name for our new song."

The real Scott Ingram, himself a former Exclaim! writer, has another "starring" role in the book series: after author Bryan Lee O'Malley met him, he named Ramona's third evil ex Todd Ingram. "I read online that he chose Todd because it's a bigger, more bad-ass version of Scott," Ingram laughs.


Thursday, July 22, 2010

Parlour Steps and OCW relaunch

My feature on Parlour Steps is in this week's WE.

By the book:  “Thought rock” practitioners Parlour Steps show off their cerebral side.

By the book: “Thought rock” practitioners Parlour Steps show off their cerebral side.

Credit: supplied


Parlour Steps move up to the next level

A few weeks ago, music-merchandise website DizzyJam.com released a survey confirming the worst-kept secret in music: Less than five per cent of independent musicians earn a living from their craft. Vancouver indie-rock group Parlour Steps is familiar with this reality. But finally, after five years, the quintet seems to be breaking out in a bigger way. Singer-songwriter Caleb Stull spoke with WE about Parlour Steps’ busy summer, which includes headlining local literary arts magazine OCW’s (formerly One Cool Word) relaunch party, winning a spot in the top 20 of the Peak Performance Project band competition, and scoring a coveted slot at Seattle’s Bumbershoot festival.

You once described the band as “thought rock.” Does that still apply?
Stull: It’s funny how we evolved with that one. I still write from a thoughtful, somewhat cerebral place, but I would venture to say our music is becoming less so. The grooves we try and incorporate — the dance numbers and ass-shakers — speak more to a love of moving the body and less to the intellect.

What’s the reality — both good and bad — of being an indie band in Vancouver?
Most of the good is everything that doesn’t have to do with the industry — namely, living in a clean, beautiful, mostly safe and healthy place, and having that inform the music. Also, this city has produced some amazing music; it’s been so inspiring to witness some of our hometown contemporaries getting some wider attention. The challenges are numerous, however. Geographical reality makes playing other, larger markets expensive and travel-intensive. Plus, our scene, through no fault of those in it, is lacking something... I know it’s a tiresome default to compare ourselves to other cities, but I always come home from Montreal, Toronto or Portland, say, and feel like there’s so much more we could be doing here.

What does being in the Peak Performance Project’s Top 20 means for the band?
Well, besides a chance at some very helpful dollars, it presents an unprecedented opportunity to cultivate one of the ingredients we may be missing here, as mentioned above, in creating community. There’ll be a lot of collaboration, plus some great cross-pollination of ideas and new ways of approaching this rapidly mutating industry... Along the way, we’ll learn a few things, make some videos, and rock the hell out!

You just filmed a music video on July 17, on the corner of Hemlock and West 8th, for “Sleeping City.” How’d it go?
The video shoot was a whirlwind — a sheer blast of creative, DIY craziness. We did it all guerrilla style, sometimes taking over an entire street to get a shot. We spend most of the video on bicycles, so traffic was an issue. We had to stop it sometimes to get our shot. We had no safety cones or vests or any sort of authority. We just got in the way of the cars, filmed a scene, and then left.

You’re playing the OCW re-launch. What motivated you to be a part of that event?
I like reading and writing a lot, and want to support any efforts on the part of younger, less mainstream, more risk-taking publishers to establish some sort of alternative literary scene here. I think the challenges in publishing in Vancouver parallel the music world in many respects.

Parlour Steps headlines the OCW relaunch party Friday, July 23, at the Rickshaw Theatre, 7:30pm. Tickets $15 (includes a subscription to OCW) from BrownPaperTickets.com.

Scott Pilgrim music news: Edgar Wright, Bryan Lee O'Malley, and Kevin Drew


My story appeared on Exclaim.ca yesterday!


Bryan Lee O'Malley, Edgar Wright and Kevin Drew Talk the Music of Scott Pilgrim
7/21/2010 By Andrea Warner

Comic book fans and music geeks, get ready to unite. Scott Pilgrim vs. The World hits theatres August 13, and we have a little under two weeks before we can snuggle up to the soundtrack, coming out August 10.

As previously reported, the compilation is a kick-ass assembly of specially penned songs for the film courtesy of such artists as Beck and Broken Social Scene, as well as previously released indie pop and rock songs, many of which appeared on mixtapes exchanged between Scott Pilgrim author Bryan Lee O'Malley and director Edgar Wright during their collaboration for the film.

When it came time to create the music for Scott Pilgrim vs. The World, Wright hired Radiohead producer Nigel Godrich as music supervisor. Godrich then recruited Beck, who wrote the music for Scott Pilgrim's band, Sex Bob-omb, while Wright tapped Broken Social Scene's Kevin Drew and Brendan Canning to write the music for rival band Crash and the Boys.

"Someone arranged for Edgar and I to go have dinner, and we kind of went on this blind date,” Drew laughs in a recent Exclaim! interview. “Obviously I knew his films and told me about what he was doing with Scott Pilgrim and I wasn’t very familar with the books, but my brother was very much into graphic novels. Edgar said, ‘We’re looking for music and we hear that you’re Toronto,’ and he sent me all the books and that was how it started.”

BSS signed on, but had precious little time to create an impression, since Crash and the Boys’ signature songs are short bursts of violent, ironic punk. The longest song is under 50 seconds. Perhaps this is why Drew insisted that the actor who played Crash in the movie, Erik Knudsen, record the vocals.

“Because the songs were so quick and punk and fast, I knew he didn’t need to be a singer to pull this off,” Drew says. “It had to be the character’s voice. Eric was such a sweet kid and I called up Edgar and was like, ‘I’m just going to get this guy to come in, because spontaneity’s the whole point behind Crash and the Boys and what we were doing.’ We had 47 seconds. We didn’t have a lot of time!”

As Drew explains, he and Canning also ended up infusing a bit of Toronto into the film's second soundtrack, featuring Godrich's instrumental arrangements, which will be released as an iTunes exclusive, the same day as the song soundtrack.

"They were using stuff from [our album] Feel Good Lost, and Nigel wrote an email to us saying, 'Look, I'm writing the music right now, people are coming in and out, there's a whole bunch of Social Scene, so why don't you just come down? Why am I trying to get your vibe? Just come down,'" Drew says. "So we went for week and just jammed and it was amazing."

Like with Broken Social Scene, Beck’s Sex Bob-omb songs find him unleashing a pent-up garage punk sound that's like a vacation from his usual fare.

“I think it goes back to some of his earlier, more punky garage stuff,” Wright tells Exclaim! “He’d seen the books and the artwork and knew what Sex Bob-omb were supposed to be like. Here’s one of the things that inspired Beck: [in the book], Sex Bob-omb have a drum riser that says ‘the Archies,’ so Beck’s idea was, 'what would the rock version of the Archies be?' So they’re very much in that raw-sounding and rough-sounding garage bubblegum mode. Beck just wrote all of his songs in 72 hours.”

The most classic-sounding Beck song in the film is beautiful ode “Ramona,” which appears twice on the soundtrack, with Beck performing an acoustic version and a full orchestral version as well.

“I’m pretty sure the ‘Ramona’ acoustic track was not just the first take, but him singing it improv,” Wright laughs. “It’s definitely the demo track on the album, it just sounded so beautiful.”

O’Malley adds, “Neither Edgar nor I knew that he added words until we heard the soundtrack. It was amazing. Like, 'wow, he added lyrics.'”

As for the soundtrack’s selection of previously released tunes, Wright tells Exclaim!, "With the exception of Plumtree and Beachwood Sparks, which I had no knowledge of before Bryan gave them to me, four of the tracks are what I call 'crossover' tracks: ones that Bryan had on his list that I happened to be a huge fan of those songs. The Bluetones, who, completely separately from Bryan liking them, I happened to do two music videos for about ten years ago. And Frank Black; I was obsessed with the song 'I Heard Ramona Sing' back in art college. I absolutely loved that song. Then I saw that he had 'Under My Thumb' on his playlist, which happens to be my favourite Stones song; there was just a lot of great overlap.

“Some of the other tracks there are my picks, like the T. Rex track ['Teenage Dream'], but a lot of it is just the overlap between the two of us. Both of us are fans of the Black Lips and the Broken Social Scene song ['Anthems for a Seventeen-Year-Old Girl'], obviously. The Blood Red Shoes song ['It's Getting Boring by the Sea'] was one I had sent to Bryan that reminded me of the books, in a way."

According to O'Malley, "I had more [influence] than I expected. The songs from my original mixtape just stuck in his brain, and I was really happy about that. I was never sure if my songs would make it in... Plumtree especially. It was an ongoing... well, I wouldn't say struggle, but I always wanted them on the soundtrack and I was never really sure that was going to happen, but Edgar wanted it too. I wasn't sure at first because he's kind of inscrutable, but it's really gratifying to have it there."

The Scott Pilgrim vs. The World soundtrack is due out August 10 via ABKCO. A deluxe version is due out on September 7 and will feature a selection of bonus material.

Friday, July 16, 2010

The Sorcerer's Apprentice

My review of The Sorcerer's Apprentice is in this week's WE.

THE SORCERER’S APPRENTICE

Starring Nicolas Cage, Jay Baruchel
Directed by Jon Turtletaub

Director Jon Turtletaub, über-producer Jerry Bruckheimer, and actor Nicolas Cage kicked off a blockbuster franchise with National Treasure, inspiring kids to seek anthropological action and adventure by playing fast and loose with history. The trio offer another unruly education, this time in history and science, with the occasionally magical Disney fantasy, The Sorcerer’s Apprentice.

Cage plays Balthazar, one of legendary sorcerer Merlin’s three apprentices. He’s tasked with finding Merlin’s eventual heir, who will help defeat the evil sorceress Morgana, herself trapped in a Russian nesting doll inside the body of Balthazar’s love, Veronica. After roughly 1,300 years, and two tries, 20-year-old Dave (a reliably charming Jay Baruchel) proves to be Merlin’s successor and the only one capable of defeating Morgana. Of course, a few things stand in the way: Horvath (Alfred Molina), Merlin’s evil third apprentice, and Becky (Teresa Palmer) the blond bombshell distracting Dave from his magic training.

Sorcerer Cage and apprentice Baruchel have nice chemistry, riffing off each other with funny line deliveries and jolting physical comedy chops, but everything is strangely safe. Turtletaub shies away from letting his actors really go for it. In Balthazar, Cage could have created a character that rivaled Johnny Depp’s Captain Jack Sparrow. Instead, we get a 1,000-year-old wizard with a penchant for long, leather coats wearing a wig that resembles the unfortunate coif of Nickelback’s Chad Kroeger.

Many of the action sequences are fantastic, from a beautifully choreographed Chinese street festival where a dancing dragon transforms into a real dragon, to an array of magical tricks that prove genuinely thrilling (the so-called “mirror world,” though briefly seen, is brilliant). But the action stalls and starts with all the finesse of a birthday party magician. Turtletaub achieves some elements of wonder and wow, but his Apprentice never quite proves spellbinding. —Andrea Warner

Wednesday, July 14, 2010

Sarah Harmer

My interview with Sarah Harmer is this week's cover story for WE. She's a great incentive to check out the folk fest if you can.

Sarah Harmer may look cool and casual, but admits she feels out of practice after taking a break from performing to fight for the environment.

Sarah Harmer may look cool and casual, but admits she feels out of practice after taking a break from performing to fight for the environment.

Credit: Supplied

Sarah Harmer all ‘Fired’ up with edgier sound

Sarah Harmer arrives at Universal Music’s Vancouver office carrying a backpack and wearing a tired smile. She’s doing press for her fifth record, Oh Little Fire, and also her upcoming slot as one of the headliners at the Vancouver Folk Music Festival (July 16-18). Harmer’s just come from an interview where someone asked her what kind of car she would be. Politely bemused, the avowed environmentalist guessed she’d be a Prius. In many ways, it’s been a long afternoon.

But the break between records for Harmer has been even longer. The singer-songwriter’s last album, 2005’s I’m a Mountain, marked her first foray into acoustic alt-country. It was a notable departure from the pop-driven indie-folk sound she’d cultivated so beautifully on her 2000 breakthrough debut, You Were Here, and the 2004 follow up, All of Our Names, both of which showcased her distinctive blend of thoughtful lyrics, layered guitars, and catchy melodies.

With Oh Little Fire, Harmer’s made some notable upgrades to her signature sound, including more adventurous production elements, indie folk-rocker Julie Doiron on backing vocals, and a star-powered duet with her pal Neko Case.

“[You Were Here] definitely felt like kind of a new mat I was rolling out in way,” Harmer laughs, tucking one leg under her and settling into the conference room couch. “I feel the same about this album. Maybe it’s just because it’s another new decade and I put out You Were Here in 2000. They both were made in kind of shitty warehouses spaces in Toronto with friends — there’s a real similarity.”

And, like her debut, Harmer also took her sweet time in getting the ball rolling. She cheerfully calls herself “lazy” when asked why she took five years to make Oh Little Fire. Truthfully, she admits she was a little burnt out and there were bigger issues calling her name.

“The last real show I did was in England and it was 29 shows in 31 days and it almost killed me!” she says, recalling the impetus for her self-imposed seclusion. On that tour she was also reading a book about climate change, George Monbiot’s Heat: How to Stop the Planet Burning, which made her reflect on her own carbon footprint as an entertainer.

“I just started to want to focus locally,” Harmer says. And she did, helping co-found the citizen’s environmental group Protecting Escarpment Rural Land (PERL), in an effort to stop development on the Niagara Escarpment, which abuts Harmer’s backyard in Burlington, Ontario. Currently, PERL is fighting a company that wants to dig a quarry along a stretch of the 700-kilometre-long, cliff-like range, a home to fragile provincial wetlands and forest.

She’s been able to bring some celebrity power to the fight: Case called Harmer last year to see if she could help bring attention to PERL’s cause. The solo singer-songwriter and sometime member of Vancouver indie-rock band New Pornographers made the trek out to Burlington’s town hall for a fundraising concert. But, even with some high-profile names and lots of attention, the battle continues to be an uphill one. Though every level of local government has rejected the company’s attempts to excavate its new quarry, a final court decision is on hold until October.

Harmer sighs heavily about this latest development, but she’s not depressed.

“Ultimately, it’s really made a lot of people realize what can happen when you collectively come together,” Harmer says. “B.C. knows about this. There have been lots of examples here with logging and other community achievements. It enriches your whole life just to know [nature’s] there. People get kind of tiring after awhile. No offense,” she adds quickly, laughing.

Harmer’s recent trip to help friends Jim Guthrie and Brian Webb of indie rockers Constantines record a soundtrack in Haida Gwaii (part of a short film series for the Discovery Network) has reaffirmed for her the connection between nature and creativity.

“It’s amazing,” Harmer says. “I didn’t know what I was in for. It’s tricky because we did a lot of instrumental stuff. We were kind of recording on the fly, like on beaches and on a boat at one point. It’s hard sometimes to put words that reflect what you’re seeing without imposing something upon that that seems foreign, you know? And just poetic enough and open enough that the wind can blow through the words a little bit.”

That experience was markedly different than how Harmer ended up writing Oh Little Fire.

“It’s mostly about pain and heartbreak,” she laughs. “Yeah, that really hurt. My experiences — or, I should say, the experiences — there’s nothing in the record about me at all of course, it’s more human interactions...” She trails off a little ruefully, unwilling to say more about the actual writing process.

She’s full of praise, though, for producer Gavin Brown, a longtime friend who’s worked with a spectrum of Canadian indie bands from Metric to Billy Talent. She credits Brown for pushing her out of her comfort zone, adding unusual twists and turns in the studio to increase the album’s rock quotient.

“Gavin’s got a frenetic energy and is super decisive,” Harmer says. “He gets really worked up and makes decisions quickly and I’m a little bit more, ‘Yeah, that could work... Uhhh, I don’t know, let me think about it.’ Not having a boss on your ass to do things made me lethargic. I’m too ponderous.”

On Fire’s opening track, “The Thief,” Brown built the song’s dark mood by barking orders at Harmer and Doiron to layer every possible harmony imaginable. He then brought in an actual Soviet-issue tape delay to record multiple tracks, which adds a distinctively heavier backing beat throughout.

“He’d be like, ‘Yeah, Sonic Youth, watch out!’” Harmer recalls. The album’s biggest surprise might be the torch-burner quality on “New Loneliness,” which Harmer originally anticipated as sounding “natural, but eerie. It got spookier as we recorded it, but I love all the weird sounds coming out of it, like this kind of electric bog. The sentiment of the song has so many natural references and it’s kind of dry in some ways, it’s probably good that we made it a little weird. It’s referencing dragonflies and white-tailed deer, so it’s good we edged it up a bit.”

And while Harmer’s definitely embraced these sonic elements for her latest musical reinvention, she admits her down time has made her a bit apprehensive about touring again. “I don’t feel quite ready yet,” she concedes. “I’m definitely out of practice, so I’m a little bit like, ‘Oh, do I really wanna go away?’” She smiles and takes a deep breath. “But it’ll be fine.”

Winter's Bone review and Jennifer Lawrence sidebar

My review of Winter's Bone accompanies a brief sidebar interview with Jennifer Lawrence in Calgary's Fast Forward Weekly.

Winter’s Bone chills

Backwoods drama earns its Sundance-driven hype

Debra Granik’s art-house gem, Winter’s Bone, has amassed an impressive array of prestigious film festival awards on its way to the multiplex. And, while a film’s buzz is often just hype, occasionally the accolades are justified. Count Winter’s Bone, based on Daniel Woodrell’s novel of the same name, among those that have earned the praise.

Ree (Jennifer Lawrence, a wonderful discovery) is just 17 years old and a world away from those preening Disney teen queens. Instead of attending school, she’s tasked with caring for her young brother, sister and mentally ill mother. When Ree finds out her father has put their house up for his bond, she must find him before his court date or they’ll lose their home.

She embarks on a tense trek through the Ozarks, which serves as a beautifully bleak backdrop to a methamphetamine-ravaged rural community bound by manufacturing, dealing and indulging in the drug trade. Everyone knows something but no one’s talking, not even Ree’s uncle, Teardrop (John Hawkes), who becomes an unlikely ally of his niece as she navigates the mountainside. As Ree digs deeper into the mystery surrounding her father’s disappearance, Winter’s Bone takes on elements of a film noir, and every door she knocks on feels like a perilous step closer to the precipice.

Granik, who also co-wrote the script, has a keen eye that lingers over the smallest details (a slowly melting icicle, an animal carcass) and creates an authentic experience in every scene by relying on locals in supporting roles rather than professional actors. The children, particularly, offer strong, natural performances, no matter what’s asked (a memorable scene involves turning a squirrel into dinner). In taking the time to stay true to the environment and circumstances of the impoverished subjects of her film, Granik shows, without judgment, the harsh realities of survival.

Her professional actors are equally committed to the task. Hawkes, a lanky, desperate-looking man, embodies Teardrop wholeheartedly. The actor, so wonderful in the quirky 2004 flick, Me and You and Everyone We Know, tempers Teardrop’s innate violence with underlying humanity.

Lawrence, only 19 years old, is absolutely fearless, and delivers a fully realized character coming of age in unfathomable circumstances. Ree is quite possibly the most assured portrait of youthful competence and resilience ever committed to celluloid. Her currency is intelligence and instinct, rooted in necessity, a refreshing concept in the vast wasteland of Hollywood’s typical depiction of teenage girls.

The Wizard of Ozark

Jennifer Lawrence may not be a household name yet, but her star-making role as the heroine of Winter’s Bone will definitely change that. Here’s a behind-the-scenes glimpse of what life in the Ozarks was really like for Lawrence.

Your relationship with the local children who played your siblings seemed very natural.

I was a nanny and a babysitter and I'm naturally drawn to children much more than adults (laughs). We started slowly, introducing the camera and played a game called “hide your eyes from the camera,” because they loved to look at the camera. And then [we] just kind of created a make-believe world.

Did you feel a lot of pressure being the anchor of the film?

It was tough, because I'm in every scene and I didn't get any downtime at all. But you don't really notice, or at least I don't, because I'm not a butthead that I'm the anchor of the film. We were all collaborating and making a movie. I just happened to be more tired than everyone.

The accolades you’re receiving must feel good. Are the offers pouring in?

Yes. A lot of offers. And a few for comedies, too. I'm like, '”Have you seen the movie?”

Friday, July 9, 2010

New Pornographers

My interview with A.C. Newman from the New Pornographers is in this week's WE.

Despite the (mostly) serious faces,  New Pornographers’ founder A.C. Newman (third from the right) says,  “No matter what we try and do, we always come up with summer records.”

Despite the (mostly) serious faces, New Pornographers’ founder A.C. Newman (third from the right) says, “No matter what we try and do, we always come up with summer records.”

Credit: supplied

Getting ‘Together’ again

It’s been 10 years since their debut album, Mass Romantic, made local indie-rock group New Pornographers an overnight success story. And, though the band’s sound has largely stayed the same — catchy, perfectly crafted pieces of sunshine, melody, and hand claps — everything else has changed.

Almost every member of the eight-piece ensemble has crafted their own illustrious solo career, including co-founders and songwriters Dan Bejar and A.C. Newman (Vancouver’s version of Lennon and McCartney), and Neko Case, the band’s part-time songbird, whose throaty vocals and alt-country twang have pushed her into another stratosphere of fame.

Newman admits that it took some wrangling to get everyone on the same page, much less in the same city again, but the effort has already paid huge dividends. The group’s new album, Together, debuted at number 18 on the Billboard charts and its first single, “Your Hands (Together)”, gives long-time fans exactly what they want: pounding drums, happy rock, and heavy guitars. Newman spoke with WE over the phone from a tour stop in Washington, D.C., about Vancouver’s love-hate relationship with the band, the Polaris Prize, and why indie-rock fans are better than Lady Gaga fans.

WE: How’s D.C. treating you?
Newman: D.C. is my favourite place to play, because it’s always where our shows sell out the fastest. Even on my solo tour, I do about double in D.C. what I would do in another city.

I’d think Vancouver would be wanting to welcome you home with open arms?
Vancouver’s nice to us. It’s the funniest thing, but of all the Canadian indie bands, we’re not more popular in Canada than in America. You look at a band like Metric, they sell as many records in Canada as they do in America, they’re huge. But us, we’re even... Somebody had a theory that maybe because Neko’s American and I’ve been living in America, Canada thinks of us as not Canadian. It seems inconceivable. But, you know, I’m saying this as if Vancouver hates us and that’s not the case. Perhaps I should just drop it. [Laughs].

The Polaris Prize people don’t hate you, so congratulations on your long list nod.
Thanks... What is the long list?

I was going to ask you, does this even matter to you? You know what the Polaris Prize is, right?
Yeah, we were nominated for the first one in 2006, I think.

Yeah, and about two hundred music industry folks compile a list of the best Canadian CDs, It gets narrowed down to 20, and then narrowed further until one band wins the $25,000 prize.
Yeah, that’s nice, but I don’t think the Polaris Prize is for bands like us. We’ve been around too long. It seems like more of a new band prize.

Yes. Final Fantasy was just starting out when he won.
Exactly. I went to the awards ceremony and I’d never seen him play, and I was like, ‘Wow, he’s amazing, give it to him.’ I’m sure it made a bigger difference in his life, you know? For somebody who’s perhaps not hugely popular, to give them $25,000, that makes a big difference to them. To give it to us and split it eight ways, it’s like, ‘Thank you. This helps pay my mortgage for one month.’

It’s been horrible weather here, but then I was listening to Together yesterday and the sun came out. That’s what the album did.
Oh, that’s good. We’re known for that. No matter what we try and do, we always come up with summer records. I don’t know why. I think at some point you just have to acknowledge our niche, you know? Like, people want to come to our shows and it’s a fun thing, you know? They like to nod their heads and bob up and down. They want fun and community and like it to rock.

Indie music seems to be thriving, which isn’t the norm right now in the music industry. Is it because of the DIY ethic those bands have?
I think it comes more from the people that listen to it. That’s how success is measured: When people are buying your records and going to your shows. I think the people who listen to indie music care about music and are less likely to take it for free. Like, somebody who’s a fan of Lady Gaga; they don’t care about Lady Gaga. They have no connection to her. They’ll just download her songs and think, ‘She’s rich, who cares?’ Or, they don’t even think that far, they don’t even question getting music for free.

Thursday, July 1, 2010

The Twilight Saga: Eclipse

Kristen Stewart and Robert Pattinson star in the third installment of the teen vampire series, The Twilight Saga: Eclipse.

Kristen Stewart and Robert Pattinson star in the third installment of the teen vampire series, The Twilight Saga: Eclipse.

Credit: Supplied

THE TWILIGHT SAGA: ECLIPSE

Directed by David Slade
Starring Kristen Stewart, Robert Pattinson, Taylor Lautner

It’s been three years since moviegoers were introduced to vampire Edward Cullen (ever-brooding Robert Pattinson), human-werewolf hybrid Jacob Black (the now perpetually shirtless Taylor Lautner), and the object of their rival affections, Bella (Kristen Stewart, no longer playing with her hair).

The franchise’s third installment, Eclipse finds Bella a month shy of graduating, but with even bigger changes on the horizon: Edward’s promised to turn her into a vampire if she’ll marry him, even though he’d rather keep her soul intact. (Later in the film, “soul” becomes a euphemism for “hymen.” Enjoy.) Bella’s safety becomes the catalyst for an uneasy alliance between the werewolves and the vampires, who band together against Victoria (a newly recast Bryce Dallas Howard), who, after two movies, is still hellbent on killing Bella to avenge the death of her lover in the first Twilight movie.

To say that this movie is better than its predecessors is faint praise, but it’ll have to do. The first Twilight looked amateur and cheap, and though the script seemed to suffer from the 2007-’08 writer’s strike, the sequel, New Moon, proved films based on a poorly written book series can’t be elevated much above the source material, no matter how hugely successful they are.

With Eclipse, screenwriter Melissa Rosenberg remains a faithful servant to author Stephenie Meyer’s juvenile prose. The repetitive scenes between the core three as they posture, declare their feelings, and rehash the past might please the Twihards, but anyone else will likely get a headache from all the eye-rolling. But under the hands of new director David Slade (Hard Candy), something unfathomable transpires: the movie gets interesting, exhibiting some narrative vibrancy as it attempts to throw off the shroud of terrible dialogue. As the action shifts away from ‘Who will Bella choose?’ and viewers are offered backstories as well as some fun werewolf-on-vampire fight sequences, we get the shape of something that resembles a decent film. —Andrea Warner

Antony and Cleopatra

My review of Antony and Cleopatra at Bard on the Beach.

Jennifer Lines and Andrew Wheeler play the titular lovers in the Bard on the Beach production of Antony and Cleopatra.

ANTONY and CLEOPATRA

By Andrea Warner

It begins with a pillow fight. One of the most historically and politically important, passionate, and mercurial affairs of all time — that of doomed lovers Mark Antony and Queen Cleopatra — opens with a pillow fight: an all-limp, no-bang beginning ominously foreshadowing the next three hours.

Curiously dull but undeniably well-acted sums up the season’s second offering from Bard on the Beach. There’s a reason the tragedy Antony and Cleopatra is one of Shakespeare’s least-staged works. It explores a dense period of complicated political maneuverings that threatens to overshadow — and then ruthlessly overtake — its titular lovers. The play is made up of two competing storylines, and our heroes lose. Badly.

The action begins in the middle of an historically accurate maelstrom. Julius Caesar has been assassinated and Rome is now ruled by an uneasy triumvirate consisting of Mark Antony (Andrew Wheeler), Caesar’s adopted nephew Octavian (Haig Sutherland), and Marcus Lepidus (Allan Morgan). In addition to this intrigue, Antony finds himself distracted by Caesar’s former lover, the beguiling Egyptian queen, Cleopatra (Jennifer Lines).

Political machinations, misunderstandings, and epic battles ensue, and Antony proves he’s ruled by his hubris and his libido. Defeated by Octavian (who has now taken the name of Caesar), the lovers famously commit suicide to avoid capture: Cleopatra by clutching a venomous snake to her breast, Antony by falling on his sword.

The historical record here is messy and complicated enough, even without dramatic flourishes. The play’s most obvious challenge is that the action occurs offstage and is later explained in momentum-killing expository monologues. But actor-turned-director Scott Bellis’s vision for his two main characters is the production’s most baffling derailment. Antony and Cleopatra are, by turns, love-sick, petulant, and childish (they could be prototypes for Chuck and Blair’s spoiled shenanigans on Gossip Girl). We never fully glimpse any of the steely determination implicit in Egyptian royalty or a Roman warrior.

That Cleopatra comes off as merely manipulative rather than cunning is no fault of Lines, who’s reliably devoted to infusing every line and every stare with nuance and emotion. Wheeler’s Antony feels rudderless, but again, through no fault of the actor’s, who does his best to be commanding in the face of every infantile, moony moment.

Despite fine performances, there’s no passion or intensity on display. Antony and Cleopatra are meant to be wild forces at work. Here, they giddily collide without much impact.

Antony and Cleopatra runs to Sept. 24 on the Mainstage of Bard on the Beach in Vanier Park, 8pm. Tickets $18.75-$38 from 604-739-0559 and BardOnTheBeach.org

The 25th Annual Putnam County Spelling Bee

My review of the lovely taste of Broadway on now at Granville Island Arts Club.

Alison MacDonald, Josh Epstein, and Tracy Neff (left to right) head up an ensemble cast in the musical comedy, The 25th Annual Putnam County Spelling Bee.

Alison MacDonald, Josh Epstein, and Tracy Neff (left to right) head up an ensemble cast in the musical comedy, The 25th Annual Putnam County Spelling Bee.

Credit: Supplied


THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE

By Andrea Warner

Hating The 25th Annual Putnam County Spelling Bee is like hating baby seals or puppies. It’s just not possible.

When it debuted in 2005, the Tony Award-winning Broadway musical ushered in a new era of over-achieving nerd heroes. Populated with awkward prepubescents — who are not only earnest competitors, but characters rife with complicated home lives and personality traits — it’s fair to say that Spelling Bee paved the way for television shows like Glee: fun and adorable, but with a soothing balance of acidic wit.

The contestants are a creative assortment of gently satirical stereotypes, but the show largely belongs to its two main characters, Olive Ostrovsky (Tracy Neff), a shy girl neglected by her parents, and William Barfée (Josh Epstein, who very nearly steals every scene), an insecure but obnoxious know-it-all with only one working nostril. Neff shines brightest in the achingly resonant “I Love You Song,” while Epstein infuses “My Magic Foot” with cheeky charm. The two forge an unlikely friendship, which provides a nice beating heart to ground the hilarity of subsequent songs like “My Unfortunate Erection.”

The rest of the cast is afforded plenty of brilliant moments as well, thanks to some sharp performances and astute line delivery. Alison MacDonald nails every “eth” as the hyper-driven, lisping Logainne, and Brian Linds has a blast delivering every deadpan definition as the moderator, Principal Patch. Rosie Simon makes a strong debut as adorable Catholic schoolgirl Marcy Park, and Jeremy Crittenden’s transformation into the home-schooled Leaf Coneybear is a perfect combination of tics and tonal inflection.

This a fun show with a great cast that packs an emotional whomp. But what really pushes Spelling Bee from good to great is a wonderfully weird sense of humour. The laughs seldom stop, thanks partly to some clever regional modifications (Surrey jokes!) and improvised wisecracks, making it pitch-perfect summer fare.

The 25th Annual Putnam County Spelling Bee runs to July 31 at Granville Island Stage, 8pm (Mon-Sat), 7:30pm (Tues). Matinees: Wed, Sat, 2pm. Tickets $25-$50 from 604-687-1644 or ArtsClub.ca

Tuesday, June 29, 2010

Stars new piece for Exclaim.ca

My online interview with Stars' Torq Campbell is a tasty precursor to my full piece in the July Exclaim issue.

Stars’ Torq Campbell Talks The Five Ghosts, “a Return to the Core” and “Spooky Shit”
6/23/2010 By Andrea Warner


The new Stars album, The Five Ghosts, dropped yesterday (June 22), marking a return to the band's original sound: dancing in the dark. "That's actually a great description of it, because that's literally what we were trying to achieve: a sad dance record," Torq Campbell, co-lead singer of the Montreal-based dream pop/rock group, says of the new album in a recent phone interview with Exclaim!

Campbell is excited about Stars' return to form, saying from his temporary summer home in Stratford, ON, "Stars has always seen itself as a sad dance band. We'd kind of gone up this alleyway of writing multi-part dynamic songs, but this feels like a return to the core of what we want to be writing about."

Ghosts caps the band's first decade together. It recalls the group's breakthrough 2004 album, Set Yourself on Fire, but the songs are more propulsive and leaner, though no less lyrically dense; the sonic equivalent of seeing a former flame who looks even better and younger than when you were together.

Ghosts is also a veritable haunted mansion of moody, macabre images, which Campbell attributes to a "heavy year and some painful shit" the band went through together, including the death of his father and a few other romantic heartbreaks (none his own, though). Even the album's title is the stuff of slightly eerie campfire stories.

"I got an obsession with the number five for a while," Campbell says. "I find it a spooky number... oh, and I'm now getting attacked by a wasp!" He puts down the phone for a few seconds. "See, spooky shit, as soon as I say five, a wasp attacks me. That's the kind of flaky shit I say."

He laughs and then launches into how he uncovered that the Five Ghosts is actually a phrase from Chinese feng shui that refers to the energy in the house after a loved one died. "I didn't know that and it seemed very uncanny... [the album] just named itself."

Five Ghosts is out now on Soft Revolution in Canada and on Vagrant in the U.S. In support of the record, Stars will be embarking on an extensive U.S./Canada tour. You can see all the band’s dates here.

Friday, June 25, 2010

Joan Cusack interview

My interview with Joan Cusack appears online at WestEnder.com

Jessie (Joan Cusack), Buzz (Tim Allen), and Woody (Tom Hanks)  return for a new adventure in Toy Story 3.
Jessie (Joan Cusack), Buzz (Tim Allen), and Woody (Tom Hanks) return for a new adventure in Toy Story 3.

Joan Cusack’s reanimation in Toy Story 3

Last weekend, Toy Story 3 finally made it to the big screen, in 3D no less, and like almost every Pixar film ever made, became an instant classic. It’s a nice pay-off after the contentious years-long squabble between Disney and Pixar, which ended up delaying the third installment of the franchise for over a decade.
It’s been 10 years well spent. It’s not just that the film is visually stunning (though it is), but that it’s an emotionally resonant story of growing up, moving on, and celebrating the simple pleasures of play. Joan Cusack spoke with WE about her cowgirl character, Jessie, meeting James Bond, and the business of being animated. [Editor’s note: Warning, some story spoilers ahead.]
WE: Was the script as emotional to read as the film was to watch? Because good lord, did I cry.
Joan Cusack: Really? Actually, I expected it more this time, because when I did Toy Story 2 I’d never even done an animated movie at all. There really isn’t a script that you read beforehand, you just kind of meet with the producer and the director — well, it was over four years for this one. You see them once every six months and then once every three, then two months, and you’ll do little pieces of the story, but you don’t even know the whole story all together. When my son was sitting next to me at the screening we went to, he’s like ‘What’s going to happen next?!’ and I’m like ‘I don’t really know!’ [Laughs]
Were you prepared then for the way it came together as a movie? From the bittersweetness of growing up to the terrifying garbage inferno.
I was kind of impressed that they went for it, you know? They really followed the authentic story to its conclusion. They took the story of these toys, that was kind of hinted at in the second one, and said, ‘Well, what happens 10 years later?’ That was so clever. That the little boy’s grown up and it’s such a creative solution to the realities of their situation. You know, just that Disney and Pixar weren’t going to do another one and then, I don’t know, someone bought the other one, and they finally were able to look at the story again. There were so many things that were clever about it. Even just that Buzz was Spanish and that they included our Latin American neighbours in such a nice way. It’s just smart.
Is it strange for you as an actor to be providing one aspect of a character, a voice, that’s obviously incredibly vital, but then trusting a whole other team to put together a face and body and physical motion to it?
It’s definitely different. You couldn’t be in better hands with Pixar, so it’s pretty easy on that level, but it is a different acting chop. Especially in the beginning. I would think I put some emotion in my voice and then they’d play it back and I’d hear it and I would think, ‘No, I must have been using my hands a lot and that didn’t get picked up.’ [Laughs] It’s funny, but you just have to be more animated.
You record in relative isolation then. You and the rest of the cast are never really in the same room together.
No, uh uh. Like, the press junket we did, I did the whole press day with Timothy Dalton, James Bond, which is hilarious to me. I was so taken aback, ‘Oh my God, James Bond all day talking about Toy Story and he was Mr. Pricklepants?’ It’s very imaginative in a way, it’s kind of what kids do. You just imagine everybody has come to life, so you work kind of similarly, so it’s just different.
Do you remember what first attracted you to playing Jessie?
When I first did it, I’d never done anything like that and it was just kind of fun. But then I remember even when we were making it and they were saying something about Jessie and Woody were doing something, I was asking, ‘Ooh, can Jessie save the guy instead of the guy saving Jessie?’ And they were like, ‘Sure, we can play around with that.’ And then I went to Disneyland with my kids when we were out for the opening in LA, and they are lots of princesses and Cinderellas and mermaids and Jessie’s kind of a new kind of Americana, home-grown, doesn’t-need-a-guy girl.
Fully dressed.
It’s kind of cool. It’s like a subtle evolution in a neat way.
That’s really important to show little girls different ways you can grow up, to be self sufficient and equal to anybody else.
Right! And you feel that in society, that it’s happening anyways, and slowly but surely there’s that presence in different professions. It’s interesting that it’s in the movie, too.
It feels very modern in the values that it reflects, particularly how it emphasizes the value of creativity and imagination and getting back to those things we’ve maybe lost a bit.
And playing! I love the little girl, Bonnie. She’s shy but she has this great imagination and passion and love for life. It’s simple. It doesn’t require a lot.
And it doesn’t require money, you know, it transcends one’s station in life to just be able to play with toys you find somewhere and make them your own.
Right, and you personally have taken the time to invest in the way you’re thinking and the way you’re playing. That doesn’t cost anything. It just costs time.
It felt like the movie had some nice closure, but also that it’s poised to move on into something new. Do you anticipate playing Jessie again?
I’ll cross my fingers for that. I think it’s so fun that there’s a little girl at the end with that world. It’s a different world, a girl world, and it hasn’t been shown yet in a modern way. There’s certainly room for a lot of creative storytelling there.
Thanks so much for talking to me.
It’s nice to speak with you, too! And you hang in there, girl reporter! You go too!