August 27, 2010

"The Fall, lovely blokes"

Mark E Smith and Marc Riley interviewed on Australian TV, 1982. (hat-tip: Point That Thing).

August 25, 2010

Death song

Those who had at least one ear on the soundtracks of Ghost Dog and The Limits of Control won't be hugely surprised by the results of Jim Jarmusch's guest curation of All Tomorrow's Parties in New York state next month: Boris and Sunn O))), GZA and Raekwon, psych-rock by Wooden Shjips and Black Angels, an impressively obscure Jack White link (Greenhornes) and at least one Sonic Youth connection. New Zealand and Australia need this guy running the Big Day Out. Also: a book club (Sante, Burroughs, Dyer and one about Coffee and Cigarettes hero Nikola Tesla) plus a film room.

And in an associated Village Voice interview, Jarmusch says this about the film that's coming next:
I'm trying to get a film going for early next year. One of the characters is a musician of unusual, outside music — electric stuff. It's going to be a mixture of — I don't know how you'd call it — avant-instrumental electric guitar . . . with some lute music. There will be some Arabic music, some vintage rockabilly stuff, so, again, a mixture of things. I have a great cast, but I don't have the financing yet because it's really weird out there right now. I've got Tilda Swinton, Michael Fassbender, Mia Wasikowska and John Hurt — I've got these four ready to do it, but I don't have the money yet. I'm gonna get it. I'm gonna get it even if I have to do something highly illegal, I don't know what.
The Black Angels:

August 23, 2010

August 10, 2010


White Material by Claire Denis. Intuitive seems to be the word for film-making like this.

August 6, 2010

August 2, 2010

Close to the edit

I haven't been the world's biggest Simon Morris fan but his notion that we're in an age of prog-rock movie-making -- evidence: Avatar, Tim Burton's tired and hollow Alice in Wonderland, the new Inception -- seems inspired to me. (But no Lovely Bones? Surely exhibit B after Avatar). Whether Inception is the movement's Dark Side of the Moon is questionable -- I'd say Wish You Were Here if it had to be a Floyd album. As in: highly polished but less profound than it tries to persuade you it is. Lacking some human centre. An effort to produce a masterpiece rather than an organic masterpiece (the Dark Side/Wish difference). An undreamlike mix of known Nolan themes and faces (Caine, Watanabe, Murphy) and movie worlds opening onto movie worlds; in One Day in the Life of Andrei Arsenevich, Chris Marker imagines Tarkovsky's body of work as a series of rooms in a house, one leading to another. Here, Babel leads to The Matrix to an 80s Bond film (is it A View to a Kill that has the snow scenes?) to The Constant Gardener to Shutter Island to Eternal Sunshine of the Spotless Mind to the empty apocalyptic city at the terminus of AI. We dream in movies? But we don't.

What would I have changed to complicate or deepen the picture? Make the kids at the end ten years older than Cobb remembered ... It doesn't mean the final dream/reality problem is fixed but it does suggest a dimension the film lacks and seems to me to need: passing time.