Meanwhile, a June 15 festival preview story in The Boston Globe had one of our favorite quotes of the year:
As for this year’s Filmmaker on the Edge conversation, Waters will be hosting aging enfant terrible Harmony Korine, whose latest film, Spring Breakers (screening in the festival) polarized critical opinion. “I thought it was delightful,” opined Waters about the film. “It was like Where the Boys Are meets Scarface. A friend said, ‘That was the most irresponsible movie I ever saw.’ I said, 'come on — it’s not that good!’ ”
When: 6:30 p.m. Tuesday, June 25
Where: Parnassus Books
At a recent Parnassus Books unveiling of hotly awaited summer books, addressing figures from the local literary and arts community, publishers’ reps shared their picks for the season’s most talked-about titles. One that kept coming up in conversation was The Son, the new novel by Philipp Meyer, whose 2009 debut American Rust drew comparisons as broad as Hemingway, Salinger and Cormac McCarthy (wouldn’t you like to see those three walk into a bar) with its depiction of two once-promising steel-town kids altered by a violent encounter.
Vast in scope, ambitious in structure, The Son alternates the voices of three members of a Texas family across two centuries, extending from American Indian conquest to the Iraq War. Aside from glowing advance notices from Richard Ford, Karen Russell and Kate Atkinson, it led a Wall Street Journal headline to ask, “Is Philipp Meyer the Next William Faulkner?” You should probably choose a different icebreaker if you meet the author tonight at his Parnassus reading and signing.
Watch the WSJ's video report on Meyer after the jump.
David Lean's 1962 blockbuster Lawrence of Arabia remains the first word in big-screen spectacle — which is why you should see it this weekend on a big screen. I saw it for the first time many years ago at the Belle Meade Theatre, and I've never forgotten that famous cut of blue-eyed devil Peter O'Toole blowing out a match, only to have the full screen suddenly irradiated with a blaze of Saharan sunlight. It screens once a day through Monday in a new 4K digital restoration. Let us know in the comments thread if you go, especially if you're seeing it for the first time.
It’s hard to imagine a better context, however troubling, for the release of Dirty Wars, an expose of America’s covert wars fought on undeclared battlefields around the world. If the NSA revelations are the domestic face of our nation’s security obsession, Dirty Wars reveals the other side of the coin.
Produced by Jeremy Scahill and Rick Rowley, Dirty Wars documents a story and its teller. The latter is Scahill, an award-winning national security correspondent for The Nation magazine who serves as the documentary’s narrator and its protagonist. Scahill authored the doc’s 600-plus page companion of the same name, and previously wrote Blackwater: The Rise of the World’s Most Powerful Mercenary Army, detailing the rise of the private military company whose record is so sordid that the firm has changed its name multiple times.
One such team is Floyd County Productions, née 70/30, whose heads Matt Thompson and Adam Reed are responsible for some of the shows at the foundation of Turner's Adult Swim empire, including Sealab 2021. On the heels of their much loved and missed AS series Frisky Dingo, they created Archer for Fox. The wildly popular spy spoof has spawned a live tour with some of the cast, which hits the Ryman tonight at 8 p.m.(tickets start at $39.75).
In preparation for the story I wrote for this week's Scene, I got to chat with the awesome Amber Nash, an Atlanta-area improv comedienne who voices the show's "indestructible party girl" Pam Poovey. Some of our conversation dealt with Archer Live! directly, but she also shed some light on the relationship between community theater and the network and cable biz. Read through our conversation after the jump.
The infamous Nashville humidity is just starting to blanket the city, which means that most of us are peeling off layers as quickly as possible, exposing our pasty, winter skin to the elements — and to the rest of the world.
If the term "sleeveless" makes you want to cry, the incredible instructors at Krank and Hot Yoga Plus are once again joining forces for a fitness event that will whip you into shape faster than you can say "fat pants." And today is the longest day of the year, so you really have no excuse for not fitting in some kind of workout.
Tonight, the two studios will host a Summer Solstice Party at Krank's Bandywood location, where you'll partake in a 90-minute circuit workout mixing interval training and yoga. If you really want to push it to the limit, you can add on a 45-minute cycling class for an additional fee. DJ AyDamn will provide the calorie-burning soundtrack.
If there’s one thing the films of Indonesian director H. Tjut Djalil teach us, it’s that’s young, attractive Western women should not go mucking about with ancient evil no-goodniks in the East. It only leads to oodles of guts, blood, death, destruction and really nifty non-CGI lightning effects. That’s the case in the three films that have gained Djalil a cult following among fright film fans — Lady Terminator (1989), Dangerous Seductress (1992), and the film that started this carnival of WTF-ness, Mystics in Bali (1981).
Initially banned in Djalil’s home country for its gore and shock images, Mystics in Bali tells the story of a young American student who travels to Asia researching ancient magic and ends up becoming a penanggalan, one of the weirdest and ickiest vampiric creatures in the history of cinema (as seen in the NSFW trailer above). No sparkly Draculers here, boys!
Don’t miss it this weekend at the Cult Fiction Underground at Logue’s Black Raven Emporium. Hosted and introduced by Total BS Records label head honcho and weird movie fan Ryan Brush, show times are 8 & 10 p.m. Friday and Saturday.
The latest from the Nashville Musicians Association, regarding contract negotiations between the Nashville Symphony and its musicians:
Negotiations have begun between the Nashville Symphony Association and the Nashville Musicians Association, AFM Local 257. It is our mutual desire to conduct these negotiations in a confidential manner.
Accordingly, both sides have agreed to a media blackout.
Please respect that all authorized spokespersons are at the bargaining table and we request that all media outlets refrain from contacting the musicians and staff of the Nashville Symphony and officials of AFM Local 257. Compliance with this request is appreciated.
Meanwhile, in this week's Scene cover story, John Pitcher examines the Symphony's dire financial situation. Citing sources familiar with the negotiations, he reports that indications are the Symphony and its banks are working out the terms of a settlement.
Given a boost by Werner Herzog, who cast him in his 1974 The Enigma of Kaspar Hauser, Filipino native Tahimik admittedly learned filmmaking as he made his $10,000 1977 Super 8 feature — a fable of American occupation and cultural hegemony in which the director plays a rocket-obsessed villager (the founder of a Wernher von Braun fan club) who seeks a bridge between his own identity and the high-tech globalization that seems the way of progress.
You likely won’t get another chance to see this one. Admission is $10; the film is in English and subtitled Tagalog. The screening, co-sponsored by The Belcourt, is 7 p.m. tonight at Third Man Records, 623 7th Ave. S. Dig that cool Jay Shaw poster art.
Last time we met, Generation VHS grabbed a quick bite to eat at Good Burger with Kenan and Kel, the Abbott and Costello of their time. I was planning on showcasing yet another feature-length cult classic, but last week, I was taking a stroll down Internet lane when a thought popped into my head.
“Would ‘Runaway Brain,’ the '90s Disney theatrical short starring Mickey Mouse, be on YouTube?”
A quick search showed that, indeed, it was. I had a few minutes to spare, so I hopped in the Gen. VHS WAYBAC time machine (CL has it on loan from Mr. Peabody) and went back to the mid-'90s to experience one of the strangest things I viewed as a child.
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