Kitten at Bottom Of The Hill last June. Photo by Marie Carney
Kitten are a beast of a band. They play a furious blend of punk and new wave, while their lead singer, Chloe Chaidez, is at the tender age of 17, one of the most dynamic and aggressive front people in rock. We recently took the time out to speak Chaidez about their recently released EP, Cut It Out, the evolution of their sound and the logistics behind being in a teenage rock band. Kitten will be playing a Noise Pop Happy Hour show on Thursday, February 28th at Bender’s Bar & Grill as well as opening for Paramore at The Warfield on May 4th, and their debut full length is due to drop later this year. You’d be foolish to miss their live show.
The only time a Dave Matthews Band picture will be featured in a Noise Pop Preview
Noise Pop is having it’s 20th birthday this year, and it’s bigger than ever! What started out as a small, one night mini-festival at The Kennel Club (now The Independent), has evolved into a week long event that takes over nearly every venue in San Francisco. In addition, it’s organizers have also created Treasure Island Music Festival (aka The Best Music Fest in America in my opinion) and opened do415, a site to help music fans find shows. SpinningPlatters got the opportunity to talk with Noise Pop’s Marketing Director, Dawson Ludwig, to learn a bit about this year’s festival and his own evolution as a music listener.
Alden Ehrenreich and Alice Englert in BEAUTIFUL CREATURES
On paper, Beautiful Creatures may look like just another film adaptation of a bestselling YA series about a supernatural romance. Alden Ehrenreich stars as Ethan, a restless high schooler in podunk Gatlin, South Carolina, who yearns to break free from the oppressive small-mindedness and cultural atrophy of his hometown. Ethan is charming enough to seem like a standard-issue popular guy, but in private his tastes lean toward the cerebral (he is a voracious reader of banned books) and he dreams of the day he’ll leave Gatlin for good. Ethan’s thirst for something different is what attracts him to new girl Lena (Alice Englert), the quiet and witchy-looking descendent of one of Gatlin’s most notorious families. Lena is immediately targeted as a dangerous freak by the town’s many gossipy Bible-thumpers, and while Ethan rushes to defend her from their attacks, it turns out that Lena does present a very real threat: she comes from a family of Casters (read: Southern witches), and on her rapidly-approaching 16th birthday, she will be “claimed” for either good or evil – with potentially catastrophic consequences.
Garfunkel & Oates are Riki Lindhome and Kate Miccuci. On their own, they are both well respected actresses, musicians, and writers. Of course, when they work together, it’s pure magic. No matter who you are, somebody has posted one of their videos on your Facebook wall. They are bringing their live show to Rickshaw Stop on Saturday, February 10th to close out this year’s installment of Sketchfest. We had a few moments to talk to both Garfunkel and Oates. Since you weren’t there with me, I’ll let you read about it:
left: Analeigh Tipton, Teresa Palmer, and Dave Franco in WARM BODIES; right: writer/director Jonathan Levine
2013 is off to a pleasantly promising start when it comes to genre films. Just a few weeks after the soulfully spooky Mama, we are now treated to Jonathan Levine’s thoroughly delightful adaptation of Isaac Marion’s beloved novel Warm Bodies. A hilariously self-aware and surprisingly sweet reimagining of the overly familiar “love transforms a monster” trope, Warm Bodies tells the story of a zombie named R (Nicholas Hoult), who narrates much of the film from his very unique point-of-view. Although zombiedom has robbed R of his ability to express himself verbally, his thoughts are as articulately human as ever; the film mines quite a bit of humor from this cognitive disconnect.
R spends his days staggering around an abandoned airport with a familiar lineup of other zombies, grunting and pondering what these people were like in life. But R is roused from his undead existential crisis when he meets Julie (Teresa Palmer), the daughter of one of mankind’s last great protectors, Grigio (John Malkovich). Julie enters zombie territory on an armed mission along with her boyfriend Perry (Dave Franco) and best friend Nora (Analeigh Tipton); it’s love at first sight for R despite the fact that Julie is trying to kill him. When the mission goes haywire and Julie is left behind, R devises a plan to keep her safe from the other zombies in the hopes that she’ll fall in love with him in spite of their, uh, differences.
Sara Benincasa is one of my absolute favorite comedians that I have never seen live. She has one of the finest YouTube channels, filled with brilliant characters, excellent political humor, and two great vodcasts: Advice Time, where you get actual advice about issues you may be going through and Gettin’ Wet, where Benincasa interviews important cultural figures from her bathtub! Her Twitter (@sarajbenincasa) feed is pretty on point, too. She probably doesn’t remember this, but her Twitter introduced me to Die Antwoord many years ago. She’s currently working on her second book, and will be performing this weekend all over Sketchfest! She will be performing as part of The SF Sketchfest Dozen with Jonah Ray and Dave Thomasan Friday, February 1st at 8 PM and Saturday, February 2nd at 9:15 PM. She will also be doing You Made It Weird with Pete Holmes alongside Kumail Nanjiani at a special matinee show on Saturday, February 2nd at 1 PM. We had a few minutes to chat with her ahead of these shows, and this is what we talked about!
Andrew Holmgren is a local comic that hosts a monthly show at Dirty Trix Saloon called Get Yucked Up. He is also a member local comedy crew Sylvan Productions, who put on high quality comedy shows all throughout the bay area. He will be doing Get Yucked Up as part of SF Sketchfest at Cincecave at Lost Weekend Video on Friday, January 25th and as part of the Comedy Happy Hour at Cafe Royale on Monday, January 28th. On New Year’s Day, we got together at a coffee shop in downtown SF to talk about his career and comedy culture in San Francisco in general.
They said it couldn’t be done: a movie version of Yann Martel’s bestselling novel Life of Pi, an intensely visual parable that consists almost entirely of a teenaged Indian boy named Pi lost at sea on a tiny rowboat with a wild tiger as his only companion? Bah, said some. Blergh, exclaimed others. Bloop, said NeNe Leakes. But clearly the naysayers hadn’t considered the possibility that Ang Lee, the Oscar-winning 58-year-old director of such contemporary classics as Crouching Tiger, Hidden Dragon and Brokeback Mountain, would consider taking the helm. But take it he did, choosing the spiritual allegory as his follow-up to the modestly received Taking Woodstock.
Joe Wright and Keira Knightley on the set of ANNA KARENINA
“I cannot believe that I am less important than Tyra Banks!” Joe Wright exclaims with mock-indignation. He has every reason to be nonplussed. Through a bizarre chain of last-minute developments, I have found myself with a direct conflict to our scheduled interview time: the opportunity to ask Tyra Banks a question over the phone for a rare pre-taped episode of Bravo’s Watch What Happens Live. The call had originally been scheduled over an hour prior to my interview with Wright, but TyTy took her sweet-ass time arriving to the taping; so now here I am, sitting at the Ritz-Carlton with my iPhone flattened against my ear, waiting anxiously for my Tyra cue while Wright, the British director of such Oscar-nominated dramas as Pride and Prejudice and Atonement, paces in front of me with an unlit cigarette. I am fully aware that I am showing questionable judgment and hope that Wright’s next interviewer will show up so that we might reshuffle our schedule, but the next interviewer is nowhere to be found, and I am now personally responsible for keeping Joe Wright waiting.
Robert Zemeckis and Denzel Washington on the set of FLIGHT
François Truffaut once said that a great movie is the perfect blend of truth and spectacle. This is one of Robert Zemeckis’ favorite quotes, and as evidenced by his staggering filmography, a guiding principle in his work. From his 1984 action-comedy Romancing the Stone onward, he has displayed an virtuosic ability to craft culture-defining megahits that use cutting-edge technology to tell unforgettable stories. Comedic VFX-driven comedies like the Back to the Future films, Who Framed Roger Rabbit, and Death Becomes Her led to such powerfully soul-searching dramas as Forrest Gump (which won him the Oscar for Best Director), Contact, and Cast Away (which came out a few months after his deliciously sinister suspense flick, What Lies Beneath). Zemeckis’ interest in new filmmaking technology then led him on a decade-long detour into animation, and for a time, it seemed like we may have lost the visionary who so radically broadened the horizons of live-action film. But now, twelve years after his last non-animated movie, he is back with Flight.
