Spinning Platters Interview: Félix de Givry and Sven Hansen-Løve, ‘EDEN’

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During SFIFF58 a few months ago, I was able to catch Mia Hansen-Løve’s new musical drama, Eden. Despite not knowing much about French touch and the electronic music movement of the 90s in Paris, I lost myself in the euphoric and tragic journey of the film’s central DJ character. Eden is a movie that will etch its aura into your mind, and its 4 hr. soundtrack plays like a history of house music. I was fortunate enough to arrange an interview with writer Sven Hansen-Løve, on whose life the story is loosely based, and Félix de Givry, who plays Paul, the central character of the film. At The Social Study, I sat down with the two French gentlemen to discuss Eden:

Félix, how much did you know about French touch and the electronic music movement before signing onto this project?

Félix: I think I knew a little bit more than normal people know in France. Even more than Americans. But still I was not expert, especially of garage underground scene. I knew about French touch. ‘French touch’ the expression represents so much success that almost everybody knows about the people involved. The most interesting thing for me was to really dig into the scene and the beginning of the scene and the fact that there was so few people, say 200 or 300 people. It was kind of a black hole. It wasn’t documented by the big media at the time and there was not internet yet. Thanks to Sven, I learned a lot about it.

Sven: Yes, the fact that we had the chance to see each other many times. With my sister, too (the film’s director, Mia). It was a good thing for Félix because he could get direct documentation, in a way <<laughs>>.

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Interview with the Handsome Family’s Rennie Sparks

The Handsome Family

Husband-and-wife duo, Brett and Rennie Sparks, the core of goth Americana outfit the Handsome Family, have been releasing albums for the past twenty years. Their unique, eccentric tales of ghosts and folklore deftly weave through dark, highly unpredictable ballads. This fierce dedication to constantly challenging the listener has earned them a slow-and-steady cult following. However, they didn’t receive mainstream recognition until the track “Far From Any Road,” from their 2003 release Singing Bones, was commissioned as the main theme song for HBO’s hit crime drama, True Detective.

The Handsome Family has been touring extensively in support of their latest release, Wilderness, these past few months, and while I missed the opportunity to meet them in person, at San Francisco’s The Chapel, Rennie was nice enough to answer a few of my questions virtually.

Here are her thoughts on modern music distribution, why crowdfunding is wrong, and where she and her husband want to settle next.

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SFIFF58 Interview: ‘Vincent’ director/writer/actor Thomas Salvador

Thomas Salvador is VINCENT
Thomas Salvador is VINCENT

For me, one of the many highlights of SFIFF58 was seeing Vincent, the new French “superhero” film from dir. Thomas Salvador. Having previously made only a handful of short films, Mr. Salvador took the plunge into feature films with this new wonderfully understated audience charmer, which he directed, wrote, and stars in. I sat down with the funny, polite, and reserved filmmaker to discuss Vincent, which has one more screening this Thursday, 5/7 at 6:15 (info here):

The trailer for Vincent says ‘the first film of French superhero”. Are superheroes just not as popular in France?

Not really <<laughing>>. The superhero movies have a lot of success everywhere. But as there are many, people are a little bit bored. It’s a real US kind of movies. Like westerns. You can’t imagine a superhero outside of United States. It’s a marketing way to present the film. If we think deeply, it’s not a real superhero movie but it was the marketing way to bring people into the theater. <<laughing>>

Well it’s you now. You’re the first!  You’re the first European superhero!

I’m not sure that, maybe there have been other people in French films with something special, special gifts. Maybe I’m the first. I didn’t do this movie for that. I did it because I feel it.

How did you decide on water as the source of power?

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SFIFF58 Interview: ‘Aria for a Cow’ writer/director Dan Lund & Crew

Amos, (Me), Siddhartha, Elizabeth, and Dan of 'Aria for a Cow'
Amos, Me, Siddhartha, Stephanie, and Dan talking ‘Aria for a Cow’

The shorts programs at SFIFF58 have been increasing in popularity the last few years, and Shorts 5: Family Films is no exception. One film from the group, the colorful and magnificent musical Aria for a Cow, is appropriately quite the showstopper. I sat down with Disney animator and Aria for a Cow writer/director Dan Lund, art director and co-producer Amos Sussigan, background designer and painter Stephanie Dominguez, and production manager Siddhartha Maganti at the Hotel Majestic, a few blocks from where their short would premiere the next day and a few hours before their premiere party. The camaraderie within the group is infectious, and they had no trouble jumping right into the nitty gritty of their film: 

Where did the idea for Aria for a Cow originate?

Dan Lund: I’ve always had a pretty healthy ‘outside-of-Disney’ project type thing going. I was a PA in 1989 at Disney and was working with people who were working with Howard (Ashman). I had kept hearing about this passion project of his called ‘Fatty of the Opera’. Right before we started working on Frozen I had this period where I didn’t have an outside project to work on and it kinda freaked me out. I was in New York and I had mentioned to a friend, ‘I wonder what ever happened to Howard’s “Fatty of the Opera” project’ and my friend knew Sarah (Howard’s sister) peripherally and he said, ‘You should email her.’ So I did and she graciously agreed to give me all the information I needed on this passion project if I listened to her favorite song that no one has ever heard by him, called Aria for a Cow.” I really just did it to get the other thing I wanted, but the other thing I wanted turned out to be a little odder than I thought. And I just fell in love with the cow song. She let me turn it into an animated thing. Originally she was thinking of it being a children’s book but I don’t know that world at all. The song was just lyrics on a page. I wrote the wraparound. I didn’t just want to make a music video. I wanted the song to have a home that was as story-driven as the song.

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Sketchfest Interview: W Kamau Bell

Photo By Matthias Clamer
Photo By Matthias Clamer

W Kamau Bell is one of the most brilliant and controversial names in comedy. He recently moved back to the Bay Area, after a stint in New York hosting the dearly departed Totally Biased with W Kamau Bell. To celebrate his return, he did a “secret residency” at Cinecave in Lost Weekend Video. He’s playing Uptown Showdown: Are We Getting Dumber vs Are We Getting Smarter with Maria Bamford, Dave Hill, TJ Miller, Aparna Nancherla, Greg Poops and Jared Logan on January 31st. Tickets are available here!

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Sketchfest Interview: George Chen of Cinecave

Photo by Ricardo Esway
Photo by Ricardo Esway

George Chen is one of the founders of Cinecave, one of San Francisco’s best kept secrets. It’s a comedy club in the basement of Lost Weekend Video. It’s also one of the best rooms for comedy in this town. Cinecave is teaming up with Sketchfest for several shows during the festival, as well as shows every Friday and Saturday night! Chen is also one of the funniest comics in his own right, and you can catch him throughout the festival. His schedule is here.

Spinning Platters had the pleasure of speaking to George ahead of Sketchfest. Just click on the word “more.” Continue reading “Sketchfest Interview: George Chen of Cinecave”

Local Spin: Interview with Briget Boyle

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(Photo by April Renae)

When I ponder my favorite singer-songwriters, I think about musicians that are authentic, honest, and speak from the inside out.  Catchy hooks don’t hurt, either.  Local musician Briget Boyle (www.brigetboyle.com) exemplifies these characteristics in her debut solo album, The Parts Interior.  After many years spent performing in an assortment of music groups within multiple musical genres, Briget has now broken out as an individual songwriter and the result is an album both emotionally resonant and beautifully harmonious!   I spoke with Briget about The Parts Interior and her journey to this point…

You’ve been on a long musical journey involving various groups and projects.  What made now the right time for your solo debut?

Well, I had carved out a lot of space for myself creatively. Brass Menažeri is no longer together and I left Kitka a few years ago, and that space has given me the time to start writing again and really dig into myself as a songwriter.  There was something holding me back for a long time.  I wasn’t writing for a while.  It’s hard to say exactly what it was, but I’ve been doing a lot of work on myself over the last couple of years and through that work, both emotionally and spiritually, I realized that I needed to let my songwriter shine.  I had a lot of support from my partner, Harlow, and my community.  I was able to raise money to do this and it all just fell into place really nicely.

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Spinning Platters Interview: Bill Hader & Kristen Wiig & Craig Johnson, “The Skeleton Twins”

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At the Ritz-Carlton in San Francisco, I sit with a group of other writers around a table as the audible antics begin approaching outside the door.  SNL veterans Bill Hader and Kristen Wiig, along with director Craig Johnson, are splitting each others’ sides with jokes and voices.  They are tired and somewhat giddy from a day of press, supporting their incredible new film, The Skeleton Twins, and they loosely greet us with smiles and how ya dos.  Bill chucks a muffin from that morning down the hallway, comically screaming ‘This BETTER BE GOOD!’.  Bill and Kristen feed off each other’s energy, a polite and friendly Craig Johnson between them, and they all take a deep breath and search around the table for who’s first to dive in…

———-

Craig, you co-wrote the script with Mark Heyman, and I heard he’d been working on the script for eight years.  How did the final cut of the film differentiate from the original script?

Craig Johnson:  Well, we actually had a couple versions of it that were unfinished that were all over the place.  We had one where Milo was a drag queen. (To Bill) I haven’t even told you about these versions of it.  There was a road trip element.

Kristen Wiig: Maggie was a cat. (laughing)

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Spinning Platters Interview: James Ward Byrkit, Writer/Director, “Coherence”

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Director James Ward Byrkit’s COHERENCE

After Coherence screened to a packed house at the 57th San Francisco International Film Festival, the film’s writer/director James Ward Byrkit (Rango, Pirates of the Caribbean trilogy), sat down with me to discuss the mind-bending thriller, its origins, its unique production, and more…

Where and when did you originally come up with the premise for Coherence?

Well, we came up with the premise in my living room, where the movie is shot.  A couple years ago we were trying to think about what a good low budget, or no budget, movie would be.  And, since we didn’t have any resources, I had to think of what we actually had.  We had a camera.  We had some actors who were pretty good, and we had a living room.  So we had to find out how to make a living room feel like more than just a living room.  And, that led to a whole Twilight Zone type story [laughs].

Coming off the work you’ve done  — storyboarding for Pirates of the Caribbean and working on the story for Rango, how did this shift your way of thinking?

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Spinning Platters SFIFF Interview: David Zellner, writer/director — Kumiko, the Treasure Hunter

KUMIKO, THE TREASURE HUNTER
KUMIKO, THE TREASURE HUNTER

Kumiko, the Treasure Hunter has been spreading buzz around the festival circuit.  The Zellner brothers’ new modern fable is a sight to see, a surreal experience to witness, and a cinematic treasure to behold.  David Zellner, who co-wrote, directed, and plays a crucial supporting character in the film, sat down with me outside the theatre in which it was screening to discuss the film:

Can you give us a brief history of Kumiko, the Treasure Hunter?

Yeah, my brother and I heard about it [the urban legend] in 2001.  The urban legend began circulating online and this was before Twitter and Facebook, so it was through message boards.  It was very cryptic, basically saying ‘Japanese woman went from Tokyo to Minnesota for this mythical fortune’.  It was so mysterious to us because of the limited information and because the idea of someone going on a treasure hunt in the modern day world was such an antiquated notion.  It’s something from the age of exploration.  Especially in a time now where there’s less mystery in the world.  Information is more readily available.  Everything is mapped out, no uncharted land.  So we liked the idea of someone on this antiquated quest, but set in the year 2001.

Is that why ‘conquistadors’ are such a prevalent theme in your film?

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