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Space is a lonely town: interviu cu regizorul nostru preferat

Dupa o pauza de meditatie prelungita, revenim in forta pe micile ecrane de calculator. Si nu oricum, ci cu un material care astepta sa fie degustat cu pofta. De voi cei pentru care American Astronaut este un film-cult si nu cineva care se plimba pe luna prin 69.

Mai jos un fragment cu regizorul American Astronaut, Cory McAbee, un tip care face un act creativ din orice se apuca sa faca, fie ca e muzica, filme sau pazit baruri, dupa cum veti vedea in continuare. Interviul integral poate fi citit in numarul urmator de Oogli, suplimentul cultural de fiecare luna al Igloo. Enjoy:)

Incepem cum se cuvine cu trailerul filmului:

1. Where do you get your ideas for the movies? Which are your sources of inspiration? For American Astronaut for example, the plot is so unusual that I’m quite curious how did that come up as a story.

I wrote THE AMERICAN ASTRONAUT after three years of living without a home. During those three years I worked part time filling in as a substitute doorman in bars and nightclubs and living out of my friends’ garages. That film was inspired by the people in my life and my own circumstances at that time.
STINGRAY SAM was written at the end of the Bush administration. The US government had done so many horrible things to the world, the environment, and destroyed America’s economy and reputation. I felt it was important to make a film that would embrace and celebrate America’s culture while criticizing it. I created a science fiction landscape based on the modern US landscape, including privatized prison systems, creating poverty by outsourcing labor, jeopardizing natural resources, abuse of pharmaceuticals…etc. I worked them into a story that incorporated well-loved American-grown genres such as musicals, westerns, singing cowboys, sci-fi serials and cute little girls with classic American melodrama problems. The intention was to make a modern film that everyone could enjoy, and I hope they do. I made it in serialized segments to make it compatible with every way that people watch films today.

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2. Does the movie have a certain message or is it pure fiction and thus an artistic form of entertainment?

I don’t claim to have the righteous end-all point of view, so I steer clear of creating propaganda. If I try to push a point that I feel passionate about, the writing usually falls flat. Maybe it’s because I get excited over partial information. My beliefs are written into my stories, but the thing that tends to inspire people of different mindsets is the spirit behind the productions themselves.

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3. Since is an unconventional mix between western and one of a kind SF. Probably this is the reason why the way you depicted the outer space was totally different from what I’ve seen in other movies. How did you come up with the unusual way the outer space looks like?

THE AMERICAN ASTRONAUT was styled after my family and how they lived. It looks like my father and my grandfather. My dad was a cowboy auto mechanic and my grandfather lived in the desert and fixed anything that came his way. I was close to both of them. I’m still close to my father.
I was fortunate to be working with our production designer, Geoff Tuttle, on some personal projects when the funds were secured. He had never done film work before, but I knew he would understand the look I was going for. He lives out in the desert now making sculptures.

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4. Tell me three movies one should definitely not miss.

1. The Wizard of OZ (1939)
2. “The Ghost and Mrs. Muir” (1947) with Gene Tierney & Rex Harrison.
3. Spirited Away (2001) Hayao Miyazaki

5. What would you do if you stopped making movies? And what means compromise when it comes to a movie?

I love making movies. I’m always working on a story in my head, but I don’t get to make films very often. I spend a lot of time distributing my films, writing, drawing, recording music and being a father. As far as a compromise, it would depend on what your intentions are. We all come to it for different reasons. Some people want to be rich and famous. I think that’s a sickness.

6. What’s your next project about?

WEREWOLF HUNTERS OF THE MIDWEST is about an old man who hunts werewolves in a world where no one believes in monsters.

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7. Each cinematography age has its own traits. Where do you think the cinema is heading now, in terms of purpose and characteristics?

People will have to consider how their films will look on small screens, like iPhones.

8. And last but not least, what did you wanted to become when you were little?:)

When I was 8 and 11 years old my teachers told me that I was going to be a philosopher. I didn’t know what that meant. Someone told me that it was someone who thought about things. I pictured a man in a suit sitting alone in an office. That made no sense. I just wanted to make the other kids laugh and get through the day without being picked on. I was small for my age.

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Consum de arta. Recomandat in doze excesive.

De curînd s-a deschis Magazinul National de Arta Contemporană. Un ArtSupermarket în toată regula, variantă locală. Un loc de o necesitate atît de largă (artă pentru orice buzunar) încît l-aș recomanda atît celor direct interesați de fenomenul artistic actual (care vor avea de ales dintr-o selecție de lucrări la prețuri extrem de accesibile ale unor artiști de soi, de la Simona Vilău și pînă la Irlo), cît și celor pentru care unicul sens al cuvîntului magazin e să stea săptămînal la coadă la cel mai apropiat Carrefour. Lor le-aș recomanda, ca variație, să își umple un pic sacoșele cu o astfel de doză de consum. Pînă la refuz, dacă se poate. Ar fi singura formă de consum al cărui exces se traduce într-un surplus la nivel intelectual. Care, cine știe, poate în timp va muta coada de la hypermarketul din colț la Magazinul de Arta Contemporană. E-adevarat, nu vei putea găti ce cumperi, dar te va ține mult mai mult decît o masă copioasă.

Îl găsiți în locația Galeriei Ota, pe dr. Staicovici. “Responsabili’ depunerea pe picioare a magazinului și de aprovizionarea acestuia sunt Nicolae Comanescu și Octavian Rusu (Ota), care ne-au raspuns în randurile de mai jos la o serie de întrebari avid consumeriste. Interviul integral il puteti citi in Oogli, suplimentul cultural al revistei igloo de luna aceasta.

8 grade

Cum ați demarat proiectul?

M.N.d.A.C: Discuția a pornit de la un soi de ArtSupermarket, un concept relativ nou de
tîrg de arta contemporană despre care auzisem că se întămpla în Viena,Stockholm și în alte orașe.
În aceste “artist run fairs” sunt expuși tineri artiști contemporani, Prețurile sunt foarte mici, modul de prezentare este mai prietenos și mai relaxat decît în marile tirguri de artă, lucrarile sunt accesibile și
ne-conaisseur-ilor și accentul este pus mai puțin pe apartenența la piața de artă cît pe familiarizarea publicului cu arta contemporană.Proiectul a pornit de la un tîrg de artă și s-a transformat pe parcurs într-un magazin de artă contemporană. Efortul financiar prevăzut pentru tîrg părea cam mare și riscant în condiții de criză.Am convenit să începem cu un magazin cu buget minim și să vedem cum facem pe parcurs. Magazinul l-am facut în casa lui Ota.Am stabilit trei prețuri (fixe și mici) la care sș fie vîndute lucrările și am dat de știre printr-un grup de prieteni artiști.Căutarea artiștilor la început a fost relativ discretă pentru a nu forța lucrurile.

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Cîte lucrări a însumat Magazinul pînă în prezent și cîte au fost vîndute?

M.N.d.A.C: Am avut 150-200 de lucrări la început și au fost vîndute înspre o cincime.

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Din lucrările vîndute pînă acum, se profilează un anumit stil/tematică abordată care pare să fie predilectăin alegerile cumparatorilor?

M.N.d.A.C: Nu mi-am dat seama pînă acum de un anumit curent. Vizitatorii sunt încîntați de cam toate lucrările, faptul că toți artiștii sunt tineri și mulți dintre ei la prima “ieșire” face ca atmosfera să fie tonică și vie. Un succes aparte l-au avut lucrările făcute de artiști proveniți din streetart, graffiti. Deși nu ne-am propus să facem o selecție, majoritatea lucrărilor au cumva o atmosferă comună, proaspată.. nu aș vrea să folosesc din nou
cuvîntul “contemporană” dar sunt silit să-l folosesc cu tot cu suma de ambiguități pe care o aduce în discuție.

mari

Care sunt criteriile de selecție a artiștilor?

M.N.d.A.C: Teoretic nu sunt criterii de selecție, vrem un soi de democrație în expunere. Totuși nu putem risca să avem o atmosferă gen magazinele UAP sau Hanul cu Tei. Nu avem nimic împotriva acelor magazine dar noi ne dorim
altceva. Suntem siliți deci să operăm o minimă selecție care ține doar de “atitudinea” lucrării.
Nu pot spune că ăsta e un criteriu dar deja s-a creat o atmosferă vizuală în magazin și se poate întîmpla să existe lucrări care chiar dacă sunt bune nu se potrivesc.”Selecția” o facem împreună, Ota și cu mine.

IRLO001

Procesul de selectie e unul care vine doar din partea galeriei OTA,care selectează artistii, sau artiștii se pot auto-propune pentru a face parte din portofoliul Magazinului de Arta Contemporană?

M.N.d.A.C: Artiștii se pot auto-propune și chiar invităm pe toți cei interesați să ne scrie la cele două adrese de mail.
magazinul.national@gmail.com nicolae.com@gmail.com

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Despre animatie, fotografie si tetris din blocuri comuniste

Poate ca numele lui Sergej Hein nu va spune multe (momentan). Sergej e un tip cam ca tine, sau ca mine. Si-a trait portia de comunism in Riga si in Germania de Est, acum e student la animatie in Londra (ok, aici incepe sa difere povestea). Ce e cu adevarat tare in cazul lui e ca a luat cate ceva din culturile cu care a interactionat, le-a mixat in joaca si a iesit ceva nastrusnic si care pune un zambet zdravan pe fata oricui il vede, locatar la bloc sau nu:  un tetris dintr-un bloc comunist. Alcatuit din una bucata doza de experienta comunista, niste stat la bloc, umor cat cuprinde si niste programe de editare pur capitaliste. Despre animatie am mai scris anterior, mai jos o parte din interviul pe care l-am luat lui Sergej, ca sa aflam mai multe. Interviul integral il puteti citi in suplimentul cultural din igloo de luna aceasta, pe care parte din redactia theKITE il pun la cale in fiecare luna. Enjoy:)

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theKITE: The tetris block really caught my eye, as it’s quite an original parody on the lack of individuality of the communist architecture. Or at least this is how I perceived it. What inspired you to do the Tetris project?
S.H.: I think it is vary interesting that Tetris, one of the biggest symbols of Pop culture and capitalism was invented in Russia, where only a few people could play it at the time. Half of my life in Riga and Berlin I lived in very boring Block Suburbs. I don’t remember when exactly but one day I just thought, `man these blocks actually look like Tetris Bricks why don’t you combine Communist Architecture with Tetris? `

theKITE: Let’s follow this scenario a little bit: it’s 2009, you live in a communist country, and you have this Tetris block idea. What do you do?
S.H.: It is hard to give you a serious answer for this because the past communist dictatorships were somehow surreal in themselves, as you could never know what reaction you can expect from the authorities. Hm, lets say if I had a computer, Internet access, know Tetris and had a communist version of Adobe After Effects to make the animation I would probably have done it for my self and friends and spread it on the black market. Until the Soviet or GDR secret service finds me, locks me into prison and brainwashes me until I become a normal hard working artist who makes nice Animations of workers praying to their communist leader.

theKITE: You were born in Latvia and then spent your childhood in East Germany. That’s a heavy ‘block living’ repertoire:) So how was your ‘living in a block ‘ experience?
S.H.: When I think back to the times when I was a child I must say that it was nice to grow up in a Block suburb. It was so cool to play on the playground in there middle. When your mother finished dinner she just opened her window and screamed “Chiiilllldren” and you run upstairs. When I was older and able to rent my own Apartment (Block flats in Berlin are cheap as hell, because nobody wants to live there) I missed the lack of Individuality. Guess you know that, if you come home from work or university, driving through miles and miles of the same block design you feel kind of trapped.

theKITE: You seem to enjoy the utopic/real mixture. Can you give us some examples of similar projects you are particularly impressed with?

S.H.: Nothing similar but I quiet like the work of some Music Video directors or Animators. Check out the work of Leo Le Bug and Megaforce, some Franch guys who are making amazing music videos (http://www.myspace.com/themegaforce). I also think that there is much more stuff to come from Jordon Clarke (http://www.vimeo.com/jvc), Team G (http://www.vimeo.com/teamg) or Bent image Lab (http://www.vimeo.com/bentimagelab) where you definitely have to check out the “Whale Song” which is a visual master piece in my eyes.

theKITE: You are interested in both animation and photography. Who should we keep an eye on from the new promissing generation of animation artists and photographers in London?
S.H.: That’s a tough one. There are so many amazing Artists in London. I am quite used to a good quality of work from my Berlin days but in London there is just so much more going on. I actually like the work of Max Hattler (http://www.maxhattler.com) or Pia Borg.

Berlin Block Tetris from Sergej Hein on Vimeo.

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Tom Wilson despre 100towatch

Sunt asa putine initiative in care forma si fondul sa aiba ponderi echilibrate, ca 100towatch a aparut ca o surpriza f placuta in peisajul cultural de la noi. O initiativa care ne-a facut curiosi, si am vrut sa aflam mai multe despre. De la Tom Wilson, citire:) Am pornit in romana, am terminat in engleza, una peste alta am aflat multe chestii interesante despre proiect. Interviul integral il puteti citi in revista igloo de luna viitoare, unde o parte din theKITE (eu si Sma) lucram la un supliment cultural de mare finete care se va regasi de acum in igloo:) Enjoy.

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theKITE: Care e scopul final al proiectului? Care ar trebui sa fie implicatiile pentru artistii selectati in album?

Tom Wilson: Well, obviously the 100 artists are benefiting from lots of additional exposure. 900 copies of the book went to art galleries, critics and art magazines and publications all over the world – to 340 different places like the Saatchi gallery, the White Cube, Flash Art Magazine, the Times, Modern Painters – and the website is getting a huge volume of hits: 8,000 unique visitors in the first week. I’d like to think that the artists in the book will actually get real benefits out of it – exhibitions, jobs, new clients. However, to be honest, they 100 artists are not the real focus of the project. What we wanted to do was present the creative scene in general. This is why I feel so sorry for the hundreds of artists who deserve to get into the list, but didn’t, simply due to lack of space. It’s not as though the artists in the book are necessarily the best – it’s not a definitive list – it’s our list. It’s a very good list, and I’m very proud of it, but we could easily have chosen a different 100 artists to write about. What matters is that we’re showing people in other countries that Romania has such an exciting creative scene. This isn’t a project for Romania. It’s for foreigners. Everyone complains about the stereotypes that Romania still has attached, and the real aim of the project is to make Romania synonymous with the arts. I want a painter in Denmark to want to get on the next plane to Romania to check out the scene.

theKITE: E cineva in opinia ta care merita sa fie in album si n-a fost selectat?

Tom Wilson: About 150 people. Seriously, I could send you pages and pages of people who should have got in. I’m scared to even mention a few names, because the people I don’t mention might get annoyed! However, on a really personal level, I would have liked cartoonist Alexandru Ciubotariu (http://undergroundbd.blogspot.com) to get in, because I have a soft spot for his street art and his cartoons, and I really respect his work. I also feel sorry that designer Carla Szabo (www.carlaszabo.com) didn’t get in. One of the reasons that we didn’t put her in, actually, is that she’s a good friend, and we were trying to be objective. Sometimes you’re harder on your friends than on anyone else… I also personally regret not putting Livio & Roby in the music list. They’re doing big things at the moment, especially in the kooky-disco area, and that’s really exciting. The must list was my responsibility, so I’ve nobody else I can pretend to blame! Actually, the single biggest mistake was to overlook Studio Basar. (http://www.studiobasar.ro/) They’re incredible, working at the intersection of contemporary art and architecture. If you’re reading, chaps, we’re really, really sorry! Please forgive us!

theKITE: Cati din artistii din album se sustin exclusiv din produsul artistic pe care il creeaza? E mai degraba o regula sau o exceptie?

Tom Wilson: Hmmm, good question. There’s a big difference between, say, Adrian Ghenie, who sells his work for over E50,000 for a canvas, to the young artists who make no money at all. I have no idea what kind of proportion of artists live from their work. If half of them are living from art, then we’re doing pretty well – it’s a tough life, living from what you create. People probably won’t believe me when I say this, but it’s a lot easier living from creative output Romania than it is in the UK. Romania should be trying to turn into a base for artists from all over Europe.

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Exclusiv: Luca Ionescu despre design, inspiratie si cum e sa fii artist roman in Australia

Initiem azi o noua rubrica, ceea ce rar ni se intampla, deci e un moment de mare sarbatoare. Pe scurt, va supunem atentiei in fiecare luna un artist roman super tare, fie de pe meleagurile noastre fie de afara. Cu bune, cu rele, cu amintiri tari si cu ce-i hraneste pofta de de ‘supertarism’.

Primul pe lista, nu intamplator, e Luca Ionescu, care pe langa a fi un roman nascut pe Ana Ipatescu si crescut printre surferi si canguri (acum sa va vad cum ghiciti tara!) e un designer de nota 10. In Sydney dezvolta simultan proiecte de identitate de brand (pentru d-astia gen Redbull, MTV, Etnies, Absolut, Cola sau Reebok in cadrul studio-ului sau LikeMinded Studio – pentru opere complete, intrati pe pagina lui de flickr), este curator, face design de produs si co-editeaza Refill Magazine. A explorat cam tot ce se poate in domeniul graficii. Asa ca l-am rugat sa puna putin stop desenului si sa treaca un pic la scris pentru noi. Ce-a iesit e un prim interviu dintre serie speram cat mai mare.

Republik: Tell us a little bit about the projects you are running. You have a graphic studio, but also curate an exhibition and publish a design magazine. Whats the the reason behind the last two?
Luca: The last two give us an opportunity to collaborate with other artists and give back to the local community.

Republik: What are the differences in terms of design between the Australian graphic designers and the Europeans? Is there a specificity for each of these two categories?
Luca: I think in Australia the design scene benefits from the lifestyle we have. This is access to beaches, good weather and a very large multicultural influence. In sydney our diverse ethnic backgrounds, means each designer brings an unique point of view to the table and many different influences, such as oriental, european, as well as the fusion which is Australian. I guess what i am saying is our scene is young and not afraid to try new techniques and ideas which is helping the community establish itself on an international level. I think the there is a lot of talent in Australia and its starting to be recognised internationally.

Republik: The world is full of people doing their job in a lousy way, just because they are not right for it. You know, creatives that become accountants (not that theres anything wrong with accountantsJ) and so on. How did you discover your talent? And equally important, what did you do to pursue it.
Luca: In my case was lucky. I was drawing since i was a kid living in Ana Ipatescu. I never really put the pencil or crayon down and my grandmother and parents encouraged me to keep drawing, they recognised the talent. I was just having fun , i did not think it was going to become a profession. So I guess it was natural for me to do something creative, I am still having fun.

Republik:In which direction do you think graphic design is heading to in the next few years?
Luca: I think the cross over between illustration, street at and fashion have created a very rich tapestry in design. I think the new design will have a new level of depth that has not seen before, as craftsmen from all those mediums are producing work in the design arena. Hopefully new design will not just be plagearism because of the access to information on the internet.

Republik: Tell us a little bit about the creative process. Where do you find your inspiration? And how do you cope with lack of inspiration in short deadlines?
Luca: I guess I am always doing design work, so I am always exposed to design of some sort. I love collecting old books about typography and logos. Also looking at design posters, movies, listening to music. Or sometimes going for a walk. Its hard to explain but inspiration sometimes comes from unusual places. I guess ideas just pop into my head because i have been exposed to design for so long, and I have trained my mind to inspire itself. On short deadlines i usually try get the best understanding of teh brief, whatever it is the client wants is usually in there and there is always a quick effective method to answer the clients brief, if the brief is understood properly. Even if i am feeling uninspired there is always an idea that will come into my head and help do the job. I also now have a 1 year old son Jaga, his mother and him are both my everyday inspirations.
Republik: Whats it like living in Australia for a Romanian? Im not sure how relevant is the fact that you are Romanian, cause I dont know how old you were when you left the country.
Luca: I was 9 years old when I left Romania with my family. I like the fact that i have fond memories of Romania, my grandparents taking me for walks or on the boat in Herastrau and Cismigiu. As well as going to the beach in the summer time, then my relatives holiday house in Ploiesti. I used to wake up in Ploiesti and eat fresh chicken eggs as well as drink milk from a local farmer who milked the cows everyday. It was a very healthy and happy upringing in Romania, but i know my parents also sacrificed alot and suffered during the old regime. It was not easy for them but i was sheltered from the hardships of life. My grandmother was a big Alain Delon, Lino Ventura, and Belmondo fan. So i grew up being very cultured aboutr french italian and american cinema, spending most of my early years in the cinema. Anyway I guess growing up around ana ipatescu and the old part of Bucharest helped me develop a good eye for old lettering , the flourishes and detailing in the old archtitecture around the city. Because Sydney does not have the same style of architecture or old city streets, i have been able to combine best of both worlds. my new life in Australia and the old memories of bucharest. Both of them have shaped me into the designer i am today.
The fact that i am ROmanian doesnt matter here in Sydney, its very multicultural so no one really puts emphasis on background. Its more important the kind of person you are and what you do with yourself to gain the respect of your peers.
Republik: Whats the nicest / the worst thing you recall about Romania>?
Luca: I remember i loved being taken to Muesul Antipa as a kid by my grandmother, because i used to pretend i was Rahan especially in the section with the cave and the mammoth. Also eating hot “covrigi cu mac”. The bad memories are i remember being my parents being taken away for interviews in the middle of the night and being interrogated because they wanted to leave the country. Also not having any heating in our apartment and having to sleep with 3 layers of my grandmothers fur coats over us to keep warm.
Republik: And now, questions to generate traffic:)

Whats your favourite movie/band?
Luca: Science of Sleep

Republik: Which celebrity would you like to share a day with?
Luca: Takeshi Kitano

Republik: AC/DC or INXS?
Luca: mmm very hard one but it has to be.. AC/DC

Republik: Nicole Kidman or Naomi Watts?
Luca: Naomi Watts
Republik: Cangoroos or sheeps ?
Luca: Kangaroos please ;) sheeps are for Kiwi’s
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Galactic! Interviu cu Parov Stelar

Ca tot canta el diseara in Suburbia (DJ set, cu Markus saxofonistu`), ne-am decis sa postam de incalzire interviul pe care l-am luat cu Sma lui Parov & The Band data trecuta cand au fost in Ro, la Fratelli, prin iarna. Here it goes:)

“Cu o seara inainte, fusesem cu Miruna la concertul Pavor Stelar & Band de la Fratelli. Concertul a fost genial, iar Fratelli ne-a sfidat asteptarile. A fost o intamplare ca am aflat de concert pentru ca nu era anuntat nicaieri in afara myspace-ului Parov. Era joi seara si cand am ajuns era suficient de gol incat bouncerul ne-a lasat sa intram in haine de zi! La Fratelli! Doar cu o privire dezgustata si un mormait de Cu maaare indulgenta, individul ne-a dat binecuvantarea lui si am intrat in club, unde, de altfel, eram inconjurati de alti oameni normali in tenisi care dansau de se spargeau.
Am dansat, ne-am distrat de cat de plin de suflu s-a dovedit a fi Markus la saxofon (mai ales ca era ceva mai mult decat pilit cand am ajuns noi), ne-a dat pe spate de vocea Evei iar eu am fumat mult prea mult petru ca Parov e molipsitor cu tigarile lui la platane.
A doua zi ne-am dus la ei la hotel, la Novotel. Miruna l-a sunat pe Parov de pe drum sa se asigure ca s-au trezit, ca nu deranjam artistii. Nu, nu! Veniti, suntem la restaurant, va asteptam. Moment de panica! Ii deranjam, mananca. Ne-am dus, am mai pierdut vreo 15 minute in hol aranjandu-ne intrebarile cat terminau ei masa si apoi ne-am dus alaturi sa vorbim cu trupa.
Erau cu totii aliniati la o masa lunga, Parov si Eva langa noi, Markus in celalalt capat al mesei, dar el oricum nu vorbeste, asa ca eram bine. Am inceput sa ne conversam, le-am sugerat pe unde sa se plimbe, le-am povestit de urmele de gloante din P-ta Revolutiei. Le placea Bucurestiul, ce vazusera. Sau erau doar draguti, pentru ca asa sunt ei.
Eva si-a terminat sushi-ul am inceput cu intrebarile. Intre timp Parov apucase sa iasa la o tigara (fumator compulsiv).

Miruna: Sunteti extraordinari impreuna pe scena. Cum v-ati intalnit, cum ati pus bazele trupei?
Parov: Acum mult timp. Eu am inceput ca DJ, mixam prin cluburi si lucram in studiouri, dar dupa o vreme te plictisesti foarte tare sa stai singur pe scena. Asa ca m-am hotarat sa imi fac trupa si cred ca Stefano (Stefan rade) a fost primul in noua trupa. El ii cunostea pe toti ceilalti, asa ca el e adevaratul parinte fondator.

Smaranda: Avand in vedere ca aveti backgrounduri muzicale foarte diferite, eram curioasa care e procesul creativ. Contribuiti cu totii sau unul dintre voi pune bazele unei piese si ceilalti construiesc restul?
Eva: De fapt, (catre Parov) tu esti intotdeauna cel care construieste fundatia piesei. Noi o ascultam, ca sa-i prindem starea, tonul, Markus isi face un solo, Stefan construieste linia de bas si mai adauga elemente, apoi eu compun partea vocala versuri, melodie si asa mai departe. Apoi o repetam si daca ni se pare ca merge, avem o piesa.
Parov: In felul asta toate piesele sunt construite pornind de la ideile tuturor, nu e ceva care sa fie exclusiv ideea unuia dintre noi, e mult mai bine asa.
Eva: Da, iar Parov e foarte flexibil. E usor ca tu fiind cel care scrie o piesa, sa ramai fixat pe propriile tale idei. Dar Parov nu face asta, ceea ce e foarte misto.

Miruna: Vroiam sa va intreb daca aveti un gen preferat de locatie pentru concerte cluburi mici, mari, scene de festival unde va simtiti cel mai bine?
Parov: Au fost foarte multe… In A38, un club din Budapesta. Si in Creta am cantat intr-un amfiteatru, aia a fost o experienta geniala. Cred ca cel mai bun concert a fost la Sziget totusi.
Smaranda: Tocmai am ascultat Cash&Bloom pe myspace, proiectul tau cu Lilja Bloom, care e foarte electro si vroiam sa te intreb daca directia albumului e o alegere constienta pe care o faci?
Parov: Pentru mine e important sa nu fac acelasi lucru tot timpul. Cand stai ore intregi in studio cu sample-uri de jazz vechi, la un moment dat simti nevoia de a face ceva complet diferit. Cash&Bloom e un proiect de fun ne intalnim, deschidem o sticla de vin si incercam sa ne simtim bine facand muzica bagam niste beaturi si asta-i tot.

Smaranda: Am vazut ca aveti cu totii proiecte separate Eva, tu ai un album solo, Markus, tu esti implicat intr-o multime de alte proiecte, si vroiam sa va intreb cum va impartiti intre ele, cum prioritizati?
Eva: Cred ca un muzician trebuie sa se simta in largul lui intr-o varietate de stiluri, pentru ca trebuie sa fii deschis. Daca vrei sa evoluezi, trebuie sa incerci sa lucrezi cu muzicieni diferiti. Iar la sfarsitul zilei, e vorba tot de muzica. Nu e ca si cand lucrez intr-o cafenea si apoi fac muzica cu Parov, e tot muzica. Pentru mine e acelasi lucru daca lucrez cu Parov sau cu altcineva, cata vreme fac muzica.
Parov: (ofensat) Zau, e acelasi lucru?
Eva: Da, de ce n-ar fi? (rad amandoi) Dar trebuie sa prioritizezi proiectele, bineinteles, si cu totii am facut din acest proiect o prioritate.

Miruna: Parov, ai o casa de discuri, Etage Noir, asa ca poate mai mult ca altii, simti ce se intampla in industria muzicii, acum intr-o perioada de criza financiara. Cum crezi ca e afectata industria?
Parov: In momentul asta nu simt o schimbare deosebita. Dar asta poate pentru ca industria muzicii era falimentara de acum 5 ani (rade). In general, cred ca mai ales in perioade dificile, oamenii se indreapta catre muzica. Sper ca asa e pentru ca in ultimii ani, industria a avut enorm de suferit de pe urma downloadurilor ilegale si am vazut multi muzicieni care au fost nevoiti sa se reorienteze pentru ca nu mai puteau trai din muzica. In orice caz, eu cred ca lucurile se vor imbunatati cand oamenii incep sa inteleaga daca muzicienii nu sunt platiti vor trebui fie sa faca altceva fie sa faca muzica proasta care sa se vanda bine, si nimeni nu are de castigat. Calitatea muzicii scade, si asta, in fond, se reflecta asupra consumatorului final.
Miruna: Bine, acum ultima intrebare, mai putin deprimanta. Ce cantec ti-ai dori sa fi scris?
Parov(spontan): Last Christmas de Wham! (toata lumea rade). Asta da schema de marketing. Nu pot suferi cantecul ala. Serios insa, probabil ca mi-as fi dorit sa scriu Billy Jean.

Am incheiat cu Hopefully well see you again soon, la care Markus, care tacuse chitic pana atunci arunca un Hopefully zambitor, ca sa intelegem de ce fetele stau in fata lui la concerte. Apoi Parov a iesit la o tigara iar noi am plecat plutind de cat de bine mersese. Mai tarziu ne-am dat seama ca uitasem sa-l intrebam pe Parov de ce i se zice Parov Stelar. Culmea, Parov Stelar nu e numele lui adevarat! Data viitoare.”

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Haunts interview. Diseara, live la Underlondon:)

Republik: You have quite a crunchy edgy sound. Which are your influences?
And what would you say is your ‘certain something’ as a band,
in terms of sound, or lyrics?

Haunts: Our main influence was our desire to create something significant that
people could really sink their teeth into. Something with some weight and
substance that would work your brain, as well as your body. We wanted to
make music that was intense and danceable but with the power of a tight live
band, bridging dance and rock but in a way that nobody else was doing. The
music is theatrical and dark and is most inspired by modern city life. We
wanted to paint a picture of a world crumbling under the strain, a Tim
Burton style Gotham City. Lyrically, I wanted to bring this strange world
to life not so much by describing the place, but more the people that dwell
there; their strange lives and the bizarre situations they have managed to
get themselves into. We definitely focus on the darker side of life, but I
think a ‘certain something’ that perhaps sets us apart is that we try and do
it with a sense of humour. It’s very British to see the funny side in
something terrible, it’s a way of coping. Sometimes tragedy can be romantic
and you can find a certain glamour in failure.

Republik: Lots of talented guys are still rehearsing in the garage or living room,
afraid maybe to make the big step outside the exit door. You guys had a
pretty impressive and fast take off. How did it happen?

Cititi in continuare »

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Blogul Republik devine theKITE

Ne citeati pana mai ieri pe blogul Republik. Azi ne-am mutat la casa mai mare: www.theKITE.ro. Un loc unde sa incapa toate ideile, proiectele si taraseniile de soi din domeniile creative. Si alte minunatisme de zi cu zi care ne fura ochii si ne fac sa scriem despre. Bine v-am gasit:)

Sustinem

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Ce facem?

Coldrex si filme (Miruna)

Night bike walk (Andrei)

Coldrex si filme X 2 (Monica)

testez cati oameni incap ingramaditi intr-o garsoniera (Smaranda)