FILM.
Continued from Page 5
save the world and the other...
I'll stop there; the second-to-last
thing I want to do is give away the
end. The last thing I want to do,
however, is waste your time and
mine going into an in-depth, pseudo-
analysis about the film; there is little
to say. Special effects rule here, as
well they should in a movie about
the coming of the Apocalypse. Art
director Francesca Bartoccini does a
competent job, especially with the
frozen Israeli village. But the story is
muddled, confused, and difficult to
follow. Certainly, special effects can
carry a movie (i.e. Aliens), but when
you need a press guide to follow
what is happening on the screen,
well, that doesn't make for a very
special movie-going experience, now
does it?
To Moore's credit, this project
probably looked good on paper,
especially with Australian director
Carl Shultz (Careful, lie Might Hear
You) at the helm. Still, why any
well-known performer would want to
take a back seat to special effects,
especially in this genre, is a mystery.
I like Demi Moore a lot, and while
she doesn't shine through this Apoc-
alyptic mess, she is the best part of
it. A warm and engaging performer
in her previous roles (No Small Af-
fair and About Last Night.), she
manages to evoke a degree of
sympathy from the audience. What
this ultimately accomplishes for
anyone, I don't know.
It's probably a safe bet there will
never be a "Demi Moore Film Festi-
val," but as far as her choice of films
go, she can surely do better. a
U I-
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INTER VIEW
Continued from Page 13
the last thirty years is as fresh as it
could ..What is classical is what we
can't do without. "Art" is what is
irresistible.
D: How do you think about popu-
lar music? MTV?
B: I think there is a lot of junk on
MTV, but I also think they have
done some wonderful things. The
notion of MTV is imaginative.
What you do with MTV will be a
lot better if you don't worry about
the "bean counter" all the time. The
only problem with commercial mu-
sic is when the accountants take
over, because they will always try
to copy what worked lasttime.Then
they wonder why it didn't work the
second time. It's obvious! We have
already have been there. Business
people think of popular music as
bunch of ingredients - that you can
make music like you make stew.
But, that's not how artists think.
Nobody should make music by for-
mula.
D: How do you orchestrate music?
Do you keep the musician in mind
when you write.
B: I always try to write for the per-
former rather than the instrument. I
write for the clarinetist rather than
the clarinet, for the pianist rather
than the piano, for the vocalist
rather than the voice. I try to write
for the performer, because I think
they will play it with more feel-
ing...I think you write for a trian-
gle: you, the audience, and the mu-
sician. U
We would like to thank all of
our readers who responded
to the
Best of Ann Arbor
poll. Look for the results
in next week's issue.
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PAGE 6 WEEKEND/APRIL 8, 1988
WEEKEND/APRIL 8, 1988