The Michigan Daily - michigandaily.com Friday, March 26, 2010 - 7
AN A2 FILM FESTIVAL WEEKEND
A tribute
By KAVI SHEKHARPANDEY
Daily Film Editor
In a rare public appearance, legendary
avant-garde filmmaker Kenneth Anger
will be in Ann Arbor Saturday night for a
tribute to his work,
capping off the 48th An Evening with
annual Ann Arbor
Film Festival. Kenneth Anger
The event, fund- Tomorrow at
ed through a grant 7:30 p.m.
given to the festi-
val by the Academy Michigan Theater
of Motion Picture Tickets from $7
Arts & Sciences, will
begin with a selection of Anger's short
films - "Fireworks" (1947), "Rabbit's
Moon" (1963) and two of his most famous
works in "Scorpio Rising" (1963) and
"Kustom Kar Kommandos" (1968). After
the film showcase, Anger will be present
for a conversation with New York film
critic Dennis Lim and a Q&A with the
audience.
To put the significance of this appear-
ance into context, Kenneth Anger at an
avant-garde film festival is like George
Lucas making an appearance at a "Star
Wars" convention. Local academics and
experimental film enthusiasts are prob-
ably as giddy as "Star Wars" fanboys were
as they waited to see "The Phantom Men-
ace" for the first time.
Anger's career began in the 1940s, first
gaining notice for his short film "Fire-
works."
"('Fireworks') is a remarkable iteration
of the so-called 'trance films' of avant-
garde filmmaking practices, which often
focus on a dreaming figure," said Christo-
pher Hanson, a visiting lecturer in Screen
Arts and Cultures. "Even for such an early
film, 'Fireworks' demonstrated a remark-
able mastery of film language."
"Anger's cinematic vocabulary contin-
ued to develop technically and lyrically
throughout his career, with 'Scorpio Ris-
ing' becoming one of his most famous
films and a sensation on the underground
film circuit and a beautiful document of
the counterculture of the '60s," Hanson
added.
"Scorpio Rising" was an important
step in American counterculture, utiliz-
ing a popular soundtrack and exploring
to Anger
the biker subculture years before "Easy
Rider" (1969) did the same and began the
New Hollywood movement.
While Anger was undoubtedly signifi-
cant in the '60s and '70s, he has continues
making films to this day, and his films are
studied extensively in classrooms across
the country.
"(Anger) operates in a unique space
in the U.S., as both his films and written
work directly engage with the relation-
ship between Hollywood and avant-garde
filmmaking practices," Hanson said.
This bridge between Hollywood and
experimental films has also been proven
by Kenneth Anger's strong influence on
several notable contemporary Hollywood
directors, including Gus Van Sant, Martin
Scorcese and David Lynch. In one such
illustration, "Scorpio Rising" features a
montage of a bikers putting on their biker
clothes - black tank top, leather jacket
and aviators - hauntingly set to Bobby
Vinton's song "Blue Velvet," a juxtaposi-
tion Lynch would later emulate in his 1986
film "Blue Velvet."
While Anger's films would certainly be
interesting to watch under the influence
of hallucinogenic drugs - see his 1954
film "Inauguration of the Pleasure Dome"
in particular - they all have deep, under-
lying themes, especially that of homo-
eroticism.
Giving credit to a
true film legend.
"To me, Anger's work is particularly
lyrical in his explorations of sexuality and
identity," Hanson said. "His films often
unveil subcultures within the countercul-
ture in a brilliantly layered and composi-
tionally complex visual fashion, while at
the same time are equally rich with sym-
bolic and poetic beauty."
In the world of avant-garde film, Ken-
neth Anger is a rock star. He's the highly
anticipated highlight for the remainder of
the Ann Arbor Film Festival and will be
present for you to gaze upon his legacy,
whether you worship his work or just
want to experience the craft of a genius.
Wisdom from Tommy Wiseau
Director of infamous cult
classic 'The Room' shares
his creative vision
By DAVID WATNICK
Daily Arts Writer
Though many a laugh has rolled at his
expense, Tommy Wiseau is a resilient man.
Consider: His
notoriety stems TommyWiseafs
entirely from his
life's work, 2003's 'The Room'
"The Room," an Tonight and
incoherent melo- tomorrow at
drama which he midnight
wrote and directed
straight into the State Theater
running for the Tickets $6
worst film of all
time. As if that strange form of infamy isn't
bad enough, Wiseau has even more diffi-
culty expressing himself in person than he
does on screen. Still, he remains unflinch-
ingly committed to filmmaking, art and the
betterment of humanity.
In anticipation of this weekend's mid-
night screenings of "The Room" for the
Ann Arbor Film Festival, the Daily had the
rare pleasure of talking with Wiseau. In the
end, it was difficult to say which was more
salient: his passion or his eccentricity.
"'The Room' was designed by me for
American people - to enjoy it," Wiseau
explained emphatically as he raced through
the back story of his film's mysterious con-
ception.
He took the road less traveled, but with
the final product - a disjointed, dysfunc-
tional, junkpile with sub-soap opera acting
- Wiseau got his wish. Priding himself as
an auteur, though, he of course doesn't see
it that way.
"It was not just an accident. It was not a
coincidence. I don't believe in that kind of
stuff - I believe in creativity," he sermon-
ized, simultaneously admitting his aware-
ness of prevailing perceptions of the film
and attempting to dispel such damning
notions.
Embracing the popularity of "The Room"
among midnight audiences, Wiseau sports
an admirable pride in his work and his mis-
sion. In the process, though, he blurs the
Tommy Wiseau (right) has met almost everyone in Hollywood.
line between loveable loser and delusional
egomaniac. After all, he fired cast and crew
members en masse multiple times during
the course of production.
"How dare these people strike against
'The Room' during production?," Wiseau
wondered out loud. His tone was far
less innocent than it had been when he
explained the source of his creative convic-
tion just moments before, saying, "That's
where art comes from - to create a better
society for people."
Between these comprehensible (if trite)
inspirational quips about the power of arts
in society, Wiseau had a tendency to spew
adorable non sequiturs in ample doses.
"It's not 'A Room,' it's 'The Room!,' " he
insisted at one point, a healthy defiance
audible in his accented voice.
"For your information, I've met every-
body in Hollywood - almost," he revealed
as he prepared to address his decision to
include nudity in "The Room."
As the conversation endured through his
eternal soliloquies, Wiseau became more
and more eager to discuss the ever-present
symbolism with which he adorned "The
Room."
"What does a red dress represent?,"
Wiseau questioned. "Well, it represents
blood. What does blood represent? Survival,
life, eternity for human beings."
That was his justification for the seem-
ingly inconsequential red dress costume
worn by female lead Lisa (Juliette Danielle).
It was but the first of many wildly unpre-
dictable claims.
"The plastic is chemical! The chemical
is very bad for human beings," he warned,
alluding to the conspicuous presence of
framed pictures of plastic spoons which dot
the titular set of "The Room."
"I'm not against a plastic spoon! Con-
trary, I love it! Because, you see, that's a part
of our survival here in America.
And with that, Wiseau again hinted at
what seems tobe the unifying aspiration in
all his efforts: to positively impact America.
He may seem naive and delusional, butas he
forges on with his craft in the face of criti-
cism, mockery, and straight-up bashing, it's
hard not to root for him. His technique may
be wholly unformed, but the idea of stifling
his abundant creative energy seems plainly
criminal.
Luckily for Wiseau and his fans, the fluke
success of "The Room" only fuels his ambi-
tions.
"It will affect everyone in America,"
he guarantees of his next feature proj-
ect, which he hopes to complete within
six months. For now, though, he remains
famous for "The Room," and deservedly so.
"You can talk about 'The Room' with fans
for the rest of your life," Wiseau promised.
"And guess what - you'll still be talking."
A night of the surreal with Dr. Strangeloop and Flying Lotus
By SHARON JACOBS
Assistant Arts Editor
"Strange loop" is the technical
term for an endlessly rising or falling
sequence - like the M.C. Escher litho-
graph Draw-
ing Hands, "2010:(or) How
the rock- 1 Leamedto Stop
paper-scis-
sors game or Worrying and
the novelty Love Technological
song "I'm My
Own Grand- Singulamy'With
paw." It's Dr. Strangeloop
also a focal
point for the Tonight at 6:45 p.m.
art - and Michigan Theater
name - of Ticketsfrom $7
Dr. Strange-
loop, a VJ who will be performing his
experimental audiovisual work this
evening as part of the Ann Arbor Film
Festival.
"(My art) is some trans-cultural
beast from the future that can't be
controlled," Strangeloop wrote in an
e-mail interview with the Daily. He
cites diverse sources Terence McK-
enna, Aldous Huxley and Leigh J.
McClosky as influences.
Tonight marks the world premier of
Strangeloop's "avant-garde sci-fi epic"
called "2010: (or) How I Learned to
Stop Worrying and Love Technological
Singularity." The piece, like Strange-
loop himself, takes its titular cues from
the work of filmmaker Stanley Kubrick.
"(2011
where a:
within
wrote. "
dental m
laptop,a
tating a
Pretty o
Even
that Str.
the piec
tion will
before.7
ing visu
pany mi
composi
the crea
onscreer
"I've
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evoke m
But t
A Cc
his owi
premier.
perform
feeder 1
hip-hop,
Lotus. F
Francisc
0) is about a dystopia present sity, Strangeloop and Flying Lotus are
n AI-God-Thing is imprisoned hardly strangers to joint shows.
its own Ego," Strangeloop "People have frequently asked me
It discovers a sort of transcen- after sets how we synched all the
aedia living within an archaic audio and the visuals, and when I tell
nd begins to ingest it, facili- them its real-time / improvisation,
spiritual evolution for the AL they don't believe it," Strangeloop
ut-there stuff." wrote of the frequent "telepathic link-
more "out-there" is the fact ups" between him and Lotus.
angeloop will be performing Strangeloop admits that his work is
e live, so this specific produc- vastly different from traditional cin-
have never been experienced ema; his preferred descriptor is "free."
Traditionally, VJs make mov- "Live visuals are kind of the wild-
als in real time to accom- west of cinema, the rules are being
usic - sometimes their own written as it is happening," he wrote.
tions. In Strangeloop's case, "I mean, what do you call it when you
live processes for music and make a live-feed turn into a feedback
n visuals are inseparable, loop of itself then fractal-ize into
always been cross-sensorial," kaleidoscopic iterations?It made cin-
e. "I make music which gives ema fun again for me ... sometimes
'ns, and I have visions which it's just an eruption of imagery and
usic for me." ideas."
he music evoked isn't always Despite working in a medium that
is inescapably technological, Strange-
loop explores patterns and feelings
that are fundamental to humanity and
the world around us. This paradox
" -of using the complex to describe the
S implici ty. simple feeds back into the concept of
the strange loop. And while it can cer-
tainly be mindblowingly "out-there,"
n: Following the 15-minute Strangeloop's work is undoubtedly
e of "2010," Strangeloop will evocative and thought-provoking.
visuals alongside his Brain- So what can we expect from
labelmate and experimental Strangeloop's performance tonight?
/electronica musician Flying There's no way to tell, but the art-
riends since their days at San ist can promise "some definite mind-
o's Academy of Art Univer- fuxing."
By JOSHUA BAYER
Daily Arts Writer
Whatever happens when left-field hip-hop
artist Flying Lotus and avant-garde animated
film "Heaven & Earth
Magic" collide tonight at "Heaven & Earth
the Ann Arbor Film Festi- Mancwith
val, logic will not be a pre-
siding factor. Fying Lotus
Harry Smith, the mas-
termind behind the 1962 Tonightat7 p.m.
film "Heaven & Earth Michigan Theater
Magic," led an incredibly Ticketsfrom 7$
.eclectic lifestyle until his
death in 1991, compiling the Anthology ofAmeri-
can Folk Music in 1952, creating his own set of
tarot cards and directing a number of experi-
mental films.
"Heaven & Earth Magic" is certainly a mark-
er of Smith's bohemian existence. The film is 66
minutes of cutout animation, consisting of the
extended, dreamlike interplay between vari-
ous recurring objects against a black backdrop.
With heavy Surrealist and Dada influences, the
film is lucid but utterly random. One sequence
features a glorified stick figure pulling a water-
melon out of a sarcophagus and placing it on a
postcard depicting more watermelons, while a
cat sits and watches.
"Heaven & Earth Magic" strikes an uncanny
balance between childlike naivety and ghastly
morbidity, conflating images of death and bru-
tality in a winkingly cartoonish manner. At one
point, an aristocratic-looking lady is smashed
multiple times by a child with a hammer, chang-
ing shape with each blow until she becomes a
writhing crane-like appendage on a dentist's
chair and is injected with a mammoth syringe.
And skeletons crop up all over the place as the
film's creatures move freely between states of
life and death. Anything can morph into any-
thing else at any point and laws of physics need
not apply.
Smith was of the mindset that his films should
be set to contemporary music and, consequently,
his animations have often been accompanied by
live scores (Philip Glass and DJ Spooky have
both lent their music to his films).
Tonight, electronics prodigy Flying Lotus
will be premiering his live musical score for
"Magic," and it should be an earful. Known pri-
marily - but rather anonymously - for having
composed the promo music for Cartoon Net-
work's "Adult Swim," the great nephew of the
late Alice Coltrane has released two equally
stellar studio albums (1983 and Los Angeles),
and is dropping a third, Cosmogramma featur-
ing Radiohead's Thom Yorke, on May 3.
Lotus's songs are like shapeshifting hour-
glasses, gravitating more toward the cerebral
side of hip hop than the bang-yo-head side. His
A hallucinatory assault
on the senses.
beats are spacey without being ambient, hitting
hard but scraping along skittishly as if they're
on the constant verge of falling apart. And if his
penchant for brain-melting noises is manifested
at all tonight, then there's no doubt the exhibi-
tion will be a hallucinatory assault on the senses.
TLC's 'Hoarding' can't tie up loose ends
By LINDSAY HURD
DailyArts Writer
Most people have a favorite item they
just can't part with, whether it's a child-
hood teddy bear or
a favorite shirt. But
"Hoarding: Buried Alive"
exposes people who Hoardt
exceed the sentimental
limits and have literally Buried Alive
filled their houses with Sundays at
endless amounts of junk 10p ..
they just cannot give up.
The TLC reality show TLC
takes a dull peek into the
lives of people who never throw anything
away. In the series premiere, "Hoarding"
follows single man Chris, a Navy veteran
and active member of his church who
seems to have it all; and Laurie, a grand-
mother who has filled up her large cot-
tage with crap. Both are aware the habit
is crazy and is affecting their families,
happiness, health and overall well-being.
This obsession with hoarding is a clinical-
ly recognized condition, and while TLC's
series tries to genuinely help people suf-
fering from it, there's no resolution shown
for these real people's problems.
At the beginning of the premiere, Chris
could hardly open his front door and had
to crawl over his junk to get to anywhere
in his house. He hadn't used his kitchen
in at least three years and hid his problem
from his family, friends and girlfriend.
Laurie started collecting stuff to donate
to people in need. Only instead of giving
away her things, she has kept everythingto
make herself feel more secure. Her addic-
tion had gotten so bad that her daughter
wouldn't bring her children over.
The clean-up team
never even cleans
anything up.
Both contact a psychologist and a pro-
fessional organizer to i help sort their
stuff and get to the bottom of their addic-
tions. At the end of six weeks, Chris made
enough progress to walk into his kitchen
and Laurie could throw a dinner party.
Overall, "Hoarding" draws out these
people's problems and bores us to death as
nothing happens. There's just an endless
amount of junk everywhere that never gets
totally cleaned up. Different from other
shows about hoarders, this team of experts
never actually helps to solve the issue.
The only entertaining moments are those
revealing how much crap people can actu-
ally keep collecting. To see mounds and
mounds of stuff piled on top of each other
is slightly fascinating, but in a grossed-out
kind of way that makes you want to throw
out everything you don't need.
While the show does reveal why both
hoarders have developed the habit, it
never does a follow-up with Chris and
Laurie at the end of the hour. It fails to
deliver the crucial moment where we see
whether the hoarders broke their habit.
Unlike other reality shows, you never feel
connected or excited for the person who
finally conquers these fears. For all we
know, Laurie's clean dining room could be
back to resembling a storage bin and Chris
could have bought even more clothes to
store in his house.
There is no resolution and that sucks.
These people have secret lives that affect
the way they live, but there is nothing that
experts on a TV show can fix. Not only
does TLC waste our time, but they pretty
much wasted the hoarders' time. "Hoard-
ers" basically disgraces and embarrasses
its cast and then peaces out, serving only
as a reminder that you need to throw out
your junk and clean your house.