Last night I watched the movie Twixt on Instant and tweeted about it at 3am EST. I am reposting those tweets here in case there are like-minded individuals on the fence about watching this movie.
Watching a straight-to-instant Val Kilmer thriller by Francis Ford Coppola. Easily my favorite straight-to-instant Val Kilmer thriller yet.
Val plays frustrated horror novelist Hall Baltimore, stuck in a small town with Sheriff Bruce Dern and maybe-vampire Elle Fanning. Oh baby.
Apparently the film was shot around Napa Valley in 2011, and I’m guessing everyone was paid in wine.
Ben Chaplin’s shown up as the ghost of Edgar Allen Poe. Amazed this wasn’t directed by a musician, like opening narrator Tom Waits, say.
might be the most wtf vanity project i’ve seen since Anthony Hopkins’ Slipstream.
"You must be Circe…I’m looking for Flamingo." Flamingo being the Baudelaire-quoting goth gangleader this film needed.
Confession: I had to look up who’s playing the town clock’s maintenance man. It’s Don “Father Guido Sarducci” Novello. Of course.
Minor spoiler, but after some expository closing text, someone chants “Nosferatu…ride the snake” over the closing credits.
I think it would be fair to say Hall Baltimore in Twixt is to the novelist/detective what Mitchell was to the action cop.
Hope this helps!
What’s so *hard* about it? I’ve seen actors in plays before, it’s stupid! Everybody says Shakespeare’s so great. Well how come nobody’s ever heard of him. Hell I’ll write ‘cha a play! All you need is a silly old king’s hat, and some fancy sissy clothes out of your sister’s drawers, and ya get up on the stage, and ya go nuts. — Guidance Counselor Moe Phelps from Mr. Show, who I turn into during any conversation about Stephen Sondheim.
Allow us to opt out of webcasting and streaming on demand services. Give people a six-month notice. Look, I might leave my greatest hits on Spotify, because maybe those songs generate enough streaming revenue that I don’t mind it displacing the sales of that greatest hits album. However, the actual albums that came from? Maybe I don’t want that on Spotify. Maybe I want the people that are most interested in that to actually buy those albums. —
David Lowery. I don’t want to debate/stand by everything he says in the interview (I agree with a lot, but he’s prone to conspiracy talk regarding anyone who doesn’t follow his lead), but I’m superglad to see him float this, as I really want independent labels and musicians thinking critically about whether it makes sense to allow Spotify to cheaply rent out LPs to fans you’re still hoping will buy them, especially if Spotify didn’t give you the equity they gave the majors, and Spotify has to claim their 6 million users will soon become 40 million users (who have the same tastes as the 6 million users) to make the numbers look remotely good for “niche indie” artists.
Leave up the singles (or “push tracks,” what have you) - the songs that generate the majority of the streams, anyway - and put the rest on vinyl or bundled with apps. Hopefully, this would create a culture where the quality of a single is super-important, and the full-length album can reclaim some romance, mystique and monetary value. That would be awesome, imo.
Coming off years of intense, in-demand DJing, you might think that Holden would make a fairly straightforward dance record; instead, as he says in an interview, “The LP was meant to be like an alternate universe where the sprawling inventive madness of the ‘60s and ‘70s hadn’t been out-evolved by punchier, more functional and direct music—a sort of utopia for the non-competitive idea.” There are certainly tracks and passages here that could be danced to, but much of The Inheritors is altogether more atavistic; the beginning of “Sky Burial” feels like it’s dragging something up a hill, for example. Much of what’s here does feel like ritual music, and only some rituals involve dancing. For every moment like the galumphing squall of “The Caterpillar’s Intervention” or “Gone Feral”‘s loping beat that makes you want to move, there’s another like the densely psychedelic “||: A Circle Inside A Circle Inside :||” or the wide-open skies of “Blackpool Late Eighties” that seems to demand some other form of contemplation. —
My review of Holden’s excellent The Inheritors is up today at PopMatters. One sign that it’s been an excellent year in music for me; as much as I love this one, I couldn’t quite squeeze it into my top ten. I approached the record with a certain amount of trepidation, mainly because it’s 75 minutes long; unlike most albums of that length, I think he manages to justify it. I did notice in picking out a quotation for this post that I broke one of my own rules just after this section, and sure enough that part makes me wince. Learning, always learning… (via imathers)
Ian’s post contains a thing I wish more people would do (acknowledge and accept the imperfection of their work) and a thing I wish I’d do (enjoy new albums in 2013). I’m almost afraid to hear this album in case I have some kneejerk “don’t need it/reminds me of…” response, especially since I’m a “don’t bore us, get to the chorus” type 90% of the time. While I’ve enjoyed a good number of hit singles, this has been the most depressing year for me yet as far as LPs go, with not a single platter permeating my silly, cynical short-attention span. Not even Electric Six, which is the biggest heartbreak of them all (fyi, this is my first public acknowledgement of this fact, outside of a reply tweet to a direct question on the matter) (in fact, by publicly saying I don’t like the new album, I hope my self-critical impulses will drive me to revisit and enjoy it) (I mean, when a humor-centric band’s ninth album feels wholly inessential and self-imitative, isn’t the noteworthy thing that it took that long?) (sigh).