Giving the rock-and-roll weather report is Akion Kat maestro and friend of Music Video Monday Paul Garner. (Their new album Transgress! is now available on Bandcamp.) He repurposes The Sex Pistols’ most famous refrain “No future for you!” for the sweltering twenty-first century. Enjoy!
If you would like to see your music video appear on Music Video Monday, email cmccoy@memphisflyer.com.
“First of all, thanks so much for having us on your Music Video Monday series and shout out to Shara too. She’s the best!” says Marrs.
We here at Music Video Monday love flattery and agree that MemphisFlyer Editor Shara “The Shark” Clark is the best. Now, back to the record. “The song was written lyrically while making this record,” Marrs says. “The death of my son’s mother had happened and it was just one thing after the other, and being in recovery for about a year and a half at the time, I was being asked if I was okay a lot. The words ‘I don’t know’ had become possibly my most-used phrase; kind of a way of being on the fence about some things.”
Marrs directed the video at the home studio of Graham Winchester, who produced the album. “The video is just me wanting to make a zombie movie with my friends. It turned out to be a lot of fun and my band mate Danny Stanford edited it too. We got together for two hours and he got that from it. A lot of things tend to gain some kind of meaning as time passes, so I’m sure with some time I could pin a way the video ties in to the meaning.”
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
Jann Mardenborough loved the auto racing simulation Gran Turismo, and was picked to compete on GT Academy, a British reality show where video game players competed to get a shot at driving in a real Formula One race. He went on to a successful career driving for Nissan. In Gran Turismo, his story has been dramatized by District 9 director Neill Blomkamp, starring Midsommar’s Archie Madekwe as Mardenborough and Stranger Things‘ David Harbour as his trainer. Expect inspirational speeches about cars that go vroom.
Blue Beetle, the latest superhero story from DC, stars Xolo Maridueña as Jaime Reyes, a Hispanic college student who is unexpectedly gifted with superpowers by an alien robot scarab. As he tries to come to terms with his new identity and new responsibilities, he has help from his large extended family, including comedian George Lopez as his uncle.
While Barbie and Oppenheimer dominated the headlines this summer, Talk To Me, the debut horror film from Aussie YouTubers Danny and Michael Philippou has become a sleeper hit. 17-year-old Mia (Sophie Wilde) tries to use a mummified severed hand to contact the spirit of her dead brother, and gets a lot more than she bargained for.
In Golda, Helen Mirren stars as Golda Meir, the prime minister who led Israel to victory during the 1973 Yom Kippur War.
Speaking of biopics, here’s one about baseballer Ricky Hill, who overcame a physical handicap to … play baseball.
What would late summer be without Liam Neeson receiving a mysterious phone call which thrusts him, an everyman, into an unfamiliar world of violence and danger? Just so happens, he possesses certain skills. This time, they got a little Speed in the mix to liven things up a little.
Remember when Jurassic Park movies were good? If so or if not, the still unconquered original Jurassic Park is getting a 30th anniversary run in theaters starting Friday.
Thursday, August 31, the Crosstown Arts Film Series presents The Elephant 6 Recording Co. The music documentary traces the Ruston, Louisiana collective which produced indie wonders like Neutral Milk Hotel, The Olivia Tremor Control, and Of Montreal.
Indie Memphis began in 1998 when University of Memphis film student Kelly Chandler wanted to create a space where her fellow students could showcase their work. As the festival grew into a major Memphis cultural event, artist development remained a major part of the mission. In 2016, the Indie Memphis Youth Film Fest was launched to help give middle- and high-schoolers a taste of the highs and lows of filmmaking.
“We’re giving these students an opportunity to really explore it before they say, ‘This is definitely what I wanna do,’” says Joseph Carr, Indie Memphis’ managing director.
Students in the CrewUp program are partnered with adult mentors, experienced filmmakers who will guide them through the process of writing, planning, and producing a short film. Carr says that even those who discover filmmaking is not for them get valuable experience in creative collaboration. “It can apply to every part of your life. If you can’t collaborate, you’re not gonna be successful in any field you work in.”
Memphis Youth Showcase feature Blood and Roots
One Youth Film Fest participant who did decide it was for her is Vivian Gray, who won awards at the 2017 and 2018 festival. Gray says she entered her work “on a whim,” but found “it was truly a once-in-a-lifetime experience. It shaped so much of my future, just by being able to participate, period. I met other peers who made films, I met the folks at Indie Memphis who are so supportive, and just to show my work for the first time publicly was really special, and I’m very grateful for it.”
Carr acted as her mentor when she won a production grant as a prize in 2017. (The grant program is now awarded by application, separate from the main student competition.) “When you’re young, you don’t have any concept of how much work it’s going to be,” says Carr. “You just have great ideas and you want your ideas to come to life. Vivian was just so game to jump in and just run with her idea. You could tell very early just how comfortable she was on set, and just how comfortable she was in her voice. When you’re in the presence of a true artist, you can tell very quickly that they have a lot to say.”
Gray went on to earn a degree from the acclaimed University of Southern California film program. Her short film, “Tape 23,” debuted at Indie Memphis ’22 and has spent the last year on the festival circuit with “Providence,” a television pilot she directed. She will return to Youth Fest as a juror this year. “I feel like it’s grown even more, and continues to do what it did for me and so many other young filmmakers and artists. It is near and dear to my heart.”
Another artist coming full circle this year is Vivie Myrick. The actor made her screen debut at the Youth Festival and recently appeared on the Showtime TV series, George & Tammy. “She directed a film last year as her last output for her age group in the Youth Film Fest,” says Carr. “Now she’s now back to host an acting workshop.”
The festival will kick off on Saturday, August 26th, with a keynote address by screenwriter Hennah Sekander. The recent Memphis transplant has written for the Apple TV+ series Hello Tomorrow! and the Amazon Prime Video Chris Pratt vehicle The Terminal List. “I’m gonna talk about ‘The Slingshot Effect,’ which is something that I coined under pressure on a phone call with Joseph Carr because he said we needed a title, and it just felt like the most potent symbol for how you marry character and plot to tell a good story.”
When Craig Brewer introduced Sekander to Carr, she immediately asked how to get involved with Indie Memphis’ youth program. “I think a big reason why this writer strike is happening right now is there’s this feeling of resistance from the studio side to invest in new talent and kind of support younger voices as they try to make their way up the ladder,” Sekander says. “So I think that means it’s all the more important for writers to do that work that probably wasn’t done for them.”
The festival is free for students who sign up for passes and pay-what-you-can for adults. The short films which premiere this Saturday at the Halloran Centre will represent the culmination of a year of work by the young filmmakers. “I’m always just beside-myself thrilled when these students finish their movies,” says Carr. “Some teams will drop out, or something will come up, and they can’t finish. But seeing these completed films on the big screen, all the problems we have leading up to it are just melted away.”
The 2023 Indie Memphis Youth Film Fest is Saturday, August 26th, at the Halloran Centre. For the schedule, visit indiememphis.org.
Listen up, Memphis. The Subteens were playing pop-punk before pop-punk was a thing. They were on the scene to have fun in the ’90s when most other bands they shared stages with were serious to the point of depression. Front man Mark Akin was legendary for playing encores wearing nothing but a guitar. They called it quits in 2004; soon after, Akin got sober and became a successful personal trainer.
Now, singer/guitarist/songwriter Akin, bassist Jay Hines, and drummer John Bonds are back at it with the same blistering pace, newly introspective lyrics, and a promise to remain fully clothed. Produced by J.D. Reager and released on Back To The Light records, Vol. 4: Dashed Hopes & Good Intentions rocks as hard as anything in the ‘Teen’s extensive catalog.
The video for “Hard to Be Lonely Tonight” uses clips from The Last Man on Earth. Starring Vincent Price as the titular final dude, the 1964 horror was the first of three films based on Richard Matheson’s proto-zombie story I Am Legend. (Charlton Heston would reprise Price’s role seven years later in The Omega Man, and Will Smith got his turn in 2007.) The video transforms Price’s troubles with swarming vampire-zombies into a metaphor for staying in on a Friday night. Let the rock begin!
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
It’s a crowded weekend for new releases, so let’s get right to it. Blue Beetle is almost as old as Batman — so old, he once starred in a radio serial — but he never took off like the Bats. His current incarnation is Jamie Reyes, a Mexican-American undergrad who finds an alien robot scarab, and, well, just watch.
Memphis expat auteur Ira Sachs’ latest is his most controversial work to date. Passages is a film about a love triangle between a charismatic rogue film director (Franz Rogowski), his longsuffering printmaker husband (Ben Whishaw) and a meek school teacher (Adèle Exarchopoulos) that earned an NC-17 rating from the MPA for reasons that Ira Sachs explains in this interview I did with his for this week’s Memphis Flyer. This is one of the year’s best films so far, so don’t sleep on it.
Sure, dogs are great. But wouldn’t they be greater if they could talk? Sure they would. But let me up the ante for you: What if dogs could talk, and they talked dirty?
Uh huh. Now I got your attention. Will Ferrell, Will Forte, Jamie Foxx (that’s Academy Award-winning actor Jamie Foxx to you), and Randall Park are dirty, dirty dogs that talk in Strays. Since this is the Flyer, we’re running the red band trailer, so put on your headphones unless you want your boss to overhear and fire you.
Wesley Snipes is a national treasure who doesn’t get enough work because most Hollywood producers are weak and fearful. That’s why he’s producing his own joint with fellow under-appreciated talent Tiffany Haddish. Back on the Strip brings together a crackerjack cast, including JB Smoove and Bill Bellamy, to tell the story of Merlin (Spence Moore II), a wannabe magician who discovers his real talent is as a male stripper. Snipes co-stars as “Mr. Big.”
In a shocking twist, Tiffany Haddish’s film is opening against a film co-starring Tiffany Haddish. This one is Landscape With Invisible Hand, based on the science fiction novel by M.T. Anderson. When aliens come to earth, things go on pretty much as normal. A new social media niche opens up because the aliens don’t understand human emotion. They will pay people who are in love to livestream their lives, which are apparently very entertaining to the loveless blobs. But what happens when two livestreamers fall out of love? Litigation, apparently.
Justin J. Pearson and Gloria Johnson (left) march to a Shelby County Commission meeting in April. (Photo: Andrea Morales for MLK50)
On July 27, 2023, the Department of Justice opened a civil rights investigation of the Memphis Police Department. Although the investigation comes six months after the beating death of Tyre Nichols at the hands of the MPD, U.S. Assistant Attorney General Kristen Clarke said the investigation was not prompted by any single incident, but rather by multiple reports of violence and racism which suggested fundamental problems with the department’s standards and practices.
“It can’t be overstated how important it is, and what a critical opportunity this is for our community,” says Josh Spickler, founder of Just City, a nonprofit devoted to criminal justice reform.
Around the same time the DOJ announced its investigation, the Tennessee Bureau of Investigation released its 2022 crime report, which breaks down all reported crimes and arrests in each jurisdiction. As reported in “What’s Wrong With The MPD?,” the previous Memphis Flyer story in this series, MPD’s 2021 clearance rate, the ratio of crimes reported to arrests made, was 22 percent. In 2022, it fell to 18 percent.
Josh Spickler (Photo: Andrea Morales for MLK50)
Clearance rates have been falling across the country for years. In 1960, the national clearance rate for murder was higher than 90 percent; today, that number is just over 50 percent. The Nashville Metro Police Department’s 2022 clearance rate was 25 percent.
Even so, the MPD’s ineffectiveness, as measured by their own standards, is shocking, especially given that the police department’s $284 million budget represents 39 percent of the total city budget. “If we talk about the basics of government function, which our current mayor does quite a bit, one of the basic responsibilities of a police department is to try to solve crime. Eighty-two percent of the time, they’re failing to do that,” says Spickler. “Hopefully we will have some really frank conversations about the results of the [DOJ] investigation. We have to have accountability for this police department because that’s what leads to trust. Trust leads to solving crimes, which leads to this clearance rate going up, which leads to people who commit crime and harm us being held accountable. That’s what we all ultimately want.”
Renardo Baker, far right, executive director of I Shall Not Die But Live! and his Memphis Allies SWITCH (Support With Intention to Create Hope) team. They are the newest ally organization — joining LifeLine to Success and Neighborhood Christian Centers — fielding SWITCH teams alongside Youth Villages. Baker’s group launched Memphis Allies work in Orange Mound. (Photo: Courtesy Youth Villages)
Guns Everywhere
When you talk about crime in Tennessee, guns are the elephant in the room. According to the Memphis Shelby Crime Commission, gun-related violent incidents have been climbing steadily since 2016. So far this year, gun crime is up 11 percent over 2022.
Guns are everywhere in Tennessee, and that’s how the Republican supermajority in the legislature likes it. In 2021, the Tennessee State Legislature made it legal for almost anyone to carry a firearm without a permit. After the March 2023 Covenant School shooting in Nashville, where a former student killed three children and three teachers with a legally purchased AR-15 assault rifle, a student-led protest movement urged the legislature to pass red flag laws, which would allow authorities to confiscate guns from people who are deemed dangerous to themselves or others. When Democratic state representatives Justin J. Pearson, Justin Jones, and Gloria Johnson brought the protests into the House chamber, the Republican supermajority responded by expelling Pearson and Jones, both of whom are Black. (Johnson, who is white, missed expulsion by one vote.) President Joe Biden called the expulsions “shocking, undemocratic, and without precedent.” Both Pearson and Jones were easily reelected to their seats earlier this month in time to participate in a special session called by Governor Bill Lee, ostensibly to address the state’s exploding epidemic of gun violence.
“The erosion of our protections from gun safety legislation has led to a direct increase of the number of funerals of children that we go to and the number of people in our community who are being killed because of gun violence,” says Pearson. “Gun violence is the number-one killer of children because of the decisions of the Tennessee state legislature that invoked permitless carry and that have put the values of the Tennessee Firearms Association, American Firearms Association, and the National Rifle Association over the lives of people.
“We need to have more laws that protect kids, not guns,” Pearson continues. “We need laws such as extreme risk protection orders that take guns away from people who are domestically abusing their spouses. We need laws that strengthen background checks to make sure people who are getting access to guns who shouldn’t have them no longer have them. We need to be able to track where these guns are coming from and how they are getting into our community. Memphis doesn’t have any gun manufacturers, yet we have this extreme amount of gun violence. We need to figure out why that is and who is proliferating and profiting off of the pain and suffering we are experiencing.”
Recent proposals before the city council would repeal permitless carry in Memphis and ban the sale of assault rifles. Many assume that if these proposals passed, the Republican supermajority in the state legislature would simply preempt them. “In fact, our racist Speaker Cameron Sexton said that he was an ‘overseer’ to more progressive cities,” says Pearson. “The reality is, we are always going to be facing the issue of preemption. Our state legislators who represent Memphis and Shelby County, they’re going to have to start standing tall and speaking up and using their voices.”
Pearson says the Black communities in Tennessee are disproportionately affected by gun violence. Twelve percent of Tennesseans are Black, but they represent 38 percent of crime victims in the TBI report. “I buried a friend this year,” says Representative Pearson. “Last year, I buried a mentor who died from gun violence. This is not normal.”
Daniel Muhammad, of the National Institute for Criminal Justice Reform, leads a training for Memphis Allies staff. (Photo: Courtesy Youth Villages)
What Won’t Work
Is the solution to Memphis’ crime problem simply to hire more police officers? “There is evidence that the presence of police has an impact on crime, which feeds this [faulty] argument that we just need more of ’em,” says Spickler.
While people are less likely to commit crime in the presence of a police officer, the assumption that a bigger police department leads to safer communities does not hold up to scientific scrutiny. A meta study published in the August 2016 Journal of Experimental Criminology collected all available data about police force size and crime rates from 1968 to 2013. The researchers found that “The overall effect size for police force size on crime is negative, small, and not statistically significant,” and that “Changing policing strategy is likely to have a greater impact on crime than adding more police.”
A just-published report from Catalyst California and ACLU of Southern California crunched data on sheriff’s offices throughout their state. “A common, long-held belief is that communities need to greatly invest in law enforcement — rather than other potential safety solutions — to prevent serious violence from occurring,” the authors wrote. “This ‘tough on crime’ approach views law enforcement as the primary (if not sole) solution to protect community members from heinous harms like homicide, robbery, and assault. It presumes that law enforcement agencies significantly focus their efforts on responding to calls for help (e.g. 911) from community members in imminent danger, and that their actions are an effective means of harm prevention.”
Instead, the study found that California sheriff’s departments spent very little time actually responding to calls for help. In Los Angeles County, only 11 percent of deputies’ time was spent on “service calls.” The rest of the time was spent on traffic stops, two-thirds of which were non-moving violations used as a pretext to search for drugs and weapons.
While this study did not cover Tennessee, it is consistent with a larger pattern in modern policing. The incident that ended in Tyre Nichols’ death began as a pretextual traffic stop by the MPD’s SCORPION unit. “The reality is that things like ‘jump out squads’ have been happening in communities, especially poor communities of color, for generations,” says Spickler.
“Fundamentally, we have to rethink the Memphis Police Department,” he says. “I think that it needs to be replaced with something broader than a police department — something more along the lines of an office of public safety that includes not just armed people in cars patrolling, but also people who can be responsive to some of the drivers of what people think of as crime but are really more nuisances or public health issues.
“Administrative things like traffic and car tags, mental illness, homelessness — those are all things that we can respond to in another way. It will keep us from having things like Tyre Nichols or the many, many other use-of-force incidents we’re familiar with. This department needs to essentially go away and be rebuilt and rebranded as something different than an occupying force that is out there trying desperately to do something about crime. It’s no knock on the people out there trying, wearing the badges. That’s an impossible task. Let’s give them a job that they can accomplish instead of just sending them in to fail.”
Signs of Hope
K. Durell Cowan knows the effects of injustice first hand. In 2010, his uncle died in police custody in Richmond, Virginia. In 2015, a friend asked Cowan to give him a ride. The friend had just been robbed, and Cowan says, “He ended up seeing the guy who actually robbed him that day, and [my friend] killed him. Just because I’m a big Black guy in Memphis, no one would believe that I had no involvement in the thing. I was charged with first-degree murder.”
K. Durell Cowan (Photo: Courtesy Heal 901)
Cowan avoided serious jail time, but he lost his job as an office manager. His life in ruins, “I was admitted into two mental hospitals in Memphis. In the middle of a mental episode, a voice came to me and said, ‘If you had another chance in life, what would you do?’ … Heal 901 was created from taking my pain and turning it into power.”
Heal 901 began by feeding the homeless and bringing social services to people who could not access them. In 2019, a brawl erupted at a basketball game between Westwood High School and Fairley High School. In the aftermath, Cowan stepped in to mediate between the feuding groups. The experience inspired him to expand his conflict-resolution efforts to the streets of South Memphis. “We look at gun violence at Heal 901 as a public-health issue, understanding that guns are readily available, and that we have been desensitized when it comes to the value of life.”
Heal 901’s crew of violence interventionists are drawn from “those who have been part of the justice system,” Cowan explains. “We give them the opportunity to go and fix the same neighborhoods that some of them played a part in destroying. We work closely with the Shelby County Office of Reentry, Probation, and Parole to find qualified candidates to go out and do this work. … My staff walks into an environment where people are walking around holding AR-15s, AK-47s, long guns, short guns, extended high-capacity magazines. And they’re out there with nothing but a cell phone.”
Heal 901’s current target area is the New Horizon Apartment Complex at Winchester and Millbranch. “It doesn’t take a rocket scientist to know that when you hear loud yelling and commotion, those verbal altercations lead to physical altercations, which lead to gun violence. That’s the flow; that’s the formula. You have to interrupt as soon as you hear the chitter-chatter.”
The interventionists defuse volatile situations. “You tell them that you care about them as an individual, to take the time to help them associate themselves with reality. Like, hey, this is probably not the best move when you got children who depend on you. Gun violence is not something that takes a long time to do. It takes less than three seconds to pull a gun and pull the trigger. So you have to intervene quickly and have someone thinking of something else before they make that decision. Because it’s now to a point that people are reacting with these weapons.”
Susan Deason (Photo: Courtesy Youth Villages)
Susan Deason is executive director of Memphis Allies, an initiative that was launched by Youth Villages in 2021 to reduce gun violence in Memphis and Shelby County. She says, “This is a collaborative initiative that engages multiple other organizations in addition to Youth Villages to serve those at highest risk for involvement with gun violence and to provide services to those individuals to change the trajectory that they have been on previously.
“We serve individuals anywhere from the ages of 12 to 30 and above. There’s a few criteria we look at, and of course you also have to get to know the individual to understand their particular circumstances. But typically it would be somebody who does have an extensive history with the legal system. So they may have already received some weapons charges. They have recently, within the past 12 to 18 months, been shot or shot at. They have close friends or family members who have been recently shot or shot at. They are typically out of school or unemployed and are also typically involved in a gang or a crew.”
Deason says most people are looking for a way out of their violent circumstances. “While there are individuals who don’t need to be out on the streets based on the crime that they committed, ultimately we believe everybody needs a chance to be rehabilitated and to make different choices — and oftentimes, someone who is at highest risk and who is involved in gun violence doesn’t really know about those other opportunities, or hasn’t had somebody to help them make those changes. And it’s very difficult to make a complete lifestyle change on your own.”
Cowan agrees it’s important to help people understand they’re not alone. “It’s sad to hear adults say that they’re afraid of children, and these children are literally asking for help.”
In April 2022, Mayor Strickland appointed Jimmie H. Johnson, a 12-year MPD veteran, as the administrator for the city of Memphis’ Group Violence Intervention Program. “We’ve contracted with 901 Bloc Squad as our street intervention team, and they have staffed up to approximately 100 individuals,” Johnson says. “They are mainly out there in the neighborhood, staying abreast of what’s going on between groups, keeping street beefs down to a minimum. We have approximately eight hospital interventionists that are assigned to and at the disposal of Regional One, and we’re soon to be in Methodist North Hospital. We want to expand to every hospital in the city.”
Johnson’s “credible messengers” talk to people with fresh gunshot wounds. “When somebody’s being transported to the hospital, you have to go to them and say, ‘We’d like to stop this cycle of violence. We wanna help you.’”
Root Causes
Throughout history, crime and violence have always been associated with poverty. It’s no coincidence that the American cities with the highest crime rates, including Detroit, St. Louis, Baltimore, and Memphis, are among the country’s poorest cities. According to the University of Memphis’ 2022 Memphis Poverty Fact Sheet, 23 percent of Memphians live below the poverty level, 10 points higher than the national average. Thirty-three percent of Memphis’ children are impoverished, almost double the national average of 17 percent. “The most important thing that we can do to deal with gun violence and gun violence prevention is to deal with the issue of poverty,” says Pearson. “If we don’t address root causes of economic inequality and racial injustice in Memphis and Shelby County in Tennessee, then these types of issues like gun violence are going to continuously be entrenched in policies and practices of the legislature and of people in positions of power.”
While there are signs of hope on the poverty front, restoring the community’s trust in policing will be a long, painstaking process. “It’s not one switch that we just haven’t found yet,” says Spickler. “One day, we can get to a trust place again, but it ain’t gonna be anytime soon until we deal with the past and plot a course for the future.”
Agathe (Adèle Exarchopoulos) catches the eye of Tomas (Franz Rogowski) in Passages.
If you’ve heard one thing about Ira Sachs’ new film Passages, it’s probably that it earned an NC-17 rating from the Motion Picture Association. Many have pointed out that the film, while frank about matters of love and intimacy, is neither prurient in intent nor really, in the big picture, all that racy. What the ratings board seems to have found so objectionable is that about half of the film’s sex scenes involve a gay couple.
“It’s a warning to other artists and filmmakers that if you create certain images, they will be punished,” says Sachs. “It’s a legacy of the Hays Code, directly created in the late 1920s by and for the Catholic Church to limit what is available to the public and what art is created.”
During the days of the Hays Code, Memphis was notorious for the strictness and arbitrary nature of its censorship board. But what’s so frustrating to the filmmaker about the whole affair is that he never intended for Passages to be a film remembered for its sex scenes. “It’s not about sex,” says Sachs. “I mean, sex is part of the story. But I wanted to make an actor’s film — a film that, for me, recalled certain kinds of cinema. I think particularly of [John] Cassavetes, and also of the French New Wave, which were actor-driven and really about what happens between people in the moment. I think about [Cassavetes’] A Woman Under the Influence, but I also think about [Jean-Luc Godard’s] Contempt. It’s just this kind of thing that is monumental, which gets lost in the kind of neutered space of contemporary American cinema, where there are no humans. I mean, the number-one movie in America is about a doll!”
When we first meet Tomas (Franz Rogowski), he is working with a difficult actor on the set of a new film he is directing. He is demanding of the people around him, but also seemingly unsure of exactly what he’s looking for. These are recurring themes for Tomas as he navigates his relationship with his husband Martin (Ben Whishaw). When a young woman Agathe (Adèle Exarchopoulos) catches his eye during the wrap party, Tomas sends Martin home and hooks up with her. The next morning, he returns home to Martin, exclaiming, “I had sex with a woman last night!”
This will not be the last tone-deaf moment from Tomas, who spends the rest of the film ping-ponging between his two lovers, wrecking lives in the process. “I recommend to your readers to go on YouTube and type in ‘Franz Rogowski Chandelier,’” says Sachs. “You’ll see a karaoke performance that you’ll never forget. That was, to me, the inspiration to write a film for Franz. He’s a purely cinematic form who takes great risk and great danger and isn’t scared to make himself look bad. We talked a lot about James Cagney making the film because I think, similarly, he’s someone who creates a performance of a man behaving very badly, but done so beautifully.
“I wrote the film for Franz, and then I needed to find actors who were similarly brilliant and also alive and comfortable with risk and failure. That’s what I found in Adèle and Ben. Failure is really important in the creation of an interesting piece of work — the possibility that you’ll get a pie in your face. I think what this film is for me is, you’re given the opportunity to see people who are comfortable sharing some part of themselves that is the most personal and the most vulnerable. Interestingly, Adèle said the most difficult scene for her was not either of the sex scenes she’s in, but the moment when she sings a song to Tomas, which was a moment where she felt very, very exposed.”
Tomas is the latest in a long line of Sachs’ characters who could be described as toxic narcissists, such as Rip Torn’s indelible performance as a Memphis music producer in 40 Shades of Blue. “I resist those terms, which have become too generalized,” says Sachs. “It’s a character who’s not uncomfortable with taking up space, and also who believes that the rules of society are not necessarily made for him. … I think that there’s been a continual interest since I started making work in trying to understand what men with power do with it and what are the consequences.”
Music Video Monday frequent flyer Jeff Hulett has a new EP out, and it’s named after a friend. “The ‘Josh’ in ‘The Josh EP’ refers to my neighbor and friend Josh Cosby,” says Hulett. “While we’ve collaborated on some songs together, this is a full-bore, pedal-to-the-metal, all-in recording with Josh at the helm mixing, producing, and engineering. I just wrote and performed and let Josh do his thing.”
“This is Not The End” is a little dreamy, a little wistful, but full of hope. This video features some types of images I’m always a sucker for: backwards fireworks. Some day I’ll write a long piece about the relationship between the Second Law of Thermodynamics and the effective use of reversed video for the small number of you who would actually care about such things. But for now, just enjoy Hulett’s words, music, and vision.
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
G-WIZ (aka Gene Williams) looks smooth, suave, and cut in his latest music video. But that’s not how he was feeling when he wrote the song. “‘(Won’t Letcha) Take It From Me’ was written from the standpoint of going through my own personal Hell,” he says. The song is a reminder to himself about “… finding peace in the chaos, and guarding my peace of mind vigilantly. ”
Philip Safarik of Aktiv Films shot the video at Carolina Watershed, with the assistance of Darius “Phatmak” Clayton, and shares the director credit with Williams. The idea for the video was just to show some of the beauty of the city of Memphis, and introduce the world to us and our music,” says G-WIZ. “Shout out to my amazing band, Deneka Lewis, Joseph Higgins, Jimmie Allen, Brennan Austin, and David Higgins, for helping me bring this music to fruition!”
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.