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Film/TV Film/TV/Etc. Blog

Indie Memphis To Focus On Locals For 2015 Festival

At an event in Midtown Monday night, Indie Memphis announced that the 2015 edition of the film festival would be held in Overton Square on November 3-10. 

The 18th annual festival, the first held since the recent departure of Executive Director Erk Jambor will be spread out over an entire week to allow festivalgoers an opportunity to see more films. For the past several years, the festival has been a one-weekend affair with more than 40 features spread out over as many as 6 screens at once, often creating impossible choices for audiences. The festival date has also been moved away from Halloween weekend, which has hurt attendance in the last two years. 

“We want to give our audience more opportunities to see these great independent films. The extended festival will give people more options to enjoy the festival on both the weekend and weeknights. It also reduces the number of simultaneous screenings for our dedicated members who want to see a bunch of the films,” says Indie Memphis Board President Ryan Watt.

The call for entries to the features competition this year is open only to filmmakers from the Mid-South area. There is no entry fee for hometowner films submitted before July 17, thanks to a grant from ArtsMemphis. The shorts competition will be open to films from all over the world. National and international feature films will be chosen to screen at the festival on a curated basis.

For the second year, the Indie Grants program will award two Memphis filmmakers $5,000 each to produce a short film for the 2016 festival. Two additional grants for $500 will be offered to first time filmmakers from the Memphis area. Filmmakers can apply for the grants at the Indie Memphis website.  

Watt also announced a national search for a new executive director. 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Mark Ronson and Bruno Mars

Today’s Music Video Monday also happens to be one of the biggest hits of the decade. 

In the six months since “Uptown Funk” was released by British mega-producer Mark Ronson and Hawaiian sensation Bruno Mars, it has spent 14 weeks as number one on the American Billboard sales charts, 7 weeks atop the British charts, has set records for the number of streams in a week, and has won Single Of The Year at the Brit Awards. It’s one of those seemingly rare moments when market success and artistic success converge. You can read all about its recording at Royal Studios with Lawrence “Boo” Mitchell in this Flyer story from February. The video is simple, energetic, and awesome. 

Music Video Monday: Mark Ronson and Bruno Mars

It was also the first song recorded in Memphis to hit number one since Memphis disc jockey Rick Dees’ novelty record “Disco Duck” topped the charts for one week in October, 1976. So as an added Music Video Monday bonus, here’s Dees and Duck live on The Midnight Special

Music Video Monday: Mark Ronson and Bruno Mars (2)

If you want to see your video featured on Music Video Monday, email cmccoy@memphisflyer.com. 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Nots

For 4/20 we have a psychedelic blast of color from Memphis garage punks Nots

The clip for the Goner Records artists latest single “White Noise” comes ahead of their upcoming tour with New Orleans’ organ maniacs Quintron and Miss Pussycat, who appear in the video (in drag, in Mr. Quintron’s case). Shot at the Saturn Bar and directed by New Orleans video artist 9ris 9ris, the fixed-camera video cranks up the chroma and exploits analog video distortion to create a warm, shifting color palette.

Music Video Monday: Nots

If you would like to see your video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Arella Rocket

This week’s Music Video Monday features a track from Memphis experimental hip hop artist Arella Rocket

“Cosmophobia”‘ opens with a beat that is laid back, but still insistent, that gradually erodes as the song progresses towards an unexpected climax. Rocket directed the video, which was shot and edited by Michael Norris. They make extensive use of layered images, incorporating both renaissance art and clips from classic film with shots of Rocket illuminated by a projector in a delicate balance of light and shadow. The song appears on Rocket’s new “dream hop” album Girls And Goddesses

Music Video Monday: Arella Rocket

If you would like your music video featured on Music Video Monday, email cmccoy@memphisflyer.com. 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Vending Machine World Premiere

On today’s Music Video Monday, we’ve got the world premiere of “White Squared Potato” from Robby Grant’s ongoing music video project for his new Vending Machine album Let The Little Things Go. Director Andrew Trent Fleming takes us on a chase through space in a rickety, retrofuture rocket. 

“When Robby asked me to make a video for his new Vending Machine EP, I knew I wanted to do something off the wall,” says Fleming. “I wanted to do something I’d never done in a music video before (space setting, 3D graphics) and make it silly but a little dark. I also wanted to make a small joke about the plethora of locals (myself included) who shoehorn some iconic Memphis landmark into videos in which they don’t make any sense.”

Music Video Monday: Vending Machine World Premere

If you’d like your music video featured on Music Video Monday, email a link to cmccoy@memphisflyer.com. 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Black Rock Revival

“The song is simple if you want it, take it. Freedom, quality of life, and the right to express yourself,”  says Black Rock Revival’s Sebastian Banks. “What could better express the push and pull of life than a wrestler?”

This clip for the band’s new single, “If You Want It”, produced by Banks and helmed by Atlanta-based director Nina Stakz, combines some hardcore wrestling action with moodily lit performance footage. 

“We shoot this in a one-day, 10-hour shoot,” Banks says. “The planning was key, with storyboards, fight choreography, and locations. We also where going for things we don’t usually see, an all-Black cast for a hard rock video. The action had to match the speed and intensity of the guitars and commanding vocal. Hopefully we made something MTV worthy and Memphis strong.”

Music Video Monday: Black Rock Revivial

If you have a music video you would like to see featured on Music Video Monday, email a link to cmccoy@memphisflyer.com. 

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Film Features Film/TV

Time Warp Drive-In: It Came From The Drive-In

The Summer Drive-In was built by Malco Theaters in 1950, on the cusp of the country’s big drive-in theater boom. At the height of their popularity, there were more than 4,000 drive-ins all over the country, comprising more than one quarter of all movies screens. Now, that figure is at 1.5 percent.

But the lost pleasures of the drive-in are not lost on Memphis filmmaker Mike McCarthy and Black Lodge Video proprietor Matt Martin, who, last year, started the monthly Time Warp Drive-In series, which brings classic films, both well-known and obscure, back to the biggest screens.

“We were accepted by a large part of the Memphis community,” says McCarthy. “[Malco Theatres Executive VP] Jimmy Tashie took a chance at, not only saving the drive-in, but plugging a program in that would use the drive-in for what its American function used to be.”

The eight-month series will once again run four-movie programs, once a month, each united by a theme, ranging from the deliciously schlocky to the seriously artsy. Last year’s most popular program was the Stanley Kubrick marathon, which ended as the sun came up. “Who says the drive-in is anti-intellectual?” McCarthy says.

The appeal of the drive-in is both backward- and forward-looking. The atmosphere at the Time Warp Drive-In events is relaxed and social. People are free to sit in their cars and watch the movie or roam around and say hi to their friends. It’s the classic film version of tailgating. “Matt from Black Lodge brought this up: It’s a kind of social experiment, like America is in general. It’s getting back to turntables and vinyl. Maybe it’s not celluloid, but it’s celluloid-like. You didn’t get to see that, because you weren’t born. But you can go back to that. It takes a handful of people who believe to make it happen. And that’s why Malco has been around for 100 years. They’ll take that chance.”

Malco’s Film VP Jeff Kaufman worked hard to find and book the sometimes-obscure films that Martin and McCarthy want to program. “I think we’ve got the material, and we’re trying to get things that people want to see, while kind of playing it a little dangerous around the edges,” McCarthy says. “This Saturday’s totally kid-friendly. We make a conscious attempt to show the kid-friendly stuff first, so people can come out with their kids.”

The series takes its name from the most famous song from The Rocky Horror Picture Show, so the opening program is, appropriately, movies that were mentioned in the show’s opening number, “Science Fiction Double Feature,” that also appeared on Memphis’ legendary horror host Sivad’s long-running Fantastic Features program. “We’re showing what many people believe to be the greatest film of all time, the 1933 version of King Kong,” McCarthy says. “It’s not the worst film of all time, which is the 1976 version of King Kong.

The granddaddy of the horror/sci-fi special effects spectacle films, King Kong has lost none of its power. It’s concise, imaginative, and best experienced with a crowd. The evening’s second film comes from 20 years later. It Came from Outer Space is based on a story by sci-fi legend Ray Bradbury and was prime drive-in fare. It features shape-shifting aliens years before Invasion of the Body Snatchers, 3D imagery from the original golden age of 3D, and a twisted take on the alien invasion formula.

It Came From Outer Space

The third film, When Worlds Collide, was made in 1951, but it doesn’t fit the mold of the sci-fi monster movie. Produced by George Pal, whose credits include the original film takes on War of the Worlds and The Time Machine, the film asks what would happen if scientists discover that Earth was doomed to destruction by a rogue planet, presaging Lars Von Trier’s 2011 Melancholia.

The evening closes with The Invisible Man, starring Claude Rains as the title scientist who throws off social constraints after rendering himself transparent. Directed by Frankenstein auteur James Whale, the film has been recognized as an all-time classic by the Library of Congress’ National Film Registry and will richly reward intrepid viewers who stay at the drive-in all night long.

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Opinion Viewpoint

No Red-light Cameras

The city of Memphis has a large (and growing) red-light camera program. Every year, we faced a budget crisis. And every year there was a temptation to expand our traffic camera program.

In our past council meeting of the fiscal year, we decided to amend our speeding camera program from 15 cameras to 150. It was a heated discussion of city finances and future deficits, not so much about public safety.

In the last five years, Memphis’ traffic cameras have raised $10.8 million. However, most of that money goes to American Traffic Solutions, ATS, the Arizona company that installs the cameras and administers the program. Of the $10.8 million, ATS received $6.2 million. That means that more than 57 percent of the money from Tennessee residents goes to a private out-of-state firm.

They are really in charge of these programs. They are, in effect, policing our streets. 

Of course, since so much money from our cameras goes to an out-of-state vendor, their representatives were at virtually all our council meetings, regardless of whether there was discussion of anything related to cameras.

Through bipartisan legislation for which I am a co-sponsor (SB 1128; HB 1372), the Tennessee General Assembly will get a chance in the current term to curtail the use of these cameras.

I believe the cameras fly in the face of the American tradition of “innocent until proven guilty.” The red-light camera issues a citation and there is very little people can do to defend themselves against an improperly issued citation. 

In Memphis, you would have to travel to our criminal complex to fight the ticket, wait for several hours in line, and try to recall the circumstances surrounding a picture that was taken of your car several weeks earlier, when you may or may not have even been the driver of the vehicle.

The cameras distract from real public safety challenges. In Tennessee’s big cities, the most important problem with respect to public safety is what’s happening in our neighborhoods, not at red-light intersections. 

Some motorists are racing through neighborhood streets, looking for a shortcut to their destination. To do something about the most serious public safety problem plaguing our neighborhoods, we need more speed humps, speed bumps, and other simple, cheap traffic-calming devices.

Lastly, based on the evidence, it is not clear that the cameras contribute positively to public safety. 

True, two studies produced by a major manufacturer of traffic cameras argued that they did. One study, of a community in Florida, suggested that red-light cameras had reduced crashes there by as much as 72 percent. The authors of that study also published a poll purporting to show that 85 percent of respondents supported the installation of red-light cameras.

If you believe the company that makes traffic cameras, in other words, then you believe the cameras eliminate the vast majority of traffic accidents — and that almost everyone loves them.

In fact, other, more neutral studies show different results. According to a report commissioned by the federal Department of Transportation, the cameras do not change “angle accidents.” Further, the study finds large increases in rear-end crashes and many other types of crashes that occur at intersections. The study concludes that red-light cameras create (not reduce) public safety problems. 

The red-light camera program is not a program of and for cities or communities. The red-light camera program is a program for the profit of private vendors that deploy the cameras and process the citation.

Plenty of individuals from both parties, from all over the country, have grave reservations about approaching public safety in this way. 

At the federal level, legislation to ban red-light cameras has been proposed by members of both parties and from all areas.

For years, the ACLU on the left and the Tea Party on the right have opposed red-light cameras. And what’s more surprising is that both groups oppose them for largely the same reasons.

This issue is not about Democrats versus Republicans or urban versus rural areas. It’s about restoring credibility in government, fairness for motorists, and effectiveness to our public safety programs.

Categories
Music Music Features

Every Time I Die Live at the Hi-Tone

It might seem like you picked up a copy of the Flyer from 2004, but Every Time I Die really is playing the Hi-Tone next Monday. The metal core band from Buffalo, New York, started playing in 1998 and made it to Warped Tour-size success after 2001’s Hot Damn! And 2005’s Gutter Phenomenon. Every Time I Die were torchbearers of mid-2000s metal core, alongside bands like Norma Jean, Atreyu, and Evergreen Terrace.

When metal core took the country by storm, Memphis was no exception, and hundreds of kids spilled out of the suburbs and into venues like the Skate Park of Memphis, The Caravan, and The Riot to support the bands coming through town. While it might not have been the coolest chapter in Memphis music history, the metal core scene in Memphis was huge, with multiple promoters and venues building a strong foundation to make Memphis one of the premier places for groups of guys in questionably tight pants to come play.

Every Time I Die

When the Memphis metal core scene was at its peak, locals So She Sang and Nights Like These got dibs on all the good shows. Nights Like These would later go on to sign to major indie label Victory Records and release two acclaimed albums, a testament to the strength of the scene they came from. So She Sang has reappeared for a live show now and again, but the band has mainly been a recording project for the past few years. The band posted a new song on the internet in February, but then announced that this show will be their last. The show is all ages, and starts early, so plan accordingly.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Stephen Chopek

Stephen Chopek recently moved to Memphis from his native New Jersey, and found a niche playing drums for both John Paul Keith and the guitarist’s project with Amy LaVere, Motel Mirrors. But Chopek also does his own thing, and “Systematic Collapse” is the first single from his new EP, Things Moving

Chopek shot this video, using footage he shot while on the road, including scenes from Seattle, Washington, New Haven Connecticut, Rutherford, New Jersey, and Memphis. “I was touring a lot last year, and wanted to capture the moments between traveling and performing,” he says. “Most of the action in the video takes place at night, which is when I had time to get out and explore my surroundings”.

Chopek says the song is about the interconnected set of crises that defines our world today, but all is not doom and gloom. “The juxtaposition of a dancing horse, who also spins records, provides some comic relief for a song about a world in need of repair,” he says. 

Music Video Monday: Stephen Chopek

How did Chopek’s music video come to be featured on Music Video Monday? He emailed me at cmccoy@memphisflyer.com! If you have a video you’d like to see here, that’s what you should do!