utorak, 25. lipnja 2013.

Shad Clark - All I Think Of Is You (2012)

Dianna Agron's You Me and Charlie- WATCH: All I THINK OF IS YOU poster

Ženi prilazi muškarac sa sjećanjima i emocijama njezina pokojnog muža.H


"Realistic and emotionally intense" - Annalee Newitz, io9  |  "Polished, tight and atmospheric" - Ryan

Here are the first two minutes of All I Think of is You, prepared by director Shad Clark exclusively for You, Me & Charlie.
The face of a bloodied, terrified man on a stretcher opens Shad Clark’s All I Think of Is You, a sci-fi mystery short that premiered August 11th at the 12th annual HollyShorts Film Festival. As part of our ongoing coverage of the festival, YM&C spoke with the director of this film for an exclusive interview.
Dianna Agron's You Me and Charlie- WATCH: All I THINK OF IS YOU posterThis is the face of Nate (Rowan Brooks), who dies in a traffic accident, leaving behind his wife Claire (Simone Varela) as well as a dubious legacy as a scientist. Adrift in grief and confusion, the widow’s hysteria is augmented when she receives an unsettling phone call one early morning. The man on the line, who looks and sounds nothing like Claire’s dead husband, identifies himself as Nate.
Flashbacks to a sterile operating room show the real Nate (Brooks), lab-coated, unveiling a test subject to his colleagues. More flashbacks, and flash-forwards within flashbacks, reveal that Nate’s brain was transplanted into the body of Subject 0001 (L. Jeffrey Moore), the man on the phone, who died of a coronary embolism. The Subject has all of Nate’s memories and emotions.
Funded through Kickstarter for $3K and shot in less than four days on-location in the Bay Area — a place director Shad Clark described in an interview as “incredibly scenic and cinematic,” asking why “there aren’t more films made here” — All I Think of Is Youexplores the uneasy concept that someone else, a stranger, could replace a dead loved one.
Nimble, electronic sound design percolates an atmosphere of foreboding. Ominous portents abound — tight close-ups on eyeballs, shock cuts, the whole gamut of cinematic technique. There is a constant, low, dull tone coursing through the film, which reminded me of the sound design in Gaspar Noe’s Irreversible (2002), another entry in an increasingly growing canon of cinema extreme. (Remember when Monica Bellucci gets raped for 10 minutes in a tunnel? That film.)

ALL I THINK OF IS YOU / Teaser: “Our lives.” from Shad Clark on Vimeo.
Clark, who playfully defines himself in his Twitter bio as a “provocateur,” not only wrote and directed the film, but composed the score, too, as he has done for all three of his shorts. Possessing this kind of creative oversight, Clark succeeds in overcoming many of the pitfalls and pratfalls of burgeoning short filmmakers: the film is polished, tight and atmospheric. At less than eight minutes, it views almost as an extended Red Band trailer auguring a bigger film to come.
Clark had been sitting on the script for a few years, and it was Kickstarter who approached him about submitting a project. “At the time I had a lot going on, and I just couldn’t get my head around campaigning for investors. It seemed like a lot more work than it eventually proved to be,” Clark said.
“Studios obviously have money to invest in films, but they tend to have too many business types second-guessing the creative decisions,” Clark said. “This, of course, has led to the studios becoming increasingly risk-averse.”
To wit, Clark said that “The desire for new and exciting ideas is part of what fuels sites like Kickstarter. Crowd-funding allows audiences to green light the projects they want to see or read or listen to.”
Clark has produced all his short projects independently, but he is openminded about industry attention. In 2005, he won “Best Horror” at the Alameda International Film Festival for Anonymity. The film remains a featured short on the Independent Film Channel, and it’s worth checking out: this lo-fi cinematic seizure of a film suggests Clark’s ideas for All I Think in their earliest stages of incubation.
The fact that Clark, like other independent short filmmakers, had complete control of the material of All I Think alongside executive producer Kristin Schwarz — also his wife — enabled him to work on his own terms. “I honestly believe most audiences want to be captivated and surprised by new material and fresh ideas,” Clark said. He cited the massive success of TV shows like “Breaking Bad” and “Mad Men,” and the literary franchises “Harry Potter” and “The Girl with the Dragon Tattoo” series.
Some scenes were shot on a soundstage in Emeryville, while other locations demanded a more guerrilla style of filmmaking, where takes were “essentially stolen in places I probably shouldn’t reveal,” Clark said. But this is the plight of the cash-strapped indie filmmaker with a tireless imagination.
And Clark is not just a movie-maker — he’s a movie-enthusiast, and it shows here. When the Nate-surrogate tries to prove his pseudo-identity to Claire he offers details about her that only the real Nate would know. “Your favorite color is red, and your favorite movie is Blue.” Play-on-words aside, this is no doubt a reference to Polish auteur Krzysztof Kieslowski’s 1993 film, part of a trilogy known as Three Colors (that director’s last film). The protagonist in Blue, played by French actress Juliette Binoche, is also beset by the death of her husband (and child) and seeks another sort of human facsimile of her husband — though in less literal forms.
Along with Stanley Kubrick, Alfred Hitchock and the three “Davids” — Fincher, Lynch, and Cronenberg, all of whom have addressed themes of doomsaying doppelgangers — Clark cites Kieslowski as a favorite filmmaker.
“I gravitate toward the type of science fiction in which people become their own worst enemies,” Clark said, “generally by being too shortsighted to fully realize the implications of their accomplishments, especially when those accomplishments are living beings.”
With its abrupt and bewildering climax, Clark’s film unfurls the extent of Nate’s accomplishments in a coda of everything we’ve seen, treating narrative time as an accordion — folding in on itself, destined to repeat — rather than arrow. But the film’s cagey ambiguity secures a life ahead for this film.
As the way we make, show and watch movies is continuously in flux, independent filmmakers have to think on their feet. Clark has considered releasing the film as an app, complete with the script, storyboards and behind-the-scenes materials. “I also do want to continue growing this story’s world, ideally through the production of a feature or series.”
More by Shad Clark:
San Francisco Independent Film Festival  |  Brooklyn International Film Festival  |  Nashville Film Festival  |  HollyShorts  |  Calgary Underground Film Festival  |  Phoenix Film Festival  |  Sydney Underground Film Festival  |  Dam Short Film Festival  |  Olympia Film Festival

STARRING Corbett Trubey, Simone Olsen-Varela, Ultraviolet Dwyer Schneider, Allan Dorr
In this socially explosive experimental short, a drug advert's list of side effects continue long after the commercial ends, unhinging the realities marketed to the masses in other commercials.


Fangoria Weekend of Horrors  |  Dead Channels  |  Rhode Island Horror Film Festival  |  Dam Short Film Festival  |  I Misteri di Napoli  |  Calgary Underground Film Festival  |  Alameda International Film Festival
STARRING Mary Ann Connor, Corbett Trubey, Allan Dorr

Trapped in a derelict labyrinth, a woman tries to free herself and her lover from a masked killer—only to discover all too late why their enemy is inescapable. A feature version of the short film was developed for Sony Screen Gems and Cider Mill Productions. Sadly, the project was tortured and beheaded deep in one of the lowest circles of development hell.


Cover art by Patrick M. Reid.
Cover art by Patrick M. Reid.


SHORT STORY - Shad Clark
In this children's story for mature readers, a piglet born with human hands and feet is spared the fate of all the other cloned piglets in an industrialized supply line of universal organ donors. He's raised instead as a human child on a remote country estate. There his life seems idyllic until he discovers one day what he was meant to be, and then he sets out in search of his mother's heart.
Kindle  |  Nook  |  iOS


SHORT STORY - Shad Clark
"Every Friday is Good Friday!" at the Christian Family’s® Great American Holy Land®. Each week, the faithful flock for miles to witness the crucifixion of a life-like android Jesus. But when the star attraction becomes self-aware, the park's celebrity founders believe they've inadvertently commissioned the creation of the Anti-Christ.
Kindle  |  Nook  |  iOS


In a corporate culture where emerging technologies redefine identity, an office worker loses his hand trying to save a beautiful stranger from a plummeting elevator. He's fitted with a bleeding edge prosthesis—only to become haunted, not by phantom limb pain but the dead woman’s touch.
WINNER - Best Scifi/Horror - Creative Screenwriting Magazine's Screenplay Expo Competition


The feature version of the award-winning short film focuses on a seemingly average young couple as they're targeted by a group of masked strangers that came together for the sole purpose of killing them.
Developed the feature for Sony Screen Gems and Cider Mill Productions. Sadly, the project was tortured and beheaded deep in one of the lowest circles of development hell.


In an alternate reality, a would-be physicist assumes his own identity.
FINALIST - IFP Emerging Narrative Screenplay Competition


An idealistic journalist discovers the unsettling connection between his missing girlfriend and a celebrated cellist who died over two decades earlier.
QUARTERFINALIST - American Zoetrope Screenplay Competition


Forget what you know–or think you know–about Sigur Rós. Though  core members Jónsi Birgisson, Orri Dýrason and Goggi Hólm have continued to evolve their sound over the years, their body of work has always been an ethereal one. Airy and transcendent, like showering light. And now with their new album, that light is often flickering and finite, which is fitting given that the title translates to "candlewick." Kveikur still evokes hope, but only through darkness. There's still the sense of soaring scope that Sigur Rós is known for, but only in contrast to an earthy underpinning of grit and dissonance, of rattles and snarls. Indeed, this is  Sigur Rós at their most aggressive–and perhaps their most triumphant. 
Kveikur is available now through the Sigur Rós site and Play Music.
Boards of Canada have always produced heavily evocative music, almost like their songs have been pieced together from lost soundtracks to films, documentaries and PSAs that were never made, albeit with beats that drive their sound irrefutably forward. Tomorrow's Harvest, BOC's new album and their first release since 2006, opens with a brief horn and synth melody that might have accompanied the opening title card of some forgotten film. It's oddly familiar, nostalgic even, yet we can't quite place the name and logo of this production company that might've been. From there, the track "Gemini" sounds like the beginning of an ambitious and sinister film.
In a recent interview, Boards brothers Marcus Eoin and Mike Sandison reveal that some of their influences are in fact certain soundtrack composers from the past. 
"[John] Carpenter is kind of an easy reference point for most people though I'd say the main ones would be Fabio Frizzi, John Harrison and Mark Isham. We're very much into grim 70s and 80s movie soundtracks so there are maybe nods to composers such as Stefano Mainetti, Riz Ortolani, Paul Giovanni, Wendy Carlos, even Michael Nyman."
When you're citing the composers behind HALLOWEEN, A CLOCKWORK ORANGE, and THE BEYOND, the results are likely to be foreboding. Indeed, as much as Tomorrow's Harvest echoes vintage soundtracks with its lush analogue layers, the music conjures impressions of an uncertain and even apocalyptic future. Still present is the warmth of past BOC releases, but any optimism is guarded. The album is beautiful and dark, like much of the world's greatest music. Indeed,Tomorrow's Harvest might be BOC's best album to date. 
 Tomorrow's Harvest is available today. 
Skinny Puppy unleashes Weapon, the band's fourth and absolute best album since remaining members Nivek Ogre and cEvin Key made their reunion official in 2004. In many ways, as a long-time fan of the band, this is the new Skinny Puppy I've been hoping for. It's ominous and abrasive, like the old Skinny Puppy. In fact, Weapon sounds a lot like Skinny Puppy's earliest material and even includes a re-recorded version of "Solvent" from their 1984 debut EP Remission. And yet at the same time, the band's retro stylings feel aggressively modern.
I recently discovered Pharmakon (a.k.a. Margaret Chardiet), and her debut EP, Abandon, instantly became one of my new favorite releases. Pharmakon isn't going to be for everyone. Her music is relentlessly grim and brimming with doom. But if you're a fan of Diamanda Galas, early sludgecore Swans, and experimental industrial death noise, then take heed.
Abandon is available now from Sacred Bones Records and Play Music.

Shaking the Habitual is a fantastic album. I say that as a huge fan of Fever Ray but also as someone who's never been all that stab-happy about The Knife. 

Yes, "Silent Shout" is a great song and the Silent Shout album has a number of other strong tracks (as do Deep Cuts and their self-titled debut). But to me, The Knife's synths always felt too clean and their overall vibe too upbeat. Let's face it: I'm generally not a fan of music that sounds happy. 
But then singer Karin Dreijer Andersson transformed herself into Fever Ray for her solo debut, and suddenly she was one of my favorite modern musical artists. It didn't hurt that she went on to score a stage adaptation of HOUR OF THE WOLF (one of my favorite Ingmar Bergman films). 

And now The Knife appears to have benefited from Andersson's metamorphosis. Shaking the Habitual is less retro '80s synth pop and more ominous and organic. Songs alternate between frenetic and harrowing dance tracks to stretches of ambient foreboding and back again. Among these songs are two short tracks that play like bursts of dissonant noise, each named for a title character from Margaret Atwood's ORYX AND CRAKE. The references are fitting, as Shaking the Habitual sounds dystopian.
 Shaking the Habitual is out now. 
BIOSHOCK INFINITE, the latest entry in writer and creative director Ken Levine's biopunk horror franchise, proves once again that a video game can offer exhilarating gameplay while delivering a story with substance. The original BIOSHOCK thrilled players not only with its wealth of ideas, atmosphere and execution, but also with its compelling plot, themes and social commentary–the latter of which are all sorely missing from most games. INFINITE dares to be even more direct in the handling of its subject matter. The game proves to be a triumph in nearly ever respect, though I have to admit my feelings on its ending are mixed.
Many great bands started out in the late '70s or early '80s during the post-punk, goth, industrial, and burgeoning electronic movements. But most of those highly influential groups have long-been disbanded. Few have remained together all these decades, much less while remaining relevant. In fact, I'd say Depeche Mode might be the exception. 
32 years after first forming, Depeche Mode have released another essential entry for fans of the band. The genius of the band is that, despite whatever the musical trends of the day, Depeche Mode always sounds like Depeche Mode. Their signature sound is as modern here as ever. In a certain sense, Delta Machine plays like a best-of album that encapsulates everything that's great about the band while delivering new favorite tracks like "Angel" and "Soothe My Soul." 
Delta Machine releases today, and I recommend the deluxe edition–the four extra songs are definitely a bonus.  

​UPSTREAM COLOR has been on top of my must-see list since the existence of the film was announced just weeks before its premiere at Sundance, and I had the good fortune of seeing a special screening last night with writer/director Shane Carruth in attendance (thanks to the San Francisco Film Society). The film, like Carruth's PRIMER, begs to be seen more than once - but rest assured it made a very solid and positive first impression on me.
Yesterday, Atoms for Peace began streaming their new album ahead of its official release. And today, How to destroy angels is doing the same. If you picked up An omen EP back in November, you'll recognize some of the songs. And if you dug that EP, you'll love this.
How to destroy angels have evolved their sound into something more multi-layered and complex since their 2010 self-titled debut. (I say "self-titled" but of course the band's name is an ode to industrial pioneers Coil.) I really dug the stripped-down sounds of the Angels EP, especially "A Drowning," but here the band really seems to have come into their own. While it's impossible to know who's responsible for what, I feel like I can hear more of what might be expected of Reznor in this new material. In certain aspects, Welcome oblivion even feels like the successor to Year Zero, the 2007 album by Reznor's other band. It's not just the intricacy of the beats, the signature guitar, background drones, and sparse piano melodies. It's also Rob Sheridan's art direction with its images again depicting what appears to be an impending apocalypse as seen through the electronic eyes of digitally disrupted surveillance tech. In other words, good stuff!
Welcome oblivion officially releases on March 5th, and of course I recommend you buy it if you like it. But for now, you can stream the entire album through Pitchfork.
UPDATE (3.5.13): Welcome oblivion is out now and is available through the band's site:http://howtodestroyangels.com/
Thom Yorke's newish band is now streaming their debut album, AMOK, via the band's site. My expectations were really high, and I am not disappointed. The album is officially released next week, but I recommend you take Atoms for Peace up on their offer and listen early. You won't regret it, unless you prefer really bad music.
Atoms for Peace was born through Yorke's desire to play his solo material live, and the band's debut stands as testimony to how well its members play together. Yorke and Nigel Godrich are of course both from Radiohead, and there are songs here that sound like they could've been recorded for King of Limbs. Other songs harken back to the foreboding of The Eraser. The kinetic intricacy of the drums is often worldly yet mechanical, and the synth melodies of certain songs might fool you into thinking you've put on a Warp Records release. I know that Yorke is a fan of many of Warp artists, including Aphex Twin and Autechre, but it's interesting to see Flea in this light. Here, his bass is less funky and somehow more electronic. I say this though I had the privilege of seeing Atoms for Peace live during their tour in support of The Eraser, and Flea was every bit as relentlessly energetic as he is in his other band. It was fantastic seeing all of Yorke's solo work performed live, but my favorite part was when the band came out for their encore and ripped into "Love Will Tear Us Apart." That catapulted the night into one of the most memorable concert experiences ever.
AMOK drops, as the kids say, on February 26th. Buy until you have a chance to be old skool and actually buy it, you can stream it through the band's site.

UPDATE (2.26.13): AMOK is out now and is available through the band's site: http://atomsforpeace.info/.

Politics are rife with corruption, deceit, manipulation, backstabbing, and blackmail - the stuff of drama. HOUSE OF CARDS capitalizes on this by making Washington, D.C. the backdrop of what one journalist has already called a modern day GAME OF THRONES. While the writers and producers of CARDS may not shock us with the sight of a major character's head on a pike outside the White House, anyone who's seen the first few minutes of the show knows that the story isn't heading for a happy ending. When Kevin Spacey's Frank Underwood is introduced to us in those opening moments, he wastes no time revealing his inner sociopath. Spacey hasn't displayed this sort of understated ruthlessness since his last collaboration with David Fincher in SE7EN. Underwood is not a likable person - but he is compelling.
I already love this new Sigur Rós song, and it's only a teaser: sigur-ros.co.uk 
Bonus points to me for already having tix to their show in April.
I'm not sure what 2013 sounds like yet. But here, for anyone who likes good music, are the releases I'm still listening to from 2012. I'm pretty sure there's no shelf-life on most of these.
Sigur Rós - Valtari
Christoph de Babalon - A Bond With Sorrow
Crystal Castles - (III)
A Place to Bury Strangers - Worship
The xx - Coexist
How to destroy angels_ - An omen_
The Soft Moon - Zeros
Bat for Lashes - The Haunted Man
Tamaryn - Tender New Signs
Fiona Apple - The Idler Wheel
Geoff Barrow & Ben Salisbury - Drokk
Dead Can Dance - Anastasis
Lorn - Ask the Dust

I was lucky enough to see ZERO DARK THIRTY before its wide release, and I walked out of the theatre knowing I'd just watched a truly remarkable film. ZERO DARK THIRTY, in case anyone reading this has been hiding in a cave since 911, is based on actual events. And the actual events in this case include the torture of terror suspects at CIA black sites, obligating director Kathryn Bigelow and her team to depict at least some amount of torture in the film. Unfortunately, as if being denied a Best Director nod wasn't bad enough, Bigelow has had to address the controversy apparently inherent in including scenes of torture that actually happened. As Bigelow has said in her defense, "Depiction is not endorsement," and I don't see how anyone in their right mind would walk out of the film thinking that waterboarding looks fun.
When the Academy nominations for Best Director were released last week, I was dismayed by the glaring omissions of Paul Thomas Anderson and Kathryn Bigelow. They not only helmed two truly great films, but (in my opinion) the two best films of 2012. However, I didn't want to cry foul until I'd seen all the work of the nominated directors. I'd missed BEASTS OF THE SOUTHERN WILD while it was in theatres, but I had high hopes - as I would any film that would appear to use giant prehistoric boars to tackle issues like climate change.
New song today from Atoms for Peace, Thom Yorke's other band. I still have their last single in heavy rotation and am eagerly awaiting their AMOK album, which drops (as the kids say) in late February.
It seemed like a lot of people disowned Radiohead once they started going electronic, but I only ended up loving their music all the more. I've long been a huge fan of various types of electronica, and I was stoked (as the kids used to say) when Kid A kicked off with what sounded like Aphex Twin. The evolution of Radiohead's sound felt like it was mostly Yorke's influence, and now he's morphed his solo electronic efforts into this new band. It is worth noting, however, that Atoms for Peace boasts a talented line-up of musicians, including Flea, and relies heavily on real instruments. In concert, they do an absolutely jaw-dropping cover of "Love Will Tear Us Apart."

Only six more years 'til L.A. looks like this:
A year ago today, one of my favorite films of 2011 was released to a regrettably tepid response, perhaps because it was marketed as the "Feel Bad Movie of Xmas." Of course that selling point made me want to see it all the more. Anyone who knows me knows that I'm a huge fan of David Fincher, and I'd put his GIRL up there with FIGHT CLUB and SE7EN in terms of his best work. I admit I'm also a fan of the original Swedish version of the film and I resent remakes in general, but this isn't some hack's heartless cash-in on a popular title. Fincher's take on the novel is visually impeccable. Rooney Mara is stellar and magnetic. Daniel Craig is charismatic as ever, even as he plays somewhat against type. And the score by Trent Reznor and Atticus Ross is phenomenal (I'm still listening a year later).
If you're one of those heel-draggers who still haven't seen the film, I'd urge you to rectify the error of your ways by picking it up on Amazon or iTunes, or at least adding it to your Netflix queue. It might not be the brand of feel-good holiday classic you're comfortable with, but you can always save it for Valentine's Day. 
Shane Carruth, writer/director/star of PRIMER (a.k.a. one of the coolest science fiction films ever made), has finally and yet somehow secretly completed a new film - and here we have the first intriguing trailer:  
I just hope that little pig is going to be okay.
Trent Reznor clearly has good taste in directors, as evidenced by his collaborations with David Fincher. Further proof lies in this video for “Ice age,” the single off the newly released An omen_ EP by his and Atticus Ross’ other band, How to destroy angels_. Admittedly, this isn’t my favorite song off the EP and I prefer the remix by Soft Moon, but the video is quite atmospheric… as you would expect from John Hillcoat, director of THE PROPOSITION, THE ROAD and LAWLESS.
And if you like the remix, you should pick up the new Soft Moon album, Zeros, which was just released the day before Halloween. 
I admit that title is a bit harsh and misleading, but I couldn't resist. I actually quite enjoyed SKYFALL for the most part, though it wasn't what I was hoping for. I loved the old Bond films as a kid, but then grew to find them mostly silly as I got older. When CASINO ROYALE was released in 2006, I was thrilled to find that the Bond films had finally matured. The modern Bond portrayed by Daniel Craig was brooding and brutal. He didn't rely on improbable gadgets. He even bled.
This costume? Oh, just something I had laying around... in the basement, next to all the power tools and plastic sheeting.

So this is what Chris Cunningham has been up to - choreographing the kinetic dance of laser-wielding robot appendages
Cunningham, for those who don't know, is the visionary director behind the videos for Bjork's "All is Full of Love," Aphex Twin's "Come to Daddy" and "Windowlicker," and the spastic escapades of RUBBER JOHNNY, among others. There was a time when he was actively navigating the leap into feature films, most notably on adaptations of NEUROMANCER and RANXEROX, but those projects stalled for one reason or another. Having had my own struggles with the studio system, I can't say I'm altogether surprised. Hollywood likes to play it safe, whereas Cunningham plays by rules that he makes up as he goes along. I envy his ability to make a living doing just that, and I'll always look forward to seeing what he creates.
With ALL I THINK OF IS YOU finished and released into the wild, I'm moving forward on some new projects. I always consume as I create, and so I've decided to start a public mood board for my brain. I'll be dropping in now and then to share things that inspire me along the way - music, film, etc. Hell, if I get really into this blogging thing, I might even start loosing my opinions on the things I don't like as well.

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