Actor Andrew Perez played Klaus Kinski both in film and live performance during the Ashland Independent Film Festival. Klaus Kinski was an explosive, eccentric German actor, who was directed by Werner Herzog in a number of films including: “Fitzcarraldo,” “Nosferatu the Vampyre,” and “Aguirre, the Wrath of God.”
The film “My Dinner with Werner” is an uproarious spoof, directed by Maverick Moore, portraying a murderous battle between, Klaus Kinski and Werner Herzog. Perez’s one-man theatrical performance, “The Second Coming of Klaus Kinski” is a thrilling tour-de-force, written by Perez, and impeccably directed by Eric G. Johnson.
I met with Perez and Johnson at the Schneider Museum of Art where we viewed the Apocalypse exhibit.
EH: How did you construct “The Second Coming of Klaus Kinski?”
AP: The logic of it is that he is dying. It is a platform for his redemption, where his soul is doing battle in his moment of passing. It’s like a dream. His demons start ambushing him, and he’s defending his life, which leads him into the past. Continue reading Transitioning between film and stage
EH: Are your films thematically linked?
GL: I think they all are. There’s definitely a main character that is unhappy, not being fulfilled by life.
AL: I think there is a lot of grace and love for all of these characters. They have passion and are wanting more.
GL: Wanting more out of life or wanting certain doors to open that are not opening. I think “Phoenix Oregon” is the same kind of story. A midlife crisis: two guys feel the clock ticking. They are not living the life they want, so they have to do whatever they can to change it, and take those risks.
Continue reading Characters who want more out of life
Ashland Independent Film Festival Artistic and Executive Director Richard Herskowitz has put together a stunning festival, bringing in numerous films, filmmakers, panel discussions, interviews, live performances, gallery exhibitions and interactive events for a four-day run that concludes this evening, April 16. We visited at Bloomsbury Coffee House to discuss his vision of independent filmmaking and festivals.
RH: A film festival is inevitably a potpourri of things. It’s got to reach a lot of different tastes and audiences. I create a kind of a meta film out of a lot of different movies by creating themes and connections between them. At the same time there is scholarship and education involved.
One of the major themes of the festival this year is the importance of classic film — preservation and exhibition. Without the knowledge of classic film, emerging filmmakers lack a foundation. Being exposed to films done in the past makes you realize that there are alternative ways of doing things than films done in the present. I’ve seen filmmakers, inspired by classic films, do things in a different way. The way we do things now has evolved and will transform again in the future.
EH: What separates a good film from a great film?
RH: I don’t make those judgments. My inclination is to see films historically. Films speak to particular moments. I resist objectifying a work of art. I think works of art are historically based. I do believe there are masterpieces. Continue reading Festivals celebrate collective film watching experience
Composer Joby Talbot will be performing his original score for the silent film “The Dying Swan” Saturday, April 14, at the Music Recital Hall at Southern Oregon University as part of the Ashland Independent Film Festival.
Coincidentally, the Royal Ballet’s “The Winter’s Tale” (composed by Talbot) is being shown during the London Live series at the Varsity Theatre in Ashland April 8 and 9.
Talbot’s résumé includes contemporary classical pieces and film and television scores. He composed motion picture scores for “The Hitchhiker’s Guide to the Galaxy” and for the animated film “Sing.” As an arranger, he has worked with numerous contemporary musicians, including Paul McCartney and Tom Jones.
EH: Some of your scores are enormously complicated. How do you get started?
JT: It’s like building a building. You have to have a strong structural architecture. I start with the raw building blocks of pitches and rhythm. When I’ve got the whole piece done like that, then I can stworrying about who plays what, and how they all combine. Continue reading ‘There are only two genres of music in the world’