JUNE EDITION of BUREAU of ARTS in CULTURE :
TAP HERE TO DOWNLOAD THE NEW 111 PAGE ELECTRONIC MONTHLY EDITION
We are very pleased to bring you a New Slate of Interviews featuring an intimate Audio Conversation with David Fahey of FAHEY/KLEIN Gallery Los Angeles. Our Guest Artist this Edition is TOM GREGG the Kansas City Painter is represented on both coasts by The GEORGE BILLIS Gallery. We are also welcoming DOWNTOWN RECORDS into The BUREAU this edition as Official Media Sponsors & showcasing music from the band, VACATIONER at The BUREAU of ARTS and CULTURE Site. From San Diego, we take you into FEEL IT Boutique and from Santa Barbara we visit with ADAMA VEGAN Cuisine for an In depth Audio Interview & The LOST HORIZON Book Store for a Casual Conversation regarding Book Collecting. Eric 'BIRD' Huffman shares his views on the importance of The Traditions of SURFING. The Artist Patrick LEE gives us a Gallery Tour of his recent Exhibit at Western Project. Cinematographer Jacek LASKUS talks shop with The Bureau about Film making & his newly published book. Ten Questions and a Photo Essay with East Coast Photographer Ms. Robin Holland. Comedienne Wendy McColm Graphic Designer Alex Tomlinson . Audio with Artist Mark Jenkins . An Essay by Maria Triliegi FICTION: They Call It The City of ANGELS . Gary CALAMAR . Author Michelle ARBEAU
We are very proud to introduce VACATIONER to The BUREAU of Arts and CULTURE Readership and Music fans. DOWNTOWN RECORDS is an outstanding label with a very wide variety of Music to purchase & enjoy. The band has been currently touring and we will be featuring their MUSIC at The BUREAU of Arts and Culture site as well as giving away Music promotional Compact Discs to readers throughout The Summer. Listen to tunes, check out the DOWNTOWN RECORDS website and order the new Album and CD's to be released on JUNE 23rd 2014. RELIEF is a very hip and upbeat selection of songs that are perfectly timed for a Summer release. Conscious Lyrics, Upbeat Vibes and a Steadfast Rhythm with Catchy Hooks and an Easy Tempo Nature that will definitely be breaking new ground with a growing fan base, surely to hit the National Radio Waves sooner than not. We featured Photographer Matt Schwartz of She Hit Pause Studio in the most recent edition of BUREAU Magazine & he turned us onto them:Thats his cover image . Look for an INTERVIEW with The band in JULY's Edition and be sure to check their tour schedule and future release dates by signing up for notices at Downtown Records. Tap The AD to Visit Downtown Records & Tap The Title Above to Hear The New Tune.
THE BUREAU MAGAZINE GUEST ARTIST JUNE 2014
by Joshua TRILIEGI
Tom Gregg's paintings have a vibrancy, a super saturated presence that are difficult not to look at. Although based in realism, Gregg has taken the realist school of painting and cranked it up a bit. Sort of power popped it. Size is not really the issue here: style, color, shadow and light are. He's a very conscious painter with a clear understanding of whats happening on the canvas. As articulate on the page as off the page. Here at the Bureau of Arts and Culture, we talk a lot about craft. Tom Gregg is a master craftsman. Extremely dedicated to the personification of the object. Be it the American flag, a bottle full of candy, a crumpled piece of fabric, a disney curio toy or his famous on - going hand grenade series.
American Realist painters through the years have often been attracted to the Americana of yesteryear and the new America of tomorrow, check out the works of Richard Estes and Ralph Goings. They took signage, chrome, cars, everyday commonplace objects and locales and hyper fascinated them into extremely lush and rich tapestries. Mr Gregg is doing just that, but within a kind of candy coated lens, he's taken the rose colored glasses and used them accordingly to look at objects that sometimes by their very nature carry a much more loaded symbology and made us simply look at how the color, light and vibrato relate to one another. The single object in a Tom Gregg painting becomes a sort of icon due to the amount of time, positioning, scale and fascination with tonal studies. More than one object becomes a strange interlude, an odd marriage, a pairing of the Sesame Street variety where the question was asked to the viewer, ' Which one of these objects doesn't belong ? ' But here, Mr Gregg does not differentiate that view. On the contrary, he makes them belong together and indeed, somehow they do. Through style, tone, association and placement his choices simply make us see the union and with his saturated palette, his uber craftsmanship, his outright exuberance that radiates from the actual object, we are mystified in some way.
Where Estes and Going awed us with the fact that we could hardly believe it was a painting, Gregg takes us into a whole other ephemeral and wacked out hyper color experience that we need to see. Once focused on it, we may find it difficult to turn away, a kind of seduction of the visceral variety. An optical dessert of sorts, one bite leads to another and suddenly, we have gobbled it up. Not exactly eye candy, due to the sense of style and commitment to a serious painting, but possibly a rare delicacy. Once you have spent time with a Tom Gregg painting, the world itself may seem a bit heightened in reality, the way the light hits a color, the very sense of how colors will relate to one another, he is transferring a special experience that stays with the observer long after the viewing. It is Art.
DOWNLOAD THE MAGAZINE TO READ THE ENTIRE INTERVIEW AND VIEW HIS PAINTINGS
DAVID FAHEY : The Fahey / Klein Art Gallery
By Joshua A. Triliegi
Spending time with a man like David Fahey is sort of difficult to describe. He's affable, funny, irreverent, but also knows exactly what he's doing and he's pretty damn aware of what you are doing too. Several days prior to our visit with David Fahey, a picture of Brad Pitt exiting the Fahey/Klein gallery was splayed across the internet. The image was taken by the current Hollywood paparazzi. It is safe to say that this image was not created by an artist and most likely will not be hanging in a gallery in twenty-five years. So what is it that makes some images art and others simply images ? Thats a rather difficult question to answer as, much of what we like as a society and as individuals, is subjective. One thing we learn rather quickly while spending time with Mr. Fahey is that the art of selling an image is equally as important as the art of creating one. Our ongoing series of Interviews with the owners, art dealers and curators attempts to lift the veil of mystery that shrouds much of what we call the art world. Were not giving away trade secrets or formulas, that would be sacrilegious. What we are doing is simply creating a common dialogue and taking you, the reader and now via the internet, the listener, into a world you may not likely access otherwise. So, lets step into the back office with Los Angeles' top Photographic Art Dealer.
" I Really Understood The Power Of The Image… "
- David Fahey
Entire David Fahey AUDIO Interview at http://BUREAUofARTsandCULTURE.com
INTERVIEW: GARY CALAMAR
KCRW 89.9 FM L A Disc Jockey and Music Supervisor for Television
Q:What led you to becoming a DJ ?
A: I've always been a big music fan and I love sharing music with people. I grew up in New York listening first to WABC AM Top 40 radio and later moved on to WNEW FM free form progressive radio. I loved listening to the dj's almost as music as the great music.
Q:You have always had a kind of kooky or somewhat comedic take on pop music, what drives you to select the tracks you do ?
A: Kooky … Kooky, how ? Do I amuse you ? Ha, that's my Joe Pesci impersonation. I don't know, I like to have some fun with the music every now and then. Putting certain sets together in interesting ways. I just do it for myself really. I 'm surprised that people catch some of the connections.
Q:Do you pick all your own tunes at this time ? Explain that process when designing a set of music ?
A: Yes, I pick all my own music...at the same time I definitely consider the KCRW audience that I'm playing to and not go all heavy metal or something like that. Only my fellow dj, Henry Rollins. can pull that off. I've been a music fan for a very long time. I've worked in record stores (check out my book Record Store Days), managed bands, and I've been to countless shows so I have a lot of music swimming in my brain to choose from.
Q:The days of the talking DJ have come and gone and returned again, how much of that comes into play for your style ?
A: I don't really think about it too much. I basically try and play great music and then tell the listeners what they have heard.
Q:Does being a DJ actually support your lifestyle and if not what else do you do ?
A: I work one day a week as a dj at KCRW so no, that is not my only means of support. I'm also a music supervisor (True Blood, Dexter, House, Weeds, Entourage, Six Feet Under...) which helps to pay the bills. I'm also a songwriter and will be releasing an album on Atlantic in the fall. I love the music business (for the most part) and happy to work in many different aspects of the business.
Q:If you were not a professional disc jockey, what would you be doing professionally ?
A: Presidential food taster.
Q:You have done extensive work in Film and Television. share with us that process,
for example how you fit a song to a cable series or movie and give us a detailed example.
A:It works in many different ways. Basically I collaborate with the producers of the show to get an overall feel of the type of music that would be appropriate for the production. Some shows like to be obvious with lyrics that comment on the scene and other shows are looking for a texture to help "color" a scene. ....
Who is your favorite disc jockey in history ?
I'm going to have to say Cousin Bruce Morrow. His style is completely different from mine but it sounds like he loves what he does and has a great relationship with his listeners, with Rock and Roll being the common language.
What acts did you personally discover and could you tells us any stories in relation to bands going out of their way to get you recordings ?
My favorite new discovery is an Australian singer-songwriter Courtney Barnett. Check her out. She is a brilliant lyricist and performer.I found the Sia song "Breathe Me" for Six Feet Under and she has been doing very nicely since. I have also put together some nice collaborations on new recordings for True Blood. I brought Nick Cave and Neko Case together for a cover of the Zombies song "She's Not There" Eric Burdon and Jenny Lewis for "Don't Let Me Be Misunderstood" and Iggy Pop and Bethany Cosentino for a song I co-wrote "Let's Boot and Rally". These have all been really fun experiences and turned out some great recordings.
Would you create a list of best songs for this Summer ?
Jonathan Richman "That Summer Feeling"
The Best Coast "The Only Place"
B52's "Deadbeat Club"
Beach Boys "Do It Again"
NRBQ "Ridin' In My Car"
X "4th of July"
The Last "Every Summer Day"
Katy Perry & Snoop Dogg"California Gurls"
Bruce Springsteen "Girls In Their Summer Clothes"
INTERVIEW: COMEDIENNE WENDY McCOLM
BUREAU: What is Funny ?
WM: Mannerisms. Characteristics that are true and almost too in depth to be acted accidentally.
Funny has always changed through the years. When I was a kid, it was about Richard Pryor.Real, real, real, old funny would be court jesters. But, if we go back as far as possible, say cave man funny, I sometimes wonder what that would have been like, any ideas ?
Looking at the sky was all the rage in side splitting comedy I’ve heard. In fact, if you look up when you’re bored I’m sure it still has the chops.
BUREAU: Your the future of funny. How far does a comedian have to go these days to keep an edge ?
WM: I am? Well, I would hope not too far. For me, I just do what I like. But if you want to know the actual distance I can’t tell you- I was never good at math.
BUREAU: Strangely enough, its sort of a hazardous occupation, next to drummers in rock bands, many comedians tend to leave early. Why do you think that is ?
WM: I think it is easy to give up. Every few months after the first few years I wonder if it’s worth still doing anything in this industry. I think that is common. But, unfortunately, I don’t think I could breathe right if it wasn’t creating in some way or another. We just need to find our reason why we do anything [inside or out of the industry] and it just might be enough to keep us at ease in those questioning times.
BUREAU: Your film directing IS very insightful, playful, even sort of sexy. Tell us about your process.
WM: Well, I don’t know. I have an idea while riding my bike, or looking at people from afar and then my mind usually goes into this unreal world where everything is extreme and magnified. Music helps me see the visuals, and then I just write. I will write several different projects at once- ideas, scenes. It’s a good way to practice and once in a while if I really love something I will produce it.
BUREAU: Your short film," Rendezvous and other stories " played at TRIBECA Film festival is a lot of fun, our favorite short so far. Its in French and seems to spot on capture the ' spirit of FRENCH girls' . Are you a francophile ? Tell us how this project evolved.
WM: I do like french films. This originally was supposed to be in New York with an actress from there, but it spiraled, chaos happened, the actress bailed and two days later I was told Jeanne was in.
Which, ended it being perfect and inspiring to me. Her previous depictions inspired me to write something daring for her, and myself. I don’t think I could have ever made a french film if this didn’t happen. I am very pleased with the serendipitous adventure, and the final product.
BUREAU: Share with us the difference between your acting at say, Upright Citizens Brigade and working on a larger project for someone else .
WM: At UCB, I did sketch, and I do characters there. They are big, and wild- unreal, even though I would love to experiment with adding more down to earth qualities to them. When people do that, it is so inspiring to me. With anything else, that varies as well, but I am in a feature premiering at Newport Film Fest this weekend, ‘Ever’, and in that it is small, contained, and on camera work. You work with a director, and with Josh Beck he let me add my opinions and we found things that brought a certain beauty to this character’s pain. All projects and people are different, but instead of wondering what that difference is, I would like to say the similarity is finding a way to work together, lose ego, and create the best art you can with others.
BUREAU: How much does one project inform another ?
WM: Sometimes so much I have to choose between them. That is in my writing. If I am stuck on something I will start something else, and eventually drop the other one all together because it ended up shaping the new story. When it comes to acting, I believe all projects inform the other- you can always learn one thing, good or bad, from everything.
BUREAU: Who is / are your favorite comedian(s) and why ?
WM: Woody Allen because he is a genius. Nichols and May, because they fascinate me.
BUREAU: Thank You. It's been fun talking to you, before we go, would you make a list of the Ten funniest things you've ever seen ?
WM:
1. Someone missing a chair, because it is pulled from underneath them.
2. Woody Allen’s interview from 1971 just after the world release of Bananas
3. People falling
4. Mannerisms
5. My mother cutting off a big rig then not saying anything afterwards.
6. Drunk man on the street saying to get more confidence “John, give me a gun and a forty.”
7. People taking themselves too seriously.
8. Probably anything while I was intoxicated.
9. People with passionate rage.
10. The sky
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BUREAU: PHOTOGRAPHY
INTERVIEW: ROBIN HOLLAND
Robin Holland has been documenting Artists, Actors, Writers and Directors as well as media related individuals for decades and somehow been able to discover and capture her own take on these very interesting individuals. Here is The unedited BUREAU Interview .
BUREAU:
Can you remember early on, the first time an image actually spoke to you in a personal way ?
Of course I grew up surrounded by images (but in comparison to today’s childhood, it was a visual void)--TV (Flintstones, Jetsons), movies (Disney, Hayley Mills), Look, Life (I remember a strange, very blue image of Nixon shopping for real estate, peering into a window of the guest house at San Clemente, and on the cover of that issue, a black and white group portrait of three men in sharp suits (whom years later, coming across the magazine in my parents’ basement, I was surprised to recognize as John Cassavetes, Peter Falk and Ben Gazarra). But the first visual images that I remember wowing me were the portraits of Simon and Garfunkel (on the cover of “Bookends”--but it would literally be a decade before I knew it was shot by Avedon and who he was), and the Beatles (+ everyone) for “Sgt. Pepper.” But studying/working with images, for me, first, it was words, reading: Nikos Kazantzakis, Ai (Florence Anthony), Richard Hugo, Wendell Berry, Elizabeth Bishop--I studied literature and creative writing in school; writing: my attempts at poetry in classes with Ai, Milton Kessler and John Vernon. Some of the most powerful images for me are still words--I just watched (staying up way too late) “True Detective” (great performances, gorgeously shot) and the Handsome Family’s song over the opening credits, “Far From Any Road” has a line, “and when I touched her skin my fingers ran with blood.” Beautiful, horrible, perfectly paired with the visual images in the credit sequence. I actually became a photographer by fortuitous accident, but that’s a separate story.
[ CONTINUED ]
DOWNLOAD THE ENTIRE INTERVIEW AT THE LINKS TO UPPER LEFT AND ON OUR WEBSITE
INTERVIEW : AUTHOR MICHELLE ARBEAU
BUREAU Editor Joshua Triliegi Interviews Michelle Arbeau on The Ancient Art of Numerology
JT: Numerology is a rather ancient and esoteric art, but anybody who has spent time with a good Numerologist and had a reading would be hard pressed to deny the accuracy. Would you explain the history of this particular science and explain what attracted you to it ?
MA: Numerology is the language of the universe. Everything in existence can be counted, sorted or measured using numbers. It was originally discovered by the Greek Mathematician and philosopher, Pythagoras who of course is famous for the Pythagorean Theorem. Unlike other esoteric arts like tarot and astrology, numerology is highly accurate because it's more quantum physics than metaphysics. Numbers are patterns and the world is made up of patterns. It's black and white, right or wrong. I fell in love with numbers and numerology about 12 years ago when I began dreaming in numbers out of the blue. I was a typical corporate stiff at the time, working unhappily in the field of banking for a major bank in Canada doing HR work (interviews/hiring). These dreams totally caught me off guard but in hindsight I realized numerology was my calling because I always had a photographic memory for numbers. My dreams would have numbers show up on things like doors, license plates and street signs – everywhere and on everything. The dreams lasted for about 3 weeks until I began to research the number codes and stumbled upon numerology. They number meanings were exact answers to the challenges I was facing in my life at the time. I was astounded and was immediately hooked on the ancient system. To this day (knock on wood) I have not had anyone not resonate with their numerical code. I often refer to our date of birth as spiritual DNA.
[ Continued in The Magazine / links at upper left ]
Deon Taylor Director of The New Crime Drama
playing at this years Los Angeles Film Festival
BUREAU: Although this is a wholly original production based on a true contemporary situation, did you look at crime dramas in your research within the genre ? William Wyler's The Desperate Hours with Humphrey Bogart comes to mind.
Deon Taylor: During the process of preparing for the production of "Supremacy" I worked very hard to stay away from films that lived in a world of containment or hostage situations. I wanted to test myself. I wanted to shoot from my heart and have no pre-game plan. I felt the story was so unique and had so many layers that, creatively, it needed me to be a blank
canvas. On another note, I love "The Desperate Hours." Classic!
" This film taught me to live in the moment and simply be true to the story. "
- Deon Taylor / Film Director
BUREAU: What particular challenges did you face in entirely switching modes here and
taking on high drama ?
Deon Taylor: There were always challenges on this film. Personally, the biggest challenge was staying true to the family. The film is based on a true story and I wanted to be sure to stay in tune with the tragic events that took place that night. This was a challenge simply because, as a creative filmmaker, you’re always looking to see how you can make something bigger and more effective. This film taught me to live in the moment and simply be true to the story.
BUREAU: Working with Danny Glover is a godsend for any director, once you knew he was on board, discuss with our readers how the rest of the film fell into place.
Deon Taylor: Danny Glover is a godsend! Danny was my first call after reading the screenplay. I don't really have the words to explain how I felt once he said “yes” to the project. Danny has always been one of my favorites and represents so much to me. When I think of his career and his body of work, it's beyond amazing. You're talking about one of the first, Black, action heroes that had success globally. From "Silverado" to the "Lethal Weapon" franchise to "The Color Purple," how do you top that? Without talent like Danny Glover and Sidney Poitier, there would be no lane for incredible talents like Jamie Foxx, Will Smith or Denzel Washington. So when I go back to the call and hear the words, "Yes, I'm doing your movie," words cannot explain how I felt. It was simply a blessing and I am so grateful for him and the opportunity he allowed me to have. It is very hard to believe that Danny Glover has not been nominated for an Academy Award over his 40-year-career. He is Academy-worthy in my book and I love him.
BUREAU: Eric J. Adams wrote the screenplay for this riveting drama, when did you first read the script and what made you decide to take this project on as a director ?
Deon Taylor: I first read the script two years ago and everything in my body said, "Go make this film." As a 100 percent independent filmmaker, the challenge then became, "How do I raise the money needed to make such an important film?" I felt strongly about this film as my entire family has had dealings with race-related issues. I truly believed through film I could shine a light on ignorance.
Deon Taylor: There were always challenges on this film. Personally, the biggest challenge was staying true to the family. The film is based on a true story and I wanted to be sure to stay in tune with the tragic events that took place that night. This was a challenge simply because, as a creative filmmaker, you’re always looking to see how you can make something bigger and more effective. This film taught me to live in the moment and simply be true to the story.
BUREAU: Working with Danny Glover is a godsend for any director, once you knew he was on board, discuss with our readers how the rest of the film fell into place.
Deon Taylor: Danny Glover is a godsend! Danny was my first call after reading the screenplay. I don't really have the words to explain how I felt once he said “yes” to the project. Danny has always been one of my favorites and represents so much to me. When I think of his career and his body of work, it's beyond amazing. You're talking about one of the first, Black, action heroes that had success globally. From "Silverado" to the "Lethal Weapon" franchise to "The Color Purple," how do you top that? Without talent like Danny Glover and Sidney Poitier, there would be no lane for incredible talents like Jamie Foxx, Will Smith or Denzel Washington. So when I go back to the call and hear the words, "Yes, I'm doing your movie," words cannot explain how I felt. It was simply a blessing and I am so grateful for him and the opportunity he allowed me to have. It is very hard to believe that Danny Glover has not been nominated for an Academy Award over his 40-year-career. He is Academy-worthy in my book and I love him.
BUREAU: Eric J. Adams wrote the screenplay for this riveting drama, when did you first read the script and what made you decide to take this project on as a director ?
Deon Taylor: I first read the script two years ago and everything in my body said, "Go make this film." As a 100 percent independent filmmaker, the challenge then became, "How do I raise the money needed to make such an important film?" I felt strongly about this film as my entire family has had dealings with race-related issues. I truly believed through film I could shine a light on ignorance.
BUREAU: Several dramatic scenes in the film depend highly on pitch perfect performance.
Sparse dialogue and situation force some of your actors to find a certain tone: Lela Rochon
rises to the challenge beautifully. Could you talk a bit about creating a
creative atmosphere on the set for your actors.
Deon Taylor: Lela Rochon is amazing! Her spirit is beautiful as well. When setting the stage for "Supremacy," I had to find the perfect locations in which the talent could immerse themselves. For high-energy characters like Lela, Joe and Dawn, I found myself talking to them constantly, building layers for their characters and creating backstories. This process was the key ingredient in grabbing these amazing performances.
BUREAU: In a film like this, the ending is all important, it's a bit of a nail biter. Since it is actually based on reality, what are the challenges of delivery a true story that thrills along the way ?
Deon Taylor: To this day, the ending of the film brings a tear to my eye. The speech, the energy, and the performances all mesh perfectly. I would love to take the credit but I give that to God, who allowed me to rewrite the end of the film on set with Danny, Joe and Eric. It was so cool! Going into the film, I knew I wanted the audience to go for a ride. I wanted to shoot this film in a way that would allow the audience to feel trapped and, at times, hot and confused, which is what the family felt. This was challenging at times due to the fact that I was shooting on 16 mm film, and we had no money. I simply had to truly do my homework and understand that I had no extra days or pick up days. What I shot is what I would have in editing. This makes you a bit more aggressive and it truly makes you work harder.
BUREAU: There is a real minimalist approach to background of characters due to the storyline. What challenges do you face when creating a cohesive world under theses conditions ?
Deon Taylor: The challenge is constant! The race overtones, the violence, the drama, the family being at odds the whole film - you find yourself emerged in this crazy world as a filmmaker. You take it home each and every night. You're dirty in a sense. That was how I felt. It was almost like a game. You're sweating, you're focused and you do not want to lose. So, the challenge simply becomes, "How do you get performances to be top of the line?" With the cast I had that was not hard! I love them all.
creative atmosphere on the set for your actors.
Deon Taylor: Lela Rochon is amazing! Her spirit is beautiful as well. When setting the stage for "Supremacy," I had to find the perfect locations in which the talent could immerse themselves. For high-energy characters like Lela, Joe and Dawn, I found myself talking to them constantly, building layers for their characters and creating backstories. This process was the key ingredient in grabbing these amazing performances.
BUREAU: In a film like this, the ending is all important, it's a bit of a nail biter. Since it is actually based on reality, what are the challenges of delivery a true story that thrills along the way ?
Deon Taylor: To this day, the ending of the film brings a tear to my eye. The speech, the energy, and the performances all mesh perfectly. I would love to take the credit but I give that to God, who allowed me to rewrite the end of the film on set with Danny, Joe and Eric. It was so cool! Going into the film, I knew I wanted the audience to go for a ride. I wanted to shoot this film in a way that would allow the audience to feel trapped and, at times, hot and confused, which is what the family felt. This was challenging at times due to the fact that I was shooting on 16 mm film, and we had no money. I simply had to truly do my homework and understand that I had no extra days or pick up days. What I shot is what I would have in editing. This makes you a bit more aggressive and it truly makes you work harder.
BUREAU: There is a real minimalist approach to background of characters due to the storyline. What challenges do you face when creating a cohesive world under theses conditions ?
Deon Taylor: The challenge is constant! The race overtones, the violence, the drama, the family being at odds the whole film - you find yourself emerged in this crazy world as a filmmaker. You take it home each and every night. You're dirty in a sense. That was how I felt. It was almost like a game. You're sweating, you're focused and you do not want to lose. So, the challenge simply becomes, "How do you get performances to be top of the line?" With the cast I had that was not hard! I love them all.
BUREAU: Joe Anderson puts in a fierce performance that is both extreme and
magnetic. Would you describe the process from casting to final performance.
Deon Taylor: Joe Anderson is a star! From the moment Joe walked into the room for casting, I knew he had it. The challenge became how intense we wanted Tully to become. I tease Joe a lot because he knows how big a fan I am of his work. When I think of all the amazing talent in Hollywood like Bradley Cooper and Tom Hardy, I list Joe right up there. I've never seen anyone more committed than him. He pushes himself into an angry state to deliver. There were times that Joe and I would have a crazy argument over a scene and within a hour we would have nailed and then laugh about it.
BUREAU: Your film utilizes the psychological flashback as a sort of tension builder. How much leverage do you give your editor Richard B. Molina and describe a sequence
where he helped you to unify the project.
Deon Taylor: The process as a filmmaker is always difficult. When you are doing a project like "Supremacy," the relationship between editor and director has to be absolutely incredible. While in the cutting room with editor Richard Molina, we spent hours and hours collaborating on scenes and moments. We became best friends in a sense through the process. One scene that comes to mind when I think about Rich is the second flashback in the film. There is a scene where Tully and Doreen pull over and she goes to please him. The scene is very graphic and super intense. I originally removed it from the film. Even though I loved it, we pulled it because of time issues. Rich worked his ass off and trimmed multiple scenes in the film in order to allow that scene to make the cut. I love him. He is so great. It's funny because when I watch the new "300: Rise of an Empire," I can tell you what scenes Rich had his hands on. He is a genius.
BUREAU: Give our readers an example of how an actor influenced the shooting of a particular sequence and shaped the film in a way you might have done differently without their particular contribution.
Deon Taylor: While shooting the end of the film, we were set to shoot the final moment between Tully and Mr. Walker (Danny Glover). As we were reading the lines I could just feel the energy was a bit off between Danny and Joe. I yelled cut. I walked Danny to the side and he simply said, "We need more here." He was right. At that moment I stopped production, rewrote the entire last scene of the film and then shot it. To this day, that is my favorite moment in "Supremacy."
Trailer: https://www.youtube.com/watch?v=tp3gl4PLH9A
LAFF Screening Link: http://filmguide.lafilmfest.com/tixSYS/2014/xslguide/eventnote? EventNumber=6079&
SCREENING SCHEDULE:Thu Jun 12th 9:45pmRegal Cinema L.A. Live - Theater 8
Deon Taylor: Joe Anderson is a star! From the moment Joe walked into the room for casting, I knew he had it. The challenge became how intense we wanted Tully to become. I tease Joe a lot because he knows how big a fan I am of his work. When I think of all the amazing talent in Hollywood like Bradley Cooper and Tom Hardy, I list Joe right up there. I've never seen anyone more committed than him. He pushes himself into an angry state to deliver. There were times that Joe and I would have a crazy argument over a scene and within a hour we would have nailed and then laugh about it.
BUREAU: Your film utilizes the psychological flashback as a sort of tension builder. How much leverage do you give your editor Richard B. Molina and describe a sequence
where he helped you to unify the project.
Deon Taylor: The process as a filmmaker is always difficult. When you are doing a project like "Supremacy," the relationship between editor and director has to be absolutely incredible. While in the cutting room with editor Richard Molina, we spent hours and hours collaborating on scenes and moments. We became best friends in a sense through the process. One scene that comes to mind when I think about Rich is the second flashback in the film. There is a scene where Tully and Doreen pull over and she goes to please him. The scene is very graphic and super intense. I originally removed it from the film. Even though I loved it, we pulled it because of time issues. Rich worked his ass off and trimmed multiple scenes in the film in order to allow that scene to make the cut. I love him. He is so great. It's funny because when I watch the new "300: Rise of an Empire," I can tell you what scenes Rich had his hands on. He is a genius.
BUREAU: Give our readers an example of how an actor influenced the shooting of a particular sequence and shaped the film in a way you might have done differently without their particular contribution.
Deon Taylor: While shooting the end of the film, we were set to shoot the final moment between Tully and Mr. Walker (Danny Glover). As we were reading the lines I could just feel the energy was a bit off between Danny and Joe. I yelled cut. I walked Danny to the side and he simply said, "We need more here." He was right. At that moment I stopped production, rewrote the entire last scene of the film and then shot it. To this day, that is my favorite moment in "Supremacy."
Trailer: https://www.youtube.com/watch?v=tp3gl4PLH9A
LAFF Screening Link: http://filmguide.lafilmfest.com/tixSYS/2014/xslguide/eventnote? EventNumber=6079&
SCREENING SCHEDULE:Thu Jun 12th 9:45pmRegal Cinema L.A. Live - Theater 8
EDITOR: http://joshuatriliegi.wix.com/joshuatriliegi
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