Allen Ginsberg's poem "Howl" and the obscenity trial that surrounded it helped shape America's attitudes toward censorship. Directors Rob Epstein and Jeffrey Friedman's latest film, "Howl," draws upon records of these court proceedings, interviews and scholarly research to produce a dramatized retelling of the story in a compelling biopic of Ginsberg.
Amid the current vampire craze, it is becoming increasingly difficult for a creative piece to differentiate itself from the masses. Yet "The Vampire Diaries" achieves just that. Falling somewhere between the Mormonism of "Twilight" and the vampire porn of "True Blood," "Diaries" consists of an hour of teen angst fused with supernatural fantasy.
The Daily sat down last week with acclaimed director−writers Rob Epstein and Jeffrey Friedman in a round−table interview to discuss their much−anticipated Allen Ginsberg experimental biopic, "Howl," in theaters today. Epstein and Friedman have their roots in documentary filmmaking and are renowned for award−winning films such as "The Times of Harvey Milk" (1984), "Common Threads: Stories from the Quilt" (1989) and "The Celluloid Closet" (1995). Question: One of the striking things about the film for me was the visual style: how it was black and white and in color, how the story was structured, the courtroom drama and then with [Ginsberg] reading the poem. So I was wondering, [at] what part of the … creative process did you come up with that distinct style? Rob Epstein: Well we knew at the beginning that we wanted to do something that would be challenging, adventurous in a way that would resonate with the way the poem was challenging and adventurous when it came out. We started from that point and then we just started looking at the poem from different angles and finding different ways of telling the story, or stories. We wanted to understand what went into making the poem and the creative process and what Allen had to go through as a person to get to the point so he could write the poem. We wanted the poem to live on its own in the movie, both as imagination, which we did in the animation, and as performance, which was how it was first presented to the world as the first spoken−word performance art. And how the world responded to it and the world that it was put out into, which is what we used the obscenity trial for. Jeffrey Friedman: To add to that a little bit, we knew we wanted the film to play in the present tense rather than to do a historical documentary as if we are starting for the point of older people looking back on their younger selves. The film takes place in 1957 and then it flashes back to the early '50s and late '40s, so the flashbacks are in black and white and the present tense is in color. Metaphorically, the way that is supposed to work is the world transitions from black and white to color when [the poem] "Howl" is launched into the world and Allen finds his creative voice. So that's kind of the deconstruction of those choices. Q: When did you decide that you wanted to make a film about "Howl," and what persuaded you to go with this route rather than traditional straight documentary? RE: Well, the project came to us from Allen Ginsberg's estate. They wanted to do something for the 50th anniversary of the poem. And we didn't quite realize that date … or quite feel the pressure of realizing that date. … That date was kind of arbitrary to us and to them until we had a concept that felt like it was complementary to what the poem was in its day. To come up with a concept that was different and unique from a standard, traditional documentary. And again, if we had done a documentary, first of all, there's no material from that period that we're depicting, so we would have had to create it anyway. We also felt like you all [college students] wouldn't relate to it in the same way than if you were to see it as a narrative film. In fact, early on we showed some ideas to students and it was in talking with them that we came to see that we had to find another way to tell the story instead of documentary. And that was a challenge we set for ourselves. JF: It's a story about young people. They're like college−age guys who were creating this new style of writing and ended up really having an effect on the culture. But it's very much an expression of youthful creative rebellion that we wanted to capture. Q: What was the thought process behind the animation sequences? I did read that it was the same illustrator who had illustrated [Ginsberg's] poems, but what made you decide to include them in that way? RE: Well the poem exists in so many different ways in the movie — it's performative in the Six Gallery, with James Franco as Ginsberg performing the poem, so you have an opportunity to experience it as spoken word. It exists as analysis in the trial when it is being presented and deconstructed as evidence. And we wanted it to live as an experience as well. So the animation to us seemed like a way to create a cinematic experience that you wouldn't have in any other form. So, why not? And it just seemed like we thought of animated films like "Fantasia" (1940) and Pink Floyd's "The Wall" (1979) where it just takes you into a very trippy experience of somebody else's mind creation. So we set it up that it's emanating from Allen — Allen's the source — but you come into another experience from it. JF: And we tried to make it elusive and not literal so that the audience can have their own experience of the words as they're watching the images. But you know, it is a specific vision, and we thought of it as an adaptation in the way you adapt a novel. You have to make some character concrete, you have to make things concrete, things that people have their own idea about. Q: My favorite parts of the movie were the flashback scenes, especially where [Ginsberg] first met Jack, and I think you were really on point with the awkwardness of our age. So thank you for that. RE: Thank you. It's not that easy to make James Franco seem awkward. JF: In that first scene, we had to tell him not to kiss so good. He said, "Oh, too good, huh?" We told him to turn it down: "You're not comfortable kissing that girl!" RE: We had to trick him in the one scene. All the flashback scenes were improv. When [he] and Jack are on the park bench, where he's reading his poetry and Jack thinks it's garbage, we told him, "Oh, we'll never use this footage." Q: Do you guys have a favorite moment in the movie? RE: Well, there was a moment when we were filming when we knew it was a moment. And it was when James was performing the poem and does the live section about Carl Solomon and just works up to a crescendo. And we could just see in that performance, all the backstory, all of Allen's backstory was there in that moment. That's what you live for in any movie — you're looking for those moments when it's happening right then and you're catching it on film. You really got it.
Humor and rock ‘n' roll can make for a very potent combination: When properly done, the artist is distinguished from his peers, celebrated for both wit and musical proficiency. From Frank Zappa to Flight of the Conchords, "Weird Al" Yankovic to Ween, comedy rockers not only provide a musical gateway for fans of funny, but also bring a little levity to a genre prone to taking itself too seriously.
Trainwreck has earned its following the old-fashioned way — with constant touring, impressive chops and a dedication to the fans. In fact, the band has already played over 40 shows this year, with a few more remaining on its schedule. Fronted by Kyle Gass and Jason Reed, Trainwreck's brand of "wreck and roll" combines a distillation of southern-influenced styles with campy humor and stage banter to create a unique live experience. The band's full-length debut album, "The Wreckoning," was released last December. Daily Staff Writer Ryan Zuckman caught up with Gass to talk about his experience thus far.
Elizabeth Olsen recently announced that she is going to star in an upcoming indie film. Did you know Mary-Kate and Ashley have a little sister? Neither did we. Here are some other siblings you may be surprised to learn exist.
Somewhere along the line, we were fooled by the fashion industry. I'm not sure when this occurred — perhaps around the time everyone was sporting Queen Elizabeth I's receding hairline — but regardless, we were made to believe that being fashionable was the same as being attractive.
Chromeo lives in a smooth world where lovers are wooed in falsettos, synths drip sex, and bass lines walk real smooth and slow. "Business Casual," the group's third LP, extends an invitation to Chromeo's sultry world and suggests that listeners dress down.
The Museum of Fine Arts, Boston (MFA) will host its annual College Night tomorrow, featuring musicians, a DJ, activities and a surprise guest artist.
The centennial of the Mexican Revolution this year sparked a reexamination of Americans' relationship with Mexico. Immigration reform also fills the media, as fierce debates wage in light of the upcoming elections. Our southern neighbor is a controversial topic for many Americans, but artist Laurence Salzmann introduces a different point of view in his exhibit "Echele Ganas (Do Your Best): A Life Left Behind," a sister exhibit to "Mexico: Beyond Its Revolution," now at the Tufts University Art Gallery.
Few things frighten me more than popular radio stations. The current probability of catching a Michael Bublé song at any time of the day is far too high for me to feel safe. "Haven't Met You Yet" haunted me all summer at my receptionist position, along with a whole host of other soft−rock songs created to accompany mothers on their daily drive to the health club.
Weezer is back. After a slew of disappointing albums, "Hurley" comes as the band's long−awaited return to form. Catchy, high−energy songs populate the record from start to finish and evoke the fun, geeky albums that launched Weezer on its path to fame in the '90s.
Love, lust, scandal and, of course, a weekly dose of gossip are usually provided by the racy The CW series "Gossip Girl." The season three finale's dramatic shooting of a major character and departure of two others on a Parisian romp left fans wanting more, and the premiere of season four seemed like it would be a sure−fire hit. But despite the much−anticipated return of the hit series, the season opener of "Gossip Girl" fails to live up to its reputation. The character development is over−simplified, and the Parisian setting of Serena van der Woodsen's (Blake Lively) and Blair Waldorf's (Leighton Meister) adventure overwhelms any potentially juicy storylines.
The Washington, D.C.−based indie−pop trio Jukebox the Ghost recently released their sophomore effort, "Everything Under the Sun." Coming off of 2008's acclaimed "Let Live and Let Ghosts," fans eagerly anticipated a fresh set of songs, replete with the same bouncy, retro vibe of their debut.
Everyone has had the experience of becoming acquainted with another person on Facebook, from creepy strangers expanding their friend lists to the more common introduction made by a mutual friend.
This fall's television lineup feels overwhelmingly recycled.
Less than a year after their previous offering, Eels return with "Tomorrow Morning" (2010), the final piece in a trilogy of concept albums. Their most recent effort is the musical sequel to "End Times" (2010), the dark middle chapter in the trilogy that began with "Hombre Lobo" in 2009. The latest album by this alternative band has a far brighter and more positive theme, but while it is occasionally rewarding, the album as a whole is actually the weakest of the bunch. New arrangements and a broader use of electronic instruments do little to liven up an album that, despite the presence of a few great moments, tends to lag.
