list http://www.spout.com/ Recent community activity around Beautiful Losers on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Beautiful_Losers/365068/default.aspx Title: Beautiful Losers
Year: 2008
Director: Aaron Rose
Plot: Filmmaker Aaron Rose celebrates the independent spirit of D.I.Y. (do-it-yourself) culture in this documentary detailing how a group of like-minded American artists emerged from the underground in the early 1990s to have an enormous impact on the worlds of fashion, film, art, music, and pop culture in general. With virtually no connection to the mainstream art world, the ten artists featured in Beautiful Losers somehow managed to become the strongest creative voices of their generation. ~ Jason Buchanan, All Movie Guide
Times Tagged: 14
Number of Lists: 4
Number of blog posts: 12
]]>Fri, 09 Jan 2009 14:00:40 GMTBeautiful Losers2008Aaron RoseFilmmaker Aaron Rose celebrates the independent spirit of D.I.Y. (do-it-yourself) culture in this documentary detailing how a group of like-minded American artists emerged from the underground in the early 1990s to have an enormous impact on the worlds of fashion, film, art, music, and pop culture in general. With virtually no connection to the mainstream art world, the ten artists featured in Beautiful Losers somehow managed to become the strongest creative voices of their generation. ~ Jason Buchanan, All Movie Guide14Tag Target (>10)412http://www.spout.com/ProductImages/s365068.jpghttp://www.spout.com/films/Beautiful_Losers/365068/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/9/39298.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/9/2009 9:00:40 AM
Body: A remark made in Aaron Rose’s art-nerd documentary Beautiful Losers, about humor acting as a sledge hammer, got us thinking about the power of both the comic and the tragic. Not long ago, Karina reviewed a little known documentary called Dear Zachary: A letter to a son about his father. Then the film was played on MSNBC, and her analytical criticisms of the film set off a firestorm of angry comments. We chat about tragedy, context, and the dangers of critiquing non-fiction films as works of art. Another type of movie that often avoids critical attention is comedy. A new PBS mini-series seeks to correct this. Make ‘Em Laugh explores the evolution of American comedy, revealing its power as a cultural force. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro, Che giveaway 4:45 - Listener e-mail 9:40 - The Dear Zachary dust-up 19:31 - Make ‘Em Laugh filmcouch-103 Originally posted on:SpoutBlog
]]>Fri, 09 Jan 2009 14:00:40 GMTSpoutBlogSpoutBlog on spout.com1/9/2009 9:00:40 AM A remark made in Aaron Rose’s art-nerd documentary Beautiful Losers, about humor acting as a sledge hammer, got us thinking about the power of both the comic and the tragic. Not long ago, Karina reviewed a little known documentary called Dear Zachary: A letter to a son about his father. Then the film was played on MSNBC, and her analytical criticisms of the film set off a firestorm of angry comments. We chat about tragedy, context, and the dangers of critiquing non-fiction films as works of art. Another type of movie that often avoids critical attention is comedy. A new PBS mini-series seeks to correct this. Make ‘Em Laugh explores the evolution of American comedy, revealing its power as a cultural force. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro, Che giveaway 4:45 - Listener e-mail 9:40 - The Dear Zachary dust-up 19:31 - Make ‘Em Laugh filmcouch-103 Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/28/34507.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/28/2008 4:00:43 PM
Body: Ben Affleck. Photo by Karina Longworth. The film related-events surrounding the 2008 Democratic Convention reached their zenith on Wednesday with a pair of sessions devoted to The People Speak, Project Greenlight/Good Will Hunting producer Chris Moore’s theatrical documentary inspired by the writings of Howard Zinn, which has its official premiere next week at the Toronto International Film Festival. The afternoon began with a panel on progressive media, featuring Moore, actor Josh Brolin (who commented extensively on his recent experience playing George W. Bush for filmmaker Oliver Stone), artist Shepherd Fairey (the man responsible for that screenprinted Barack Obama “Hope” poster, as well as a subject of the doc Beautiful Losers) and former Clinton operative Mike Lux. Then, after a brief intermission, Brolin and Moore were joined by a host of boldfaced names, including Ben Affleck, Rosario Dawson, Taye Diggs and Kerry Washington, for a live presentation of the historical readings that make up the bulk of the film. Moore began both sessions by showing a trailer for his doc, which is essentially a concert film comprised of footage captured at events where Moore’s celebrity friends dramatically read the words of historical thinkers, .rebels and rabblerousers, from from Frederick Douglas to Emma Goldman to Muhammed Ali. The trailer features money shots from these readings cut up with illustrations and archival photos and footage (Fairey, who showed up in a Sex Pistols shirt, namedropped Heidegger and casually slipped a Public Image Limited lyric into the discourse, says he’s working on “graphic treatments, illustrations that will basically come to life in the film.”) Some of said money shots are, well, priceless. Marisa Tomei throws her voice up to My Cousin Vinny register to take on the role of Cindy Sheehan; Hill Harper gives the poetry reading to treatment to the lyrics to Public Enemy’s “Fight the Power”; John Legend is surprisingly credible as Muhammed Ali. It all has a variety show feel, and with Zinn seemingly functioning like as the elder-statesman master of ceremonies, it almost plays like a Prairie Home Companion for a new generation of old-school-style, aggro lefties. On the panel, Lux expressed concern that today’s Democrats are––at the risk of putting too fine a point on it––lacking in balls in comparison to previous generations of leftists. “Caution kills,” he warned. “Caution kills anything significant or historic.” An hour later, Moore took the stage to inform the crowd that the live performances were getting off to a late start because 6,000 Iraq veterans were outside protesting the war, causing a security lock-down around the perimeter of the Convention that even movie stars couldn’t get through. Though Moore apologized for the fact that some of the expected performers would be tardy or absent altogether (Affleck snuck in as Brolin was taking the stage for the first reading), of the protesters, Moore said, “I’m very happy for them.” Maybe fittingly considering the climate just outside the room, the most explosive performance of the afternoon involved an outpouring of anger over this war and the way it’s been fought. Kerry Washington’s rendition of the Cindy Sheehan speech read by Tomei in the film brought reluctant but undeniable tears to this dispassionate reporter’s eyes. The black, 30-something Washington absolutely disappeared into the character of Sheehan, the white, middle-aged, slightly batty mom who became an early icon of the modern day anti-war movement when her son’s death prompted her to camp out outside George W. Bush’s vacation ranch. If Washington’s performance yesterday is any indication of the sheer commitment of these actors to bringing the radical voices of the past and present to vibrant life, then The People Speak is going to be one hell of an experience. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 28 Aug 2008 20:00:43 GMTKarinaKarina on SpoutBlog8/28/2008 4:00:43 PM Ben Affleck. Photo by Karina Longworth. The film related-events surrounding the 2008 Democratic Convention reached their zenith on Wednesday with a pair of sessions devoted to The People Speak, Project Greenlight/Good Will Hunting producer Chris Moore’s theatrical documentary inspired by the writings of Howard Zinn, which has its official premiere next week at the Toronto International Film Festival. The afternoon began with a panel on progressive media, featuring Moore, actor Josh Brolin (who commented extensively on his recent experience playing George W. Bush for filmmaker Oliver Stone), artist Shepherd Fairey (the man responsible for that screenprinted Barack Obama “Hope” poster, as well as a subject of the doc Beautiful Losers) and former Clinton operative Mike Lux. Then, after a brief intermission, Brolin and Moore were joined by a host of boldfaced names, including Ben Affleck, Rosario Dawson, Taye Diggs and Kerry Washington, for a live presentation of the historical readings that make up the bulk of the film. Moore began both sessions by showing a trailer for his doc, which is essentially a concert film comprised of footage captured at events where Moore’s celebrity friends dramatically read the words of historical thinkers, .rebels and rabblerousers, from from Frederick Douglas to Emma Goldman to Muhammed Ali. The trailer features money shots from these readings cut up with illustrations and archival photos and footage (Fairey, who showed up in a Sex Pistols shirt, namedropped Heidegger and casually slipped a Public Image Limited lyric into the discourse, says he’s working on “graphic treatments, illustrations that will basically come to life in the film.”) Some of said money shots are, well, priceless. Marisa Tomei throws her voice up to My Cousin Vinny register to take on the role of Cindy Sheehan; Hill Harper gives the poetry reading to treatment to the lyrics to Public Enemy’s “Fight the Power”; John Legend is surprisingly credible as Muhammed Ali. It all has a variety show feel, and with Zinn seemingly functioning like as the elder-statesman master of ceremonies, it almost plays like a Prairie Home Companion for a new generation of old-school-style, aggro lefties. On the panel, Lux expressed concern that today’s Democrats are––at the risk of putting too fine a point on it––lacking in balls in comparison to previous generations of leftists. “Caution kills,” he warned. “Caution kills anything significant or historic.” An hour later, Moore took the stage to inform the crowd that the live performances were getting off to a late start because 6,000 Iraq veterans were outside protesting the war, causing a security lock-down around the perimeter of the Convention that even movie stars couldn’t get through. Though Moore apologized for the fact that some of the expected performers would be tardy or absent altogether (Affleck snuck in as Brolin was taking the stage for the first reading), of the protesters, Moore said, “I’m very happy for them.” Maybe fittingly considering the climate just outside the room, the most explosive performance of the afternoon involved an outpouring of anger over this war and the way it’s been fought. Kerry Washington’s rendition of the Cindy Sheehan speech read by Tomei in the film brought reluctant but undeniable tears to this dispassionate reporter’s eyes. The black, 30-something Washington absolutely disappeared into the character of Sheehan, the white, middle-aged, slightly batty mom who became an early icon of the modern day anti-war movement when her son’s death prompted her to camp out outside George W. Bush’s vacation ranch. If Washington’s performance yesterday is any indication of the sheer commitment of these actors to bringing the radical voices of the past and present to vibrant life, then The People Speak is going to be one hell of an experience. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/28/34505.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/28/2008 4:00:32 PM
Body: Ben Affleck. Photo by Karina Longworth. The film related-events surrounding the 2008 Democratic Convention reached their zenith on Wednesday with a pair of sessions devoted to The People Speak, Project Greenlight/Good Will Hunting producer Chris Moore’s theatrical documentary inspired by the writings of Howard Zinn, which has its official premiere next week at the Toronto International Film Festival. The afternoon began with a panel on progressive media, featuring Moore, actor Josh Brolin (who commented extensively on his recent experience playing George W. Bush for filmmaker Oliver Stone), artist Shepherd Fairey (the man responsible for that screenprinted Barack Obama “Hope” poster, as well as a subject of the doc Beautiful Losers) and former Clinton operative Mike Lux. Then, after a brief intermission, Brolin and Moore were joined by a host of boldfaced names, including Ben Affleck, Rosario Dawson, Taye Diggs and Kerry Washington, for a live presentation of the historical readings that make up the bulk of the film. Moore began both sessions by showing a trailer for his doc, which is essentially a concert film comprised of footage captured at events where Moore’s celebrity friends dramatically read the words of historical thinkers, .rebels and rabblerousers, from from Frederick Douglas to Emma Goldman to Muhammed Ali. The trailer features money shots from these readings cut up with illustrations and archival photos and footage (Fairey, who showed up in a Sex Pistols shirt, namedropped Heidegger and casually slipped a Public Image Limited lyric into the discourse, says he’s working on “graphic treatments, illustrations that will basically come to life in the film.”) Some of said money shots are, well, priceless. Marisa Tomei throws her voice up to My Cousin Vinny register to take on the role of Cindy Sheehan; Hill Harper gives the poetry reading to treatment to the lyrics to Public Enemy’s “Fight the Power”; John Legend is surprisingly credible as Muhammed Ali. It all has a variety show feel, and with Zinn seemingly functioning like as the elder-statesman master of ceremonies, it almost plays like a Prairie Home Companion for a new generation of old-school-style, aggro lefties. On the panel, Lux expressed concern that today’s Democrats are––at the risk of putting too fine a point on it––lacking in balls in comparison to previous generations of leftists. “Caution kills,” he warned. “Caution kills anything significant or historic.” An hour later, Moore took the stage to inform the crowd that the live performances were getting off to a late start because 6,000 Iraq veterans were outside protesting the war, causing a security lock-down around the perimeter of the Convention that even movie stars couldn’t get through. Though Moore apologized for the fact that some of the expected performers would be tardy or absent altogether (Affleck snuck in as Brolin was taking the stage for the first reading), of the protesters, Moore said, “I’m very happy for them.” Maybe fittingly considering the climate just outside the room, the most explosive performance of the afternoon involved an outpouring of anger over this war and the way it’s been fought. Kerry Washington’s rendition of the Cindy Sheehan speech read by Tomei in the film brought reluctant but undeniable tears to this dispassionate reporter’s eyes. The black, 30-something Washington absolutely disappeared into the character of Sheehan, the white, middle-aged, slightly batty mom who became an early icon of the modern day anti-war movement when her son’s death prompted her to camp out outside George W. Bush’s vacation ranch. If Washington’s performance yesterday is any indication of the sheer commitment of these actors to bringing the radical voices of the past and present to vibrant life, then The People Speak is going to be one hell of an experience. Originally posted on:SpoutBlog
]]>Thu, 28 Aug 2008 20:00:32 GMTSpoutBlogSpoutBlog on spout.com8/28/2008 4:00:32 PM Ben Affleck. Photo by Karina Longworth. The film related-events surrounding the 2008 Democratic Convention reached their zenith on Wednesday with a pair of sessions devoted to The People Speak, Project Greenlight/Good Will Hunting producer Chris Moore’s theatrical documentary inspired by the writings of Howard Zinn, which has its official premiere next week at the Toronto International Film Festival. The afternoon began with a panel on progressive media, featuring Moore, actor Josh Brolin (who commented extensively on his recent experience playing George W. Bush for filmmaker Oliver Stone), artist Shepherd Fairey (the man responsible for that screenprinted Barack Obama “Hope” poster, as well as a subject of the doc Beautiful Losers) and former Clinton operative Mike Lux. Then, after a brief intermission, Brolin and Moore were joined by a host of boldfaced names, including Ben Affleck, Rosario Dawson, Taye Diggs and Kerry Washington, for a live presentation of the historical readings that make up the bulk of the film. Moore began both sessions by showing a trailer for his doc, which is essentially a concert film comprised of footage captured at events where Moore’s celebrity friends dramatically read the words of historical thinkers, .rebels and rabblerousers, from from Frederick Douglas to Emma Goldman to Muhammed Ali. The trailer features money shots from these readings cut up with illustrations and archival photos and footage (Fairey, who showed up in a Sex Pistols shirt, namedropped Heidegger and casually slipped a Public Image Limited lyric into the discourse, says he’s working on “graphic treatments, illustrations that will basically come to life in the film.”) Some of said money shots are, well, priceless. Marisa Tomei throws her voice up to My Cousin Vinny register to take on the role of Cindy Sheehan; Hill Harper gives the poetry reading to treatment to the lyrics to Public Enemy’s “Fight the Power”; John Legend is surprisingly credible as Muhammed Ali. It all has a variety show feel, and with Zinn seemingly functioning like as the elder-statesman master of ceremonies, it almost plays like a Prairie Home Companion for a new generation of old-school-style, aggro lefties. On the panel, Lux expressed concern that today’s Democrats are––at the risk of putting too fine a point on it––lacking in balls in comparison to previous generations of leftists. “Caution kills,” he warned. “Caution kills anything significant or historic.” An hour later, Moore took the stage to inform the crowd that the live performances were getting off to a late start because 6,000 Iraq veterans were outside protesting the war, causing a security lock-down around the perimeter of the Convention that even movie stars couldn’t get through. Though Moore apologized for the fact that some of the expected performers would be tardy or absent altogether (Affleck snuck in as Brolin was taking the stage for the first reading), of the protesters, Moore said, “I’m very happy for them.” Maybe fittingly considering the climate just outside the room, the most explosive performance of the afternoon involved an outpouring of anger over this war and the way it’s been fought. Kerry Washington’s rendition of the Cindy Sheehan speech read by Tomei in the film brought reluctant but undeniable tears to this dispassionate reporter’s eyes. The black, 30-something Washington absolutely disappeared into the character of Sheehan, the white, middle-aged, slightly batty mom who became an early icon of the modern day anti-war movement when her son’s death prompted her to camp out outside George W. Bush’s vacation ranch. If Washington’s performance yesterday is any indication of the sheer commitment of these actors to bringing the radical voices of the past and present to vibrant life, then The People Speak is going to be one hell of an experience. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/7/33713.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/7/2008 6:00:45 PM
Body: The Midnight Express snack stand from Wong Kar Wai’s Chungking Express has been turned into a 7-11. Wouldn’t it be amazing if they did a promotion with that film the way they turned US stores into Kwik-e-Marts for The Simpsons Movie? Beautiful Losers producer Jared Moshe links to images of the 22 Nike Dunk Hi models produced in connection with the doc’s release. The Spongebob angle makes this movie-related: “There’s a new exhibit at Coney Island that’s fun for the whole family: the “Waterboard Thrill Ride.” Greeted by Spongebob exuding “It don’t Gitmo better!” you walk in to peer through bars at dude in dark sweats leaning over another guy in an orange suit, his face wrapped in a towel. Slip a dollar into the machine, and for 15 seconds, “Dark Hood” pours water into Orange Jumpsuit’s nose and mouth while he convulses.” Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 07 Aug 2008 22:00:45 GMTKarinaKarina on SpoutBlog8/7/2008 6:00:45 PM The Midnight Express snack stand from Wong Kar Wai’s Chungking Express has been turned into a 7-11. Wouldn’t it be amazing if they did a promotion with that film the way they turned US stores into Kwik-e-Marts for The Simpsons Movie? Beautiful Losers producer Jared Moshe links to images of the 22 Nike Dunk Hi models produced in connection with the doc’s release. The Spongebob angle makes this movie-related: “There’s a new exhibit at Coney Island that’s fun for the whole family: the “Waterboard Thrill Ride.” Greeted by Spongebob exuding “It don’t Gitmo better!” you walk in to peer through bars at dude in dark sweats leaning over another guy in an orange suit, his face wrapped in a towel. Slip a dollar into the machine, and for 15 seconds, “Dark Hood” pours water into Orange Jumpsuit’s nose and mouth while he convulses.” Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/7/33712.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/7/2008 6:00:29 PM
Body: The Midnight Express snack stand from Wong Kar Wai’s Chungking Express has been turned into a 7-11. Wouldn’t it be amazing if they did a promotion with that film the way they turned US stores into Kwik-e-Marts for The Simpsons Movie? Beautiful Losers producer Jared Moshe links to images of the 22 Nike Dunk Hi models produced in connection with the doc’s release. The Spongebob angle makes this movie-related: “There’s a new exhibit at Coney Island that’s fun for the whole family: the “Waterboard Thrill Ride.” Greeted by Spongebob exuding “It don’t Gitmo better!” you walk in to peer through bars at dude in dark sweats leaning over another guy in an orange suit, his face wrapped in a towel. Slip a dollar into the machine, and for 15 seconds, “Dark Hood” pours water into Orange Jumpsuit’s nose and mouth while he convulses.” Originally posted on:SpoutBlog
]]>Thu, 07 Aug 2008 22:00:29 GMTSpoutBlogSpoutBlog on spout.com8/7/2008 6:00:29 PM The Midnight Express snack stand from Wong Kar Wai’s Chungking Express has been turned into a 7-11. Wouldn’t it be amazing if they did a promotion with that film the way they turned US stores into Kwik-e-Marts for The Simpsons Movie? Beautiful Losers producer Jared Moshe links to images of the 22 Nike Dunk Hi models produced in connection with the doc’s release. The Spongebob angle makes this movie-related: “There’s a new exhibit at Coney Island that’s fun for the whole family: the “Waterboard Thrill Ride.” Greeted by Spongebob exuding “It don’t Gitmo better!” you walk in to peer through bars at dude in dark sweats leaning over another guy in an orange suit, his face wrapped in a towel. Slip a dollar into the machine, and for 15 seconds, “Dark Hood” pours water into Orange Jumpsuit’s nose and mouth while he convulses.” Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/6/33624.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/6/2008 11:01:29 AM
Body: So: Sidetrack Films, the producers of Aaron Rose and Joshua Leonard’s doc Beautiful Losers (see our SXSW coverage here), have signed a deal with Nike to sponsor the film’s release in five cities, starting with its New York premiere this Friday. Like Mark Rabinowitz, who wrote a post on indieWIRE’s new Docsider blog pondering What This All Means in relation to the state of documentary film distribution, I have mixed feelings about this. The most obvious, knee-jerk response is, of course, something about how big bad corporations are big and bad, long live indie DIY poverty integrity, etc. But Beautiful Losers is a film about artists (Harmony Korine, Mike Mills, Barry McGee, Shepherd Fairey, etc) who started as cultural reactionaries very much in line with a DIY ethos, and then found ways to work within the system and for corporations (designing ambiguously racist sneakers for Adidas, directing Bud Light commercials starring members of the Silver Jews, etc) without losing their identities. If this kind of deal makes sense for any film, it’s probably this one. So on one hand, it’s great to see a corporation supporting an art form in need of support. On the other hand, should we really take this as a sign that Nike cares about documentaries (or even film, or even art), or is it just a cash deal for cred? On the other hand, in a market niche that has all been abandoned by Hollywood distributors (partially because said distributors are abandoning their indie divisions, but that’s a topic for another time), and where grossing even $1 million is considered a victory, shouldn’t we keep an open mind about docs reaching a wider audience By Any Mean Necessary? One thing that sticks in my throat a bit: the indieWIRE story mentions that Rose “has a longstanding relationship” with Nike––in 2005, he partnered with the shoe giant on “two limited ‘Beautiful Losers’-inspired Nike Blazer Hi shoes” (and, as part of the deal for the film, Rose will work with Nike to produce “22 Nike Dunk Hi shoes each telling a different part of the ‘Beautiful Losers’ story.”)  This may be a groundbreaking moment in indie documentary distribution financing, but is it going to mean anything in the long run if this kind of deal is only open to indie filmmakers who happen to have existing relationships with corporations? Questions, questions. Got any answers? Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 06 Aug 2008 15:01:29 GMTKarinaKarina on SpoutBlog8/6/2008 11:01:29 AMSo: Sidetrack Films, the producers of Aaron Rose and Joshua Leonard’s doc Beautiful Losers (see our SXSW coverage here), have signed a deal with Nike to sponsor the film’s release in five cities, starting with its New York premiere this Friday. Like Mark Rabinowitz, who wrote a post on indieWIRE’s new Docsider blog pondering What This All Means in relation to the state of documentary film distribution, I have mixed feelings about this. The most obvious, knee-jerk response is, of course, something about how big bad corporations are big and bad, long live indie DIY poverty integrity, etc. But Beautiful Losers is a film about artists (Harmony Korine, Mike Mills, Barry McGee, Shepherd Fairey, etc) who started as cultural reactionaries very much in line with a DIY ethos, and then found ways to work within the system and for corporations (designing ambiguously racist sneakers for Adidas, directing Bud Light commercials starring members of the Silver Jews, etc) without losing their identities. If this kind of deal makes sense for any film, it’s probably this one. So on one hand, it’s great to see a corporation supporting an art form in need of support. On the other hand, should we really take this as a sign that Nike cares about documentaries (or even film, or even art), or is it just a cash deal for cred? On the other hand, in a market niche that has all been abandoned by Hollywood distributors (partially because said distributors are abandoning their indie divisions, but that’s a topic for another time), and where grossing even $1 million is considered a victory, shouldn’t we keep an open mind about docs reaching a wider audience By Any Mean Necessary? One thing that sticks in my throat a bit: the indieWIRE story mentions that Rose “has a longstanding relationship” with Nike––in 2005, he partnered with the shoe giant on “two limited ‘Beautiful Losers’-inspired Nike Blazer Hi shoes” (and, as part of the deal for the film, Rose will work with Nike to produce “22 Nike Dunk Hi shoes each telling a different part of the ‘Beautiful Losers’ story.”)  This may be a groundbreaking moment in indie documentary distribution financing, but is it going to mean anything in the long run if this kind of deal is only open to indie filmmakers who happen to have existing relationships with corporations? Questions, questions. Got any answers? Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/6/33623.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/6/2008 11:01:21 AM
Body: So: Sidetrack Films, the producers of Aaron Rose and Joshua Leonard’s doc Beautiful Losers (see our SXSW coverage here), have signed a deal with Nike to sponsor the film’s release in five cities, starting with its New York premiere this Friday. Like Mark Rabinowitz, who wrote a post on indieWIRE’s new Docsider blog pondering What This All Means in relation to the state of documentary film distribution, I have mixed feelings about this. The most obvious, knee-jerk response is, of course, something about how big bad corporations are big and bad, long live indie DIY poverty integrity, etc. But Beautiful Losers is a film about artists (Harmony Korine, Mike Mills, Barry McGee, Shepherd Fairey, etc) who started as cultural reactionaries very much in line with a DIY ethos, and then found ways to work within the system and for corporations (designing ambiguously racist sneakers for Adidas, directing Bud Light commercials starring members of the Silver Jews, etc) without losing their identities. If this kind of deal makes sense for any film, it’s probably this one. So on one hand, it’s great to see a corporation supporting an art form in need of support. On the other hand, should we really take this as a sign that Nike cares about documentaries (or even film, or even art), or is it just a cash deal for cred? On the other hand, in a market niche that has all been abandoned by Hollywood distributors (partially because said distributors are abandoning their indie divisions, but that’s a topic for another time), and where grossing even $1 million is considered a victory, shouldn’t we keep an open mind about docs reaching a wider audience By Any Mean Necessary? One thing that sticks in my throat a bit: the indieWIRE story mentions that Rose “has a longstanding relationship” with Nike––in 2005, he partnered with the shoe giant on “two limited ‘Beautiful Losers’-inspired Nike Blazer Hi shoes” (and, as part of the deal for the film, Rose will work with Nike to produce “22 Nike Dunk Hi shoes each telling a different part of the ‘Beautiful Losers’ story.”)  This may be a groundbreaking moment in indie documentary distribution financing, but is it going to mean anything in the long run if this kind of deal is only open to indie filmmakers who happen to have existing relationships with corporations? Questions, questions. Got any answers? Originally posted on:SpoutBlog
]]>Wed, 06 Aug 2008 15:01:21 GMTSpoutBlogSpoutBlog on spout.com8/6/2008 11:01:21 AMSo: Sidetrack Films, the producers of Aaron Rose and Joshua Leonard’s doc Beautiful Losers (see our SXSW coverage here), have signed a deal with Nike to sponsor the film’s release in five cities, starting with its New York premiere this Friday. Like Mark Rabinowitz, who wrote a post on indieWIRE’s new Docsider blog pondering What This All Means in relation to the state of documentary film distribution, I have mixed feelings about this. The most obvious, knee-jerk response is, of course, something about how big bad corporations are big and bad, long live indie DIY poverty integrity, etc. But Beautiful Losers is a film about artists (Harmony Korine, Mike Mills, Barry McGee, Shepherd Fairey, etc) who started as cultural reactionaries very much in line with a DIY ethos, and then found ways to work within the system and for corporations (designing ambiguously racist sneakers for Adidas, directing Bud Light commercials starring members of the Silver Jews, etc) without losing their identities. If this kind of deal makes sense for any film, it’s probably this one. So on one hand, it’s great to see a corporation supporting an art form in need of support. On the other hand, should we really take this as a sign that Nike cares about documentaries (or even film, or even art), or is it just a cash deal for cred? On the other hand, in a market niche that has all been abandoned by Hollywood distributors (partially because said distributors are abandoning their indie divisions, but that’s a topic for another time), and where grossing even $1 million is considered a victory, shouldn’t we keep an open mind about docs reaching a wider audience By Any Mean Necessary? One thing that sticks in my throat a bit: the indieWIRE story mentions that Rose “has a longstanding relationship” with Nike––in 2005, he partnered with the shoe giant on “two limited ‘Beautiful Losers’-inspired Nike Blazer Hi shoes” (and, as part of the deal for the film, Rose will work with Nike to produce “22 Nike Dunk Hi shoes each telling a different part of the ‘Beautiful Losers’ story.”)  This may be a groundbreaking moment in indie documentary distribution financing, but is it going to mean anything in the long run if this kind of deal is only open to indie filmmakers who happen to have existing relationships with corporations? Questions, questions. Got any answers? Originally posted on:SpoutBlog http://www.spout.com/blogs/thefilmpanelnotetaker/archive/2008/3/18/26341.aspx Post By: thefilmpanelnotetaker
Post To: thefilmpanelnotetaker Blog
Post Date: 3/18/2008 10:00:55 AM
Body: On Saturday, Brooklyn, NY-based filmmaker Leah Meyerhoff will be heading to Beantown to present a retrospective of her short films at the Brattle Theatre during the Boston Underground Film Festival. I had the great pleasure to hang out with Leah recently during the South by Southwest (SXSW) Film Festival in Austin, Texas. I first became familiar with Leah’s work at a screening of short films at the Brooklyn Independent Cinema Series last year where I saw the music video she directed, Team Queen. Soon after, I watched her Student Academy-Award nominated short Twitch, which has played in over 200 film festivals around the world and won numerous awards. Last night, I spoke with Leah about her upcoming trip to Boston and what people can expect there, as well as what’s going on with her feature film in development, Unicorns, and other defining moments in her young career. Leah finds a unicorn in the Enchanted Forest in Austin, Texas, at the Bi The Way World Premiere party during SXSW.TFPN: Can you give a little preview of what you’ll be talking about at the Boston Underground Film Festival? Have you been there before?Leah: This will be my third time there. They showed Twitch and Team Queen there before. It’s a fun festival. They’re calling it a retrospective, which is a little strange because I don’t think I’m old enough for a retrospective. Isn’t that what happens after you’re dead? Anyways, I’ll be screening about a dozen of my short films. A lot of films I made in undergrad at Brown University, some experimental films I made when I was in art school in Chicago, and some of my shorts from grad school NYU. Then I have some commercials and music videos I made outside of school. I’ll be talking about my progression as a filmmaker and how I got from being a teenager going off to college to where I am now about to make my first feature film Unicorns. They’re promoting the Q&A to undergrad and high school students in the area. It’s supposed to be somewhat educational, like an artist lecture, and hopefully will inspire aspiring filmmakers to pursue their own path. Since Twitch was so successful on the festival circuit, I also give lectures at various film schools around the country about how to get into film festivals and what to do once you get in. I enjoy educating people on that process, something I didn’t learn in school and had to figure out for myself.TFPN: What made you decide to become a filmmaker?Leah: I originally thought I wanted to be a marine biologist, something totally not in the arts at all. Then I went school at Brown and started taking film classes. I started with film theory, kind of more on an intellectual basis and then began taking film production classes at RISD which was this art school nearby. I continued to make sculpture, painting, photography and other kinds of visual art for years and went to the School of the Art Institute of Chicago for a year. It was almost a half-creative and half-practical decision to go into filmmaking, a way of doing something that I love while also having an impact on the world. I enjoy the collaborative aspect of filmmaking rather than being in a tiny studio all day painting by yourself. It also has a potential to reach a wide audience and affect social change on a level that other art forms aren’t capable of. The distribution system can be mind-bogglingly complicated, but it’s also great because if you can tap into that, you have the chance to really change the way people think. That is part of the reason why I’m particularly interested in coming of age stories about teenage girls. That was the age range for me when I was figuring out who I was in the world and what it meant to grow up as a female in this society. I didn’t see myself reflected in the media. To me, all the TV shows and films I saw were not my reality. Now that I’m older, this idea of creating characters that young girls can look up to or can identify with is a powerful idea.TFPN: Who are some filmmakers that have inspired you? In general, I’m inspired by artists who show the world how it is, raw, gritty and real. Kimberly Pierce is a great example. I like Lynne Ramsay, Jonathan Caouette, Catherine Breillat, and Gus Van Sant. I like artistically-minded filmmakers who are making stories about real people. And at the same time, having a creative take on it and making the world a more beautiful place.TFPN: What is Unicorns about? Has it been cast yet and when do you go into production?Leah: Unicorns is a coming-of-age film about an awkward teenage girl named Davina who escapes to a fantasy world involving unicorns when her first romantic relationship becomes abusive. The film starts on her sixteenth birthday and follows her relationship with an older, punk rock boyfriend. It starts off being fun and exciting, that kind of butterflies-in-your-stomach feeling, and then progressively becomes more and more emotionally and physically abusive. At the same time, her best friend Cassidy has a crush on her and her father is marrying a woman she despises. It’s kind of like an updated Welcome to the Dollhouse. Or another good reference is The Dangerous Lives of Alter Boys or Heavenly Creatures. It’s a straight-forward narrative drama, but then there are these fantastical animated elements as well. Were hoping to start shooting this summer. Alison Anders, who is executive producing, is a filmmaker I really admire. Her film Gas Food Lodging was instrumental in my teenage years, so I’m excited to have her attached to the project. We’re hoping to start casting next month with Judy Henderson, who also cast L.I.E. and Twelve and Holding and Eyde Belasco, who cast Half Nelson. She also casts the actors for the Sundance Labs, which the Unicorns screenplay was a finalist for, so that’s a great resource as well.TFPN: Do you have anyone in mind who you’d like to cast in the role of Davina?Leah: It’s tough, because I really want the 16-year-old girl to seem like a real 16-year-old girl. There are not a lot of name actors out there who actually look 16. I like Kristen Stewart a lot. I like this girl named Mia Waskilowska who was in a short I saw at Sundance called I Love Sarah Jane. I’m guessing what’s going to happen is the lead girl will be someone we discover who is authentic and real. For the lead boy, it might be more of a name actor, along the lines of Emile Hirsch or Joseph Gordon-Levitt. Really I just want to cast whoever is most right for the part. Whoever feels the most real. I am not interested in making the next Clueless or Mean Girls. It’s more My So Called Life than 90210, you know? There are not a lot of films about teenage girls to begin with. There are a lot of coming-of-age films about boys, but there are not a lot of female stories out there. And of the ones that are, they’re usually so unlike any reality that I experienced. Which is what inspires me to make this film. To dig beneath the glossy surface and scratch at the heart of the matter. The brutal realities of adolescence. This is why I spend so much time on casting. If I can cast someone compelling and authentic, then most of my job as a director is already done.TFPN: What were some of your favorite films you saw and panel discussions you attended at SXSW?Leah: My favorite film was a documentary called Beautiful Losers, which was about street artists like Shepard Fairey and Harmony Korine. It was beautifully shot. I also liked Lynn Shelton’s film My Effortless Brilliance. And it was fun to see Bi the Way in a theater with a lively audience. Honestly, I came away from that festival wishing I had seen more narrative films. At one point, in the middle of a screening, my friend turned to me and said I just really want to see a scripted film. Kimberly Pierce has been giving me advice on my film, so I really wanted to see Stop-Loss but it played the day after I left. I also went to a lot of panels. The writing panel was useful to me, with Amy Dotson and Scott Macaulay. Also the Fact or Fiction one was interesting. I went to part of the one the Four Eyed Monsters kids were on about digital distribution. I’ve spoken on a lot of panels myself so it’s always interesting to be on the other side. In general, festival panels become somewhat redundant, but at SXSW there were so many incredible people smashed together in this small venue that even if you came in part way though you could pick some stuff up and move on to the next. That’s kind of what I did.TFPN: What would you say are some of the best festivals you’ve ever been to with the best panels?Leah: This year, I actually found the panels at Sundance and Slamdance to be really interesting, but SXSW is definitely up there in terms of good panels. They’re well moderated, have interesting guests, and are short and to the point. I tend to judge festivals on more of a filmmaker criterion. I like smaller festivals that take good care of the filmmakers and have really good programming and fun parties. I really like Woodstock, Milan (in Italy), and Avignon (in France). I used to like Brooklyn Underground, which doesn’t exist anymore. I also really like the Sarasota Film Festival as a filmmaker and an audience member. It’s a really well-run festival. And there’s another festival a lot of people haven’t heard of called Cucalorus in North Carolina that I would put on my top 10 list of all time. They make a point to bring all the filmmakers out, no matter where you’re from. You stay with a volunteer and they give you a bicycle to ride around in this tiny little town. The audience is fantastic and the theaters are beautiful and all the films are great. I also like the Newport International Film Festival in Rhode Island. They have parties in mansions with lobsters. It’s fancy but it’s also down to earth at the same time. I was there the year that they were missing the print for the closing night film and a helicopter landed in the middle of town to deliver it, and because of it, they ended up pushing my screening block. To make up for it, they gave us all a free sailboat ride the next day. I don’t like Sundance and Cannes and the larger festivals as much, especially as a short filmmaker because you can get lost in the mix, but Venice is a really great one. Actually I think Venice has the best Q&As I’ve ever seen where it becomes a real community discussion. Plus, it’s in Italy, which is always nice. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you.
]]>Tue, 18 Mar 2008 14:00:55 GMTthefilmpanelnotetakerthefilmpanelnotetaker Blog3/18/2008 10:00:55 AMOn Saturday, Brooklyn, NY-based filmmaker Leah Meyerhoff will be heading to Beantown to present a retrospective of her short films at the Brattle Theatre during the Boston Underground Film Festival. I had the great pleasure to hang out with Leah recently during the South by Southwest (SXSW) Film Festival in Austin, Texas. I first became familiar with Leah’s work at a screening of short films at the Brooklyn Independent Cinema Series last year where I saw the music video she directed, Team Queen. Soon after, I watched her Student Academy-Award nominated short Twitch, which has played in over 200 film festivals around the world and won numerous awards. Last night, I spoke with Leah about her upcoming trip to Boston and what people can expect there, as well as what’s going on with her feature film in development, Unicorns, and other defining moments in her young career. Leah finds a unicorn in the Enchanted Forest in Austin, Texas, at the Bi The Way World Premiere party during SXSW.TFPN: Can you give a little preview of what you’ll be talking about at the Boston Underground Film Festival? Have you been there before?Leah: This will be my third time there. They showed Twitch and Team Queen there before. It’s a fun festival. They’re calling it a retrospective, which is a little strange because I don’t think I’m old enough for a retrospective. Isn’t that what happens after you’re dead? Anyways, I’ll be screening about a dozen of my short films. A lot of films I made in undergrad at Brown University, some experimental films I made when I was in art school in Chicago, and some of my shorts from grad school NYU. Then I have some commercials and music videos I made outside of school. I’ll be talking about my progression as a filmmaker and how I got from being a teenager going off to college to where I am now about to make my first feature film Unicorns. They’re promoting the Q&A to undergrad and high school students in the area. It’s supposed to be somewhat educational, like an artist lecture, and hopefully will inspire aspiring filmmakers to pursue their own path. Since Twitch was so successful on the festival circuit, I also give lectures at various film schools around the country about how to get into film festivals and what to do once you get in. I enjoy educating people on that process, something I didn’t learn in school and had to figure out for myself.TFPN: What made you decide to become a filmmaker?Leah: I originally thought I wanted to be a marine biologist, something totally not in the arts at all. Then I went school at Brown and started taking film classes. I started with film theory, kind of more on an intellectual basis and then began taking film production classes at RISD which was this art school nearby. I continued to make sculpture, painting, photography and other kinds of visual art for years and went to the School of the Art Institute of Chicago for a year. It was almost a half-creative and half-practical decision to go into filmmaking, a way of doing something that I love while also having an impact on the world. I enjoy the collaborative aspect of filmmaking rather than being in a tiny studio all day painting by yourself. It also has a potential to reach a wide audience and affect social change on a level that other art forms aren’t capable of. The distribution system can be mind-bogglingly complicated, but it’s also great because if you can tap into that, you have the chance to really change the way people think. That is part of the reason why I’m particularly interested in coming of age stories about teenage girls. That was the age range for me when I was figuring out who I was in the world and what it meant to grow up as a female in this society. I didn’t see myself reflected in the media. To me, all the TV shows and films I saw were not my reality. Now that I’m older, this idea of creating characters that young girls can look up to or can identify with is a powerful idea.TFPN: Who are some filmmakers that have inspired you? In general, I’m inspired by artists who show the world how it is, raw, gritty and real. Kimberly Pierce is a great example. I like Lynne Ramsay, Jonathan Caouette, Catherine Breillat, and Gus Van Sant. I like artistically-minded filmmakers who are making stories about real people. And at the same time, having a creative take on it and making the world a more beautiful place.TFPN: What is Unicorns about? Has it been cast yet and when do you go into production?Leah: Unicorns is a coming-of-age film about an awkward teenage girl named Davina who escapes to a fantasy world involving unicorns when her first romantic relationship becomes abusive. The film starts on her sixteenth birthday and follows her relationship with an older, punk rock boyfriend. It starts off being fun and exciting, that kind of butterflies-in-your-stomach feeling, and then progressively becomes more and more emotionally and physically abusive. At the same time, her best friend Cassidy has a crush on her and her father is marrying a woman she despises. It’s kind of like an updated Welcome to the Dollhouse. Or another good reference is The Dangerous Lives of Alter Boys or Heavenly Creatures. It’s a straight-forward narrative drama, but then there are these fantastical animated elements as well. Were hoping to start shooting this summer. Alison Anders, who is executive producing, is a filmmaker I really admire. Her film Gas Food Lodging was instrumental in my teenage years, so I’m excited to have her attached to the project. We’re hoping to start casting next month with Judy Henderson, who also cast L.I.E. and Twelve and Holding and Eyde Belasco, who cast Half Nelson. She also casts the actors for the Sundance Labs, which the Unicorns screenplay was a finalist for, so that’s a great resource as well.TFPN: Do you have anyone in mind who you’d like to cast in the role of Davina?Leah: It’s tough, because I really want the 16-year-old girl to seem like a real 16-year-old girl. There are not a lot of name actors out there who actually look 16. I like Kristen Stewart a lot. I like this girl named Mia Waskilowska who was in a short I saw at Sundance called I Love Sarah Jane. I’m guessing what’s going to happen is the lead girl will be someone we discover who is authentic and real. For the lead boy, it might be more of a name actor, along the lines of Emile Hirsch or Joseph Gordon-Levitt. Really I just want to cast whoever is most right for the part. Whoever feels the most real. I am not interested in making the next Clueless or Mean Girls. It’s more My So Called Life than 90210, you know? There are not a lot of films about teenage girls to begin with. There are a lot of coming-of-age films about boys, but there are not a lot of female stories out there. And of the ones that are, they’re usually so unlike any reality that I experienced. Which is what inspires me to make this film. To dig beneath the glossy surface and scratch at the heart of the matter. The brutal realities of adolescence. This is why I spend so much time on casting. If I can cast someone compelling and authentic, then most of my job as a director is already done.TFPN: What were some of your favorite films you saw and panel discussions you attended at SXSW?Leah: My favorite film was a documentary called Beautiful Losers, which was about street artists like Shepard Fairey and Harmony Korine. It was beautifully shot. I also liked Lynn Shelton’s film My Effortless Brilliance. And it was fun to see Bi the Way in a theater with a lively audience. Honestly, I came away from that festival wishing I had seen more narrative films. At one point, in the middle of a screening, my friend turned to me and said I just really want to see a scripted film. Kimberly Pierce has been giving me advice on my film, so I really wanted to see Stop-Loss but it played the day after I left. I also went to a lot of panels. The writing panel was useful to me, with Amy Dotson and Scott Macaulay. Also the Fact or Fiction one was interesting. I went to part of the one the Four Eyed Monsters kids were on about digital distribution. I’ve spoken on a lot of panels myself so it’s always interesting to be on the other side. In general, festival panels become somewhat redundant, but at SXSW there were so many incredible people smashed together in this small venue that even if you came in part way though you could pick some stuff up and move on to the next. That’s kind of what I did.TFPN: What would you say are some of the best festivals you’ve ever been to with the best panels?Leah: This year, I actually found the panels at Sundance and Slamdance to be really interesting, but SXSW is definitely up there in terms of good panels. They’re well moderated, have interesting guests, and are short and to the point. I tend to judge festivals on more of a filmmaker criterion. I like smaller festivals that take good care of the filmmakers and have really good programming and fun parties. I really like Woodstock, Milan (in Italy), and Avignon (in France). I used to like Brooklyn Underground, which doesn’t exist anymore. I also really like the Sarasota Film Festival as a filmmaker and an audience member. It’s a really well-run festival. And there’s another festival a lot of people haven’t heard of called Cucalorus in North Carolina that I would put on my top 10 list of all time. They make a point to bring all the filmmakers out, no matter where you’re from. You stay with a volunteer and they give you a bicycle to ride around in this tiny little town. The audience is fantastic and the theaters are beautiful and all the films are great. I also like the Newport International Film Festival in Rhode Island. They have parties in mansions with lobsters. It’s fancy but it’s also down to earth at the same time. I was there the year that they were missing the print for the closing night film and a helicopter landed in the middle of town to deliver it, and because of it, they ended up pushing my screening block. To make up for it, they gave us all a free sailboat ride the next day. I don’t like Sundance and Cannes and the larger festivals as much, especially as a short filmmaker because you can get lost in the mix, but Venice is a really great one. Actually I think Venice has the best Q&As I’ve ever seen where it becomes a real community discussion. Plus, it’s in Italy, which is always nice. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you. http://www.spout.com/blogs/paul/archive/2008/3/10/26057.aspx Post By: paul
Post To: paul on spout.com
Post Date: 3/10/2008 7:00:06 PM
Body: In the early 90’s a small group of kids gravitated to Aaron Rose’s Alleged Gallery in New York City. It wasn’t so much a gallery as hang out spot that used to be a storefront, but to pass time this group–loosely knit through skateboarding and punk music–experimented creatively. They were the dispossessed losers of suburban America and as Mike Mills, whose one of them, says, “If you’re not dispossessed, why make art? Why try to save your life by making something?” Having fun creating only to look back and realize that creating was your survival, then having to negotiate getting back to that fun spot so you can survive is the path of Beautiful Losers. Aaron Rose’s documentary is a painfully funny coming-of-age story about some of today’s most influential artists and it follows one rule: Don’t take us seriously. (more…) Originally posted on:SpoutBlog » Paul
]]>Mon, 10 Mar 2008 23:00:06 GMTpaulpaul on spout.com3/10/2008 7:00:06 PMIn the early 90’s a small group of kids gravitated to Aaron Rose’s Alleged Gallery in New York City. It wasn’t so much a gallery as hang out spot that used to be a storefront, but to pass time this group–loosely knit through skateboarding and punk music–experimented creatively. They were the dispossessed losers of suburban America and as Mike Mills, whose one of them, says, “If you’re not dispossessed, why make art? Why try to save your life by making something?” Having fun creating only to look back and realize that creating was your survival, then having to negotiate getting back to that fun spot so you can survive is the path of Beautiful Losers. Aaron Rose’s documentary is a painfully funny coming-of-age story about some of today’s most influential artists and it follows one rule: Don’t take us seriously. (more…) Originally posted on:SpoutBlog » Paul http://www.spout.com/blogs/spoutblog/archive/2008/3/10/26052.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/10/2008 6:00:40 PM
Body: In the early 90’s a small group of kids gravitated to Aaron Rose’s Alleged Gallery in New York City. It wasn’t so much a gallery as hang out spot that used to be a storefront, but to pass time this group–loosely knit through skateboarding and punk music–experimented creatively. They were the dispossessed losers of suburban America and as Mike Mills, whose one of them, says, “If you’re not dispossessed, why make art? Why try to save your life by making something?” Having fun creating only to look back and realize that creating was your survival, then having to negotiate getting back to that fun spot so you can survive is the path of Beautiful Losers. Aaron Rose’s documentary is a painfully funny coming-of-age story about some of today’s most influential artists and it follows one rule: Don’t take us seriously. (more…) Originally posted on:SpoutBlog
]]>Mon, 10 Mar 2008 22:00:40 GMTSpoutBlogSpoutBlog on spout.com3/10/2008 6:00:40 PMIn the early 90’s a small group of kids gravitated to Aaron Rose’s Alleged Gallery in New York City. It wasn’t so much a gallery as hang out spot that used to be a storefront, but to pass time this group–loosely knit through skateboarding and punk music–experimented creatively. They were the dispossessed losers of suburban America and as Mike Mills, whose one of them, says, “If you’re not dispossessed, why make art? Why try to save your life by making something?” Having fun creating only to look back and realize that creating was your survival, then having to negotiate getting back to that fun spot so you can survive is the path of Beautiful Losers. Aaron Rose’s documentary is a painfully funny coming-of-age story about some of today’s most influential artists and it follows one rule: Don’t take us seriously. (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/punk/MemberTagFilms.aspxpunk
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