Archive Piece: Up Close & Tarantino

Originially published in Savvy Magazine 8.10.2007

A man as widely recognised as Quentin Tarantino was bound to go down well in a city that embraces all things cult, and let's face it; the man is all about the offbeat.

It's 1pm, the sun is shining, and one of the world's greatest pioneering directors is sipping a beer in the unlikely venue of Walkabout. Ladies and gentlemen, we give you Quentin Tarantino.

It's the morning after previewing his new film 'Death Proof' to a select audience of lucky film fanatics, where Tarantino stood in FACT cinema and questioned about his ideas and inspirations. The film, which goes nationwide on 21 September, follows the director's cinematic trend of strong woman vs. man. It's about a stuntman (Kurt Russell) using his unyielding car as a murderous weapon against eight women.

We were chatting in Walkabout, in between beer and food, and the avoidance of the inevitable onset of fans. "I'm really happy with how the film was received and with the questions. Yeah it went really well, everyone was really nice!"

Tarantino's visit to Liverpool comes as part of a regional tour of Death Proof: "I wanted to come to Liverpool because it's a city that I've never been to, so when I started thinking about the regional UK tour, I decided to add Liverpool in there too."

The original idea of releasing a double feature, 'Grindhouse', which incorporated Roderiguez's 'Planet Terror' and Tarantino's 'Death Proof', was scrapped in the UK after a surprise flop in America. The UK will instead see the films as separate, with added footage and originally deleted scenes. During the Q&A, he said he was "really disappointed" that Grindhouse wasn't going to be released in the UK. He admitted that it had been a failure in America. Tarantino said that showing the films separately, "better reflects the narrative strategies and script".

Death Proof, 11 years in the idea bank, was named by a car salesman suggested to Tarantino that to make a car safer (instead of just buying a Volvo), to give his current 'dangerous' car to a stuntman who would make it untouchable: "He actually came up with the term Death Proof. I'd never thought of it before but the idea just stayed with me".

This is just one tale of how the spark of the writing process all comes together for this director. And so the opportunity couldn't be missed to grill him about Hollywood, so we asked for his tips on getting into the film industry. He said: "Well, I don't really know how to break into the film industry myself!" (sure...), "but I think, you need to have the desire, it has to come from within you. You have to write for wanting to write, not for the sake of just wanting to write a screenplay – a bit like novelists."

"I knew since I was five that I wanted to go into film, I'd write things and it would get published on page 12, page 15, page 24, page 30… then I thought it was going somewhere."

Tarantino is a man eager to talk and share ideas. It is surreal to observe a man so popular and respected for his work on two of the most popular cult films in recent years relaxing with beer and chicken legs like he was watching Superbowl Sunday. On the highlight of his career he said: "For me, when I got the financing for Reservoir Dogs, that was amazing, and although Pulp Fiction was my biggest 'hit', getting to do Reservoir Dogs was the best thing for me."

As for his opinion on the city of culture, he said: "I'm going to explore it today, explore it and get lost in it. It's the best way to get to know a place. Just as long as I have the business card of the place I'm staying…I can call a cab if I get lost!"
Death Proof is released nationwide on 21 September.

Live Review: Adelaide Symphony Orchestra Plays The Beatles

24 May 2010
Adelaide Festival Centre

Originally published on GLAM Adelaide.com.au 27.5.10

It was in 1964 when The Beatles landed at Adelaide Airport. A third of the city’s population lined the streets for a glimpse of the Fab Four’s motorcade, throwing rose petals at their car. It comes then as no surprise that today, 46 years on, the opportunity to relive those distant memories and indulge in this genius take on The Beatles was to be so popular here in Adelaide

Celebrating 20 of the most emotional, uplifting and enduringly catchy tunes from the four lads from Liverpool, ASO Plays The Beatles drew in a 2-night sell-out crowd, all ready to be taken back to the Beatlemania of the 60's and 70's.

The four Beatlemania veterans (Jim Owen (John Lennon) Tony Kishman (Paul McCartney) John Brosnan (George Harrison) and Chris Camilleri (Ringo Starr) ) who make up tribute band Classical Mystery Tour, opened the set with 'Got To Get You Into My Life'. Holding back the introduction of the orchestra from the immediate start only built the anticipation of the grandeur to come.

So what better classic for introducing the symphonic sound than with the strong-on-strings and haunting melody of 'Eleanor Rigby'. Sounding incredibly accurate to the recorded version down to the very tone, gave an eerily authentic feel to the performance. The anthemic 'All You Need Is Love' gave the brass section their chance to shine, and the reminiscent 'Penny Lane' showcased the trumpet section with a solo.

Moving into the Sgt. Pepper phase not only brought a change in era, but a change in costume. The four donned their day-glo military outfits with style, adopting the era with ease. When the ever recognisable solemn intro to 'A Day In The Life' began, you'd have been forgiven for thinking the show was over due to the climactic and book-end nature of the song. Anticipating the almost uncomfortable crescendo of strings was fantastic, but unfortunately, the ASO seemed like they hadn't been turned up quite loud enough when it became clear that the sound was not as surround as the band themselves.

The second half brought in some of solo written material, including 'Imagine', 'Here Comes the Sun' and Paul McCartney's 'The Long and Winding Road', where live strings heightened these poignant numbers.

If there could be one stand out track from tonight's performance, it would be 'Live and Let Die', which, ironically, is not even a Beatles track, but its inclusion was superbly fitting to the orchestral backup.

The audience couldn't get enough of the feat, especially when 'All you Need Is Love', 'Hello Goodbye' and 'A Hard Day's Night' were brought to the stage. By the final two songs, every patron was up on their feet, clapping and singing along to 'Hey Jude', this time, with no orchestral backing. Despite the occasional feeling that the orchestra could have been used more, this was still a special performance that took the best of The Beatles' scored melodies and gave them a live showcasing that no one could forget.

Live Review:Tame Impala, Governor Hindmarsh, Adelaide - May 20

Live Review: Tame Impala at The Governor Hindmarsh Hotel
20 May 2010

Originally published on MusicFeeds.com.au 27.5.2010

Tame Impala's approach to music stems from decades gone by; a time when musicians were sampling new sounds, new melodies and new drugs. They are indeed a breath of fresh air amidst an alternative scene that can feel like the musical equivalent of Groundhog Day. But, lo! Here's something with a twist. Packing a torrent of influences into their repertoire, it's all you've ever wanted to hear and more. Tame Impala could be a modern-day Beatles in a 2010 version of their Sgt. Pepper days, with an audience just as dedicated (minus the crying, screaming and fainting.)

Rocking up to Adelaide this week, the boys from Perth faced an extremely well packed-out Gov; a testament to their following since the release of their self-titled 2008 EP, and 2009's 'Sundown Syndrome'.

With not a corduroy flare in sight, Tame Impala whisked their audience away on a sea-wave of dreamy vocals, subdued chord changes and crunchy distortion, all completed by a mesmerising backdrop of video visuals. Normally, a live gig consists of straining your neck and standing on your toes for a glimpse of the action, but tonight, we were just happy to kick back and enjoy the sunny good time sounds being fed into our ears.

It was the night before the release of debut album 'InnerSpeaker'. Where Tame Impala have nailed the hazy approach, they've also mastered the art of a hook and a riff, such as with 'Lucidity', where lead guitar and bass imitate one another to a simplistic yet damn catchy result. Also previewed included album opener 'It is Not Meant to Be', and'Jeremy's Storm', where vocals are omitted and the song is much the dramatic solo work of guitar, background synth and incessant drumming. Tracks taken from their EP included 'Sundown Syndrome', 'Desire Be, Desire Go', and the fantastically full-of-anticipation 'Half Full Glass of Wine', which all became an amalgamation, making this a non-stop reminiscer package of the most popular EP tracks.

For their final song, Tame Impala invited support band The Silents on stage to sing backing vocals to 'I Don't Really Mind' - a song beautifully compounded with reverb and solo drums, harmonies and synth, bringing the night's show to a captivating close.

It'd be hard to guess these boys are only 2 years young after this polished performance of their crusty, blissed-out sound. By the end of this gig, we're so damn happy we don't know what decade it is, and we don't really mind either.

Big mother - Art Gallery of South Australia

Big mother, like its name might suggest, is one big, beautiful and mesmerising piece of art. Standing tall in the centre of a black room, a baboon breast feeds a human baby.

A month since she came to the Art Gallery of South Australia, this piece is still drawing a constant flow of spectators; drawn to her distant, sad gaze; her male-like arms; her hand-like feet, the human hair; the grotesque and magnified depiction of baboon genitalia; and finally, the impossible - a human suckling a primate.

Or is it really impossible? Artist Patricia Piccinini has based the piece on a true story. A female baboon who abducted a human baby following the death of her own young, while still nursing (the baby was later found safe and unharmed).

This piece plays on our repulsions, curiosities and our inability to recognise ourselves as animal. Big mother represents a genetically modified baboon, upright and nurturing, so humanlike yet so primitive. Piccinini points out that upon viewing Big mother, you do not fear for the young in her arms, but more for her, and why she holds such a worried gaze.

If you're keen to see some accessible, interesting and thought-provoking art, go pay Big mother a visit. She's intriguing, terrifying, and beautiful. You won't be able to tear your eyes away.

Tiny Towns

The Climate Crisis. We hear about it every day, anticipate its morbid
eventuality, and all the while feel powerless to do much about it.
But don't look away yet. Adelaide artist John Willanski's exhibition
Tiny Towns eradicates all that fear and unease, with its cute yet
poignant take on sustainable communities and doing your bit to be
green.

Part of Adelaide's Fringe Festival, Willanski's portraiture of a
low-key, green-friendly community of bee keepers, chooks, rainwater
tanks and local produce-swapping depicts a not too distant reality
that, although not hard to come by, is something the majority fails to
participate in.

John said: “So many environmentalists scale back their ecological
footprints in isolation, taking on too much change in an unsustainable
way. I hope that people who are working to reduce their footprints
consider communities as part of that and people who haven't thought
about can see it's not that hard.”
Inspired by a research project on how the role of communities can
respond to the environmental challenges of the future, the snapshots'
welcoming and childlike style promises to engage and provoke those
into thinking small and changing big.

The exhibition launches February 9, and goes on inspiring until March
31 at Bliss Organic Cafe, Compton Street, Adelaide.

Jarvis Down Under

Originally published on Merge.com.au 18.12.09

"I think we're going to be alright", exclaims Jarvis, after tapping and "checking the stage for strength" with what looks like a home-made sticky-taped staff. Suited, booted and adorned with his famed thick specks, Jarvis Cocker sauntered onto the stage of Adelaide's The Gov with all the commandeering nature of Dumbledore.

Playing to a modest crowd from a corner stage, Jarvis' tour Down Under promoting his most recent release, 'Further Complications', got off to a start that was rich in distortion and bass, with album opener 'Angela'.

All the enigmatic air and charisma that is on offer from Jarvis Cocker was in abundance tonight. To wit: every lean extremity of his body was wiggled, shaken and gyrated to the sounds and beats of his latest repertoire. Crowd-pleasers included 'Homewrecker!' - a song riddled with saxophone and heavy on the drums. A perfect noise-fest to which the audience were encouraged to imagine every sax note was smashing over the head of monster media-mogul Rupert Murdoch. That's one way to get the Aussie fans on your side, but Jarvis need not try. With knees that look like they could cut glass and a voice so roughly coutured, these Adelaidians were caught up in every inch he moved during this 2 hour set.

Amp troubles at The Gov gave Jarvis his cue to give tit-bits of his time in Adelaide's Cleland Wildlife Park: "I stroked a koala today.. on the lower back, mind", as well as handing around Dairy Milk and a swig of his whisky... to the joy and appetite of his onlookers.

Some inevitable downtime was had with the self-descript 'Slush', and 'You're in My Eyes (Discosong)' which, although good on disc, both paled in comparison to the steamy, sweaty kicking and screaming luster of 'Fat Children', 'Black Magic' and 'A to I'.

If there's one artist who makes age cool, it's Jarvis. Looking nothing short of a history teacher, ironically the personality couldn't be further from the stereotype. Jarvis' presence is envied by all those who see him. The 'banter round your mates' vibe with musings between songs offer up plenty of laughs from the crowd, ensuring a quality performance all round. Finalising the 15-strong set with 'Running the World', the simplistic piano drifting into an epic singalong is pure, unadulterated magic. There's no complication in Jarvis, and he's no cookie-cutter performer. All hail JC.

Empire of the Sun

Parklife, Adelaide, 5 Oct 2009

Empire of the Sun's approach to presentation certainly precedes them. Out-of-this-world press shots and music videos sprinkled with galaxies and glitter have characterised the band as something completely different. It came as no surprise, then, that this live show was adorned with a similar fantasia: dancers in a skin-tight silver one-piece, swordfish headdress and dancing that bordered on contortion. Frontman Luke Steele appeared on stage as though some otherworldly Emperor, commanding the exultation of those before him.

Empire's run of gigs at the Parklife festival - their first live shows - was long-awaited, but in the absence of Nick Littlemore, the show was missing half of the magic. As a one-man band, Steele managed to create a sound not far off the album, but it was clear that there were hints of lacklustre in this performance.

Fantastic visuals and numerous costume changes for Steele filled the camp expectation of EotS, but it is a crying shame that for a band with such growing popularity, the fans' thirst for live shows following a stellar album was only to be diminished.