Music perception can be seen by many to come with age or the appreciation of it. Some believe it happens in your youth with a myriad of different influences. The key is being cross generational: those who can branch the consciousness but also inform others how to appreciate their own uniqueness and impact their past which, in turn, permeates the future.
Summerfest, held in the heart of Milwaukee, Wisconsin, lisping on the shore of Lake Michigan and hidden under the concrete of towering overpasses and bridges, works in congruent form not just because of its headliners but in its ability to key in new talent, many of it from the local and regional arenas.
Location of course always is key. Being situated at the Comfort Inn Downtown Lakeshore, walking or shuttles make it easy to make the trek to Summerfest wherever your mood takes you, late night or otherwise.
All times visited provided projection in terms of talent with rock taking the veritable center stage. However it was the smaller visions of new bands, off the beaten path, that really blew the expectation while the musical legends provided the volley to show that the intensity and worship was not undeserved.
Circle Of Fifths headed the pack with an early afternoon set at the Harley Davidson stage. Buoyed by a killer singer mixing essences of Aaron Lewis, Chad Kroeger and a bit of Hetfield, the quartet belted out a hard raging blow out that rivaled the instrumentation of many of the top professional headlining bands. They played for over an hour and a half encouraged by the sound manager while wrecking through some great artist homages as well as essences of their own. From their older “Here We Go” to the roaring possibilities of new tracks from their upcoming album including “If I Fall” and “Whip”, there is a distinctive sound that keys in from bits of Metallica but with a slightly more hard line rockabilly function which makes them kick.
Between the intrinsic guitar solos, the band jumped in the fray with some great covers, two of the best being Led Zeppelin, which are the hardest to do, in the vision of “Immigrant Song” and “Whole Lotta Love” which had the drummer craving more in the best Bonham kind of excess. Metallica’s “Seek & Destroy” and Alice In Chains’ “Man In A Box” revved up the audience even further as the crowd continued to swell.
On the other end of the time spectrum in the late night, Roster McCabe set the lakefront ablaze in the small cauldron of the Tiki Bar. Located in a small shack away from the main stages, this treasure was discovered after a headliner ended at 11pm and the Leinenkugel Amber from the Captain’s Deck motivated a group of young twentysomethings down the path of ruin over a pack of smokes. Like the swirling beauty of Burning Man or lurid bonfire hallucinations, McCabe had the young crowd swooning and moving with hard grooves.
While at times slipping into reggaeton, the hard guitar revving along with synth progression and slamming drums had the integers of all sexes dancing in a circle of energy. The jams undulated for fifteen minutes at a time bathed in the blood reds and burnt oranges as the skin blazed in the cool night air.
In the essence of the afternoon, the Refugee Tent, akin to the Tiki, brought the temptation in a different way. While not as resolutely popular at McCabe, The Last Rhino showed its enthusiasm with a mix of acoustic revelry to attack the anti-septic tinge of a Weezer cover mixed with the right amount of country gusto.
The percussion-infused tribal elements that sounded through brought to mind a mix of Stevie Ray Vaughn mated with the old school jams of Dave Matthews without the saturation. Again the gravitational perception of these multi-generational connections continue to surprise. While the twenty-somethings twittered along, an older gentleman approaching the apex of his life on the back end was beating along with the drums like a bat out of hell.
The younger progression was seen within the conception of “Emerging Artists”. Geri X, spotlighting a mix of Avril Lavigne but with an actual punk background and requisite tatoos to show her dedication, played to a decidedly committed teenage audience. Epitomizing the essence of angst but with requisite aspiration in tow, her songs detail that that paradox. Originally from Bulgaria but now esconsced in Tampa, Florida, she, along with the bassist, her respective other, replete with full beard and background vocals, let the essence of Chris Isaak speak through her in female form. The songs from “Found A Pearl” to “When I Die” show the definite conflict of emotions inside and around the green streaked jet haired singer’s head while odes to her father like “Stubborn Man” show the element of connecting with her young audience’s changing focus. Admitting that she was a bad girl as a teenager, she says that time gives clarity when you reach a supposed age of reason. While her instrumentation had a edge to it, her crystal sweet voice needs more emotional richness or harshness to it as the proponent of her onstage persona has potential which needs to transcend yet maintain her fans’ obvious fervent attention.
The real eye opener in terms of expectation and affirmation was the winner of a high school band contest who played the Casino Stage. Arts & Crafts, despite being barely 18 if that, had their potential down pat. Despite some overarching persona issues which always get either worked out or not, the level of technical prowess especially on the part of the lead guitarist and drummer rocked the house. Aided by another lead guitarist, effective but in full Guitar Hero mode, as well as a female bassist obviously enjoying herself with the boys, the influences which clearly had an impact on the judges were richly impacted within the mixed house which was more older generational. From the funk of Jimi Hendrix’s “Foxy Lady” to sheer rapid nature of The Who’s “Something Loose”, the impact of requisite 60s elements all the way to the guitar harmonizing of the Eagle’s “Hotel California” integrated the proceedings to a differing level. But it was their original songs which used tonal shift that really showcased the talents.
From the journeyman guitar riffs reminiscent of the real John Mayer brilliance within the essence of “The Drifter” to the slow jazzy riffs-turned-metal underpinings of “Stopping Out” to the acrobatics of “The Only One”, Arts & Crafts showed the possibilities of talent in the youth in current form. You could see the perfectionism in the mind of the lead guitarist which shows technique and passion in congruence while the drummer, arguably the youngest in the band, who simply slaughtered with a drum solo not capable of some people twice his age. A “Chemical Romance” might dwell within the hearts of these performers with full intensity at their fingertips but it depends on the ability to transcend the barriers, including college.
Bookending these smaller acts on the side stages intrinsically partaking the day, the headliner acts on separate stages the first night showed the diversity of programming initiatives.
Showing his stamina and ability to levitate into the guise of all, Buddy Guy, affluent in his ability to mimic guitar styles, fully jammed out his constituents on stage whisking his fingers across the guitar like glass. But as the witching hour approached, the glow of neon and voices of fans stomping along illuminated the view as the Leinenkugel flowed. Staind, massive performers in their own right, first came on the radar a little more than 10 years ago. Having seen them in The Roxy Theatre on Sunset Blvd in Los Angeles back in the day, the complication of the lighting rigs might have grown but the down home gruel infused richness of the guitar weight combined with singer Aaron Lewis’ steely and emotional voice still hit the audience like a hammer. In a deafening singalong with “Awhile”, the roar of the crowd toasting beers upward and out made the sea of souls revel in unision.
The major headliner gave the intersection of young idealism with the propensity of a lifetime of conflict and advocation. Just the ideal of Bob Dylan has influenced the generational consciousness in terms of sociological upheaval from both and emotional and intellectual standpoint. Coming out onstage in the iconic black hat with his band in congruence, Dylan started out guitar riffing before making his way behind his old school piano synth. Any misconception of man playing the essence of old is sorely mistaken. Despite a different style of pace, Dylan maintains an ultra modern cool without the presumptuous arrogance that infuses so many successes. Dylan recognizes the relativity of the play. As Chris Isaak once mentioned when he watched Roy Orbison performing for a large audience, the essence was the mystery. Too many performers tend to over talk. Dylan lets the music speak. As the performance revolved from be-bop influenced zoot riffs to almost psychedelic symmetry as jagged shapes floated behind the band, the power of the man is clear. The crowd surged to its feet with the jam-induced eminence of “No Direction Home” bringing the connection fully into being as the influence of this man echoes razor sharp.
The key when in a city like Milwaukee for a festival of epic proportions is late night angles, food availability and geography in place. While the late night after Dylan revolved into a darkened rooftop revolving with kamikazes, Guns N’ Roses covers, youthful girl interaction and Randar, the master of ceremonies, the need for consumables rang apparent. Steps away on the winding road, the Astor Hotel on Juneau Street, is replete in the diminishing beauty of its 1930s glory. Entering its halls, manned with a Shining-like dexterity, the ghosts pull at the doors. Caddy corner down the street, 1260 N. Prospect has the distinction of recently being featured in the Johnny Depp-starring, Wisconsin-shot gangster biopic: “Public Enemies” as John Dillinger’s apartment. But, alas, a late night urge tugs at the thirst.
At 2am, the only spot open was Victor’s, affectionately nicknamed “Scarface Disco”. Replete with black leather, dingy corners, glowing blue rocks embedded in the walls, the Spotted Cow was milked smoothly as Emily, the bartender encouraged a dice-fueled drinking game that painted the walls.
Daily interactions for the lunchtime centered have a selection in play of the necessity. After an immediate jump off a red eye, Bloody Marys were needed Wisconsin style. The raised vision of Sobelman’s Pub & Grill emerged from the industrial landscape. Prepped in advance with multiple pony glasses of Schlitz for the taking, the beauty of the cocktail’s mason jar presentation draped in cheese and various other ornaments made the spicy smooth as shrimped torpedoes bathed in batter crunched in unison with a tangy cocktail sauce.
The Third Ward, by comparison, opens up the freshness as a long corridor of organic products and stacked-to-the -ceiling pubs give new meaning to the term “lunch meeting”. Sitting down immediately upon entering at the St. Paul’s Fish Company, the lobster and crab claws bathed in garlic hits the scent. Schlitz, as a rule of thumb, begins the pour. The shrimp and sausage gumbo hit with a twang though not as tangy as necessarily envisioned. The mussels bathed in white wine jumped the scales in consecutive order. The Milwaukee Fish Fry replete with grouper battered in Schlitz flaked with every bite in wonderful richness.
As a last stop persuasion, when all else fails, beer is an undeniable equator. As the brews flow in lovely symmetry from the effortless taps of Lakefront Brewery, the Dark starts the journey. The story becomes almost as inventive as the end result. With an operator utterly consumed in her job and a mug of beer at her side, the basic nature of the business was broke down into the essences of life with R-rated frivolity thrown in for good measure. Audience interaction is key but rewards are given. Drinking up is a way of life. Beer buddies were needed and found directly as a vat overflowed in good natured excitement with its froth showing.
Summerfest offers a destination of revelry for everyone with a grand perspective of the young blasting through as the elders of yore maintain their status. With new discoveries of particular note in Circle Of Fifths and Roster McCabe, the programing aspect seen in a cauldron of possibilities shows the potential of this festival as a blasting off point for new young bands while still offering a bevy of both classic rock and popular acts to fuel the fire. Food and the night pull continuously as the celebration continues. Leaving in rest as the plane banks away from Milwaukee into the sky , two Wisco party girls, hats in hand, toast some Jack Daniels to salute the future of Summerfest as it rocks ever more.
The essence of “Public Enemies” is that it continues the aspect of Michael Mann is his ability to keep audiences on the edge. He isn’t groundbreaking in a conventional sense per se yet the storytelling is effective and ample. His visual style and direction of actors is visceral yet one can see holes. His latest venture, his first after the quite effective (and again visceral) but underrated “Miami Vice” is a grand experiment and one that exceeds expectations a lot of the time. Mann is the only one truly using the aspect of these new cams on widespread new releases in this kind of real world environment and not a special effects extravanganza. There is a balance between the aesthetic, the realistic and the artistic that is at play here.
Another interesting balance especially within this specific picture and its subject matter is its appeal. At the screening at the Academy last night which also included a significant amount of recruited “normal moviegoers” to build buzz, I was surprised to truly see a cross-section that one would not think directly would be influenced by this kind of “Scarface” epic from the 30s and yet it speaks. Whereas “Scarface” became about the sheer bravado and “the world is mine”, there is a different aspect here. John Dillinger (played here by Johnny Depp with restrained gusto) gets what he wants and of course gets it in the end. Live fast and leave a good looking corpse (albeit with a few bullet holes). The perspective that one can see right away is how viewable that this film will be in a couple years. The picture that comes to mind is Gary Oldman and “Dracula”. While the performances are nowhere near than nuanced, there is a sensibility to the proceedings that has a timeless capability
But coming back to the actual demos in play of the picture, the urban population came out in force to Beverly Hills. The line was around the block for the test/buzz audience per se. Two younger African Americans sitting in front of me as well as what would be considered a group of late teen Ventura teenagers behind me were experiencing the same movie and reacting in different but similar ways. The African American in their late teens/early 20s watched Johnny Depp slinking through a club and then going after his new love played by Oscar winner Marion Coiullard. He says he will never abandon her. Later on after bashing a guy who won’t let him talk to her at the coat check, Dillinger gives her his life story since she says she doesn’t know him. He says his mother died when he was born. His dad beat him because he didn’t know any better. He like fast cars, good food, whiskey and her. Period. That got the entire audience in a full applause. Lots of shout out for him at the screen. The word I repeatedly heard is “He’s a pimp” which is a mark of endearance. Similar to “Scarface”. This guy took what he wanted and made no bones about it. The only irony is that he was a criminal, a gangsta. What is interesting is that back in the 50s and the 60s, the people that could anything and be the cool kids on the block were the scientists rocketing people into space. Like Obama, we need a rock star like that in space.
But “Public Enemies” shows that rare instance, and whose impression will be seen at the box office, the impression on modern culture. Now in terms of acting, Mann as usual can simply get some mesmerizing elements at times from his people but this is also due to the intimacy of this camera and what it can show. There is still a shortcoming/advantage to this Cinealta F23 HD Camera he is using. The cam lists for $150,000 on the Sony website and is at the forefront but it still at times does not look as good as some of the low light elements you can current see on the Sony Red One which has a 35mm chip. Now the great element of this whole discussion is that Mann is bringing the idea to the forefront of these cameras in a conventional shoot but getting A- list actors to allow themselves to be shot in this way. It is much more in your face. It was one of the aspects that made the training sequences in “Ali” pop and is improved here.
The system looks beautiful in day shoots with not as many lights. Even in sequences like the club in the beginning of “Miami Vice” or even here in the lusher bordello nightclub near the beginning as well, the camera maintains an interesting balance where it doesn’t look like video. However during one shootout in the woods where the blast elements of the Tommy Guns are in full view, there is both a disconnect and a connect that pulls you both ways especially if you have a production background but are also thinking of how the audiences will perceive the film. This specific sequence using almost completely natural light is not as overly grainy as it was before in earlier Mann films with this technology but the lack of true rack focus and the shutter speed makes certain running elements inside and with the car chases look like it was shot on a video camera (which it is) but of a much lower grade. This is also because of slight blur. It begins to look like guerilla filmmaking but of film school technology. It is not there yet in terms of this.
Now on the flip side, it makes what you are seeing extremely visceral and personal. Being in the room only with Johnny with what you can tell is just the cameraman with Mann possibly way out somewhere on a Bluetooth video tap or even right behind the camera allows 360 video shoot flow. That is exciting especially if you are talking a massively budgeted film like this. It is like play acting with the biggest toy you can find. When the Tommy Guns start going off, you feel you are right in the middle of it. In terms of the technical right when the Tommy Guns blare, one can see the shutter speed change. However there is something very cool about watching Depp just unleash a blaze of gunfire in that room. You can imagine how loud it was. It is definitely a different experience for him for sure than “Pirates” or even Burton, his longtime collaborator.
This brings the aspect to the acting. Because of his cache and the fact that A-list actors are now mostly doing movies because purely of directors with scripts as the second consideration, other lower tier actors on the totem tend to follow that perception. This time in films is very interesting for this with using this type of camera because unlike the past 80 years, because of it there is less down time on set because the light (unless you are doing ultra stylized) is less of an issue (or in terms of a motion capture film) is not an issue at all.
Johnny gets the brunt of the interaction with the camera and seems extremely game for it. The camera in close up captures truly what you look like so the make up has to be ultra fine and almost invisible or you see the imperfections. At one point in a bed scene, the camera is so close up that you can see the imperfections in Depp’s skin which are few. Many actors would not be game for this especially at Depp’s current stature. This is also the first time we have seen him looking like his original 21 Jump Street persona in terms of look with the hair and clean shaven. It is this point for me that I most see Johnny having met him throughout his career because usually he disappears almost completely. The research he did for the role and his family’s own criminal past he has discussed in the media obviously helps him but doesn’t play the character glib. He plays Dillinger as methodical but he shows the man as still enjoying himself yet practical. The parallel I can make is Leonardo DiCaprio’s character in “Catch Me If You Can”. This movie however much more visceral.
While the ending which has Mann giving homage to old school Hollywood with Clark Cable and “Manhattan Melody” seems a bit over-artsy, it is pertinent and upon further reflection, very classical and stylized while maintaining the verite style allowed by the F23.. You can read a lot into the eyes of Depp at that time when he is sitting in the theater. Mann allows this scene to breathe the most to give it consequence.
Christian Bale has the less glamorous role in the movie and, at times, the more difficult one since he has to be subtle. With a new found accent that separates him, the droll delivery he must employ in “Dark Knight” is gone for the most part but again Bale is so recognizable now that unless he supremely alters his appearance like Depp does in other roles, the impression of Bale, the persona, despite the fact that he tries to keep that at a minimum, still shines through. The character he plays (Purvis) is a man who must work the politics but also be hard hitting and stay true to himself despite moral or ethical conflicts. One of the intrinsic parts of the movie is when Purvis fully commits to his mission and guns down Babyface Nelson with gusto in the middle of the dark. This is one of those moments where the actual aesthetic of that low light with the F23 works. But that is because the camera is standing fairly still a certain distance away.
The other major player is actress Marion Cotillard who won the Oscar for “Le Vie En Rose”. As with a lot of female parts she has less to do, since most of the active action, is taken by the men. Her character only starts to have some cool stuff to do in the interrogation room towards the end. Her viciousness and repulsion at the men who are roughing her up got the audience applauding. Unfortunately that is the only place it is allowed to shine especially in this kind of boy’s movie set in this time period. Even in “Scarface”, Michelle Pffiefer and Mary Elizabeth Mastrantonio had much more to do.
Other interesting actors populate the screen, some for moments and others fleeting, but their inclusion shows the pedigree. Billy Crudup has the most screen time apart from the leads as J. Edgar Hoover in very much a thankless role. Despite this, the performance comes off fairly flat. Stephen Dorff has bad ass elements of one of Dillinger’s gang but besides a few one liners that are taken and heard off-the-cuff, he is not specifically highlighted in a deliberate way. Channing Tatum has about two minutes as Pretty Boy Floyd early in the picture as he is shot down at the opening of Bale’s introduction as Purvis. The interesting thing is that when you see him for the first time up close after he has been shot where he has no dialogue, he looks like Chris Pine. The credits are the only thing that proved me wrong. And towards the end, Leelee Sobieski shows up as Polly Hamilton with maybe one line. She worked with Kubrick on “Eyes Wide Shut” but again very small inclusion. Giovanni Ribisi as an outside consultant to Dillinger is the person with the most on-screen time with Depp in this regard although you could tell he only worked two days. But his impression is the most undeniable because he completely blends in. You feel that he is there in that time period.
That is one thing that this format and the approach Mann takes does. It places you in that time period however fleeting it is. You maybe get a little of the feel of what it was like for these outlaws when that was consider modern. That is the movie’s true strength along with Depp. Coming out of theater and looking up at the color of the sky, it is the same on the film. It is hard to capture what the naked eye sees and that is part of the experiment. With others big directors going either fully stylized (Tony Scott), fully digital (Robert Zemeckis) and beyond the realm of what might be possible (James Cameron), Michael Mann is one who is still bringing the real. And despite whether it works all the time, it is a cool artistic focus that will continue to evolve. Out of 5, I give “Public Enemies” a 3 1/2.
The AFCI Locations Trade Show in Santa Monica bridges the gap between tourism and film in a way that is becoming ever more apparent. The inclusion of resorts, food and entertainment within the context of a local economy is becoming ever more intrastructured with filming. With different states and countries vying for the elusive dollar or euro, the allure of uniqueness of visual capture and experience to imbue a production is all important as is the aspect of incentives.
South America made a big perception this year with the aspect of Colombia coming into view. While being only a short jaunt in all regards to Miami, it becomes a good aspect for East Coast productions searching for Old World and jungle settings as well as a balance of contemporary. Known to Americans as a setting for “Romancing The Stone”, the basis in Bogota also is highlighted by an interactive multi-use Americas Media Complex that can be integrated into production. The Bogota International Film Festival is also making itself more known which can act as a starting off point for integration. Film Brazil, based further down in the Continent out of San Paolo, offers a conglomeration of production companies to integrate with the local production teams. Peru on the West Coast also boasts the integrated city center of Lima with access to the Amazon.
Jumping over the Asia, there is a bevy of possibilities especially with alternative tropical and urban settings. The Phillipines seems to lead the charge with a diversity of production value and assistance in Manila which is bouyed by the Phillipines Tourism Board. There is also extensive possibility with Cinemanila and the Asian Film Market that highlights it in Pusan. Further in the Asian territories, Thailand with the richness of Bangkok to the sprawl of Isan to the paradise of Phuket offers an energy supported by the Thailand Film Office. The balance of the film festivals in Bangkok and Phuket as well help this along. With the advent of their very successful horror and sci-fi genre hits, South Korea is also becoming a leader in the world market with many of their locations highlighted and copied in American remakes but with most not comparable to the original vision. The aspect of the possibilities is bridged by the Asian Film Commissions Network and the Pusan Film Festival which is linked to the aforementioned Asisan Film Market.
Europe is made interesting by the extremes of structure of what is possible. Bruges in Belgium came out of nowhere with the surprise international hit “In Bruges” with Colin Farrell which completely highlighted the city. A boat ride through the canals to music featured as an extra on the film’s DVD is a glowing advertisement. Film London highlights the rich possibilities the city has and continues to have. Being the location home to the biggest films ever made, it is tailor made for anything that needs to be done. Film Tourism is also becoming a big aspect of the city since everyone seems to want to know its history which is only buoyed by Film London’s interaction with the London Film Festival.
Elsewhere in Europe heading into the East is the essence of Bavaria and Hungary which have become hotbeds for production in recent years because of their ease and economy of production and materials. Bavaria Film is quite known for their incentives and working with filmmakers while ITD Hungary is comparable in their pursuit of business development opportunities in this vein. They are buoyed by their production arm at Film Team which highlighs a bevy of studio, stage and location possibilities in the country.
Heading back towards North America, the Carribean has been getting its share of highlights. The Bahamas played host in the past year to both “Fool’s Gold” as well as “Quantum Of Solace” and has always been a favorite because of its close proximity to Miami. Their location is also buoyed by the fact of some of its famous residents including Sean Connery who helps heighten its visibility as well as the Bahamas International Film Festival. Elsewhere in the Carribean, the US Virgin Islands also makes extensive use of its tropical location and ease to the mainland.
Meanwhile, back on the mainland, in deference to the domestic film scene, some locations are making their presence know. While both New Mexico and Connecticut have been making their presence known as of late, Alabama is in the midst of passing a film incentive law that should be in effect by late October of this year which will be very helpful to filmmakers as the next big thing. Film Florida has always been a big proponent because of its tropical perceptions within a domestic setting which is now buoyed in Los Angeles by a working film liason located in the city. This in addition to their continued presence at film festivals such as South By Southwest and Cinevegas increasing their proximity to filmmakers. In specific, The Florida Keys & Key West, which have played host to films such as “True Lies” and “License To Kill” continues to be a big draw.
Further back on the East Coast, Kentucky is making their presence known and with an exceptional list of talent and backing, the state looks to be even more possible in what might be possible. Atlantic City, recently becoming even more accessible with train service from New York City, is building up its ranks. With exceptional food, a heightening film style and some great new hotels like The Chelsea and production centers it continues to grow and aspects of its outreach like The Downbeach Film Festival will continue to buoy the city. The last of the domestics which truly has made its presence known is Wisconsin, which was recently base and filming location for Michael Mann’s upcoming “Public Enemies” about John Dillinger starring Johnny Depp and Christian Bale. It is an untapped area of the country with a definite vibe which was recently highlighted at the Wisconsin Film Festival in Madison.
The AFCI Locations Trade Show this year showed the increasing diversity of locations available overseas and domestically to the emerging and established filmmaker.