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Showing posts with label Health. Show all posts

Character actor, World War Two hero Charles Durning dies at 89






NEW YORK (Reuters) – Charles Durning, a World War Two hero who became one of Hollywood’s top character actors in films like “The Sting,” “Tootsie” and “The Best Little Whorehouse in Texas,” has died, a New York City funeral home said on Tuesday. He was 89.


Durning, who was nominated for nine Emmys for his television work as well as two Academy Awards, died of natural causes at his New York City home on Monday, his agent told People magazine. Frank E. Campbell Funeral Chapel in Manhattan confirmed Durning‘s death to Reuters.






Durning also was an accomplished stage actor and once said he preferred doing plays because of the immediacy they offered. He gained his first substantial acting experience through the New York Shakespeare Festival starting in the early 1960s and won a Tony Award for playing Big Daddy in a 1990 Broadway revival of “Cat on a Hot Tin Roof.”


Durning did not start amassing film and TV credits until he was almost 40 but went on to appear in more than 100 movies, in addition to scores of TV shows.


Durning’s first national exposure came playing a crooked policeman who gets conned by Robert Redford in the 1973 movie “The Sting.” He got the role after impressing director George Roy Hill with his work in the Pulitzer- and Tony-winning Broadway play “That Championship Season.”


Durning had everyday looks – portly, thinning hair and a bulbous nose – and was a casting director’s delight, equally adept at comedy and drama.


Durning was nominated for supporting-actor Oscars for playing a Nazi in the 1984 Mel Brooks comedy “To Be or Not to Be” and the governor in the musical “The Best Little Whorehouse in Texas” in 1983. “Whorehouse” was one of 13 movies Durning made with friend Burt Reynolds, as well as Reynolds’ 1990s TV sitcom “Evening Shade.”


Other notable Durning movie roles included a cop in “Dog Day Afternoon,” a man who falls in love with Dustin Hoffman’s cross-dressing character in “Tootsie,” “Dick Tracy,” “Home for the Holidays,” “The Muppet Movie,” “North Dallas Forty” and “O Brother Where Art Thou?”


He was nominated for Emmys for the TV series “Rescue Me,” “NCIS,” “Homicide: Life on the Street,” “Captains and the Kings” and “Evening Shade,” as well as the specials “Death of a Salesman,” “Attica” and “Queen of the Stardust Ballroom.”


Durning was a fan of Jimmy Cagney and after returning from harrowing service in World War Two he tried singing, dancing, and stand-up comedy. He attended the American Academy of Dramatic Arts until he was kicked out.


“They basically said you have no talent and you couldn’t even buy a dime’s worth of it if it was for sale,” Durning told The New York Times.


D-DAY INVASION


He worked a number of make-do jobs – cab driver, dance instructor, doorman, dishwasher, telegram deliveryman, bridge painter, tourist guide – all while waiting for a shot at an acting career. Occasional stage roles led him to Joseph Papp, the founder of the New York Shakespeare Festival, who became his mentor.


“Joe said to me once, ‘If you hadn’t been an actor, you would have been a murderer,’” Durning told the Times. “I don’t know what that meant. I hope he was kidding. He said I couldn’t do anything else but act.”


Durning grew up in Highland Falls, New York, and was 12 years old when his Irish-born father died of the effects of mustard gas exposure in World War One. He had nine siblings and five of his sisters died of smallpox or scarlet fever – three within a two-week period.


Durning was part of the U.S. force that landed at Omaha Beach during the D-Day invasion in June 1944. A few days later he was shot in the hip – he said he carried the bullet in his body thereafter – and after six months of recovery was sent to the Battle of the Bulge.


Durning, who was wounded twice more, was captured and was one of the few survivors of the Malmedy massacre when German troops opened fire on dozens of American prisoners. In addition to three Purple Heart medals for his wounds, Durning was presented the Silver Star for valor.


At an observation of the 60th anniversary of D-Day in Washington, Durning told of the terror he felt and carnage he saw when hitting the beach on D-Day. He said he had to jettison his weapon and gear in order to swim ashore and saw mortally wounded comrades offering themselves as human shields.


“I forget a lot of stuff now but I still wake up once in a while and it’s still there,” he said. “I can’t count how many of my buddies are in the cemetery at Normandy.”


Durning was married twice and had three children.


(Reporting by Ellen Wulfhorst; Writing by Bill Trott; Editing by Eric Beech)


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Quentin Tarantino unchains America’s tormented past in “Django”






LOS ANGELES (Reuters) – Twenty years after Quentin Tarantino unveiled his first film “Reservoir Dogs,” the director has turned his eye to America’s slavery history, spinning a blood-filled retribution tale in his trademark style for “Django Unchained.”


Tarantino, 49, has become synonymous with violence and dark humor, taking on the Nazis in “Inglourious Basterds” and mobsters in “Pulp Fiction.”






In “Django Unchained,” to be released in U.S. theaters on Christmas Day, he fuses a spaghetti Western cowboy action adventure with a racially charged revenge tale set in the 19th century, before the abolition of slavery in the United States.


Jamie Foxx stars as a slave whose freedom is bought by a former dentist, played by Christoph Waltz. The two set off as bounty hunters, rounding up robbers and cattle rustlers before turning their attention to brutal plantation owners in America’s Deep South.


Tarantino is well-versed in delivering violence. But the director said he faced “a lot of trepidation” about filming the slavery scenes. He has already come under fire from some critics for the frequent use in the film of the “N-word” – a racial slur directed at blacks.


The director said he was initially hesitant to ask black actors to play slaves who are shackled and whipped, and even considered filming outside of the United States.


But a dinner with veteran Oscar-winning actor Sidney Poitier, whom Tarantino called a “father figure,” changed his mind after Poitier urged him to not “be afraid” of his film.


“This movie is a deep, deep, deep American story, and it needed to be made by an American, and it needed to star Americans. … Lots of the movies dealing with this issue have usually had Brits playing Southerners and it creates this arm’s-distance quality,” Tarantino said.


Much of the film’s more graphic slavery scenes, such as gladiator-style fights to the death and being encased naked in a metal hot box in the heat of the Southern sun, are drawn from real accounts.


“We were shooting on hallowed ground. This was the ground of our ancestors. … Their blood was in the grass, there’s still bits of flesh embedded in the bark,” Tarantino said.


The film has received good reviews from critics and is expected to add Oscar nominations in January to its five Golden Globe nods.


With the exception of Waltz, who plays eccentric German bounty hunter Dr. King Schultz, the majority of the main players are not only American but from the South.


“It seemed sacred to us, and we couldn’t help but channel those emotions, everybody on the crew and on the set. … Those were very moving days,” Tarantino said.


‘DESPICABLE’ CHARACTERS


Tarantino reunited with Waltz, who won an Oscar in 2010 for his role as a menacing Nazi officer in “Inglourious Basterds,” and long-time collaborator Samuel L. Jackson, who plays slave housekeeper Stephen, a character who Tarantino described as “the most despicable black (character)” in movie history.


“Stephen might be frankly the most fascinating character in the whole piece, and it was important to deal with that whole upstairs-downstairs aspect of the Antebellum South,” he said.


The role that has people talking is Leonardo DiCaprio‘s first villainous turn as a racist plantation owner – a stark contrast from his Hollywood heartthrob “Titanic” days and roles as eccentric Americans in “The Aviator” and “J. Edgar.”


Asked how he felt to be the first director to make DiCaprio a villain, Tarantino laughed, saying he felt “pretty darn good about it.” He commended DiCaprio for turning into a “Southern-fried Caligula,” referring to the tyrannical ancient Roman emperor.


“I saw him as a petulant boy emperor. … He has nothing but hedonistic hobbies and vices to indulge him, and it’s almost as if he’s rotting from the inside,” Tarantino said.


The film’s female lead, Django’s wife Broomhilda played by Kerry Washington, moves away from Tarantino’s fierce screen women such as Uma Thurman in “Kill Bill” and Diane Kruger in “Inglourious Basterds.”


Tarantino said Broomhilda was meant to be the “princess in exile.” He said he was “annoyed” when he was asked by a friend why Broomhilda did not exact revenge on her abusers in the same way as Thurman’s “Kill Bill” character. The film, he said, is “Django’s story.”


“It invokes … that odyssey that Django goes on and gives the black slave narrative the romantic dimensions of great opera or great folklore tales,” Tarantino said.


(Editing by Jill Serjeant, Patricia Reaney and Will Dunham)


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“Hobbit” fever beats Tom Cruise at box office






(Reuters) – The big-budget “Hobbit” fantasy movie ruled movie box office charts for a second straight weekend, fending off Hollywood heavyweight Tom Cruise in new crime drama “Jack Reacher.”


The Hobbit: An Unexpected Journey” hauled in nearly $ 37 million from theaters in the United States and Canada, according to studio estimates of Friday-through-Sunday ticket sales. The film is the first of three movies based on the classic J.R.R. Tolkien novel about a world of dwarfs, elves and dragons in the fictitious Middle Earth.






In second place, Cruise’s “Jack Reacher” about the investigation into a sniper shooting brought in just short of $ 17 million at U.S. and Canadian theaters. Distributor Paramount Pictures postponed a premiere of the film after the fatal school shooting in Newtown, Connecticut, sparked new scrutiny of violent movies.


Adult comedy “This is 40,” starring Paul Rudd and Leslie Mann as a middle-aged couple, brought in $ 12 million, finishing in third place.


The Hobbit” was distributed by Time Warner Inc’s Warner Bros. studio. Paramount Pictures, a unit of Viacom Inc, released “Jack Reacher.” Comcast Corp’s Universal Pictures distributed “This is 40.”


(Reporting By Lisa Richwine and Andrea Burzynski)


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‘Walking Dead’ Showrunner Glen Mazzara Leaving






NEW YORK (TheWrap.com) – Glen Mazzara, who led AMC‘s “The Walking Dead” to ratings highs after the exit of Frank Darabont, is leaving the show.


The announcement came with the unsurprising news of a fourth-season pickup for the series. It continues AMC’s rocky record with its showrunners, but the network said the decision was mutual.






While AMC has clashed with showrunners before over money, a person familiar with the situation told TheWrap that this time the issue is “100 percent not about money or contracts.”


Rather, it is about a difference of opinion over where the show should go in the fourth season and beyond. It involves AMC, Mazzara and the show’s writers and producers, who include Robert Kirkman, creator of the comics that provide the basis of the series.


Kirkman might be the fans’ choice to take over as showrunner, given that most of its characters were born on his pages. But he also has a busy career writing comics and novels.


In a statement, Kirkman said he believes Mazzara and AMC came to the decision “in the best interest of the future of the show.”


In an interview with TheWrap in October, Mazzara said he would love to remain with the show until the end, “if AMC and the fans would have me.”


“I would love to be the guy shutting the lights off,” he said at the time.


It didn’t work out that way, even though Mazzara has made “The Walking Dead” this season’s top-rated drama — even beating network shows. It also has a legitimate shot at ending the season as TV’s top scripted show overall.


“Both parties acknowledge that there is a difference of opinion about where the show should go moving forward, and conclude that it is best to part ways,” AMC said in a statement.


AMC also said the decision is “amicable” and that Mazzara will remain showrunner for the remainder of the third season, which resumes airing in February. The episodes have already been filmed, and Mazzara will oversee postproduction.


He is also looking for his next project.


“My time as showrunner on ‘The Walking Dead’ has been an amazing experience, but after I finish season 3, it’s time to move on,” said Mazzara. “I have told the stories I wanted to tell and connected with our fans on a level that I never imagined. It doesn’t get much better than that. Thank you to everyone who has been a part of this journey.”


Mazzara took over the show after Darabont parted ways with it after its first season. Darabont was just one of several showrunners to have issues with AMC.


Jason Horwitch left “Rubicon” during its lone season. The third season of “Hell on Wheels” was briefly put on hold last month when showrunner John Shiban left.


“Mad Men” creator Matthew Weiner nearly walked from the show during a contract dispute last year. And “Breaking Bad” briefly looked into leaving AMC before creator Vince Gilligan’s contract was renewed.


Kirkman’s full statement included his thanks to Mazzara and the show’s fans.


“I am in full support of both AMC and Glen Mazzara in the decision they have come to and believe the parties came to this decision in the best interest of the future of the show,” Kirkman said. “I thank Glen for his hard work and appreciate his many contributions to ‘The Walking Dead’ and look forward to working with him as we complete post production on Season 3. I am also excited to begin work on another spectacular season of this show that I know means so much to so many people. This show has always been the result of a wide range of extremely talented men and women working tirelessly to produce their best work collectively. I believe the future is bright for ‘The Walking Dead.’ Thank you to the fans for your continued support.”


Executive producer Gale Anne Hurd also expressed her thanks.


“I am appreciative and grateful to Glen for his hard work on ‘The Walking Dead,’” she wrote. “I am supportive of AMC and Glen’s decision and know that the series is in great hands with one of the most talented and dedicated casts and crews in the business. I look forward to the show’s continued success.”


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“Les Miserables” movie relies on close-ups for emotional punch






NEW YORK (Reuters) – For British director Tom Hooper, the key to turning “Les Miserables” from the wildly popular stage musical to a cinematic experience both sweeping and intimate, was all in the close-up.


The stage musical has left audiences around the world wiping away tears with its themes of justice, redemption and romantic and familial love. So bringing it to life on screen for fans and filmgoers was “hugely daunting,” Hooper says.






Still, the Oscar-winning director of “The King’s Speech,” was ambitious, wanting to offer even more of the “intense emotional experience” that has kept fans returning to various stage productions since “Les Miserables” made its English language debut 27 years ago.


“I felt very aware of the fact that so many millions of people hold this close to their hearts and would probably sit in the cinemas in complete fear,” Hooper told reporters about his big screen take on the tale of French revolutionaries rising up against powerful forces.


Movie stars Hugh Jackman, Russell Crowe and Anne Hathaway were all put through an intense audition and rehearsal process, to make sure they could sing take after take, live, with cameras positioned right in their face.


It also features a large ensemble including Amanda Seyfried and Eddie Redmayne, as well as Sacha Baron Cohen and Helena Bonham Carter who lead the comic relief song, “Master of the House.”


“I thought the great weapon in my arsenal was the close up, because the one thing on stage that you can’t enjoy is the detail of what is going on in people’s faces as they are singing,” Hooper said. “I felt (that) having to do a meditation on the human face was by far the best way to bring out the emotion of the songs.”


That tactic may or may not have paid off for a movie that is seen as one of the front runners for Oscar awards in February. Early screenings of the film that opens on Christmas Day have moved some audiences. Critics have praised the performances, but given the movie as a whole less than top marks.


The movie reunites the same team that worked on the original musical, including French composer Claude-Michel Schonberg, lyricist Alain Boublil, and English language adapter Herbert Kretzmer. It adds one original song to the existing show, which includes the well-known “I Dreamed a Dream”.


Jackman plays petty thief Jean Valjean, the protagonist of the story based on French writer Victor Hugo’s epic 1862 historical novel “Les Miserables.” Valjean transforms himself into a respected businessman but struggles for decades to escape the clutches of his nemesis, police inspector Javert (Russell Crowe), and along the way encounters factory worker Fantine (Anne Hathaway).


TIMELY MESSAGE


Inspired by films such as 1991′s “The Commitments,” singing was filmed live rather than later recorded in a studio to give the movie a more authentic feel.


Hathaway lost 25 pounds (11.3 kg) for the role and cut her long brown hair. She spent six months perfecting the task of crying and singing at the same time for “I Dreamed a Dream” and is a hot favorite for a best supporting actress Oscar.


In a twist of fate, Hooper had initially seen Hathaway singing to Jackman a boisterous version of the “Les Miserables” song “On My Own” at the 2011 Academy Awards ceremony, just when he was trying to decide whether to direct the film and was thinking about casting.


“I was sitting there, going: ‘There is something very strange happening’,” he joked. “Whatever happened, it certainly worked, because I ended up casting both of them.”


Hooper said he took his inspiration mostly from Hugo’s novel rather than any one stage production, and thus saw Crowe’s Javert more as a “deeply honorable” character than a simplistic “bad guy” as portrayed in some productions.


The time also felt right, he said, to bring the story to a larger audience on the big screen.


“There are so many people hurting around the world because of social, economic, inequality and inequity. There is such anger against the system,” he said, “whether it’s the protests on Wall Street or in London at St Paul’s, or the seismic shifts happening in the Middle East.”


“‘Les Miserables’ is the great advocate of the dispossessed,” Hooper said. “It teaches you the way to collective action is through passionate engagement with the people around you. It starts with love for the person next to you.”


(Editing by Jill Serjeant and David Storey)


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A Minute With: Jessica Chastain on “Zero Dark Thirty”






NEW YORK (Reuters) – Jessica Chastain carries the weight of starring in one of the year’s most anticipated films, “Zero Dark Thirty,” about the decade-long hunt and eventual killing of Osama bin Laden.


Critics say Chastain pulls it off seamlessly as “Maya,” based on a real-life CIA agent who played a major role in tracking down bin Laden at his hideout in Pakistan.






As the film opens in limited U.S. release on Wednesday, Chastain, who is tipped as a likely best actress Oscar nominee for the role, talked to Reuters about playing a character she could not meet and why the film is an important look at America’s role in a dark war.


Q. What did you think when you saw this film finished?


A. “It is a tough one for me to watch, because there is so much responsibility with playing this woman. I find her to be incredible. And I didn’t want to change her story or make her a Hollywood version, with a lot of makeup. I didn’t want to trivialize what she did … I want her to like it, but I don’t know if she will ever see it.”


Q. How did you play someone you had never met?


A. “There was three months of working with (screenplay writer) Mark Boal, doing research, reading lists and talking to people. And then anything I could not solve through research, like what is her favorite candy – ’cause when we are all overseas we have something we do when we are homesick – I had to answer that question myself.”


Q. Boal hasn’t gone into too much detail about her?


A. “We have to protect her because she is an undercover CIA operative, still working.”


Q. What else did you know about her?


A. “When we finished the movie, when the Navy Seal book ‘No Easy Day’ came out. I raced to go read it, because I was like, ‘I need to know if my character is in the book!’ And they talk about Jen, the young CIA girl. Well, everything matched up. She was the only one that said 100 percent ‘he is there.’… They talked about how she had been on it close to a decade and they were only on it for 40 minutes. They said she was crying on the airplane afterwards.”


Q. During filming, were you ever worried about your safety, that the film might be misconstrued?


A. “As an actor you always worry about that. Because you think, maybe someone will see a film and they won’t understand the difference between acting and reality. The good thing is, what (director Kathryn Bigelow) and Mark have done, is that they have not made a propaganda film. They tried to make it as authentic as possible and respectful of the actual historical event as they could. That includes showing the intense interrogation techniques that were used. The end of the film – it’s not a lot of fist pumping and saying, ‘Here is our journey over 10 years and it was so difficult and we finally did it.’ It ends actually on a very different note.”


Q. Can you elaborate on that?


A. “Well, for me the whole thing is about the arc of this woman. She shows up in the beginning and she is wearing her best suit. She thinks she knows what she is in for, and she is completely out of her element. But over the 10 years, this woman, who has been trained to be unemotional and analytically precise … we see her struggling to keep it contained for 10 years and as she descends down the rabbit hole of the world she is in.


“So finally at the end when she is asked, ‘Where do you want to go?’ there is no way to answer that question. … She has no idea where she belongs, now that this is done. But not only does it speak in terms of that, but the movie ends with that question – where do you want to go? Where do we go now as a country? Where do we go as a society? It is not a movie that ends with an answer, and I find that powerful.”


Q. How did you cope with filming the torture scenes?


A. “We filmed in a real Jordanian prison, in the middle of nowhere. The environment wasn’t great, especially as a woman.


“They had a lot of trust between the actors, nothing was dangerous or unsafe. There was a lot of discussion to make sure that we weren’t doing something that was going to be salacious. They just wanted it to be accurate.


“I know I am playing a character who has trained to be unemotional. But I have spent my entire life allowing myself to be emotional, and allowing myself to feel everything. … There was actually one day that we were doing a scene, and I said, ‘I am sorry’ and I just had to walk away, and I just started crying … it was a very intense experience.”


Q. You are a top chance for Oscar nomination. Would that be more or less rewarding for this role?


A. “Because she is still an active member of the CIA and undercover, she can’t take credit for what she’s done. … And by making this film, it is my idea as a way of thanking her. It would be very emotional because of that.”


Q. You compare your character to getting lost down a CIA rabbit hole. What about your own dizzying rise as an actress?


A. “That’s a good question. I do think that next year I need to go somewhere for a month and be in a room by myself and be like, ‘Ok, what now Jessica?’ But I am nowhere near where she was at the end of this mission.”


(Reporting By Christine Kearney, editing by Jill Serjeant and Doina Chiacu)


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HBO making “Game of Thrones”-themed beer






LOS ANGELES (TheWrap.com) – Winter is coming – and so is a new line of beers based on HBO‘s fantasy dramaGame of Thrones.” Presumably, all will boast a full, robust head, perhaps resting on top of a spike.


HBO is teaming with Cooperstown, N.Y. brewery Ommegang for a line of brews centered around the series, the New York Times reports. The first beer, Iron Throne Blonde Ale, is slated to go on sale in March, in time for the March 31 premiere of the show’s third season.






It sounds like the perfect libation for watching the premiere from the comfort of your $ 30,000 Iron Throne replica.


A second “GoT”-themed beer will go on sale in fall 2013, with two more varieties expected to go on sale in conjunction with new seasons of the series.


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Beck looks for new connection with ‘Song Reader’






NASHVILLE, Tenn. (AP) — Beck Hansen wants you to think about the way music has changed over the last century and what that means about how human beings engage each other these days.


Laboring over the intricate and ornate details of his new “Song Reader” sheet music project, he was struck by how social music used to be — something we’ve lost in the age of ear buds.






“You watch an old film and see how people would dance together in the ’20s, ’30s and ’40s. You’d go out and people would switch partners and it was a way of social interaction,” Hansen said. “It’s something that was part of what brought people together. Playing music in the home is another aspect of that that’s been lost. Again, I’m not on a campaign to get people to take up songs and play music in their home or anything. But it is interesting to me, the loss of that, what it means.”


Beck hopes the “Song Reader” inspires some of us to pick up instruments and limber our vocal cords. It includes 20 songs annotated on sheet music that’s been decorated in the style popular in the early 20th century when the songwriting industry was a thriving enterprise with billions of songs sold.


The 42-year-old singer notes in the book’s preface that Bing Crosby’s “Sweet Leilani” sold an estimated 54 million copies in 1937, meaning about 40 percent or more of the U.S. population was engaged in learning how to play that song. They were touching it directly, speeding it up, slowing it down, changing the lyrics and creating something new.


“There’s popular bands now that people know the words to their songs and can sing along, but there’s something about playing a song for yourself or for your friends and family that allows you to inhabit the song and by some sort of osmosis it becomes part of who you are in a way,” he said. “So when I think of my great-grandparents’ generations, music defined their lives in a different way than it does now.”


Beck proposed the idea to McSweeney’s Dave Eggers in 2004 and it soon blossomed into something more ambitious as the artist wrapped his mind around the challenge of not just writing a song, but presenting it in a classic way that also engages fans who might not be able to read music or play their own instruments.


They quickly agreed it would make no money, but it seemed like an idea worth exploring.


“And it seemed like only Beck would have thought of it,” Eggers said in an email to the Associated Press. “It’s a very generous project, in that he wrote a bunch of songs and just gives them to the world to interpret. That’s a very expansive kind of generosity and inclusiveness that we’re happy to be part of. On a formal level, we love projects like this, that are unprecedented, and that result in a beautiful object full of great art and great writing. And it all started with Beck. It’s a testament to his groundbreaking approach to everything he does.”


Beck hopes fans will record their own versions and upload them to the Internet so those songs grow into something more universal.


As for his own recorded music, that’s a little more complicated.


Beck’s not sure where he’s headed at the moment. He recorded an album in 2008, but set it aside to work with Charlotte Gainsbourg on “IRM,” which he wrote and produced. He’s also been writing songs for soundtracks and special projects and producing artists like Thurston Moore, Stephen Malkmus and Dwight Yoakam. All that has left him feeling creatively satisfied, but he does acknowledge it’s been a while since he released 2008′s Danger Mouse-produced “Modern Guilt.”


He says in many ways he’s reached a crossroads he’s not yet sure how to navigate.


“This last year I’ve been thinking about whether I’d finish those songs (from 2008), whether they’re relevant or worthy of releasing. I know that doesn’t sound very definitive,” he said, laughing, “but that’s the kind of place I’m in — in this kind of limbo — and, um, yeah.”


The “Song Reader” spurred Beck to think about his own work in a new light as well. Spending six months finishing off the project after working on it sporadically over the years, he was struck by how much craft went into the creation of each song and how quickly music can come into existence today.


“There is so much music out there, to me,” he said. “I don’t know if it’s just where I am in my own music making or if it’s a product of the amount of music out there, but I feel like a piece of music does have to have a certain validity to be put out there and to ask people to listen. … I feel like it’s impossible for everyone to keep up, you know, so I guess I’ve been feeling like maybe there’s something to picking what you’re going to put out, about being more particular about what you put out.”


___


Online:


http://beck.com


___


Follow AP Music Writer Chris Talbott: http://twitter.com/Chris_Talbott.


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