埃德加·赖特（Edgar Wright）的“火花兄弟”（The Sparks Brothers）给了邪教摇滚偶像
Edgar Wright’s ‘The Sparks Brothers’ Gives Cult Rock Icons Their Due
“我什么时候加入？”电影制片人埃德加·赖特（Edgar Wright）问自己，重复了一个问题，即何时在Sparks的五十年职业生涯中，他首先喜欢乐队。 “我5岁那年第一次在电视上看到火花，即使我5岁……”“什么让你呢？”插话歌手罗素·梅尔（Russell Mael）。 “你还在等什么？”一切都在及时享受 - 罗素和他的兄弟罗恩以“火花兄弟”的形式获得电影的时机终于是正确的，这是一部摇摇欲坠的纪录片，将于1月30日首映梅尔兄弟（Mael Brothers）的故事是今年虚拟圣丹斯电影节的一部分。《洛克'n'Roll》中的不寻常的耐力之一。是的，该小组的两个支柱是由血统团结的，这应该有所帮助，但这绝不是绿洲或扭结最终的保证。这也是一个永远延迟满足的故事，因为任何曾经觉得火花的球迷都应该得到摇滚明星的水平。赖特的文档不会单手推动他们WHO或Stones的水平，列举了另外两套士兵的服装。但是，这是一个始终足以需要一个人的行为的一种甜蜜的解释者，这是一个不受欢迎的人。 “斯科特·朝圣者与世界”和“婴儿司机”，其中最后一个成功，他的经纪人在表明他想在岩石文档上度过两三年时必须做双重操作，因为它的跟随-向上。 “总导演总是给我留下了深刻的印象，他们似乎像斯科塞斯一样在唱片和纪录片中拍摄了一部纪录片。但最重要的是，我觉得拍摄这部电影对我来说比继续告诉我的朋友我认为火花有多伟大，这对我来说要容易得多 - 对我来说，拍摄了两个小时的电影，比在晚餐上花四个小时试图赞扬我的爱赖特（Wright）出生于1974年，同年，基于洛杉矶n在他的祖国英格兰，标题为专辑“ Aino My House”及其单曲“ This Town Ain Ain Ain Ain Ain An For Ather Ather Ather”，回想起来，这听起来像是女王听起来可能会做的事情可能会做些事情给更多的吉尔伯特和沙利文。五年后，当他成为一名小孩时，Sparks在一生中已经饰演了第三或第四人生，并与Maels的Prescient Giorgio Moroder生产的全同伴专辑相连。那是在他们成为80年代洛杉矶的核心KROQ乐队之前，他带着“我的裤子里的焦虑”在90年代在德国取得了突破，并以“我什么时候可以唱歌'我的方式’或在2000年写了一部有关Ingmar Bergman的歌剧。Sparks的最新项目，与导演Leos Carax合作在亚当驾驶员主演的电影音乐剧《 Annette》中应该在去年在戛纳首映，但应该看到日光，但像这样Doc，在2021年晚些时llow.says Wright：“每次他们回来时，我都会对此感到困惑”。公众很容易受到一个由高发，长发的性符号歌手和键盘手兼作者组成的小组的困惑在25张录音室专辑之前，它包含许多重塑。但是火花变得像岩石的秘密握手一样 - 一个兄弟会，如果您得到了，就可以了。在DOC中出现采访的超级粉丝中，有Mike Myers，Patton Oswalt，Duran Duran，Beck和Flea。他们与人物分享了屏幕时间，从1972年的首张专辑的制片人托德·伦德格伦（Todd Rundgren）到一个女人的回归，看到一个女人在70年代中期跃上舞台，并将自己包裹在两者中所谓的较小的性爱之上。女孩跳到罗素上，但是这个女孩更多地是一个知识分子，”罗恩解释说铲球的接受者。罗素说：“她侮辱了我，说她想要罗恩，因为她觉得自己可以在脑层面上与他建立联系，而她不能和我在一起。”无论如何，罗恩说：“我喜欢埃德加（Edgar）采访了一个在1975年冲进舞台的女孩，但她的脑海中仍然如此生动 - 然后是尼尔·盖曼（Neil Gaiman），他们都同样重要。”赖特（Wright）结晶了一个有趣但严重的神秘感，从70年代后期，他从第一个“流行音乐的顶级”目击中吸引了他，直到他意识到Sparks在Twitter上追随他，并召集了神经，使他的音乐英雄五年前。赖特说：“那时每个人都很笑脸，人们来凝视着相机的想法 - 当你一个孩子看着那个时，它令人迷惑不解，令人恐惧，肯定会从“ womlebles”中脱颖而出。” “我不明白歌词，但我想变得更聪明地理解它。所以我将火花与蒙蒂·蟒蛇的括号托一起我在哪里想，‘这些哲学家是谁？我想了解这个笑话是什么。’我对Sparks感到类似的方式：“我知道这不仅仅是吸引人的曲调。’”这也是50年的粉丝。赖特说：“尼尔·盖曼（Neil Gaiman）在纪录片中对此进行了讲话。”“您可以在表面上享受它，但您想解码它。火花感觉像是一个可以解决的谜语。您必须做一半的工作。”赖特（Wright）很高兴制作一部可能有助于另一半的电影。
"When did I get on board?” filmmaker Edgar Wright asks himself, repeating the question about when, over Sparks’ five-decade career, he first took a liking to the band. “I saw Sparks for the first time on TV when I was 5. And even when I was 5…”
"What kept ya?” interjects singer Russell Mael. “What were you waiting for?”
Everything in good time — and the timing is finally right for Russell and his brother Ron to get their filmic due in the form of “The Sparks Brothers,” a rollicking documentary that will premiere Jan. 30 as part of this year’s virtual Sundance Film Festival.
The Mael brothers’ story is one of unusual endurance in the world of rock ’n’ roll; yes, the group’s two mainstays are united by blood, which should help, but then, that was never any guarantee for Oasis or the Kinks in the end. It’s also a tale of eternally delayed gratification, for any fans who ever felt Sparks was deserving of a plateaued level of rock stardom. Wright’s doc won’t singlehandedly push them up to the level of a Who or Stones, to name two other outfits who’ve soldiered on that long. But it’s one sweet explainer for an act that has always been just offbeat enough to require one, for the intrigued uninitiated.
“I’d always been curious about doing a documentary,” says Wright, the director of “Shaun of the Dead,” “Scott Pilgrim vs. the World” and “Baby Driver,” the last of which was successful enough that his agent must’ve done a double-take when he indicated he wanted to spend two or three years on a rock doc as its follow-up. “I was always impressed by directors who could seem to sort of be doing a feature film and a documentary in tandem, like Scorsese. But most of all, I felt like making the film was easier for me than to carry on telling my friends how great I thought Sparks was — easier for me to make a two-hour film than spend four hours at dinner trying to extol my love.”
Wright was born in 1974, the same year that the L.A.-based Sparks became a sensation in his native England with the archly titled album “Kimono My House” and its single “This Town Ain’t Big Enough for the Both of Us,” which, in retrospect, sounds like something Queen might have done if they’d listened to a lot more Gilbert and Sullivan. When he became intrigued as a tot five years later, Sparks was already onto a third or fourth life in a lifetime of reinvention with the Maels’ prescient, Giorgio Moroder-produced all-synths album. That was before they became a core KROQ band in L.A. in the ’80s with “Angst in My Pants,” had their breakthrough in Germany in the ’90s with a song called “When Do I Get to Sing ‘My Way’?” or wrote an operetta about Ingmar Bergman in the 2000s.
Sparks’ latest project, a collaboration with director Leos Carax on an Adam Driver-starring movie musical, “Annette,” was supposed to premiere at Cannes last year but should see daylight, like this doc, later in 2021. They’ve always been a hard act to follow, but have maybe an even tougher arc to follow.
Says Wright: “Every time they came back, I was more sort of confounded by it” — in a good way. The general public was easily baffled by a group made up of a high-voiced, long-haired sex-symbol singer and a keyboardist-songwriter with a slicked-back ’do, a Hitler/Chaplin mustache and a deep glare — and that was before the 25 studio albums that contained almost as many reinventions. But Sparks became like the secret handshake of rock — a fraternity where if you got it, you got it. Among the superfans who show up to be interviewed in the doc are Mike Myers, Patton Oswalt, Duran Duran, Beck and Flea. They share screen time with figures ranging from their 1972 debut album’s producer, Todd Rundgren, to the return of a woman seen leaping onto the stage in the mid-’70s and wrapping herself around the supposedly lesser sex god of the two.
“Most of the girls jumped up to stomp on Russell, but this one girl was of more of an intellectual bent or something,” explains Ron, the recipient of the tackle. “She insulted me,” says Russell, mock-upset, “saying that she wanted Ron because she felt that she could connect with him on a cerebral level, and she couldn’t with me.” Anyway, Ron says, “I love that Edgar interviewed a girl that stormed the stage in 1975, and it’s still so vivid in her mind — and then there’s Neil Gaiman, and they’re all equally important.” Wright crystallizes the funny-but-serious mystique that intrigued him from his first “Top of the Pops” sighting in the late ’70s until he realized that Sparks followed him back on Twitter and mustered the nerve to DM his musical heroes five years ago.
“Everybody was smiley then, and the idea of people coming on and sort of staring down the camera — when you're a kid watching that, it’s beguiling and sort of terrifying and definitely stood out from ‘The Wombles’,” says Wright. “I didn’t understand the lyrics, but I wanted to be smarter to understand it. So I put Sparks in the same bracket as Monty Python, where I would think, ‘Who are these philosophers? I want to understand what the joke is.’ I felt a similar way with Sparks: ‘I know there’s something more to this than just the catchy tune.’”
That goes for fans of 50 years, too. “Neil Gaiman speaks to it in the documentary,” Wright says. “You can enjoy it on a superficial level, but you want to decode it. Sparks feels like a bit of a riddle to solve. You kind of have to do half the work.” Wright is thrilled to have made a film that may help with the other half.
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发表于 2022-7-5 09:17:00
发表于 2023-1-14 10:36:10