The Arts and Entertainment Supplement to the Daily Nexus, for April 13th through April 19th. 1995

Quentin couldn't: make it, but we got the inside scoop» on Destiny- Turns on tJie Ftedio from his co-stars Dylan McDermott and Nancy Travis, along with director Jack Bar an. See pages 4A-5A. 2A Thursday, April 13,1993 Daily Nexus

bars of cage / you see scars, much ease — thus “Strug­ results of my rage.” That’s glin’,” tire soul food, hip- another thing about this hop blues, demi-epic of debut album. In Tricky’s the album. (The “epic” Massive and Unparalleled world, everything is a cage, track would probably be without any hope of re­ the seven-minute exten­ prieve. Even love is a sti­ sion of their first single, T ricky posedly one of 'fricky’s landic woman named any of them out from the fling, repressive activity “Aftermath.”) Amid creak­ M axinquaye nonsense words, sort of Ragga (again, no last scrapyard beats, hip-hop and sex is the violent ing doors, screeching 4th S t Broadway/I gland based around the name of name) and Alison Gold- breaks, soul slides and means of expressing one’s saxes, cocking rifles and his mother. frapp, who was most re­ thick, dark atm osphere anger. ambulance wails, Tricky This is almost too dense While we’re on names, cently heard on Orbital’s that just oozes out all over Witness “Abbaon Fat mutters like a junkie com­ a record for one head to Tricky’s real one is Adrian last album. M axinquaye this album. Tracks,” with its Ashford ing down off his last fix take. M axinquaye is an al­ Thaw; his most obvious also samples some ack­ Actually, that’s not en­ and Simpson dual vocals, and begging for more. “Do bum of epic proportions— partner in crime is Martina nowledged artists like tirely true. I can pick out deep soul grooves and lyr­ you know what it’s like to and it’s only Incky’s de­ (no last name), she of the Shakespeare’s Sister, the the Isaac Hayes sample. ics that read, “I f* *k you in struggle? / They label me but I believe the title is sensuous murmur; the al­ Chantels, Isaac Hayes and It’s the same one Portis- the ass / just for a laugh.” insane / But I think I’m pronounced “max-in- bum also features guest Smashing Pumpkins, but head used on “Glory Box.” As Goldfrapp burbles more normal than most” KWA-yay,” but it’s sup­ vocals by an unknown Ice­ I’ll be deviled if I can pick In feet, Tricky and Portis- some sensually incoherent In the background, Mar­ head are “mates,” in a way, vowel sounds on “Pump­ tina wails like a cotton since they both hail from kin,” Tricky murmurs, “I picker’s slave bending her Bristol, England. It’s just BRfiVO ENTERTAINMENT PRESENTS that Portishead comes from the nice, bland tour­ ist town of Portishead, and Tricky comes from FRIDAY Knowle West, a bad area MAY often called the Bristol Bronx. 12 Tricky uses the Isaac Hayes sample in a song called “Hell Is ’Round the Comer,” which, if you lis­ ten carefully to the lyrics, you’ll realize is a cover of “Eurochild,” one of the songs Tricky contributed to Massive Attack’s latest album. Protection. What’s more, “Overcome,” the very first song on M axin­ quaye, is a cover of Mas­ sive Attack’s “Karma- coma.” Not too surprising can’t breathe, and I can’t back under the scorching when you consider that see....” sun of the deep South. Tricky d id write the lyrics “Stifled Love” opens for those songs. He also with the lyrics “It’s too Somewhere around lifts some lyrics off his own good / It’s too nice / She track eight or nine on this song, “Ponderosa” (prob­ makes me finish too quick 12-song album, your head ably the most upbeat thing / Is it love? / No, notlove / begins to implode with all on the album) for “Brand She turns my sexual trick.” the heaviness. On the first New You’re Retro,” a furi­ But Tricky, who cites induction, M axinquaye is ous little number that some of his influences as best taken in small doses. proves that in his past life, Kate Bush and P.J. Once you have found Tricky was a rapper. Harvey, is not loath to give some inroads among the SUNDAY Case in point Tricky the feminine side some leaden atmosphere, the covers Public Enemy’s room. Martina returns off-kilter beats, the sam­ MAY “Black Steel.” Instead of with her soul-weary vocals ples and skewed guitar churning out a ridicul­ lines, and the twisting voc­ 21 ously faithful rendition of to sing, “I think ahead of you / 1 think instead of you als that wrap around and the song, Tricky rear­ rub up against one ranges the lyrics, has Mar­ / Will you spend your life with me and stifle me? / I another, you will discover tina sing it with that child/ that this massive album is woman voice of hers and know why the caged bird sings, I know why.” going to shit on every MOTH Ellili I PS turns it into something other thing you purchase tense and more sublimi- Cages again. But you this year. It’s that good. nally compelling than the have to realize that Tricky And it’ll get even better ev­ S i ? immediacy of rap music. and Martina, two lower- to ery time you play it Heavy, Oh — and those lyrics middle-class Black Engl­ and worth every penny. UCSB that Tricky copped off his ish people, have not own song “Ponderosa”? brought themselves to this m d o r w i n They go: “Through the point in their lives with —Mlz E. PAVILION @ THE NEW U-CEN While You Were Gone... ALL AGES • 8:00 RM * TiX @ UCSB ■i;} '/ spent your Spring Breeic in Method with half of Bey* JtfeketSWent On safe Saturday, March 26. A total dfASOGjackets up fa t grabs St, ' $2® ^«hot, 4^00 fickets sddlfphree days. Thatjpeans that unless you’re willing to pay at teasltwiee the face value of admission, YOU CAN'T GO. , \ '^ThfcBneup is the Beastie Boy&tfre Jon Spencer Blues Explasios andFhdly l i p hop band The JkibtS/This. shiny ¡¡¡¡|be the best ayjtqert of 11» year, hands down. SATURDAY if'yOuW ever seen thefBi'asties before, "yon knb# whafs up. Tfie: Boys; play MAY Pres no the rdght5betbre Santa Barbara date and, as of press time, no shoivhas been announced. Rumor has it drat there maybe a special after-party at 27 ill'downtown Santa Barbara dub after the Concert on die April 28,"> T ~ .. While you chilled hr Switzerland eating chocolate mousse, Eazy-E, founder ox rap group NWIA,, the maotouted '$& the originator of “gangsta rap,” died March J 92.9 FM '29/tfttaglne going to the hospital because you’re having breathing problems, and tspbn afterward, your lung cohapse^ Soon after that, y& frk'fyM diet not only are you HIV positive, hut what you're experiencing is a result of contracting full­ blown A fD & 'Y tliiiw e less than a .mobth to later,- yon.ebpj | coma, You the a week and a half later. That’s whathapperfed to Easy. [ hint because, foolishly, ha never got tested, Razy-ft’s'l death htsignificahtifqr;two. mam reasons. Fast, awareness of ^DSljseverity is nh#'ItLen all-time high in the hfp'hdp contmuni^i This fs^hedef because of hip- MO DOUBT hop's influence upon- Vetpss^edShn of young men end w&nen who. me largely rfei^uC^^iS^Utithe. a gehre Ofinusic dedicated toffee depic- [ fo p of “reality” and obsessed with ft» nodon trfbeing “Teal,1* Razy-E (particularly to bis 'statements dt%'the annotinc^|nt that he bed AIDS) catapulted BUTT «IJP V IS T A , the t i p that dsahntosl la his profession would pee I to accept Boosting C$xS, pulling jade moves land shooting the next man iptfti& aL ' TRUMPET m I jT D O O R Those a*p fantasy behaviors icampd from a society that constantly attempfe jto | liJDITOllIO ' thaldibse behaviors ere viable opffoni; while ^mmhum* " LAMBDA CHI ALPHA ously condenpmhg tlswften we dtoosethem m such, V ' I What is pwl | | th e M ls p ^ c h ^ p i emotidis which he behind these sociopath- FOR MORE INFO ic in mlpre&sing^n^rd'l^'fds durdess'sexud behaviorbeforfi Ids death, ^represented ibe"tey* ntore than die hardest hlp4topper$' around today 805 583-8700 CALL 545-0120 ' «o#d ever imagine, Let’s hope die message is received;, ,. / 5' ' | | I lllll ¡g s, ¡¡¡||l, J^ri/ff/M f''t/^toitdyLuke Daily Nexus Thursday, April 13,1995 3A

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See, to me, Matthew Sweet has always been ab- out this sad kind ofguy try­ ing to hold on to some pre- cociously beautiful 12-year-old subuiban ur­ chin, except, of course, he doesn’t have the slightest clue she’s 12. This guy, he sits down in his den and he writes all these quaint but pretty bal­ lads about this girl, and writes a couple angrier, ed­ gier songs about himself, and he calls his musician friends and they record stuff because they have no­ thing better to do. They cut first became acquainted Fun is all about: a deeply great albums like Girl­ with his little twinkles-as- sad young man confront­ friend, Sweet’s greatest songs over winter vacation ing loss with denial, manif­ outing, and OK albums in my senior year of high ested in the form of like Altered Beast. school, as I listened to another batch of pretty Except, as Sweet writes G irlfriend and read Lo­ ballads and rocking these songs, he doesn’t lita , both of which I insecurity-based anthems Be y realize how much of him­ checked out from an of edginess and anger. self he betrays. He tells the upper-crust library to kill They’re fine in the context girl all these things, and he my boredom. of a throwaway album, but makes all these angry, edgy Somewhere in my sense reveal a great deal in their declarations, but more in­ of harmony, they gelled refusal to go beyond the teresting than the things together. Maybe Sweet search for “fun” in favor of he’s saying are the things isn’t as weird as I inadver­ any real, deep emotion. he lets slip through subtle tently constructed him to Until Sweet gets his vocal nuances and thro­ be when I conditioned my­ nymphette out of his un­ waway lyrics. He Sings on self to equate him with le­ happy dreams, we can en­ WITH SPECIAL GUESTS the new album, “Baby, cherous Europeans and joy tiie products of his we’re the same” in an ago­ bawling, red-toenailed twisted, delusional song­ nizingly appealing way, nymphettes. I don’t know. writing. At surface level, but his voice seems to re­ But it sounds to me like on this is a pleasant and low- veal that he and the girl are his new album, Sweet has liter undertaking indeed. COLD WATER FLAT not only not the same, but lost his little urchin, and so The subtext, however, like not speaking anymore. he goes to his den and just that of Nabokov’s little Maybe I read so much keeps writing insipid, book, is far better. into Sweet’s music be- pretty songs. April 27 in the UCEN cause of conditioning: I And that is what 100% —Tim M olloy Tickets NOW ON SALE at the A.S. Ticket Office Like a Good Sickness To order by phone- Call 893-2064 Jeff Buckley Grace JE -ff1• f -P ßBudKXflEV u < l Columbia S ä * Í I got this record a cou­ SNEAK PEEK ple months ago when I was sick as a very sick dog. Grace had been hyped so much that I gave m and W h ile bought it. At first, I thought nothing of it and even considered selling it, o n W e r but after a few listens I knew I couldn’t part with it. Jeff Buckley and his swelling, flying voice had captured interest. More than anything else i f WED. 4/19 on Grace, “Last Goodbye” 8 pm affected me. This song is its own living, breathing en­ Isla Vista Theatre tity, so filled with feeling ? that it cries and begs on its the dark, stickya sound that lsound in the hard, mystic own. Buckley sings, “Why invades his songs. This is number “Dream Brother.” Free Passes will be given in front of the must I dream and always particularly audible in “So Also in the album photos, UCEN at Noon-Day of Show see your face / why can’t Real.” Slowly, sweetly, Buckley seems to be por­ we overcome this wall / Buckley sings, “Lover, let traying himself as some maybe it’s just because I me sleep tonight on your heartbroken teen idol, a didn't knowyou at all. ” He couch,” as his guitar more mature, softer Dylan sings to his anonymous lis­ moves along at odd MacKaye. tener, his faceless former rhythms. Like a lifted partner who he often cloud, the chorus comes This mostly heartfelt, EXTRAVAGANZA simply calls “lover.” and the song takes on a emotionally aware album Grace has several cover steady sound while main­ laments failed love. It’s songs, including “Hallelu­ taining its initial murky also the kind of album that 1995 jah,” written by Daniel feel. your friends may make fun Johnston. The song well However, Buckley, like ofyou for liking. But hey, if suits Buckley’s vocal gift a horribly debilitating you like dark melodies and MAY 13th Buckley embellishes the sickness but a lot less so, is beautiful vocals, or if simple song with various not perfect At times his you’re really, really sick, astonishingly beautiful, music seems stumbly, too then you may want to pick Haider Stadium soaring vocal interludes. dense, too ciyptic and,, up Grace. Often Buckley employs worst of all, too metal. I ciyptic chords to create hear a distinct metallic —Noah Blumberg FREE!!!

•lications for AS Program Board are available now! ick one np at the ASPB office in the new UCen Police g g & g y j g p ASPB Hotline:893-2833 BBIHGTOUTHEK 4 A Thursday, April 13,1995 Daily Nexus D

Vignettes of China An interview with Dylan McDermott Nancy Travis (right) and director Jad Zhang Yimou’s To L ive tells the matter-of-fact tale of a family's struggle to cope with the changes their town goes through under the rise of communism. Zhang Baran of Destiny Turns on the Radio. breaks the film into five stylistically unique vignettes: the 1940s, the Civil War of die late 1940s, the Great Leap Forward of the 1950s, the Cultural Revolution of the By Melissa Altman 1960s and an epilogue given only as “Some Years Later.” Each vignette could stand separately as short narrative glimpses into the communist lifeslyle of China during the various time periods. The film begins with a luster of saturated colors and overwhelming details which won’t be seen for the rest of the film. Here we see Fugui (Ge You) as the young aristo­ crat cursed by a losing streak in the village casino. He eventually has to give the Xu family estate to the bounder Long Eras payment for his gambling debts. With the loss of family fortunes goes the richness of color and detail, replaced by a duller and blander but more rewarding humanism. a m During the civil war, Fugui leaves his wife, Jiazhen (Gong Li), to make his living as a shadow puppeteer. The J im JB L fte r getting my car valet parked by anxious attendants, I entered t ant Four Seasons hotel in Beverly Hills. The press types were greeted with a gf buffet— the studios sure know how to pamper their reviewers — and after din proceeded to the ballroom with our tape recorders to await the arrival of the st director of Destiny Turns on the Radio. In contrasfto the hotel atmosphere, the moviemakers were relaxed and very talk to. Dylan McDermott was recognizable from Steel Magnolias, In the Line an d Miracle on 34th Street, which made for a pleasant interview. W hat follo\ edited transcript of the afternoon.

What sorts of roles do you like best?

This kind, where he is a bad guybut he is also good. You know, that anti-hero kind of thing. Film noir. I chos vie because it was everything I liked in movies: I like the guy who breaks out of prison, and gets the girl and is < the cops after him, gets the money. Those are the coolest movies and the coolest characters. For me, that wa when I was growing up. You’d be arrested if you did this in real life.

What was it like working with Quentin Tarantino?

Quentin has so much hype around him, but he is really just a cool, sweet guy. There is no bullshit about him < just a lot of fun. He is into the work. We had a good time.

What kind of preparation did you do for the role? pallet for this story calls for the gray of winter, the brown I had been to prison, interviewed those guys, been in relationships. There was no research needed — ] of mud and the dusty periwinkle of the Nationalist army uniform. It is in die midst of the stress of the Great Leap For­ What do you think of the mystical idea of D estiny? ward that To Live begins to show its sense of humor. When Fugui and Jiazhen are reunited, he meets his son, You have to go along for the ride and not take it seriously. You can’t try and make sense of it Just like guard who has lovingly been nicknamed “Don’t Gamble.” We also leam that Fugui’s gambling debts paid off in the long run. The family estate has been burned, and Long Er has Where does your character go, at the end? been executed as a landowner and an enemy to the state. To Live continues along this line, intermingling We don’t know where we go when we die, but these two people will be wedded forever. That is the point of tragedy and humor with the history of the People’s Re­ movie, that love story. public of China. Zhang’s project, for all of its artistic merit, has gotten the director in unfortunate trouble with his government. Accused of illegally distributing To / know you had gone out at one point with Julia Roberts. Are you guys still friends? Live, Zhang is forbidden from foreign collaborations for the next two years, and To Live is banned in its native I think Julia gets enough press without me. China — though it is available on video. —Sarah Crane How about working with Bobcat Goldthwait? And how about with James Belushi?

I think he is a major, major talent and I’m sure he’ll get his shot It wasn’t really about whose role was bigge To Live will play in Campbell all in this together. James and I had instant rapport and chemistry together. I think he is a tremend Previously seen in everything from Three Men and a Baby to So I Married an Axe Murderer, Nancy Trat most enjoyable to speak with. Laughing and joking, she reflected a great personality. One issue of main co\ HaO on Monday, April 17 at that of the plight of women in Hollywood. How are women treated in Hollywood? 7p.m. Tickets w ill be sold at I think it is tough now. The movies that tend to make money are action movies. They tend to be male stars d movies, and I think a lot of women are moving out, seeking different mediums. I think a lot of great women’s television now. People like Glenn Close are doing TV movies that are really great, and women are finally gettin and forcing the barrier so they can take some control. tie door only. Students: | 4 I liked the idea that [this role] was a full character. Here was a woman who was multidimensional, not just sit sidelines, waiting for the guy to come back from the war and make his home nice. I was drawn by the humor oft ter. I thought she was an innocent in this world of swarm. She has the best intentions, but gets mixed up wifi General: 15. wrong people. See H E S T Daily Nexus Thursday, April 13,1995 5A

»ttand ack Fuiiy Feeling You almost want to hate the film Don Juan Demarco. It bills itself as one of those “feel good!” movies with Ho. “something for everyone!”: It’s COMEDY, it’s DRAMA, it’s FANTASY, ifs ROMANCE, blah, blah, blah. Some of the worst films in recent years—most of them, in fact — tried to deliver “something for everyone!” instead of sticking to one thing and doing it well. And so, despite its big, big stars, there’s no real reason to expect that D on Juan DeMarco will succeed where so many others have gone so horribly wrong. But it is, in fact, a nice little gem of a film. One of the reasons it does succeed is its great cast, 1 which includes Johnny Depp and grizzled screen veter­ ans Marion Brando and Faye Dunaway. Brando gets the top billing, of course (hey, he’s Brando), but Depp is toe sugar holding this sucker together. Throwing toe kid from 21 Jump Street in the same scene with perhaps the most respected actor of all tone may sound like a mis­ match, but when they share toe screen, ifs Depp that holds your attention. ered the eleg- And Dunaway proves that a woman can be over 50 and still be drop-dead gorgeous. The tale of Don Juan—this Don Juan, at least—is toe :h a generous story of a masked man (Depp) who claims to be toe great­ est lover in toe world and who is fond of saying things er dining, we that begin like “Haff yoo evah laavfed eh whoomanhn hooo ...?” After seducing a woman or two to open toe the stars and movie, he threatens to kill himself by jumping off a build­ ing. This would-be suicide lands him at toe funny farm, where a nice old shrink (Brando) tries to figure out why toe young man dresses in costume, talks funny and thinks he’s Don Juan. i very easy to The joy of this film is learning — through toe eyes of toe shrink — toe life story of this young man — or, at least, what toe young man wants his life story to be. We 3 Line of Fire follow him through stories of his parents’ first meeting, of his childhood, his loves and toe troubled teenage follows is an years that drove him from his small hometown in Mex­ ico. Eventually, he sets out on an accidental adventure reminiscent of Candide, and along toe way we discover why he claims that toe number of women he has “satis­ fied” reaches well into four digits. These sequences are all wonderfully shot in a sort of fantasy flashback style, ir. I chose this mo- land is on the run, that was a fantasy

Still high on the popularity of Pulp tHctkm, people’s knowledge of Quentin >ut him a t all. He is Tarantino may he the only thing that will entice them to see Gramercy Pictures* romimWmysiscal Hop, Destiny Turns o tt th e Radio, ' But after the first scene, even Ins presence wiH destroy any hopes of seeing a witty adventure that he has been commended for. D est:ny islW antino'i major act­ ing dehut (aside from a small, self-written parts in Ifesemorr D ogs and P utp Fiction), m d it is obvious that he contributed In no feum whatsoever to the lengthy ded — I used me. and foolish Destiny script, a script which displays none of Tarantino’s w it , It begins on a dusty, deserted highway, where Julian Goddard (Dylan McDermott), an escaped convict, hes motionless. The camera then shoots to a wolf which wifi become an unneeded moSf throughout die remainder of the film. :e guardian angels, Then, out of nowhere, a *69 Plymouth Roadrunner comes to a screeching halt fust short of striking the oblivious Goddard. Quentin struts out of the ear (in a mist of dust) us Johnny Destiny and asserts, “Need a lift?" Goddard’s “As a matter of fact, 1 dtf* maths the beginning of the cheesy one-liners that inhabit the rest of the movie. , - ' , point of the whole Goddard wants to head to Vegas to become reunited «nth his girlfriend (Nancy Tkavis) and Ms stolen m oney, both of which be left befdnd when ha was shipped off to jail three years ago. Destiny drops him off at the Marilyn, a run-down motet on the outskirts rtf die city of lo st Wages, The rally Me at the motel Is the spuridmg Marilyn sign and Goddard’s old partner in crime, Henry Thoreau (James Lc Gros). , and almost make you wish toe whole movie was about Thoreau offers hint shelter and refuge from die tSmwttted police who are fol­ his journeys. lowing hint Dnfortunateiy, Thoreau seen» to have gone insane, and tells Goddard Meanwhile, toe old doctor is so inspired by all of this that a strange force stole the money and he will soon cone back said return it young passion that he starts romancing his wife (Duna­ Goddard blows up at him, and it is difficult to tetf if they am cm die same side or way) like he hasn’t done in years. Sure, ifs kind of syr­ as bigger. We were upy, and ifs even a little predictable, but ifs a sweet story xemendous actor. But his exaggerated outbursts show bow perfectly McDermott’s character fits that can make you feel ail warm and fuzzy inside. And it into tins decadent, bottom-of-the-erowd city. If the story took place anywhere but has about enough COMEDY, ROMANCE, DRAMA icy Trams was the Vegas, be would he Just a highly unbelievable tough guy with sudden and almost and FANTASY fo r... well, everyone. Make a date unto that someone special and go see it. nain concern was unnecessary violent spurts. When he walks out in polyester beftbottoms and a That aside, what’s toe deal with Depp and loonies? Presfey-hke shirt, yon Know it would only work hi Vegas, if It were to work at alL No doubt you have to respect an actor who keeps chal­ All the characters are quirky and ridiculous, bid they can’t he said to be out cl lenging himself, but our man Johnny seems to be in a nit place. Check out his r£sum£: Edward Scissorhands, What’s James Bdushi, who {days toe Stardust casino boss a rd ’

Sarah McLachlan OK, I admit it Greek drama is boring. and a 20th century vocabulary (i.e. ob­ The Freedom Sessions Somewhere in their several-thousand- scene). But Aquila doesn’t rely only on Arista year history, many of the Greek classics modem techniques to get the point have lost their excitement, originality and across. Wielding the ancient Greek Everyone who loved freshness. Ancient Greek drama, with its penchant for phallic humor, the troupe’s Sarah McLachlan’s album emphasis on offstage action and its obvi­ work is ripe with sexual innuendo, libi­ from last year, Fumbling ously translated tone, can be a chore to dinous gestures and tons of audience Towards Ecstasy, will be Watch. So why is it still done? interaction. excited to know that she The answer to that lies in the themes. Telling the story of a young man fight­ has a new release out The Despite tiie many years, the Greek dra­ ing his father’s obsession with serving on Freedom Sessions is an matists’ themes still seem to shine with the Greek jury, The W asps is strangely eight-song EP of sweet the same present-day applicability of con­ appropriate these days. Given our coun­ acoustic versions of seven temporary writers — this is the genius of try’s fascination with high-profile trials songs from her previous the Greeks. So how is a modem theater evidenced by the existence of “Court TV,” offering. troupe to present these wonderful themes this play takes on a certain urgency—not The acoustic variations and ideas without putting the audience to that you’ll notice with all the jokes. of Fumbling make the CD. sleep? So if you’ve been wary of Greek drama, “Plenty” is stripped of any The players of Aquila Productions wait no longer. The Wasps is sure to complexities, leaving her seem to have found a way, in their highly please you with its part rock-concert, part voice and words naked. acclaimed production of Aristophanes’ slapstick-comedy fun. Maybe if we’re “Mary” cries to you like The Wasps. Their production of the com­ lucky, some day Aquila productions will she was singing right there edy races across the stage with a frenetic set their sights on the number one theater in front of you. “Good disc also provides a CD- music industry. energy and bawdiness, interrupted for bore, Shakespeare. Enough” loses the punch ROM multimedia presen­ The Freedom Sessions only a few minutes by some raucous and The Wasps plays in Campbell Hall of guitars, but gains the tation which includes digi­ are not an attempt to re­ hilarious musical numbers. Everything April 18and 19at8p.m. Formoreinfor- softness of the orchestra. tized video, music and constitute unliked, tossed- from Superman to UB40 frills victim to mation, call Arts & Lectures at The S essio n s version, information. aside versions. Rather, the Aquila pun factory. 893-3535. which focuses on lighter they give the listener more The W asps is a farce fest, full of squirt sounds, isolates the lyrics, After making music for insight into the process of guns, Scooby Doo-esque chase scenes —Davin McHenry making the deliverance almost a decade, it’s about songmaking and into the even more powerful. time McLachlan got some possibilities of playing up Two worthwhile addi­ recognition from the radio different parts of the same tions also make the EP charts. Other releases, thing. And if that isn’t worth buying. The first is such as Solace and Touch enough, her voice is in­ the eighth track — make an excellent case for sanely sexy. McLachlan does a cover of McLachlan as one of the Tom Waits’ “Ol* 55.” Hie best-kept secrets of the —Radha Patel

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Let’s go out to dinner.” They are provoca­ I graduated from NYU, did not go to Why choose this as a first film to DESTINY tive, which I give him credit ror. film school. On an airplane to England, I direct? met Jim McBride on the same plane. Continued from p.4A What was it like working with James When the plane was forced down into When working on Single White Fe­ Who are your role models? and Dylan? Newfoundland, I got to know him. He male, Gloria [the producer] was my assis­ Vivien Leigh was the reason I became was going to NYU. and he was in the film tant. When we were in post-production an actress. And now Meryl Streep is Great guys! I like doing a low-budget business. I was so naive, I did not realize on the movie, she said, “You should read amazing to me. I like a lot of European ac­ movie because everybody is working for you could actually make money in mo­ this script that my husband wrote, it was tresses. I admire their work. It is a male- the same fee and you are all there because tion pictures. I was a kid from die Bronx inspired by something you did with Jim dominated business. you love the script. Everyone puts in their and I did not have a clue. How do you get McBride.” So I said, ‘OK, let’s make this share and there ts no diva stuff going on. through college? You are interested or movie.’ Is it difficult to avoid nudity as a wo­ They aren’t superstars. We are all working you fake it, so I faked it. Here was a guy man in a Las Vegas showgirl type of actors. who was actually going to make movies How much creative control did you role? and get paid for it. have on this movie? What was it like working with Mike That was my favorite thing, and then I really feel that nudity in films has to be Myers? we got very friendly and opened a movie Directors have a lot of control, but warranted. It has to be there for a reason, theater together — showed experimental making a movie, you listen to what a lot of not just superfluous. I am against the fe­ Mike was more involved in the process, films in the Village. And then I went to the people have to say. The director has a vis­ male being totally naked and the guy be­ very interested and involved, almost like a London film school. ion, but must fight for what he believes. I ing totally dressed, so unless it is both producer. Quentin was just an actor — it am a writer and worked closely with the people, unless it’s in love scenes that are was really nice. I was not sure what he Was it difficult to get your films writers. I treated it like my own, built on real.... As an audience member, I lose my it. It transforms itself into the film thatyou sense of the movie, and I say, “Oh, look at saw. The director has the control. It was a these two actors trying to do this.” It is low-budget film, which means you must very rare when I have gone to a movie and "I love doing a low-budget film because work fast. I like working fast What I’ve been able to stay involved in the movie, discovered over the years is that whenyou watching those scenes. I am not against it work quickly, the actors like it. They altogether, I am just against the exploita­ aren’t sitting in their trailers, worrying ab­ tion of it everyone is working for the same fee and out girlfriends. Speed brings energy. But there are sacrifices. Where do you think the characters go at the end? How much influence did Quentin you are all there because you love the script. Tarantino contribute? That is funny because when I first read the script, I thought they died. I thought We approached him at the Cannes they chose death, but then I thought, well Everyone puts in their share and there is no Rim Festival. We gave him a script and he maybe they don’t die, they just go hang said, “I want to play Destiny.” Nobody re­ out with Destiny somewhere. If it was a alized that he wants to be an actor. He is a European film, they would be dead. very intelligent guy. diva stuff going on.' It was amazing. I did not know him—I What was it like working with Quen­ had seen Reservoir Dogs. I had lunch tin Tarantino? -Nancy Travis with him. He was an actor, he wanted to play this part and give a good perfor­ I had a scene in Reservoir Dogs, and would be like. made? mance. He was totally concerned with his when he came on the show, Pulp Fiction character. I thought, was this guy going to had just opened and he was like a little The conversation was also smooth Not in film school. I was a writer and a be looking over my shoulder? Or going to boy in a candy shop. He was so excited, with first-time director Jack Baran. He film editor. I basically started working in be Destiny? And it turned out he wanted and he was going to different theaters to strutted to my table in dark sunglasses, the underbelly of films, in documentanes. to be accepted as an actor. see audiences’ reactions. He was really shaggy grey hair and a poncho, and in­ There were no rock videos then. You do a excited, saying, like, “When Uma gets that troduced himself unassumingly. He lot of different things, so I was always part Where do the two characters go at the needle in her heart, this guy almost spoke of his film background, his direc­ of the creative core, though not the direc­ end of the film? faintedt It was so cool!” I think that he re­ torial debut and, as well, working with tor. You do not always have control over ally likes to make movies that have an ef­ Tarantino. things, and what is important is to do They went to another place. They are fect, and whatever you can think about things you believe in and what is impor­ not in outer space. I think there are other his movies, at least you don’t come out of How did you get into the whole tant to you. I worked with people I really places, and this is a very humorous way of the theater saying, “Oh, that was nice. business? liked. I had a creative say about the film. getting there.

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