![]() ![]() ![]() The video for his 1997 song “Little Wonder” is a quick-cut barrage of eyeballs, eye patches and aliens. The biggest legend she has ever worked with is Mr. ![]() “Instead of coming up with one image, I had to come up with 100 images,” she said. In the early 1990s a production company suggested she make the leap into directing music videos. After art college she embarked on a career as a fashion and art photographer her work has been widely exhibited and collected in two books. She grew up doing her homework in opera houses, surrounded by people in costume, she said, and dreamed of becoming a painter. ![]() Sigismondi moved to Canada with her family when she was 2. Simultaneously cool and effervescent, she is easy to imagine directing arty musicians like Bjork, Sigur Ros and Interpol as well as pop divas like Christina Aguilera, which she did.īorn in Italy to opera singers, Ms. She looks like a rock star herself, dressed in slim-fitting black pants and a black sweater, her long, slightly-goth hair fanning over a furry caveman vest. Sigismondi, 44, earned her first big buzz as a video director in 1997 after strapping Marilyn Manson into stilts and gruesome dental gear for the “Beautiful People” clip. “You could trust Floria to find the right angle because she has no need to oversell the subject.” “It’s very hard to make a film about popular musicians, or music as the subject in any context,” said Jack White of the White Stripes in an e-mail message. Cherie Currie and Joan Jett, of the real-life Runaways, were also huge Bowie fans. The result has been films that end up either bloated and cartoonish (see the American Indian shaman following Jim Morrison around “The Doors”), sweetly sanitized (see the intercourse-avoiding groupies of “Almost Famous”) or as road-to-ruin predictable as “Behind the Music.” But since 2002, when the hyperactive “24 Hour Party People” captured the dance-oriented music scene in ’70s and ’80s Manchester, England, there has been a trickle of rock biopics that get the milieu and the music just right, like “Control,” the story of Joy Division, and “What We Do Is Secret,” the story of the Germs.įloria Sigismondi, who directed “The Runaways,” has also made music videos, including one for David Bowie. The mainstream fantasy sex, drugs, hard-core partying usually trumps the more tedious reality of musicians striving for success but often becoming trapped by it. The rock lifestyle has been notoriously difficult to get right on film. The words she kept repeating on the set were “raw” and “gritty.” I wanted freckles and pimples,” she said of the film, her first feature. Currie’s musical hero) and the White Stripes, she’s worked in clubs and gone on tour with her husband’s band, the Living Things. Along with making videos for artists like David Bowie (Ms. And Floria Sigismondi, the writer and director, has “been around music all my life,” as she said in an interview in a hotel room in Midtown. Jett (played by Kristen Stewart) put the actors through hard-rock boot camp for several weeks before filming. One reason may be that the movie is partly based on “Neon Angel: A Memoir of a Runaway” (Harper Collins), a newly revamped autobiography by the group’s lead singer Cherie Currie, whose chillingly quick self-destruction is relived through Dakota Fanning. From the adrenaline rush of performing to the monotony of rehearsal, it’s a vivid snapshot of life on the road for ambitious teenagers who are constantly told that rock ’n’ roll “is the sport of men.” (And that’s their own manager talking.) The hair is fried and feathered, the skin spotty from weeks of running on little but potato chips and estrogen. THE most striking thing about “The Runaways,” a new film about the trailblazing bad-girl rock band from the 1970s that spawned Joan Jett, is how authentic it feels. ![]()
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