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Floria Sigismondi’s Runaway Movie

Floria Sigismondi’s Runaway Movie (photo)

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On the Paramount stage in Austin with Cherie Currie, Kristen Stewart and Dakota Fanning, it was Floria Sigismondi who shined brightest, and it wasn’t just because of her sparkly black dress. Credited by Apparition chief Bob Berney for bringing them all together on this evening at SXSW, the filmmaker, photographer and visual artist who was born in Italy, raised in Hamilton, Ontario and traveled the world making otherworldly music videos for the likes of The White Stripes, Sigur Rós and Incubus settled down in Los Angeles and wasted no time in chronicling one of the area’s most legendary (and short-lived) rock acts, the ’70s all-grrrl group The Runaways, for her feature directorial debut.

Featuring Stewart and Fanning as Joan Jett and Currie, “The Runaways” may seem at first glance like the all-too-usual tale of a band that burned bright before burning out after just four years together, but Sigismondi is less concerned with the career trajectory of The Runaways than the emotional rollercoaster of the young, rebellious rockers who are patched together by the screwy impresario Kim Fowley (played by a particularly demented Michael Shannon). Although hits like “Cherry Bomb” are naturally cranked up, Sigismondi’s most inspired move is to dial things down to a slow simmer, lingering on long takes and filming in cramped quarters to convey the intimacy of the era. While at SXSW, Sigismondi took the time to talk about being patient in making her film debut and the film itself, as well as being pestered by the paparazzi and the pessimism of young people.

Did you have a connection with the Runaways growing up or did this seem like a good movie for you to direct?

Yeah, I had a connection in art college – I’m younger, so I didn’t experience [The Runaways] firsthand, but they were still playing them ten years later at a club that I used to go to work at actually as a beer bar girl through art college. For some reason, “Cherry Bomb” was a staple and I remember dancing to it. But [my representatives] gave me Cherie Currie’s book — it was a captivating story because of how young she was and everything that she had gone through, and Joan, being her first band and how that’s informed the rest of her career — it just felt like it was the right thing to do. They were at the forefront of something — I think they really put themselves out there and I admired that.

03202010_Runaways5.jpgFor you personally, was this a situation where the time was right to make a feature?

Yeah, I had been wanting to make a feature for a while, just nothing stuck and [“The Runaways”] happened like three months after I moved to Los Angeles, so it was okay, this is why I’m here. I took it as a sign. And after making a film you realize how many things can go wrong and when they come together, you know when it feels right.

Is it difficult to move from a medium of music videos where your story is in service of the music to features where the music is in service of the story?

I had a little bit of back and forth on that because I would get information from the Runaways’ songs and I’d use them to tell the story, like using “Love is Pain” near the end where it served the storyline there and then in the airplane going to Japan [where the band plays their first major concert], “I said I want you! I want this! I want that!”, the people were grabbing at them — it was all about wanting, so I did use the songs in that respect; I listened to them, listened to their words and these were young girls singing about their lives and that kind of was the first time I think there was music talking to people of their age. I found that in writing the script, the more I listened to the music, the more it actually inspired me to come up with scenes, maybe because I’ve done that in the past so often that it’s the trigger for creativity.

03202010_Runaways1.jpgIt was interesting how this film seemed to deal more with the creative process of the band than the decadence of fame and success that is standard of most rock-related movies, which most people probably have a good idea of in the case of the Runaways.

I think everybody does, too, especially today. My God, it’s so crazy. That part to me was sort of easy, you need one scene to say maybe when they arrive in Japan and for me, the most exciting part was how do they react to that fame, so I kept it kind of insular and made it about this little fight that happens backstage more than about how they end up signing autographs and becoming this thing, which we’ve seen a thousand times. Actually, in any kind of rock movie, there’s something about that, so I wanted to stay away from those kind of clichéd things and keep it about how does it affect them personally.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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