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Adam Goldberg Talks About West Coast Romanticism And Living Anxiously

Adam Goldberg Talks About West Coast Romanticism And Living Anxiously (photo)

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Adam Goldberg was staying under an assumed name in a hotel that tried to charge him $20 for some toothpaste when I caught up with him about his latest record, The Goldberg Sisters. He got out of the crowded LANDy business after confusing debacles with a Taiwanese pop singer, a Mexican troubadour and another Landy who was already on Myspace featuring Auto-Tune raps with titles like “I Just Wanna Fuck.”

Thus, out of a necessity to differentiate himself, The Goldberg Sisters were born. Incidentally, there really are two Goldberg sisters, but it’s clear at this point that they have nothing to do with this record. We talked about all the twiddling that went down, and then moved on to some mutually favorite subjects, like David Lynch film scores, and the little moments in films that stay with you forever.


The last time we spoke you had just released a record as Landy, and it had been a labor of love born of many years. But The Goldberg Sisters was much more sudden, are you finding your stride?

I think a little bit. The thing with Landy was that I was recording just because I was recording, you know? And every so often I would take stock and think, oh it would be great to make this all reside in one place. It wasn’t conceived as a thing where I got so immersed that I couldn’t see my way out of it. It was just that I was recording for many years and at a certain point thought I should try and do something with all this stuff. Once that kind of barrier of putting out a record, calling it a record, was broken for me, I think it allowed me to feel like I could move on – and experiment with something that was a more proper studio production.

You worked again very closely with Aaron Espinoza (Earlimart) on this. Which one of you is the bigger knob twiddler?

Geez, man, we’re both, pretty bad [laughter]. But, it’s also why I think it works. We were working in such a tight time frame that it doesn’t get excessive. I think this is a testament to his mixing ability — I mean granted we would do some redos here and there, but his initial mixes were like a song a day. Taking in a lot of fuckin’ material. I don’t mean the length of the songs, but we amassed, or I tend to amass, a lot of stuff, and a lot of layers. Making sense of all that and just filling it just becomes its own version of playing music. He and I definitely have fun with that. And I think it’s probably in a way liberating for him too because it’s not, you know, his music, and I think he’s likes that I like to take a less learned and pretty twittily approach.

Which technical feat or bit of wizardry were you most, were you most pleased with?

That “BFF” song from the LANDy record was in many ways like a model, the sorts of drum sounds and the way that we would do strings was really similar. It’s actually the more organic stuff that I found challenging. It’s this sort of thing, I’m maybe more proud of because [we took] an organic approach to something that we could have just done with synthesizers. Most prominently on this record, “The Difference Between Us,” it didn’t sound like this, per se, but I had in mind modeling it after Burt Bacharach and Dionne Warwick string arrangements. So we would just track, and track, and track that stuff. And, then we’d start pitching stuff up and down. And we kinda did that with the trumpets too, to kind of create a little mini orchestra basically. We’re using Andrew Lynch who plays trumpet, Merritt Lear and Roxanne Daner on violins, and then I would play harmonium. We’d pitch that down and that kinda gave a lot of the songs this big bottom which sounds uncannily like a baritone sax or something. And then there’s all the usual sort of stuff, a lot of tape echo. Shit like that, all over the record. You know, the more analog echo-y stuff.

I know you feel a necessity to expose yourself. And I don’t mean physically, but in an emotional way.

Mm-hm. I have exposed myself physically too. So, I have no problem with that either. But, go on.

Um, Well, you’ll don’t have to share with me later. You could say it’s true of many creative people, but you’ve always struck me as being exceptionally confessional. What are you confessing on The Goldberg Sisters?

Yeah…. There’s another kind of way of being artist which I completely appreciate, envy in some ways, but don’t entirely understand how it’s motivated. I mean I would have to venture to guess that the large majority of people who consider themselves artists are dealing with their issues through creative means. I responded to those sorts of filmmakers and musicians as I was growing up. As a kid, I always felt sort of less alone really, if I felt someone was revealing their own kind of solitude. I found it to be a source of comfort — which is not like I feel like I’m doing anybody a service. It’s just something I’ve always responded to. So what am I confessing to? I would actually say that this is a slightly less diary-like record, then the first one. If were to have conceived of that LANDy record from the start, I don’t know that it would be like so fucking lovelorn you know? The first song [on The Goldberg Sisters] is about somebody that I knew, the second song is completely narrative. And then there are other songs that are blatantly revealing about meditations on mortality, which seems to be kind of a running theme, if I had to pick one.

[Laughter] And you were playing a guy on TV in, “The Unusuals,” that had a brain tumor at the time of recording your last record.

Yeah, right. And we never really found out what the hell happened, cause the show got canceled. But yeah, exactly, tapped into my own insecurity about that sort of thing. It was an ironic part. I actually chose that. I was initially offered a role of my partner, who is the hypochondriac [laughter]. And I thought it would be more interesting for me to play the guy who actually is sick. [laugh] Even though it made me a little anxious.

Speaking of your TV work, I know you were busy with Robert De Niro and this pilot.

Well, I mean he’s an executive producer on this television pilot [“Rookies”] that I’m doing.

I don’t want to be indelicate, especially if you don’t know exactly what’s happening but what can you say about it, about “Rookies?”

Oh, no, yeah. It’s totally out there in the world. I don’t see why they give a shit because a pilot is nothing until it’s picked up, but, especially these days every single pilot and every single casting decision is discussed, and you know, in a tweet or blog. But it’s a cop show in New York. It’s very different than the one I did [before]. I play a guy who was fired from a newspaper actually — as crime reporter — you know because basically there’s no newspapers anymore, and enlist as a rookie cop. And I’m like the oldest guy there [laughs]. All the people involved are just really fucking cool. Richard Price wrote it, who wrote “Clockers,” and “The Wire,” and “The Color of Money.” And James Mangold is directing the pilot, he did “Walk the Line” and “3:10 to Yuma,” so that was a big incentive to me.

I hope it gets picked up, everybody knows you were the best part of “The Unusuals.”

Oh, come on now. Hey listen that was a great cast! I mean they could have had a two-time Academy award nominee on their cast if they had just held off for like another two months.

[Jeremy] Renner.

Yeah, anyway, he would be miserable now though. I mean, he wouldn’t be doing no Mission: Impossible [“Ghost Protocol”]. Mission impossible would be him doing a movie [laughter].

By the way, I didn’t know you had a sister. Is she hot?

I can’t really… [laugh]. I have two half-sisters. I mean my Dad had another wife. Well, you know how it works. People get remarried, and so when I was in my 20s, my Dad had two daughters.

I kind of gathered that you didn’t actually have a hot bearded sister working on the album with you…

Yeah, well, that remains to be seen. Let’s just, we’ll just leave it at that.

We could hope.

Though I think that my father is taking some credit for the band name, which, he’s entitled to do. I mean, he has created me in part, so he’s more than welcome.

What film would would you inhabit if you could?

Goddamn good question. I would say “Double Indemnity.” It’s such a tragic, it’s a train going… well literally, such a stupid metaphor because it’s about a train there, but the thing is going off the tracks the whole time. That tension and anxiety shouldn’t be a place that I want to reside but obviously, A: is. And B: there’s something super specific about the locales in that movie — which I only recently discovered are almost all in my neighborhood. Like his apartment, I’d always been obsessed with his apartment. And it’s raining. These little moments in that film, I’d absolutely want to live in, particularly in his apartment. For years growing up I’d modeled my living situation on it. So I had these sort of dingy, ’30’s and ’40’s Angelino apartments.

The sort of West Coast romanticism that maybe New Yorkers can’t quite fathom, but I follow you.

Exactly, that’s right, that’s right. It’s one of the reasons I get defensive about Los Angeles because I think there is this incredibly rich, kind of mood there. It’s just not quite as tactile and it’s more subterranean or something. And maybe it only really exists in those movies and books. I mean when I went to college, I was sure I was going to leave LA, I was a fish out of water and I made no sense in LA and all that. And I left for college in New York — and then I ended up dropping out after a year — but point is, I started reading all this Raymond Chandler, and then Bukowski, and John Fante and I started seeing LA through that scrim. It’s not necessarily all that evident, I mean most of what you see driving through LA are a lot of, you know, mini malls with frame shops in them.

What film scores do you love — given that you’ve scored some of your own films?

Tindersticks did two movie scores that are just incredible, two French movies.

“Nenette and Boni?”

Right, “Nenette and Boni” and “Trouble Every Day” was the other one. I used to go to sleep to both of them, but “Trouble Every Day” particularly, every single night. It’s also when I smoked. I feel like it lent itself to the lights going out and having a cigarette in the dark. Now I’m less inclined to put on anything that would make me want to smoke or drink when I’m trying to go to sleep. One of my favorites — and I actually used some of this in “Scotch and Milk” — is “Elevator to the Gallows,” Louis Malle movie that Miles Davis scored. Haunting, beautiful score. Another one I incorporated into “Scotch and Milk” was the score to “Touch of Evil,” which is maybe one of the best movie scores of all time. Almost all of Lynch’s movies. Where his sound design ends and Badalamenti’s score begins, that crazy marriage is really the kind of thing that excites me in a score.

Absolutely. You quit smoking? That’s great man, you’ll live longer.

I don’t know. I mean, it’s very possible the damage has been done and I’m just gonna live more anxiously.

You can find Adam Goldberg and the Goldberg Sisters at: www.thegoldbergsisters.com, @goldbergsisters, and @theadamgoldberg.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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