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“Better Than Something: Jay Reatard” may be the best rock doc since “Dig”

“Better Than Something: Jay Reatard” may be the best rock doc since “Dig” (photo)

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Not long before Jay Reatard was found dead in 2010 at his Memphis home at the age of 29, filmmakers Ian Markiewicz and Alex Hammond spent time interviewing and shooting the punk-rock firebrand for a short promotional film. In spite of Reatard’s combative public image — created by sensationalistic media coverage of his intense and confrontational live performances — Markiewicz and Hammond found him to be affable and contemplative, as he vividly recalled a short but eventful life distinguished by poverty, alienation, and an indomitable spirit to transcend his circumstances.

After Reatard’s death, Markiewicz and Hammond turned to his friends and family for the rest of the story. The result is “Better Than Something: Jay Reatard,” a sad, exhilarating, and ultimately inspiring documentary about a complicated young man whose life ended just as he appeared to be overcoming his demons. Combining interviews with astonishing performance footage dating back to Reatard’s teen years, “Better Than Something” traces Reatard evolution from the aimless anger of adolescence to something resembling inner peace as he was approaching 30. It’s a difficult journey — and Something doesn’t sugar-coat how difficult Reatard himself could be — but an incredibly moving one. “Better Than Something” is the best rock documentary since “Dig.”

“Better Than Something” is currently playing the festival circuit — including a screening Aug. 11 at the Don’t Knock the Rock Film Festival, which marks the film’s Los Angeles premiere — and is without distribution. IFC.com spoke with Markiewicz and Hammond about the film and how they got Reatard to open himself up.

IFC: You didn’t know Jay Reatard before you began the film. How did you come to be involved with the project?

Ian Markiewicz: Jay was getting kind of pissed at the press. Any time anyone would do a story on him, it was just about how fucked up he was, and going down to Memphis and getting messed up with him. Jay had an idea: Let’s do a film. He wanted to somehow clear the ear or tell his side or whatever it was. They looked at a few different filmmakers, but for whatever reason, when he met with us he said, “This is it.”

Alex Hammond: One of the things he said during that interview was that he didn’t want a fan to make the film. He wanted someone from the outside, to drop in and get an honest picture of his story. Two weeks later we were flying down to Memphis

IFC: One of the most disturbing sequences in the film occurs when you’re driving around Memphis, and touring Jay’s childhood home and haunts. At one house, he tells an anecdote about neighboring drug dealers busting in on crack addicts in the middle of raping a woman–which occurred on the other side of a shared wall in a duplex where teenaged Jay was staying with his mother and younger sister. Was it difficult to get him to be so open about his troubled background?

IM: The first day or two, we were just hanging out and shooting, and he was talking about being a touring musician and selling records and what the business was like from his perspective. So we didn’t launch into the really heavy stuff right way. But Jay was definitely like, “I want to take you and show you stuff.”

AH: We had no idea that was coming. That was incredibly shocking to us. We had no idea what we were getting into. He had such energy when we were there. We were rarely probing or asking questions. We’d bring up one question, and it would be Jay going on and on. He was so entertaining. He was a storyteller. He had a way of engaging you.

IFC: Your film started out as a short called “Waiting For Something.” At what point did you realize that you had enough for a feature?

AH: At first they were like, “This is going to be like an EPK,” but Jay didn’t want a typical EPK. It started out as an eight to 10 minute piece, and then when we came back we said, “Holy shit, we don’t have a 10-minute short, we have a film here.”

IM: He kept bringing up this “warts and all” idea. He was like, “This has to be raw and rough.” He kept saying things like that, and it turned out like that because he wanted to unload his whole story. He just really unleashed. That’s the only word for it.

IFC: Obviously the nature of the project changed after Jay passed away. Did you begin seeking out his friends and family members immediately afterward?

AH: The moment we heard about his death, we weren’t thinking about the film. Two months later, his friends were doing a big tribute show for him at South By Southwest.

IM: To be honest, I felt like, I don’t know if I can handle looking at that stuff right now. It felt very dark at that point. And people were saying, you guys really have to be down here for this show. It kind of snuck up on us, like, “Okay, I guess we’re doing this now.” When we started doing it, you could just feel how palpable the emotion was coming off everybody. The wrong thing to do would be to wait a bunch of years, and then do something, when everybody’s feelings weren’t as strong. It seemed more in the spirit of what Jay did, being in the heat of the moment.

IFC: The sense you get at the end of the film is that Jay was in a good place in the months before his death, which makes his passing all the more sad. Was that your impression?

IM: He was stressing to us, I’m not a huge artist, I’m not making millions. But I’m doing what I like to do and doing well enough to live comfortably in Memphis, where I like to be. It felt to him that he had achieved some big goal. He knew that there was still work to be done — he wasn’t complacent — but it seemed like he was in a good place at the time.

AM: When we were with him, he had just come off from a long tour. So he had this little window of I think two weeks, where he was back in Memphis. Then it was, I think, back down to South America. You look at the tour dates, it was nuts. He was excited about all that. It was definitely a positive energy coming from him.

IFC: What do you want people to take from “Better Than Something”? Why does Jay Reatard’s music matter?

IM: His music is very pure. It’s very much an expression of where he was at and what he was thinking. He was obsessed with finding new sounds and finding new music that expressed what he felt. If there was an audience, there was an audience. And if there was not, I don’t know that Jay cared.

Leave your remembrances of Jay Reatard in the comments below or on Facebook or Twitter.

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Thank Azaria

Best. Characters. Ever.

Our favorite Hank Azaria characters.

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GIFs via Giphy

Hank Azaria may well be the most prolific voice and character actor of our time. The work he’s done for The Simpsons alone has earned him a permanent place in the pop culture zeitgeist. And now he’s bringing another character to the mainstream: a washed-up sports announcer named Jim Brockmire, in the aptly titled new series Brockmire.

We’re looking forward to it. So much so that we want to look backward, too, with a short-but-sweet retrospective of some of Azaria’s important characters. Shall we begin?

Half The Recurring Simpsons Characters

He’s Comic Book Guy. He’s Chief Wiggum. He’s Apu. He’s Cletus. He’s Snake. He’s Superintendent Chalmers. He’s the Sea Captain. He’s Kurt “Can I Borrow A Feeling” Van Houten. He’s Professor Frink. He’s Carl. And he’s many more. But most importantly he’s Moe Szyslak, the staple character Azaria has voiced since his very first audition for The Simpsons.

Oh, and He’s Frank Grimes

For all the regular Simpsons characters Azaria has played over the years, his most brilliant performance may have been a one-off: Frank Grimes, the scrappy bootstrapper who worked tirelessly all his life for honest, incremental, and easily-undermined success. Azaria’s portrayal of this character was nuanced, emotional, and simply magical.

Patches O’Houlihan

Dodgeball is a “sport of violence, exclusion and degradation.” as Hank Azaria generously points out in his brief but crucial cameo in Dodgeball. That’s sage wisdom. Try applying his “five D’s” to your life on and off the court and enjoy the results.

Harold Zoid

Of Futurama fame. The crazy uncle of Dr. Zoidberg, Harold Zoid was once a lion (or lobster) of the silver screen until Smell-o-vision forced him into retirement.

Agador

The Birdcage was significant for many reasons, and the comic genius of Hank Azaria’s character “Agador” sits somewhere towards the top of that list. If you haven’t seen this movie, shame on you.

Gargamel

Nobody else could make a live-action Gargamel possible.

Ed Cochran

From Ray Donovan. Great character, great last name [editorial note: the author of this article may be bias].

Kahmunra, The Thinker, Abe Lincoln

All in the Night At The Museum: Battle Of The Smithsonian, a file that let Azaria flex his voice acting and live-action muscles in one fell swoop.

The Blue Raja

Mystery Men has everything, including a fatal case of Smash Mouth. Azaria’s iconic superhero makes the shortlist of redeemable qualities, though.

Dr. Huff

Huff put Azaria in a leading role, and it was good. So good that there is no good gif of it. Internet? More like Inter-not.

Learn more about Hank Azaria’s newest claim to fame right here, and don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Flame Out

Brockmire and Other Public Implosions

Brockmire Premieres April 5 at 10P on IFC.

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There’s less than a month until the Brockmire premiere, and to say we’re excited would be an insulting understatement. It’s not just that it stars Hank Azaria, who can do no wrong (and yes, that’s including Mystery Men, which is only cringeworthy because of Smash Mouth). It’s that the whole backstory of the titular character, Jim Brockmire, is the stuff of legends. A one-time iconic sportscaster who won the hearts of fans and players alike, he fell from grace after an unfortunate personal event triggered a seriously public meltdown. See for yourself in the NSFW Funny or Die digital short that spawned the IFC series:

See? NSFW and spectacularly catastrophic in a way that could almost be real. Which got us thinking: What are some real-life sports fails that have nothing to do with botched athletics and everything to do with going tragically off script? The internet is a dark and dirty place, friends, but these three examples are pretty special and mostly safe for work…

Disgruntled Sports Reporter

His co-anchor went offsides and he called it like he saw it.

Jim Rome vs Jim “Not Chris” Everett

You just don’t heckle a professional athlete when you’re within striking distance. Common sense.

Carl Lewis’s National Anthem

He killed it! As in murdered. It’s dead.

To see more moments just like these, we recommend spending a day in your pajamas combing through the muckiness of the internet. But to see something that’s Brockmire-level funny without having to clear your browser history, check out the sneak peeks and extras here.

Don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Mirror, Mirror

Portlandia Season 7 In Hindsight

Portlandia Season 7 Now Available Online and on the IFC App.

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Another season of Portlandia is behind us, and oh what a season it was. We laughed. We cried. And we chuckled uncomfortably while glancing nervously around the room. Like every season before it, the latest Portlandia has held a mirror up to ridiculousness of modern American life, but more than ever that same mirror has reflected our social reality in ways that are at once hysterical and sneakily thought-provoking. Here are just a few of the issues they tackled:

Nationalism

So long, America, Portland is out! And yes, the idea of Portland seceding is still less ludicrous than building a wall.

Men’s Rights

We all saw this coming. Exit gracefully, dudes.

Protests

Whatever you stand for, stand for it together. Or with at least one other person.

Free Love

No matter who we are or how we love, deep down we all have the ability to get stalky.

Social Status

Modern self-esteem basically hinges on likes, so this isn’t really a stretch at all.

These moments are just the tip of the iceberg, and much more can be found in the full seventh season of #Portlandia, available right now #online and on the #IFC app.

via GIPHY

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