Indeed, I acknowledge that Aaron Sorkin is pretentious and that pretentiousness surfaces in his work, but I still love his movies. while acknowledging a level of pretentiousness about either the creator, the creation or both. Okay, I get your point about subjectivity, but I still feel one can like a movie, song, art, etc. It was the rare film that managed to not just meet but surpass sky-high expectations. I remember how eagerly I anticipated The Royal Tenenbaums following my ecstatic reaction to Rushmore. Few filmmakers so consistently wring both laughter and tears from the same material. It’s that mix of sweet and sour that draws me to Anderson’s work. Like Rushmore, it features characters grieving over the deaths of parents and spouses. This one includes a suicide attempt and the demise of a main character. Anderson’s movies are often both at once. This film is very funny, but it’s also very sad. Anderson has been criticized for the overly fussy nature of his films, but in the best ones he introduces an agent of chaos to hilariously bump against the boundaries of the frame. Hackman is truly a marvel, as his mischievous Royal Tenenbaum takes a sledgehammer to the film’s dollhouse aesthetic. The effort paid off to the tune of $71 million at the box office and a Golden Globe for star Gene Hackman. Given double the budget of Rushmore, Anderson broadened his palette, assembling a large ensemble cast and setting the film in a slightly skewed version of New York. The Royal Tenenbaums follows the rise and fall of a family of geniuses, and the attempts by the flawed patriarch to reinsert himself into their lives. And in 2019 he tackled the Christmas album on The Holiday Sounds of Josh Rouse but instead of well-worn carols or classics, he wrote an entire record of original holiday themed pop songs.Three years after the triumph of Rushmore, Wes Anderson returned with another brilliant work. The Embers of Time, was one of his strongest-self-described as “my surreal, ex-pat, therapy record.” He followed that up with Love In the Modern Age, which took its musical inspiration from the thinking man’s pop of the eighties: The Blue Nile, Prefab Sprout and the Style Council. In 2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for "Do You Really Want To Be In Love," from the film 'La Gran Familia Española.' On El Turista (2010) he even experimented with writing and singing some songs in Spanish. Subtitulo (2006) contained the international indie folk hit "Quiet Town". The follow up, Nashville (2005) continued the hot streak and expanded his audience further.Īfter relocating to Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”įor his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. “I always became fascinated by a different style of music. “Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse.
The followup- Home (2000)-yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky. The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998). They resolve without seeming overly tidy or pat. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. Without pandering, they seek to satisfy both your ear and your understanding. They are clear-eyed, empathetic and penetrating. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. You don’t have to work hard to enjoy Rouse’s music.
0 kommentar(er)
