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fantastica-daily · 3 years

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Richard Elfman on his new bizarro comedy - Aliens, Clowns & Geeks

By Staci Layne Wilson

When it comes to cult science fiction movies, Forbidden Zone stands tall. Richard Elfman's 1980 Mystic Knights of the Oingo Boingo vehicle was a one-of-a-kind film zooming down on a one-way street to a whacky conclusion that’s stayed in the minds of schlock cinema fans ever since. His latest film, Aliens, Clowns & Geeks is an equally wild and expressionistic indie featuring Austin Powers' Verne Troyer in his last role, promising that Aliens, Clowns & Geeks is the antidote to mainstream and a breakneck cure for the run-of-the-mill.

“I was fortunate to have my dream cast on this one, including Verne Troyer (Mini-Me) as my demonic clown emperor–his final film role,” says Elfman. “Our ninety-minute film has seventy-five minutes of driving music by my brother Danny (Elfman) and acclaimed animation composer, Ego Plum Guerrero. Along with Danny’s to-die-for clown and alien music, Ego added a Latin element with the band we play with, Mambo Demonico.” The score was composed by Danny Elfman, who wrote the theme song to The Simpsons, the music to The Nightmare Before Christmas and did the singing voice of Jack Skellington, and won six Saturn awards.

"Eddy Pine (Bodhi Elfman) is a jaded actor dealing with the cancellation of his series," reads the official synopsis. "To complicate matters, he wakes up with the key to the universe stuck up his ass. Apparently an alien Clown Emperor (Verne Troyer) is in hot pursuit of this, as are his rivals, the Green Aliens. Professor von Scheisenberg (French Stewart) and his comely Swedish assistants, the Svenson sisters (Rebecca Forsythe as Helga, Angeline-Rose Troy as Inga), come to Eddy’s aid. If only Eddy hadn’t fallen for Helga, and then the aliens manipulate his mind to confuse her with Inga! And when the mad little Clown Captain (Martin Klebba) steps on the gas and shifts his spaceship into fourth gear, all hell breaks loose.”

We had the opportunity to sit down with Richard to ask him about his movie.

Q. To what do you attribute your enduring interest in clowns? And why do you think they’re so fascinating to people in general?

As I’ve always said: “To be born a male redhead is to be born into a clown suit.” Hence my carrot-topped brother Danny and I have always had a fascination with clowns. Coupled with our wicked sense of humor and a love of the horror genre, it was an easy morph into thoughts of creepy clowns. Just like dolls and puppets—yes, I’m speaking Anabelle—clowns can have something “surreal” about them. Bill Skarsgard’s Pennywise really nails it. And I laughed my head off at Killer Klowns From Outer Space. (And we have honk-honking shit-load of killer clowns in my new film).

Q. How did the idea for Aliens, Clowns & Geeks come about? Is it similar to The Forbidden Zone?

Joined-at-the-hip. Yes. And no. Forbidden Zone is basically a surrealistic “human-cartoon” set to musical numbers. So I was working on Forbidden Zone 2, a thematic extension of FZ but on a much grander scale. I did a successful crowd-funder to develop the project, then, with the help of my producers, raised about half the budget. They asked me if we could do something quick (and cheaper) in the interim to keep the momentum going.

So I basically locked myself in my roof-top writing garret with a box of cigars and many bottles of whiskey and banged out my Geeks script over the next three weeks.

Geeks is utterly zany and music-driven, but it’s not a “singing musical” so to speak like FZ. It has surrealistic elements, thanks to my insane special effects department--and a little help from Hieronymus Bosch—but I would describe Geeks having cartoony elements rather than being a total “human cartoon” as FZ was…if that makes any sense. (And please don’t try!)

Q. Tell us about the multiple roles played by your family – and do you have role as well? What was it like working with your family – any funny stories?

My son Bodhi Elfman—a serious dramatic actor with 100s of credits--did a great comic turn as Eddy, the lead; a bitter out of work actor who wakes up with the key to the universe stuck up his ass. He also played the ass-kissing clown (literally) on the space ship plus the green alien network executive who orders the destruction of Earth. My wife Anastasia played multiple roles, everything from a nun to a carny slut. She also danced and choreographed the cabaret burlesque numbers as well as played a clown…until she got sick from the chemicals inside the clown mask and had to throw up—after we got the shot, of course--committed trouper that she is. When I met Anastasia she was a ballet dancer with a “day job” at a horror fx shop. She can dance with a broken toe but seems to have developed a sensitivity to certain shop chemicals.

I played a clown as well and almost threw up from laughing. I must say Geeks was a fun show to work on (my greatest joy is creating a sense of fun) and the actors and crew had serious trouble keeping from laughing as I directed in insane clown attire. What a fucking visual!

And brother Danny—what can I say? As an independent (hence lower budget) film maker it helps when your little brother in Mozart.

Q. Tell us how you ran away and joined the circus.

Actually, The Grande Magic Circus--a French musical theatre company. 1971, I was twenty-one, visiting the Festival of New Theatre in Montreal. I ran into a scruffy Parisian street troupe. They had something though, a charisma, an élan, whatever-- it attracted me. Director Jérôme Savary needed a percussionist—et voila, that was me! I persuaded them to give me several minutes onstage at the festival doing my comedy/horror piece set to an Eric Satie’s Gnossienne. When I “killed” the pianist in a pool of blood the audience was shocked. And they loved it!

Then, back in California, I went to see Marcel Carne’s masterpiece Les Enfant de Paradise , a three hour film set in the Paris theatre scene of the 1830’s. I exited the theatre, stopped, turned around and went back in and saw it again.

A few months later I received a letter from Jerome. Peter Brook, famed director of London’s Royal Shakespeare Company was backing the Magic Circus in a large Paris theatre. Would I like to join them? Bloody hell!! Hence, I ran away and joined the “circus.”

Q. Tell us something about your time with the Magic Circus, how it influenced you and also how your brother Danny Elfman joined the show.

I might say that working with Jérôme Savary was perhaps my single greatest influence. The troupe had classically trained actors from the Comedie Francais as well as more Avant guard performers. Jerome was a genius, his material had a sense of Absurdism that really struck me. I would later develop this absurdism in my own fashion. Certainly with my own troupe, the Mystic Knights of the Oingo Boingo (later Oingo Boingo). By the way, my film Forbidden Zone was essentially our Mystic Knights stage show set to film.

Danny—several days out of high school--showed up at my 5ème, Rue Descartes doorstep with his electric violin. The company violinist was from the Paris Opera. Jerome liked to improvise. The opera guy couldn’t deviate one note from the written score. I believe my brother is Mozart reincarnated. He could follow any improvisation and got the job and toured with us for the summer throughout France. He and I opened the show with him on violin, me on percussion—the first music Danny Elfman ever wrote.

Q. Any other interesting experiences that you and Danny had there?

We were in a Basque town near the Spanish border. If I may digress, I am four years Danny’s senior. I went to a high school in Crenshaw (Boyz in the Hood), Danny ended up at a school with no guns. I was a tough boxer. Danny might be described as a bespectacled science nerd. So it’s Friday night, the audience was really rowdy and restless. My “street sense” knew it was just a matter of time before the fights broke out. We had an Argentine fellow in the troupe, “Katshurro,” nicest fellow. Drunks in the audience picked up on his accent and shouted terrible Spanish insults about his mother. Katshurro stopped mid-performance, his eyes bugging out of head, and he dove right into the audience swinging away. All hell broke loose. Everyone was fighting, sets crashing down. Danny’s glasses got knocked off. Well, and not for the first time, I managed to get Danny out of trouble with both his glasses and violin intact.

Q. Tell us about the cast you assembled – which includes Verne Troyer in his final screen performance. What was he like? Who does he play in the film?

I really had my dream cast. Along with my son Bodhi we had lovely kung-fu kicking Rebecca Forsythe, versatile Angeline-Rose Troy who not only played Rebecca’s sexy Swedish sister, but donned prosthetics to play poor Eddy’s junkie/whore “Mom from Hell.”

Professor von Scheisenberg was played impeccable veteran French Stewart (Third Rock From the Sun). Another great vet was George Wendt (Cheers) as Father Mahoney. Six foot six comic Steve Agee (Sarah Silverman Show, Guardians of the Galaxy) played both a tough cross-dressing bar owner and a stuttering dufis in a chicken suit. Nic Novicki (Boardwalk Empire) played his nasty little-person boss. I was really blessed with a great ensemble to work with.

And, of course, Verne Troyer, our megalomaniac Clown Emperor. What a wonderful talent to work with! He was funny on set, insisted on doing things in spite of physical limitations and he gave us hilarious comic improvisations. Little body. Big spirit. I will certainly miss him.

Q. The music is by Danny and you also have great animation… please give us some details what it’s like to create worlds through music and manufactured imagery.

Danny, along with my band mate--award winning animation composer Ego Plum (Guerrero)—really gave it to us. Seventy-five minutes of music in a ninety-minute film. ♪ ♫ La, tee-da and a boom boom boom! ♪ ♫ Music is essential to everything I do—especially setting the tone of my films. I even play music before I start writing.

As soon as Danny saw our surrealistic Bosch dream sequence and goofy clown rocket ships he agreed to do the score…after he stopped laughing. I play percussion in a quirky Latin band, Mambo Demonico, led by Hollywood’s top tv animation composer, Ego Plum. He and Danny work with the same people, including Oingo Boingo lead guitarist Steve Bartek, who subsequently has done every one of Danny’s film arrangements. Steve and the original Oingo Boingo members all played on our sound track. I must brag that we do have great fucking music!

You know, Danny was a bespectacled science nerd growing up, basically stayed out of trouble. That was my department. Oddly, he wasn’t really into music. No bands, no concerts, no big music collection. Life is funny how things turned out. I showed him a rough cut of Geeks, he laughed his ass off and offered to do it. Yes, I’m very lucky to have “Mozart” as my little brother!

Q. Who is Aliens, Clowns & Geeks for? Do you think movies like this are more likely to find a mainstream audience?

Forbidden Zone may be a “cult” movie but it still plays all over the world--after forty years. Just this past month FZ played festivals in France and South Korea. Geeks is certainly not for everyone—no one falls in love then dies of cancer. But it will find an audience I am sure. Anyone who had fun with Killer Klowns From Outer Space, liked Rocky Horror, even What We Do in the Shadows in terms of a quirky, wicked sense of humor. I also think it will play well in mental asylums…it certainly shall send people there in any case.

Geeks doesn’t fit into the scheme of “modern films.” Actually, the shooting style and underlying three-act story structure harkens back to classic comedies (says the son of a former English teacher turned novelist). The trappings though, are insane and off-the-wall. You might say it’s just my own, goony creation. Love it or hate it, the humor is balls-out outrageous, definitely not for everyone--no one dies of cancer. Geeks is simply meant to be fun for essentially the genre audience.

Q. What’s your proudest moment associated with making the film?

Proudest moment? Maybe finally paying the actors. People say I’ve embraced the indie spirit. I don’t know how much I “embrace” it, so much as am fucked by it, having to work on such a modest budget. Although I’ve been a “hired gun” and directed scripts written by others, Geeks is really the first time since my 1980 Forbidden Zone that I’ve really done purely my own vision. Per John Waters, well, I’d hope he’d have something strong to drink and/or smoke and then laugh his ass off watching it! That’s what it was like creating the film: Drinking scotch and smoking cigars in my rooftop writing garret, laughing my ass off! The green aliens have a totally high-tech ship, except for the automotive steering wheel and four-on-the-floor to shift gears. For the clowns we went for an absurdly updated version of Flash Gordon. And when our tiny clown emperor takes possession of an earth body, he has little dummy of the earthling sitting in his lap, their heads connected by electrical wires. Absurd and ridiculous, and that’s my middle name.

Want to see a double feature of The Forbidden Zone and Aliens, Clowns & Geeks? You can! They will play at The Regency in L.A. as part of The Valley Film Festival on 1/30/21. Get tickets here.

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Look for our review of Aliens, Clowns & Geeks here soon!

#Richard Elfman #forbidden zone #aliens clowns geeks #bizarro #cult films

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aion-rsa · 3 years

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Aliens, Clowns & Geeks Review: Sci-Fi Comedy Aims Low And Scores High

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No one sets out to make a cult movie. Most filmmakers aspire to commercial heights even if they only have the budgets for a B-movie. They see films like Blair Witch realign box office accounting and apply all kinds of quantum physics to mimic the exponential multiplication. Very few achieve it, and the ones which do usually do it by accident, and certainly not with serious intent. Aliens, Clowns & Geeks is not afraid to be ridiculous. It joins the ranks as such brave films as Attack of the Killer Tomatoes, Killer Klowns From Outer Space, and Frankenhooker.

It is also so much more than these films, dripping with artistry, and yet considerably less, with masturbating aliens, pussy ping pong, and sphincter-pinching obelisks. Richard Elfman’s sci-fi comedy has an abundance of experimental fun and a happily reckless disregard for taste. It owes as much to Frank Zappa as it does to Frank Capra, and can in some ways be seen as a screwball comedy take on the 1955 film noir classic Kiss Me Deadly. For a silly film, Aliens, Clowns & Geeks summons serious plot twists. It captures the casual surrealism of the Marx Brothers in hyper-speed.

Though it’s not on the level as Forbidden Zone, how could it be? Elfman’s 1980 cult classic ranks way past closing time on the clock of midnight movies. Aliens, Clowns & Geeks is still completely original. Unlike other films where low budget hobbles creativity, this uses a lack of funds to its advantage. In some ways this is like Tim Burton’s Mars Attacks!, except done on one-thousandth of the budget and with 1/100th of the stars. Aliens, Clowns & Geeks marks the final feature film role for the late Verne Troyer (Austin Powers: The Spy Who Shagged Me, Goldmember, Harry Potter and the Sorcerer’s Stone). His Clown Emperor Beezel-Chugg is a memorable turn. Narcissistic, lethal, and commanding, he is the Emperor of the Nine Planet Federation, and still gets hauled in for Illegal dwarf tossing.

The little clown who gets tossed around is played by Nic Novicki, but don’t feel too bad for him, he takes dirty pictures of nuns in porta-potties in his spare time. George Wendt plays a priest who condemns him to eternal damnation for it. French Stewart (Stargate, 3rd Rock from the Sun) gets the Fickle Finger of Fate Award for being able to maintain an Arte Johnson impression throughout a whole film as the German scientist Professor von Scheisenberg.

Mimicry is only one extra talent the actors bring into their roles. Rebecca Forsythe contorts her voice and face excruciatingly and exquisitely as Swedish lab assistant Helga. She’s studied quantum, subquantum and super-quantum dynamics, and delivers one of the greatest pickup lines in cinema history: “you would be surprised at how incorrect the calculations of many rocket scientists can be.” Her body proves to be equally supple whether during head-banging sex or in one-on-one martial arts combat.

No one quite makes the faces or shrieks the screams quite like Bodhi Elfman, who plays the lead, a jaded actor named Eddy Pine. Bohdi, the actor playing the actor, is a cartoon character masquerading as a person. His cynical Steve Buscemi-esque delivery grounds him even as the only missed opportunity in the film is a Looney Tunes sight gag where hens lay so many eggs they rise to the roof of Porky Pig’s barn.

Happily, the camera turns away when the obelisk is introduced to the film. Whether it is just a worthless novelty or the key to the universe, Eddy’s anus is “the chosen portal.” The Chinese military wants the obelisk, there’s an intergalactic battle between alien clowns and green Martians over it, and Dr. von Scheisenberg wants to melt it down for clean energy. About a foot long, and looking like the Washington Monument with squiggly sub-particle lettering, it is also known as the jamtoid key, and is worth more than a three-picture deal, but “money won��t mean nothing if the world explodes.”

Elfman, who also directed Shrunken Heads, and Modern Vampires, has a background in theater, and uses troupe mentality by casting actors in multiple roles. Anastasia Elfman brings the fire of a true believer to five characters. Helga’s sister Inga is played by Angeline-Rose Troy, who also plays Eddy’s junkie-whore mother. The noises she makes in one particular chase scene is so alien and unexpected, it brings the whole movie to another level. Steve Agee plays Eddy’s recently transitioned Burlesque dancer and bar-owning sister Jumbo, as well as the chicken-suit wearing Eddy Pine. Richard Elfman plays the clown Da-Beep. Martin Klebba is an angry clown captain.

The final character is the original soundtrack, which upstages the action in the best of ways. Aliens, Clowns & Geeks could be called a musical, but not in the same way The Rocky Horror Picture Show is, even if there is gender fluidity flowing through it. For the film, Elfman reunited with the Mystic Knights of the Oingo Boingo, who starred in Forbidden Zone. The score was written by Danny Elfman and Ego Plum. Danny Elfman wrote the theme song to The Simpsons, the music to Nightmare Before Christmas, and did the singing voice of Jack Skellington. Plum is best known for the noises he made for SpongeBob SquarePants and The Ghastly Love of Johnny X, but also plays in the band Mambo Demonico. Consisting of 75 minutes in a ninety-minute movie, the music makes the film unique. The diverse mix of genres makes the movie feel like live performance.

Aliens, Clowns & Geeks is laid out in the three-act story structure of classic comedies. It is zany, evoking the feel that logic has been usurped by the most unreasonable intrusions. The film opens on the road. The first victim is a large biker clown who is mind controlled to be some kind of monosyllabic Terminator-style obelisk retrieval machine. Eddy is taking his sorrows for a swim in the deep end of a dive bar. His network series, “Cry Me Dry,” was cancelled a day before it was set to air. Their first encounter is inadvertently suspenseful, as the clueless Eddie chalks up a seemingly random request to another day in Hollywood.

The movie then takes on a science fiction turn while keeping to an LA Noir sensibility, albeit with frenetic sexcapades (“May you procreate and spread your clown seed wide”), campy caricatures, vampy vehicular battles, and trampy throughlines. Masturbating aliens remotely manipulate blond femme fatales with X-box controllers, making the conquest of earth look like a video game. This highlights the depersonalization of battle, intergalactic or terrestrial. This very human alienation is further accentuated every time the green aliens have to get approval from corporate. There are impossibly surreal scenarios, like a ménage à trois scene where Eddy’s on the bottom and the POV shows the two girls on top. The scene ends in a nuclear explosion, topping the fireworks display of the first climax of Deep Throat. There is a head exploding scene which is more over-the-top than Scanners.

As comedy, each of the set ups have great payoffs, and the running gags never trip up, even if Eddy slips into Shakespearean soliloquies before exiting, stage left. Elfman mocks Hollywood itself, pointing out that the Beverly Hills Police Department only takes calls from celebrities while actors kiss ass on Hollywood Boulevard all day. The film even throws in visual sight gags, like a bucket of brains which is kept in a joint compound container labeled “head stuff.” One character is reading a book called “The Strawberry Fields of Heaven by Blossom Elfman.”

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Aliens, Clowns & Geeks makes no apologies. You just have to go with it. Groucho Marx once advised if nothing else is getting a laugh, “drop your pants.” This turns out to be the greatest weapon of the movie. It saves the day as much as it lowers the bar. It is worshipfully irreverent, and politically incorrect. There is no shame nor the slightest consideration given to cancel culture. “Life is complicated, take if from the guy with a dick in a dress,” we are advised in the film. Even insane biker clowns may not be what they seem. Aliens, Clowns & Geeks is silly, goofy, stupidly intelligent, and absolutely what a mad scientist would order.

Aliens, Clowns & Geeks will be opening in a drive-in run, double billed with Forbidden Zone: Director’s Cut. Details will be announced.

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evyalexandrahides-blog · 7 years

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Angeline Rose Troy Celebrity Image and Photos

Angeline Rose Troy Celebrity Image and Photos – List of Celebrity Names [ktzagcplugin_image source=”bing” number=”10″] [ktzagcplugin_video] [ktzagcplugin_image source=”bing” number=”10″ related=”true”] [ktzagcplugin_text source=”bing” number=”5″ related=”true”]

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apportez-deux-mots · 7 years

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Les Atitlos jouent “Ils ont besoin d'en parler”, et on va entendre parler d’eux!

La source:

Une pièce de départ assez dense: Psychomaton d’Anne-Marie Olivier. Cette talentueuse dramaturge, conteuse et comédienne québécoise née en 1973 et directrice artistique du Théâtre du Trident depuis 2012 a inspiré Alicia Filks, la metteure en scène des Atitlos, lors de son séjour au Canada. Acceptée progressivement par la troupe qui a su entrevoir dans cette proposition un vaste champ d’exploration, la pièce a changé de nom. Chez les Attilos, elle est devenue Ils ont besoin d’en parler, phrase issue du texte lui-même d’ailleurs.

Le speech:

D’entrée de jeu, José, le personnage principal, nous interpelle et nous place chaleureusement. C’est un commerçant plein de bonhommie et toujours de bonne humeur. Contrairement à son acolyte Polo, plus sceptique et réservé, ce vendeur semble dopé à l’énergie positive, un grand sourire lumineux et généreux aux lèvres. Sa philosophie? « on fait tous partie d’une grande chaîne d’amour, sauf qu’on ne le sait plus ». Son rêve? aider les autres à toujours voir la lumière même dans la pénombre de leurs errances...leur trouver “un espoir adapté”. C’est là que Polo lui prête main-forte.

Face à ce constat en demi-teinte que dresse José de la société et du monde lors de ces échanges avec son collègue, l’idée d’un psychomaton, subtile symbiose entre un psychologue et un photomaton, prend vie. Pour aider les citoyens à s’exprimer librement, à se sentir écoutés, à trouver refuge, à exorciser leurs psychoses, à se confesser sans tabous, à avoir des réponses, à se défouler, la machine libère une citation appropriée à la situation.

S’en suit alors un défilé de personnages éclectiques loin du regard des autres. Regards étant le titre d’une autre pièce d’Anne-Marie Olivier, le public observe Marilou, une jeune fille naïve et profondément attendrissante qui veut satisfaire tout le monde même lorsque cela devient dangereux pour son intégrité physique et pour son innocence laminée...; Diane, sympathique et amusante bourgeoise méticuleuse (pour ne pas dire hilarante maniaque obsessionnelle); Rose, femme fatale qui joue de façon aussi sensuelle avec les hommes qu’avec sa cigarette; Jimmy Parent, un petit garçon dont on devine une vie difficile -notamment avec le leitmotiv “je viens ici parce que chez moi, y’a pas d’place”- fasciné par la mort suite à des traumatismes tus, sans oublier un personnage accro à la drogue ou encore Patsy, la femme battue qui tente de s’en sortir, et tant d’autres solitudes qui se racontent et se confient sous nos yeux à l’écoute…car “l’oeil écoute”, pour reprendre Claudel.

Une ambiance tendue donc dans un confessionnal moderne où les mots vulgaires peuvent jaillir sans être jugés ainsi que des propos amers, des illusions, de douloureuses désillusions écoutées par un témoin silencieux: le public... Nous observons des histoires qui s’imbriquent parfois les unes dans les autres dans ce psychomaton où tout se lie et se salit... Cela fait réfléchir un public absorbé. Vaste comédie des masques qui démasque la dure réalité sous un large sourire affiché en résistance aux maux les plus oppressants, dans une résilience aussi candide qu’affirmée. Comme l’écrivait René Char, “résistance n’est qu’espérance”. Alors José tient bon, et avec lui des personnages à la dérive, à la recherche d’un peu de bonté, qui s’accrochent à la vie coûte que coûte...des “naufragés du fol espoir”, dirait Mnouchkine.

Toute cette tension et ces aspects dramatiques sont fort heureusement allégés par les échanges entre José, infatigable idéaliste nourri à l’Espérance et à la Joie, et Polo, son ami prêt à tout pour l'aider à réaliser son projet malgré une pensée plus fermée, plus arrêtée que celle de ce doux rêveur qu’il admire secrètement.

La performance: les acteurs ne sont que quatre. Angeline, Joanna et Yann incarnent chacun trois personnages diamétralement opposés, tandis que Mahay vit son texte très dense sans s’essouffler une seule seconde.

Par ailleurs, on peut saluer les recherches d’Alicia Filks aussi bien au niveau du texte avec une subtile découpe qu’au niveau de la scénographie. Le décor est épuré, minimaliste mais symbolique. Les effets sonores quant à eux sont recherchés également, aidant à changer de scène en faisant résonner (et raisonner) les diverses citations à la manière des génériques de RadioNova, mais en plus mystérieux, intriguant... De plus, certaines scènes sont de véritables tableaux grâce aux masques qui dénoncent au moyen de deux-trois gestes l’implicite le plus grave, l’indicible le plus lourd. Exemple marquant (au fer rouge dans ma mémoire): cette mise en scène du génocide par des mouvements de danse saccadés, de transe rythmée, comme un battement de coeur...meurtri.

L’interview.

Maintenant, changeons de format et donnons directement la parole au fondateur de la troupe, Mahay Parent, puis à Joanna, Angéline, Yann et Alicia pour conclure:

- Vous vous inspirez de la pièce extrêmement foisonnante d’Anne- Marie Olivier. Comment avez-vous effectué les coupures et fait vos choix dans cette galerie de personnages?

- On a modifié l’ordre des textes et on a choisi ces personnages-là parce qu’ils avaient quelque chose de fort à raconter et à défendre, plusieurs histoires banales qui pourraient faire écho à chacun. Chaque histoire a quelque chose de dérangeant à un moment donné mais le fait que les personnages viennent se confier permet de faire réfléchir les gens sur ce qui s’y passe. Les personnages viennent raconter une part d’eux comme si c’était vraiment une confession, ce qui permet de faire passer un message puissant aux spectateurs. En plus, les personnages que l’on a choisi sont tous très différents et traitent de sujets variés. C’est un message positif que l’on essaie de faire passer malgré la noirceur des thèmes.Tant qu’il y aura des gens comme José et Polo qui se battent pour rendre le monde meilleur, alors on s’améliorera!

- Je suis bien d’accord avec toi, Mahay. Comment est née la troupe?

- Tout a commencé l'été dernier. C'était la fin des cours de théâtre et je me suis dit que cela serait pas mal de faire une aventure théâtrale en attendant la rentrée. J'ai donc commencé à proposer cette idée à certains de mes anciens camarades de classe de théâtre et cela leur a plu. Nous aimons le théâtre et ne pas en faire pendant trois mois aurait été difficile, vide. Je suis allé voir mon ancienne partenaire de jeu, Alicia, qui avait rejoint une troupe très active au Québec et voulait faire de la mise en scène à son retour en France. Sa seule exigence a été de bosser avec “des gens sérieux”. Nous nous sommes alors mis à travailler sur cette pièce qui nous correspondait tous un peu.

- Aviez-vous déjà joué tous les quatre sur une même scène auparavant ?

- Non, j’ai réuni des membres qui ne se connaissaient pas mais qui devaient travailler ensemble pour créer. Chacun avait son univers théâtral, l'un était très corporel, l'autre était intimiste, l'un aimait la comédie, l'autre la tragédie. Réunir toutes ces personnalités aurait pu causer des conflits. Mais non ! Au fur et à mesure des répétitions, une complicité s'est installée.

- Oui, cette cohésion est palpable sur scène d’ailleurs. Maintenant, peux-tu me dire quel est le but de votre théâtre?

- Nous voulons faire du théâtre à portée de tous, simple mais qui parle, qui pose des questions. Que le public joue, rit et réfléchisse en même temps.

- Pari gagné Mahay! c’est exactement ce que nous avons ressenti dans le public. Au fait, d’où est né le nom atypique de votre troupe?

- Au début, on voulait mettre "Sans titre" mais ce nom de domaine était déjà pris. Joanna a ensuite proposé la traduction en arabe mais cela ne correspondait pas assez à ce que nous cherchions. Puis Alicia a demandé à Glykéria (la petite amie de Mahay ndlr) la traduction en grec et c‘était Atitlos ! Là, ça a résonné dans les oreilles de tout le monde et on est donc parti sur ça !

- Choix judicieux! Je dirais même plus, “les atit’osent” parler de sujets tabous.. Enfin, puisque votre pièce est truffée de citations, laquelle choisiriez-vous chacun votre tour pour qualifier votre façon de voir le théâtre? celle qui vous anime dans votre jeu et peut-être dans la vie... ?

Mahay, sans hésiter: " on fait tous partie d’une grande chaîne d’amour, sauf qu’on n’le sait plus..”

Joanna, après avoir tergiversé entre “ il n’y a rien de plus extraordinaire que le théâtre (...)” de Gide et une citation de Nietzsche, nous propose la seconde, sa préférée: "le théâtre, ce n'est jamais qu'une manifestation au-dessous de l'art, quelque chose qui s'adapte au goût des masses, lorsqu'on le fausse pour elles."

Yann a choisi de nous faire entendre Shakespeare : “"le monde entier est un théâtre. Et tous hommes et femmes n'en sont que les acteurs. Et notre vie durant nous jouons plusieurs rôles."

Angéline quant à elle, donne la parole à Alfred Hitchcock: “le théâtre c'est la vie, ses moments d'ennui en moins! "

Enfin, Alicia nous développe son point de vue sur cette passion qu’elle partage avec ses acolytes: “le théâtre c'est une affaire de générosité avant tout, tu donnes et tu aides ton partenaire de scène, le metteur en scène n'est là que pour sublimer le comédien et l'aider à exposer sa personne sur scène et le comédien aide le metteur en scène à faire vivre une de ses visions. On est tous là en tant que troupe pour donner voix à un auteur et se livrer au public, et le public donne son énergie en recevant ce qu'on lui offre. Donc pour moi c’est juste de la générosité en fait”.

Merci et belle continuation à vous tous :)

Eugénie

#théâtre #contemporain #troupe #comédiens #besoin #parle #atitlos

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filmtreaming1 · 7 years

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InSight

Production2011 - Richard Gabai

GenreThriller

Distribution : Sean Patrick Flanery, Natalie Zea, Adam Baldwin, Angeline-Rose Troy

Résumé :

Cet article InSight est apparu en premier sur .

from InSight

#InSight

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netflixcenter · 6 years

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TRAILER: Happy Anniversary | Coming to Netflix March 30

Original Netflix Romantic Comedy…

Happy Anniversary

=>Also Coming to Netflix in March<=

Love is the best, until it’s not.

A couple on their three-year anniversary need to decide whether to stay together or call it quits.

Happy Anniversary is coming to Netflix March 30.

Happy Anniversary (2018)

N/A|Comedy|March 30, 2018

N/ARating: N/AMetascore: N/A

A couple on their three-year anniversary need to decide whether to stay together or call it quits.

Director: Jared Stern Creator: Jared Stern

Official Trailer • Happy Anniversary

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What’s Coming to Netflix

Follow on Twitter: @ComingToNetflix Follow on Facebook: @ComingToNetflix

TRAILER: Happy Anniversary | Coming to Netflix March 30 was originally published on Netflix Center

#Angeline-Rose Troy #Annie Potts #Ben Schwartz #Helaine Lembeck #Isidora Goreshter #Jared Stern #Jeff Grace #Joe Pantoliano #Kate Berlant #Leonardo Nam #Molly Schreiber #Noël Wells #Rahul Kohli #Sanchita Malik #Stephane Nicoli #Zedrick Restauro #Netflix

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aion-rsa · 3 years

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Aliens, Clowns & Geeks Review: Sci-Fi Comedy Aims Low And Scores High

https://ift.tt/eA8V8J

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Aliens, Clowns & Geeks will be opening in a drive-in run, double billed with Forbidden Zone: Director’s Cut. Details will be announced.

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The post Aliens, Clowns & Geeks Review: Sci-Fi Comedy Aims Low And Scores High appeared first on Den of Geek.

from Den of Geek https://ift.tt/3pb5Yi2

#aion-rsa #Den of Geek

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