They say it’s the most wonderful time of the year—but between self-embarrassment at work parties, getting the XS condoms at the white elephant gift exchange, forced family hangouts, and blowing your paycheck on gifts and flights, you might need a little help getting into the holiday spirit. Luckily, North Brooklyn has an abundance of seasonal flicks to bring you some of that Christmas cheer. And at most of these places, there will be booze. Listings after the jump! Continue reading
Tonight The Lot Radio & San Damiano Mission (85 North 15th Street) continue their concert series with a screening of Hitchcock’s classically creepy The Birds, with The Dave Harrington Group lending their own live score. Harrington is Nicolas Jaar‘s compatriot and one half of their currently broken-up project Darkside—so you know the vibe is gonna be spooky AF, likely with raw and tangential dark jazz undertones. Tickets are a $10 donation, and the show starts at 8pm. Continue reading
Last week, the Brooklyn Film Festival kicked off its 19th year of showcasing local and international feats of independent cinema in a handful of venues, including two Greenpoint landmarks: The Wythe Hotel and Windmill Studios. With a number of networking events and screenings, there’s plenty of action for filmmakers, film supporters, and film lovers to get into this week.
This year’s festival premieres 12 narrative features, 24 narrative shorts, 9 feature documentaries, 18 short docs, 25 animated and 20 experimental films. The theme is “Experiment.”
With our 20th anniversary around the corner, the festival feels like floating in mid-air between our history and our plans for the future. It is this subtle sense of instability that fuels “Experiment” Edition. The experiment is reinventing ourselves, it is about allowing the unknown, and it’s about paying attention to the youngest storytellers. Every year we launch a new generation of talent, and this year’s selection is as experimental as mind-altering.
In a world full of bullshit and bullshitters, Danny Brown is as clean as a whistle. In fact, his authenticity is perhaps as pure as a baby bull’s shit. No matter how it’s put, Danny Brown is a true artist, and there’s a new documentary out tonight that will school you on the matter.
Directed by Andrew Cohn (of Medora fame), Danny Brown: Live at the Majestic captures raw moments with the indie rapper as he prepares for a homecoming show at The Majestic Theatre in Detroit. With 21 cameras, Cohn’s crew captured full coverage of the live show, but the documentary also includes intimate footage with Danny in his own hometown.
Andrew Cohn, whose career initially started with screenwriting in Los Angeles, but who is now based in Brooklyn, enjoyed much success with his first documentary, Medora. The heart-wrenching doc follows a seemingly hopeless small-town high school basketball team through their losing streak in Medora, Indiana. The film premiered at SXSW, and it won an Emmy last year.
Danny Brown: Live at the Majestic is one of Cohn’s newest documentaries (he also just finished Night School). This time, as with Medora, he seems to have been born to make this film. As a Michiganian, Cohn was a fan of Danny Brown before the rapper’s fame hit global proportions — before XXX or Old hit the charts — back when Brown was just a drug dealer in Detroit trying to make it as a rapper. Cohn says he remembers when it was a big deal whenever Danny was featured on the cover of “Metro Times” in Detroit. As a fellow Midwestern artist, he’s enjoyed seeing Brown’s fame rise as his own filmmaking success has evolved.
I had the chance to catch up with Cohn about the documentary — how it came about and what it was like working with the creative force that is Danny Brown.
Greenpointers: What made you decide to make a doc on Danny Brown?
Andrew Cohn: It kinda came about as a side project because I was in the middle of making Night School, which I was in Indianapolis for. I had been in touch with his manager about doing a doc… and had lots of ideas that just fizzled and nothing came of [them]. But when I was making Night School… his manager approached me and said, ‘Danny is doing this show…it’s his first time doing a solo show in Detroit in a long time and we wanna film it, and want to talk to you to see if there’s something bigger you want to build around it.’ And immediately I was like ‘That sounds great, I’m close, I already have a crew and a ton of resources in Detroit and Michigan since that’s where I’m from’…So, first thing we wanted to do was shoot the fuck out of the live show…we wanted to just totally blow it out… And then I went back [to Indianapolis] to finish [Night School]. And, obviously, I spent about three days interviewing Danny while I was in Detroit… then had the idea to follow some fans who were at the show, and spent a few days with them, and slowly, slowly it started coming together… It was about a sixteen-month process from the first day of shooting.
GP: How did you find the fans who were featured in the film?
AC: Danny put out a Facebook post asking for fans who were going to be at the show who might be willing to be filmed…and we found some really great characters, you know, his fan base is super, super interesting… I think for Danny, he has a lot of fans who aren’t hip hop fans, a lot of them are punk rock fans. You’ll see a lot of mosh pits at his show. But I think that’s what’s great about Danny — he brings that vulnerability to his song writing. It’s not all braggadocious. He has that street credit, but he also has a punk rock mentality. Like, he refused to sign to a major label, he has this independent streak in him where he just does things his way, and I think the audience really reacts to that. He just has a really wide audience…like a lot of kids that come to his shows, I don’t think they’re gonna see a Drake show. He speaks to people that feel maybe disenfranchised, or people that are attracted to that kind of honesty.
GP: I was really impressed with how open and honest he was [in the film]. Was it easy to get him to open up like that in the conversations you had with him?
AC: Surprisingly so. I’ve done some profiles on some bigger artists and there’s always this kind of wall. They give you the PR spin of, like, an athlete after a basketball game, ‘Both teams played hard’ — this kind of sound byte stuff. But as soon as I met him — and I’m a huge Danny Brown fan — I totally understood why people love him so much. He’s so open and so honest and so vulnerable and raw. There’s none of that fake bullshit.
The first day I met him, we were filming late at night at the EL-P show, and they were all going to go back to Danny’s house and hang out after, and I [asked to come and film] and he was like, ‘Yeah of course!’ But I didn’t have car. I was trying to figure out how I would get back to the hotel…and he was like, ‘Oh, you can spend the night at my house! It’s fine.’ It was the first day I met this guy and he was inviting me to crash on his couch. At the time it didn’t seem like a big deal, but now, looking back, I’m like, ‘Damn, that’s crazy. That’s crazy.’
GP: So, why did you approach his manager initially? Was it just because you’re a big fan?
AC: Yeah, I mean I’ve been a fan of his for a long time. I remember Danny Brown before he was big at all…he was just another rapper from Detroit. He just opened for people – he was just one of the dozens of rappers in Detroit doing their thing…To see him transcend that and be really big was really really fun to watch. And so when I approached Dart, his manager, I showed him Medora, and he and his wife really loved the film, and knew that they would be in good hands. And I just started this relationship that ended up taking a long time to come to fruition, but I think in the end there was a trust there — like we’re from the same place, we have the same point of view, you know. So that’s what was cool about doing the doc…I didn’t have to sit down and Google ‘Danny Brown’ and do research on who he is…I already knew his full story, so it made it easy when we were interviewing or talking, because I understood where he was coming from.
GP: What made you decide to have the world premiere through Rooftop Films?
AC: Just because I know Dan [Nuxoll, Program Director], and I know that they put on amazing screenings. The screening they did with Medora was unbelievable…so I knew I would be in good hands. They said that they had requests for 2,100 tickets in like three hours, or something like that, so I knew they would be able to handle the volume and accommodate Danny’s fans. I think that was really important to us — to have something where Danny’s fans have access…[something that] was going to be free, was going to be open to the public…all ages, 18 and over. So that was important to us. And you know, New York is a big market for him, so it made sense.
GP: Most of your work seems to revolve around people in low-income situations. What draws you to that landscape?
AC: I think that I love stories of underdogs. I’m not exactly sure why. I enjoy giving a voice to people who might not be given that platform. I think that there’s a lot of people out there in that part of the country who are really overcoming a lot of odds that don’t really get credit for it. So to be able to shine a light on people who wouldn’t have their stories told is really important to me. I think everyone is attracted to different types of material, and I like just making movies about real people who are trying to live in the real world, you know, and I think there are really courageous stories in that space. And I’m from the Midwest and obviously I love the Midwest — there’s just the frankness of the people — they’re very forthcoming and honest — and so I like telling stories about that part of the country — that part of the world.
GP: What are you working on now?
AC: I just finished my other film, so [I’m] figuring out the rollout with that. I’m doing something for MTV, Vice, ESPN, doing some television stuff, then basically taking a break. This will be my fourth feature film in three years. I’ve been going pretty hard for the past two years, so I’m going to take a break and see what’s next.
GP: Do you have an idea of what you would want to work on next?
AC: Yeah, I want to take a stab at doing a narrative film. Get back to screenwriting and hopefully direct something narrative. I have a couple ideas for docs. There are plenty of opportunities coming my way and it’s hard to say no, but I need to do laundry, and just get my life back on track.
GP: Get back to the basics.
AC: Yeah, exactly.
GP: I mean, that’s a good problem to have as a filmmaker.
AC: Yeah, I’m super grateful. Especially for the opportunity to make a film about your favorite rapper…it seems so surreal. I’m just grateful to have the relationship with him. He’s just a great guy, you know.
Yeah! I know.
Attendance for tonight’s show is on a first come, first serve basis, and doors open at 7. Screening starts at 8:30, followed by a Q&A with Danny Brown and Andrew Cohn. Danny performs at 10PM. House of Vans is located at 25 Franklin Street in Greenpoint.
One of the area’s brightest summer events, Films on the Green will be returning to Greenpoint’s WNYC Transmitter Park to project two films ‘en plein air’.
An initiative of the Cultural Services of the French Embassy in the US, the FACE Foundation and the City of New York Parks & Recreation, Films on the Green Films is unique among the myriad of free movie screenings attracting cineastes to NY green spaces every summer, as each year the series presents a free and fresh sampling of French films around a given theme.
This year, as part of the Tandem Paris-New York, a cultural partnership between the cities of New York and Paris including a music festival, film, art, and other events, running between June and October 2016, Films on the Green presents classic and contemporary films that, “present the diversity of Paris, its inhabitants, landscapes, and cultures”.
Greenpointers can view two classic French films projected alongside an unmatched East River view of Manhattan, when Luc Besson’s ‘Subway’ screens June 24th and François Truffaut’s ‘400 Blows’ on July 1st. Continue reading
We’ve all had that moment on the platform when we just couldn’t take it anymore. The G train wasn’t just late — it was non-existent. As in, its existence was doubted by anyone who took the train after 10:00 a.m. and before 3:00 p.m. You were so late to your class/art modeling gig/poor excuse for a job, you started having thoughts about jumping on the train tracks with the rats just to alleviate the pain of your broke life.
To add insult to injury, once you got on the G, the man next to you was jamming so hard on his headphones that his flailing appendages were certainly very definitely in your personal space. Continue reading
If restaurants can recommend wine pairings for food, why can’t we recommend a movie interlude for your CMJ Music Marathon club hopping tonight?
Light Industry, an alternative art space in North Greenpoint (155 Freeman St.), is exhibiting The Big Country, the classic but rarely seen Western movie by director William Wyler. It starts at 7:30 pm and ends around 10:15 pm, providing the perfect bridge between the CMJ afternoon shows in the city, and the shows at nearby LIC Bar and The Good Room later tonight. Continue reading
For one night only, “Four Films by David Lamelas” will be shown at Light Industry (155 Freeman St.) on Tuesday, September 8 at 7:30 pm. The special screening will be followed by a conversation between Lamelas and Stuart Comer, the Chief Curator of the Department of Media and Performance Art at the Museum of Modern Art.
Filmmakers, scriptwriters, or those aspiring to be! Here is your chance to win $1000 in cash and get your film produced! Rector Studios & Carrier Lighting is giving Greenpointers an exclusive discount to enter.
“This year the Brooklyn Short Script Contest is expanding its Grand Prize to include the full production of the winning script! A unique opportunity for aspiring writers to take home the 1000$ cash prize & have their story brought to life! Continue reading
Six months ago, Geoff Gersh sat down to watch the silent black and white film Blancanieves. Before it even finished, he knew he wanted to rescore it for the Live Sound Cinema (LSC) series at Nitehawk Cinemas. “I like dark art movies and images,” Gersh said. “I just find it inspiring and this has a lot of that.”
The 2012 film, written and directed by Pablo Berger, “combines elements of Snow White (Charles Perrault, not Disney), Carmen, bullfighting, Bette Davis at her most frightening, and the grotesque,” Berger once explained to Interview magazine. Gersh describes the film, and his score, as “ambient and melancholy.”
After watching the show with Gersh’s score, I realized that live musical accompaniment immerses an audience in a film’s narrative in a way that nothing else can.