What does Oja want to do now, I wonder? You mentioned the WElles school in Croatia?
Oja is trying raise money for an Arts Center named after Welles which will have an auditorium, exhibit spaces, eatery etc. Also a separate facility for lodging purposes.
The Arts Center sounds nice. How much does she need?
Three million. The Croatian government will put up half. This was the project that Erik approached Ray about simply in regards to doing an article.
I think he mentioned it to me awhile ago, when Erik went to visit Oja. I forget exactly what he said, but he was against it.
Yeah he got pretty weird about it. From Erik's point of view Ray was pretty negative about it. Then almost immediately he placed that article about a former associate who was a witness to some late documents Welles signed. What's strange is that Oja, in her negotiations, dropped the issue of several provisions that Welles signed post-Will. Ray was fixated on the "shakey signature", the subtext being that Oja was forging Welles signature. But you can see Welles hands having a slight tremor during his Merv Griffin interview the night he died.
So how does she plan to get the money?
Well, like any venture the money has to be raised. Crowd funding, donations, fund raisers etc
Maybe she can sell the Don Quixote negative to Netflix for a million or so.
Yeah there certainly are a number of ways to raise it. I know she did not like the edit that was done. Which I was so relieved to hear because it was awful!!
Jess Franco? Yeah, that was pretty bad, although it did have it's moments. For one thing it was too long and meandering, about 110 minutes. Oja said she and Graver whittled it down to 90 minutes, showed it a couple of times and then locked it away. I'd like to see their cut sometime. 90 minutes is about what Welles wanted, I think. Also, the Franco was made mostly with crappy dupe footage, not negative, so that also makes it hard to judge fairly.
The crowd funding for Wind was a big disappointment. Crowd funding is for lowbrow, teeny bopper stuff. That's what does best.
Well, it all depends on platforming etc. They raised several hundred thousand for Wind. So several hundred thousand is better than nothing. This is a brick and mortar situation which tends to be more successful in general. But you can't put all the eggs in one basket. You need other sources.
Does she have any definite plans for fundraising?
We investigating several corporate structures NFPs and L3Cs etc for raising money. We may provide some programming for VOD and split proceeds for that purpose.
Programming for VOD? Citizen Welles, possibly?
You never know. We were looking at an interview the other day of Tommy Anderson's interview we did in 89 re the Voodoo Macbeth. It's both funny and good. We alhave 22 hours of stuff just from the festivals alone.
Oja
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Oja
Here are some more notes on the Rosenbaum conversation, but don't repeat any of this stuff, because I'm not sure I understood him perfectly:
Rosenbaum said that the reason why the film-within-the-film should carry so much weight is because he sees the movie as a duet between artist and artwork. In a sense, Oja's character is a kind of avatar of Hannaford, the means by which Hannaford is able to have sex with his leading man vicariously.
He says Oja directed three scenes in the FWTF, including co-directing the famous car sex scene. I believe he also said she directed the nightclub scene as well. He sees the film as a duet between Oja and Orson as well. But people don't want to accept the fact that Oja was a collaborator on the film with Welles. That's not what they want to see.
He likes the Netflix restoration and thinks they did a good job with it, but he thinks it has been made more conventional and less creepy than Welles intended it to be. Which would be reflected in Welles's statement to Bogdanovich that it was the sickest, most twisted story he had ever thought up.
Rosenbaum questions how much Bogdanovich really had to do with the new restoration, as he was already busy putting his own film on Buster Keaton together. He also thinks the idea that the FWTF is a parody of Antonioni's is overstated. Hannaford was looking for a new style of his own, not to parody someone else's.
He said Netflix, like Universal when they together the TOE restoration in 1998, was a pain in the ass to work with, wanting to control everything. He told me how he helped Universal get ahold of the 58-page memo, and then they wouldn't let him read it, even though he had already published about 2/3rd's of it!
Rosenbaum said that the reason why the film-within-the-film should carry so much weight is because he sees the movie as a duet between artist and artwork. In a sense, Oja's character is a kind of avatar of Hannaford, the means by which Hannaford is able to have sex with his leading man vicariously.
He says Oja directed three scenes in the FWTF, including co-directing the famous car sex scene. I believe he also said she directed the nightclub scene as well. He sees the film as a duet between Oja and Orson as well. But people don't want to accept the fact that Oja was a collaborator on the film with Welles. That's not what they want to see.
He likes the Netflix restoration and thinks they did a good job with it, but he thinks it has been made more conventional and less creepy than Welles intended it to be. Which would be reflected in Welles's statement to Bogdanovich that it was the sickest, most twisted story he had ever thought up.
Rosenbaum questions how much Bogdanovich really had to do with the new restoration, as he was already busy putting his own film on Buster Keaton together. He also thinks the idea that the FWTF is a parody of Antonioni's is overstated. Hannaford was looking for a new style of his own, not to parody someone else's.
He said Netflix, like Universal when they together the TOE restoration in 1998, was a pain in the ass to work with, wanting to control everything. He told me how he helped Universal get ahold of the 58-page memo, and then they wouldn't let him read it, even though he had already published about 2/3rd's of it!
Re: Oja
Q: What attracted you to Orson Welles as a subject for an opera?
A: I’ve admired Welles since childhood. I had already internalized the “meta-reality” of an auteur like Fellini, whose films were so fake that they were hyper-real, by seeing “8 1/2,” and had thrilled to Truffaut’s Antoine Doinel cycle, with its chilly, sober sexiness. Hitchcock’s infernal mechanisms fascinated me, but he was a Brit. What I didn’t know that I needed was an American auteur’s touch. One evening at the Oriental Landmark Theater in Milwaukee I saw “Citizen Kane” the way it should be seen—in a booming, drafty old 30’s movie palace— and was branded for life. I knew that one day I’d treat Welles the way that he had treated his own life—as a work of Art that aspired to be more—more than just Art, more than just a life. The title of the new project refers, of course, to Welles’ great torso, “Moby Dick Rehearsed,” which was never performed the same way twice. It also refers to the stance I’ve taken in treating my extraordinary subject—a man I posit considered himself in process until the moment he died, and for whom flamboyant behavior was a means to an end—a way to amuse the civilians while the deadly-serious business of changing hearts and minds was gotten on with by a world-class thinker.
Next Step
Mike, can you ask three specific questions? Thanks, D
*************
Daron, I'm not sure what you mean by specific. I've been a classical music fan since childhood and have even composed some stuff, but I'm not an expert on opera, so I don't know if I can really ask any good, "specific" questions without seeing the production. I find your idea very intriguing, though, so that's why I got a ticket. Here are a few questions, if you think any of them are worth answering. Otherwise, we can simply provide a link to the Q&As you did last year for the Behind the Scenes and F For Films websites, which I thought was a very good interview. We can also provide a link to the webpage featuring the images and the excerpts from your score, and also to the webpage providing ticket info. Anyway here are some questions:
1. What is your favorite score for an Orson Welles film?
2. What composers influenced you for this particular score? You mentioned Marc Blitztien in one of your interviews.
3. Do you have plans to perform the work anywhere else?
4. Are you familiar with the Orson Welles Creative Arts fest in Woodstock, IL? They might be interested in staging your work.
5. You've indicated that your title is a take-off on Welles's 1950s stage work, Moby Dick Rehearsed. Which production(s) of Moby Dick Rehearsed have you seen? How were they inspirational?
6. Have you written music for instrumental ensembles as well or are you strictly an opera composer?
7. What prizes have you won for your opera work?
8. How would you describe yourself as a composer? Avante-garde? Post-modernist? Serialist? Spectralist? Minimalist?
**************
Ray and I were thinking maybe we could do a blog entry for Orson Rehearsed. Instead of a new Q&A, we can link to the two interviews you did last year and also provide info on how to get tickets. I guess it's the best we can do since, aside from the questions above, I simply cannot think of any specific questions for you that were not asked better in one of the two interviews you did.
***
Interview with composer Daron Hagen:
http://operawire.com/q-a-composer-daron ... -set-ever/
2nd interview:
https://fforfilms.net/2017/07/29/orson-rehearsed/
Artwork and musical excerpts from the opera:
https://www.orsonrehearsed.art/
Trailer for the production:
http://www.wellesnet.com/trailer-orson-rehearsed/
Ticket information:
http://fifth-house.com/event-articles/o ... hearsed-2/
A: I’ve admired Welles since childhood. I had already internalized the “meta-reality” of an auteur like Fellini, whose films were so fake that they were hyper-real, by seeing “8 1/2,” and had thrilled to Truffaut’s Antoine Doinel cycle, with its chilly, sober sexiness. Hitchcock’s infernal mechanisms fascinated me, but he was a Brit. What I didn’t know that I needed was an American auteur’s touch. One evening at the Oriental Landmark Theater in Milwaukee I saw “Citizen Kane” the way it should be seen—in a booming, drafty old 30’s movie palace— and was branded for life. I knew that one day I’d treat Welles the way that he had treated his own life—as a work of Art that aspired to be more—more than just Art, more than just a life. The title of the new project refers, of course, to Welles’ great torso, “Moby Dick Rehearsed,” which was never performed the same way twice. It also refers to the stance I’ve taken in treating my extraordinary subject—a man I posit considered himself in process until the moment he died, and for whom flamboyant behavior was a means to an end—a way to amuse the civilians while the deadly-serious business of changing hearts and minds was gotten on with by a world-class thinker.
Next Step
Mike, can you ask three specific questions? Thanks, D
*************
Daron, I'm not sure what you mean by specific. I've been a classical music fan since childhood and have even composed some stuff, but I'm not an expert on opera, so I don't know if I can really ask any good, "specific" questions without seeing the production. I find your idea very intriguing, though, so that's why I got a ticket. Here are a few questions, if you think any of them are worth answering. Otherwise, we can simply provide a link to the Q&As you did last year for the Behind the Scenes and F For Films websites, which I thought was a very good interview. We can also provide a link to the webpage featuring the images and the excerpts from your score, and also to the webpage providing ticket info. Anyway here are some questions:
1. What is your favorite score for an Orson Welles film?
2. What composers influenced you for this particular score? You mentioned Marc Blitztien in one of your interviews.
3. Do you have plans to perform the work anywhere else?
4. Are you familiar with the Orson Welles Creative Arts fest in Woodstock, IL? They might be interested in staging your work.
5. You've indicated that your title is a take-off on Welles's 1950s stage work, Moby Dick Rehearsed. Which production(s) of Moby Dick Rehearsed have you seen? How were they inspirational?
6. Have you written music for instrumental ensembles as well or are you strictly an opera composer?
7. What prizes have you won for your opera work?
8. How would you describe yourself as a composer? Avante-garde? Post-modernist? Serialist? Spectralist? Minimalist?
**************
Ray and I were thinking maybe we could do a blog entry for Orson Rehearsed. Instead of a new Q&A, we can link to the two interviews you did last year and also provide info on how to get tickets. I guess it's the best we can do since, aside from the questions above, I simply cannot think of any specific questions for you that were not asked better in one of the two interviews you did.
***
Interview with composer Daron Hagen:
http://operawire.com/q-a-composer-daron ... -set-ever/
2nd interview:
https://fforfilms.net/2017/07/29/orson-rehearsed/
Artwork and musical excerpts from the opera:
https://www.orsonrehearsed.art/
Trailer for the production:
http://www.wellesnet.com/trailer-orson-rehearsed/
Ticket information:
http://fifth-house.com/event-articles/o ... hearsed-2/
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Oja
JMcB: My reaction at the end of the Telluride screening of Orson Welles's THE OTHER SIDE OF THE WIND was not melancholy like those I understand and appreciate of Peter Bogandovich and Frank Marshall, my dedicated fellow members of VISTOW (Volunteers in Service to Orson Welles), but a feeling of tremendous achievement by Welles and all concerned in getting the film out and finally showing it to an audience. It made me feel like the exhilaration I feel when Ethan deposits Debbie on the porch of the home at the end of his epic quest in THE SEARCHERS. Much pain and suffering and turmoil and calamity along the way, but Ethan set out to fulfill his promise to bring her home and did so after five years of often futile searching. Despite it all, I feel a swelling of admiration for his achievement — and this one. I always believed in THE OTHER SIDE OF THE WIND and knew it would be good but sometimes feared it would not come out until we were all dead — if ever. Kudos to the great “job of work” (as John Ford would say to his friend Orson) by Welles in sticking to it and to Gary Graver, Frank Marshall, Peter Bodganovich, Filip Jan Rymsza, Bob Murawski, and the rest of their stellar team for their expert and respectful work in realizing his vision, and to Netflix for making it possible. The final result exceeds even my high expectations. (Below are frame enlargements with me holding the clapper board on the first day of shooting, i.e., the start of our quest, and my favorite shot in all cinema, Laurie [Vera Miles] running out to greet Martin [Jeffrey Hunter] and Ethan [John Wayne] as they bring Debbie home.) The shot in OTHER WIND of Norman Foster putting the cans of film on a counter and saying, "Well, here it is -- if anybody wants to see it," resembles Ethan putting the reluctant Debbie onto the porch.
Sudarshan Ramani: I know this is a major team effort, but since you're here, all I can say is take a bow, Mr. McBride. The Other Side of the Wind is the only Orson Welles film based on an entirely original story written by him (the rest are adaptations or in the case of Citizen Kane, co-creations), it's one of two films where he doesn't appear as an actor (The Magnificent Ambersons) and the final film has more of Welles edited footage than Touch of Evil/Mr. Arkadin/The Lady from Shanghai. It completely rewrites existing ideas of Welles and challenges what we know before.
Joseph McBride: Thanks, Sudarshan. Just to correct the record, MR. ARKADIN is also based on an original Welles story. Welles appears as an actor in OTHER WIND offscreen doing an interview with Lilli Palmer. The film has editorial integrity thanks to the creative team and the support of Netflix. I agree with what you say in analyzing its importance.
Sudarshan Ramani: Mr. Arkadin is an adaptation of parts of the Lives of Harry Lime, itself based on The Third Man. Not that I am taking anything from Welles' achievement there, but it's still adapted from earlier work, even if the character names are changed (Harry Lime becoming Guy van Stratten though it could be a codename). And even in Ambersons, Welles was the narrator. I meant that he's not an actor in either main or supporting role (like the lawyer in the Trial).
F.x. Feeney: I would count MR. ARKADIN as original despite that it is a lark derivative (and deliberately so) of Graham Greene, Eric Ambler (JOURNEY INTO FEAR) and Nicholas Blake, aka C. Day Lewis (SMILER WITH A KNIFE). We can agree, Sudarshan Ramani, that OTHER SIDE OF THE WIND stands alone as a kind of private, self-made monolith in Welles's life and art.
Sudarshan Ramani: That's what I was getting at. TOSOW is not a genre work, not an adaptation of literature, and unlike Kane (co-written by Mankiewicz) this is pure Welles. So it's different from anything Welles did. Even F For Fake which is an original work used Reichenbach's documentary as a base.
Of course we can't forget that Welles also planned The Big Brass Ring which is an original screenplay not adapted from pre-existing material, and is also autobiographical. And also the movie about the making of Cradle Will Rock (made into an unrelated project by Tim Robbins). So it might be that THE OTHER SIDE OF THE WIND rather than being a coda or finale to Welles, was actually the start of a new phase, and we could have seen more if the film was completed then, if Welles got funding then and TOSOW is a good example of the kind of films Welles could have made or would have made had he continued onwards.
Joseph McBride: I would agree that MR. ARKADIN is largely original even if it is based on a radio script Welles wrote for the HARRY LIME series. Welles wrote quite a lot of unproduced screenplays as well. Some are originals; some are based on existing works, sometimes loosely. See my WHAT EVER HAPPENED TO ORSON WELLES?. He wrote THE CRADLE WILL ROCK after being offered a script on that subject by Ring Lardner Jr. Tim Robbins claimed he did not read the Welles script, but they are not "unrelated" in subject matter. Our view of Welles would be different if some of his unfilmed scripts had been made. Most can be read in archives, and some have been published. But OTHER WIND is unusual, I agree, and is a testament film about Hollywood and his craft, with highly personal psychological overtones and subtexts, even if Jake is based more on Hemingway than on Welles.
Sudarshan Ramani: It's just interesting that Welles at that stage was finally starting an autobiographical phase, when so much of his early life was spent trying to project himself into adaptations. Welles claimed to have no affinity for the New Wave and the European avant-garde (which he inspired) but I can't help but think that this direction is in some sense inspired by the precedents of Fellini (8 1/2) and Bergman (so many).
I like Robbins' Cradle Will Rock though I do have problems with it being a little sanitized.I can't imagine stuff like you know the spirit of Brecht mentoring Marc Blitzstein and the whole Rockefeller/Rivera mural fiasco would be there in Welles' script because it's so direct, obvious, and specific. Welles was never that superficial.
Robert Deveau: Having followed the long and winding saga of WIND since first reading about it being shot, I can only imagine the emotions of those who were directly involved with it all these long decades, through so many moments of raised, then dashed, hopes. All of you Volunteers have performed your Service to Orson and his many fans around the world, and this one humbly thanks you all - those of you who are still here to see the film finally on a screen with an audience, and those of you, like the late Gary Graver, who aren't.
Jeff Crouse: I'm intensely curious to learn how you feel this film ranks within the Welles canon. Is that a premature question to ask at this point, the world needing to digest this film fully, or do you already know? I realize that there is a subjective element to criticism and therefore room for conversation in discussing and analyzing works of art/entertainment, but your having been a part of this production for nearly half-a-century is obviously a work that you've spent a great deal of your life thinking about.
Christian Ramírez: I was a kid when I first read of The Other Side of the Wind, in John Huston's autobiography, An Open Book, and I marvel on how the movie would be if it ever was finished. Can't imagine how the whole process has signified in the lives of all the people that were on that quest for almost fifty years. An epic, that's what it is. Un gran abrazo, Joe!!
Conrad Steeves: Father Joseph, would you say your "gauche" character is the comic relief in the film? If I am remembering correctly Welles wrote your character as the typical cinephile Welles has encounter for many years in his life and thought it was time to send up such a film enthusiast.
Joseph McBride: "Gauche" is pretty accurate. Someone told me after the film that my character also represents a way in for the audience, an ordinary guy they can relate with, an outsider who clumsily tries to fit in with the Hollywood crowd. I was glad to hear that.
Sudarshan Ramani: I know this is a major team effort, but since you're here, all I can say is take a bow, Mr. McBride. The Other Side of the Wind is the only Orson Welles film based on an entirely original story written by him (the rest are adaptations or in the case of Citizen Kane, co-creations), it's one of two films where he doesn't appear as an actor (The Magnificent Ambersons) and the final film has more of Welles edited footage than Touch of Evil/Mr. Arkadin/The Lady from Shanghai. It completely rewrites existing ideas of Welles and challenges what we know before.
Joseph McBride: Thanks, Sudarshan. Just to correct the record, MR. ARKADIN is also based on an original Welles story. Welles appears as an actor in OTHER WIND offscreen doing an interview with Lilli Palmer. The film has editorial integrity thanks to the creative team and the support of Netflix. I agree with what you say in analyzing its importance.
Sudarshan Ramani: Mr. Arkadin is an adaptation of parts of the Lives of Harry Lime, itself based on The Third Man. Not that I am taking anything from Welles' achievement there, but it's still adapted from earlier work, even if the character names are changed (Harry Lime becoming Guy van Stratten though it could be a codename). And even in Ambersons, Welles was the narrator. I meant that he's not an actor in either main or supporting role (like the lawyer in the Trial).
F.x. Feeney: I would count MR. ARKADIN as original despite that it is a lark derivative (and deliberately so) of Graham Greene, Eric Ambler (JOURNEY INTO FEAR) and Nicholas Blake, aka C. Day Lewis (SMILER WITH A KNIFE). We can agree, Sudarshan Ramani, that OTHER SIDE OF THE WIND stands alone as a kind of private, self-made monolith in Welles's life and art.
Sudarshan Ramani: That's what I was getting at. TOSOW is not a genre work, not an adaptation of literature, and unlike Kane (co-written by Mankiewicz) this is pure Welles. So it's different from anything Welles did. Even F For Fake which is an original work used Reichenbach's documentary as a base.
Of course we can't forget that Welles also planned The Big Brass Ring which is an original screenplay not adapted from pre-existing material, and is also autobiographical. And also the movie about the making of Cradle Will Rock (made into an unrelated project by Tim Robbins). So it might be that THE OTHER SIDE OF THE WIND rather than being a coda or finale to Welles, was actually the start of a new phase, and we could have seen more if the film was completed then, if Welles got funding then and TOSOW is a good example of the kind of films Welles could have made or would have made had he continued onwards.
Joseph McBride: I would agree that MR. ARKADIN is largely original even if it is based on a radio script Welles wrote for the HARRY LIME series. Welles wrote quite a lot of unproduced screenplays as well. Some are originals; some are based on existing works, sometimes loosely. See my WHAT EVER HAPPENED TO ORSON WELLES?. He wrote THE CRADLE WILL ROCK after being offered a script on that subject by Ring Lardner Jr. Tim Robbins claimed he did not read the Welles script, but they are not "unrelated" in subject matter. Our view of Welles would be different if some of his unfilmed scripts had been made. Most can be read in archives, and some have been published. But OTHER WIND is unusual, I agree, and is a testament film about Hollywood and his craft, with highly personal psychological overtones and subtexts, even if Jake is based more on Hemingway than on Welles.
Sudarshan Ramani: It's just interesting that Welles at that stage was finally starting an autobiographical phase, when so much of his early life was spent trying to project himself into adaptations. Welles claimed to have no affinity for the New Wave and the European avant-garde (which he inspired) but I can't help but think that this direction is in some sense inspired by the precedents of Fellini (8 1/2) and Bergman (so many).
I like Robbins' Cradle Will Rock though I do have problems with it being a little sanitized.I can't imagine stuff like you know the spirit of Brecht mentoring Marc Blitzstein and the whole Rockefeller/Rivera mural fiasco would be there in Welles' script because it's so direct, obvious, and specific. Welles was never that superficial.
Robert Deveau: Having followed the long and winding saga of WIND since first reading about it being shot, I can only imagine the emotions of those who were directly involved with it all these long decades, through so many moments of raised, then dashed, hopes. All of you Volunteers have performed your Service to Orson and his many fans around the world, and this one humbly thanks you all - those of you who are still here to see the film finally on a screen with an audience, and those of you, like the late Gary Graver, who aren't.
Jeff Crouse: I'm intensely curious to learn how you feel this film ranks within the Welles canon. Is that a premature question to ask at this point, the world needing to digest this film fully, or do you already know? I realize that there is a subjective element to criticism and therefore room for conversation in discussing and analyzing works of art/entertainment, but your having been a part of this production for nearly half-a-century is obviously a work that you've spent a great deal of your life thinking about.
Christian Ramírez: I was a kid when I first read of The Other Side of the Wind, in John Huston's autobiography, An Open Book, and I marvel on how the movie would be if it ever was finished. Can't imagine how the whole process has signified in the lives of all the people that were on that quest for almost fifty years. An epic, that's what it is. Un gran abrazo, Joe!!
Conrad Steeves: Father Joseph, would you say your "gauche" character is the comic relief in the film? If I am remembering correctly Welles wrote your character as the typical cinephile Welles has encounter for many years in his life and thought it was time to send up such a film enthusiast.
Joseph McBride: "Gauche" is pretty accurate. Someone told me after the film that my character also represents a way in for the audience, an ordinary guy they can relate with, an outsider who clumsily tries to fit in with the Hollywood crowd. I was glad to hear that.
Re: Oja
Daron, I'm not an expert on opera, so I don't know if I can really ask any good, "specific" questions for you that were not asked better in one of the two interviews you did last year. I find your idea very intriguing, though, so that's why I got a ticket. Here are a few questions, if you think any of them are worth answering. Otherwise, we can simply provide a link to the Q&As you did last year for the Behind the Scenes and F For Films websites, which I thought were both very good interviews. We can also provide a link to the webpage featuring the images and the excerpts from your score, and also to the webpage providing ticket info.
Anyway here are some questions. You can pick three or simply make a general statement that we can put into a blog entry:
1. What is your favorite score for an Orson Welles film?
2. What composers influenced you for this particular score? You mentioned Marc Blitztien in one of your interviews.
3. Do you have plans to perform the work anywhere else?
4. Are you familiar with the Orson Welles Creative Arts fest in Woodstock, IL? They might be interested in staging your work.
5. You've indicated that your title is a take-off on Welles's 1950s stage work, Moby Dick Rehearsed. Which production(s) of Moby Dick Rehearsed have you seen? How were they inspirational?
6. Have you written music for instrumental ensembles as well or are you strictly an opera composer?
7. What prizes have you won for your opera work?
8. How would you describe yourself as a composer? Avante-garde? Post-modernist? Serialist? Spectralist? Minimalist?
If you would like to just make a general statement as well, we'll put it into a blog entry. Best,
Mike
**************
Interview with composer Daron Hagen:
http://operawire.com/q-a-composer-daron ... -set-ever/
2nd interview:
https://fforfilms.net/2017/07/29/orson-rehearsed/
Artwork and musical excerpts from the opera:
https://www.orsonrehearsed.art/
Trailer for the production:
http://www.wellesnet.com/trailer-orson-rehearsed/
Ticket information:
http://fifth-house.com/event-articles/o ... hearsed-2/
Anyway here are some questions. You can pick three or simply make a general statement that we can put into a blog entry:
1. What is your favorite score for an Orson Welles film?
2. What composers influenced you for this particular score? You mentioned Marc Blitztien in one of your interviews.
3. Do you have plans to perform the work anywhere else?
4. Are you familiar with the Orson Welles Creative Arts fest in Woodstock, IL? They might be interested in staging your work.
5. You've indicated that your title is a take-off on Welles's 1950s stage work, Moby Dick Rehearsed. Which production(s) of Moby Dick Rehearsed have you seen? How were they inspirational?
6. Have you written music for instrumental ensembles as well or are you strictly an opera composer?
7. What prizes have you won for your opera work?
8. How would you describe yourself as a composer? Avante-garde? Post-modernist? Serialist? Spectralist? Minimalist?
If you would like to just make a general statement as well, we'll put it into a blog entry. Best,
Mike
**************
Interview with composer Daron Hagen:
http://operawire.com/q-a-composer-daron ... -set-ever/
2nd interview:
https://fforfilms.net/2017/07/29/orson-rehearsed/
Artwork and musical excerpts from the opera:
https://www.orsonrehearsed.art/
Trailer for the production:
http://www.wellesnet.com/trailer-orson-rehearsed/
Ticket information:
http://fifth-house.com/event-articles/o ... hearsed-2/
Re: Oja
Democracy may fatally slow climate action
https://www.washingtonpost.com/news/the ... 27266afd24
Liberal democracies have always been terrible at asking their citizens for sacrifice. They are getting worse, not better.
If it wasn't for liberal democracies, you'd be typing your stupid post in German. Empirically, liberal democracies have done a better job of cutting carbon emissions then non-democratic societies. The conclusion that democracies hinder action on climate change is pure speculation. It was liberal democracies that pushed for a global effort to reduce carbon emissions. If the Paris global accord had not punished America and allowed other countries to delay action, the US would not have pulled out of it.
Malthusian thinking has always been around, and these proponents of gloom and doom are always wrong. Furthermore, their solution always seems to be some kind of tax hike, in this case to change the weather, with unelected bureaucrats managing the slush fund. A tax hike to change the weather?! If global warming is so real and dangerous, then why does the solution seem like such a hoax?
https://www.washingtonpost.com/news/the ... 27266afd24
Liberal democracies have always been terrible at asking their citizens for sacrifice. They are getting worse, not better.
If it wasn't for liberal democracies, you'd be typing your stupid post in German. Empirically, liberal democracies have done a better job of cutting carbon emissions then non-democratic societies. The conclusion that democracies hinder action on climate change is pure speculation. It was liberal democracies that pushed for a global effort to reduce carbon emissions. If the Paris global accord had not punished America and allowed other countries to delay action, the US would not have pulled out of it.
Malthusian thinking has always been around, and these proponents of gloom and doom are always wrong. Furthermore, their solution always seems to be some kind of tax hike, in this case to change the weather, with unelected bureaucrats managing the slush fund. A tax hike to change the weather?! If global warming is so real and dangerous, then why does the solution seem like such a hoax?
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