|Adam Green — Alladin (29 April, 2016)|
Adam Green — Alladin (29 April, 2016) ↔ Once half of indie oddballs the Moldy Peaches, Green has made the year’s craziest film, a lysergic take on the folk tale starring Macaulay Culkin. We cadge a few film–making pointers from a DIY auteur
↔ Adam Green’s Aladdin is an independent film written, directed by, and starring Adam Green that presents a modern take on the Arabian Nights classic tale. The film stars Alia Shawkat, Natasha Lyonne, Jack Dishel, Macaulay Culkin, and Nicole LaLiberte. The film explores themes of technology, government repression, greed, and true love. The film was partially funded through the crowdfunding website Kickstarter, and filmed over the summer of 2014.Adam Green born: May 28, 1981 in Mt. Kisco, NY
Location: Lonesome Town, NY
Album release: 29 April, 2016
Record Label: Totally Gross National Product
01. Fix My Blues 2:20
02. God = Humans 0:15
03. Nature of the Clown 2:25
04. Aladdin are you Ok? 0:04
05. Someone Else’s Plan 2:47
06. Time Chair 2:48
07. Never Lift a Finger 2:27
08. Techno–Fungal Insect Species 0:24
09. Birthday Mambo 1:01
10. Chinese Dance Theme 1:26
11. Me From Far Away 2:53
12. Do Some Blow (With Me) 1:49
13. I Only Take Cocaine 0:09
14. Phoning in the Blues 1:35
15. Trading Our Graves 2:19
16. Life In a Videogame 2:32
17. No Masterpiece Policy 0:05
18. Interested in Music 1:16
19. What is Dying Like 0:55Editorial Reviews
♠ Adam Green is renowned around the globe as one of music’s most unique songwriters. As part of the NYC antifolk scene he made up one–half of The Moldy Peaches (alongside Kimya Dawson), who enjoyed mainstream success via the Grammy–winning, #1 Billboard Chart ranking soundtrack of the 2007 Academy Award–winning movie Juno. Aladdin is the soundtrack companion to the film Adam Green’s Aladdin, a far–out take on the classic tale that Buzzfeed has called “the trippiest movie ever made.” Much like the film, the soundtrack is conceived in Green’s whimsical and charming style. With an extensive world tour booked and major press behind the film and the album, Aladdin is set to be yet another cult status notch in Adam Green’s belt.
↔ Here’s the first look at Adam Green’s Aladdin, the second feature film from musician, artist and filmmaker Adam Green.
↔ Set in the modern day world, Adam’s hyper–sensory, poetic and humorously subversive take on the classic Arabian Nights tale stars Adam as Aladdin living with his dysfunctional family in a “regular” American town ruled by a corrupt Sultan
with a decadent socialite daughter.
↔ The fantasy film stars an ensemble cast featuring some of New York’s biggest arts, music and film talent, including Natasha Lyonne, Macaulay Culkin, Alia Shawkat, Francesco Clemente, Har Mar Superstar, Devendra Banhart, Bip Ling,
Jack Dishel, Zoe Kravitz and more!
↔ The movie features a brand new Full Album Soundtrack composed and recorded by Adam, who will be kicking off a worldwide Aladdin Tour concurrent with the film and album’s release in Spring 2016.REVIEW
Sam Richards, Friday 29 April 2016 09.00 BST
↔ Once half of indie oddballs the Moldy Peaches, Green has made the year’s craziest film, a lysergic take on the folk tale starring Macaulay Culkin. We cadge a few film–making pointers from a DIY auteur
↔ The former Moldy Peaches man Adam Green is best known as a charmingly scuzzy singer–songwriter with a curiously large following in Germany. But his latest labour of love is a warped, feature–length version of Aladdin, made on the cheap in a Brooklyn warehouse, and starring Macaulay Culkin and Arrested Development’s Alia Shawkat. It’s a follow–up of sorts to a baffling film he made in 2011, The Wrong Ferrari, which was shot on iPhone and written on ketamine. Suffice to say that Green has his own hallucinogenic take on the Aladdin fable in which the princess is a reality TV star, the Sultan is a pot–bellied pervert and the lamp is a 3D printer that upsets the karmic balance of the universe by printing out an analogue version of the internet. How does a film as whacked–out as this get from drug–addled fever dream to the arthouse cinema screen? Let the man himself explain.
Naivety can be an asset
★ “I think everybody grows up with a fantasy of making a movie. In my case, I just did it. Not knowing any of the rules kind of helped. I approached Aladdin like a community project, inviting people to help me create this papier–mache world inside of a warehouse with a bunch of actors and musicians. The film was just a container for a fun experience, a crazy way to spend the summer in New York City.”
Build on an existing mythology
★ “I have a tendency to be pretty abstract in my thinking, so to be anchored by a myth was helpful. I could look at the Aladdin story and think: ‘What would a modern–day princess look like?’ The answer was: like a Kardashian. Then the lamp could be a 3D printer and the genie could be like Siri. Aladdin is based on me, so I made him an indie rock singer whose label is dissatisfied with him, which isn’t dissimilar to my story with Rough Trade, who told me to cut half the songs on my seventh album. The script is based on a lot of my own real–life experiences, and certainly the feelings and the journey of the character is real. But everything else around Aladdin is totally insane.”
Turn on, tune in and type up
★ “A lot of the dialogue for The Wrong Ferrari was written under the influence of ketamine. I’d put all these things on scraps of paper and give them to the cast on the day of the shoot. Each scene was basically last night’s trip. I was making up the movie from day to day. Aladdin was a lot more organised, but sometimes I’d get stoned and write a bit. The way I write is very free–associative. I’d type for two hours and give myself permission to write anything that I wanted. As it progressed, I started to assign the lines to the Princess or the Sultan or the Genie. But they’re all part of my subconcious.”
Prepare to be flexible
★ “Obviously there were no contracts. People would oversleep and not show up. One key actor pulled out at the last minute, so there was some radical recasting the day before the shoot. I didn’t even really want to be Aladdin! I asked a bunch of other people but ultimately I ended up being the most famous person I could find to be Aladdin.”
Create a party atmosphere on–set
★ “The warehouse was 25 minutes from the train, so once you were there you couldn’t leave, you had to hang out! We did everything we could to make it not feel like work. I made everyone in the movie wear bell–bottoms. I honestly feel that if everyone wore bell–bottoms, the world would be maybe 10 or 15% better and more groovy.”
★ “On the first day of filming, I thought I’d loosen up by having a beer like I do before a concert. Man, it was a total mistake. I forgot my lines and everyone was looking at me. Being an actor–director was a lot of pressure, so I had to stay sober. I’d walk home for two hours every night just to unwind. I told myself that even if it all fell apart, it could be this great ill–fated movie, like Jodorowsky’s Dune.”
Auteurs don’t compromise
★ “What I’m most proud of about Aladdin is that it was a very unique vision that I got to execute how I wanted. That’s how it should be as an artist: you have something inside of you that you push out through your skin. I’m writing another movie about the afterlife and it’s kind of a war movie. I always wanted to tell the story of Hanukkah, like a Biblical epic. Imagine making Noah’s ark out of papier–mache, that would be fun. And somehow it feels like life would not be complete unless I got to design a videogame or an amusement park or something. It would be an adult amusement park — educational too!” ★ https://www.theguardian.com/
|Adam Green — Alladin (29 April, 2016)|
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