on set with
J U LY 2 0 1 0
THE DUPLASS BROTHERS
THE GATES open wide SWIM IN STYLE summer fashion BROOKE WAGGONER orchestral pop princess
plus:
JAZZ FEST in review
KRISTEN STEWART from Twilight till Dawn
S
VOL. 1, ISSUE 7 | July 2010 EDITOR-IN-CHIEF Kevin Barraco
EDITOR’S LETTER
Over the last few months, Scene Magazine has been working hard behind the scenes to deliver current news, resource information and unique content to our readers on our new website and I want to thank everyone for paying attention. It has been amazing to see the traffic of new
and returning viewers and I promise we’ll keep delivering. This issue of Scene showcases some remarkable photography and I know you’ll enjoy the images from Jazz Fest, Gulf Aid and the Bayou Country Superfest. Taylor Swift was speechless on stage as she looked onto the Tiger Stadium crowd. It was the most attended concert she had ever played. Film production is at another record high, and the release of some notable television shows that are being filmed in Louisiana are shining a light on the success of our business. As the first season of Treme wrapped, Memphis Beat premiered on TNT and The Gates premiered on ABC.
We are also celebrating Twilight star Kristen Stewart in this issue. After establishing relationships in Louisiana on The Yellow Handkerchief and Welcome to the Rileys, we’re crossing our fingers that the rumors are true and that she’ll be filming in Louisiana again soon. Check out our website everyday for news and comment to give us feeback. As always we want to hear what our readers are thinking. Our website is your new source for everything entertainment, so get on the Scene and bookmark Scenelouisiana.com.
KEVIN BARRACO EDITOR-IN-CHIEF editor@scenelouisiana.com
CONTRIBUTORS
ASHLEY MERLIN is passionate about photography. Born and raised in New Orleans, Louisiana, she graduated from Lehigh Universtiy with a B.A. in Journalism. In 2002, Miss Merlin opended a studio in New Orleans. She is a member of the American Society of Media Protographers and Professional Photographers of America. She recently published Statuesque New Orleans, a book about the statues and monuments of New Orleans.
GREG MILNECK is founder and president of Digital FX, Inc. The Baton Rouge based
company specializes in commercial and feature film production and visual effects work for broadcast and features for clients ranging from Fortune 500 companies, Hollywood studios and advertising agencies.
DANIELLE NELSON is a New Orleans-based freelance writer and the Outreach Director for the New Orleans Video Access Center (NOVAC). Previously, she worked as an on-air host, producer and the Director of Development and Outreach for New Orleans PBS affiliate, WLAE-TV. With a love for public media and background in creative development, Nelson is an active proponent for the growth of the film, television and digital media industries in the Greater New Orleans area.
4 | July 2010
CREATIVE DIRECTOR Erin Theriot HEAD WRITER Micah Haley EXECUTIVE ASSISTANTS Alisha Captain Andrepont Danielle Tabary SALES Jon Bajon, Stacy Schliewe, Brooke Wilson Chapman, Drew Aizpurua, Drew Langhart, Cyndi Wiseman, Allie Clements, Jessica Mason CONTRIBUTING PHOTOGRAPHERS Ashley Merlin, Mark St. James, Lawles Bourque, Tessa Rowe, Laura Rockett, Tyler Kaufman, Brandon Chesbro, Chuck Zlotnick, Scott Myers, Samantha Fielding GRAPHIC ARTISTS Burton Chatelain, Jr. Sarah Lisotta Blair Gray PUBLIC RELATIONS & MARKETING Julie Nathanson, Rogers & Cowan CONTRIBUTING WRITERS AJ Buckley, Ben Adams, Arthur Vandelay, Lana Hunt, Adam Tustin, Danielle Nelson, Chris Jay, Katherine Bosio, Dave Weber, Greg Milneck, Christina Porter, David Draper Scene Magazine 10000 Celtic Drive Baton Rouge, LA 70809 225-361-0701 info@scenelouisiana.com www.scenelouisiana.com Published By Louisiana Entertainment Publishers LLC Display Advertising: Call Louisiana Entertainment Publishers for a current rate card or visit www.scenelouisiana.com All submitted materials become the property of Louisiana Entertainment Publishers LLC. For subscriptions or more information visit our website www.scenelouisiana.com Copyright @ 2010 Louisiana Entertainment Publishers. All rights reserved. No part of this publication may be used for solicitation or copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher.
CONTENTS ON THE COVER
Kristen Stewart The star of Twilight eyes a return to Louisiana after shooting two films in New Orleans and hiring New Oreans native Robin Matthews as her personal make-up artist.
ABOVE THE LINE
22
Kristen Stewart and the fang phenomonon
BEHIND THE SCENES
12
Hear from cast and crew and take a look Behind the Scenes
BEFORE THE SCENE
18
A Conversation with Breaking Bad’s Aaron Paul
PRODUCER’S CORNER
10
On set with the Duplass Brothers who films Jeff Who Lives at Home in New Orleans
LAST LOOKS
20
DJ Qualls talks about working on Memphis Beat shot in New Orleans
MUSIC / SOUND SPEED
40
Jazz Fest in Review 2010 Brooke Waggoner Bayou Country Superfest
FASHION / THE RED CARPET Helene Florence Matted Fashion Show OverScene Swim in Style
ON THE SCENE
68
SCENE EXTRAS
28
56
Masquerade Party for March of Dimes Playnola: Scene and Be Scene News, Resources, and Celebrities on the Scene
COLUMNS Today’s Scene 8 Stages of Growth by Kevin Barraco State of the Artist 26 Graduate Recovery by Dave Weber In the Mix 64 Color Timing by Greg Milneck Good Seats 24 Haynesville by Chris Jay Crew Up 38 An Interview with Melynie Dangerfield by Danielle Nelson Buzzed 66 Down in the Treme by Adam Tustin
FRAMES PER SECOND by James Sheppard
THE UNSCENE Resident Evils 6 | July 2010
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TODAY’S SCENE
STAGES OF GROWTH
by Kevin Barraco
Illustration of the final look of Millennium Film’s future studio
A
long with its competitive tax incentives, Louisiana has de“What we are creating is impressive and shows a great veloped the production infrastructure to become a true pro- level of commitment to Louisiana, where we have been very duction destination. Whereas once filmmakers were forced successful. Louisiana has allowed our company to stay in the to find warehouses and other makeshift space to build sets, today States, and our company is growing together with Louisiana.” the Pelican State has hundreds of thousands Nu Image/ Millennium Films has produced of square feet of built-for-production stages, over fourteen projects in Louisiana to date, with even more currently under construction. most recently wrapping Drive Angry 3-D The town that saved Louisiana film after starring Nicolas Cage and Amber Heard. Katrina, Shreveport has grown to be frequently Slated next is director Joel Schumacher’s ranked among the most film-friendly cities in the Trespass, also starring Nicolas Cage, who country. Vampire’s Suck, Drive Angry, Butter, Super, is joined by Nicole Kidman. A full-service Youth in Revolt and the remake of Straw Dogs are production company and distributor servicing just a few of the feature films that have recently the domestic and international markets, shot in the area. And ABC’s new vampireNu Image/Millennium Films currently centric primetime Sunday series The Gates is develops, finances, produces and distributes currently based at Stageworks of Louisiana. approximately twelve to fifteen films a year. The The most exciting development in Shreveport company was founded in 1992 with partners is the $10 million Ledbetter Heights studio Avi Lerner, Danny Dimbort and Trevor Short. being built by Nu Image/Millennium Films. “We are looking forward to continued Construction has begun on 6.7 acres, with success in Shreveport,” added Martinez. “As plans to eventually expand to a twenty acre full we continue to build our studio we expect service studio, complete with three sound stages, the skilled local workforce to increase, more production offices, a mill, a prop house and offices Diego Martinez on site of the contruction production resources to become available for Worldwide FX, their post production company. and the number of films to increase. Everyone “Our goals are to create a studio community at one location,” wins: the local economy, the people and the studios.” said Diego Martinez, president of Studio Operations, Nu In addition to physical production, Nu Image/ Image/Millenium’s Shreveport subsidiary. Martinez oversees Millennium’s Shreveport-based post-production company both local movie production and the construction of the Worldwide FX is putting the finishing touches on The company’s new studio. Originally from Louisiana, Martinez Expendables for its August release, and Martinez tells Scene says he’s living his dream job doing this in his hometown. Magazine this little rumor: there’s going to be a sequel. S 8 | July 2010
FILM |
LOCAL BOYS by Kevin Barraco
Jay and Mark Duplass on set of Cyrus
I
t all started on Chateau Drive at the childhood home of Jay and Mark Duplass. The Metairie-born brothers now share directing duties on films like the recently released comedy Cyrus and Jeff Who Lives at Home, which wrapped filming in the New Orleans area last month. Their average suburban upbringing in South Louisiana is now the inspiration for much of their comedy. After attending Jesuit High School, they moved to Austin to attend college, later making their way to New York. Their debut feature film The Puffy Chair premiered at Sundance in 2005 and went on to win the Audience Award at South By Southwest the same year. The film sparked a mini-movement in film and became a tipping point in their careers. Today, Jay and Mark Duplass are simply referred to collectively as the Duplass Brothers, and they have floated into the mainstream of Hollywood. They’re still frequently referenced as the founding members of the mumblecore movement, an independent film phenomenon that arose in the early 2000s. Mumblecore is primarily characterized by ultra-low budget conditions, a focus on personal relationships between twentysomethings, improvised scripts and non-professional actors. It’s a style the brothers don’t feel they’ve completely moved on from. “We are still making the same movies from in our earlier years in the business,” said Jay, “but now we have more people on set working with us, better equipment and a higher profile cast. We have an indie filmmaking approach to each day. I like to call it a ‘no a******’ attitude.” “As for Jeff Who Lives at Home,” said Jay “we always wanted to make a movie where everything happens in one day. It’s a big grand epic story set in an average town.” The film chronicles a day in the life of two brothers, one a loser 10 | July 2010
who lives at home, played by Jason Segel, the other put-together but overbearing, played by Ed Helms. Rounding out the cast are Judy Greer as Helm’s wife and Susan Sarandon as their mother. “We always try to make everyday comedies about everyday situations,” said Mark. “We love the idiosyncrasies of individuals and we marvel how strange and funny ordinary people are. I often see characters in our own lives and build stories around them.” Although the story is set in Baton Rouge, filming took place in the New Orleans area. Producing with the brothers was Jason Reitman of Right of Way Films and John Malkovich of Mr. Mudd, who also happened to be in New Orleans working on the action-thriller Red as Jeff began production. “For the idea of Cyrus, which stars John C. Reilly and Jonah Hill, we wanted to make a love triangle relationship movie,” added Jay, “and the idea of having the relationship revolve around a guy and his girlfriend’s son developed into that perfectly strange dark comedy.” Although Mark’s career behind the camera looks more promising than in front of the camera, he continues to pursue acting. When asked about his cameos in their own films, Mark responded that Jay doesn’t allow it and keeps firing him. “Working together is much easier than assumed,” stated the brothers. “We always have different views on directing, but we give each other opportunities to work out those differences.” With their first major film shooting in Louisiana, the brothers learned that the local crewmembers are great to work with. “The New Orleans crew is not like L.A.,” said Jay. “They have a DYI attitude, which we love. They are open to doing the job different to get it done and not by the book. It’s hard to find crew in L.A. that are as passionate as the Louisiana crew, who love to create.” S
| FILM
Jay and Mark Duplass on the set of Cyrus with Jonah Hill
photo by Chuck Zlotnick www.scenelouisiana.com | 11
BEHIND THE
SCENES S
JEFF WHO LIVES AT HOME The Duplass Brothers recently returned to their home state of Louisiana to shoot Jeff Who Lives at Home, starring Jason Segel, Ed Helms, Susan Sarandon and Judy Greer. Penned by the writer/director team of brothers Jay and Mark Duplass, the film follows one man’s search for the meaning of life while running to the store to buy wood glue. Using the universe as his guide, Jeff looks for signs to help determine his way. Happenstance leads him to cross paths with his family in the strangest of circumstances. He might stumble backwards into the meaning of life, and if he’s lucky, pick up some wood glue as well. Scene Magazine was invited to a special wrap party for the film given by Ed Helms and Jason Segel. Held at the fly in Audubon Park, the cast and crew enjoyed over 300 pounds of boiled crawfish with Abita beer. Director/writer Jay Duplass was also in attendance, along with actress Susan Sarandon, Rae Dawn Chong and Katie Aselton.
Scene Magazine Editor-in-Chief Kevin Barraco with Jason Segel. Ed Helms playing his banjo in front of a small group of crew and friends. “Stu’s Song” was unfortunately not played.
12 | July 2010
| FILM
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DRIVE ANGRY Nicolas Cage plays “Milton,” a man driven by rage, chasing down the people who killed his daughter and kidnapped her baby. His rescue spins out of control, crashing and burning cars, RVs and vans as he barrels down the highway in pursuit of the nefarious dastards that have the innocent child. From Summit Entertainment and Millennium Films, the action-packed 3-D thriller shot earlier this year in Shreveport, Louisiana. Also starring are Amber Heard, Billy Burke, William Fichtner and David Morse. At the helm was My Bloody Valentine 3-D director Patrick Lussier, who began his career as an editor for Wes Craven. The domestic release of Drive Angry is tentatively set for February 11, 2011. “We’ve got these great cars in the film, such as a ‘69 Charger and a ‘71 Chevelle. This picture is much like a modern classic western with cars and guns,” said executive producer Rene Besson. Drive Angry is the first 3-D movie being made by Millennium Films. The company has produced fourteen films in Louisiana to date and is currently building a new studio facility in Shreveport, slated to open in 2011.
Above: Executive producer Diego Martinez with Millennium Films co-chairman Avi Lerner on the set of Drive Angry in Shreveport Right: Executive producer Rene Besson on the set of Drive Angry next to a 3-D camera rig
www.scenelouisiana.com | 13
FILM |
S
JONAH HEX
On location in St. Francisville, LA this large western town set was built and later burnt down for a climax scene. The SFX team set off a massive explosion to one of the main set pieces, which ultimately got out of hand, spreading to burn down the entire set.
Streets in the French Quarter were filled with mud and dressed for a historically accurate Civil War look.
Seen next to an 18th century steam engine train, the pursuit camera crane car was used frequently for moving action scenes on the set of Jonah Hex. This particular scene was shot in Raceland, LA on the site of Raceland Raw Sugar Corp.
Josh Brolin in full makeup on set at the video assist cart, poking fun at a crewmember.
MORE BEHIND THE SCENESďƒ¨ 14 | July 2010
| FILM
The camera pans across the top of a New Orleans cemetery.
www.scenelouisiana.com | 15
FILM |
S
LOVE, WEDDING, MARRIAGE Mandy Moore, Kellen Lutz, James Brolin and Jane Seymour star in a comedy about a happy newlywed marriage counselor who gets thrown for a loop when she finds out her parents are getting divorced. Veteran actor Dermot Mulroney made his directorial debut, shooting the film in New Orleans this past April and May. Local producers Jerry Daigle and Michael Arata courted the production to Louisiana. Producer Michelle Chydzik Sowa said the picture was originally set in Napa Valley, CA, but Louisiana’s popular incentives made them rewrite the film to be New Orleans and developed the city to play a pivotal character in the film. Twilight star Kellan Lutz has worked on a few films in Louisiana recently, including Love, Wedding, Marriage in New Orleans and Deathgames in Baton Rouge, co-starring with Samuel Jackson.
Director Dermott Mulroney going over the script with Mandy Moore
The beautiful Mandy Moore on the set of Love, Wedding, Marriage photos by Samantha Fiedling
16 | July 2010
BEFORE THE SCENE WITH AARON PAUL by AJ Buckley
Before the Scene is where we all start. In a small town with our families. In front of a mirror with our friends. The days spent sleeping on a couch. The nights working at a bar. Living with the unknown and surrounded by uncertainty. It’s about the times that define us. It’s about the darkness just before the limelight.
Q: What made you want to become an actor? A: I have always been interested in “make believe.” Acting to me is transforming into another person and living those feelings of that particular character. It’s such a nice release, to be honest. A cheap form of therapy. You can laugh and cry and chase someone down or hold a loved one close to you all in the same day as someone else. It’s a fantasy of sorts. Q: What was your biggest fear? A: Not making this dream of mine come true, I guess. I couldn’t imagine doing anything else that would fulfill me the same way the arts do. It’s a form of expression and expression is good. Q: What was your lowest point? A: I can’t really recall my lowest point to be honest. I know I had my day-to-day struggles throughout my career but at the end of the day, I am happy things went down the way they did. There is so much rejection in this business but you just can’t take it personal. I am thankful for the struggles now. I appreciate it more. Q: What kept you from walking away? A: Everything. Q: What did you walk away from? A: I moved to L.A. at seventeen and left my family behind. It was the easiest thing that I have ever done. My family and I are very close and I see them as much as possible. Nothing could keep me away from this city. Q: Who was your closest ally? A: I can’t really answer that. I have many allies that I love and adore like family. I love the **** out of them. Q: What were you doing the morning before the audition that changed your life? A: I remember the morning I was going in for Breaking Bad and I thought to myself, “Do not **** this up.” I mean the script to that pilot was one of the most beautiful things that I have ever read and I knew I had to do something special in the room. I didn’t think this show would even get picked up because of the subject matter and I applaud AMC and Sony for being brave enough to tell this story. But yeah that day was very nerve-wracking. Q: What were the words that kept you going? A: The strong will survive. A friend told me that once, right when I moved to L.A. He said, “If you want it bad enough and if you want it for the right reasons, it will happen for you.” L.A. eats dreams alive and sends people back to where they moved from. He said to me, “Just remember...the strong will survive.” I will never forget that.
18 | July 2010
Aaron Paul
Q: How have you changed? A: I respect [Los Angeles], this land of dreams. I guess I always have but now it’s in a much bigger way. I have a stronger skin about me. I ignore all the B.S. whereas before I might have taken it personally. Q: What words do you have to inspire others? A: If you have something you want to do with your life, no matter how crazy it may sound, you should do it. Live your life with no regrets.
FILM |
SOUTHERN CHARM by Ben Adams
A
fter filming its first season in the New Orleans area for months, TNT’s newest drama series, Memphis Beat, debuted last month to over 4.3 million viewers. Starring Jason Lee, Alfre Woodard, Abraham Benrubi and DJ Qualls, the show centers on Dwight Hendricks (Lee), a quirky Memphis police detective with an intimate connection to the city (he’s obsessed with Elvis), a passion for blues music and a close relationship with his mother. Scene Magazine recently caught up with DJ Qualls, who plays Davey Sutton in the series, a uniform cop who considers himself to be Dwight’s protégé. We talked about his time in New Orleans and his work on the show. “During my time in New Orleans, I stayed at the W Hotels and made a lot of friends who showed me around the city,” said Qualls. “I spent most of my time hanging out in the warehouse district of downtown New Orleans. I can really say that this show has been more fun to work on than most. The cast and crew are the best and we all just have a great time on set. And I get to play a cop, which I have never done before.” DJ Qualls has continued to build an interesting career for himself broad array of film and television roles. His credits include the critically acclaimed Hustle & Flow and the independent films Little Athens and I’m Reed Fish. He has also starred in Road Trip, The Core, The New Guy, Lone Star State of Mind, Chasing Holden, All About Steve and Delta Farce. In addition, Qualls produced last year’s Last Day of Summer. “Television series are great to work on,” continued Qualls. “You have a steady paycheck and job security is a good feeling. One of the best feelings for an actor is when you’re on one show and you know you have another one to work on after.” DJ comes across as one of the most humble talents in the business. He shared with me his stories of starting out and being so appreciative of any work he received. It’s an attitude still evident in him today. “I remember when I got casted in Road Trip. I was living in a very small apartment in Nashville, and when we all went to Los Angeles to do press for the films release, I got another audition that same weekend. It was very overwhelming and I even cried when I first saw myself on a giant billboard. Being famous is strange because you don’t change, but people’s perspectives of you change.” When asking about choosing roles and projects, Qualls shared that he intentionally limits the amount of roles he accepts. Each year, he has a target of how much money he needs to make, and once that goal is met, he takes the rest of the year off. The self-imposed limits force him to choose projects carefully, and keep his value as an actor high. “I am very simple minded, I work to make only what I need, and this allows me to spend more time choosing what I want to do and make the right decisions for my career.” DJ Qualls grew up in the small city of Manchester in middle Tennessee, one of five children. After studying at The University of London, he returned to Tennessee where he began acting in a local theatre. During that time, he was discovered by photographers, which led to modeling work for Prada, as well as other advertising campaigns. In addition to his professional accomplishments, Qualls is proud to be a cancer survivor and an advocate for cancer research and awareness. Memphis Beat airs every Tuesday at 10/9c on the TNT Network. Qualls can also be seen in the upcoming films, Amigo and Running Mates. S 20 | July 2010
DJ Qualls on set of Memphis Beat filmed at the St. John Center Soundstage
Jason Lee and DJ Qualls
FILM |
THE NEW
TRANSYLVANIA
by Arthur Vandelay
Taylor Lautner and Kristen Stewart on the set of The Twilight Saga: Eclipse
photos courtesy of Summit Entertainment
I
n the years since his passing, myth and metaphor have come to dominate the way we think about Abraham Lincoln. “Americans will never be destroyed from the outside,” he said. “If we falter and lose our freedoms, it will be because we destroyed ourselves.” The American president is remembered as morally resolute, a wholly uncompromising leader bound by his own word. And, we should have believed him when he said, “I hereby resolve to kill every vampire in America.” The little known tales of the dead president’s crusade against the undead are brought to light in Abraham Lincoln: Vampire Hunter, a new novel by Seth Grahame-Smith. The genre-bending book, soon be a movie from master of macabre Tim Burton, is just the latest example of the far, far reach of a cultural obsession that can only be aptly described as this: vampire insanity. If the legions of fang fanatics that currently span the country were gathered into one undead-obsessed kingdom, their incontrovertible queen of the damned would be Bella Swan herself, Kristen Stewart. Just a few years ago in the fall of 2008, Kristen Stewart was in New Orleans working on Welcome to the Rileys, an independent film co-starring James Gandolfini and Treme’s Melissa Leo. The film was a return to Louisiana for Kristen, who worked on The Yellow Hankerchief only the year before, and she was reunited with many of the same local crewmembers, including Robin Matthews, who is now her personal make-up artist. But Rileys would be an entirely different experience. During filming, the release of Twilight catapulted Kristen into international superstardom. “I first met Kristen while we were shooting a movie called Into the 22 | July 2010
Kristen Stewart and Director David Slade
Wild,” says Robin, a New Orleans native. It was the same film that landed her the role in Rileys. “Kristen grabbed my attention in Into the Wild,” says director Jake Scott. “She walked through the door and that was it.” “We reconnected on Welcome to the Rileys and had a great time,” says Robin. After shooting wrapped, Kristen asked Robin to come with her to the next project. “Kristen asked me to help her ‘re-vamp’ her Twilight character Bella, so we went to Vancouver and Italy to shoot New Moon.” Movies from 1931’s Dracula to 1994’s Interview with a Vampire are proof of the enduring attraction to the Undead, but the release
| FILM ROBIN MATTHEWS
Kristen Stewart in make-up with Robin Matthews Born and raised in New Orleans, Robin Matthews moved to Los Angeles in college to attend The American Academy of Dramatic Arts. She fell in love with special effects makeup and began her training by working at Six Flags Magic Mountains Fright Fest doing full facial prosthetics on over thirty actors a day. She began to get hired in film & television, music videos and commercials and hasn’t stopped since, including recently working on Jeff, Who Lives at Home with the Duplass Bros.
Dakota Fanning and Kristen Stewart on set of The Runaways
of New Moon solidified vampires, and Kristen, as a box office phenomenon. The first two Twilight films alone have grossed over $1.1 billion dollars, a tally that will continue to grow with the release of Eclipse, and with it, the star power of Kristen Stewart. But, as her serious performance in Welcome to the Rileys promises, Kristen is a versatile talent. “I’ve done five movies with Kristen, and each character has looked so hugely different,” says Robin. “We had just finished New Moon a week prior to The Runaways, and I started noticing that she had a little bit of a hunch. I’d never really noticed that she stood like that. And then I realized that’s how Joan Jett stands because she plays the guitar. We shot Eclipse two days after The Runaways ended, and the hunch was gone!” Summit Entertainment is reportedly considering bringing Kristen and Robin back to Louisiana to film the final two Twilight sequels, both based on the bestselling fourth novel Breaking Dawn. If this comes to fruition, Twi-hards throughout the state will put on their fangs and rejoice. And at least we know it wouldn’t be a problem for Bella. “Kristen adores working in New Orleans,” say Robin. “She’s often mentioned her affection for the city to me, and what a great experience it’s been for her to shoot here.” Bella and the Cullens would be in good company. Louisiana is extremely popular place to bring tales of blood and immortality. Interview with a Vampire, Dracula 2000 and Vampire Bats were all shot here. Just in the last few years, New Orleans has hosted Cirque du Freak: The Vampire’s Assistant and Dead of Night, based on the popular vampire hunter comic Dylan Dog. Shreveport recently hosted the Twilight spoof Vampires Suck and currently has suburban vampire soap The Gates, and HBO’s True Blood was just renewed for its fourth season. In the 1800s, Honest Abe Lincoln may have killed off every vampire in America, but clearly we’ve had significant immigration since. So look out, Europe: Louisiana is the new Transylvania. S
“Into the Wild was a life-changing experience. A film experience like that comes around once in a lifetime, if you’re lucky.” “Re-creating the iconic looks of Joan Jett in The Runaways was awesome. It was a job I’d dreamed of having for years.” “I’m lucky to have a career that allows me to keep a permanent residence in the two cities that I love: New Orleans and Los Angeles.” “Film productions love New Orleans. They love the people; they love the atmosphere; they just love to shoot here.”
Joan Jett, Robin Matthews, Kristen Stewart www.scenelouisiana.com | 23
GOOD SEATS
HAYNESVILLE
by Chris Jay
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hreveport-Bossier City has gotten a lot of stand-in work in recent years. As the film industry has taken root, productions have doubled its versatile locations for areas as disparate as Alaska, South Africa and Guantanamo Bay and industry professionals frequently cite the cities as having an “Anytown, USA” quality. But in a new documentary feature film that’s reaching global audiences, the sister cities star as themselves. Haynesville, directed by Shreveport resident Gregory Kallenberg, examines an issue that has redefined Northwest Louisiana: the discovery of the Haynesville Shale, the larges natural gas field in the United States. In doing so, Haynesville presents a self-portrait of the region that is by turns enlightening, charming and unsettling. Discovered in 2008, the Haynesville Shale contains an estimated 250 trillion cubic feet of recoverable natural gas. The discovery has made overnight millionaires of many landowners in the region and set in motion what has been described as a “gold rush” among residents, all scrambling to lease their mineral rights to energy companies. Kallenberg and his team explore these events on a personal level by following three individuals whose lives are transformed by the discovery, while also examining what these events mean to the global energy picture.
Director Gregory Kallenberg and cinematographer Rob Senska film a scene from the documentary Haynesville.
“We pride ourselves on having done every step of the filmmaking process in Louisiana. Between Shreveport and Louisiana, Haynesville is one hundred percent ‘Made in Louisiana.’”
– Mark Bullard, producer of Haynesville
The filmmakers clearly favor the use of natural gas as a “bridge fuel” to a cleaner energy future, and the film couldn’t honestly be described as objective in that regard. But the aesthetic qualities of the film - especially the phenomenal photography by cinematographer Rob Senska and a stirring original soundtrack by New Orleans composer Jay Weigel - make this film a towering accomplishment and a viewing experience worth seeking out. “We pride ourselves on having done every step of the filmmaking process in Louisiana,” producer Mark Bullard said to an audience at a recent screening in Shreveport. “Between Shreveport and Louisiana, Haynesville is one hundred percent ‘Made in Louisiana.’” The audience for the film has proven to stretch far beyond its local origins, as the issue of natural gas as an alternative fuel becomes an increasingly relevant topic. Bullard is currently busy re-designing the on-screen graphics for the European release of the film, since energy usage statistics are different in different markets. The film screened at the Copenhagen Climate Summit and officially premiered at the SXSW Film Festival in a coveted Spotlight Premiere slot. Thom Powers, programming director for the Toronto International Film Festival, has described the film as “a revelation.” Given all of the accolades, it may come as a surprise that two key members of the Haynesville production team had never worked on a documentary film before. 24 | July 2010
Director Gregory Kallenberg and editor Chris Lyon introduce the final theatrical screening of Haynesville at The Robinson Film Center in Shreveport
“Both myself and [cinematographer] Rob Senska have a narrative filmmaking background and zero background in documentary film,” said Chris Lyon, the film’s editor. “So the style of the film is more like the style of a drama and I think that makes it unique.” Lyon, who is currently in preproduction on a short film to be shot later this year in Shreveport-Bossier City, also cites the local roots of the production as a point of pride. “From fundraising to post, we produced this film completely in ShreveportBossier City. That’s something I’d like to continue with my own films.” Haynesville has an unforgettable moment when one of the three subjects of the film holds up a check he’s just received in the mail for over $1.2 million, making him literally a millionaire overnight. Haynesville does a phenomenal job of encouraging the viewer to think beyond the prevailing sentiment that the fortunes being created by this discovery are “pennies from Heaven,” and to think globally about the true costs, and benefits, of Louisiana being cast as a key player in the global energy future. S
STATE OF THE ARTIST
Anthony Gargi, Jason Sciavicco, Roger Mitchell and Stacy Kaiser on the set of Emancipated
GRADUATE RECOVERY
by Dave Weber
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ike the French Quarter, Isaac Delgado Hall remained largely untouched. But buildings stretching back toward Navarre Avenue were consumed with four to six feet of floodwater. The equipment essential to Delgado Community College’s television production program was completely destroyed. “We have moved four times in the last four and a half years,” says Lynn Robertson, professor in television production. Delgado’s homeless media program has been alternately housed at The Charity School of Nursing Audio Visual Department, Kenner TV and Louisiana Technical College. Since Katrina, Delgado’s performance and media arts department has benefitted from a federal grant shared with Dillard University, providing the college with $450,000 to purchase new, high-definition TV equipment. Students are already using the equipment in Delgado classes currently held at a Louisiana Technical College facility. It is an impressive set-up, light years ahead of the equipment lost to floodwaters. “The focus of Delgado’s television production program is to give students hands-on preparation for a career in the industry,” says Robertson. Students receive an associate of arts degree in performance and media arts with a concentration in TV production, preparing them to transfer to complete a bachelor’s degree, or go straight into a career.
26 | July 2010
The program’s new production equipment includes a Ross switcher, Chyron character generator, teleprompters, IFBs and highdefinition Sony studio cameras. Students use P2 and Sony HDV cameras for field production assignments. There is also a Final Cut Pro lab that includes a dozen edit stations. Coursework includes classes in TV studio production, field production, corporate and documentary-style production, scriptwriting and radio. “The coursework includes everything a student needs to know to take a media project from concept to completion,” says Robertson. “My introduction to television/film production students get a hands-on, team-based approach to production,” says Emmywinning professor Bob Dunn. “While some may have had some previous experience, they may not have experienced what it is like to work as part of a larger production group…a team where others are counting on you to get the job done.” It is a theme he stresses from the first day of class to the end of the semester. “When they leave,” he says, “they have a practical understanding of the mechanics of production, as well as a solid theoretical background.” Christopher Meydrich, a 2008 graduate, now works on features as a lamp operator and grip, and a camera operator on unscripted TV
STATE OF THE ARTIST shows that come through New Orleans. “If it wasn’t for the complete, hands-on approach that my instructors utilized so well, I would have been lost on set,” he says. “Being able to bring equipment home and work with it on my own was key. I use what I learned at Delgado every day on the job, whether it’s a $150 million feature film or a no-budget documentary.” Meydrich’s credits include work for the Discovery Channel, Warner Bros, Miramax and Food Network. Anthony Gangi and Roger Mitchell are also former students of Delgado’s television production program. They are now partners in AMG Entertainment, an independent multimedia company. One day while driving into a gas station, Gangi “saw a kid who looked like he had it all,” he recalls. “He was driving an Escalade and I thought, ‘I wonder where he would be without his parents’ help. What kind of car would he be driving then?’” The two developed the thought into Emancipated, a show about how a kid would really do on his own, without his parents. They pitched the idea to Jason Sciavicco at Horizon Entertainment, who had just moved his company to New Orleans. “He loved the idea,” says Gangi. “It has been an absolute pleasure working with Horizon. They know how to put a program together. We had a concept, but they made it into a show.” The pilot episode of Emancipated is scheduled to air in primetime within the next six months with licensed psychotherapist and media personality Stacy Kaiser serving as the show’s host. Gangi and Mitchell largely credit their time at Delgado for preparing them to find success as content creators. “Delgado has a lot to offer and I’m really grateful that I was able to go there,” says Gangi. Dunn gives the credit to his students. “We can only give them the technical abilities,” he says. “The drive to show up at six a.m. and
Delgado students Leslie Trant and Jeremy Damiano set up in the first grade classroom at St. Rose Elementary for a film shoot.
work a fourteen hour production day has to come from them. We’re really lucky that a lot of our majors have that fire in the belly and that so many of our graduates have gone on to bigger things.” Soon, Delgado’s television production program will return home to one of the buildings on the college’s main campus in a larger, more advanced studio space than the one that flooded in 2005, the graduated recovery finally complete. S Dave Weber is an Emmy and Telly Award-winning writer and producer. He and Duane Prefume own Digital Bayou HD Productions, Inc. in the New Orleans area.
www.scenelouisiana.com | 27
scene SCENE MAGAZINE AT CANNES
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ast May, film professionals from the Acadiana area and the Lafayette Entertainment Initiative attended the 2010 Cannes International Film Festival to promote Louisiana to the international film community, and Scene Magazine was on the Scene. “Acadiana’s presence in the International Village Pantiero at this year’s Cannes Film Festival marks the first time such a presence has ever been awarded to a U.S. state or region,” said John Peterson of the Lafayette Entertainment Initiative. “We were thrilled by the attention and response our presence created, and were excited to share with the global entertainment industry the benefits of filming in the state of Louisiana and the region of Acadiana. Through the help of our partners and sponsors, we were able to give festivalgoers an authentic taste of our unique culture while we worked to build partnerships and recruit entertainment production to the area. Our special events drew hundreds of attendees and we’re excited to be following-up on strong leads that we’re confident will create an economic impact and quality entertainment sector jobs for our state and region in the near future. We’re truly pleased with the event’s outcome.” S
Cannes attendees enjoying Louisiana food and Abita beer
Guests at the International Village Pantiero at Cannes relax and enjoy Scene Magazine
MORE SCENE EXTRAS 28 | July 2010
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GULF AID BENEFIT
photos by Ashley Merlin
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hortly after catastrophe, musicians and business leaders came together to create Gulf Aid, a benefit concert to raise funds for wetland recovery efforts, fishermen and their families fighting the oil catatrophy in the Gulf of Mexico. The fundraising concert took place on Sunday, May 16 at Mardi Gras World River City overlooking the Mississippi River in New Orleans. The event raised $300,000 for relief efforts. Gulf Aid’s stellar line-up included Lenny Kravitz, John Legend, Mos Def, Allen Toussaint, Ani DiFranco. The virtually impromptu concert was produced by Rehage Entertainment, producer of the Voodoo Experience and the Essence Music Festival. YES Productions donated video production services to document the concert and Sidney D. Torres, IV, owner of SDT Waste and Debris, LLC was the concert’s primary financer and organizer. Torres and Kravitz are personal friends. S Dr. John
Mos Def
Kermit Ruffins Allen Toussaint
Lenny Kravitz
Preservation Hall Jazz Band
Mos Def
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John Legend
Lenny Kravitz
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Lenny Kravitz
photo by Ashley Merlin www.scenelouisiana.com | 31
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PREMIERE OF FLAG OF MY FATHER by Christina Porter
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ctors, elected officials, veterans and avid movie-goers united under the red, white and blue for the April 16 premiere of Flag of My Father in Monroe. The film’s star, William Devane (24, The West Wing), walked the red carpet for hundreds of spectators and media, along with female lead GiGi Erneta (Friday Night Lights) and co-star Andrew Sensenig (Burn Notice, I Love You Phillip Morris). U.S. Senator David Vitter was also in attendance. The patriotic film tackles the struggles of Judith (Erneta), a veteran army nurse who returns home after a horrific plight in Iraq. Suffering from severe post-traumatic stress disorder, she relies heavily on her faith as she tries to repair relationships with her four brothers. The death of their father (Devane), a Vietnam veteran. John Schneider (Dukes of Hazzard, Smallville) plays a civilian brother who is cynical of his sister’s service. Shot entirely in Northeast Louisiana, Flag of My Father is the first feature length film from R2 Productions. Approximately eight thousand people attended screenings of the independent drama in the six days following the film’s premiere in Monroe, where the film’s director and executive producer Rodney Ray is from. S
Rodney Ray, GiGi Erneta and William Devane
THE THEATRES AT CANAL PLACE
The new Luxury Theatres at the Canal Place featuring Cafe Gusto and in-seat serivce.
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new movie experience has premiered in New Orleans, and it will change the way you do dinner and a movie. The Theatres at Canal Place recently opened their doors after a six-month expansive renovation and a change of ownership. Reserve your tickets online and get there early to dine with Chef Adolfo Garcia, either in the café at Gusto or at your seats in the theater. Offering service to tabletops at your seats, a full menu is available by simply pressing a handy call button to summon your waiter. Although service is available while the movie is 32 | July 2010
playing, servers suggest you order before the opening credits roll. All new design, high tech audio and visuals, and exquisite cuisine coupled with your favorite film promises one of the best entertainment experiences available in Louisiana. The Theatres at Canal Place is a project of George Solomon and Southern Theatres. Find out more at www.thetheatres.com. S
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www.scenelouisiana.com | 33
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VAMPIRE BASEBALL
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an Trips Travel brought Twilight Vampire Baseball to New Orleans. Twilight and True Blood stars together with local celebrities took the field to play Vampire Baseball™ to benefit Haitian Relief Efforts by the American Red Cross and Hope for Haiti. S
Alex Meraz of The Twilight Saga
Tyson Housman and Chaske Spencer of The Twilight Saga
Nelsan Ellis of True Blood
photos by Ashley Merlin
THE GATES OPEN WIDE
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hot entirely in Shreveport, The Gates debuted last month as a part of ABC’s Sunday night line-up. Described as True Blood meets Desperate Housewives, the supernatural show is set in an affluent suburban neighborhood, where resides hide their secrets behind gates. Viewership for the first episode was solid, with over 4.6 million viewers tuning in. Frank Grillo (Prison Break, Guiding Light) plays Nick Monohan, a big city detective who relocates to a small suburban town to become the chief of police. Monohan’s first days as chief are spent trying to unravel the trail of evidence behind a pick-up truck that enters The Gates and doesn’t leave. Rhona Mitra (Nip/Tuck, Boston Legal) is a vampire housewife who happens to make a meal out of a construction worker who plows into her mailbox with the truck. Drama ensues. Along with Treme and Memphis Beat, The Gates is one of three television series currently shot in Louisiana. Although set in Louisiana, HBO’s True Blood is primarily filmed in Los Angeles, only visiting the Pelican State on occasion. S
Rhona Mitra of The Gates
photo Courtesy of ABC
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>>SCENE@
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scar-winning actor Tim Robbins was spotted at Jazz Fest last May. The veteran actor was in town working on Green Lantern, which has been shooting in New Orleans for months. “McDreamy” himself, Patrick Dempsey, has been out and about around Baton Rouge while filming Flypaper. He’s been frequenting Sullivan’s Steakhouse, a favorite of the film industry, where some fans of Grey’s Anatomy snapped the picture below. He’s also been seen at Whole Foods, walking around the Lakes at LSU, driving through Raising Cane’s on Corporate Boulevard and downtown at Tsunami.
FANS MEET PATRICK DEMPSEY
Patrick Dempsey with fans at Sullivan’s Steakhouse
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Tim Robbins at Jazz Fest 2010
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THE ROOTS OF MUSIC
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scar-winning actor Tim Robbins hosted an evening of musical performances on May 29 to benefit The Roots Of Music, a New Orleans-based not-for-profit music program. The event took place at Republic New Orleans and included special performances by The Roots of Music Marching Crusaders, Rebirth Brass Band, Jon Cleary, Ani DiFranco and Preservation Hall Jazz Masters with Tim Robbins. The Roots of Music is a not-for profit music education and academic mentoring program founded by Rebirth Brass Band Drummer, Derrick Tabb and Allison Reinhardt in 2007. “My love for New Orleans music started like most, one late night at Tipitina’s,” said Tim Robbins. “After finding out about the Roots of Music through Derek when we met after a performance at Maple Leaf, I toured the school and knew I wanted to help. This idea makes so much sense, so many schools arcos the country are cutting arts programs and to cuts those program shows an incredible lack of vision and faith of what this society is about. People like Derek are compensating for the lack of faith and vision and making sure that this musical tradition in New Orleans is not lost. There are over 400 kids on the waiting list and the more support this organization gets, the more kids can join.”
Top: Tim Robbins, Maggie Gyllenhaal, Peter Sarsgaard and Tim’s son Bottom: Derek Tabb, Tim Robbins and Robert LeBlanc photos by Tyler Kaufman www.scenelouisiana.com | 37
CREW UP ON LOCATION: AN INTERVIEW WITH NOVAC GRADUATE & TREME INTERN
MELYNIE DANGERFIELD by Danielle Nelson
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er studies have taken her as far as the Dominican Republic and China, but Melynie Dangerfield is a New Orleans girl, born and raised. A former Americorps VISTA participant, when Melynie returned home from Florida A&M University in late 2005, she began to believe that volunteerism and giving back to her community were just components of being a good New Orleanian, and are part of the reason she took an unpaid internship in the locations department with Tremé. Melynie took a break from her job to talk about her future and how she landed a gig on the show that’s got an entire city talking. DN: How did you find out about the Tremé internship…which is no longer unpaid, right? MD: Right. I learned about the opportunity through NOVAC. I had just completed the camera assistant training course and was told about an unpaid internship during my resume workshop session. I applied the same day with my revamped resume, and after some email correspondence with the locations coordinator, I got the position. I wanted to start immediately. After I had completed the camera assistant training from NOVAC, I wanted to learn everything I could…I was ready to break in to the industry. Even though the internship was unpaid, I knew it was an opportunity I couldn’t pass up. DN: Every Sunday I watch Tremé with a group of locals from neighborhoods all over the city and we marvel at how well-represented the neighborhoods of New Orleans have been so far. How does this happen? MD: The locations on Tremé resonate with locals because they are scouted by locals. Tremé’s locations manager Virginia McCollam is a native New Orleanian who knows the city well. The team goes to great lengths to make sure locations aren’t cliché New Orleans. Julie, the Tremé locations coordinator, gave me a rundown of how locations are selected. First, the writer’s office provides 38 | July 2010
Melynie Dangerfield
breakout sheets with “loose” descriptions of what types of locations they’re looking for. The manager then comes up with a vision for the locations based on the descriptions given and meets with writers to learn what they envision for the locations of each set. The locations are then scouted and shared with the production designer and then with the director. If the director likes the location they will then go on a tech scout to see how every aspect will be set up for filming. Our cartographer, Lafcadio Cass, describes it best: “Cast architecture as you would cast an actor.” DN: Tell me what a day in the locations department of Tremé looks like. MD: The majority of my time is spent in the production office. I work most directly with our great locations coordinator Julie Herrington. I organize information for “hero” and support locations for the managers, coordinator and scouts. I also permit the areas where the production will shoot, communicate with people in the communities where we will or have filmed regarding any location related queries or concerns and any task administrative or otherwise that will help the locations department run more efficiently. I will also have the opportunity to coordinate events to give back to those who have repeatedly allowed us to come into their communities and film. However routine these daily activities may seem on paper, they are integral to the production process.
DN: What’s the best part of your job? MD: For starters, I work with a great group of people that from day one have really made me feel a part of the production process in locations. As a native New Orleanian it is an amazing opportunity to work on a show that reveals the beautifully complex nature of the city and gives a local’s perspective of our uniquely rich culture. If I had to choose just one thing about this job it would be seeing all the work that goes into scouting and securing a location and then watching that location on set or on screen. To go from being very familiar with something on paper to seeing it actually come to life in a scene is incredibly exciting. DN: What advice do you have for people interested in finding industry work? MD: Be proactive and don’t snub any opportunity. The key is to get your foot in the door. If you know what area you’d like to work in, ask someone to point you to the person who hires in that department. The fewer layers you have to go through, the more likely you are to be hired. Every person on a show has their own story of how they started in the industry. There is no one path to take, so be open. S For more information, or to find out if you qualify to take these classes for free, visit us online at http://novacvideo.org or by phone at 504-940-5740. Twitter: @ NOVACNewOrleans | Facebook: NOVAC New Orleans
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Jazz
NEW ORLEANS
&
HERITAGE FESTIVAL
2010
Left to Right: Kermit Ruffins, The Dead Weather, Playing in the mudd, Juvenile with Mannie Fresh, B.B. King and Jazz Fest producer/director Quint Davis holding Scene Magazine photos by Mark St. James and Laura Rockett
MORE JAZZ FESTďƒ¨ 40 | July 2010
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L to R: Eddie Vedder, Allen Toussaint, Jeff Beck, John Boutte
photos by Mark St. James
MORE JAZZ FESTďƒ¨ 42 | July 2010
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Trombone Shorty
photo by Mark St. James www.scenelouisiana.com | 43
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L to R: Mardi Gras Indians, Kermit Ruffins, Alison Mosshart of The Dead Weather, Juvenile, Irma Thomas and Simon & Garfunkel
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photos by Mark St. James and Laura Rockett
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Jack White of The Dead Weather
photo by Mark St. James www.scenelouisiana.com | 45
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L to R: Eddie Vedder of Pearl Jam, Steve Martin and The Steep Canyon Rangers, Jack White of The Dead Weather with Alison Mosshart
46 | July 2010
photos by Mark St. James and Ashley Merlin
MORE JAZZ FESTďƒ¨
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Steve Martin and his five string banjo
photo by Ashley Merlin www.scenelouisiana.com | 47
Yellow BROOKE
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ROAD
by Micah Haley
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t fifteen, Reginald Dwight was copping thirty-five pounds a week playing piano at a local bar. Not bad money in 1962. The young Brit played popular tunes by Ray Charles and Jim Reeves. A briskly budding songwriter, he also played his own songs. And though a prodigal pianist, in the ears of some his voice left a bit to be desired. He failed to win lead singer slots with the bands King Crimson and Gentle Giant. By the time he’d produced his first U.S. number one hit, Dwight had created the soundtrack for his first film, a flop dubbed Friends. He’d also changed his name to Elton John. The Friends score was nominated for a 1972 Grammy, and Sir Elton went on to sell over 250 million records. Comparing Brooke Waggoner to Elton John is no cheap showmanship. The twenty-five year old singer/songwriter’s musical sensibilities are an impressive union of contrasts, classical and unconventional at once. Her classical training fuses with
48 | July 2010
piano pop to produce a unique sound that recalls memories not yet created, the soundtrack to a film not yet shot. When asked to describe her single-malt brand of catchy melodic piano pageantry, Waggoner simply says, “It’s been called ‘orchestral chamber pop.’” With a laugh, she adds that she’s also been told her music would result “if Elton John and Tinkerbell had a love-child.” Born in Texas, Brooke Waggoner spent her early school years in New Orleans, attending high school in Morgan City and ultimately deciding to study music in Baton Rouge at Louisiana State University. “I loved LSU,” says Waggoner. “I knew I wanted to go to school for music, specifically composition and orchestration.” A piano teacher piqued her interest in LSU’s School of Music by describing “how heavily they focus on classical.” At LSU, Waggoner studied composition under Dr. Dinos Constantinides, a Greek-born composer lauded for his symphonic
| MUSIC If
ELTON JOHN and TINKERBELL had a love-child,
WAGGONER’S single-malt brand of catchy melodic piano pageantry would result. photo by Brandon Chesbro
work. “I have had some very talented students in my forty-five year ready tracks such as “Live for the Sounds” showcase Waggoner’s ability career, but Brooke is something special,” said Dr. Constantinides. “Her to craft neatly constructed, audience-friendly fare. “Daylover” begins orchestration is excellent, her thematic material very lyrical, her musical like a quick-paced salute to saloon piano (complete with sasparillaphrases logical…there is a great deal of imagination in her music.” worthy whistling), stops for one contemplative verse and then builds In her junior year of study with Dr. Constantinides, she formed to her characteristic crescendo. One of the last tracks wistfully ponders the band Blessed Yes with some friends and began gigging around solitude and the want to create, finally offering the invitation to “Come town, learning the basics of booking and live Love, See My Hands.” Much of Brooke Waggoner’s performance. “We did some shows at Red Star, music is spiritually evocative while paying the The Caterie, North Gate Tavern,” she says. “We BROOKE WAGGONER’S compliment of not patronizing the listener. hopped around and did a summer tour through Waggoner’s self-produced second album was B-SIDES AND ALBUMS ARE Atlanta and Athens and Florida.” After graduating a return to her never-distant roots in classical from LSU, Waggoner decided to forgo graduate composition. While most of Waggoner’s songs AVAILABLE IN iTUNES. studies, moving to pursue her solo music career are structurally closer to three-act screenplays FOR MORE, VISIT in Nashville. “I initially went to school to do, than the verse-chorus-verse-chorus-bridgeultimately, film scoring. But I was so ready to verse-chorus of pop music, Go Easy Little tackle my dreams and figure out how to do it. I BROOKEWAGGONER.COM Doves fully embraces her filmic fascination. viewed performing as kind of a means to an end.” “I love Thomas Newman, Danny Elfman, While working out new songs around town, Waggoner needed Philip Glass,” Waggoner says. “My dad was a film editor. He’s to find a day job to support herself. “I got a job at a urinalysis clinic. so into scores. That’s a huge nostalgic thing for me. I grew up Basically dealing with pee all day. It was awful! It was terrible! But listening to all his stuff. We grew up on Rogers and Hammerstein it paid my bills,” she says, “And it allowed me to make my EP.” After musicals. I think those things have always kind of stuck with me.” just six months, she began recording, releasing her Fresh Pair of Eyes The influence of film endures throughout her second album. EP in the summer of 2007. The six-song debut showed no signs of “Query” and “Ruminate,” the album’s first two tracks, are gentle infancy. Filled with the structural maturity and mythical lyricism instrumentals. “Femmes” could play over the opening credits of present in all of her work, her first EP evokes quiet contemplation Sex and the City and “Chromates Soft Love” seems lifted from The and involuntary handclaps, often in the same song. “Wonder- Wizard of Oz. “Find Her Floods” listens like a pitch for a Jane Austen Dummied” begins with melancholic solo piano before building to adaptation that already has Emily Blunt and Colin Firth attached. a foot-stomping orchestral crescendo that dares audiences not to Last month, Brooke Waggoner began releasing B-sides from sing along. “So-So” stays casual, featuring a gentle acoustic guitar her earlier recording sessions. The first was “Red Robin Hood,” a while playfully recalling a bittersweet move away from home. typically fanciful tale of what would happen if Little Red Riding Following her Fresh Pair of Eyes release show, Nashville began to take Hood and Robin Hood ever got married (they already have the note of the orchestral pop princess that relocated from Louisiana. “It’s same last name, she points out). The last of the four B-sides will be just crazy how stuff will spread like wildfire,” Waggoner says. “There were released on July 6. She also has a DVD project soon to be released a lot of management-dudes knocking. A month later I was able to quit entitled “And the Whole World Opened Up,” which will feature live that awful day job! After a year in Nashville, I had my publicist and agent performances with a chamber orchestra intercut with animation. and manager. They all filled in the gaps quickly and we were able to form “Ultimately, I still want to be scoring for films and [Go Easy Little it into a business.” After releasing her EP in July and assembling her team, Doves] has opened some things up in that area,” say Waggoner. “I got she set out on a six-week tour spanning September through October my first film. I’ll start work on it this fall. It’s going to be good to get of 2007. And by Christmas, she’d finished recording her first album. my feet wet.” It would be too obvious to point out that since Friends, Written largely while on tour for her debut EP, Heal for the Honey Elton John has become quite the prolific presence on film and television delivers on its predecessor’s promises of whimsical grandeur. Radio- soundtracks. Brooke and Elton also both enjoy feather boas. S www.scenelouisiana.com | 49
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Left: Taylor Swift, middle top: Gloriana, middle bottom: Kelly Pickler, Right: Jake Owen. All photos by Lawles Bourque
super country by David Draper
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watch Lost. I don’t watch Country Music Television. Despite the star-spangled roster of country music’s all-American allstars, my tickets to the first ever Bayou Country Superfest did more for my wife than for me. Bring me to see U2 any day, but I was a bit suspect of the prospect of spending a warm Spring day sandwiched between country music fans at LSU’s football sanctuary. And given the venue, approaching the first-time festival with the trepidation of a die-hard LSU fan was inevitable. After all, Tiger Stadium is hallowed ground, consecrated each fall by that most sacred of sports doxologies: “It’s Saturday night in Death Valley!” By the numbers, the two day event drew 50,000 people, boasting headliners Kenny Chesney, Taylor Swift, Keith Urban and in their last performance together ever, best selling duo Brooks & Dunn. We made it to the second day of the festival, which featured Chesney, Brooks & Dunn and a trio of performers on the undercard little known to non-fans of country music. Once the concert started it became apparent how much of today’s country music is strongly influenced by rock n’ roll. Except for ‘90s artifact Brooks & Dunn, there were moments during every artist’s set when it was possible to forget it was country music. The bands played loud enough and hard enough to satisfy fans of rock and even hard rock. Jason Aldean, 50 | July 2010
the last of the opening acts, further reached out to non-country fans by playing a rousing country/rock crossover cover of Kid Rock’s Cowboy. The best-selling duo in music history, Brooks & Dunn played a Sunday night show that was reportedly one of their last ever. Shreveport native Kix Brooks told the crowd more than once how glad he was to be going on stage in Baton Rouge for the last time. Brooks told us he’d had an argument with Kenny Chesney over which stadium is louder, that of LSU or Tennessee. The heavily local audience did their best to prove Knoxville native Chesney wrong. Brooks & Dunn played many of the hits recorded during their twenty-year career, including Believe, a gospel-inspired song about not losing faith in God in the face of tragedy. During the chorus, the song’s old man sings, “I raise my hands…” and in response, thousands of beers were raised toward heaven. Only at a country music concert does Jesus get toasted with Bud Light. And only at a country music concert does one get the feeling that He’s all right with it. While football won’t be on the field till fall, reminders that the Superfest was indeed in Tiger Stadium were plentiful. The SEC Championship baseball game between LSU and Alabama was being played during the concert. Chants of “LSU!” and “Go Tigers!” erupted every time the score was updated. And when it was
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Shreveport native Kix Brooks
announced that LSU beat the Tide, you would have thought that Trindon Holliday had just brought a kick off back for a touchdown. Following Brooks & Dunn’s exit, a local country music DJ announced that Kenny Chesney’s arrival was imminent by saying, “It’s Sunday Night in Death Valley!” Kenny Chesney took the stage, and it was soon obvious why he’s a four-time Entertainer of the Year-winner at the Country Music Awards. Not only did he bring the house down with his musical showmanship but, like any good entertainer, he was keenly aware of how to play his audience. Chesney invited Saints head coach Sean Payton on stage, bringing with him the Lombardi trophy, fresh from the Saints’ historic Super Bowl victory. Payton bowed and waved, leaving the trophy on stage after his departure. Aside from a hundred nights of LSU football, Bayou Country Superfest had another tough act to follow. My last concert-going experience was the U2 360 tour, reportedly the most expensive ever, at Houston’s Reliant Stadium. Arguably the biggest rock star in the world, Bono himself would have been impressed by the show Chesney put on. The Superfest offered plenty for the casual fan or non-fan of country music to enjoy. Part of the appeal of artists like Kenny Chesney, Brooks & Dunn and perhaps country music in general is how easy it is to relate to them. How many people really grow up actually believing they can be Bono and save the world? It would be easier to dream of being Kenny Chesney, because even from all the way up on stage, he makes his audience feel like they know him. Like they’ve known guys like him their whole lives. LSU head football coach Les Miles also made an appearance on stage. Chesney handed him the mic. Miles proclaimed that there is nothing like a Saturday night in Tiger Stadium. And rightfully so. S 52 | July 2010
Ronnie Dunn
Taylor Swift
photos by Lawles Bourque
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Gloriana
photo by Lawles Bourque
www.scenelouisiana.com | 53
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Jake Owen
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Kelly Pickler
Gloriana
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Taylor Swift
photos by Lawles Bourque
www.scenelouisiana.com | 55
FASHION |
Florence
HELENE by Lana Hunt
L
ast winter, Helene Florence, a New Orleans designer of one of a kind t-shirts and accessories, found herself in the presence of not only the president, but the entire Home Design team of Anthropologie. The team, who travels the world looking for new talent, came to New Orleans in search of local designers to begin creating pieces for the New Orleans location, opening this August at the Shops at Canal Place. It was “a dream come true,” according to Florence, a completely self-taught designer. “Anthropologie is the only big name store I shop in,” she says, “and I kind of always dreamed about having my pieces in there, but how does one even make the introduction?” Florence never actually envisioned working as a full time designer. “I always loved and appreciated textiles and fashion, but I have never studied anything formally,” she said. After receiving dual BAs from St. Mary’s College in Notre Dame and an MA from Duke in the early 1990s, Florence worked as a museum curator before a visit to Japan developed an appreciation that inspired a career change. Helene purchased some vintage kimonos at a flea market, falling in love with the fabric’s delicate beauty. “I started thinking about the fact that the Japanese rarely wear kimonos anymore, but they are so beautiful and intricate and have such rich history behind them.” Helene loved the look of the kimonos, and began thinking of ways she could recycle the fabric into new, modern and wearable creations. “It’s not just pretty fabric,” she noted. “It’s interesting. It has meaning.” Although extremely inspired, Helene did not immediately begin designing when she returned home. “I actually let the idea incubate for about ten years,” she said. She informally played around with the fabrics and started making belts and necklaces to give as gifts. “It was the easiest way to get feedback,” she said. With no formal training, Florence was unsure how to execute her design ideas. After time spent experimenting, some friends convinced her to have a trunk show about three years ago. “I made some embellished t-shirts, belts, a few chokers and cuff bracelets. They all sold really well… so I began having more trunk shows around town.” Her work caught the eye of Seema Sudan, a local knit-wear designer who has a great relationship with Anthropologie. “Seema put a list of local designers together who she thought they should see. She thought they may be interested in my things,” Florence remembers. The president liked them so much she took a few of Helene’s handmade t-shirts with her to see about mass production. Because of the nature of the original kimono fabric, reproduction was tricky. “They had to send the fabric to India to be re-created,” Helene said. But they eventually got it right and two of Florence’s designs were sold in over sixty-five retail locations around the country. Over the past few months Florence has been spending her time designing for the opening of the New Orleans store. Some of her clothing items will be massproduced, but the majority will be one-of-a-kind obi style belts and necklaces. Florence said the experience working with Anthropologie has been a dream. “They are a truly great company. I know what I do won’t appeal to everyone, so it’s been fun and interesting,” she says. “It’s nice that they are responding to it.” S
ONE-OF-A-KIND BELTS BY HELENE: 56 | July 2010
Helene Florence
photo by Sara Essex
Original handmade top by Helene Florence
| FASHION
S
MATTED FASHION SHOW Designer Matthew Authur
photos by Tessa Rowe taken at Republic New Orleans
www.scenelouisiana.com | 57
FASHION |
GUY
LANA’S PICKS
HARDLY by Lana Hunt
N
ot a big country music fan, I still somehow inadvertently found myself on LSU’s campus for one of the biggest music festivals ever to hit Baton Rouge. Although fully prepared to be blinded by all things bedazzled, from hats to boots to tanks and even “jeggings,” ready and willing to give the bling adorners a free weekend pass, I was actually a bit thrown off by what I did see. Girls. In t-shirts. Guy Harvey t-shirts. Everywhere. As a fashion statement. I’m not sure what rock I’ve been living under that has shielded me from the emergence of this ‘trend’ but the last time I bought a tee shirt solely because it was the cool thing to wear it at least made a statement (like No Fear!) Or was it my hypercolor tee? Either way, enough time has passed for me to realize a t-shirt will never be a viable option for completing an outfit. Don’t get me wrong, I love lounging in a good tee. I even love buying the Guy Harvey ones. For my dad. Since when did it become cute to wear a boy’s t-shirt, Nike running shorts, wedge flip-flops and a scrunchie to a concert? I know summer fashion can be tricky, but it’s no excuse to look like a slob! Even if the “look” is some strange college phenomenon. Wearing any of these items as part of an outfit is pushing it, but as an ensemble? It’s baffling, really. So what should you wear in the sweltering Louisiana summer months? If you want that easy, summer look, there are plenty of options. T-shirts can actually be really sexy and perfectly comfortable for the heat. But buy the right one! Look for something extremely lightweight, such as jersey or my favorite cotton treatment, the slub tee. The threadbare fabric is cool and the silhouettes are mostly form fitting. No more covering up that bikini body with a big t-shirt! I also love a good cotton button up dress for the warmer months. It’s classic, it’s cool, you can’t go wrong. And please keep those Nike tempo track shorts circling the lakes. For all my tips on shorts, check out the May issue at SceneLouisiana.com. I also love a good pair of denim pencil leg skimmers, which are not to be confused with Capri pants. There’s no need to put a ton of effort into your summer fashion, but the line does need to be drawn. Keep it cool and casual, but don’t set aside style! Oh, and Keith Urban, you can wear that skin tight LSU t-shirt every day of the week. These rules do not apply to you. S 58 | July 2010
Swapping your frumpy t-shirt for something stylish this summer doesn’t have to make you uncomfortable. Try some of these adorable alternatives on for size. A COTTON BUTTON DOWN is a summer essential. This baby blue one by BCBG GENERATION is super soft and lightweight, and goes effortlessly with these J BRAND WHITE SKINNY JEANS. This BEADED TANK by JOIE is fabulous and perfect for any summer event. Try toning it down by pairing it with one of my summer must haves, JUST ABOVE THE KNEE CUT OFFS, like these by TRUE RELIGION.This TAN TEE by THEORY is one of my favorite t-shirt alternatives. It’s ridiculously soft and goes with just about anything, but to pump it up a little try pairing it with a dressier bottom, like these gorgeous NAVY SHORTS by BCBG GENERATION. You can’t go wrong with coral. I love this RUCHED BUTTON DOWN TOP by RENÉE C. because it mixes soft cotton with silk blocks of the same color, giving just enough interest for the monotone item. Take a shirt that pops and make it cool for summer by pairing it with something easy going like these KHAKI CARGOS. Care free summer style can translate from day to night seamlessly with pairings like this sweet WHITE TANK by ELLA MOSS and SEQUIN MINI by HAUTE HIPPIE, which I ADORE. Throw on a simple necklace like this one by Virgins, SAINTS AND ANGELS and you’re set for any summer outing. Find one pair of great shoes like these TWELFTH STREET BY CYNTHIA VINCENT WEDGES and a few simple accessories that go with everything, and your summer style is done! It’s that simple. Availability: Eros in Baton Rouge and Tomato Stores in Baton Rouge and New Orleans. PLEASE SEND QUESTIONS, COMMENTS OR SOMETHING YOU’VE OVERSCENE TO FASHION@SCENELOUISIANA.COM.
Swim FASHION | summer special
by Katherine Bosio
I NI N STYLE
photos by Jason Kruppa hair by Tommy Centanni, make-up by Maria Broussard
Frances McDermott, Lauren Siegel, Luis Flores
B
efore laying dazed and half naked beneath the scorching summer sun, even the fashion conscious seek to be cost conscious. With miniature swimwear pricing up to four or five hundred dollars, some of the best designers have us paying more and wearing less. But now is the time to kick those bathing suit blues because New Orleans stylist and fashion designer John Delgadillo has created unique looks for under $40 each. “It’s all about looking like a millionaire without spending a million bucks,” Delgadillo says. Swimwear trends from the last few seasons have stocked plenty of closets with a monokini or two. The leopard print cut-out monokini brings bohemian-chic to the beach, best accentuated with chunky bangles, oversize black hoops and a boho-chic animal print necklace. “Dark, wooden bangles are great for making bright colors pop,” Delgadillo says. “For the leopard print base layer,
60 | July 2010
Sharmaine Hunter
I used additional animal print bangles to create the full effect.” For the fashion-forward females that stray away from too much color, a black halter monokini is sure to suit you. This rhinestone-embellished cut-away suit has rich girl appeal and total sophistication. To add to your sexy style, accessorize with rhinestone drop earrings, black beaded bangles, silver-studded bangles for a little punk-chic, and even go the extra mile by adding a large faux flower to your classy updo. “When toying with neutrals, just be sure to have at least one offset color,” Degadillo says. “If all else fails, at least you’ve got a look that sparks!” While his forte is fashion, the designer-turned-deejay can sometimes be spotted at the historic Café Lafitte in Exile. Preferring Bloody Marys with his music, Delgadillo spins as locals and touristas alike sip the cheapest drinks on Bourbon Street. S
SCENE | online
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j u lY 2 0 1 0
on set with
ThE duplASS bRoThERS
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JAzz FEST in review
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twitter Our first headlining stadium show. Tiger Stadium, Baton Rouge...I had the time of my life with you tonight. (via taylorswift13) On the Scene at Irvin Mayfield’s Jazz Playhouse. Director Jodie Markell & I bumped into Jay O. Sanders whos in NOLA working on GREEN LANTERN (via micahhaley) Vegans in Shreveport?! // Alicia Silverstone just fed me the yummiest plate of vegan goodness I have ever tasted. (via oliviawilde) In New Orleans for film Mighty Fine really excited about this beautiful compelling story of a dysfunctional family (via andimacdowell3) Watching Treme on HBO. I hope it’s as important as it is boring. (via robcorddry) Feel like I’m deserting Louisiana by being in Monte Carlo... can’t sleep tonight. Good luck my home, miss you (via iansomerhalder) Hang in there Louisiana. We care about you. (via llcoolj) Back in Shreveport to finish “butter” finally met Alicia silverstone today! So pretty and so sweet! This cast rocks. (via ashleymgreene) That’s a wrap! This movie might be my all time favorite. Look out for BUTTER! I will miss these guys. (via oliviawilde) I’m about to walk on stage at @GulfAid (via lennykravitz) Next stop NOLA for the Gulf Aid concert. (via johnlegend) Patrick Dempsey just went through the drive-thru at Cane’s on Corporate Blvd. in BR. (via onelovefounder) Yep, that was Patrick Dempsey having sushi in our dining room. Mr. McSushi... (via tsunamiBR)
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IN THE MIX
COLOR TIMING by Greg Milneck
A
s Hollywood’s love affair with Louisiana continues to grow, it’s clear now that we are not just a short-term solution for budgetminded studio executives. It appears that our state’s combination of incentives, locations and talent are enough to keep the wandering eye of Hollywood on us. And that’s great for our industry. But simply having films and television shows shot in Louisiana won’t be enough to engender true long-term growth. We invited them here and they came. Now, we need to keep them here. Providing proper high-end facilities such as studios and cutting-edge post-production options is essential to maintaining the growth of the film industry. To date, most of the films and television shows shot here actually posted back in L.A. or New York. Though there are signs of progress, most of the feature films shot here are still shipped outside our borders for post-production. That’s a huge potential market for us. One that, if tapped, could make Louisiana a truly sustainable hub of film and television activity. It would mean hundreds, if Official poster for I Spit on Your Grave not thousands, of high-paying, technology-related jobs that will help to stem the tide of “brain drain.” Louisiana would, in fact, become a destination for young professionals. And most importantly, it would keep films here from beginning to end, almost doubling the economic impact our industry is creating today. Investing in the kind of facilities and technology necessary to make this happen requires two things: money and fortitude. First, the costs are enormous. Some of this technology costs hundreds of thousands of dollars for one piece of software, let alone the hardware infrastructure to run it. The numbers can be mind-boggling. For my company, our recent expansion has cost a few years and enough money to keep me up
64 | July 2010
at night. Which brings me to the second requirement: fortitude. You have to take a chance. There’s no guarantee that projects are going to line up to use your facility. It’s a risk, but a calculated risk. We know the demand is here, and now we are meeting that demand. The timing is right. Currently, my company is the only facility in the entire Gulf region that is a full DI facility. If you’re not familiar with the term “DI,” it is short for “digital intermediate.” DI is the process of finishing a motion picture digitally, and includes the final mastering, color manipulation (color timing), visual effects and other digital processes. DI originally referenced a process that started with film scanning and ended with film recording. Now, it also refers to the process beginning with a digital source such as digital cinema cameras. In the end, the process allows for unlimited flexibility in posting and completely eliminates the need to process film. Our investment is already seeing dividends. Digital FX just finished post-production on the upcoming Anchor Bay feature film I Spit on Your Grave. Based on the 1978 cult horror classic, the Stephen Monroe-directed remake finished shooting just a few months ago in Shreveport. When producers wrapped filming, rather than taking the films budget for post-production out of state, they came to Baton Rouge. The bottom line is this: it’s time to put the finishing touch on films shot in Louisiana. Film has been huge for our economy when other states are struggling. Imagine the jobs, the technology, the financial dividends and the boost to our state’s reputation. And hopefully, if more of these guys stayed for post-production in Louisiana, they might eventually come to their senses and stay here for good. S
BUZZED
D OW N I N T H E
TREME by Adam Tustin
T
he lauded HBO skeptical of this latest attempt. drama The Wire A handful of people depicted Baltimore fully understand the Treme as a wretched, decaying neighborhood, many still city. A city wrought with scattered about the country, ruthless, violent drug dealers, displaced by Hurricane alcoholic cops and crooked Katrina. These current and politicians. Despite the fact former residents know the that many have accused neighborhood for what New Orleans of similar it is. If New Orleans is afflictions, the makers of The the birthplace of jazz, the Wire portrayed a decidedly Treme is its Garden of Eden. more positive outlook with With a history marred their latest city storybook, by pain and oppression, Treme. But somehow I find desperation and slavery, it likely that, after the first creativity sprouted from episode, the stack of locals’ the troubled soil. Despite photo by Skip Bolen decades-long attempts at hate mail for The Wire was Wendell Pierce in Treme shorter than that of Treme. what some call urban renewal, New Orleanians have a and others call gentrification, track record of being misrepresented the desire to preserve the history and on television. As a young adolescent, culture of this essential New Orleans I can remember watching a USA neighborhood remains alive and network program called The Big Easy, well to many throughout the city. primarily because they sometimes After the first season of HBO’s and showed glimpses of FCC-tolerated Treme, we know the focus is not on the nudity. The show was terrible, a fact neighborhood’s storied history. Instead have all apparent to even a New Englander like we met main characters three months myself, who at the time knew nothing after Hurricane Katrina, just the latest to about New Orleans culture. Years brought in a long history of tragedies that later, after moving to New Orleans, I have shaped a city. War, slavery, fire, watched with anticipation as K-Ville its knees before, only for it to corruption and natural catastrophes premiered on the stingy screen. have all brought New Orleans to its A show about New Orleans cops knees before, only for it to reemerge could seemingly write itself. Stories more resilient and tenacious than of the city they police, the suspects ever. After catastrophe comes rebirth. they apprehend, the corruption they Metamorphosis is the overall embrace…all would fall right onto theme of Treme. It is not a the page if the showrunners had any misinformed, exploitative sideshow desire for authenticity. Instead we got riddled with errors and incredulous 24 meets Murder She Wrote. A senseless amalgamation with laughable accents. Treme is a meditative love letter to a rich, resilient culture. plot development and downright hilarious dialogue. The rest of the Its characters are fanatics about the place they live, about their country felt as insulted by the show as the citizens of New Orleans. endangered culture. They cherish their food, drink, music, and Steven Seagal’s Lawman is more entertaining. Although, it was fun to they cherish each other. Its characters are real New Orleanians. hear people say “Tchoupitoulas” on television. It is this shaky past of For those who have missed the first season of Treme, you creative misrepresentation that understandably had New Orleanians are missing out on the show that’s finally getting it right. S
WAR, SLAVERY, FIRE, NATURAL CORRUPTION CATASTROPHES NEW ORLEANS
reemerge more resilient and tenacious than ever. After catastrophe comes rebirth.
66 | July 2010
www.scenelouisiana.com | 67
ON THE SCENE
S
68 | July 2010
MASQUERADE A MARCH OF DIMES BENEFIT PRSENTED BY VOODOO BBQ
photos by Scott Myers
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ON THE SCENE
S
70 | July 2010
PLAYNOLA.COM
SEE AND BE SCENE
Rooftop Party at 930 Apartments Poydras
photos by Laura Rockett
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BY JAMES SHEPPARD | fpscomics@gmail.com
www.scenelouisiana.com | 71
THE UNSCENE Resident Evils Louisiana was the wild, wild West. In the early days, only a bootful of chiseled veterans could be found, most calling New Orleans home. One film would quickly exhaust the state’s entire crew base, and seasoned union veterans would be brought in from out west. Most returned home when the work was done. But then the great migration started. Not two films or even three, but five and ten at once. They spread across Louisiana from New Orleans to Shreveport, bringing workers from Los Angeles, New York, Texas and Florida. The demand for labor was so great that completely inexperienced locals were being hired, amassing more credits in a year than most in Hollywood worked in five. And still more films came. Veterans began to relocate, bringing their families with them. They bought houses, betting that the work in Louisiana would continue to be plentiful. And their bets are paying off. Louisiana still welcomes these veterans and more with open arms. The State’s film tax incentives offer a generous 35% credit on all payroll that is paid to residents. Unlike some other incentive states, establishing residency in Louisiana is no arduous task. And it has been the ease of relocation that continues to encourage migration. But there are some that abuse Louisiana’s generosity. They come to town only for a few months. They sign an oath legally declaring they are Louisiana residents. And the address they give is a rented apartment. An apartment they share with five or ten other people for a few months, intentially defrauding the good people of Louisiana. Make no mistake, Louisiana wants film professionals to relocate. But beware, those who seek to violate the spirit of the law. Your names will be well known in time. And we’ve got plenty of tar and feathers. - The UnScene Writer
72 | July 2010