Scene Magazine - Sept/Oct 2015

BEFORE THE SCENE WITH

GREG YAITANES

PREVIEW:

VOODOO EXPERIENCE 2015 SCENE IN TEXAS

AUSTIN

CITY LIMITS

The Return of THE ORIGINALS & THE VAMPIRE DIARIES

TRISHA

YEARWOOD Country Cookin’ on the scene: DEFTONES • INCUBUS • COLBIE CAILLAT

OCT 30 - NOV 1 2015, NEW ORLEANS

FRIDAY FLORENCE+THE MACHINE + JACK Ü + MODEST MOUSE + ALESSO GIRL TALK + JASON ISBELL + METRIC + GERARD WAY + YELAWOLF + DESTRUCTO JOEY BADA$$ AND THE SOUL REBELS + THE JOY FORMIDABLE + RYAN BINGHAM + JAUZ FRANK TURNER & THE SLEEPING SOULS + SALVA + JESSICA HERNANDEZ & THE DELTAS + WAX MOTIF HUNDRED WATERS + GRIZFOLK + FLOW TRIBE + DAN DYER + ST. CECILIA’S ASYLUM CHORUS

S ATURDAY OZZY OSBOURNE FEATURING GEEZER BUTLER, TOM MORELLO AND SLASH JANE’S ADDICTION + SANTIGOLD + DUKE DUMONT + GIORGIO MORODER PUBLIC IMAGE LTD + CLUTCH + ZHU + DJANGO DJANGO + LETTUCE + THE GROWLERS + BABES IN TOYLAND + PEACHES JACOB PLANT + TERENCE BLANCHARD FEATURING THE E-COLLECTIVE + NINA LAS VEGAS + FANTASTIC NEGRITO JOYWAVE + THE STRUTS + THE SUFFERS + THE WANS + VERIDIA + MIKE DILLON’S PUNK ROCK PERCUSSION CONSORTIUM MISSISSIPPI RAIL COMPANY + CARMINE P, FILTHY & A BOY NAMED RUTH KOMPRESSION WITH UNICORN FUKR & HERB CHRISTOPHER UNI

SUNDAY ZAC BROWN BAND + DEADMAU5 + CHANCE THE RAPPER + ERIC PRYDZ SLIGHTLY STOOPID + THIRD EYE BLIND + THE CULT + TCHAMI + BRO SAFARI FISHBONE + TITLE FIGHT + DUMPSTAPHUNK + ELLIPHANT + MIJA THE TEMPERANCE MOVEMENT + HERE COME THE MUMMIES + JULY TALK + ROZZI CRANE QUICKIE MART + TYSSON + BABY BEE + THE LUDLOW THIEVES + BABYGIRL

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VOL. 6, ISSUE 5 • September/October 2015

EDITOR-IN-CHIEF Micah Haley CREATIVE DIRECTOR Erin Theriot ADVERTISING ART DIRECTOR Kelli Binnings STAFF WRITER Carlos Meredith GRAPHIC ART DIRECTOR Burton Chatelain, Jr. SALES Beth Burvant, M. Tess Toboggan

EDITOR’S LETTER

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ummer movie season is over. Was it memorable? It was.

Could it have been better? Of course. Could it have been worse? You’d better believe it. Am I doing a written impression of Robert Evans?

You bet I am. Do I regret it? I wouldn’t have it any other way.

I can’t recall a summer with greater peaks and valleys. Let’s start with the bad and then get to the good.

The biggest moment of disappointment this summer was sadly one I was rooting for: Fantastic Four. Not just because it was shot in Baton Rouge. I genuinely loved Chronicle, the first film from director Josh Trank, and thought he was a brilliant choice to reboot a difficult property. Face it: the Fantastic Four are not fun. I can’t think of any version of those characters I like. And yet, I had hope that Trank would

8 | September/October 2015

be able to carve something unique with the help of his uniquely gifted cast. Alas, the film was disappointing.

On to the peaks. It’s hard to top the thoroughly satisfying experience of Jurassic World. It was everything a summer blockbuster should be, and as a bonus, it was nostalgic. And yet, it was topped. By another sequel.

Mad Max: Fury Road was not only the best action movie of the summer, it’s the best movie of the year to-date. It also takes its place among the greatest action films of all time. Some might criticize the film for not having enough plot. Those people are crazy. The film is filled with story, but instead of boring you, it tells its story through the power of cinema.

MICAH HALEY EDITOR-IN-CHIEF

editor@sceneent.com

CONTRIBUTING PHOTOGRAPHERS Randee St. Nicholas, Bruno Calvo, Alan Markfield, Kelli Binnings, Alx Bear, Russ Harrington, Ben Fink, Brandon T. Willis CONTRIBUTING WRITERS AJ Buckley, Aaron Williamson, Jacob Peterman, Susan Ross, Elizabeth Glauser, Arthur Vandelay, Lauren Kornick, Meghan McGee, Elizabeth Glauser Scene Magazine At Celtic Studios Baton Rouge 10000 Celtic Drive • Suite 201 • Baton Rouge, LA 70809 225-361-0701 At Second Line Stages 800 Richard St. • 4th Floor • New Orleans, LA 70130 504-224-2221 info@sceneent.com • www.sceneent.com Published By Scene Entertainment, LLC For Scene Entertainment, LLC CEO, Andre Champagne President, AJ Buckley Vice President, Micah Haley Display Advertising: Call Scene Magazine for a current rate card or visit www.sceneent.com All submitted materials become the property of Scene Entertainment, LLC. For subscriptions or more information visit our website at www.sceneent.com.

Copyright @ 2015 Scene Entertainment, LLC. 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

JANUARY/FEBRUARY 2014

ON THE COVER

ON THE SCENE

H&M OPENS IN NEW ORLEANS

Trisha Yearwood

WWW.SCENELOUISIANA.COM

BROKEN LIZARD LIVE AT THE CIVIC THEATRE

photo by Randee St. Nicholas

BEFORE THE SCENE WITH

NBA ALL-STARS IN NOLA LSU BASEBALL

ABOVE THE LINE

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Trisha Yearwood’s Country

BEFORE THE SCENE

A Conversation with Greg Yaitanes

BLAKE

SCENE IN GEORGIA

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SCENE IN TEXAS

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Vampire Diaries and Originals Return

MUSIC/SOUND SPEED

Preview: The Voodoo Experience

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ON THE SCENE 22 Deftones, Incubus and More at Champions Square

THE UNSCENE 60

Follow @SceneEnt on Twitter for breaking news and more from Scene Magazine. @sceneent

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COMING SOON 14

Austin City Limits

MICHAEL RAPAPORT

PREVIEWS:

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Voted #1 small city to live and work as a ďŹ lm maker in 2015

by Movie Maker Magazine

www.ďŹ lmbatonrouge.com

by AJ Buckley

GREG YAITANES

Greg Yaitanes is an Emmy Award-winning television and film director. His filmography includes some of the best television of the last two decades, such as Lost, Heroes, Damages, Prison Break and Bones. For eight years, he served as executive producer and director on House M.D., followed by working with Alan Ball on Banshee. His next is the highly anticipated Cinemax series Quarry.

What made you want to become a filmmaker?

What was your lowest point?

I was fourteen. I was part of the VHS camcorder generation. I just picked up a video camera. I’ve heard athletes talk about this: they just pick up a football or a baseball bat and just know what to do with it. I started making short films and got involved with public access television. That kept me going through high school.

And then when I was seventeen, I read a Rolling Stone article about film schools. The idea that I could become a director was fascinating. It took about ten years after USC to build my career up to where things really gained the kind of momentum that I have today. It was a phenomenal journey. It’s so crazy when I think back on those years now. I was a lover of film. Television wasn’t very good back then, so I didn’t really watch television.

The irony, of course, is that most of my career is television.

I don’t really think of low points when it comes to my career.

My career’s always had the good fortune of being like a stock market: steady, consistent output. When I think of low points, I think of the challenge of balancing life with this job that is literally all consuming. There’s been aftermath along the way with your personal life as you pursue something that is your art, your job, your career, your love and your passion. When you feel so strongly about your work, you find that in your personal life, the people feel that they come in second to that. That’s always been a struggle over the years. To maintain a relationship, or a family, is very hard. Any low point is usually related to how work affects your personal life.

What was your biggest fear?

I had an astounding amount of confidence and optimism, which I think helped me. I never really worried about what other people are doing. I’m not a particularly competitive person.

There’s a great line from The Sopranos where Tony Soprano says to a rival mobster, “There’s plenty of garbage for everybody.” He’s referring to actual garbage there. I think of that often: “There’s plenty of work.” Here’s the reason I got into television: I was watching cable adding channels, adding more channels, and I recognized that there would be a need for content. So, I became a television director, just as it changed and television was starting to get good. I was pretty fearless in terms of wanting to do this.

I had built up a good backup plan so I was pretty chill about it. I didn’t know anything about the business and that kind of helped me. It’s harder now imagining trying to go through and navigate all of that, knowing what I know now. But just being young was the best thing that could have happened to me.

What kept you from walking away?

I’ve never considered that. Television’s been very good to me. I’ve been through a lot of its evolution. I’ve influenced its evolution. That was part of the reason why I loved being an episodic director. No matter how bad it was, three weeks later, I was done. In terms of wanting to leave, I look at it more as coming from a positive place: I look at it as if new challenges await. And they do. I’m very excited about where VR (virtual reality) is going. There’s a new vocabulary of telling stories in that medium.

Who has been your closest ally?

I’ve been fortunate enough to be mentored over the years, throughout my career. That’s something that I feel I have a responsibility to pass on. My closest allies have been my many mentors. On this project, my right-hand is my assistant. Just having someone who has your back, gets your needs and is a great collaborator is amazing. It’s important to have day-to-day when I have two shows going right now that I’m producing. You need to have someone you can trust. I’ve been so fortunate to have been mentored by great people and that is truly something I want to pass on.

What words have kept you going?

It doesn’t take much to keep me going. I just enjoy good work and good people. I’m fortunate that I get to pick where I want to go and who I want to work with. I like working with A+ people.

There’s a lot of mediocrity in our business. And, if I was toiling in that, I’m sure that I would be a lot less happy than I am now.

12 | September/October 2015

I really like problem solving. There’s this great scene in Apollo 13 where they dump all this stuff on the table, and they’re like, “These are the things that they have, and here’s what we’re going to use to bring them down.” The question is always, “How do we use what we’ve got?” In TV, especially, it’s about problem solving. You don’t have time to dither on what the problem is: you have to be solution-oriented. I just keep telling myself that: be solution-oriented. It’s how we get through the day.

How do you think you’ve changed?

I’ve been on Earth 16,000 days plus, hopefully learning as I go.

As a director, you’re in your own culture and community. Your every need is tended to so you can keep your focus on what’s in front of you. I’ve tried to always stay grounded on that and try not to let that go into my personal life. When I’m in the work environment, that’s what I do. When I’m at home, I like to live a very opposite life.

It’s been enormously rewarding. I’m forty-five now and I just find I’m maturing in my art, in my craft. I’m getting deeper into the things that interest me. It’s like I’ve moved far away from the filmmaker I once was and continue to evolve and advance the medium. I love taking TV to the next level. Quarry is absolutely next-level television. I can’t wait for you to see it.

A partner in Scene Magazine and the president of Scene Entertainment, AJ Buckley has starred for the last eight years on the hit CBS show CSI:NY. Originally from Dublin and raised in Vancouver, he has spent the last twelve years in Los Angeles acting, writing and directing.

He starred in and produced the film Home Sweet Hell, which is now available on video-on-demand. After appearing in Steven Bochco’s Murder in the First, he can now be seen in the Netflix series Narcos.

Find out more on Twitter @AJohnBuckley and at www.ajbuckley.net.

photo courtesy of HBO

BEFORE THE SCENE

I speak a lot in colleges. Every year, I go back to USC with my most current work and talk to students. I think two things are happening.

One is to caution those feeling entitled. I see the generation unwilling to work for it emerging. They think things should be handed to them. I see entitlement in all turns with nothing to back it up. I caution that thinking. Work hard and celebrate other people’s victories. I see a lot of jealousy consuming young filmmakers with bitterness. That is a recipe for failure. Have the confidence in yourself to bolster others and celebrate their opportunities.

There’s so much opportunity available to do your craft. I came up in a time where, if you didn’t shoot on film, your project was not taken seriously. Those rules have changed. True talent can emerge.

Now, the competition is that you have to further define your voice. Find your voice. Don’t worry what other people are doing.

Just find your voice. Worry about you and the rest will follow.

GREG YAITANES

What words do you have to inspire others?

sceneent.com | 13

COMING SOON

by Lauren Kornick THE PERFECT GUY - SEPT. 11

A newly-single woman meets a man who seems to fulfill all of the ideals of a perfect mate. However, after her ex returns, she begins to question and fear her new beau. 100 min. Rated PG-13.

BLACK MASS - SEPT. 18

Johnny Depp stars in the true story of Whitey Bulger, a violent gangster-turned FBI informant who uses the bureau to take down rival mafia groups. Joel Edgerton, Benedict Cumberbatch, Dakota Johnson, Peter Skarsgard, Kevin Bacon, Jesse Plemons and Corey Stoll also star. 122 min. Rated R.

THE MAZE RUNNER: THE SCORCH TRIALS - SEPT. 18 photo by Bruno Calvo

THE TRANSPORTER REFUELED - SEPT. 4

From the mind of Luc Besson, the man behind Lucy and the Taken franchise, the newest installment of the Transporter series stars Ed Skrein as a former mercenary specializing in transporting important packages from dubious senders. Set in France, Martin’s newest package involves a group of mysterious women and a hunt for revenge.

Ray Stevenson and Gabriella Wright also star. 96 min. Rated PG-13.

ABSOLUTELY ANYTHING - SEPT. 4

The second installment in the Maze Runner series, the film follows Thomas, played by Dylan O’Brian, and the other gladers as they try to solve the mysteries of WCKD, the organization who placed them inside of the Glades. Along the way, the group and other members of the resistence must travel through the Scorch, a dangerous and desolate area. Rated PG-13.

SICARIO - SEPT. 18

Emily Blunt stars in this crime drama about an FBI agent joining a government task force to control an escalating drug war at the Mexican border. Teaming up with a questionable consultant, she must face the new war zone that threatens to overtake every moral she ever held. Josh Brolin and Benico del Toro also star. 121 min. Rated R.

Terry Jones reunites the remaining cast of Monty Python in a fantastical comedy. Simon Pegg stars as Nick, an average man granted the power to do “absolutely anything” from an alien council to determine the worth of Earth as a whole. Nick, not knowing the origin of this power, must then decide how to best use his abilities. Kate Beckinsale, Joanna Lumley and Robin Williams also star. 85 min. Rating TBA.

ABOUT RAY - SEPT. 18

BEFORE WE GO - SEPT. 4

EVEREST - SEPT. 25

In his directorial debut, Chris Evans presents a story of a street musician, played by Evans, trying to help a woman, Alice Eve, save her night after she misses the 1:30am train and her purse is stolen.

As the night continues, the two find out more about each other and themselves as their relationship develops. 89 min. Rated PG-13.

THE VISIT - SEPT. 11

Trying his hand at found-footage, M. Night Shyamalan presents a thiller film following the horrific nights had by two children as they visit their single mother’s strange parents. 94 min. Rated PG-13.

A dysfunctional family must confront other when a teenage girl decides to transformation from a female to a Susan Sarandon and Naomi Watts star.

themselves and each make the life-altering male. Elle Fanning, 87 min. Rating TBA.

Jake Gyllenhaal joins an ambitious climbing team with Josh Brolin, Sam Worthington and Jason Clarke. They face a severe snow storm as they climb Mount Everest. 121 min. Rated PG-13.

THE INTERN - SEPT. 25

Robert De Niro stars as a seventy-year-old intern to Anne Hathaway’s online fashion site creator, trying to get back into the job market while she tries to balance becoming a corporate leader. 121 min. Rated PG-13.

THE GREEN INFERNO - SEPT. 25

Eli Roth’s horror film is finally released. Follow a group of student activists being attacked by the very tribespeople they traveled to the Amazon to save. 100 min. Rated R.

MORE COMING SOON 14 | September/October 2015

COMING SOON THE MARTIAN - OCTOBER 2

Based on the best-selling novel, the film follows Matt Damon as astronaut Mark Watney, who uses his skills and intellect to attempt to survive alone on Mars after his crew accidently abandons him. While he may have the skills and tools to survive, he must use ingenuity and bravery to contact his station to find a way back to Earth. Rating TBA.

PAN - OCTOBER 9

This take focuses on the origin of Peter Pan, following his journey from orphan to hero. Along the way, he meets familiar characters from the favored story as they journey to defeat the villain Blackbeard, played by Hugh Jackman. Rated PG.

THE WALK - OCTOBER 9

This true story follows French high-wire artist Philippe Petit, played

by Joseph Gordon-Levitt, as he walks between the Twin Towers on a high wire in 1974. With the help of his mentor and allies, Petit becomes willing to do anything, including deceit, secrecy and lifethreatening risks to achieve his ultimate dream. 123 min. Rated PG.

STEVE JOBS - OCTOBER 9

Danny Boyle and Aaron Sorkin come together to present the stylized biography of Steve Jobs, following his life, his achievements and his faults. Michael Fassbender stars. Rating TBA.

CRIMSON PEAK - OCTOBER 16

From the visionary mind of Guillermo del Toro, this film follows a woman, torn between two lovers, who becomes swept up with a mysterious stranger. He brings her to a peculiar house that holds mysterious and deadly secrets.

Secrets that threaten to bring up the ghosts of the past. Rated R.

GOOSEBUMPS - OCTOBER 16

A kid meets young adult horror author RL Stine, played by Jack Black, and must team up with him and Stine’s niece to defeat the author’s most popular and infamous characters from his bestselling Goosebumps series who have come to life. Rated PG.

BRIDGE OF SPIES - OCTOBER 16

Steven Spielberg and the Coen Brothers team up for this historical drama focused on an American lawyer during the Cold War. Tom Hanks stars as James Donovon, an American lawyer who must work out of his comfort zone and risk his life and reputation to save a pilot from the Soviet Union. Rated PG-13.

BURNT - OCTOBER 23

Bradley Cooper stars in this dramedy as Adam Jones, a chef who lost his career after achieving initial success. After sobering up, Jones travels to London to achieve his dream of running the most successful kitchen in a top restaurant in the city. Rating TBA.

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Ryan Reynolds

photo by Alan Markfield

MAN DOWN - OCTOBER 30

Filmed in New Orleans, this sci-fi thriller follows Shia LaBeouf as a former Marine and apocalypse survivor who is searching for his wife and son accompanied by a friend and a local survivor. Jai Courtney also stars. 92 min. Rating TBA.

THE LAST WITCH HUNTER OCTOBER 23

Vin Diesel is the last witch hunter, Kaulder. After being cursed with immortality, Kaulder spends his life battling rogue witches, until he must face the resurrected Queen Witch who cursed him and separated him from his family. Rating TBA.

JEM AND THE HOLOGRAMS OCTOBER 23

Based on the 1980s animated series, this film follows a young singer who finds herself projected into worldwide fame under a different identity. After falling into internet fame with her closest friends, she must decide whether fame under a new identity is worth keeping a secret or possibly alienating her family. Rated PG.

PARANORMAL ACTIVITY: THE GHOST DIMENSION - OCTOBER 23

The fifth installment of the Paranormal Activity series, presenting the story in a 3D found footage format. This film promises to answer all of the mysteries of the entire franchise, providing images and creatures to the previously invisible demons through a demonic camera that contained footage of the original main character’s childhood. 95 min. Rating TBA.

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GEORGIA

by Meghan McGee

THE VAMPIRE DIARIES WHO WILL RETURN FOR SEASON 7?

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poilers ahead. No one wants to see their favorite character face death. Fans of one of the most popular shows on television experienced just that. With Elena in a deep sleep - one she may never return from - viewers of The Vampire Diaries are anxious, scared and desperate for answers. It was a major shock to the fans of the show when Nina Dobrev announced she would be leaving and not returning for season seven. The last episode of season six would supposedly be Dobrev’s final episode. But Elena fans are waiting in the wings: she may return at any moment from her Sleeping Beauty slumber, even for the series finale. Or, if her career prospects elsewhere don’t look as great.

Shot in Georgia, this hit show returns to The CW in the fall, focusing more on Damon and Stefan’s time before the world of Mystic Falls, opening up more of their brotherhood. After saying their goodbyes to Elena, Damon and Stefan vow to never open her coffin and seal her off with a spell.

The theme of season six was sacrifice. Elena saved her best friend Bonnie’s life so she could live. As long as Bonnie is alive, Elena stays asleep. Damon also sacrifices getting Elena back for keeping Bonnie alive. For now. The storyline of the new season is also expected to

follow Caroline and Alaric, who must cope with the enormous losses they faced in season six. With Elena gone, Damon will struggle to make decisions and live a normal life. Season seven will focus on Damon spending some time with himself, figuring out how to cope with Elena’s absence and confide in Bonnie for moral support.

To catch up on all things involving blood, vampires, love triangles and the supernatural, watch the first five seasons, streaming now on Netflix. The Vampire Diaries season seven returns this fall to the CW.

THE ORIGINALS SET FOR SEASON 3

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ans rejoiced when the third season of The Originals was announced. Set in the historical city of New Orleans but shot mostly in Georgia, The Vampire Diaries spinoff explores the storylines of the original vampire family, along with werewolves, witches, vampire clans, vampire rivals and even vampire werewolf hybrids. The Big Easy in The Originals is anything but laid back.

The father of the Original family, Mikael, played by Sebastian Roche, might return in flashbacks this season.

Expect a lot of flashbacks. Also appearing on the newest season will be sultry vampire Aurora, played by Rebecca Breeds, and Lucien, played by Andrew Lees. He’s a suave vampire who has some unfinished business with Klaus. Lucien apparently has it out for the Mikaelson clan of New Orleans.

Another one of the new faces is Jason Dohring, who will be playing Will Kinney, a good-natured New Orleans detective who tries to keep the voodoo vamps in line. Little does Kinney know that not all bloody crime can come from fangs in the night.

Like The Vampire Diaries, the center of The Originals will always be family. Season three primary focuses on threats close to home, with outsider vampires infringing on the original clan in the Crescent 18 | September/October 2015

City. New viewers and fans who’ve fallen behind can brush up on everything that happened in season one easily: it’s now streaming on Netflix. Sink your fangs into The Originals season three, returning on Thursday, October 8 at 9pm on The CW.

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TEXAS

by Elizabeth Glauser

AUSTIN CITY LIMITS OCTOBER 2-4 & 9-11

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exas is the place for a super-sized music fest. For over ten years, Austin City Limits has become one of the nation’s most well-known music festivals.

ACL takes over Zilker Park again this year for a pair of three-day weekends, October 2nd through 4th and 9th through 11th.

The famed fest was inspired by a PBS concert series that began with a performance

by Willie Nelson in the 1970s. The festival incarnation of the broadcast series began in 2002 and has steadily grown to become one of the biggest tickets of the year.

Music lovers will be able to catch some of the most critically acclaimed musicians of the moment. Among the list of headliners is Florence + the Machine, who earlier this year became the first female-led group to headline England’s Glastonbury Festival this century. Joining them are fellow festival favorites The Strokes, Hozier, Of Monsters and Men and Modest Mouse.

Some of the year’s biggest breakouts taking the ACL stage include The Weeknd, whose duet with pop diva Ariana Grande and a song on the 50 Shades of Grey soundtrack propelled him to headliner status. Indie rockers Walk the Moon had their biggest hit to date with their inescapable single, “Shut Up and Dance.” With one of the biggest songs of 2015, they’ll have plenty of festival-goers eager to sing along.

Other breakout artists hitting the ACL stage include Vance Joy, The Suffers and Hozier.

After a summer of touring with an injured front man, the Foo Fighters will take the stage for both weekends. After over twenty years together, the band has eight albums, 20 | September/October 2015

Florence Welch, sans her Machine

numerous awards and millions of fans. Altrock veterans, Brand New will also grace the stage after playing scattered shows throughout the country this year. Their last album, Daisy, was released in 2009 and the band has been slowly putting out new singles since then. Look forward to live versions of these new songs during their performance.

Zilker Park can look forward to bass drops from EDM artists and DJs like Bassnectar, Flosstradamus, Deadmau5 and Alt-J. Bringing more beats are big name rappers like Drake, A$AP Rocky and Chance the Rapper.

The city of Austin also welcomes visitors to check out their cuisine and art while in town to live the live music scene while at ACL. Local food vendors will have the best of Austin’s beers and bites readily available for the hungry masses. And Austin’s more than just music and eats. There are art markets, a minifest for kids and plenty of spaces to explore.

With over 140 acts in the lineup, there are a lot of decisions for festivalgoers at Austin City Limits to make. Tickets can be purchased by day or in weekend packages. For more information on the festival, visit aclfestival.com.

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ON THE SCENE

DEFTONES & INCUBUS

BOLD SPHERE MUSIC AT CHAMPIONS SQUARE photos by Kelli Binnings

On August 16, Champions Square rocked. The soon-to-be legendary venue, located in the shadows of the Superdome, hosted two rock supergroups, Deftones and Incubus. The music was hot, and so was the crowd, as the late-summer heat index hovered in the triple digits.

22 | September/October 2015

ON THE SCENE

sceneent.com | 23

ON THE SCENE

DEFTONES AT CHAMPIONS SQUARE photos by Kelli Binnings

24 | September/October 2015

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ON THE SCENE

INCUBUS AT CHAMPIONS SQUARE photos by Kelli Binnings

26 | September/October 2015

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ABOVE THE LINE

THE NEW

YEARWOOD

by Micah Haley

T

he cliché is that country’s down to earth. Although that label easily applies to Trisha Yearwood personally, her country soars, reaching for the sky with each breath. The Southern girl, born in Monticello, Georgia, worked hard to get her career to the stratosphere in the early ‘90s with her self-titled debut album, featuring the smash single “She’s in Love with the Boy.” Since then, she’s released ten studio albums that spawned eight number one singles. Not bad for a daughter from Jasper County.

A decade after marrying fellow country powerhouse Garth Brooks, Trisha’s on the road with him as the two make a comeback

30 | September/October 2015

together. During that decade, Yearwood also released several cookbooks, memorializing her family’s favorite recipes for all of her fans to enjoy. Those books led to a popular show on the Food Network called Trisha’s Southern Kitchen. On the laid back show, Trisha invites her friends and family — including Garth — to help her craft great food of all kinds, including healthy updates of old Southern favorites.

On the weekend of July 10, Trisha and her husband Garth did multiple memorable shows at the Smoothie King Center in New Orleans. I connected with Trisha after to discuss her music, her cooking and why she loves New Orleans so much.

photo by Russ Harrington sceneent.com | 31

ABOVE THE LINE You have performed in New Orleans so many times. What makes it special for you? What makes the House of Blues special to you?

The New Orleans House of Blues in particular is just…special.

Every time I play there, it just feels good. There really are just good vibes in the room, and the energy of the crowd is contagious.

It’s hands down one of my favorite places I’ve ever played music!

a kid, that song on the radio might be the song that drove me to the store to buy the album. Nine times out of ten, through listening to the whole album, I discovered songs that were never released as singles, and those became my favorite songs. In today’s singleoriented music, where we don’t have to buy the album to get the song, we lose that experience. And we’re missing out on getting to hear some of the most well written, moving songs we’ll never hear.

When you return to New Orleans, what are the places you look forward to returning to?

I met Emeril in New York City years ago and had the pleasure of eating a meal he had prepared. From then on, I was hooked. I know there is a lot to taste in New Orleans, and I’ve had my share of visits to Café Du Monde, but I try to have at least one meal when I’m in town at one of Emeril’s places. I particularly love NOLA because it’s in the middle of everything, and I love its casual atmosphere.

Everyone who grows up in the South hopefully has great memories of cooking with family as a child. Both of my parents cooked many different things, but they also had their own “signature” dish: my mother’s was the most amazing chicken and dumplings and my father’s was excellent barbequed chicken. What were your parent’s signature dishes?

My mama made everything well, and I’m not sure she had a signature dish. I loved her fried chicken because she soaked it in a salt brine overnight, which gave the chicken such great flavor. My dad cooked barbecue chicken and Brunswick stew for school functions and men’s club fundraisers in my hometown of Monticello, Georgia.

You’ve mentioned before that you don’t consider yourself a writer. When you are approaching a new piece from another writer, what guides your interpretation of the piece?

A great song is like a really good conversation. I try to phrase songs in such a way that it just feels right to me. It’s not really even something I think about. It’s just intuitive. I look for songs that move me, and feel like mine when I’m done with them. I was raised on some of the greatest interpreters of song I’ve ever heard, namely Patsy Cline and Linda Ronstadt. They breathe in every word and make me believe every word they say. That’s the kind of singer I always wanted to be.

The environment that an artist lives in often has a big impact on what they are creating. How has living outside of Nashville changed the music you make?

I think that where you are in life has more to do with what you’re creating than where you live. Growing up in the South in Georgia, I would definitely say I was influenced by the country music of my parents - George Jones, Merle Haggard - and also by the Georgia artists I listened to, including the Allman Brothers and the Atlanta Rhythm Section, but my music is mostly molded by who I am at the time. My twenty-six-year-old self sang her heart out about what she knew. My now fifty-year-old-self has made a lot of mistakes since then, and learned a lot. Hopefully, that comes through in the music. I wonder what I’ll know at seventy!

Your recording career has been split, the first part happening during the 1990s and the second part happening after the digital music revolution in the early 2000s, which drastically changed the music industry. This has of course greatly impacted the business of making music. But it’s also impacted audiences, their listening habits and how they are discovering music. What is your greatest lament for music fans today? What are they missing out on that fans in the 70s, 80s and 90s might have taken for granted?

I think the biggest things fans miss out on now is the “album experience.” Most newer listeners don’t know what it’s like to sit down and listen to an entire body of work. It makes me sound old to say that, I know. And, truthfully, however you get your music is your choice. But when I think about the way I listened to music as 32 | September/October 2015

Do you make them now?

I do make all of those foods. It’s one thing that keeps me connected to my parents even though they’re both gone now.

Sometimes taking your hobby and making it a professional endeavor can sour the fun a little bit! How do you keep Trisha’s Southern Kitchen fun for you?

The show is fun because we keep it real. I usually have my sister, or one of my best friends, on the show so it keeps it fun for me. It comes out of something I naturally love to do. So far, it hasn’t felt like work at all.

Where do you prospect for new recipes to reinvigorate with your own ideas?

I get new recipe ideas all of the time. It’s hard to find something new that nobody has ever done before. Most of my recipes evolve out of older recipes. I just try to put a new twist on them and still keep them authentic to me and my family.

You have so much charisma in television interviews! You also do such a great job of making room for guests on your own show. And, coincidentally, nightly talk shows are sorely lacking female talent. Would you ever consider giving Jimmy Fallon a run for his money?

Ha! That’s funny! I agree that nightly talk shows could use some females! I like to talk and I think I’m funny. Though, admittedly, sometimes I’m the only one who does! But I can’t imagine carrying a show like that and interviewing people all the time. I’d love to see Amy Schumer be a talk show host! I like her bawdy sense of humor and I think she’d be a great talk show host.

ABOVE THE LINE

photo by Ben Fink

Touring is always grueling! And it makes many things difficult, especially eating on the road. Are you able to cook at all? Or is that something you have to set aside completely?

I don’t really cook on the road, which is why I do cook whenever I’m home. Luckily, on a tour this big, we travel with an amazing catering crew. They make every kind of option of food, and they even cook from my books sometimes, so I get a little bit of home cooking without having to do the work. I like that!

You’re on tour with your husband Garth Brooks right now.

What was memorable about the many shows you played over one weekend in New Orleans in July?

This was the first city on our almost yearlong tour so far that I had played before and Garth hadn’t. It was fun telling him how awesome the crowds were gonna be! And they didn’t disappoint. What a weekend! I loved every single show, every single night. It was really amazing. We’re both already talking about wanting to go back and play there again! sceneent.com | 33

ABOVE THE LINE

BACKSTAGE WITH

GARTH AND TRISHA photos by Kelli Binnings Garth on playing New Orleans with his band: As far as I know, I don’t think we’ve ever got to play New Orleans, so we’re excited about being here. The guys are ready. We’ve been on tour since September, so you kind of get your feet underneath you and start to feel good. We will take a break right after this for what we call our yearly “fix and repair.” We’ll bring the ship into the hangar and make all the repairs on it and make our adjustments. If we’re timed right, we should have everything down and good for this show, and then we’ll change everything right after we leave out of here. It’s great. We feel very lucky, especially at this point in our career, at this age, to be touring at this level.

We feel good to be here! Along with a list with cities that we’ve been to before, we get to come to one that we don’t have a history with. Ms. Yearwood has a huge history with this city. House of Blues is one of the places that she says is one of the best places, so she couldn’t wait to be here.

Garth’s reaction to the massive response to his comeback tour: I’m stunned. When I walked away from this business, the greatest gift that I’ve ever been given in my life - from God and the people - was the chance to raise my babies. That’s it. Second greatest gift that I’ve ever been given is the chance to get to do this again. At some point, we’re down to one child in the house and the house was a morgue.

It’s quiet. And Ms. Yearwood goes, “What are we going to do?” and I said, “I don’t know.” She goes, “Would you ever think about touring again?” And I couldn’t believe she said it. I said, “Well, hell yeah, I would, but what if no one shows up?” And at some point you have to put your hat in the ring, and you have to risk being embarrassed.

Chicago was the opening city. They answered the call very, very sweetly and every city has continued that tradition. We feel very lucky.

Garth on touring as an older man: I’m fifty-three. I’m probably weighing in at about 250 now, which is not my touring weight. They take it out on you. But the truth is, it’s just fun.

They let me be me. That’s what I love about it. I’m hoping that these people tonight will come to have fun and know that they’re going to see all the mistakes and all. And, hopefully, at the end of the night, that will make us closer, if possible. It’s funny how sometimes that happens.

When you go out there with a confidence that people are coming out just to have a good time, then you get to go out and relax. We’ll all be nervous as hell, because it’s like a boxing match. You’ll spend the first fifteen minutes trying to get to know each other, seeing what kind of crowd you’re going to do, and if you’re going to have to work at all. And I have a feeling here that I’m not going to have to work at all. This is going to be fun! I’m hoping my job is to catch up. That’s what I’m hoping. I hope they come totally way ahead of me, I hope they kick my ass all over the place tonight, because that would be a fun way to start this run.

Trisha talks more about the House of Blues New Orleans: It’s a slanted stage and you’re thinking that you’re going to go right into 34 | September/October 2015

the crowd and it’s awesome. I’ve played a lot of clubs, a lot of small theaters, but there’s something about this particular House of Blues that is so memorable, so I love it. I love New Orleans.

Garth on the probability he’ll play his crowd favorite “Callin’ Baton Rouge” in Tiger Stadium: Rumor has it that it’s played every home game [at LSU]. I’d hate to screw it up, because we worked hard on that recording to get it right. I love it…I get to see it on Youtube. I get to see the whole place erupt. It’s pretty cool. I just hope I get the words right this week! It’s my favorite song to perform, hands down. It’s just fun. The problem is, like all great things in life, is that it’s over before you want it to be. It’s just one of those

ABOVE THE LINE

songs. I could do it three or four times a night. I’ll be honest in telling people this: I use a guitar to hide my gut. That’s the whole reason I have it. You pay other people to play it. But on “Baton Rouge,” they actually let me play it on electric. And it’s never on, but I played the s*** out of it!

Trisha on compiling the set list for their joint show: My set’s in the middle. It’s a Garth sandwich on each side. So there’s a list, but it can change. Garth’s can vary a little more than mine, but I can’t imagine doing a show and not doing “She’s in Love with the Boy” or “How Do I Live?” But sometimes I’ll just see a sign out in the crowd for something that’s not on the list and we’ll do it. The great thing about combining our bands is that I’ve got two of my guys out there with us who’ve been playing with me for nineteen or twenty years. They know all of the songs. And they’ll look at me like, “Really? You want to pull that one out?” But if someone holds up a sign, we’ll at least do a piece of it.

Garth on his set list: That’s what it’s all about. Mattingly’s their fiddle player. He’s the guy that’s been with us the shortest and he’s been there twenty-one years.

So if we’re going to do an audible, we can. The only thing on that list

that I promised my band and crew that I’ll do is the first one. After that, we’ll see. I’ll start talking and if you’re doing an audible, you’ll introduce this song where they’ll all pick it up and go, “Oh, I know what song he’s talking about.” That’s the fun thing about live. You go out there and you just let it go. People know that they’re coming to see live, so anything can happen. So just come and have fun.

Garth and Trisha on critiquing each other’s live performances: Garth: I critique her all the time, but I never say a word.

Trisha: I just talk behind his back a lot. Actually, we talk about how the crowd felt to both of us, whether we felt, “Oh, yeah, that was a cool moment.” I beat myself up probably every night for the little things that I know, but that maybe no one else will notice.

Garth: We talk about the philosophy of set lists, the philosophy of up-down…do you play ballads even slower in life for a dramatic feel or do you play the tempo even quicker in life for more of a dramatic rush? All those things, we go over. And the truth is, it’s all up to the crowd. Always. Like a sports team, you can have your game plan, but once that whistle blows, you’re adjusting to everything as it comes. And that’s the fun challenge of it. sceneent.com | 35

ABOVE THE LINE

Garth on including covers in the live show: One of the questions that you get a lot is, “What are you listening to today?” And I’m kind of old school so I pull out some old school stuff. What kills me is seeing some seventeen-year-old girl singing something that I was listening to when I was seventeen, and she’s singing every word of it. That tells you the power of music. The power of those artists. Guys that I grew up on like Strait, Whitley, Skaggs and Randy Travis. I’ll also mention guys that I grew up on like Seger and Billy Joel. Stuff like that. You just let the people see who you are.

Because that’s the thing, especially coming out now. Fifteen years coming back in, the worst thing I could do is try and chase something.

You’ve just got to be yourself, and if they allow that to happen, and if the good Lord allows it, so be it. If not, all the money in the world ain’t going to buy another day. So just be thankful for what you’ve got, and find what’s next in your life. If you wake up breathing, then you’ve got something to do that day. Figure out what that is.

36 | September/October 2015

Trisha on balancing touring with filming her TV show: A season of the show is about twenty-six episodes, and we film them in blocks of about three-to-four week windows, which I don’t have anymore.

So the Food Network has been very kind to say, “We’ll take them when we can get them.” And so, on this tour for the past year, there have been a few ten-day blocks. We’ll take seven of those days and make seven shows. We’re just picking it up on the fly, and they’re being very kind about it. Very patient. It’s a challenge, but it’s good. I thought I was going to do it on the road, thinking “I’ll just figure out a way to do this show on the road!” But it takes about twelve hours to shoot an episode, so I can’t be like, “Well, Trisha can’t come out and sing her duet because she’s filming her show backstage.” I haven’t had a chance to figure that out yet.

I’m going to tell on myself because I figure that Garth is about to tell on me. Last night I was making sweet potato burgers out of the new book, and I had it all together. I’m looking at it, and I’m putting it together, and I’m like, “Something’s not right,” I make them all the time. And something’s missing out of the sweet potato burgers, and he goes, “Is it sweet potatoes?” like a joke. And I’m like, “Oh my god, it is! I left the sweet potatoes out!” They were still in the fridge. So he got them out, and I’m sure that will come back to haunt me forever.

MUSIC |

by Susan Ross

T

he ritual returns. This October, the Voodoo Experience will once again fill the fields and forests in New Orleans City Park.

On Friday, October 30, the fiery redhead with the pipes of an angel comes back to Voodoo. Although she wasn’t a headliner back then, Florence Welch and her Machine gave a show-stopping performance at dusk in 2010. She’ll be joined on day one by Skrillex and Diplo – performing together as Jack U – and Metric, Modest Mouse, Alesso, Girl Talk, Yelawolf and Oscar winner Ryan Bingham.

On Halloween Night, Saturday, October 31, the man ushering in the darkness will be another Voodoo alum: Ozzy Osbourne.

And he’ll be flanked on stage by Geezer Butler, Tom Morello and Slash. That group will top off a day that also features Jane’s Addiction, Steve Angello, Duke Dumont, electronic legend Giorgio Moroder, The Struts, Santigold, Clutch and Public Image Ltd. After the black midnight mass undoubtedly held deep within the French Quarter, Voodoo has another day filled with music.

November first headliners include Georgia-based country rock group Zac Brown Band and the Mouse with the Mouth, Deadmau5, who recently stared down Disney and won. Sunday also features Chicago son Chance the Rapper, Eric Prydz, Slightly Stoopid, alt rockers Third Eye Blind, The Cult and Fishbone.

Although the above lineup is reason enough to join the ritual, artists are still being announced. So check the official website of The Voodoo Experience daily for more details at worshipthemusic.com.

Scene Magazine will once again be on site to take part in the worship, as we have since the magazine was founded in 2009. It’s Scene editor Micah Haley’s favorite festival in a state filled with them. Come by our tent and say hello, and we’ll share with you the myriad reasons why, this fall, Voodoo is what you should do.

Duke DuMont 38 | September/October 2015

Nina Las Vegas

Yelawolf

Alesso

photo by Harrison Boyce

Florence + The Machine sceneent.com | 39

MUSIC |

Zac Brown Band

Ryan Bingham 40 | September/October 2015

Metric

MUSIC |

Third Eye Blind

The Struts

Ozzy Osbourne

Modest Mouse

Jane’s Addiction

42 | September/October 2015

TECH SCENE

THE FRONTIER FOUR WAYS THAT TECH IS DRIVING ENTERTAINMENT INDUSTRY INNOVATION

by Micah Haley

T

he studio system was once a world removed. The decision makers were men in high castles. The moats separating us from them were myriad.

And even after traversing them, all of the decisions were made by the very few. They knew the power they held and they wielded it for their own purposes.

Those castle walls began crumbling some time ago. Actors, directors, writers and craftsman are no longer locked in exclusive contracts. They’re free to unionize and to guide their own careers. And the industry has continued to evolve.

Today, one of the primary forces shaping the future of entertainment is tech. The modes of production and distribution are rapidly changing.

New methods of discovering material suited for mass consumption are evolving and emerging. And the companies driving innovation are tech companies. Here are five ways that tech is leading the way.

1. THE OBVIOUS.

Tech has empowered creatives in film since celluloid’s inception, improving picture and sound each time a new camera, new lights or other new equipment debuts. Digital cinema has been a gamechanger in production, but for the consumer, it’s digital theatrical projection and digital distribution that has really impacted their relationship with movies and television.

Those in production also rely on tech companies like IMDBpro.com to get quick contact information or do (lazy) research while on the phone. And increasingly, filmmakers rely on apps like ProductionBeast to crew up.

2. DATA-DRIVEN GREENLIGHTS.

Hollywood has long sought a formula for making hits. The alchemy that goes into crafting a successful slate of films has long mystified even the most astute studio executive. But Netflix has found a different path. As it forges ahead on its path to “become HBO faster than HBO can become us,” as chief content officer Ted Sarandos told GQ in 2013, Netflix isn’t just making creative guesses. It’s mining the data of its fifty million members, who are spread across forty countries worldwide. Netflix knows what movies and tv shows they are watching via the streaming service, which they are borrowing via snail mail and what they are searching for. The groundbreaking company, led by CEO and serial tech entrepreneur Reed Hastings, has used that data to make original series like House of Cards, to resurrect shows like Arrested Development previously cancelled by Fox, and to save shows like Longmire and The Killing. It’s a strategy that’s more than bold: it’s truly innovative.

3. REAL COMPETITION.

While film and television studios are competitive in spirit, they aren’t, strictly speaking, competing directly. Most of the economic competition occurs over finite resources, like release dates and talent. The battlegrounds left untouched are many, especially those that would benefit consumers the most, like ticket pricing.

Even as tech-centric companies including Netflix, Amazon and Hulu have begun producing their own content, they are competing on every possible playing field. They compete not only on price, but on the 46 | September/October 2015

Matt Damon in The Martian

photo by Aidan Monaghan

method of pricing. Netflix offers monthly rates with multiple options.

Amazon Instant Video is sold on a yearly basis, bundled with Amazon’s excellent and popular Prime service. Hulu, which is owned in equal parts

by Disney, Fox and NBCUniversal, just announced a new $12 a month Plus tier that excludes commercials. That eliminates one of the primary criticisms of the studio-owned service. And Amazon has just raised the bar again. Not content with accepting the streaming status quo, Amazon Prime now lets its customers download movies for viewing offline. It’s a gamechanger for those with long commutes or limited data plans.

4. EBOOKS AS SPEC SCRIPTS.

Trying to get a movie made? It’d better be based on a comic book, a novel or an old tv show. The spec script market has been soft for a long time. One of the main reasons is that producers want to tap into an existing audience. So do you have to get Random House to publish your story as a novel before it can be made into a movie? Nope.

After being rejected by lit agents, computer programmer Andy Weir decided to publish his story on his website, chapter by chapter.

He developed a fanbase that asked him to make it available on their Kindle e-readers. So Weir published The Martian independently on Amazon via Kindle Direct Publishing, selling it for just 99 cents. After rocketing to the top of Amazon’s best seller list, Weird received an offer from a publisher and from a producer - in the same week. Now The Martian is a major motion picture, directed by Ridley Scott and starring Matt Damon, that opens wide on October 2. So publish your story as an ebook: you can build up an audience and have demographic data of your readers ready to give a producer who wants to option it.

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NEW FILMMAKING PROGRAM INTRODUCED

Entertainment. Everyday.

AT LOYOLA NEW ORLEANS

by Susan Ross

A

new digital filmmaking major at Loyola University New Orleans has been unveiled, offering new and prospective students an introduction to the business of filmmaking and related career opportunities.

“It’s a professional degree and a practical degree,” said Jim Gabour, director of the digital filmmaking program and a Grammy-nominated filmmaker. “Everyone on our staff is a working professional, and the whole degree designed as much for the pracTOis DA ticality as for the art. We want our Ystudents to graduate from this program and be able to make a living at something they love.”

Six years in the making, the bachelor’s of fine arts in digital filmmaking program at Loyola officially commences this semester. The program has already received nearly double the expected enrollment. The only program of its kind in the region, the course of study is for students who wish to learn digital filmmaking, screenwriting, acting and directing, along with an emphasis on the business of film. One of the year’s most popular majors among incoming first-year and transfer students.

“This is a really unique degree because it is one of the four or five film programs in the country that has more than minimal business coursework,” Gabour said. “We have twenty-one hours of full business courses, including management, marketing, accounting, and in-depth legal studies.”

The Loyola digital filmmaking program is designed to familiarize Introducing Scene Today.

A daily email you'll actually to read.as a way of ensuring graduates with the entirety of thewant film business long-term success, Gabour said. Local unions are now helping Loyola to develop courses that cover all of the crafts needed on a professional crew, including gaffer, grip, camera crew and art production positions.

The program also promises hands-on experience and the opportunity to work on state-of-the-art-equipment, Gabour said, citing student work and film credits on Flow: Living in the Stream of Music, the Grammy-nominated film on Terrence Blanchard, and a Norah Jones House of Blues concert performance that became a multi-platinum DVD. StuSUBSCRIBE dents have also previously worked with DreamWorks and participated TODAY! in filming episodes of Tremé, where some performed as extras. Loyola Sign upon for cutting-edge free at scene-today.com. students also work equipment, including ten brand new, state of the art digital filmmaking cameras made by Canon, Gabour said.

Loyola University New Orleans is a Catholic, Jesuit university located in the Uptown neighborhood of New Orleans. For more than a hundred years, Loyola has helped shape the lives of its students, as well as the history of the city and the world, through educating men and women in the Jesuit traditions of academic excellence and service to others. Loyola’s more than 40,000 graduates serve as catalysts for change in their communities as they exemplify the comprehensive, values-laden education received at Loyola.

Entertainment. Everyday.

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Q&A with

Aaron Williamson

Aaron Williamson is a health advisor and fitness trainer to the film industry. He has helped craft the physical transformations of Jamie Foxx in Django Unchained, Zac Efron in Neighbors and Josh Brolin in Oldboy. He recently finished molding Game of Thrones star Emilia Clarke into legendary action heroine Sarah Connor for Terminator: Genisys. Find out more at aaronwilliamson.net.

Let’s talk about the beginnings of your methodology as a trainer. Where did you first start thinking about the best way to approach transforming someone’s physique?

I never really had any intention of getting into personal training.

Initially, my whole fitness journey began with wanting to be a professional body builder. In the Marine Corps, I began studying human anatomy specific to training, as well as nutrition and supplementation. But it wasn’t until years later that I was able to really showcase my approach to fitness, after destiny kind of brought me to New Orleans and I found myself in the middle of the film industry.

My approach stems from my understanding of the human body and my own personal training over the years, as I tried to work around the injuries I incurred in the Marine Corps, and then later, getting on stage as a body builder. And now, also adapting what I’ve learned to the needs of an actor who typically doesn’t like to do traditional free weight training but instead more functional training. Combine all that together and you have my approach, which I think the big screen has shown to be extremely effective.

You spent some time in Okinawa. How did that stay influence your current career path?

Anyone who’s been in the military knows this: when you go overseas to a place like Okinawa, you typically become a “PT stud” – a fitness badass who takes training seriously - or an alcoholic.

It’s usually one of those two. There’s really not much to do. We get up early in the morning, do our field training, do our normal platoon or company PT (physical training). And then, during any off time, it’s not like there’s many places you can go in Okinawa, because you’re somewhat confined to the base. The gym for me really became my sanctuary. No matter how tired I was, I looked forward to it every day. In the fitness world, we call it “getting bit by the bug.” It’s when you really fall in love with and become passionate about fitness. There’s a little bit of an addiction to it.

You feel good, you get those endorphins going and you see results.

That’s where it all started for me, back in 1998 at Camp Schwab, Okinawa, Japan. I was there for a little over six months. I came back just a completely different person and that was due to fitness.

Now you’re in New Orleans and you are regularly working with actors that are working on movies here. You’re also traveling and consulting with people and actors who are working on movies around the world. When an actor first comes to you, what’s the first discussion you have with them? What do you ask them, and then typically what are they asking you?

52 | September/October 2015

photo by Brandon T. Willis

First off, I ask what their character needs to look like for the film. Nine times out of ten, that’s usually why they’re training: they have to look a certain way. Once we figure out what their character needs to look like, and what their movement is throughout the film, then we address what their physical limitations are. One thing I would have never guessed is that a lot of actors have preexisting injuries of some sort. Or, they never completely healed because they are going from film to film without a break. They don’t allow themselves enough time to recover completely. So, we have to figure out what we can and cannot do. Then, we address nutrition, which is the key piece of getting them the way they need to look. Those are the three topics that we spend the most time on.

And what’s the next step? Do you put them through a series of tests to see what they’re capable of?

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The first few days are an assessment in the gym. I’ll take them through a series of different exercises with free weights and doing functional plyometric stuff just to gauge their level of fitness. I need to see where they’re at endurance wise and strength wise to figure out the right exercises to incorporate in. I have to not only prevent them from becoming even more injured, but to actually strengthen where they are weak because of the injury.

Have you struggled with any actors that are just whiners and lacked dedication to succeed?

I’m fortunate in that most of the people who come to me are serious about training.

I think that’s why I’ve kind of fallen into the action genre. Because of my intensity and passion in the gym, I’d say that’s what I’ve become known for. You’re going to come in and train with me and you’re going to get results. And you’re going to work your butt off.

Surely there are some days where they’re tired from what they were doing on set the night before or they just don’t feel like working out. How do you rally behind them and get them moving?

That’s probably the toughest part of what I do. The schedules that actors run, especially for these big budget films, is crazy. They’re working five or six days a week and maybe sixteen hours a day. That doesn’t give a lot of time for sleep. Typically, the last thing anyone wants to do is wake up two hours before you have to be at work to train. Or, go through a long day and then come into training. At either end of it, it’s going to be hard: you’re going to feel pain and you’re going to be tired.

My approach is getting a good warm-up and talking to them about what we’re going to do. I try to motivate them about what I’m seeing with their results and keep them

going in the right direction. Sometimes they come in and they are beyond taxed, physically and mentally. Sometimes my professional opinion is, “Maybe we just need to take today off.” Or do some cardio. I have to assess where they’re at. And I can pretty much tell if they’re being weak or they’re truly that tired.

You mentioned that nutrition is a big part of it. How do you identify what their nutritional needs are? Say, for someone doing an action film and they need to put some muscles on their shoulders and on their arms.

What is the nutrition advice that you are giving them?

For putting on size, it’s a lot different from leaning out. When putting on size, everyone always under eats or eats the wrong food. That’s the hardest thing for a lot of the guys who are trying to put mass on. You’ve got to eat and you need good, clean food that keeps your blood sugar in check and keeps everything in line with being able to build quality muscle. Being on set and having crafty around is hard.

It’s hard to stay away from the sugars and salts and those types of things that will just make you naturally hold that layer of water and make you look a little bit blurry.

The toughest part about the nutrition is just trying to get them in a place where they won’t give in to alcohol and sweets.

I also like to sit down with them and talk about what they normally do. What is their lifestyle? What is their concept of eating healthy? What is their concept of good foods? That gives me an idea of how to break them in to the new nutrition program.

For more health and fitness tips, read Health Scene online at health.sceneent.com and visit Aaron’s personal website at aaronwilliamson.net.

FITNESS MYTHS: Busted “You can just do more abdominal exercises to get cut.”

This is one of those myths that drive me crazy. I hear it all the time.

Clients come in who think, “Are we done working out? Can we do abs now?” The truth is that you can’t crunch your way to a six-pack. The key to a great set of abs is a solid nutrition program, coupled with enough cardio to support fat loss.

That doesn’t mean that you have to get on a treadmill and run for an hour every day, ten days a week. There are different types of cardio you can do. Instead of just the traditional treadmill, elliptical or stairs, you can shorten your cardio duration down by doing high intensity interval training sessions, which could be just fifteen to twenty minutes.

Your abs are just like every other muscle in the body. They need recovery time. If you don’t let them recover, you wont be able to train them like you need to, therefore you won’t get results. Typically, beneath the layer of water and body fat that everyone has, there’s a six-pack. It’s already there, you just have to uncover it and you can only uncover it by leaning out.

But the bottom line is that you must have a solid nutrition program and do enough cardio to support the fat loss. I tell all my clients this.

Disclaimer: The information contained herein is intended to provide general information and does not constitute medical advice. The content is not guaranteed to be correct, complete or up-to-date. This information is not intended to create a client relationship between you and Aaron Williamson, Scene Magazine, or any associated companies, and you should not act or rely on any information in this publication without seeking the advice of medical doctor. In reading this article, please note that the information provided is not a substitute for consulting with an experienced medical professional and receiving counsel based on the facts and circumstances of a particular transaction. Many of the principles mentioned are subject to exceptions and qualifications, which may not be noted. Please consult with your doctor before beginning any health and exercise program.

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58 | September/October 2015

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THE UNSCENE GOLDEN AGE OF TELEVISION Television was once Louisiana’s white whale. The holy grail of entertainment economic development. Independent films have budgets that vary from a few hundred thousand to twenty million, and a large portion of studio tentpole budgets go to above the line and visual effects. But television budgets are labor-heavy, providing consistent employment for a crew of over a hundred people. With anywhere from ten to twenty-six episodes a season, a successful television show can provide up to a decade of employment for skilled crew members.

After almost a decade of whaling, Louisiana now boasts several tv shows simultaneously. That includes network smash hit NCIS: New Orleans, which is now shooting its second season in the Crescent City. It also includes high profile projects like MTV’s new hit Scream and Ryan Murphy’s American Horror Story followup Scream Queens, along with WGN’s Shreveport-shot series Salem and the upcoming SundanceTV show Hap and Leonard. And if you think that’s it, you haven’t heard of the new Amazon pilot from Tig Notaro.

Television means more than just more money. It’s evidence that the industry is maturing. It’s progress that doesn’t happen over night and can’t be cheaply recreated elsewhere. And it would be a pity to lose the promise of such prosperity.

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