arts + culture: film By Cheryl eddy 10- , 4 5
I=JGH96N &%$&'(/& ikjj[h ijh[[j
696B 6CI ;G>96N &%$&./
EDE GD8@H
9JG6C 9JG6C 9JG6C I=JGH96N &%$'*
EJ7A>8 >B6<:! AI9 ;G>96N &%$'+
I=: HE6OB6I>8H H6IJG96N &%$',
H6<:
HDJA E>: Â&#x2122; 7:HD C:<GD L:9C:H96N &%$(& I=JGH96N &&$&
HIDGB A6G<: H6G6= <L:C BDC96N &&$*
HJH6CC6 =D;;H I=: 76C<A:H I=JGH96N &&$-
HI6C G>9<:L6N D; L6AA D; KDD9DD I=JGH96N &'$&(
I=: BDI:AH
C:L N:6G H :K: &($(&
EDE GD8@H
I6>CI:9 ADK: L:9C:H96N &$'(
B>9<: JG:
I=: KD>8: D; JAIG6KDM :K:GN IJ:H96N DE:C B>8 H><C JE 6I ,EB
IWd <hWdY_iYeĂ&#x160;i X[ij ef[d c_Y$ =[j oekh ied]i fhe\[ii_edWbbo h[YehZ[Z
WED Oct 17 MORAL CRUX 8:30pm $8 Deadones, Antizocial (Mexico) THU Oct 18 CHRIS COHEN 8:30pm $10 (ex-Deerhoof), Ashley Eriksson (Lake), Coconut FRI Oct 19 KIDS ON A CRIME SPREE 9:30pm $8 GRMLN (Carpark/Captured Tracks), Manatee SAT Oct 20 RODGER STELLA EARLY 5pm $6 (Macronympha), Brenâ&#x20AC;&#x2122;t Lewiis Ensemble, R. Jencks LATER 9:30PM $10 CHEAP TIME (In the Red), Unnatural Helpers, Warm Soda SUN Oct 21 MAKO SICA 6pm $6 Brandon Nickel, Jeff Zittrain Band
cheryl@sfbg.com FIlM Emily BrontĂŤâ&#x20AC;&#x2122;s Wuthering Heights has inspired multiple films, as varied in quality as the 1939 Best Picture nominee starring Sir Laurence Olivier â&#x20AC;&#x201D; and the 2003 made-for-MTV adaptation, in which â&#x20AC;&#x153;Heathâ&#x20AC;? is a pouty, motorcycle-riding himbo. The source material may seem an odd choice for acclaimed British director Andrea Arnold, best-known for 2006â&#x20AC;&#x2122;s Red Road and 2009â&#x20AC;&#x2122;s Fish Tank, both gritty films about working-class people, unfussily shot using hand-held cameras. Resisting the urge to contemporize a classic, or shoot it as a traditional costume drama, Arnold takes her version in a near-experimental direction; her Heights makes Cary Fukunagaâ&#x20AC;&#x2122;s edgy 2011 interpretation of Jane Eyre (starring Fish Tankâ&#x20AC;&#x2122;s Michael Fassbender) look tame by comparison. I spoke with Arnold about her daring spin on the Gothic classic. San Francisco Bay Guardian Youâ&#x20AC;&#x2122;re known as such a contemporary director, in both subject and shooting style. What made you want to take on Wuthering Heights? Andrea Arnold Itâ&#x20AC;&#x2122;s an interesting question, because I donâ&#x20AC;&#x2122;t really know. I knew at the time that it was a sort of stupid idea, but I couldnâ&#x20AC;&#x2122;t help it. I just had to do it. I donâ&#x20AC;&#x2122;t know why I became so possessed, and I still donâ&#x20AC;&#x2122;t really know why. It was a book that I had a fascination with â&#x20AC;&#x201D; I think a lot of people do. Itâ&#x20AC;&#x2122;s a very troubling book, a very unsettling book, a book that I donâ&#x20AC;&#x2122;t think is easily understood. But I seem to like trouble. I sort of realized this about myself, that Iâ&#x20AC;&#x2122;m always pushing myself in ways, like, Iâ&#x20AC;&#x2122;ve got no idea how itâ&#x20AC;&#x2122;s going to work out, but
yoUNG heaThClIFF (SoloMoN Glave) aNd CaThy (ShaNNoN Beer) IN Wuthering heights Photo by AgAthA NiteckA
GIMMe MoorS "OESFB "SOPME PGGFST B SBX UBLF PO ´8VUIFSJOH )FJHIUTÂľ Iâ&#x20AC;&#x2122;m going to learn. I do think Iâ&#x20AC;&#x2122;m not afraid of going on a journey that I donâ&#x20AC;&#x2122;t know where itâ&#x20AC;&#x2122;s going to go. With this film and this whole project, that definitely was a very unnerving and strange decision. SFBG How did you approach adapting a classic literary work thatâ&#x20AC;&#x2122;s been made into so many films before? AA I didnâ&#x20AC;&#x2122;t think like that, or worry about that. I mean, I knew that it had been remade an awful lot of times. I think I didnâ&#x20AC;&#x2122;t realize how many times. But I just thought about when I went to film school we were all given the same scripts, and 20 people all made something completely different. With such rich material, you can find your own way. And I think when you get attached to something and you have to do it, youâ&#x20AC;&#x2122;re not sensible anyway. Iâ&#x20AC;&#x2122;ve always said that once Iâ&#x20AC;&#x2122;ve got an image and an idea about making something, that it chooses you. You donâ&#x20AC;&#x2122;t choose it. And this was exactly the same. I just got obsessed with the idea of doing it. It wasnâ&#x20AC;&#x2122;t like I thought very sensibly about what had gone before. I didnâ&#x20AC;&#x2122;t think about it being a career move in any way. SFBG Watching the film, it was clear that you â&#x20AC;&#x201D; like Emily BrontĂŤ â&#x20AC;&#x201D; had been inspired by the setting. The landscape is practically a character in the film, and the imagery includes lots of close-ups of insects and plants. AA I think the difficulty of the location really [influenced] the film, in terms of the way everyone was feeling â&#x20AC;&#x201D; it was hard to get around, and [we were] genuinely cold and fed up
with the mud. First of all, I tried to find somewhere near where Emily had written it, which was the moors near Haworth, where she lived. The moors near Haworth are a bit like being in the middle of the ocean. Theyâ&#x20AC;&#x2122;ve got this undulating, endless feel to them. Itâ&#x20AC;&#x2122;s really beautiful in that way: you feel the moors are everything and thereâ&#x20AC;&#x2122;s nothing else in the world when youâ&#x20AC;&#x2122;re in the middle of it. But itâ&#x20AC;&#x2122;s not so isolated around that particular area anymore. We couldnâ&#x20AC;&#x2122;t find anywhere that you couldnâ&#x20AC;&#x2122;t see things on the horizon. So we had to go further. We went to the North York Moors. And there were very few buildings, real places â&#x20AC;&#x201D; I always wanted a real location â&#x20AC;&#x201D; that were truly isolated. It wasnâ&#x20AC;&#x2122;t like I had lots of choice. But I really like that place [where we filmed]. It was a very difficult place to work, though, no doubt. Everyone who worked on it said itâ&#x20AC;&#x2122;s one of the hardest things theyâ&#x20AC;&#x2122;ve ever done, just physically. We couldnâ&#x20AC;&#x2122;t get vehicles there so we had to carry all of the cameras up the hills. SFBG The film has gotten some attention for your casting choices â&#x20AC;&#x201D; black actors play Heathcliff at various ages, and race is a recurring theme in the film. What motivated those decisions? AA When I looked at the book, and
all the descriptions of Heathcliff, I really felt that he wasnâ&#x20AC;&#x2122;t white. I was really surprised, after looking closely at how he was described, why nobody has actually done that before. I think if youâ&#x20AC;&#x2122;re being really faithful and truthful to the descriptions, that heâ&#x20AC;&#x2122;s more Asian than he is African. The fact that heâ&#x20AC;&#x2122;s called a gypsy, the Romany gypsies of that time would have originally come from Asia, and theyâ&#x20AC;&#x2122;re very darkskinned. But after sort of investigating a bit more, I thought what really matters is that heâ&#x20AC;&#x2122;s different. I began to realize that Heathcliff is really Emily BrontĂŤ, and that she felt different for being female. Thereâ&#x20AC;&#x2122;s something about the book that makes me think thatâ&#x20AC;&#x2122;s a large part of what itâ&#x20AC;&#x2122;s about. SFBG The material may be a change for you, but the film is still shot like your other films, using a hand-held camera. Why do you prefer this method? AA I didnâ&#x20AC;&#x2122;t think about making it in any different way than I normally do. I like hand-held cameras because if Iâ&#x20AC;&#x2122;m working with non-actors, and there were lots of non-actors in this one, I donâ&#x20AC;&#x2122;t like them to feel restricted. If you put cameras on tripods then it sort of harnesses things. You have to start telling people where to stand, and hit marks. Thatâ&#x20AC;&#x2122;s something that I donâ&#x20AC;&#x2122;t enjoy. Also, I didnâ&#x20AC;&#x2122;t see any reason why a period film shouldnâ&#x20AC;&#x2122;t have handheld camera. I thought, just because weâ&#x20AC;&#x2122;ve seen lots of period films where theyâ&#x20AC;&#x2122;re all very respectful, that doesnâ&#x20AC;&#x2122;t mean thatâ&#x20AC;&#x2122;s how I have to be. I didnâ&#x20AC;&#x2122;t feel that I had to follow any sort of traditions. I just felt like I was trying to see it in my own way, and I didnâ&#x20AC;&#x2122;t let myself be inhibited by what had gone before. 2 WUTherING heIGhTS opens Fri/19 in Bay Area theaters.
MON Oct 22 PUNK ROCK SIDESHOW 9:30pm FREE TUE Oct 23 QUMRAN ORPHICS 8:30pm $6 Bill Orcutt, Marissa Anderson (Portland) WED Oct 24 WHITE MANNA 8:30pm $7 (Holy Mountain), Midday Veil, Ersatz THU Oct 25 APOGEE SOUND CLUB 8:30pm $6 Bobby Joe Ebola and the Children McNuggits, Love Songs FRI Oct 26 SLOUGH FEG 9:30pm $10 Skelator, Midnight Chaser SAT Oct 27 Popscene co-presents 9:30pm $10 CULT OF YOUTH Chasms Schedule change: Doors for all Tues/Wed/Thurs night shows now open at 8:30pm and first band on stage by 9:00pm. Upcoming: Harold Ray Dead In Concert (covering Harold Ray Live In Concert), The Gregors (covering The Monkees), Outlaw (covering Black Sabbath), Porchlight Open Door, Astrozombies Big Mittens, Command Control, Walken, Asada Messiah, MV & EE (Ecstatic Peace), Brother Pacific, Wilder Maker (Brooklyn), Lovely Bad Things, Cosmonauts
24 SAN FRANCISCO BAY GUARDIAN
editorials
news
food + Drink
picks
arts + culture
music listings
stage listings
on the cheap
film listings
classifieds