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Oh, the things he’s seen
By Scott Simonson
Good storytelling is in short
supply these days Visual apjwnl.
fast edits and short attention
spans reign supreme. People
don't sit and listen anymore Peo
ple don't hear stories anymore
So it may have come ns a sur
prise that when Kevn Kinney
started telling stories at his solo
acoustic concert at the WOW Hall
last Friday night, people listened
They listened and loved it
Kinney told stories between
songs He told them in the mid
dle of songs He told them in a
song The audience listened,
loved it and waited for more
The lend singer for Atlanta's
Drivin' N Cryin'. who is touring
in support of his second solo
album, took the stage before a
sparse crowd in a ntv where he'd
never played in his de<.nde-long
career He remarked uuphennsti
c*U>' about how :*ut»iuate the
plai e was. Then he gave the 50
or so listeners a show that they
could tell their friends about
Kmmn finished ixti tjy one
song Indore he asked for requests
from the audience Kinnev polite
Iv declined requests from the
l.ynyrd Skvriyrd uitalog, adding
"You know, I wrote fr»<e bird.-'
Kinney decided to pick his
own songs for the rest of ihe
evening, making up his song list
as he went along He borrowed
heavily from his Imnd's catalog,
augmenting the list with his solo
work
He didn't go far before stopping
in the middle of "MacDougals
Blues ' and asking "Is it too ear
ly in the evening for a story’"
Before the evening was over, Kin
ney had stopped asking the audi
ence for permission to tell stones,
and the audience leaned forward
in their seats each time he began
another one
He told about visiting New
York und mugging a man by a<ci
dent He told about interviewing
Meat loaf (the musician, not the
dinner dish) while working for
an underground newspaper He
told about working at Arby's for
three weeks, a story that was too
good to ruin by wondering
whether it was true
His songs leaned toward polit
ical. philosophy al tunes and
direi t. honest tales of the down
trodden and outcast It was sto
rytelling in song, showcasing the
storytellers' ability to explain our
world and help us understand
ourselves while entertaining all
the while
Gotta Move On" was an ode
to I ho homeless and a reminder
lhal 'they're not iust hungry and
lonely around Christmas "
"Midwestern Blues" told of a
young man's attempt to escape
his blue collar, small town life
and find a promised land
"S< aired but Smarter” promised
pistic r for those out of work and
out of hope.
His asides lightened the mood
considerably. Topics included
mythology about the American
South ("You know, the war did
end They have Volvos there,
too ") and the Ramones (who
Kinney said have been the best
I>and in the world fora while, hut
the music industry refuses to
acknowledge them.)
After more than an hour and
a half, the show ended There
was no show business ending, no
high volume, high energy encore
to bring the audience to a fever
pitch. The concert ended with
one more heartfelt song, one
more funny story and one plea to
remember the tilings in life that
are important.
1 he crowd filed out into the
street. A woman on the sidewalk
asked if anybody could spare
some change Coins dropped into
her hand. Their sound echoed the
power of storytelling.
SUMMER
Continued from Page 7
atonal independent company jock
ey for the best release dales, stiver
ing clear of blockbusters and
scurrying for less crowded week
ends.
Similarly themed films rarely
open on the same weekend, since
they typically tannibalizeeach oth
er s audience. 1 he action films
Blown Away and Chur and Present
Danger, for instance, are separat
ed by more than a month And the
Westerns Mawnck and Wyatt harp
will open May 20 and June 24.
respectively.
Release dates are changed only
under extraordinary cirt uinstancus.
Keanu Reeves' Speed was moved
up from Aug. 5 to June 10 after it
tested strongly to preview audi
ences Arnold Schwarzenegger's
True Les. on the other hand, had to
be pushed Iwck from July 1 to July
15 because it simply could not be
completed on time.
With release dates drawing clos
er with every passing minute, dins,
tors are under enormous pressure
as they finish tin- post production"
on tJieir movies. For many, filming
may have ended months ago — but
there is so much more to a movie
than cranking the cameras.
"My schedule is: When I'm
awake. I'm working." says Chuck
Russell. the din*<:lor of The Musk
Due in theaters Juiy 2‘), the come
dy stars Jim Carrey (Are Ventura)
as a man whose features give new
meaning to the expression eve-[Kip
ping; The film includes a variety of
special effects that transform Car
rey's face into a three-dimensional
cartoon.
"The final stages of post produc
tion are vital to mv film." Russell
says. "To a special-effects film, it
can make or break a film. There's
a lot of pressure ."
Some 60 people are involved in
the film's final preparation.
In addition to supervising edit
ing, Russell is overseeing the title
design, working on the soundtrack
and coordinating clips for the com
ing attractions advertisements.
The Musk was originally sched
uled for release in August until
executives at New Line Cinema saw
an early version of the film.
“They said. ‘The good news is we
love the movie. The bad news is we
want it sooner, Russell recalls.
"We're going to («• finishing the
opticals (effects) right up to the
release."
Unlike / Love Trouble and The
Musk, Wagons East is better off
show n to audiences well before its
official release date The wagon
train is a comedy, and Hol
lywood finds test screenings help
tighten comic timing and cut jokes
that don't work
With a computer editing team of
up to 15 with some technicians
working all night director Peter
Markle has cut the film from three
hours 15 minutes to two hours 30
minutes and hopes to cut some
more.
"The film will play longer than a
ftO-minuto comedy," Markle savs
Just how long it plays may have
something to do with the test audi
ence reaction,
Wagons hast star John Candy
died on the film's Mexican set with
the movie mostly completed. He
had yet to finish one scene that was
rewritten for other characters. Six
words of Candy's dialogue will be
recorded by another actor.
Jan De Bont. the director of 20th
Century Fox's Speed, was looking
at a busy but manageable post pro
duction schedule — until Fox
changed the action film's release
date. The change means (jews must
work double time on sound effects,
visual effects, miniatures of the
movie's speeding bus and the
music.
"Fhe earlier release date is impor
tant because it's very much a sum
mer movie," Do Bont says over the
roar of explosions on a Hollywood
sound dubbing stage. "We have a
much longer playing time in the
summer now."
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