Rock supergroup Rainbow's 1977 Munich, Germany show almost never happened because bandleader Ritchie Blackmore was in jail in Vienna, Austria. The show, which has spawned a new DVD concert movie, was put back a day as lawyers desperately tried to get the rocker out of jail after he attacked the venue manager during a concert in the Austrian capital - and even then he only just made it.
In a new interview for the Live in Munich DVD, former Rainbow bassist Bob Daisley says, "There was a problem with the hall manager; he had an attitude and I think when we went onstage, the audience got a bit rowdy and this manager was being a bit of a d**k. I think he put the house lights on, which really p**sed Ritchie off. Ritchie lashed out with his foot... and he caught him right on the jaw and down he went.
"At the end of the show, the police were called in and they had sniffer dogs. Ritchie was hiding in one of the drum cases and the crew were gonna try to smuggle him out but the sniffer dogs and the police found him and they handcuffed him and jailed him, and he was in jail for a couple of days."
Daisley admits he started to give up on the show in Munich, which was scheduled to be filmed by a national broadcaster for a TV special: "We didn't know when he was gonna get out or if the tour was gonna end or what was gonna happen. We were supposed to go on around 8.30 or nine o'clock at night and Ritchie had just got out of jail in Vienna and he'd just made it to the gig. We ended up going on at about 11.30 at night... but the audience were very patient."
Tour manager Colin Hart adds, "He was (in jail) for three days before we got him out. We had lawyers working from both sides of the Atlantic trying top get him out and we got him to Munich within minutes of being too late to do a performance... Somebody drove him from Austria to there, in the same clothes he was wearing for the Austrian show.
"We went onstage about 12 o'clock... and it turned out to be a great show."
The concert movie of the gig was released on DVD last week (30Apr13).
Blackmore was later fined $5,000 (£3,125) for breaking the Austrian venue manager's jaw.
The classic 1970s line-up of rock supergroup Rainbow was close to reuniting in the late 1990s, just before drummer Cozy Powell was killed in a car crash. Bass player Bob Daisley has revealed there were secret meetings and plans to convince Ritchie Blackmore to return to the stage with Ronnie James Dio and David Stone.
In a new interview filmed for the DVD release of Rainbow: Live in Munich 1977, the Australian rocker reveals, "I'd actually talked to Cozy not long before he died in about 1997 or 1998... There was a guy I'd hooked up with in Los Angeles that was very interested in maybe trying to get a reunion happening and some shows and an album.
"There were moves being made to try and put it together... It was getting to the stage where it felt like it was gonna happen, but then soon after that Cozy went in his car crash."
Powell died in April, 1998.
Daisley was fired by Blackmore and replaced by Deep Purple star Roger Glover in the late 1970s. The shake-up also cost Dio and Stone their places in the band.
It’s one of the laziest clichés in film criticism: to say that movies, particularly of the blockbuster sort, have become like videogames. It’s meant as a critique of what’s perceived as Hollywood’s emphasis on action and explosions, lack of interest in character development, and slavish devotion to teenage boys and their dollars. It’s also meant as a kneejerk dismissal of videogames. “How could a videogame possibly be a work of art?” and all that. The funny thing is that the reverse of that cliché has become very, very true in recent years: videogames have become like movies.
The Mass Effect trilogy became the most detailed example of cinematic sci-fi worldbuilding since Stars Trek and Wars. The Uncharted series has quickly established itself as the truest spiritual heir to the Indiana Jones movies to emerge from any medium. Red Dead Redemption considered Manifest Destiny with far greater insight than even worthy movie Westerns like True Grit and Django Unchained. But the game franchise that in some ways is the most daringly original is also the one the draws the deepest from its cinematic roots. I’m talking about BioShock. The very first BioShock installment back in 2007 was a heady pastiche of a whole array of movie influences. It also integrated film storytelling directly into the gameplay experience, rather than advance the narrative primarily through cutscene cinematics as so many games have. Now, the latest installment in the series, BioShock Infinite, has been released and it’s a turn-of-the-last-century steampunk fantasia.
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BioShock Infinite is the story of a disgraced Pinkerton agent, Booker DeWitt, who lost his faith in his line of work after participating in the Massacre at Wounded Knee. The year is 1912, and DeWitt’s been given an opportunity to pay old debts, possibly old debts from his Pinkerton days. He’s been tasked to infiltrate a massive floating city called Columbia, after the female personification of America, and rescue a woman named Elizabeth who’s been held there for 12 years against her will. He goes to a missile silo, is launched to Columbia, and begins his journey. In the floating city, he discovers that there’s a brewing conflict between its strict-constructionist Founders and the growing rebel movement, the Vox Populi, who could also be called Occupy Columbia. BioShock Infinite has wide cinematic roots, but there are seven movie influences in particular—or rather, six influences and one reference—that stand out.
The Empire Strikes Back—Ken Levine, the lead designer on BioShock Infinite and co-founder and creative director of Irrational Games, BioShock’s studio, has gone on record as saying that the Star Wars sequel’s Cloud City, the vast metropolis suspended in the sky of gas giant Bespin, was a source of inspiration for Columbia. Like Cloud City, Columbia is basically a giant floating platform upon which the cityscape itself is built. Levine has also said that the Death Star influenced the concept of Columbia because of the city’s formidable weapons systems.
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Meet Me in St. Louis & Other Turn-of-the-20th-Century Americana—Despite being a floating city, Columbia is still a floating city in 1912. So Levine drew upon films that portrayed a highly idealized view of picket-fenced American life at that time. Films like Vincente Minnelli’s immortal 1944 classic Meet Me in St. Louis, which is like a Technicolor postcard from a bygone age that never was. Or later films The Music Man and Hello, Dolly! The latter film, starring Barbra Streisand and Walter Matthau, is by no means a stranger to sci-fi, having been WALL-E’s favorite movie. So if you combine these front-porch idylls with Cloud City, you’ve got a pretty good idea of what Columbia looks like. Of course that combination also means we’ve got some pretty heavy…
…Steampunk—The retro-futurism aesthetic that imagines contemporary or future technology as powered entirely by steam. It’s the go-to mode in movies, like Guy Ritchie's Sherlock Holmes films, of envisioning bygone eras as being more sophisticated than they really were. For the apex of steampunk see Sky Captain and the World of Tomorrow, which, with its airships, including one that practically could be called a floating city, left its mark on BioShock.
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The Shining & Blue Velvet—Of course, the BioShock series has always had a touch of horror cinema about it. Infinite is going for something a little bit more subtle: to mine an all-American milieu of its inherent eeriness the way that David Lynch did to Lumberton in Blue Velvet or Stanley Kubrick to the Overlook Hotel in The Shining. How do you create terror in environs that are the furthest thing from terrifying? Yet another way Levine has raised the bar this time around.
The Pinkertons—The legendary private security and detection organization was a mainstay in strikebreaking and outlaw-hunting in the late 19th and early 20th centuries, and frequent Western movie villains. You'll remember their prominent appearance in Butch Cassidy and the Sundance Kid as the ruthless enforcers who track down Butch & Sundance’s Hole in the Wall gang.
Kinetoscopes—Rather than using traditional cutscenes to impart exposition, most of what you need to know about the world of Columbia is learned on the fly. However, crucial intel can be gleaned along the way by stopping to gaze into a kinetoscope. You know a kinetoscope, right? It’s a wooden box with a sprocket apparatus, into which you gaze through a viewfinder to look at a series of flip card images that, when turned, create the illusion of movement. It’s like a mechanical flip book, and is usually considered an early precursor of cinema itself. A kinetoscope works pretty much exactly like a motion picture, except that it’s not projected onto a screen.
Revenge of the Jedi—Okay, this last one is not an influence on the game, since it never even existed in real life. But it is an interesting allusion. After you’ve rescued and partnered with Elizabeth, she can give you the power to open rifts in the space-time continuum to travel to other times and places. One of those places is Paris. The time? 1983. The year we all know Return of the Jedi came out. Except that the movie theater marquee in Paris reads Revenge of the Jedi. That was George Lucas’ original title for his conclusion to the Original Star Wars Trilogy, until he decided that it’s not in the Jedi way to take revenge. Several posters bearing the name Revenge of the Jedi were released, however, in early 1983 before the change to Return of the Jedi was made official. Get thee to eBay to find where you can buy one online.
Do you plan on playing BioShock Infinite? And which of these cinematic influences/shout-outs is your favorite?
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: 2K Games]
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Sometimes a director has a favorite actor that they jibe with whom they cast in a whole whack of movies in a row. Think Scorsese and DiCaprio Wes Anderson and Bill Murray or Sofia Coppola and Kirsten Dunst. It's a sort of professional infatuation that can serve a project well but it can also lull them into self-indulgence. Although this is only the second time that Killing Them Softly's writer/director Andrew Dominik has worked with Brad Pitt it feels like they have a certain camaraderie. The symbiosis previously worked in their favor in 2007's The Assassination of Jesse James by the Coward Robert Ford. This time around they never quite find the same rhythm.
Of course Killing Them Softly has an entirely difference cadence than that golden-hued meditative Western; it's stylishly violent and blackly hilarious. After all the catalyst for this whole affair is a half-cocked scheme cooked up by a wanna-be gangster nicknamed Squirrel (Vincent Curatola) and carried out by a desperate ex-con (Scoot McNairy) and a scummy Australian junkie (Ben Mendelsohn) who steals and sells purebred dogs for cash. Their plan to knock over a mobbed-up card game is air tight (or so it seems): the game runner Markie (Ray Liotta) has confessed to setting up a heist of his own game in the past. The knuckleheads think the card-players will blame him again.
Unfortunately for them Jackie Cogan (Pitt) is called in to investigate the matter. His record is impeccable his glasses mirror-slick and his hands steady. His technique is of course to kill his victims "softly " from a distance. "It's so embarrassing " he comments to a middleman played by Richard Jenkins to watch his targets plead and cry and lose control of their bodily functions. It's just as embarrassing to see his colleagues lose their mettle like Mickey (James Gandolfini) a gangster he called in to help out. Mickey is a dogged drunk and a womanizer who's given to rapturous platitudes about a prostitute he knew in Florida. "There's no ass in the whole world like a young Jewish girl who's hooking " he tells an increasingly frustrated Jackie. Grossly funny scenes like this the scatological problems one encounters while driving dog-napped pups across country and an explosion gone awry are outweighed by a weirdly bloated narrative that makes pits stops so characters can loll in junkie nods to the tunes of the Velvet Underground.
The changing political climate of the era is used as a clumsy foil for this underground economy. At first it's interesting and makes you feel a bit clever to notice the TV in the background playing an old clip of George W. Bush droning on about the economy or a huge political ad on a billboard looming over a desolate area. As time goes on Bush is replaced by Obama (first as senator later as president) on TV but nothing really changes for these people or their situations. Midway through it's obvious and by the end overbearing especially as Jackie lectures Jenkins's lawyer (and us) about why the system is as screwed as the characters. "America's not a country it's a business. Now f**king pay me " he tells Jenkins's Driver in an echo of the classic Goodfellas line uttered by Liotta.
Dominik has only made three films but he's a formidable writer and director with a keen eye for assembling ensemble casts. It's possible that time and multiple viewings will treat Killing Them Softly as well as it has The Assassination of Jesse James or Chopper but for now it works better as a character study or perhaps a showpiece for its talented performers than an overall experience.
The Hurt Locker claimed the Best Contemporary Film award, while Guy Ritchie's Sherlock Holmes was named Best Period Film and Avatar landed the Best Fantasy Film honour at the annual prize-giving in Los Angeles.
Weeds, Mad Men and Hell’s Kitchen ruled the TV categories.
Warren Beatty was honoured with the Outstanding Contribution To Cinematic Imagery Award and Oscar-winning production designer Terence Marsh received the Lifetime Achievement Award, while three production designers - Malcolm F Brown, Bob Keene and Ferdinando Scarfiotti - were inducted into the ADG Hall of Fame.
The former Boomtown Rats rocker is one of several stars who ploughed cash into a scheme offering tax-relief to film investors.
And his backing of James Cameron's 3-D epic has paid off - he will net an estimated $80,000 (£50,000) profit from the movie's success.
Geldof says, "Thank you very much for the good news. I haven't seen the film yet, but I will now that I own a brief second of it. I've got even more incentive to go see it."
Soccer star David Beckham, director Guy Ritchie, and musician Peter Gabriel also signed up to invest in Avatar.
When Graham is ditched by her husband (Luke Wilson) she rents a clunker and heads to El Paso Texas discovering that not only her marriage but also her faith and sanity are at stake in this clever original comedy. Through Graham's odyssey the film explores issues of honor and promise while never getting preachy or pretentious. The script is funny yet never slapsticky. And though touching the films never falls prey to drippy sentimentality.
Always a bride's maid and never a bride (with knockout supporting turns in
"Boogie Nights" and "Austin Powers: The Spy Who Shagged Me") Graham finally takes command in her first lead role. Her face is as expressive as it is beautiful as she gently glides from strong to comical to vulnerable. This surely won't be her last starring role. Casey Affleck comfortably fits as Graham's dopey but loyal brother who half-wittedly forgets that Jolene is his sister. When he gives her a sensual kiss she responds by reminding him "I'm married and I'm your sister." He replies "Oh yeah." Wilson restrains from playing the stray husband as a cartoon villain and gives us a cad who's hard to hate.
This was obviously a labor of love for writer/director Lisa Krueger and every bit of her passion shows onscreen. She gives the actors a spotlight to shine in paints a beautiful picture of the Texas desert and trusts the audience with her vivid characters. Krueger's graceful touch turns Jolene's warm naiveté into something refreshingly strong and hopeful.
Dealing with a bunch of small-time thugs shady London mobsters Russian millionaires junkie rock stars and assorted other members of the criminal underground director Guy Ritchie has thankfully returned to the beat he knows best--even if the accents are a bit thick and the action often confusing. In this version of contemporary London it’s real estate--and not drugs--that is attracting all brand of criminal with the dangling carrot of a multi-million dollar deal. Into this mix comes the scrappy One-Two (Gerard Butler) and his cohorts Mumbles (Idris Elba) and Handsome Bob (Tom Hardy) who manage to get a loan from the super-crooked old-timey crime boss Lenny Cole (Tom Wilkinson). He intends to nab the property for himself and demands the money owed him anyway. In order to get the money repaid One-Two hooks up with an attractive but shifty accountant (Thandie Newton) who works for a shady rich Russian dude. This is just the beginning as the plot thickens and the atmosphere gets loaded with all sorts of interweaving characters with distinct motivations of their own to get a piece of the pie in an ever-changing London. Guy Ritchie knows how to cast these things and RocknRolla is no exception--starting with Wilkinson almost recognizable as the vicious oily mob boss who knows how to work the system to get just what he wants. Wilkinson is deliciously fun to watch. So is Toby Kebbell as Lenny’s loopy and off-the-wall stepson--a junkie rock star named Johnny Quid who turns out to have the key to all the money. Butler is strong as the macho small-time thug out to conquer London real estate but gets stuck in a silly subplot when his partner (Hardy) suddenly admits he’s gay and has feelings for him. Mark Strong also impressive in this week’s Body of Lies is terrific as Lenny’s right-hand man Archie a guy who knows how these operations work. Karel Roden has nice moments as the billionaire Russian but we wished there was more to Newton’s role as she simply turns up every now and then without adding much to the proceedings. Elba (The Wire) is great as Mumbles One-Two’s best buddy and other partner in crime. And just for fun a couple of Americans get thrown into the stew: Jeremy Piven and Chris “Ludicris” Bridges playing rock promoters who are trying to make it in the London music biz. Guy Ritchie has had a rough patch lately what with the dreadful Swept Away and the mind bogglingly numbness of Revolver which sat on the shelf for two years before finally getting a nominal U.S. release. It’s no wonder the director wanted to return to the Lock Stock and Two Smoking Barrels and Snatch turf in which he made his name. With RocknRolla he’s done just that and the results are encouraging. This flick is pure Guy Ritchie with his patented penchant for colorful low-life characters dense crime plotlines and a gang that can’t seem to shoot straight. Even though there are characters being dropped in at a steady pace and lots of stuff always going on Guy Ritchie manages to keep it all humming and visually arresting. Another big plus is the soundtrack which cranks. Overall RocknRolla really rocks and totally delivers. It’s a wild ride all the way. A promised sequel on the end credits can’t come too soon.
Pamela Anderson and Kid Rock are officially divorced after being married for just four months.
The former Baywatch star and the singer--real name Robert Ritchie--filed for divorce in November.
The couple held a wedding ceremony on July 29 on a yacht in St. Tropez, France, and Anderson later described the event as "The best, most romantic wedding of all time."
According to court documents, neither party will be legally allowed to marry others until after May 28, due to a minimum six-month waiting period.
Anderson, 39, and Kid Rock, 36, have both waived any claims for spousal support.
Just days after the couple split, Anderson wrote on her Web site that Rock "is great in many ways, we just don't belong together.
"I love my children, he loves his son... we both have a wonderful family and friends as support going through this time."
Anderson has two sons--Brandon, 10, and Dylan, 9--with former husband Tommy Lee and Kid Rock has a teenage son, Bob Jr.
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Kid Rock reportedly ended his four-month marriage to Pamela Anderson, because he grew quickly tired of her party-girl lifestyle.
A friend of the rap-rocker claims Rock--real name Robert Ritchie--was used as a babysitter while Anderson partied with pals.
The pal tells PageSix.com, "Bob rearranged his life for Pamela.
"Pamela would go out almost every night and end up at (photographer) David LaChapelle’s studio.
"Bob was home alone with the three kids.
"He moved from Detroit--something he said he would never do--and moved his son to L.A. to be with her."
Ritchie has one son, Robert Ritchie, Jr., and Anderson has two sons, Brandon and Dylan, from her marriage to Tommy Lee.
The Baywatch star, who married Ritchie in August after a whirlwind second romance, insists the claims are untrue.
Her spokesperson says, "Pam is a wonderful mother, always there for her kids, and has only been to David's twice since she married.
"Every time Pam was shooting her movie, her mother came to watch the kids because Bob was in Detroit recording an album. He never once single-parented her kids."
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