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8 /10 I finally like soap operas. At least one of them! Tel Aviv on Fire is a jubilant comedy about Israel and Palestine, grazing the absurd on serious subjects. The interactions between the different characters from either Israel or Palestine are a veritable delight. The movie Tel Aviv on Fire is about the shooting of an eponymous soap opera, a kind of an imaginary remake of the pathetic and immortal The Young and the Restless (1973) taking place in Tel Aviv and dealing with love between Israelis and Palestinians, during the Six-Day War, with spies, double agents, generals, terrorists and tutti quanti. The movie is essentially based on these three characters: 1) Tala is the lead actress within the soap opera, coming from France. She is a middle-aged starlet, a seductive and manipulative woman, and regularly gazes at her own navel. She is played by Lubna Azabal, moving and sublime in Incendies (2010. 2) Salam is a somewhat clumsy but endearing man who, thanks to a happy combination of circumstances, will be promoted co-scriptwriter on the series. Of course, as human as he is, he will use his new position, a bit for himself, in order to win back his beloved darling. 3) Assi is a guard at a checkpoint between Jerusalem and Ramallah, and is terribly imbued with his person to a point that makes him hilarious. His megalomania allows him to interfere in writing the script! This movie is definitely a must see: the trio Lubna Azabal, Kais Nashif and Yaniv Biton is a 'bomb' an absurd and two-penny joke, freely inspired from the movie. 22 out of 31 found this helpful. Was this review helpful? Sign in to vote. Permalink 9 /10 This movie is on FIRE! I watched this and I loved it! I really liked the fact that you couldn't predict where it was going. Sure, it wasn't going to end 'badly' like people dying, but the end game as definitely not given up. That's what kept me gripped. The humor is very well done, very subtle, as is the political aspects of this movie. I like that the director wanted to remind people of how life is in the occupied territories, but not in a lecturing manner. And we don't get beaten over the head with it either. Some people have commented on the portrayal of Salam, and how the actor seems to just be wrong for the role. I beg to differ. I think he's perfect! The whole hilarious aspect of this is that he's kind of bumbling his way to the top. He's very imperfect, and bad things happen to him, but then turn into good things. It's just funny how everything just works out, so that's part of the charm of it. If he was a verbose, charismatic person, it would distract from the soap opera acting on the set within the film. The best thing about this film is that everyone plays an important part in moving the story forward to the final outcome, even the shopkeeper with the expired canned hummus. No single actor or character steals scenes, everyone plays their parts and does a good job of it. The ending is definitely the best 'twist' ending I've seen in a long time! Highly recommended if you want to watch a feel-good movie set in a difficult, politically charged environment. 5 out of 7 found this helpful. 10 /10 Instant Classic "Tel Aviv on Fire" is an instant classic. I didn't think a comedy that revolves around the Israeli/Palestinian conflict was possible but Sameh Zoabi pulled it off. That is not to say that the movie downplays the suffering and struggles of everyday life there, it is clear as day on the screen. But even the darkest of situations requires a sense of humor and perhaps humor can be the first step towards peace. 4 out of 6 found this helpful. Very funny but fantasy Saw this film at the UK Jewish Film festival in November 2018 and it is very funny and hope it gets some releases. But in fact Israelis and Palestinians unfortunately do not watch each other's TV stations. Cable doesn't carry them and each other's satellites are 3 degrees apart but that's enough not to allow mutual reception. So the central idea of the film is fantasy, but it's very enjoyable. 9 out of 19 found this helpful. A soap opera of a soap opera Salam's uncle is the producer of Tel Aviv on Fire, a spy thriller / soap opera aimed at Palestinians but the show is also popular with Israelis (especially women. Salam is hired as dialect coach, but gets promoted to writer after his meddling causes the chief writer to quit. Salam tries to draw on family and friends for inspiration, but falls under the influence of the commander of the checkpoint he has to cross twice daily. The commander helps with script ideas, but pushes for the show to become more pro-Israeli. Meanwhile, his uncle, and the show's backers, have other ideas, trying to deal with their own trauma of Palestinian losses due to the six-day war. This is an amusing yarn, with Salam being pulled in all directions by people with different agendas, while trying to fill a script and chasing a girl. Good lightweight entertainment from a film with a Palestine / Israel location. 8 out of 17 found this helpful. Fresh humour and spoof It's really deals political content in very humourous spoof some soap single characters have life to their role. specially the main 's not a stereotype breaks into new level of humour. script with some really good imagination. The theatre which i saw were absolutely laughing in all moments 8 out of 18 found this helpful. VERY FUNNY, despite underwhelming lead performance Feels like an honest, but funny, take on the Arab/Israeli conflict- which I never thought I would see. A Palestinian ordinary-Yusef, Salam, starts as a go-fer at a "explosive" soap opera filmed in Ramallah (film in-joke) and ends up as screenwriter and creative force on the show, causing both mayhem and closure for the surrounding people: the talented but egotistical diva; the Israeli captain of the West Bank checkpoint Salam has to travel through twice daily; the producers of the soap opera; the girl Salam hopes to woo and win; the family of the Israeli captain. The Israeli government helped produce this film, but allowed a realistic look at the indignities a Palestinian might undergo in Israel- modern-day, or back when this film is set, both before and after the Six-Day War. The only flaw, in my opinion, is the portrayal of Salam. He is wooden and inexpressive. Yes, he's handsome; yes, he seems charismatic; but he rarely smiles, and he speaks in a monotone. The fact that I couldn't stop laughing, despite the boring protagonist, is proof that this film is funny. 5 out of 10 found this helpful. Excellent! Tres drole et emouvant. Beaucoup d'humour a double sens! A voir! 6 out of 13 found this helpful. Easy watching on a serious subject A fairly lighthearted but insightful look at life of the middle-class in Jerusalem and Ramallah- as seen by having a Palestinian screenwriter who lives in Jerusalem travel to work in Ramallah and his daily interactions with the Israeli border-patrol chief... The film is a little slow, and the main character is made out to be a little too dull, however on the whole the film has a charm and addresses a subject rarely broached. It's an interestingly balanced portrayal of the people on both sides caught in the middle of the Israeli-Palestinian conflict. As characters in this film, both the Israeli soldiers and the Palestinian film makers are more human than political agents, and yet both are rooted in their respective historical contexts making it hard to get to the next level of cooperation with each other. The film plays around with alternate narratives. The film writer/director is actually an Israeli Palestinian, giving the film much authenticity. 3 out of 5 found this helpful. Can make fun of everything The greatness of this movie is that it shows how it is possible to make fun of almost everything, as long as it is clever. I really had a great moment with this fun movie which, by the way, shows us how difficult it can be to be a palestinian living in its own homeland. Quoting the movie about how great can be Paris, France: And above all, it is not occupied. This movie is able to make us laugh and provides a fun ending which balances nicely the depiction of an impossible cohabitation of two opposite peoples. 7 out of 17 found this helpful. Really good comedy about politics and soap opera I really enjoyed this movie. I was laughing all over the cinema. The idea of this movie was great, the actors were good, story was good and ending was hilarious. I really recommend this movie for all comedy fans. 6 out of 14 found this helpful. Palestinian nebbish collaborates in screenwriting wth Israeli captain Warning: Spoilers In Ramallah a contemporary Palestinian TV crew produce a popular soap opera in which the characters set out to change the historic record of the Six Days War of 1967. A Parisian Arab star Tala plays a spy who goes undercover to seduce the Israeli commander, planning to steal his plans for Israel's surprise attack. History did not then set Tel Aviv on fire but this popular TV drama would. This film is a light-handed but thoughtful examination of the myths and fictions that drive both sides in that conflicted area. The Israelis and the Palestinians cling to their respective histories, which define their present perceptions and impede their warmer human connections. This is most explicitly dramatized in the debate over whether the TV drama should conclude with a marriage between the spy and the Israeli soldier, now in love with each other. That would allow for another season of drama, salaries, and work, but at the cost of political integrity. Or will the bride blow up the (camouflaged church) synagogue? Spoiler alert: at least in this fiction the inner fiction opts for life over death. As in myths, the end is latent in the beginning. In an early scene the cast and writer argue over whether calling a beautiful woman "explosive" is romantic. The film also traces the maturing of the hero Salam, an unpromising fumbler who draws a menial salary by making coffee for his producer uncle, when he isn't stumbling into sets. When Salam tells the border crossing captain Assi he's a screenwriter his lie gradually turns into a truth. That's what myths do. The Israeli drafts scenes for him, in hopes of impressing his wife, sister and mother, who are enrapt at the drama. Their partnership cracks over the classic distinction between "terrorist" and "freedom fighter. For all their mutual help Assi's seizure of Salam's ID card is a harsh reminder of their imbalance in power and the danger beneath the present charm. As Salam gains confidence and starts attending to the conversations around him and his own feelings and impulses, he starts to write scenes himself. As he outgrows the Israeli's control he lives out the history of a colonized people growing into independence. As Israel did in 1948. His new talent and career also win him the girl he loves and earlier lost. He wins her by replaying on screen the sentiments he awkwardly tried to express in life. Art amends the failures in life, as the Palestinians hoped their '67 war rewrite would do. Captain Assi initially requires Salem to bring him the esteemed Palestinian hummous. Here the drama alludes to the fervid debate over who invented that delicacy, Israel or the Palestinians. Here it's advantage Palestine as Assi rhapsodizes over a junk hummous Salam concocts out of canned hummous long past its shelf life. For the men's climactic reconciliation Salem brings him to the best. Both warring cultures in the audience may bristle at the odd line, or find a historic nit to pick. But the overall warmth and charm should prevail. Among the various international sources of funding for this project, the Israeli government's film support looms significant. 4 out of 10 found this helpful. Must watch! Great movie that'll make you laugh! Well written story line 2 out of 4 found this helpful. Hilarious Cross Cultural Comedy This film was an absolute pleasure to watch. It is rare, in my experience, to find a foreign comedy that still works as well for me, an American, as it might for a native speaker of the language. I also expected much more in terms of heavy subject matter than I got in the film. As much as it is about the conflict in the Middle East, the conflict is more of the backdrop and subtext than the main action we are given. There isn't a lot in the cinematography or editing that is super amazing but it is all serviceable and doesn't get in the way of the story, even if it doesn't add much either. The main draw for this film is the acting and writing. Both of these work in tandem to create characters and situations that we are able to identify with and laugh at without getting so wrapped up in projecting the themes of the movie across in an obvious or pointed way. It never feels preachy but keeps its lightheartedness in tact so you are surprised when you get to the end of the film and find that you are still thinking about coexistence and getting along with people who are different than us. The humor in the film is deftly done, not giving in to the temptation to be total parody, although some small amount is required, and also not giving in to total realism, slamming one side harder than the other as the writer's political views accidentally bleed through the page. It never gets so serious that you feel like the writer just has an axe to grind for a particular political party nor does it stray so far into satirical farce that you can really watch it and call it frivolous. It is both true to life and ridiculous at the same time. There were definitely things in this film that were hard for me as an American to understand. I'm not super well versed in the history of the Israel-Palestine Conflict and thus don't immediately know an Arab from a Jew just by looking at them or even from a quick glance at a uniform. This made it somewhat difficult to know what side of things certain characters were on at certain points but it was never so bad that I felt I had missed the point of the movie. It actually got me more interested in reading more about the history of the region. I definitely feel that there were certain jokes I didn't get, though, because of this cultural ignorance on my part just the same as I'm sure some of the TV Production scenes would have been less funny to someone who hadn't worked in the industry before. All in all, it was a pretty great film. I laughed a lot and really appreciated the creative solutions they found to the main conflicts in the film which predominantly revolve around Palestinian/Israeli issues. This film is a great example of how humor can be used to bring a level of humanity to people that we are all tempted to believe are simply expressions of common stereotypes or political straw-man. 0 out of 0 found this helpful. a soap opera about a soap opera about the conflict Making a film about the conflict between Israelis and the Palestinians (or, shortly, the conflict' as the locals call it) is probably almost as complicated as the peace talks between the two sides. Yet, scriptwriter and director Sameh Zoabi chose not only to write and direct such a film, but also chose as topic the making nowadays of such a film titled 'Tel Aviv on Fire. The genre? A soap opera - one of the most popular forms of cinema and television entertainment in the Middle East, with peak viewing rates among both the Jewish and the Arab sectors. The historical moment when the action takes place? The 1967 war, one of the key moments of the "conflict. a crushing Israeli victory and Arab defeat, perceived in polarized opposite ways by the two sides. An Arab television studio in Ramallah is making a soap opera that tries to rewrite history, as many movies from big houses do, in this case the 1967 war history. A brilliant cinematic idea - a soap opera in a soap opera. The main hero (performed by the excellent actor Kais Nashif) is an aspiring film maker who works as a Hebrew language consultant for the soap opera, and who finds himself blessed with the opportunity to become the script writer of the series, having to reconcile all the parties that seem impossible to coexist in this part of the world: the Arab sponsors wishing that the film has a more patriotic message, the Israeli officer commanding the crossing point between Jerusalem and territories who wants to embellish the image of the Israeli officer in the story, the producer who wants to make a successful film, and his girlfriend who doubts his feelings. They all follow the successive episodes of the series and the way the action progresses, but can there be any outcome that is acceptable to all? Or is such an outcome just as impossible as a solution for peace in the Middle East? The hero in the film has as tools his own talent and a few portions of humus (another topic of Israeli-Palestinian cultural mini-conflict. Director Sameh Zoabi uses the tools of soap opera combined with absurd humor, so suited to a conflict unwanted by most of those involved. Zoabi does not avoid stereotypes, on the contrary, uses them skillfully and in balanced doses. The result is better than I expected. He will not succeed in making everyone happy, I am convinced that many of those who have seen or will see the film will find smaller and bigger details that make them angry and will claim that the screenwriter /director has exaggerated in his sympathy with the other side. Probably even angrier will be some of those who will not see the movie but talk and write about it. Many of the situations seemed to me too exaggerated or unlikely, but I think such deviations are possible and admissible in a comedy that tries to approach in the satirical registry situations that are not simple at all. An extra merit of the film is that it brings to screen an intellectual and middle class Palestinian environment that is not shown too often in local films. I found 'Tel Aviv on Fire' to be an amusing and a necessary film. After all, if we really want to live in peace one day, we need, among other, to be able to sit one by the other, watch the same movie and laugh together. Even if the reasons and the scenes we laugh at are not always the same. 4 out of 12 found this helpful. Salam in Love This is a fun movie that bounces right along. The hero is a writer on a Palestinian soap opera set during the lead up to the Six Day War of 1967. He is short on experience and ideas, and starts getting help from overheard conversations and other unexpected sources. At the same time, he is subjected to conflicting pressures from various source. how to keep them all happy? I found it to be a charming entry to the genre of struggling script writers, from 'Sweet Liberty' and 'Shakespeare in Love' to the more recent 'Their Finest. 4 out of 13 found this helpful. 1 /10 Failure This is an attempt to show that Israelis, especially in the armed forces, have their faults, and their dose of stupidity and vanity. In contrast, the cool-headed Palestinian is sooooo cool. The humor here is lost on me and I slept through much of the debilitating dialogue. 8 out of 36 found this helpful. Subtle & Satirical Humor is Effective Here The laid back subtle and satirical humor is mostly effective here. Somehow, Sameh Zoab, director and co-writer with Don Kleinman, pulls it off despite all the political turmoil that has encased the region for so long now. The acting is first rate as well, and I thought the surprise and clever ending enhanced the movie. Overall, quite the engaging surprise with its positive message. 1 out of 2 found this helpful. Permalink.
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Watch movie single in tel aviv 1. Watch Movie Single in Tel avis réagissez. Forget about travel channels, I wouldn't be surprised if the food channel contacted you guys to make an all-around-the-worlds tasting series. Kara definitely got the adjectives to describing taste down pat. SO SO INTENSE 💓💓💓💥💥💥💥💥. Hello my name is Dylan, 22 and I've been seeing this guy, 26 for the past couple of months. I met him on tinder and ever since we met we would always hangout and cuddle and occasionally have sex. He did explain to me he got out of a 5-7 year relationship with his ex boyfriend when we first started talking. I understood that he didn't want to just jump into anything and wanted to build something first. Over the weeks I've been seeing him I noticed he is always on his phone even when we are in bed together watching a movie. I really try not to say anything but it does bother me. One day I I was drinking and I decided to go thru his phone(knowing his passcode) and I found out that he was also talking to someone else but the context of the conversation was what bothered me the most. He would talk very sexual to this other guy but never to me. I would send him explcit photos trying to amp (horny) him up but he just doesn't do so. He eventually caught me going thru his phone and I apologized for it and got over it. He had told me he told the other guy that he was talking to me and just wanted to be friends with the other guy so I believed him and let it be. a few nights later I met him at the club with his friends and mine and when I introduced him to my friend I noticed he had hickeys on his neck, that I didn't give him. He explained to me that he went to a club and guys were just all over him (basically bullshit) not once in my life have I just seen random people just walk up to someone and Leach on to someone's neck and suck the life out of it. I'm sorry I'm not that type of person Couple weeks later he went on a trip to tel aviv for there gay pride with a couple of him friends. I later find out by what he told me that he had made out with someone else. Which kinda bothered me but I got over it. I also later found out that he went on those apps looking to have sex with people their and I mean he was very persistent (thirsty) how I found out is unknown but I know and have proof of it. He eventually met a guy in tel aviv and has been talking to him ever since. This guy isn't my boyfriend nor do I want to make him my boyfriend right away. He told me before that he doesn't know what he wants but he wants to live life m be single. Which I totally understand and get that but I'm just confused at to why he always wants me around when he continues attempting or actually sleeping with other people and knowing that I always find out. (I have good sources I trust when I hear about him sleeping around) I need help idk what to do? Either to let him go and see other people because he's been the only guy I have been seeing. He says he has a low sex drive he party's a lot goes out and does a shit ton of drugs. Everyone I try to make plans with him to actually go out on an actual date he makes up excuses as to why he doesn't want to or try's to blow it of like he forgot just so he can hang with his friends. He lies to me about where he goes and his own friends tell me he lies to me about that stuff. I don't trust him but I'm hooked! I know this is a little much but I'm not asking him for commitment or a relationship. I told him about my past relationships and how I was treated and always hurt yet he still continues to play and toy with my feelings and play mind games. He always think he's right and it's always has to go his way. At this point I feel like I should stop seeing him if he wants to go "live life" and sleep around and be a flirt and a player but I refuse to let this guy play me and still want me at the end of the day. He has me wrapped around his finger and I don't know what to do and let go. I want to leave and just not pursue him but I actually have feeling for him. Please help I need some insight from someone.
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Watch movie single in tel aviv new york. From where are these voice samples at 0:54. Somewhere between Adam Sandler making a movie about hummus and Gal Gadot voicing herself on “The Simpsons, ” things changed. Americans have long been willing to entertain stories featuring Israeli characters — a former Mossad agent here, a Krav Maga expert there. But now, were living in a golden age of Israeli content for English-speaking audiences. The explanation for the sheer number of stories by and about Israelis currently delighting US audiences goes back to 2009s “In Treatment” and 2011s “Homeland” — critical and commercial darlings that were adapted from Israeli hits. The Tel Aviv invasion snowballed in 2015 with “Fauda, ” which became popular with Americans in its Israeli iteration, not as an American show. “The ‘foreign language is part of the appeal, ” says Gannit Ankori, a professor of Art History and Theory at Brandeis University who specializes in contemporary Israeli and Palestinian art, film and visual culture. “It lends authenticity and just enough distance to allow the processing of traumatic, violent and unsettling content and imagery. ” “Fauda” built a bridge to bring Western viewers closer to original Israeli content, but its popularity rests in part on what has always made Israel mesmerizing to Americans — relentless violence and self-determination. Less obvious is the popularity of “Shtisel, ” a portrait of a Haredi family living in Jerusalem, and its 17, 000 members of the Facebook group “Shtisel — Lets Talk About It. ” “What is the Kotel and what does leyning Torah mean? ” one woman wondered. Shows like HBOs “Our Boys” and “Shtisel” seem like opposites, Ankori says, but they have similar functions. “They explore rifts and fault lines that plague Israeli society in a self-critical manner. I think this is what the Israeli government hates (as the Prime Ministers recent criticism of ‘Our Boys demonstrated) and what sophisticated audiences all over the world appreciate. ” Avi Nir, the CEO of Keshet Media Group, which is responsible for “Prisoners of War” and “Beauty and the Baker, ” among others, says Israeli TV makers keep Americans in mind, but dont create for them. “The main endeavor is to find that place when you understand that there is a show. It is something you need to feel in your gut, ” he says. “Many of the stories coming out of Israel are either personal, meaningful or ambitious. Most of them have something they want to convey beyond to entertain. In some senses, the show creator is] closer to the auteur in cinema than to the show runner in American TV. ” Its this emotional complexity that Americans find cutting edge. “Previous representations of Israelis tended to echo stereotypical characters, ” says Ankori, naming “Exodus, ” the 1960 Paul Newman vehicle that told a fairy tale about Israels founding. “There were solutions and resolutions to the drama with good guys clearly articulated. Contemporary Israeli filmmakers and artists self-represent Israelis and Israeli society as fragmented and flawed, ” she says. “Israelis are engaged in inflicting pain and suffering from pain within an unresolved and conflict-ridden reality. This troubled existence resonates with viewers. ” The number of Israeli TV shows, movies and adaptations being released in the US is staggering. Below youll find all the current and upcoming Holy Land offerings you can watch with just a cable login or an exs Netflix password. Nesiya tova — safe travels on your streaming journey. New Israeli TV shows for American audiences “Our Boys” (Docudrama) Watch it on: HBO In the summer of 2014, four political murders led into a brutal 50-day conflict in the Gaza Strip. The first three victims were Jewish hitchhikers, abducted and shot by members of Hamas; the fourth was a Palestinian teenager, burned alive by Orthodox Jewish settlers. This gutting, and controversial, series by Joseph Cedar, Hagai Levi and Tawfik Abu Wael, follows the Shin Bets investigation into the murder of 16-year-old Muhammed Abu Khdeir and how his grieving father navigates his sons new status as a martyr. In late August of this year, Prime Minister Benjamin Netanyahu and a number of right-wing groups railed against “Our Boys” for choosing to focus on Abu Khdeir, and not the murder of the hitchhikers. Israel was buzzing about this one — some defending it, and others calling it “propaganda. ” Stream and decide for yourself. “Fauda” (Spy Thriller) Watch it on: Netflix An Israeli hybrid of “The Shield” and “The Wire, ” “Fauda” arrived in the States like a Krav Maga-chop to the jugular in late 2016. The series follows the exploits of a commander of a fictional counterterrorism unit that dresses up like Arabs to infiltrate terror cells. The groups methods often flout protocol, and their targets are, more often than not, painted with well-drawn pathos. The same cant always be said for the commander, Doron, who, as far as TV antiheroes go, gives Walter White and Vic Mackey a run for their shekels. Faudas first two seasons are already streamable on Netflix and a third is due to out early in 2020. “Shtisel” (TV drama) Watch it on: Netflix. Its estimated (by us, the Forwards culture correspondents) that ninety percent of rabbis will reference “Shtisel” in their shabbat sermons over the next year. The Israeli drama about Haredi Jews is the first American TV show to center on Orthodox Jews, and everyone — from people who call kippot “little hats” to Haredi Jews themselves — is addictive. If youre fascinated by insular cultures, or you just like watching the intricacies of human behavior chafe against social systems, try “Shtisel. ” The first two seasons are on Netflix with a third on the way — pending payment disputes — and the show is being adapted for American TV by Amazon Studios. “When Heroes Fly” (TV drama) Watch it on: Netflix Everything you expect from Israeli action shows, with extra spice. Four IDF veterans still reeling from the bloodshed of the 2006 Lebanon War reunite to travel to Colombia in search of one friends sister — and anothers ex-girlfriend — who they believed to be dead. This searing drama examines post traumatic stress disorder against an unusual backdrop — the Colombian jungle. The first season is streaming on Netflix, and a second season is in the works from Keshet. The highly-praised series is also being adapted for American TV. “The Spy” (Limited series action thriller) Watch it on: Netflix No joke. “Borat” star Sacha Baron Cohen played a decorated Israeli operative with a tragic story. This six-part miniseries by “Prisoners of War” (the basis for “Homeland”) creator Gideon Raff dramatizes the life of Egyptian born-Israeli Eli Cohen, a Mossad agent who lived undercover in Syria in the 1960s. Cohen (Eli, not Sacha Baron) was so good at his job he became the chief adviser to the countrys minister of defense, and gathered intel that would prove pivotal to Israels success in 1967s Six Day War. Cohen was eventually captured and hanged publicly in 1965 — the Mossad has been searching for his remains ever since. “The Spy” is now streaming on Netflix, and reviews for Baron Cohens performance have been raves, noting how his knack for character transformation mesh nicely with the other Cohens habit of disguise. The Forward liked it, too. New Israeli movies for American audiences “The Operative” (Mystery/Spy Thriller) Watch it on: Amazon Prime, Vudu, YouTube and Google Play Like a Mossad stealth unit, this came and went from theaters so quietly in August, no one — not even us! — took notice. Thankfully in this age of streaming, nothings gone forever. The film follows Mossad agent Rachel (Diane Kruger) who in the middle of a risky assignment to interfere with Irans nuclear ambitions, disappears without a trace. Well, she left one trace: a cryptic voicemail to her former handler, Thomas (Martin Freeman of “Sherlock” fame. What follows is an international scramble to find Rachel and uncover her past along the way. An international project, based on the novel “The English Teacher, ” by former IDF brigadier general Yiftach Reicher Atir, the film is riding the crest of a growing wave of top European talent flocking to Israeli cinema. Reviews, however, were not so kind. “The Spider in the Web” (Mystery/Spy Thriller) Watch it on: Amazon Prime, Vudu, YouTube and Google Play Oh, Ben Kingsley. You have played Gandhi. You have played a Jew in “Schindlers List. ” You have even, recently, played Adolf Eichmann. Its only natural that your late career should see also see you playing members of the Israeli intelligence community. You cant be pigeonholed. In this thriller by “Lemon Tree” director Eran Riklis, Kingsley plays aging Mossad agent Aderath, who must connect the dots between a mysterious contact (Monica Bellucci) and a company producing chemical weapons for the Syrians. He is hindered — and later aided — in his quest by the son of his old colleague (Itay Teran) who the Mossad has tasked with looking over his shoulder. Set in Belgium and shot in English and Hebrew, this thriller takes the Israeli spy genre international. Though, we must confess, its seldom thrilling, and often just confusing. “The Angel” (Docudrama/Thriller) Watch it on: Netflix Flipping the script on a familiar formula, “The Angel” tells the true story of an unlikely Israeli asset. Ashraf Marwan (Marwan Kenzari) the son-in-law of Egyptian President Gamal Abdel Nasser, became an informant for the Israeli government. It was Marwan who tipped the Israelis off to the stirrings of the Yom Kippur War, allowing the IDF to mobilize and thwart a complete takeover of the Golan Heights. Some believe that Marwan was in fact a double agent for the Egyptians, but this film, which received mixed reviews — with some in the Israeli press disappointed by how it failed to meet the excitement and drama of true events — chooses to claim Marwan as an Israeli hero. Heck, it even seems to give Marwan credit for the Camp David Accords. While not altogether effective as a spy film, “The Angel” does deliver as a quick primer on a fascinating character and his little known legacy. “Red Sea Diving Resort” (Feature film drama) Watch it on: Netflix In the early 1980s Israeli Mossad agents, posing as Swiss hoteliers, rented a Sudanese beach resort, turned it into a tourist destination, and used it as a front to shuttle Ethiopian Jews — who had been starved and brutalized after the 1974 Ethiopian coup — onto “tourism boats, ” which smuggled them to waiting naval ships, then on to Israel. If you can un-stick your white knuckles, pass the popcorn — its a story that seems destined for the screen. Written and directed by Gideon Raff, the Chris Evans vehicle is a little squirmy. Strong, white, English-speaking “Israelis” accept hugs and thanks in broken English from Ethiopians — its a funny way to tell a story about a group of people so brave they escaped their home for a country they did not know. “Tel Aviv On Fire” (Feature film satire) Watch it: Anywhere you can rent movies A hit at the Venice International Film Festival, this comedy satire about a Palestinian who lives in East Jerusalem and works on the set of a soap opera has a major plot point that hinges on hummus, and a great score on Rotten Tomatoes to boot. Forget the titles implication that this will be a bloody slog through intractable conflict — its cheerfully cutting. New adaptations of Israeli stuff for Americans “Emmis” (TV adaptation of “Shtisel”) Watch it (when it comes out) on: Amazon Prime Where to watch the original: Netflix Dont believe us that much of America has “Shtisel”-fever? None other than Marta Kauffman, the co-creator of “Friends, ” has signed on to retell the story of an ultra-Orthodox family for American audiences. Kauffman will collaborate with her daughter on “Emmis” (the Yiddish word for “truth”) which will place the “Shtisel”-like story of an ultra-Orthodox family in Brooklyn. Theres no release date yet, but we do hope the show opens by panning over yeshiva boys faces while someone sings the words, “So no one told you life was gonna be this way…” “The Baker and the Beauty” (TV adaptation of “Beauty and the Baker”) Watch it (when it comes out) on: ABC Watch the original on: Amazon Prime “Beauty and the Baker, ” from Keshet, is one of Israels sunniest, shiniest, most CW-style exports. Titled “Being With Her” in Hebrew, the comedy follows a courtship between a Bar Rafaeli-type bombshell (played by outspoken Israeli lawyer Rotem Sela) and a joe-schmo Mizrahi baker. ABCs renamed “Baker And The Beauty” will follow a Cuban baker who falls for a jet-setting fashionista against the backdrop of Miamis beaches and nightclubs. It will debut as a mid-season replacement on ABC in 2020. “Zero Motivation” (In development) Where to watch it when it comes out: TBD Watch the original: Wherever you can rent movies Americans cling to the notion that all Israeli soldiers are either in direct combat or running top-secret intelligence units. The 2014 black comedy “Zero Motivation” by Talya Lavie follows teenage girls who perform unglamorous office jobs for their army service, try to lose their virginities, and play Minesweeper. The movie has been lauded by Israelis as the most accurate portrayal of life in the Israeli army. Its one of Israels best and most successful movies this century, so its little wonder that the TV adaptation rights were snapped up by Amy Poehler and “Russian Doll” creator Natasha Lyonne. Theyll create it for BBC America, with producers from “Broad City. ” “Euphoria” (TV adaptation of Israeli show of the same name) Where to watch: HBO Do teenagers live secret lives of glamorous despair? This question has fascinated American audiences for years, and apparently Israeli ones as well. Israels “Euphoria” is set in the 90s and based on a true murder case. HBO dropped that premise but kept the band of disaffected teens with under-treated mental health issues and parents who have better things to do than take care of their kids. The American version is heralded for its representations of addiction and sexual and gender diversity. “The A Word” (TV adaptation of “Yellow Peppers”) Where to watch: Amazon Prime Tired of spies and soldiers and rabbis? “Yellow Peppers” is a critically-acclaimed family drama about a young couple raising an autistic son in a tiny Israeli village. The show spawned both a Greek iteration (“The Word You Dont Say”) and a British one, “The A Word, ” which sets the village in Englands lush Lake District. The first season is streaming on Amazon, with two more on the way. “Your Honor” (Limited series adaptation of “Kvodo”) Where to watch when it comes out: Showtime A piercing drama about a morally ambiguous man who has experienced immense personal tragedy? Yes, of course, Bryan Cranston will produce and star in “Your Honor, ” an adaptation of Israels popular “Kvodo” (which actually translates to “His Honor. ”) Cranston will play a judge who decides to break from his commitment to the law to protect his son in a limited series set in New Orleans. The show is currently in production, with no premiere date set. “On The Spectrum” (TV adaptation of Israeli show of the same name. Where to watch when it comes out: Amazon Prime Two TV shows that de-stigmatize autism spectrum disorders on TV at the same time? If you will it, it is no dream. “On The Spectrum” is an Israeli take on the classic 20-somethings-figuring-out-sex-laundry-and-taxes TV comedy, this time about three roommates who are all on the autism spectrum. From “Yes! ” the same network that made “Your Honor, ” “On The Spectrum” is being adapted by Jason Katims for Amazon. Katims, who also wrote for “Parenthood” and “Friday Night Lights” has also written about his son, who was diagnosed with Aspergers. “The Good Cop” (Adaptation of the Israeli show of the same name. Where to watch: Netflix Watch the original: Also on Netflix “HaShoter HaTov, ” literally, “The Good Cop, ” was an Israeli project with American values — a goofy sitcom about police officers. The 10-episode-long first season of the Israeli show from 2015 is on Netflix (theres also a second season out there, and a third on the way. Netflix also adapted the show for Americans, starring Tony Danza and Josh Groban, but the cops were deemed not good, and canceled after one season. Recent-ish Israeli hits you should stream While you wait for “Emmis” and pray for a new season of “When Heroes Fly, ” try streaming these recent Israeli classics. “ In Treatment” (TV drama) Watch it on: Amazon, Hulu, HBO Pay respects to the elder statesman of this wave of Israeli-American entertainment — “In Treatment” is the American HBO adaptation of “BeTipul” (“In Therapy”) the runaway Israeli success about a therapist and his patients. “Betipul, ” which is sadly hard to stream in the US, has been adapted in Argentina, Serbia, the Netherlands, Japan and Brazil as well as America, where it ran on HBO for three seasons, starting in 2009. The HBO version, which has an extra season, scrubs some of the Jewish and Israeli details (no survivor father, no IDF-bound son. But in most other ways “In Treatment” is an explicit copy of “Betipul, ” down to much of the language in the script, by “Betipul” head writer Ori Sivan. “Homeland” (TV drama) Watch it on: Amazon, Hulu, Showtime You know the drill by now — “Prisoners of War” (“The Abductees, ” in Hebrew. was Gideon Raffs award-winning drama about Israeli soldiers who, held captive for almost twenty years, are finally returned home. In the American version, US military vet Claire Danes investigates a soldier who was held captive by Al-Qaeda, under the guidance of Mandy Patinkin. “Srugim” (TV dramedy) Where to watch: Amazon Prime If “Shtisel” sees far, thats because it stands on the shoulders of “Srugim. ” All three seasons of the beloved show about 20-something Orthodox Israelis dating in Jerusalem are streaming on Amazon Prime, and though it has been compared to “Friends, ” its much better. “A Touch Away” (TV drama) Watch it on: Amazon Prime Romeo is a fresh off the boat Israeli immigrant from Russia. Juliet is an ultra-Orthodox Israeli. Verona is Bnai Brak. “A Touch Away” came out in 2007, two years before “In Treatment” opened American eyes to everything Israeli media had to offer, but its ready for you to binge on Amazon. “Bethlehem” (Feature film drama) Watch it: Anywhere you can rent movies This super-painful, super-thoughtful drama follows a Mossad officers twisted relationship with a teenage Palestinian informant. As the men grow to be like family members, and make searing choices, the conflict becomes more vivid — and more feverish — refracted through humans, not headlines. “Bethlehem” won just about every movie award in Israel when it came out in 2014. “Maktub” (Feature film action-comedy) Watch it on: Netflix What if Jewish Israeli gangsters decided to grant every wish left in private notes in Jerusalems Western Wall? Well, it would probably make for a very watchable movie, easily Israels most successful action-comedy in years. “The Wedding Plan” (Feature film romantic comedy) Watch it: Anywhere you can rent movies. Woman plans and God laughs in “The Wedding Plan, ” which follows an Orthodox woman who, tired of waiting for her intended, sets a wedding date and hopes that the Lord will provide. Its funny, its painful, its another sensitively brilliant look at how religious Israelis live and love. Jenny Singer is the Forwards deputy life and features editor. follow her @jeanvaljenny. PJ Grisar is the Forwards culture fellow. He can be reached at.
Watch Movie Single in tel aviv. Watch movie single in tel aviv live. This year I went to see 192 different movies in theaters, plus one rewatch. That's up from 162 in 2018, 140 in 2017, 9 in 2016, and 5 in 2015. I usually go 3 or 4 times per week, mostly on weekends. I keep track of dates/theaters/movies/ratings for fun and save all of the stubs. My ratings are what I give the movie right after seeing it, with no real 'checklist' or anything, mostly just initial thought/enjoyment/opinion. It's not meant to be taken super seriously, I'm not a professional reviewer. This is my full ranking for the year, from favorite to least-favorite, with a few small reviews/thoughts thrown in: Monos - 10/10 - Hands-down my favorite movie of the year and honestly high on my all-time list. It's Apocalypse Now meets Lord of the Flies, with some Beasts of No Nation thrown in. It builds a unique, lived-in world that's believable and brutal. Beautifully-filmed, some of the best shots of the year (the ending shot gets seared in your mind. Modern and grounded look at a militia/cartel fighting against an unnamed enemy in a Colombian jungle. It almost feels post-apocalyptic instead of 'cartel vs government' which I really loved. You get to imagine your own backstory as the story unfolds. Unforgiving and gut-wrenching, but hopeful too. Got a lot out of its cast. Can't recommend this movie enough. Really disappointed this didn't make the Best Foreign Language Film shortlist. "Masterpiece" gets thrown around a lot, but in my mind this is the only one this year. Marriage Story - 10/10 The Farewell - 10/10 Journey to a Mother's Room - 9/10 - Biggest surprise of the year, came out of nowhere. Deeply-personal story between a mother & daughter. It's very basic on the surface, and there's not much story (you start at Point A, and end at Point A) but it's the most emotional movie of the year. If you don't cry at least 3 times during this, you're probably not human. It's all about the unbreakable connection you have to your parent(s) from the day you're born until the day you die. It only takes place over the course of a few months, but feels like lifetimes. Beautiful little movie about separation, loss, and human connection. Waves - 9/10 - I could write 20 pages on how much I loved this movie. To keep it short, it's got a perfect soundtrack, perfect setting, awards-worthy performances (from Kelvin Harrison Jr., Sterling K. Brown, and Taylor Russell. Visceral story that grips you from the first minute and doesn't let go until the closing shot. Unique use of colors and aspect-ratio. It takes a huge risk structurally that pays off. It's also the only movie I went to see twice this year. Really worth it too, picked up on a lot of stuff on the second viewing. Would've went a third time if theaters kept it playing longer. Every tiny decision/action has a huge impact. Just watch this. Last Black Man In San Francisco - 9/10 Birds of Passage - 9/10 Apollo 11 - 9/10 - The best documentary of the year. Probably the best editing (and use of sound) I've ever seen/heard in a documentary. It's unique because they don't use interviews like most documentaries do, it's real sound the whole through. Impressive use of archival footage/audio. Uncut Gems - 9/10 - This movie wasn't on the Best Original Score shortlist for the 2020 Oscars. This aggression will not stand. The Mustang - 9/10 Wild Rose - 9/10 - If this doesn't win the Oscar for Best Original Song ( Glasgow. I've lost all faith in the Academy. The ending concert scene had me crying like a baby. Jessie Buckley is gonna be big. Best music-drama since A Star Is Born. Transit - 9/10 Ad Astra - 9/10 - Top-notch acting, great atmosphere, world-building, existentialism, beautiful VFX, engaging score. Best opening scene of the year. Thoughtful commentary on modern society all wrapped in a Heart of Darkness blanket. If you're into space/exploration movies, then I recommend this. Surprised at the backlash this movie has gotten on r/movies. The Report - 9/10 - This was a really good year for legal-thrillers and The Report was the cream of the crop. Tight, Sorkin-like script with top performances from Adam Driver & Annette Bening. Could change a lot of minds about the war on terror and use of torture. Parasite - 9/10 Once Upon A Time In Hollywood - 9/10 Midnight Traveler - 9/10 - If you feel like life is unfair and the odds are stacked against you, watch this movie. It puts everything in a different perspective. Every problem you have is going to seem minuscule compared to what this family went through. It's eye-opening and should fill you with anger. Luce - 9/10 - It's Kelvin Harrison Jr's world and we're just living in it. The Irishman - 8/10 Mickey and the Bear - 8/10 - Camila Morrone puts in the best breakout performance of the year. PTSD, drug-addiction, alcoholism, rural Montana, toxic relationships, James Badge Dale, following your dreams. What's not to love? The Art of Self Defense - 8/10 - The best dark-comedy of the year. So many great one liners. It's like Yorgos Lanthimos directing Death of Stalin, set in a karate studio. Surprisingly violent and depressing, but in all the right ways. Jesse Eisenberg's best movie Social Network? Peanut Butter Falcon - 8/10. Am I going to die. We all do, it's only a matter of time, now stop being a little bitch. Favorite line of the year, really stuck with me. Everybody Knows - 8/10 Mary Magdalene - 8/10 Knives Out - 8/10 - Well-crafted whoddunit with an ensemble cast. Just a genuinely fun time at the movies. Ana de Armas with well-deserved leading role for once. A few of the characters are a tad bit unrealistic (and basically caricatures) but the movie doesn't take itself seriously enough for that to be a problem. Daniel Craig hamming it up with a Southern accent was fun. Old school film with a modern twist. The Lighthouse - 8/10 The Dead Don't Die - 8/10 - This movie really isn't for everyone, but I loved the dry humor and purposefully-bad chemistry/dialogue. The line delivery was off-putting but hilarious. Everything is extremely on-the-nose and it works. I could watch 10 hours of Tom Waits talking to himself. Us - 8/10 Villains - 8/10 Ford v Ferrari - 8/10 Midsommar - 8/10 Jojo Rabbit - 8/10 Official Secrets - 8/10 - Keira Knightley with one of the most underrated performances of the year. Another really good legal/political-thriller that exposes the dark side of government bureaucracy. Pain & Glory - 8/10 John Wick 3: Parabellum - 8/10 Queen & Slim - 8/10 Amazing Grace - 8/10 - Great concert-documentary. Some of Aretha Franklin's performances in this should give you insane chills. I actually had this one rated higher right after watching it, but then looked up some of the people shown on screen and it turns out some were real pieces of shit, while preaching to people like hypocrits. Felt gross and took a lot of the magic out. One of my few revised scores this year. A Beautiful Day In The Neighborhood - 8/10 Joker - 8/10 Non-Fiction - 8/10 - It's very French (talky and sexual) and the writing seems impressed with itself, but it's a good adult-drama that surprised me. I'm a big fan of Olivier Assayas and this is some of his best work. Rocketman - 8/10 Stan & Ollie - 8/10 Hustlers - 8/10 Avengers Endgame - 8/10 Doctor Sleep - 8/10 - It gets bloated and probably needed to be 20-30 minutes shorter (there's a shit ton of side-characters) but it was a worthwhile sequel to The Shining. Didn't feel like a cash grab and carries its own weight. Booksmart - 8/10 Little Monsters - 8/10 - I'd recommend watching this based just on Josh Gad's character. So over-the-top and hilarious. When he starts chugging hand sanitizer might be the most I laughed in a theater this year. Also Lupita Nyong'o playing & singing on the ukulele to a bunch of kids is exactly what I needed in my life. Cute zombie-comedy with a ton of heart. Spider-Man: Far From Home - 8/10 A Hidden Life - 8/10 - If there's a song from this year (or this decade even) that I'd want played at my funeral, it's James Newton Howard's theme from this movie. It's so beautiful and perfectly captures the feel of the movie. That song broke me down every time it played. I can't imagine this movie without it, it's that good. It's a shame this movie is getting ignored this awards season. Never Look Away - 8/10 Toy Story 4 - 8/10 Pavarotti - 8/10 The Biggest Little Farm - 8/10 - If you're really into the inner-workings of a Californian farm, then this is the documentary for you. Abominable - 8/10 The Current War - 7/10 Artic - 7/10 - Well made, solidly-acted. I loved the small details about survival that this movie brings up, makes it very grounded and realistic. I'm kinda bored of survival movies in general so this didn't blow my mind or anything. Bombshell - 7/10 Honey Boy - 7/10 - Pretty big letdown because I had really high expectations for this one. Lacked the emotional punch I hoped for. Didn't land for me at all, kind of like Boy Erased last year. I appreciate how honest and revealing it was, took a lot of guts for Shia LaBeouf to put this out there but it's forgettable. Lucas Hedges' Shia impression was reallllly on point though, that was worth the price of admission right there. Mid90s last year was a 10/10 for me and I expected the same for this. It was good, not great. American Woman - 7/10 - Sienna Miller's performance in this is awards-worthy. The accent she does is perfect and it might be the most underrated role of the year. The movie gets way too tearjerky at the end though. It's basically 2 hours of bad shit happening to a good person, which gets a bit overwhelming. The Beach Bum - 7/10 Captain Marvel - 7/10 Spies In Disguise - 7/10 - Looked pretty generic based on the trailer, but was actually pretty funny. Cold Pursuit - 7/10 Tolkien - 7/10 - Not much happens but it felt really comfortable. Solid performances all around and they handled the WW1 scenes better than I thought they would. Expected to be bored out of my mind based on the reviews and trailer but it flowed well. As far as "Nicholas Hoult Biopics of Famous Writers" go, it's miles ahead of Rebel in the Rye 2 years ago. Jumanji: The Next Level - 7/10 Sauvage/Wild - 7/10 Detective Pikachu - 7/10 Maiden - 7/10 Dark Waters - 7/10. Good performances and an okay script, even though it beats you over the head sometimes. Total waste of Anne Hathaway. She's way too good of an actress for a boring, generic, supporting wife' role with just a few lines. Not even sure why she was in this. Overall, a solid legal-thriller, which is a genre I really enjoy and I've been missing since its late-90s heyday. Pretty crazy story too, scummy and evil corporate greed is always interesting to explore on film (like The Insider. Should've been 20 minutes shorter and less on-the-nose Adopt A Highway - 7/10 The Wedding Guest - 7/10 The Hummingbird Project - 7/10 Motherless Brooklyn - 7/10 The Lion King - 7/10 Last Christmas - 7/10 - It's really easy to bash this movie, a lot of the humor falls flat and the twist is ridiculous, but I couldn't help walking out with a smile. I love how committed Emilia Clarke was to the character, and her interactions with her boss and family were legitimately heart-warming at times. Also did I mention how ridiculous that twist is? Richard Jewell - 7/10 - This was decent. Even though it's clearly Clint Eastwood's personal crusade (and thinly-veiled propaganda piece in some regards) against the FBI & the Spooky Media, it still told the story effectively/semi-believably. Some of the characters (Hamm/Wilde obviously) were pretty ridiculous caricatures though, was hard to take anything they said seriously, I mean come on. You just roll your eyes at most of what they say. Some of the situations and encounters are too-conveniently set-up but that's easy to overlook. It had very solid performances (Hauser was great, especially when he finally let's his emotion show, in that scene where he kicks the table. Much better than The Mule, and 20x better than 15:17 To Paris. Star Wars: Rise of Skywalker - 7/10 21 Bridges - 7/10 Before You Know It - 7/10 Hobbs & Shaw - 7/10 - This is peak "Stupid Summer Popcorn Movie" and I thoroughly enjoyed it. It's The Meg of 2019. Fighting With My Family - 7/10 Pet Sematary - 7/10 Downton Abbey - 7/10 - Never saw a single episode of the show before watching the movie, but it still felt familiar/safe to jump right in. Yesterday - 7/10 Greta - 7/10 - It's a cheesy, predictable, non-scary horror film but I liked it. Sometimes you just need Isabelle Hupert to play a psychopathic serial killer. Felt very old-school, a movie straight out of the 1980s. Judy - 7/10 - It's the definition of Oscar bait and is emotionally manipulative, especially towards the end, but it does a great job at humanizing a Hollywood legend. Frozen 2 - 7/10 Aladdin - 7/10 The Souvenir - 7/10 Zombieland 2: Double Tap - 7/10 - Nowhere near as memorable/iconic as the first one, but it still got a bunch of laughs from me (especially the Thomas Middleditch/Luke Wilson scene. Above-average for a comedy-sequel, but I could see this one not aging well. The Two Popes - 6/10 - Two solid performances but underwhelming overall, too many cheap-looking flashback scenes, not enough Pryce/Hopkins. Reminded me of Can You Ever Forgive Me? last year, depending on the 2 leads to carry a weak movie/premise on their back, to disappointing results. Highly-overrated movie. Ready Or Not - 6/10 Anna - 6/10 - It's basically Red Sparrow but slightly worse. Saint Frances - 6/10 Hotel Mumbai - 6/10 Shazam. 6/10 - Low-stakes, formulaic, superhero movie clearly made with strict budget limitations. It hits all the notes you'd expect a movie like this to hit. It was decent. Alita: Battle Angel - 6/10 Loro - 6/10 - One of the more disappointing movies of the year. On paper it sounds amazing, a sprawling biopic of an infamous/corrupt Italian politician/mogul by Paolo Sorrentino who's not that far removed from a masterpiece? Sign me the fuck up. But nah, this was a shallow, surface-level (like my reviews) pointless dull knife of a biopic. Too much shoehorned religious imagery too. Tone is all over the place. It can't decide whether it's serious or funny and gets lost in-between. It looked nice at least. It also wins this year's "Most Nudity" award, easily beating the rest of the field. Teen Spirit - 6/10 The Upside - 6/10 Gloria Bell - 6/10 - Great performance from Julianne Moore but this just felt like "Middle-Aged Crisis: The Movie. Just couldn't connect to it. I imagine the original is a lot better. On The Basis Of Sex - 6/10 Stockholm - 6/10 Give Me Liberty - 6/10 - This is an example of a movie that has its heart in the right place but bites off a lot more than it can chew. There's a beautiful, emotional story in here somewhere, but it's too muddled with ineffective editing tricks and too many side-stories. It's sweet in some ways and the true-life characters bring a lot of charm, but it didn't do that much for me. A lot of 'year-end' lists have this as one of the most overlooked movies of the year, but I don't see it. Rough editing, bad soundtrack. Child's Play - 6/10 Good Boys - 6/10 - Just watch Booksmart instead. Styx - 6/10 Woman at War - 6/10 The Lego Movie 2 - 6/10 Missing Link - 6/10 Long Shot - 6/10 - The chemistry between Charlize Theron & Seth Rogen was great but the jokes couldn't really match it. It's a unique mix of politics & humor, but fell short of being an actual crowd-pleaser. Echo in the Canyon - 6/10 Cyrano, My Love - 6/10 Dora the Explorer - 6/10 Brittany Runs A Marathon - 6/10 IT: Chapter 2 - 6/10 - Way too long. Felt like a never-ending series of fetch-quests. Good CGI & acting though. Mister America - 6/10 Crawl - 6/10 Trial By Fire - 6/10 - Great performances by Laura Dern & Jack O'Connell get overshadowed by an overly-preacy script. It doesn't let the audience make up its own mind. The Third Wife - 6/10 Godzilla: King of Monsters - 5/10 - This needed less humans, more monsters. Glass - 5/10 Escape Room - 5/10 Terminator: Dark Fate - 5/10 Dumbo - 5/10 All Is True - 5/10 Brightburn - 5/10 The White Crow - 5/10 - One of those biopics where the movie doesn't do justice to the story. Reading the Wikipedia page on this guy's life, you'd except an Oscar contender. Instead it was just okay. Watch Cold War instead. It's basically this movie but better. High Life - 5/10 - Unpleasant. Where'd You Go Bernadette. 5/10 Scary Stories to Tell Dark - 5/10 Her Smell - 5/10 - This movie made me physically nauseous. The tight, claustrophobic, haze-filled shots in the first 2 acts really threw me off. It's temporarily redeemed by a reallllllly good third act and a solid performance from Elisabeth Moss. But then deflated by a terrible final scene. By the Grace of God - 5/10 - Based on the critical acclaim, director, and subject matter, I walked in expected to be blown away. Basically expected Spotlight, but this movie completely derails at the halfway point. Hard to sit through. Blinded by the Light - 5/10 The Best of Enemies - 5/10 The Aeronauts - 5/10 - This is mis-marketed as an intense survival story but it's really just a boring biopic with too many flashbacks. Fall of the American Empire - 5/10 Family - 5/10 The Goldfinch - 5/10 - It turns out an unfilmable novel really is unfilmbable, who would've thought? Shoutout to Jeffrey Wright & Finn Wolfhard for actually trying. Angel Has Fallen - 5/10 Gemini Man - 5/10 Late Night - 5/10 Black and Blue - 5/10 Diane - 5/10 - This was just depression-porn. Sometimes it works (Mungiu/Zvyagintsev) sometimes it doesn't (this movie. It's such a bummer. Wouldn't recommend this to anyone but Mary Kay Place's performance makes it watchable and engaging sometimes. Destroyer - 5/10 How To Train Your Dragon 3 - 5/10 Rafiki - 5/10 - I feel bad for this score because I get that this is a really important/significant movie for African Cinema, but I just couldn't get past the terrible acting, bad (like baaaaaad) dialogue, and lackluster story. Again, pretty big achievement that this got made and reached a global audience, but yeah, in a vacuum, it's undoubtedly a bad movie. Felt like an amateur movie on a shoestring budget. Captive State - 4/10 Wild Nights With Emily - 4/10 - This movie is what happens when someone asks the question "hey, what if we turned Emily Dickinson's life into an SNL skit. I get what they were going for, and Molly Shannon is great, but this was extremely unfunny and probably the longest 84-minute movie I've ever seen. Dark Pheonix - 4/10 The Addams Family - 4/10 Midway - 4/10 To Dust - 4/10 Rojo - 4/10 - The only memorable thing about this movie is that there was a power outage about 90 minutes in so they comped my ticket and gave me a free drink. So that was cool, I guess. The Kid Who Would Be King - 4/10 MIB: International - 4/10 The Kid - 4/10 - There's a 98% chance that this movie is some kind of tax write-off or money laundering scheme. It somehow got 2 big names (Pratt & Hawke) co-starring the son of the producer in his first movie ever. Directed by Vincent D'Onofrio for some reason. Was dumped by Lionsgate in a few hundred theaters with 0 marketing/promotion, and flopped hard. It's dated, boring, and unoriginal. Cheesy dialogue. Literally a story that's been told a million times before, usually in much better ways. No reason for this to exist. Chris Pratt has the worst fake-movie-beard of all time in this, that's kinda worth checking out. Ramen Shop - 4/10 The Good Liar - 4/10 - The most convoluted, needlessly-complicated plot of the year. Helen Mirren & Ian McKellen both phone it in (I don't blame them, they were given trash to work with. I hate when movies try to crowbar "WW2 flashbacks" into their movies when it's not needed. Climax - 4/10 Harriet - 4/10 Lucy in the Sky - 4/10 - Once or twice a year, a movie comes along that has such a frustrating/stupid/anti-climactic ending it makes me actually angry. This is that movie. Natalie Portman had another movie like that last year (Vox Lux. Hey Noah Hawley, what the fuck? Freaks - 4/10 - This movie would fit well in the "Good Idea But Bad Execution" subreddit. Tel Aviv On Fire - 4/10 Ma - 4/10 Frankie - 3/10 Stuber - 3/10 Serenity - 3/10 - In a year full of batshit-crazy twists (looking at you, Last Christmas) this easily had the batshit-iest twist. It's something you actually have to experience yourself, and be fully-immersed in it, to appreciate how mind-numblingly crazy it is. How they got A-list talent for this script is a total mystery, but it probably involves of a lot of favors and cocaine. It's almost "so bad its good. Almost. I can't wait for the sequel, Free Guy, next year. Maleficent 2: Mistress of Evil - 3/10 - More genocide than I expected for a live-action Disney fairy tale movie. Donnybrook - 3/10 The Photograph - 3/10 - Zzzzzzzzzz. Charlie's Angels - 3/10 Hellboy - 3/10 - This movie is like that annoying kid in middle school that tries way to hard to be edgy. It's gory and vulgar just for the sake of being gory & vulgar. It reminded me of the Predator reboot last year, had the same kind of dated/forced humor that seems to have no real target audience (except for the aforementioned middle school edgy kid I guess. Bad CGI and a boring villain. iirc it also had a lame sequel-bait ending which I hate. Happy Death Day 2U - 3/10 - The Sun Is Also A Star - 3/10 - It's filmed like a generic music video and has the emotional depth of a puddle. Don't Let Go - 3/10 The Invisibles - 3/10 Playing with Fire - 3/10 - This was just like Mark Wahlberg's Instant Family last year, except that it was worse in every imaginable way. No lie, the end-credits bloopers were by far better than anything else in the movie. It was the only time I even chuckled or felt any type of emotion. Cats - 2/10 - There's not much more I could say that already hasn't been said. Yes, it was bad. No, it wasn't the worst movie in history. For me, it was just so boring. Forgettable songs (except Beautiful Ghosts) no story/plot, nonsensical ending. Just wanted it to end. Jennifer Hudson just floating into space for no reason, Judi Dench giving me unwarranted lessons about raising cats, Ian McKellen slurping milk from a bowl, Extremely-Hairy-And-Naked-Idris-Elba, Cockroach Genocide, etc. These things all happened and we can't change them, and for us to grow as a society, we need to just move on and learn from our mistakes. Rambo: Last Blood - 2/10 The Sound of Silence - 2/10 - More like The Sound of Boredom, amirite? No but seriously, that's all I got. This movie was the closest I got to falling asleep in my seat this year. Synonyms - 2/10 Black Christmas - 2/10 - Extremely cheesy dialogue, cop-out violence, boring/predictable jump scares, low production value (bad even for a low-end Blumhouse movie) some of the worst one-liners you've ever heard, unrealistic/2D characters. Shitty ending. Wayyyyy too heavy-handed with the message. About as subtle as a flying brick to the forehead. Amateur acting, cutaway for every death, etc etc. After the Wedding - 2/10 - Overacted, muddled garbage. 47 Meters Down Uncaged - 1/10 Shaft - 1/10 - Crude, unfunny, soulless, grating, pointless. There's a million adjectives I could use to describe this reboot, and none of them are positive. This is one I'm surprised I didn't just walk out of. Probably didn't have anything better do do that day. Jexi - 1/10 - This year's worst movie. It's just the kind of movie that leaves a bad taste in your mouth, like you need to watch something else to get the stink of this one out of your mind. It was just so mean-spirited, from start to finish. Not a single joke landed, you just hated all of the characters. There are no redeeming factors. On the technical side, it was very basic, looked like a cheap music video. No memorable scenes, no good lines of dialogue, no originality in any way. None of the "cheerful" pick-me-up" moments earn any kind of emotional reaction. If you had a freshman high-school film student remake Her as a shitty comedy, this would be it. The fact that I paid money to see this is something I will never live down. Movies that I saw outside of theaters, not included in the list: The King - 8/10 - Netflix Paddleton - 8/10 - Netflix El Camino: A Breaking Bad Story - 8/10 - Netflix High Flying Bird - 7/10 - Netflix Dolemite Is My Name - 7/10 - Netflix Triple Frontier - 6/10 - Netflix The Boy Who Harnessed Wind - 6/10 - Netflix The Laundromat - 5/10 - Netflix The Highwaymen - 5/10 - Netflix Velvet Buzzsaw - 4/10 - Netflix Bird Box - 4/10 - Netflix Six Underground - 2/10 - Netflix Movies that I saw in theaters in 2019, but are not included in the list due to original release date: If Beale Street Could Talk - 9/10 Cold War - 9/10 Capernaum - 9/10 Mary Poppins Returns - 7/10 The Charmer - 6/10 Movies that I haven't seen yet but will see in the next few weeks: Little Women 1917 In Fabric Tremors Just Mercy Midnight Family A Million Little Pieces The Earthquake Bird American Son Portrait of A Lady On Fire Clemency Beanpole The Kingmaker The Song of Names Here is the distribution of theater visits by day of the week: Throughout the year, I've gone to 13 different theaters. 9 at major chains, and 4 at indie theaters. Here's the distribution of visits by theater: Here is the distribution of theater visits by month: Other: The longest stretch I went without going to the movies was from July 21st thru August 20th, without a single trip to the movies. Partially due to an out-of-country trip and personal stuff. During this time I "missed out" on The Kitchen, The Nightingale, Brian Banks, and Honeyland. Mostly caught up to the rest. The most theater visits in a one-week span was November 1st thru November 8th, with 8 movies that week. The most in one day was 3 movies in theaters on March 15th, 2019 ( Styx, To Dust, and Captive State. There were 26 double-headers this year (two movies in theaters during the same day, usually back-to-back. Solid year, not as many surprises as 2018 though. Going to try to break 200 in 2020. Here is last year's ranking.
Watch movie single in tel aviv 2. Dope af 💜💜. Watch movie single in tel aviv today. Watch movie single in tel aviv movie. 😍😍😍😍😍. What's your favorite DAW and why. Any preferred VST's. Did you have experience in music before going electronic? I use Logic Pro to produce and Ableton to DJ. As of lately though, ive been working on a lot of collabs with other artist that use Live. Its starting to grow on me. I like the how certain features get right to the point like tossing in audio and being able to transpose/stretch/manipulate it in seconds, when in logic there are other steps you can take to do the same results but I cant do them as quickly. Ableton seems like it has a better work flow in my opinion. That could be just me though. Ive always used Logic so its just what I use. I work quickly in it, I like the built in effects (maybe just because I have used them for so long. It works for me. I like to tell people though that its not the DAW that you use that matters, they all do essentially the same thing, Its how just you use it. Ive always been a big fan of Native Instruments (obviously Massive. I have a whole arsenal of vst/au's. I guess it depends on the track im writing what vst I use though. Ive loves music my whole life. I listen to basically everything. When I was younger around high school I started playing guitar and that became my main instrument that I played. Ive always been self taught on everything I know. When I made the jump to electronic music, I had to use my guitar to help teach myself Logic. I didnt know how to play keys yet, so I would use guitar to play the riffs and learn how to program drums behind them. Slowly I taught myself how to play the keys and keep progressing at the programming at the same time. Ooh, another Logic user! Do you use any of the built-in instruments that come with the software? If so, what are your favorites? I honestly dont but should. They are crazy good! I use a lot of the built in effects though. Delays, Reverbs, EQs, Compressors, ect. Bounce to audio vs. keep it as midi? You should bounce to audio. It sounds better... but I have some bad habits when producing. I don't really bother buying a lot of VST's so most of my stuff is made with built-in instruments. Still sounds pretty good for the most part. The thing that took me the longest to learn. That it doesnt matter what synths you have, the all do the same thing (depending on the synthesis. Some are just flashier then other or might have different features that set them apart. What got you into making/producing dubstep? Ive always like melodic experimental styles of electronic music like Aphex Twin, Venetian Snares, Telefon Tel Aviv, Wisp (I can list for days. Before I was producing my brothers best friend was a psychtrance producer named Torin. Hes been a family friend since I was a kid. Hes a well known producer that goes by Bird Of Prey now making his own unique style of bass music. Im very proud to know him, hes an amazing person. So I saw him doing his thing and thought I would give it a shot. I started producing experimental music just for fun as a I started going out with friends to underground parties where they were playing dubstep. It incorporated all the elements of heavy bass and aggressiveness that I liked. I was hooked. I figured I would take a shot at it. I didnt understand how to produce those sounds, so I sucked pretty bad at first. Then Torin invited me to go to my first festival in late 09' called Symbiosis. He was playing. It was pure inspiration to see him on stage in front of all those people. I decided right there that this is what I wanted to do. When I got home I just started writing and pushing myself to progress. From there it was really intense how fast my music got out to people. It was mostly word to mouth through Soundcloud and blogs but people took notice. It was surreal to see how my music resinated with people. I guess the rest is history leading to this point. Any tips you have for me, because im a fan of dubstep/hardstyle and would like to start making some tunes so any advice would be great. Put as much time as you can in the studio. I got to where I am not by reading tutorials but by sitting there and understanding how everything works. Thats how you develope your own style. There are to many producers out there that just copy the same sound design of someone that has already done it. Find your own sound and never give up. While we're on the subject, favorite TTA album and/or song? Fahrenheit Fair Enough. Hey, CED from facebook here. Thanks for doing the AMA. We love you! My question: who do you want to collaborate with most? Who has contacted you about doing any collaborating? Thats a tough one. I honestly dont listen to too much dubstep anymore. I know that sounds weird, but a lot of my inspirations come from other forms of music. I think a lot of people put me up on a pedestal on my productions, or maybe im too modest and dont give myself enough credit. If it was a dubstep artist right now, probably Seven Lions. The even crazier thing about me saying that is I listened to his music before I found out hes roommates my friend Torin (Bird Of Prey. I really like his melodic epic style. I think eventually I will slowly be moving away from dubstep and get into different forms of bass music. If I could collab with any artist right now, I would love to work with Machinedrum, Starkey or Rustie. They are just hands down amazing producers. I would be honored to be able to work with them. Do tell, are you romantically involved? Best music festival you have been to thus far? What are your backstage requirements when you play a venue or festival? Food, drinks, anything weird? Are you asking if I have a girlfriend lol? I do not anymore. Im single. I was in a long term relationship but it didn't work out. Festivals. umm, this is my first year really hitting up the larger festies. As for me playing I want to say Coachella 11' that was surreal how many people were there. Waka was fun too this year. My favorite festival that I attend would probably be symbiosis 09' in Yosemite. As for the rider, Nothing crazy. When I was picked up by AMonly they made a rider for me. Its just tons of booze, veggie platter w/ hummus. Nothing crazy. I usually let my friends, or cool fans I meet back stage to drink it all for me lol: Just wanted to say I love your music. I would really like to see you live sometime. My favorite song by you is This Old Heart. As for a question, who are your biggest musical influences? At what age did you discover your love of music? What do you think of performing live? Are you happy to see live performances becoming more popular over studio work? Thank you for the kind words: My musical influences... Wow thats hard to answer because I have so many. I listen to all different types of music. I guess it all depends on what genre you are talking about. I would have to say even though its not electronic music, Circa Survive would be my biggest musical influence. From the progressive song structure, to the emotion, lyrics and stage presence. I try to apply that same formula to my music and energy on stage. Live performing is intense. When I first started producing I remember telling my friend I would never play my music live. I guess I was completely wrong about that haha! At first few shows were very hard for me, I was terrified. I only play my own productions and you start getting inside your own head "what if they dont like it" what if they dont dance" what if I fuck up. I was my worst enemy. I would constantly over think everything. I finally got to the point a year or so in, I came to the realization that people enjoyed my music, they dont notice the small mistakes or even care. They are there to have a good time. Once I was able to accept that, I was able to just have fun and wig out on stage. Its all about having a good time. If you are in the crowd watching a DJ, you want to vibe of him/her. If you arnt moving, crowd isn't either. Thats something Ive learned over the past few years. Im both in the studio and playing out live so I guess I enjoy both. Its crazy to see how many people listen to electronic music now. Its great. What advice would you give to an aspiring producer? Did you have a long run of frustration with production before it "clicked" or has it always been easy for you? Let put it this way, im still frustrated with my own productions. Im my own worst critic. If you arnt pushing yourself to the best of your abilities constantly, your not going to progress. But one day you'll be in the studio in the zone and finish up a track and go "holy shit this is good. The satisfaction in that moment makes it all worth it. Like any electronic music artist, you know that at any given venue, a sizable portion if not a majority of the crowd is on some psychoactive substance besides alcohol or cigarettes (you think I ran on stage and hugged you because I was drunk. This certainly makes the crowd easier to please! As far as past experiences and occasional or rare instances, what sort of psychoactive substances have you personally become familiar with? Additionally, do you feel like your audience being high cheapens their appreciation of your music at all? If you're a responsible adult, and choose to take a substance at a show. If you know your limit, and you are not hurting anyone, or infringing on anyones free will, or ruining anyones good time. Then its none of my business what you do. You are an adult and can make your own decisions. Im not saying its right or wrong. But when I finish a set at an all ages massive, walk out side to get some air, just to see paramedics tossing a kids limp unconscious body onto a gurney. When that ambulance door slams shut, your heart falls into your stomach. All you can think about is the phone call that kids parents are about to receive. That being said, when I play shows to an older crowd (18+ I dont feel it devalues their appreciation for my music. I know they are my fans. Just like fans of any other artist, of any other genre of music. They are looking to go out and have good time. I owe it to them to play the best set I possibly can. If you do not condone drug use, why did you name a song after a drug? Because I was young in my career and I didnt know any better. If I could go back to the beginning with the knowledge and the things ive seen, and how it has affected people, I would have made different choices of naming those tracks. I dont have any regrets, those were interpretations of my own experiences. But I never thought I would someday have 30, 000+ fans either. When you are in the public eye, you hold a responsibility and owe it to your fans (especially the younger ones) to set a better example. People are going to do but you can only hope that they do it safely and responsibly. I think you are really one of the most underrated artists out there, your stuff is so epic and emotional, it's great. Have you ever considered doing production for a do I put you ever thought of doing soundtracks to movies? I dont think I have the proper musical education to write scores for movies. That takes a lot of experience. I have had some of my own music licensed in movies, television, documentaries and commercials before. So its neat to know that my music has credibility to be a part of a movie. It gave me a sense of accomplishment. I would have never thought my music would have made it this far. Hey, I have never heard of you but I checked out your music and it's unique and sounds good. I like your comment about not hoarding your music (somewhere up in the thread) haha. I'm a beat hoarder: anyways, do you have any tips on getting one's music liscensed out? Suppose the music is already sounding good. What is the next step? All the licensing that I have got contracted, usually the company contacts me. I know that their are companies that work for artist to help get your music out to television, movies and other advertising outlets though. That might be something to look into if you are looking to get your music licensed. Would you consider doing an AMA over on, for production only questions? We'd really appreciate it. Sure. Im self taught though, I dont know how much technical information I could give but I could give insite on how I make my music if it helps. I was thrown out of Arcata Theatre Lounge 4 times trying to get in to your show. Thank you for being a huge fan and being persistant in trying to get into the arcata theater! Let me know the next time im up north I'll try and get you in to my next show; Hey dude, aspiring producer/DJ here; How did you/do you deal with smaller crowds, and is there any size you won't play because of low turnout? On my last tour with Two Fresh we played Montreal on a Sunday. It was right after this huge city festival they had the night before. There was literally like 8 people that showed up. Let me give you a better idea, we have a full light production that could put any venues lights to shame, It was amazing to say the least. im playing to 8 PEOPLE! To most people thats a swift kick in the balls to your ego, but all I could think about is trying to blow those 8 peoples minds the whole time while playing. After my set two younger guys came up to me and said they drove 6 hours to see me play and It ment so much to them. That right there meant so much to me. I dont care if its sold out or the only person in the venue is the bartender. Im going to always play the best set with the intensity I try to bring to all my shows. Those people that show up to the show want to see you play and want to have a good time. So as a producer/DJ, thats your job to throw down so they can have a great night. I will never refuse a show just because it has a low turnout, It just inspires me to go harder: What are the best places to go to for decent bass and sound system culture in San Jose. know anything about the Santa Cruz area either. Honestly San Jose doesn't have shit for clubs. SF and Santa Cruz do. I think my favorite club for sound would be The Mighty or Mezzanine in SF. Santa Cruz we have the Catalyst, but they usually need to bring in extra subs. Its a bigger venue tailors more for bands then edm parties. Thats just off the top of my head. Who are the chillest and most fun artists you have met? Thats a hard one. Usually those artist become my friends and we see each other or talk on a regular basis. (NastyNasty, Stephan Jacobs, Gladkill, Freddy Todd. I can go on and on. I want to say one of my favorite experiences with an artist was with Brenden (Eskmo. I am a huge fan of his work and when I found out I was playing a show with him in New Orleans a few years back, I was blown away. Hes the most humble guy you'll ever meet. I was still new to the scene, so this was huge for me to be hanging out with someone I idolized. He kinda looked after me that night. He took me out to dinner. He showed me Burben st. Dude was just an amazing guy. I hope our paths cross again soon. What has been the high point of your career as an electronic music producer so far? Like your greatest memory, favorite show, or something like that. You know that feeling when your stomach turns and you realize shit just got real. That hit me in spades. I was terrified. It was a sea of people. I never played to that amount of people before. AND im wearing blue basketball shorts with paint stains and a sweaty beater to top it off! So you know they are just staring at me like who's this guy? So I get on the mic and say, Hey im nit grit and just started my set. I opened with bomber: Thank god I opened with bomber hahaha! The intro came on slow... everyone was just standing the drop. People went nuts! Ive never seen so many people rockin out in out to my music before. I would put my hand up and you would just see a sea of hands go up following mine. It was incredible! The whole set went flawless. The crowd was amazing the whole time! I finish my set and start packing up, girls flashing me in the front row (which had never happened to me till that point, and I think has been the only time its ever happened in my career lol. I felt like a rockstar. People wanted autographs and pictures. It was just an unbelievable experience on such an epic level. Ever since Wicker park, Chicago has the most NiT GriT fans in america. With Denver in a close second. Just a great time and memory. Also, as a fan, you're easily one of the best producers out there in my eyes. Your stuff is so unique and your show with Two Fresh in Asheville was one of the best electronic music shows I've ever seen. I'm looking forward to hearing the new song! I hope you swing by Knoxville soon! So its during that heat wave last summer. I had two shows lined up for that weekend, ATL and Chicago. (I love both of those cities. I fly into ATL and its like 96 degrees 100% humidity. One thing you need to know about me is I dont wear those beaters to look cool, I wear them because I sweat profusely. So right of the bat im sweating. Im literally going through all my clothes that I packed for the whole weekend. So I play ATL, it goes off! Great show, great crowd. Get back to the hotel at like 5am. My set for Wicker Park was 6pm and I have to be on a flight at 10am. so I have to be at the airport at 9. I get to the airport (im soo tired) and im wearing these old shorts that I used to wear when I worked construction. They have paint stains all over them. I look trashy to say the least haha. Go to get my ticket. The flight is canceled. The next flight isnt till 3 something. I wait till 3 and its late. Im calling everyone I can to let them know im probably not going to make it. Flight FINALLY shows up. I board we take off and go. I land and its like 5 something. I dont know how the driver did it but got me there minutes before I was supposed to be on stage. So I get out of the car and run to the stage, Its hot as hell, im out of clothes. Im thinking in my head, who cares, this is just some small street fair. So Im grabbing my gear. Ana Sia is CRUSHING IT on stage. Im thinking in my head "I have to follow this? shit. So I tell myself, so what its probably only a few hundred people at most. I walk up the stage to start setting up and this is what I come out to. How do you respond when people label dubstep as "not real music" or peg Ableton for doing all of the hard work of in producing music? You know, the argument that producers/DJs just "hit buttons" and "aren't real musicians. what say you? I guess it all depends. Truthfully it is music. You are still tapping into that same creative space if you were to pick up a guitar and play a riff in a band. If anything you are doing more work as a producer, your a one man band. you are conductor, playing all the instruments, you are the sound engineer and on top of that you are the DJ. I do se the other side of the argument as well. I think thats why a lot of electronic acts are gravitating towards a more "live" performance these days. But personally I dont really care what other people think about what I do or how they label it. Hey man. I think you've made a pretty nice impact on the scene in general with the decrease in, you know, the nastiest-bassline-ever dubstep and instead making something that's actually melodic and pleasant. Anyways, my question is basically how did you get to where you are now? After you get a few solid tracks, or a solid EP or two, do you just send them to labels as a form of cold-calling essentially? I'm guessing you're part of a booking agency, and how do you get into something like that? Did you contact them or did they find you? It just happened. I started making tracks and I hit the wave of people who started using Soundcloud when it was still new. I think that helped. I was on a few small labels but I pull my music from them and became kinda anti-label. The agency I am on now picked me up. It all just kinda fell together. It pretty surreal to be honest lol. I guess my question(s) to you is: Why so? and whatever happened (will happen) to Sloth Logic? I still appreciate you sending me that link btw, it opened me up to another awesome side to your music. Underground-like. Its not that I dont put my heart and that intensity in NiT GriT, but with Sloth Logic there were no boundaries. Experimental music can be whatever you want it to be. Its whatever your mind can come up with. Ive been trying to incorporate they into a lot of nit grit, but with dance music you have to have some sort of a constant to keep people moving. So I had to find more creative ways of expressing myself within those walls. I put a lot of it in my sound design. "This Old Heart" is a good example of that. Its trying to find that balance between a constant and chaos. I do plan on going back to my Sloth Logic project and making a new EP soon. Its something thats been on my mind. Hopefully soon I will be pushing those endless boundaries again. Just wanted to say thanks for taking the time to answer my questions, Can't wait to hear the new Sloth Logic. I wish more artists did these AMA's, or atleast contributed more to Reddit. This made my day: Anytime my friend Dude, such a huge fan. Your set at Wakarusa was ILL. And it would be amazing to see you lay it down in Houston! When your making music, is there ever a point where you say to yourself? yeah this is definitely done" or do you feel like you can always keep improving a song? I always wonder this for every artist but you especially have a very unique sound. what is your inspiration for you kind of sound? My sound is just me. I dont know how to make my music any other way. I always try to find ways to progress and take my sound design to the next level (which is a lot of trial and error for hours till you find something that works. Every artist works differently. When im inspired, I work quickly. Ill get the bulk of a track done in a day. Go back the next day and hear it again, fix or change things, then start working on the mixdown. Im not one of those artist that hoards his music. When I make something and send it off to get mastered. Once I have it back its immediately on soundcloud to share. I saw you play at the Westcott in Syracuse, NY. I'm sure it was a much smaller show than you're used to, but you still played hard as ever and I fucking loved it. That tour was rough to be honest. It was put together and not promoted well. It definitely took a hit on my confidence to see these giant venues and some nights have less then 100 people show up. Granted it was a monday or tuesday during finals week... but still. There were so many variables of why it turned out that way, but it is what it is. I dont care if im playing to 20 people or 20, 000, Im going to put everything I got into that set. If people are amped to come out and see me play, Im just as stoked to put on the best show I can. Here's my question you ever feel less inclined/pressured to play a better/longer set depending on the size of the crowd? As for the length of the set. I usually only play 60 minutes for a reason. I feel that after an hour of playing your own productions you might start losing people. It might get stale. Thats why I try and keep progressing and keep my tracks diverse. I've always felt like mixing and mastering were my weaker points, could you give any tips on how you learned to mix and master? It took me a long time to learn how to mix a proper mix correctly. Separate the idea of mixing and mastering. They are two completely different artforms. When you mix, always do it at a low volume. This is where new producers make the mistake. They want everything to be loud and heavy while you are mixing it. Try something. Take your kick to 0db. Shits loud right? Now lower that down to -12db and turn up your monitors. Sounds just as loud doesn't it? Do this and it gives you enough headroom to add any other synths or instruments without cluttering the mix. Make sure all your instruments sit nicely in there freq range. EQ everything, Pan your synths (even if its just slightly. Dont ever put anything on the master until your mixdown is complete. When your mixdown is complete its ready for mastering. Then you can add your compresser/limiters to bring your mix up to 0db and everything sounds clean. I personally get someone else to do my mastering because they have an unbiased ear and can help me fix my mix if there is something sounding off in it. Thats just me, some people master their own tracks themselves. Thats personal preference. I hoped that help a little bit. Keep making music my friend: Kind of an odd question, but I feel like the reason you are one of the best dubstep producers out there is because you make actual songs, rather than buildup- drop- filler- another drop- filler- fade out. Do you have any specific method (or order) in constructing your tracks that helps you achieve the much more interesting types of music you make? Its just how I write tracks. I think it came from me playing guitar. You would have your intro, verse, chorus, verse bridge, outro. My song are always structured differently though. Its just how I write em I guess. When performing at events (clubs, festivals etc. is your setlist preplanned to a certain extent or is it all improvised? I usually rehearse my sets beforehand and form a set list. Some of my tracks dont work well with others and I like to keep a flow to keep people interested. Over the past few years my style has changed and so have my productions. When I build a set, its kinda like a puzzle and im fitting the pieces together to try and make it seamless. I usually like to come out strong then go back to the more melodic slower tracks and then end strong. Where could you see an intern (aka free employee) fitting into the business that is, for example, NiTGriT? If you are looking for an internship you should find a credible management company that can teach you the ins and outs of how things work in the music business. There is so many things that even artist I know have no clue about when It comes to management. If you were to go to and artist directly to work for him just to be his intern/assistant, you couldn't benefit too much. Both would probably be the same job tasks for an intern. Interns generally would be the ones keeping track of contracts coming in from the agency, filing those for records, booking the flights, keeping track of receipts (tax time is a bitch) writing up the itineraries which would be a breakdown of all the information the artist needs from the moment they land in the city they're playing. Flight times, pick up times, drivers. promoters. hotel w/ address with conformation. sound check and set times, amount owed at show, and the info for the next day to get back home or to the next gig. You would keep track of updating shows on websites and other tedious things of that nature. My suggestion If you want to have hands experience with artists and how to manage them, you would have to go to a legit management company, with a legit manager. That way you will be able to understand and learn the other responsibilities of a management group. For example, licensing music, contracts, lawyers, labels, What companies to work with for music and clothing distribution, or with graphic designers, web designers, sponsorships, publicists, list goes on. They are all entities that are managed by the company for the artist. Thats if you find a good one. I am going to school for music management, and need an internship. What aspects of the industry would an artist in your position benefit from from a "free employee. I have to dissect this question a little more. Are you looking to work one on one with an artist? or be part of a management company that works with artists for your internship? What makes dubstep different from other types of electronic music? Dubstep derived from dub music (branch off of Reggae that uses a lot of effects. check out Lee "scratch" Perry for example) and 2-step/garage. It was created in London. It sounded a lot different then what it does now. It didnt get that popular till it hit north america where It started getting extremely heavy LFO (wobbling) basslines. A lot of Drum and Bass artist contributed to that. It kept evolving to what it is today incorporating all styles/genres of electronic music, all based around that heavy bass lines and a hard hitting 2-step beat. To a lot of people it sounds like overwhelming noise and very annoying. Just like anything these days that gets popular, people just want to hate it to hate it. Every generation has there own form of "dubstep" that people dislike. It definitely pissed off true fans of dubstep/garage in europe when it hit north america because we destroyed the roots of the genre and started cross breeding it with all different styles of EDM music. Does the size of the crowd effect how much fun you have with it? Who is your favorite producer right now? What is your favorite type of pizza? addendum, Please release that new Pizza Party track. The size of the crowd doesnt matter, its how they respond. If they are feeling it and going wild, im feeling it and going wild: Favorite producer right now. thats hard. Im really digging Squarepushers new album. New Pizza Party will be out soon. Ive been playing out the unfinished versions of some of the new tracks hahaha I couldnt wait Hey man, huge fan here! I love your unique sound; you're one of the few dubstep artists I still like! What do you think the future of your sound is and what are you working on? Are you going to be on tour in the US anytime soon? Im in the studio everyday still trying to find that next nit grit sound. I notice as I progress the sound does too. I never really know where its going to take me. There have been talks of another tour, but nothing really set in stone. I think for the time being im just going to be playing individual shows across the U. S. Serious question, how do you feel about internet piracy? How do you think the industry should deal with it? Do you download? This is my personal opinion and thats all. Im not trying to start a controversy. I think music should be free. Thats why I give away all my music away. I made the music so people can listen to it. A lot of musicians get caught up in album sales and being #1 on beatport. I can give a shit personally about being on any chart comparing my music to someone elses. And If I want to check out an album I think I might like, I will definitely download it. If I like it a lot, I usually go and buy it because its better quality and It does support the artist, but truthfully we make the majority of our money playing shows. I personally feel that people are going to pirate my music either way. I might as well give them a good quality 320 other then some garbage quality file some guy ripped from my Soundcloud. I actually have to pay to give away my music for free. I can see why its a touchy subject with other artist though. When are you coming to shambhala? I dont know, Ive been trying to get on that line up since 2010. Honestly its up to my agency and the promoters. I dont really have much of a say on where I play anymore. They just let me know whos booking me where and I go play it. If you could force all dubstep listeners to hear just one of your songs, which one would it be? I donno if I would want to force anyone to listen to my music and it would be really hard because everyone I talk to has a different favorite song that ive made. I think the most universal track I wrote that im proud of would be my remix of "Prituri Se Planinata" by Stellamara. How old are you? I am 26. (I know I still have an old Bio floating around saying im 24 still, sorry) Did you enjoy Waka? I SURE AS HELL DID, GREAT SET. I wish I had time to think of some better questions, but my brain is is not giving many fucks right now. I loved Waka I had a blast! I actually had to completely improvise the last 20 minutes of my set, but it worked out really well. people seemed like they were stoked! I absolutely fucking love you. your music touches my soul for realllllll. i'll be seeing you at camp bisco for sure! do you plan on meeting any fans there? D. I always love to meet my fans. I actually just booked my flight for Bisco. If you see me, dont hesitate to come up and say hey. Im always stoked to meet you all.
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