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High Five! from The Future Everybody

With the recent release of their debut EP, It Takes Nothing, Boston's latest indie pop outfit has been taking the east coast by storm. Comprising of Neutral Uke Hotel, Scamper, and Golden Bloom members, The Future Everybody compares their sugary sweet meets kick-in-the-face pop melodies as "vanilla cupcakes drizzled with champagne spiked with absinthe and set on fire." This week, Nate Rogers, Matthew Girard, Morgan Terrinoni, Veronica Dale and Richard Adkins, better known as The Future Everybody, take a break from practicing for their upcoming show with Muy Cansado and Parlour Bells on June 17 at The Rosebud to discuss their favorite filmmakers.

 

1. Alfred Hitchcock 

(Nate Rogers - Vox, Guitar)

Hitchcock, at his best, closely resembles my mind at its worst: anxious, tense, paranoid, maniacal, somewhat unhinged. Not coincidentally, though, it is in that mindset where I find my songwriting muse and really hit pay dirt, both lyrically and in terms of performance. My old band wrote a song about North By Northwest and Matt's old band had a song about Grace Kelly, a frequent Hitchcock leading lady. One of The Future Everybody's newest songs "Arches" is about Vertigo (of which I am a sufferer). Our song structures have plot twists, our audiences are voyeurs and major chords are MacGuffins. Also, like Hitchcock, I have a very distinctive profile.

 

2. Jean-Pierre Jeunet

(Veronica Dale - Keys)

It’s the quirky little touches, the things you don’t expect and the interesting visual style of Jean-Pierre Jeunet’s films that made me decide to go with him over Darren Aronofsky; although, he was a really close second. Whether it’s Jeunet’s darker, more fanciful films, such as Delicatessen or The City of Lost Children, his mystery/war/love story A Very Long Engagement, or his most well known, light and comedic tale Amelie, I continuously find myself lost in Jeunet's imaginative world. It's his ability to balance between romance, tragedy, darkness, and humor that repeatedly draws me to his work. And really, who doesn’t like a movie that ends with a cello/saw duet on a rooftop?

 

3. Lars Von Trier


(Richard P. Adkins - Drums)

Lars Von Trier is the ultimate Catholic filmmaker. His world is one where God sees everything; every action, every thought you will ever have, life before birth, after death, or in eternity. In this director's films, a character is born and is given free will as a sort of cosmic joke. The only sane characters are those in complete rebellion against their insane and impossible existence. Von Trier's cinematic world is black and white; unforgiving, hard and unrelenting. Comparing his cinema to say, Martin Scorsese's work, Scorsese's characters often survive their various ordeals and many of his films end with a redemption of sorts for his characters, particularly the heroes. Von Trier destroys his heroines (none of his male characters qualify) in every film, and redemption is located most often beyond death. See Lars Von Trier's films for their extraordinary heroines and a world less gray than ours.

 

4. François Truffaut

(Morgan Terrinoni - Guitar)

From The 400 Blows to Jules and Jim, Truffaut explores the grayer, indistinct areas of relationships and of life, where nothing is perfect, including the characters. Truffaut's characters struggle with decisions and themselves, and it's these flaws bring me back to these films, over and over. Somehow Truffaut creates the buddy film, the tough urban childhood film, and an epic cycle of movies from the teenage years into adulthood, all with sensitivity, humor, and sadness.

 

5. Mel Brooks


(Matthew A. Girard - Bass, Vox)

When you don’t have anything funny to say, steal it from someone else. Mel Brooks has done more in this department than perhaps any other filmmaker or comedian that I know. I was hooked on this filmmaker at an early age when my parents took me to see Spaceballs (where I heard my first swear words not uttered by my parents), and to this day I can quote, verbatim, large sections of the movie. Sadly, after eyeing the Spaceballs novelization at Daytrotter, I purchased a copy and found numerous deviations from the film. To this day, very few filmmakers are able to combine anachronistic pop-culture references, (bordering on) offensive religious and racial stereotypes, and create completely outlandish characters in a way that doesn’t appear to be distasteful or over the top. As Brooks would say as King Louis XVI, "It's good to be the king.”

 

The Future Everybody - "Amy (Don't Blame Me)" from Johnny Anguish on Vimeo.

 

This week's High Five! is brought to you by: The Future Everybody with Lauren Mercury Roberts

Photo Credit - Kelly Davidson

To celebrate the end of the nine to five, a Green Light Go staff member or artist will leave you with their short list of favorite things, better known as the High Five!

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Janelle is the owner of Green Light Go. When she's not spreading the word on her favorite bands she can usually be found riding her road bike through Michigan, designing super hip clothes or analyzing people much to their dismay.
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