Ms. Manson, do you think the ’90s were the least rebellious decade of the last 50 years?
In Britain it was definitely a period of time where we’ve never really had it so good. There was the odd blip here and there, but in general I think people felt fat and happy. I think it was a decade of anesthesia in a way. And yet if you look at the music of the ’90s, it was the first time that alternative music really dominated mainstream radio and mainstream media. That was exciting to me.
Are you talking about rap music?
Yeah, in the ’90s there was at least hip hop and rap. That was rebellious to our parents. They were all kind of freaked out and wondered what this music was. An alternative standpoint had finally taken over for a very brief period of time, maybe 6 or 7 years of the ’90s. I actually feel like the 2000s were the least rebellious decade.
Now, my friends, people my age are the parents and the kids are all hipsters. I keep saying to my friends, “Where are the fucking agitators? Where are the young people in complete dissent with the mainstream?” I don’t see it. I feel like they have been anesthetized by Twitter and Facebook and what I call the “Like” culture. Young people measure how popular they are by how many likes they have on Facebook and how many people are following them on Twitter. There’s this whole culture obsessed with being liked! Of course there can’t be any dissent when you’re obsessed with being liked and loved and worshipped.
Was this different in the ’70s and ’80s when you were growing up?
When I was growing up there was always a group of young kids who would be provocative, deliberately disassociating themselves from society. You’d have mods, you’d have big packs of bikers, you’d have punks, you’d have all these sorts of youth groups marauding the streets and distinguishing themselves with amazing physical adornments. And you don’t see that anymore. Everyone pretty much dresses the same. You might see the one odd goth kid looking miserable, but I don’t feel it in any way. I don’t feel any real cultural rebellion.
People have always labeled you as “rebellious.” Is this a term that you identify with or was that just because of the color of your hair?
I could never really relate to my public image as rebellious. I just want to be straightforward. I’m not smart enough to present a fake, false façade that anybody’s going to buy. I think I’ve always been like that. I can even remember when I was a child at the dinner table with my parents and my siblings I’d be calling people out all the time for not telling the truth. I never wanted to be that kind of person.
Have people gotten more fake in the last 20 years?
Because of the omnipresence of the Internet I think there are fewer and fewer people who are willing to go on record about what they feel and what their beliefs are. I feel like we’re living in a culture right now that’s incredibly timid and I find that really alarming. People fear that they will be criticized or they will be judged.
I used to, but one day I realized that it didn’t matter whether people loved me or not. I was released of all that insecurity when I released myself from that hope or that fantasy or whatever that yearning is and came to the conclusion that I could be happy making music regardless of whether I was successful or not. It was just a release of concern about whether I was popular or not or whether people liked me or not. It was just irrelevant to me all of a sudden.
“Everything has become all about the surface and not about substance.”
Are there situations that can still make you feel insecure?
When you go and do photo sessions, particularly for magazines, you’re dealing with other people’s expectations and that is what shuts me down. That is when I start feeling insecure about myself. I’m enough for me. If somebody took a picture of me, I could deal with it being unflattering because I know, yeah, there are times when I don’t look good. That’s okay. But when you’re dealing with the media’s expectation of how you should look because they need you to look a certain way to sell, that’s where I get crazy. They’re asking you to conform, they’re asking you to play a role, to be dishonest, to be something that you’re not.
And at the same time they want you to pretend that this is who you really are.
That’s the worst part about it. I did a photo session last year that was honestly so mind-boggling to me. They wanted me to be in the magazine because, “We love her, we love what she’s about.” Cool. So we go to do the photo shoot and I get ready and I present myself to the photographer. He loves the way I look. But then a woman from the magazine said to me, “Oh, we can’t have you looking like that in the magazine. We won’t run those pictures.” I thought to myself, “Okay, I really need to stay calm here otherwise I’m going to walk out.”
What kept you from leaving?
I didn’t want to create a scene. I’m representing my band’s interests, not just my own so I have to be cool. So I said to her, “How do you envisage seeing me today?” (Laughs) You know, trying to engage her and also being curious and she said to me, this is a quote, “You know, just that sort of tousled hair, that just-got-fucked look. That straight-off-the-beach look.” (Laughs) And I’m wondering, “Are you fucking high?” I couldn’t believe she said that to me! I told her, “I’m a 46 year old who’s had a career of 20 years and you’re trying to suggest that I go on a magazine cover looking as though I just got fucked?” And also, “just got off the beach” look? I’m Scottish, I’ve never stood on a beach in my life.
So how did the photos turn out in the end?
I didn’t change or anything and they were fine in the end. They loved the photos and me just being me. You don’t want to be an asshole, but at the same time this is the kind of pressure that, every artist right now in this climate, but women in particular, are being molded and just completely homogenized so that everyone looks the same and talks the same. Everything has become all about the surface and not about substance. It’s an exciting time though because everything has gotten so beige and uniform that something is going to come along and rock our foundations. It has to.
Source: The Talk
‘The Square’ Interview with Ruben Östlund, Claes Bang and Elisabeth Moss
Director Ruben Östlund is an adventurer of Swedish film and a hard man to satiate. It is seen in his Oscar-nominated film – The Square that has received much attention. Here is an excerpt from the interview with The Playlist as actors Claes Bang and Elisabeth Moss share their experience with the movie and the director.
Claes Bang: Can I tell you a funny story from Cannes?
Elisabeth Moss: Yeah.
Claes Bang: When we were [at Cannes] there was this Screen International journalist, Wendy Mitchell, and she saw the film, she loved it, and she started [rooting] for me as best actor. She put on her Facebook page she put “The Daily Bang” and posted a new photo of me every day. Invented the hashtag #BangforBond.
Elisabeth Moss: So good!
Claes Bang : At the end of the festival, all these predictions come out, right? My agents were fanning me. “It says in Variety now that you’re gonna win. It says in the Daily Telegraph you’re gonna win. It says in The Guardian.” It said everywhere and I started fucking believing the hype. I did. I started believing the hype, because everybody was saying, “It’s an amazing film. It’s so fucking good, but you’re not gonna win the big thing because it’s too funny.” So when we got that phone call on Sunday…
The Playlist: And they told Ruben to come, too, it wasn’t just…
Claes Bang: No, no. They invite the entire crew that is there. So they said to come and I was like, “Fuck, I’m gonna get [an] award.” So when they said, “And the award for Best Actor goes to,” I was almost fucking getting my ass out of the seat and then they said, “Joaquin Phoenix.” I was like, “Okay, I’ll stay put.” Then the next prize went, the next prize went, the next prize went and there was just one left. I leaned over to Rupert and I said, “Unless they’re really fucking with us, we’re gonna get the big one.” We got the big one and I was like, really, really so fucking happy about it, and he was, and everything was exploding, and then five minutes later I was like, “Wait a fucking second. What the fuck was that? He stole my award,that fucking Swedish wanker.” (Laughs.) So what happened is that all the people that get the awards, they go off to a press conference.
Elisbeth Moss: Yeah.
The Playlist: Yeah, I was at the press conferences.
Claes Bang: There’s an amazing party that starts out on the top of the Palais overlooking this harbor with all the boats and everything. Then you go down to the beach where there’s a department of a French restaurant that’s just the most amazing food, champagne, people in tuxes. I mean, amazing. I started to get a little bit pissed. I got quite drunk and then Ruben came back from the press conference and I saw him over there, and I was like, “I’m fucking gonna hurt him now. I’m fucking gonna go over there and kick his ass.”
The Playlist: Really?
Claes Bang: I was so mad. I was really … and I have done really, really stupid stuff when I’m drunk. So, I said to my wife, “We need to leave now.” So we left.
Elisabeth Moss: That’s the danger of believing the hype! That’s why after eight nominations I will never convince me of anything else other than that I’m gonna lose.
Claes Bang: And Ruben texted me something at [1 AM asking] “Where the fuck are you? I mean, we won and everybody’s asking for you.” I mean, everybody there had seen that film and unless you know Ruben, you don’t know that he is the guy, but everybody knew that I was sort of the lead of the film. And I was just…
Elisabeth Moss: Gone.
Claes Bang: I was gone.
The Playlist: But when you woke up the next morning with the hangover were you at least excited?
Claes Bang: I had to get up like, fuck dead early the next morning. That was one of the things. I had a show in Edinburgh that next night.
The Playlist: But when you were going to the airport, on the plane, you must have been thinking “Holy cow!” because when you make a movie you don’t necessarily think it’s going to win the Palme d’Or at Cannes.
Claes Bang: No, and my wife, she was so fucking mad with me. She said, “We’re leaving the party of our lives. There’s boom boom boom and they all want to talk to you, and now we’re leaving.” “Yes,” I said, “This is not where I’m gonna kill a director or try and break the Palme d’Or in half to say ‘This is mine’ or something.”
Elisabeth Moss: But how Ruben Ostlund would that have been if the lead actor and the director got into a fight?
Claes Bang: Exactly.
The Playlist: Yes!
Claes Bang: When I told him this story, because I’ve told him and I’ve told the press and everything now, he was just like, “This is the best story of the whole shoot.”
Elisabeth Moss: Yeah, it’s the greatest!
The Playlist: He’s gonna put this in a movie now. You realize this, right?
Claes Bang: It’s cool. It’s fine. It’s no problem. Listen, what I actually find quite funny is that when you think about it, it’s like, “Oh my God, no. Did I do that?” But when I tell the story people are like, “Finally, someone is coming out and saying I was really, really disappointed not to win.”
Elisabeth Moss: Right. Totally, yes.
Claes Bang: It was literally something like five or six places where it said, “He’s gonna win it.” I fucking believed it.
Elisabeth Moss: Of course. It’s dangerous!
The Playlist: By the way, I’m one of those people that do the stuff that say “these people are going to win.”
Elisabeth Moss: Right, exactly!
The Playlist: So, I guess I apologize?
Elisabeth Moss: No, by all means. It’s your job, but it’s like…
Claes Bang: I have this thing also that was like, “Okay, they really invited a rookie to Cannes. Now we’re gonna fuck with him.”
The Playlist: It’s not personal!
Claes Bang: “We’re gonna build him up, we’re gonna make him believe, and then-”
Elisabeth Moss: “We’re gonna take it away. Just to teach him a lesson.”
The Playlist: Elisabeth, you weren’t at the ceremony. Were you there for the premiere and then you left?
Elisabeth Moss: I went to Antibes which is like 45 minutes, a half an hour away or something. Nobody asked me to go to the Palme d’Or Ceremony.
The Playlist: Oh, they didn’t call and tell you? I thought they gave everyone 24 hours notice.
Claes Bang: No. For instance, if you’re in Japan and you’ve gone back to Japan and you’re getting an award, they will let you know in time so you can get on a plane.
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CHRISTO TALKS: “IT’S NOT A PROFESSION, IT’S EXISTENCE”
Christo, you and your wife Jeanne-Claude were born on the exact same day in 1935, but in completely different countries. Do you believe in destiny?
Jeanne-Claude always said, “There are a million people born on the same day.” But it happened that we met, that’s all. That is something not unusual. But there are many things that are not destiny. You make your own destiny.
You worked together for nearly 50 years. Would you have become the same artist without her?
It’s the same question to ask, “What would happen if I were Chinese?” (Laughs) We cannot discuss these things – if, if, if – there are no ifs. After living for 80 years, there are no ifs. I can only say one if and it was that I was rather lucky to escape in 1957 to the West. I had never been outside of Bulgaria until 1956 and if I didn’t go to the West, things would have probably been different.
The Soviets had a very strict policy against modern art so you might have not made art at all.
I was drawing all the time as a little boy, like 5 or 6 years old, and it was at this age that I decided to be an artist. There was never a thought about anything else. But it’s true, in the late ’40s and early ’50s most modern art was not permitted to be seen in the Soviet Bloc countries. There were some very bad reproductions and old books… I desperately tried to go beyond Bulgaria and the Soviet Bloc, but even going to other communist countries was very difficult. Fortunately my aunt and my uncle were living in Prague and finally I succeeded in finding a way to visit them. And I was totally flabbergasted by Prague!
It was the most Western country. Even before the chance to fully escape came into view, I had already decided that I was never going to go back to Bulgaria! I was going to stay in Prague. I was young, like 21 years old, and when you’re young and you discover the relatively small freedom of the Western art in Czechoslovakia and Prague in the late ’50s, suddenly you dream of going to Paris! And this is how the stage was set for me to go to Paris.
And that made all the difference after all. It was there that you met Jeanne-Claude and you were together until her death in 2009. How has your life changed since she passed away?
We are missing her all the time, you know? You should understand that living with one person for over 50 years, we miss many, many things. Probably one of the greatest things was that she was always very critical of anything we tried to put together. You can see in many of the films the Maysles brothers made about our work how vigorously we argued with each other – almost fighting each other! This is the thing I miss the most because it is so important to the process of what we are doing, to have this critical attitude all the time, not bending, not compromising. But there are many, many things. Many, many things.
Is it true that you always flew in separate planes so that in case one crashed the other could continue the work?
Exactly, because we are always working on two or three projects and at least one should finish the project that was very much advanced. That was the story. I remember often we would take different planes, then on the way to the connecting flight we would kiss each other and take another plane.
Was it natural for you to continue making work alone after her death?
To be a visual artist is not a profession – it is existence. In the Maysles’ film The Gates, she is in a car and a journalist is asking, “You’re very advanced in age, will you retire?” And Jeanne-Claude says, “Artists do not retire, they simply die.” It’s not a profession, it’s existence, you know? You exist through art. You cannot even compare it to other professions, in the office and things like that.
Source: The Talks
THE ANA ROŠ TALK: “IT HAS TO DO WITH OUR OWN PERSONALITY”
Ms. Roš, what are the main challenges in Slovenian cuisine today?
I think Slovenia is slowly, slowly stepping on the world gastronomic map. But my generation of chefs needs to fight for every single step, and every decision is opening a new door. If you work in Italy or Germany, and you cook well, sooner or later you will get the recognition that you need — there is the Michelin Guide, there is Gault Millau, there is the L’Espresso Guide. While in Slovenia, you can be really good, but up to the moment when the international community acknowledges you, you are actually no one.
You have been the head chef of Hiša Franko in Kobarid for almost 20 years — and it wasn’t until this year that you were recognized as the number one female chef by the World’s 50 Best Restaurants academy.
Right, it’s a very, very slow process. Everybody travels for food to Copenhagen, London, or Paris, but who knows where Kobarid is? So it has been a long, long struggle and fight. It doesn’t have only to do with the quality of the restaurant; you have to prove that you are worth certain awards three times more than in developed countries.
“Creativity is something that does not come only from our childhood — it has a lot to do with our own personality.”
I guess the former Yugoslavia doesn’t necessarily come to mind as a haven for creativity in fine dining. What was it like growing up there in the 1990s?
Well, my mother was actually a brilliant cook. She was a journalist and a very creative person, so our meals at home were very colorful and never repeated. But if I think of the food from my childhood, I think of a simple pasta dish with homemade tomato sauce. It really was a super flavorful meal, with a drop of olive oil on the top and with no cheese. That was the most loved meal when I was a child! That is what they call, “happy food.” You know, my children would kill for it.
My parents lived through the communist regime and told me they used to get so excited over simple things like bananas because they were so rare.
Yes but you know, Yugoslavia never had a very strict organization of the country — the borders were open and we could travel. Tito was a “bon vivant” and he was letting his people have a pretty free life. So Yugoslavia had a lot of good things as well. I think Yugoslavia was a place with a lot of creative people; culture was super strong, especially in Zagreb and Belgrade. But I think that creativity is something that either is in a person or is not. Let’s say I have two children and they are both raised in the same way. The girl is super creative and totally irrational, while the boy is totally rational and not creative at all. I think it is something that does not come only from our childhood or from our upbringing or from the regime in which we lived in — it has a lot to do with our own personality.
Do you feel more creative and irrational, or the other way around?
Oh, I’m too instinctive sometimes! You see, my problem — and sometimes it is also a good thing — is that I don’t question a lot. I actually just jump in the water and swim and I am a kind of personality that is never happy with average results. At Hiša Franko, I never questioned myself about how it is going to be like, especially because I never had any prior experience of seeing how a restaurant really works and I’m completely self-taught so it was like a total experiment and we are still making corrections.
Source: The Talk
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