The first question I ask Will Oldham is about character preparation—how the longtime musician and actor readied himself for his role opposite “Dawson’s Creek” alum Michelle Williams in director Kelly Reichardt’s new film, Wendy and Lucy.
My rationale? As a musician, Oldham has released a handful of records under a few different monikers; his most recent album, Lie Down in the Light, is credited to Bonnie “Prince” Billy, a name applied to multiple albums involving Oldham for roughly 10 years and the same musician scheduled to perform two sets at Gravity Lounge on August 9. As an actor, however, Oldham is credited by his given name, albeit for explicitly playing different characters. So, what’s the difference between creating an outlet for yourself and having a director do it for you?
Unfortunately, I get only a few questions into how Reichardt helped Oldham prepare for his latest acting gig before we stop.
“You know, I’m a musician,” he tells me sharply. “And this is for a show, right?” We switch gears.
No matter the medium, Oldham seems to appreciate efficiency. But just who sets the agenda does depend on the medium, which can make an interview with Oldham—hell, with anyone—difficult on either party. “If someone asks me to play a role in a movie,” he says later, “I figure they know what they’re doing. So that releases me from boatloads of responsibility on certain levels. It means I don’t have to worry about the content of the text, because that’s not my job.” As he puts it: When working with a director on a film, Oldham “waits for direction.”
And how does acting compare to making a record? “I have to leave the option open for rewriting a song, either completely or a line,” says Oldham. When I ask about memorable experiences in creating Lie Down in the Light, Oldham speaks mainly about efficiency: During the first day of tracking the record, Oldham says simply that “things weren’t working.” The band rearranged the way songs were recorded so that Oldham could sing without playing guitar.
 The artist known as “Prince”: Will Oldham performs as Bonnie “Prince” Billy at Gravity Lounge on August 9. |
| C-VILLE Playlist What we’re listening to “Compulse,” by Tereu Tereu (from Feline Ambition)—This Fredericksburg band turns out danceable rock tunes tighter than the laces on your Chuck Taylors. “God Moves on the City,” by Paul Curreri (from From Long Gones to Hawkmoth) “Sea Legs,” by The Shins (from Wincing the Night Away) “Take the ‘A’ Train,” by Duke Ellington Orchestra “Blowing Down,” by Digable Planets (from Blowout Comb) “Caught in a Mosh,” by Anthrax (from Among the Living) |
“I kinda had a fantasy of not playing a lot of guitar while recording or playing live, because I get a kick out of singing,” says Oldham. “And I think having to concentrate on two things would take away from all the stuff I could be doing with just singing.” For the Gravity Lounge performances, Oldham will be joined by his brothers Ned, a Charlottesville resident and leader of opening band Anomoanon, and Paul; when I ask about what instruments he would or would not play live, Oldham says it will “probably be a mix.”
“If my guitar playing can contribute to the song, then it’s necessary,” he explains.
What’s not necessary, I think, is an interview. It is worth considering that some people are performers for the purpose of having an outlet. What I want to do as an interviewer is move inward, and Oldham’s work, no matter the medium or character, is about moving forward, upward, outward, through asking questions. What answers will his shows at Gravity Lounge provide? You’ll have to see for yourself.
Horrorshow!
Before local horror film production company Darkstone Entertainment headed to Richmond to compete in The 48 Hour Film Project, I sat down with founder and director John Johnson and his colleague, David Simmons III, to talk strategy for the group’s second trip to the event.
During the 2007 competition, Darkstone finished its screenplay on Friday, shot the film on Saturday—including a shot in which they set a stuntman friend on fire—and began editing at 6am on Sunday morning, deadline day. Johnson stayed up through the night editing and eventually passed out, falling out of his chair; Simmons delivered the film to the competition with 13 minutes to spare, and the group ultimately nabbed high marks for special effects.
“We’re genre filmmakers,” said Johnson before the 2008 competition, “but we don’t necessarily want the horror genre.” The competition functions like the annual Adrenaline Film Project at the Virginia Film Festival: Teams receive a character, prop and line of dialogue that they must use, as well as a genre assignment.
“Some groups prepare a movie for all genres and adapt it,” said Johnson. “We prepare movies for all genres.”
 Artistic direction: Local gallery Les Yeux du Monde (shown here in its old location) reopens on August 15 at 500 W. Main St. |
The plan seems to’ve worked. In this year’s competition, Darkstone Entertainment earned high marks for use of its prop and character, as well as “Honorable Mention” for best film and “Best Writing” for its submission, Atone. Way to go, fellows!
If you’re interested in seeing films from Darkstone Entertainment (including titles like The Jester and Skeleton Key) you can find details on each at darkstone-ent.net. For those of you waiting for the big screen, you may be in luck: According to Johnson and Simmons, Darkstone Entertainment may screen a film at Gravity Lounge near Halloween.
Found art
Les Yeux du Monde has a new home! A month after vacating her spot on Water Street (now home to Petit Bebe), Lyn Warren e-mailed to announce that LYDM will open a space on August 15 at 500 W. Main St., next to Zinc. Warren writes that LYDM’s first exhibit will include pieces from longtime gallery members including Dean Dass and Lydia Gasman, as well as a few new voices, including Peyton Hurt, who is currently showing at the Gallery at Fifth and Water. More on the Les Yeux picture as it develops!
