Proto-punk is another topic altogether, and everyone has their favorites. Mine is The Modern Lovers, recorded in 1973 with tapes widely circulated at the time but not officially released until 1976 (it's no accident that the Sex Pistols covered "Roadrunner.") And I do believe the Velvet Underground had proto-punk pretty much figured out in 1966. It's all in the ears of the beholder.
I had about 8 hours worth of wide-ranging conversations with members of the creative team behind Beasts before writing the Gambit cover story, and politics barely came up at all. Benh was aware that some audiences outside of Louisiana were probably going to relate to the film through media-derived images of New Orleans, Katrina, and the federal floods. But it was clear that he intended Beasts as a kind of folk tale. For me, the film works the way art is supposed to work: it’s beautiful and meaningful and open to interpretation. I personally don’t see any political content in the film other than what naturally grows from a humanist perspective. But I don’t think it’s at all surprising that others do.
The movie was a collaboration. Marvel keeps tight control over its properties, and reportedly declined to allow Sam Raimi another sequel when they didn't like his ideas.
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