The daily Nebraskan. ([Lincoln, Neb.) 1901-current, November 22, 1996, Page 9, Image 9
i Cliff Hicks Ethics aside, trip to LA successful I went to Los Angeles — for FREE! It could happen to you. You, too, could be living the good life in 88-degree weather in November. I had an offer I couldn’t refuse, and I took it. Someone mentioned something about ethics, too, but they’re overrated. I’ll get to that in a minute, anyway. “So, Cliff,” I hear you asking, “how DID you get to L.A. for free?” Paramount Pictures. The offer went something like this — come to LA. (our treat), stay in a four star hotel (our treat), see two films before they come out (our treat), get lots of free stuff (our treat) and write some articles about it (your treat). I would leave the morning of Fri day the 8th and get back very late the evening of Sunday the 10th. They’d cover everything—all I had to do was watch some films and talk to some people. Sure, sounded easy enough. It wasn’t like I was selling my soul or anything (though when I signed for my plane ticket, the FedEx guy did have me sign the form in blood). So, to keep things in perspective, I de cided to keep track of all the money Paramount Pictures spent on me fry ing to buy me off. The flight to LA. (roughly $350 round-trip) was a typical plane ingiu. w ncn i muciieu uuwn in l.a. (after a stop-over in the Mile High City’s mile-wide airport), I had to take a cab to the hotel. The cab driver’s Russian was great, but his English wasn’t as smooth. I got there fine ($26). Before we saw the unfinished version of the Beavis & Butthead film that evening, they gave us sacks of goodies, with promotional cop ies of the soundtrack ($15), a mousepad ($10), books (around $40) and other stuff at a cocktail party they held (maybe another $60 or so). Late that evening, a group of us sat in the hotel lobby having drinks —all on the credit Paramount had given us. Tack on another $20. The next morning, we got up and were divided into groups of 20 for interviews with Mike Judge, creator of Beavis & Butthead. At lunch ($15), I changed circles a bit and starting hanging out with three people from California: Shane from San Jose, Mike from Davis and Melissa from Sacramento. We then saw “Star Ttek: First Contact” ($7.50 again) in its com pleted form in the same theater we’d seen “Beavis & Butthead Do America.” It was a nice comfy the ater an the Paramount lot. Shortly after that, there was a news conference with most of the cast of the film. I’m looking forward to transcribing a lot of it. Tfiey were nice people and funny to listen to. We also got sacks with Star Trek stuff in them—the sweat shirt I’m Please see TREK on 10 ‘First Contact’ meets theaters By Cliff Hicks Staff Reporter LOS ANGELES—The cast mem bers of “Star Trek: The Next Genera tion” said at a news conference they are ready to take the helm with “Star Trek: First Contact.” “This movie was really pivotal,” said Levar Burton, who plays Geordi. “This is, at its essence, our coming-out party. None of us wanted to feel like we screwed the pooch on our watch.” The conference included: Burton, Patrick Stewart (Picard), Rick Berman (producer and “heir” to the “Star Trek” throne), Jonathan Frakes (Riker, also director), James Cromwell (Cochrane), Marina Sirtis (Troi), Alice Krige (the Borg Queen) and Michael Dorn (Worf). The villains of this film are the Borg, a cybernetic race of beings who are attempting to “assimilate” the en tire galaxy. Because of this, according to Berman, the film can seem darker than previous “Star Trek” efforts. “During our press interviews today, I was struck by a number of people referring to this movie as having a dark side to it,” Berman said, “and I think the dark side doesn’t really exist in terms of the characters. “By bringing the Borg back and by doing them properly, it gives a certain sense of suspense and maybe even hor ror to the film, but I don’t think it has anything to do with trying to put a darker turn on things.” To make the Borg even more men acing, the audience is treated to a new side of them—the Borg Queen. Krige spent 7 hours getting into costume and make-up for this role; but she said it was worth it. “It was quite wonderful to watch her appear every day,” Krige said. “It was the most wonderful tool that I was given as an actor. When she was there, the door opened and someone else walked out.” Much of “First Contact” centers on Picard’s battle with the Borg, as he is the only being ever to be “de-assimi lated.” This personal struggle is prima rily the focus of the film. “I had some fairly strong feelings about how Picard’s storyline had de veloped,” Stewart said. “Once the Borg came on board, then there was a ter rific opportunity for them to wind him up in a way that little else could.” “First Contact” is also Frakes’ first time directing a motion picture. Previ ous to the film, Frakes had directed a number of episodes for television. “It was a gift that was given to me, this film. It was a great show of faith on Rick’s part and the studios part and my comrades, and I’m fortunate that it came out as well as it did,” Frakes said. The Film opens with a 23-million to-one zoom-out shot, that took longer than any other shot in the Film, accord ing to Berman. “That shot took almost four months to complete,” Berman said. “And the fact that it doesn’t look as remarkable as it is makes it even better. “It’s literally impossible to move out of an eyeball and go to a distance of three miles, as that does in 40 sec onds, without going close to the speed of sound and we managed to do it with continually changing speeds, but with out it looking like the speed was chang • _ » ing. Radio Gods lose audience _ Lank Hickenbottom/DN CHRIS O’CONNOR, member of Primitive Radio Gods, reaches into his pocket for a lighter Wednesday. By Bret Schulte Staff Reporter Wednesday night’s concert at the Ranch Bowl didn’t do a lot to dispel the public’s conception of the Primi tive Radio Gods as the latest of a long string of one-hit-wonder bands. Playing to a crowd of about 75 people, The Primitive Radio Gods tried to compensate with raucous guitar noise, black leather, an ominous key board shadowing the stage and flipping hair, a good idea—about seven years ago. Chris O’Connor, front man for the Primitive Radio Gods, is quite aware of his image. “I’ve taken a lot of flack from my friends and whoever for using a key board,” O’Connor said. “I’ve heard all about the one-hit-wonder thing, but we released a second song, “Mother....er” but, uh, it didn’t get a lot of air time.” -■ •* O’Connor s ‘one-hit wonder,’ “Standing Outside a Broken Phone ? Booth With Money in my Hand” was released in late May and quickly climbed the top 40 charts. Its hypnotic beat and mildly existential lyrics sin gularly turned the album, “Rocket,” gold and led to a national tour. “The tour so far has been somewhat mixed,” O’Connor said. “Some nights the crowds are great, other nights the place is only half full.” O’Connor said that after the first leg of the tour the band was simply worn out from the publicity. The ex-air traf fic controller was quickly over whelmed by the sudden flush of star dom and the subsequent two months on the road supporting the album. “It automatically became a job,” O’Connor said. “Not a lot of reality to Please see PRIMITIVE on 10 • i Dickinson work to be recognized By Emily Wray StaffReporter The UNL School of Music will bring Emily Dickinson to life Sunday night in Kimball Recital Hall. The free concert starts at 8 and is the primary part of a multimedia event planned by a committee with represen tatives from the School of Music, Uni versity of Nebraska-Lincoln Libraries and English department. The UNL School of Music and Friends of Love Library sponsor Sun day night’s event in commemoration of The Lowenberg Collection of Emily Dickinson Materials, which was do nated to the UNL Libraries by the Cliffs Charitable Foundation. “We were working from the point of view of the scores contained in the collection,” said Margaret Kennedy Dygas, co-chairwoman of the commit tee and associate professor of voice. “We were interested in having works featured that might not otherwise be heard.” An introduction by Chancellor James Moeser will open the concert that features texts by Dickinson. “Route of Evanescence” by Randall Snyder, professor of theory and com position, will be premiered. Kennedy-Dygas is the soprano so loist for Snyder’s piece while the cham ber ensemble includes pianist Ann Chang-Bames, oboeist William McMullen and cellist Karen Becker. They will be conducted by lyier White. The UNL Chorale, under the direc tion of Carolee Outright, professor of music education, will present choral works for women’s chorus featuring Dickinson’s poems. “We are doing a nice variety of pieces,” Outright said. “The setting of poetry is done well. That’s what is im portant, to get the poetry and language across.” Before the concert, a film about Dickinson called “Magic Prison” will be shown at 6:45 pun. in Westbrook Music Building, room 119. In addition, UNL artist David Routon will showcase'five sets of sketches based on photos of Dickinson, her family and her friends. The sketches will be displayed in the base ment of Kimball Recital Hall. Sunday night’s concert also will be heard over the World Wide Web cour tesy of Pinnacle Broadcasting and David Hibler, assistant professor of English. The web page, built by Hibler’s survey of literature class as a class project, includes a short movie from the concert dress rehearsal, biographies and pictures of the performers. The page may be accessed at wwwJiuskerwebcast.com. Orchestra hails By Ann Stack Senior Reporter Husker hype.for the Ne braska-Colorado game is already starting in Omaha. The Omaha Symphony Or chestra is presenting its annual pep rally to set the stage for fifth ranked Nebraska’s Nov. 29 foot ball game against No. 6 Colo rado. The tribute will begin to night at 8 at the Orpheum The ater in Omaha. The Husker extravaganza will include video footage from past Husker-BufFalo games, as well as a tribute to Coach Tom Osborne. Footage from the 1996 Nebraska vs. Florida national championship game also will be included in the highlights. The film experience will be set to the music of the Omaha symphony Orchestra, conducted by guest conductor Ernest Richardson. The program includes a comic performance of Beethoven’s Fifth Symphony with Gary Java and Adrian Fiala of 1290-AM (KKAR). “It’s a play-by-play descrip tion incorporating all the usual sports analogies set to a musical performance,” Good said. “It’s the only time I’ve ever seen my viola section do push-ups.” The University of Nebraska Comhusker Marching Band will perform the opening segments and will join with the symphony for a finale of Tchaikovsky’s “1812 Overture.” The show is general admis sion, with prices ranging from $10 to $20. Tickets can be pur chased at die Omaha Symphony ticket office or at any Hy-Vee Food Store.