cuz when they’re on stage and they’re rockin’ out… they’re, like..
doin’ it fer rock
any kinda gamblin’ you want. if you wanna gamble… that’s the way it is
Allison Anders didn’t always stoop the way she presumably does now, you know, to make a living. Directing CSI episodes geez i beg off hope not. 1986 she made this film about a wayward punk rocker who is not hiding, well sorta. he jacked up a guy and c’mon skelly got tough but it aint about that. he hated his record, yes, a record record the kind you play. He hated his life, really. it’s just these boneheads he ran with a little got cheesy and busted the safe at the club stole “the books” but this dude, FLESHEATERS guy, he really just wants to run to Ensenada to get away from control of any kind.
4:22 Little Honey
little honey I promise I won’t get mad…
if you tell me about a boyfriend that you had
from TURNER CLASSIC Richard Harland Smith
Conceived, written and directed by a trio of UCLA film students, the project began as a straight genre exercise but morphed over the course of three arduous, cash-strapped years of shooting into a showcase for musicians prominent in the So-Cal punk subculture. Despite the prominent casting of Flesheaters frontman Chris D. and John Doe (bassist/ singer for the band X) as brooding rockers… Border Radio is less interested in film noir-style issues of loyalty, seduction, deception and fate than in a verite consideration of the nature of art and theft, whether in the form of homage, influence or even vision-compromising studio remixes. A scene-bridging conversation between a trio of underworld goons (“F*ck The Clash, man…all those bands just ripped off everything from Iggy and the Stooges”) en route to mete out punishment anticipates the geek soliloquies of Quentin Tarantino, whose early successes changed the shape and substance of American independent cinema, making it harder for truly independent, homebrewed cinema to find an audience.
Dude, it was actually kinda just a crappy lil’ film school thang, but continue…
The rare pastiche that preserves as much as it appropriates, Border Radio provides contemporary viewers with fleeting glances of a number of long-gone Los Angeles landmarks, among them Atwater Village’s Hully Gully Studios, Chinatown’s Hong Kong Café and the punk flophouse Disgraceland, then owned by Jayne Mansfield’s widower, bodybuilder Mickey Hargitay. Shot guerrilla style, without permits and on portable 16mm equipment “borrowed” from the UCLA film department (and smuggled into Mexico), the film suffers from occasional self consciousness on the part of the players but narcissistic digressions of the dramatis personae suit the caprices of characters coasting on the downward arc of their youth.
yeah he really said that.
Co-writers/directors Anders and Kurt Voss had interned on the set of Wim Wenders’ Paris, Texas (1984). the filmmakers drafted a number of 80s era A-list celebrities, including Wenders and Daryl Hannah (Luanna Anders was then dating the “manny” who minded the children of Hannah’s boyfriend, musician Jackson Browne) to lend support but seed money came from Hollywood character actor Vic Tayback, a family friend of Kurt Voss. Yes, Tayback the cook that was always grillin’ Alice about pretty much everything, they of the long-running CBS sitcom Alice (1976-1985).
While Allison Anders, Kurt Voss and Dean Lent went on to further cinematic adventures, Border Radio remains the star credit for leading lady Luanna Anders. Though acting classes and a string of agent meet-and-greets followed, Anders found the prospect of marketing herself in Hollywood unappealing after the communal effort of making her first film. When the production of Gas, Food, Lodging (1992), co-directed by Allison Anders and Kurt Voss and shot by Dean Lent, decamped to Los Angeles for a week of interior shooting, Luanna was drafted as a set dresser. An association with production designer Jane Ann Stewart got her work behind-the-scenes on Bernard Rose’s Candyman (1992) and the HBO anthology series Inside Out before motherhood and home life took Luanna Anders out of the industry for good. She did reunite in 2005 with her Border Radio collaborators to record an audio commentary for the film’s induction into the esteemed Criterion Film Collection.
Allison Anders later credits include yeah, a little Cold Case (
Kyra SedgwickKathryn Morris) and Southland, the TV one… not exactly souled out
her work has been of appreciation, you know, by me.
so there ya go
check the venues… Dave Alvin (The Blasters) steals this scene
just between you and me… and everybody else in town
Nothin’ out of the usual.
so yeah, i was talkin’
WHEN RUDELY INTERUPTED BY A GUY
SHARED HIS VIDEOS WITH THE WORLD
then bombed out, snatchin’ ‘em back like
some punk 8yr with ‘his basketball‘
“it really gets under my skin”
watch this space