Pittsburgh Post-Gazette from Pittsburgh, Pennsylvania • Page 58

PITTSBURGH POST-GAZETTE fl SUNDAY, JANUARY 2, 1994 E-3 i Jeanne Moreau has another name: Movie Star MOREAU FROM PAGE E-1 mrnm. 3im3 nam PASES RTE. SI SOUTH BO. HILLM VILLAGE FHEEPOHT HO, itmwmmw lUMmmwi imMmmiimmumii mmwM-mi lU'Mmwm WATERWORKS MALL MONROEVILLE FtOBINBON TWP. IvtoKIMIOHT RO.

mm worry about your part and your part in the film. But as a director, you control everything, and you have to pay the price. You have to be in touch with everyone on the set not only the actors, but the crew and the people in the offices and the producers. You have to relate to the money you spend, you have to relate to everything. It's very demanding, but that's part of the creation trip.

Since Moreau has worked with just about every great director, are there some she prefers or who have particularly inspired her? "No, unfortunately I cannot answer that question. All these people I worked with, they're part of me and they brought different things. And I would be dishonest if I said I preferred to work with this or that. It's like the different seasons in a year. I can't say that I prefer autumn to summer, or winter or spring.

That's the way I am. I know that some people prefer spring, some people get depressed in the fall. Each has something to offer that is a change, and I need everything." Moreau feels the same way about her roles. "There is something about actors and actresses, I suppose, in that we are very unfaithful to our characters. Once we've done them, we go to another one.

If I was one character, I couldn't be another one. It's much better to be that plain human being with God's gift that permits me to transform myself and go deep into somebody else's emotion. What's fascinating is to be able to be that character for three months or four and then, goodbye. It's like visiting a country. "The difficult thing about being famous and exposing yourself with your craft is to last.

I never thought about it. Things have happened because I never think about time. I know I'm 65 when I look at my passport, but I never feel it because time flies by. I'm always eager to discover. I'm always open to new things.

I'm always fascinated by life even if I find it very, very painful at times." don. It is true I was attracted immensely by the character, and by the fact that I had a chance to make a film in my mother's country and be with someone like Joan Plowright, who I never worked with, and with Julie Walters. It's a question of sharing a certain time with certain people who you enjoy meeting for the first time." Moreau claims her parts choose her, and not the other way around. She says it's rare when she's not interested in a script sent her way. "Sometimes I make films just to please somebody.

I've had so many beautiful opportunities that when a young director comes up and says, 'Won't you be in my film? I think it would be good luck or I'd love you to be on the if I'm free I do it with great pleasure." Does that make Moreau, an imperial, impetuous diva, a soft touch? "I have that reputation. They know they can call me and I answer the phone myself." Despite having played almost every type of character imaginable, Moreau feels there is still room to grow. "The varieties of life are endless. There's nothing more surprising than a human being. That's what I like about this film.

There's no convention. You expect one thing and something else happens. Luckily, that happens in daily life. I like films to be true to life. Maybe the American film industry is going to open up to that." Among other things, Moreau feels American films have been slow to shatter the stereotypes of women and sexuality, especially when it comes to older women.

In "The Summer House," Moreau's Lili is a very sexy woman capable of seducing much younger men. Yet Moreau understands the need for fantasy in films her third husband was director William Friedkin. "Let's say that we like both. Like children, they like a fairy tale to be told in always the same VlL Jeanne Moreau, shown here in "Jules and Jim," won't claim favorites. But she wore the shoes from that film in "The Summer House." words.

They like the same things to happen, and if you want to change something they complain. Some films are like fairy tales and others ought to be surprising and truer to life, to what's going on. Not only older women with younger men, but older men with younger women." Though she's not out to change the industry, Moreau has directed two films herself and is about to make a third starring Anouk Aimee and Carole Bouquet. What's the appeal for her in directing? "Control!" she says with a laugh. "It's a powerful trip.

When you're an actor, evervbodv takes care of you and you just have to ZZ Top, Ramones among artists releasing news discs EXCLUSIVE ENGAGEMENT STARTS FRIDAY MONROEVILLE with "Trouble No More," (Pointb-lank). A three-CD Big Joe Turner anthology, "Big Bad and Blue" (Rhino) pays tribute to the original giant of jump blues. Guitar-slinger Pat McLaughlin returns from the missing with "Un-glued" (DosAntones.) Fifty-year music vet Charles Brown is alive, well and "Just a Lucky So and So" (Bullseye). The album showcases Brown's wry vocalizing and impeccable material. Drum authority and master skin-pounder Max Weinberg -(of Springsteen's Street Band and now "Late Night with Conan puts his stamp on "Let There Be Drums" (Rhino), a three-CD series stressing the time-keeping greats of rock's '50s, '60s and '70s.

DISCS FROM PAGE E-1 with his most accessible set, "Mirror Blue." 'Produced by Mitchell Froom, the album varies from the rowdy rockabilly of "Shane and Dixie" and gorgeous traditional balladry of "Beeswing" to the typically Thompson nightmare "I Can't Wake Up to Save My Life" and Fairport Convention-ish car tune "MGB-GT." Delish! A deluge of modern rock biggies contributes to "Alternative NRG," the Greenpeace benefit album recorded with solar power. The Meat Puppets' rough and ready sound has never sounded hipper than on "Too High to Die" (London) produced by Butthole Surfers guitarist Paul Leary. All grown up and looking for new credibility, the former New Kids on the Block are back again as NKOTB with "Face the Music" (Columbia.) Hot label-mates Alice in Chains are rattling their "Jar of Flies" EP (Columbia). British techno-pop innovator Carter the Unstoppable Sex Machine kicks "Post Historic Monsters" (IRS). Soulful singer CeCe Peniston declares "Thought 'Ya Knew" and Latin hip-hop pioneer Lisa Lisa throws down "LL-77" (Pendulum).

Schooly is aiming for gangsta of the year with the totally rude and crude "Welcome to America" (Columbia) and Original Flavor dishes "Beyond Flavor" (Atlantic Street). Tori Amos, a big breakout act in '93 with her Kate Bush-like trills, delivers a third album, "Under the Pink" (Atlantic), while the femme folky duo Kennedy Rose will have you thinking female Simon and Garfunkel on "Walk the Line," a new set for Sting's Pangaea label. King's rise again with their pungent, Hendrix-like power-trio sound on "Dogman." Also from Atlantic, New York punk bands of the mid-70s (like Mink DeVille) are "Live at CBGBs" and hard-edged Unsane vow "Total Destruction." Progressive ears will be well-served by "Hallucination Engine" from Bill Laswell's group Material. This fertile fusion of ambient, jazz, funk and.dub boasts collaborations with Wayne Shorter, Bernie Worell, Bootsy Collins, Sly Dunbar, William S. Burroughs, Shankar and more.

Master piano-pounder and composer McCoy Tyner strikes up his brassy big band on "Journey," with guest appearance by vocalist Dianne Reeves. Keyboardist Bob James and guitar-picker Earl Hugh collaborate anew on "Two of a Kind" (Manhattan.) If you're a Robert Johnson aficionado, you'll dig reigning bottleneck-, guitar master John Hammond, back 1 ffta. "WhooprsWonderf 1 I -Joel Siegel, GOOD MORNING AMERICA "It's Invigorating And Warmhearted. Say Five 'Hail Whoopis' And See It!" Ralph Novok. PEOPLE MAGAZINE SHOWS AND TIMES FOR SUNDAY.

JAN. 2. 1994 (ADVANCE TICKET SALES) ADULTS S6.M MAT SEN. CHILO $3.25 GRUMPY OLD MEN IPG) 1:00, 3:05, 5:15, 7:25, 9:45 SISTER ACT He spins a new career at the Warhol Museum Ml SCATS 52.08 tl WIS, WiD. All Sim SI.U0AU BMS MALICE (R) lllfiHTMAItE BEFORE CHRISTMAS (K) IMS, 2.45.

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7:05.9:30 12:20.5:05, 7:45 STRIKING OISTANCE (R) THE PROGRAM (R) 2:50, 4:55. 7:55, 10:00 2:35,4:55,10:10 LOOK WHO'S TALKING NOW (PG-13) IN THE LINE OF FIRE (R) 12JKI 12:00. 7 35 RFFTHflVFN'S 7Nf)fPm 31) 3-711 SHI 7 .15 9 40 SISTER ACT 2 (PG) 1:20, 3:30, 5:30, 7:30, 9:30 mrs nniiRTFiRFipn-1311 nn a 7 40 9:50 BACK IN THE HABIT MY LIFE iPG-13i 5 30 BUN im WARHOL FROM PAGE E-1 WTHE THREE MUSKETEERS IW! I'M. 3:30, 7:30 uiAiiTuinr orrnnr AUDifTuiC ion ui tie 3 niunimHnc ocrunc unniai musing i.n,.iti.i rum ufAViDiTiwi am mstmm mm TxmM.MmmjiBm "-e frnw mi 111 iiiiii: wsum llWUTHuU WT MrMlVHIWlMli Ttntim. titluill i MOREAU MARYLYM URICCHIO, PITTSBURGH POSTGAZETTE i Tf mi tt CINEMA WORLD CRANBERRY Rt.

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SIDE CENTURY SQ, PLAZA IVIcKIMIQHT RO "As an amateur artist and musician, I was inspired by Warhol's whole scene." Jim Spitznagel The Warhol Museum also was interested in Spitznagel's track record as an independent businessman who would bring 17 years of market- ing savvy to the position, a resume few candidates with strictly museum backgrounds could match. Francis, in fact, sees the Warhol Museum and Spitznagel's place in it as an exciting combination that promises big dividends. He envisions an "interesting tension between being a really serious museum and something really popular. That all of this is happening Pittsburgh is really interesting." Shay said the Warhol Museum is seeking new ways to approach museum roles and topics. "Jim is a perfect fit.

The Warhol Museum saw him as someone they wanted to entice. He's our jewel." "I thought Jim was a good choice and brought an entrepreneurial approach that is not unheard of, but not common yet," Ellcessor said. "I knew their priorities weren't entirely traditional." But having said that, Ellcessor has a twinge of regret. "The guys who run Jim's now called Paul's CDs are doing a fabulous job," he said, "but Jim was the guy I had the rapport with. He kne'w everything about his customers' tastes and how to service them.

"When Jim decided to go to the museum, I was delighted. Rut at the same time I said, 'Whoa, the music scene is going to have a big hole in it But don't look for regrets from Spitznagel. He's too excited about his Warhol responsibilities to fret about that "big hole." "If sold the store and had nothing else to do, I'd be going nuts," he said. "But this is so big that I have no empty space." Those nostalgic for Spitznagel's encyclopedic command of rock and roots music can catch his once-a-month Sunday afternoon radio shows on WYEP. Meanwhile, the mail-order side of the Andy Warhol Museum Gift Shop is up and running.

For a free catalog, write to 117 Sandusky Pittsburgh 15212. mind. Jim actually pitched us and said he wanted to work at the Warhol Museum. He came up with the idea of working at the bookstore." Spitznagel's interest in Warhol began in the late '60s when the artist's work graced the covers of Time, Life and Rolling Stone. Noting Dylan's dream-like poetics in the mid-'60s, Spitznagel said he saw a similar genius at work in Warhol's images.

"It clicked for me once I realized that the way I think can be translated into communication that's artful. That's how I felt about the art of Andy Warhol. He showed things slightly different enough that you could look at your every day life and get inspiration from it." Spitznagel believed Warhol was as deserving of attention as his musical heroes, so he began collecting posters by and books about the artist. "Warhol presented images that were well known to us either commercial images or something we grew up with in a way that we could see as art. After that, I started looking at the world differently." The fact Warhol also was a Pitts-burgher didn't appeal to him as much as the romantic atmosphere that permeated the artist's decadent but fascinating Factory scene, a milieu far different from Spitznagel's comfortably middle class life in West View and his courses in commercial art at the North Side branch of CCAC.

"As an amateur artist and musician, I was inspired by Warhol's whole scene. It was aR extremely attractive to me," he said. "If an artist has something in their character that captures people's imaginations, that's what makes them. Once you have their imaginations, that's when you've become successful." A Warholian practice Spitznagel adapted to his record business was the tradition of being photographed backstage with various pop and rock stars that came to town. From Billy Bragg and Keith Richards to Michelle Shocked and the Replacements, the Polaroid gallery that once covered the wall of Jim's Records was a who's who of nearly two decades of rock 'n' roll.

"The thing that sold us on Jim was that he's been crazy about Warhol since he was a teen-ager," Shay said. "That's the kind of cumulative knowledge that's hard to come bv." I. "GREAT FILM-MAKING, A W. If you enjoy the best in American film-making, then you should see 'Tombstone' this holiday season. ONE OF THE i fi nT.W YEAR'S OilL TEN BEST!" 4' i Gary Franklin.

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