所有明日的派对 All Tomorrow’s Parties(2009)
又名: 叛逆摇滚灵魂
导演: 乔纳森·考埃特
主演: Battles Belle & Sebastian Grinderman Dirty Three Slint 章鱼计划 Gossip Animal Collective 索尔·威廉姆斯 Two Gallants Lightning Bolt Mr. Derry Shellac The Mars Volta Yeah Yeah Yeahs 大卫·克罗斯 A Hawk and a Hacksaw Seasick Steve 魔怪 The Boredoms
制片国家/地区: 英国
上映日期: 2009
片长: 82分钟 IMDb: tt0870210 豆瓣评分：8.4 下载地址：迅雷下载
演员：
影评：
- ——简评《All Tomorrow's Parties》
文/老丁
“阳光之门中出现火的精灵，烟熏的辫子。扎在头上，月光都失去了颜色。暗色花园中夺目的种子，发出亮丽的光芒，比日光还要闪亮。她知道夜晚以及风的名字，来自祖先口口相传的故事。谁是光之母？那我又如何，作为夜之子。一些会照耀夜空，相信死亡的会死去。父亲们带着女人羽毛做的箭，因为所有人都没有羽毛会很难看。带着十字架走向爬满菌类的墓地。未来穿越血色的子宫，充满了不解之谜。生命，月亮及地球绕着太阳旋转。她把蛋栽在土里却把脚插入天空，土地养育了马戏团里的小丑，他们绕着圈炫耀自己。我也是，无休止地讲着滑稽话，因仁慈显得自己更加卑微。失去自我的星球，密度有多大？我是不是应该，改变好让自己长出翅膀。我无精打采地走着，用帽子遮住了头，我的轨迹挡住了土星的去路”——Saul Williams在ATP上的吟哦。
每一个乐迷都应该有一个这样的梦想，办一场完全是由自己喜欢的乐队参与的音乐节，自己把他们招呼来，安排场地和出场次序，想怎么演就怎么演，或者压根就是跳上舞台和他们一起演，那种感觉可能就像一夜之间拥有了三宫六院七十二妃那样令人陶醉。但是除非你是皇帝或者特别有钱，否则这个梦想也就只能在梦里想想。
但毕竟还是有东西是钱和权力都无法实现的，况且即便你做成皇帝，嫔妃任君临幸，皇后还是只能有一个，日理万机之外还要协调后宫恩怨，时间长了身体都吃不消。所以万恶的封建帝制垮台了，每个人都可以是自己的皇帝，也就没有了皇帝。但梦想还是要有的，自己一个人办不了音乐节，可以召集许多人攒钱来办；自己请不来那么多喜欢的乐队，总有人能请得来；实在不济，还可以当个背包党老老实实花钱去参加音乐节。所以音乐节也就成了生意，办得好的，伍德斯托克，一代人去那里相互问好，赚了钱还可以名垂史册成为时代标记；格拉斯顿伯里，没有那么多别有用心的人去糟蹋，也可以一年一年的办下去。办得不好的，不把乐迷当人不说，糟糕到成为赞助商的堂会。所以就更需要一个相当单纯的，在主流音乐之外的，在流行音乐市场之外的，有情趣和品质保证的，最好是小圈子而又不必有太高门槛的……没有了皇帝的当代社会，只要有需要，就会有人来做，这就有了ATP（All Tomorrow's Parties Festival，可不是什么网球大师赛或者三磷酸腺苷）。
摇滚乐已经是很陈旧的东西
早在1966年，The Velvet Underground乐队就歌唱出了那首《All Tomorrow's Parties》（据说是Andy Warhol的最爱），所以到1999年英国的Barry Hogan等人筹办ATP音乐节，就大概能够知道其口味。毫无疑问，组织者和参与乐队应该是The Velvet Underground的徒子徒孙，天然成为了后摇的，先锋的，独立的和地下音乐的天堂。与更多司空见惯的大小音乐节不同的是，ATP每次都是请一个或几个有影响力的乐队或者音乐人来召集，从第一次的Belle & Sebastian，到随后的Mogwai、Tortoise、Shellac、Autechre、Vincent Gallo、The Mars Volta、Dirty Three、Sonic Youth、The Shins、Portishead、Explosions In The Sky、My Bloody Valentine等都曾担任过召集人。可以想象，每一个召集人都是按照自己的喜好邀请自己的同道或者至少是风格类似的乐队以及被自己赏识的新锐乐队来参与。2000年的Mogwai请来了Aphex Twin、Arab Strap、Sigur Ros、Snow Patrol、Super Furry Animals等等诸如此类，2001年的Tortoise请的则是Yo La Tengo、Television、The Eternals以及一些DJ，2006年的Thurston Moore自己来呼风唤雨，Iggy & The Stooges、Sonic Youth、Gang of Four等大牌有来。Portishead在2007年请了Fuck Buttons、The Horrors、Sparklehorse（多么遗憾主唱Mark Linkous刚刚自杀身亡）。Dirty Three请了Grinderman和Nick Cave以及Cat Power。有时候也会有乐迷或者ATP自己来操盘，2008年由被誉为新音乐风向标的Pitchfork来组织，我国的新生代乐队Carsick Cars就榜上有名。
2009年，12月11－13日，ATP音乐节迎来了自己十周岁生日。Battles、Explosions In The Sky、Yeah Yeah Yeahs、The Breeders、Mum等都前来祝寿。这一两年，ATP甚至兴起邀请久未演出的乐队，特辟“Don't Look Back”版块在现场重新演绎经典专辑的潮流，像多朝元老的Sonic Youth演绎《Daydream Nation》、差不多是参与召集次数最多的Mogwai乐队再现经典的《Young Team》、迷幻噪音班霸Spiritualized来重拾《Ladies and Gentlemen We are Floating in Space》。看着让人心痒痒的名单，作为当下最酷最酷的音乐节，在十周年的时候有必要给自己来一次总结，于是请来了同样酷酷的导演Jonathan Caouette（几年前的话题作《Tarnation》让人不寒而栗），使用了不少摄影师Vincent Moon（曾跨刀为Sigur Ros、R.E.M等乐队拍摄MV）拍摄的片段以及干脆是乐迷自己掌镜的DV镜头，完成了这部同名纪录片《All Tomorrow's Parties》。
在电影中，受乐迷邀请的胖胖的Daniel Johnston坐在草地上面对小群听众自弹自唱、似乎是Explosions In The Sky的鼓手和乐迷打成一片现场即兴，The Gossip在舞台上标致的舞步，Beth Gibbons唱至中段走下台跟观众拥抱互动、Thurston Moore变身记者走在街上问不认识的年轻人对独立音乐的看法，还有在ATP渡假村遇见Kevin Shields时大叫的不名知乐手，对萨克斯名家Roscoe Mitchell的崇拜，或者还有许多身怀绝技但不声不响的乐手从人群中走过，和乐迷零距离面对面的交流，实在是独立和非主流乐迷的乐园。
让人印象深刻的是Thurston Moore走上街头，倾听乐迷的声音，有乐迷深感摇滚乐已经越来越陈旧，只有上个世纪六十年代的摇滚乐是新鲜的，后来的就基本都成了模仿。而Thurston Moore也自陈观点：“年轻一代的文化被国际化，我们应该毁掉使年轻文化灭亡的伪资本主义进程，毁掉大众消费对市场的病态调控，首先应该毁掉音像社。”
及时行乐吧，也许就没有明天了
单纯从纪录片的质素看，作为正式影片的《All Tomorrow's Parties》谈不上有多么优秀出色，至少即使在西方也没有引起多大的反响，有称与其说Jonathan Caouette是导演，不如说是个剪接师，因为影片来源除了官方乐团乐手的摄影之外，更多零散的是参与的乐迷的随手记录，原生态但也非专业，多是用数字录像机DV，甚至用相机等简单器材，拼贴而成。Jonathan Caouette的生活也和地下音乐有着或多或少的关联，他于1973年出生在德州休斯敦，从11岁开始，就以邻居的摄影机，拍摄下自己的成长影像，尤其是与家人间互动关系，以将近20年的时间里，无数的流动画面、照片、录音机的留言、录音机上的声音，呈现着这个苦涩得令人迷惑的问题家庭最真实的写照。他用8毫米手持式摄影机拍摄的非常个人化的真实纪录片《Tarnation》，在Gus Van Sant（《心灵捕手》、《大象》、《米尔克》以及Kurt Cobain半传记电影《最后的日子》的导演）和John Cameron Mitchell（执导过著名的《摇滚芭比》）慧眼识珠合力监制下，纪录了Caouette一家人充满混乱冲突与自毁性的生命历程，从原本的花了几百美元用苹果机剪出来的地下日记电影，一鸣惊人到在多个影展引起轰动。除了导演身份，这个同性恋者同时也是演员，曾参演《性爱巴士》等另类影片。所以Jonathan Caouette本人应该是很熟悉地下生态的，对原始素材的应用也有他的天才，但这些都还不至于让作为纪录片的《All Tomorrow's Parties》在哪怕是欧美主流市场走俏。
当然，ATP本来就是小范围的荡气回肠，压根就是脱离主流娱乐的演艺圈模式。用主办者的话说，这是没有赞助商的音乐节，“你不会在会场看到任何一枚广告，没有必要为了音乐而出卖自己”。当然，ATP也是生意，任何一场集体活动都会涉及利益分配，许多人就会为ATP的高额票价而不忿，据说110元英镑（相当于人民币1600元）的门票确实不菲，为期3天的精品活动仅限于3000张票，来者一律平等不设贵宾区，近来有时一年举办两次并在美国设分场。但是好在音乐节还没有太多被商业和政治所挟持，并且多场由粉丝自己请来乐队，这种不夹生的音乐节单纯到不可思议，没有各怀鬼胎利益至上，一小撮人，为了共同的爱好组个局，相互知道彼此需要什么，文艺一点又何妨。
《All Tomorrow's Parties》中折射出的ATP不仅有大大小小林林总总或有钱或白痴的文艺青年，也有年过花甲的老人前来，“有生之年应该及时行乐，也许就没有明天了。”让乐迷狂欢的，不仅是Battles或者Nick Cave的现场挥汗，有的不知情者老人可能是冲着Nat King Cole而来，到了之后才发现原来My Bloody Valentine也是那样迷人，而且在美国特别设立“Don't Look Back”之后，包括Meat Puppets、Built To Spill、Tortoise、Public Enemy等都曾经再现经典。
影片中有一段访问，问参加十年庆典的Battles最想在ATP看到谁的表演，他们说最希望Pavement能重组，然后果然，今年的召集人就是大家翘首以待的Pavement。在他们的感召下，Camera Obscura、The Drones、Enablers、Endless Boogie、The Fall、Faust等都会出席。而在另一个分场，则是由辛普森之父Matt Groening召集，老当益壮的Iggy & The Stooges、好久不见的Hope Sandoval，2009年一鸣惊人的The XX都是座上宾。而在纽约分场，大牌独立导演Jim Jarmusch邀请了The Brian Jonestown Massacre、Raekwon、Girls等新老组合一同前来。这么多难得一见的乐队扎堆，哪怕我们知道他们的肆无忌惮的表演是在炫耀，参与的乐迷是在炫耀，炫耀着自己的地下身份，炫耀着自己的独立姿态，炫耀着自己的非主流修为，但他们变换的方式，才是当得起这个已经越来越乏味的时代。 - Sonic youths
VIA SIGHT &SOUND
All Tomorrow’s Parties rewrote the script for music festivals. Sam Davies wonders if Jonathan Caouette’s fan-filmed, end-of-a-decade collage can remodel the concert documentary.
A standing audience, beers in hand. A support band. Tour dates. These are not typically features of a film’s theatrical release, but the people behind the All Tomorrow’s Parties film rarely go about things in the conventional way.
The film celebrates the ten-year history of the All Tomorrow’s Parties festival. All Tomorrow’s Parties began with a one-off event held at Pontins in Camber Sands in 1999, the success of which encouraged promoter Barry Hogan to quietly reinvent the three-day music festival. In the All Tomorrows Parties model, camping, mudfields and portaloos were replaced by the joys of indoor plumbing and warm, dry chalets, set in the seedy cheerfulness of the off-season British seaside at Pontins, Camber Sands and from 2006, Butlins, Minehead. With each festival line-up curated by one of its headlining acts, All Tomorrow’s Parties’ ten years add up to a rough index of the last decade of leftfield music.
Accordingly, All Tomorrow’s Parties is being introduced to audiences this autumn almost as a performance rather than a projection, with bands such as American post-punks Les Savy Fav sharing the bill. “The film’s the headline act,” says Luke Morris, who produced the project for Warp Films. “It’s immersive; it’s about capturing a feeling rather than telling a story. The one consistent reaction is that people watch it and want to be involved and see some music. It’s good to have people watch the film as if it’s a gig.”
All Tomorrow’s Parties began actively documenting the festivals in 2006, as well as encouraging fans to submit footage of their own. The Beastie Boys’ Awesome; I Fucking Shot That!, in which the group distributed 50 camcorders among the crowd to document a gig, may have been an inspiration, but All Tomorrow's Parties’s open call elicited DV, Super 8 and even mobile-phone clips. The choice of Jonathan Caouette as a co-director has a distinct logic: his 2003 debut, Tarnation, was a visionary collage of camcorder footage, edited together at home to produce a verité portrait of his difficult relationship with his mother.
The raw basic materials, collage techniques and occasionally dreamlike drift of the edits connect the two films, but Caouette is keen to stress their differences. “On the technical end, this film and Tarnation were entirely different animals,” he insists. Not least because the sheer volume of footage – roughly 600 hours compared to Tarnation’s 200 – meant that possible structures proliferated dangerously. “At one point, I wanted to do a quasi-narrative with the festival as a backdrop,” he says. “Like a post-post-punk Nashville.”
The finished film’s rhythm roughly corresponds to the three-day arc of a typical All Tomorrow’s Parties , as Caouette acknowledges, somewhat ruefully. “Even the most abstract experimental films have three-act structures if you think about it,” he argues. But within that shape, improvisation became key: “I quickly realized over time that the atmosphere of All Tomorrow’s Parties was so wonderfully chaotic and uncontrollable that it really had to be shot as though we were participating in a relay race.”
The result of this relentless visual ‘relay race’ is at times brilliantly evocative. Folk, hip hop, roots reggae, free jazz, punk and noise from Daniel Johnston, The Boredoms, The Dirty Three, Genius/GZA, Fuck Buttons, Jah Shaka, Patti Smith, Lightning Bolt, Roscoe Mitchell and myriad others come and go in quick exhilarating succession, cut up with crowd shots, interviews, clips from classic music films. But it can also be frustrating, with many acts cut off mid-flow. Often this effect was imposed through lack of usable footage. “You have to make things work and sometime cheat time and space with whatever you have to work with,” says Caouette. “One of my rules of thumb with anything is as long as things make complete emotional sense go with it.”
And as Luke Morris explains, a carefully planned DVD release – synchronized to the public screenings and in all the major territories at once in an effort to limit piracy – has allowed All Tomorrow’s Parties to work round the normally circumscribed time limits of a feature. “On the DVD there’s the option to watch full performances of a lot of the bands, you can watch whole songs by Grinderman, The Stooges, whoever. And the DVD itself acts as a ‘key’ to extra content online.” With the disc in your laptop, more material becomes available via a special website for streaming and downloading, with more to be added once All Tomorrow's Parties ’s upcoming tenth anniversary shows have been filmed.
“The whole film was conceived with a self-distribution model in mind,” Morris says, and this has allowed All Tomorrow’s Parties to think through every aspect of its release, including its digital availability: synchronized with the screenings and DVD release will be a download available in three different file sizes, to suit viewers from mobile devices up to DVD-quality projectors. Like the festival itself, All Tomorrow’s Parties is planning for success based on mobilising a small but enthusiastic fanbase through unconventionally direct means; if successful, it could potentially help set the agenda within independent distribution for all tomorrow’s release schedules.