Saying that Tony Visconti produced some of David Bowie's most innovative albums is the same as saying he produced some of the most innovative albums in rock. It's hard to listen to dance music, alternative rock, electronica, or ambient music without hearing the influence of the Visconti-helmed Bowie/Brian Eno trilogy Low, Heroes, and Lodger.
While wrapping up an article on director Peter Farrelly's adventures trying to get a high-end movie room installed ("Heartbreak Home Theater"), I had a chance to talk to Farrelly about his new movie, The Heartbreak Kid, and about filmmaking in general.
All I knew going into this was that I'd be dealing with a guy who was nuts about restoring stuff. What I ended up with was a glimpse of probably the most unusual home theater that has ever graced these pages.
You wouldn't know it to look at the "mine's bigger than yours" installations featured in some home theater magazines, but having a decent amount of money to spend on a whole-house audio/video system doesn't necessarily translate into gaudy opulence. Or, to put it another way, modesty isn't always dictated by a limited budget.
Some musicians think it's neat to hear their music remixed for surround. Others don't give a damn and let their labels do a remix so they can sell a few more albums. But for performance artists turned media stars Blue Man Group, multichannel sound is a matter of musical survival. Blue Man Group founders Matt Goldman, Phil Stanton, and Chris Wink.
Brothers Peter and Bobby Farrelly are the legendary duo behind some of the most raucous, outrageous, original - and successful - comedies ever, including Dumb & Dumber, There's Something About Mary, and most recently, The Heartbreak Kid.