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• W3097089059 abstract "The Film Is Our Director:Interview with Ken Winokur, Terry Donahue, and Roger Miller—The Alloy Orchestra Scott Macdonald (bio) INTRODUCTION Those who program films for public and/or college audiences know that among the most dependable events, in terms of attracting audiences and delivering both pleasure and education, are screenings of silent-film classics accompanied by live music. These events are often successful, at least for general audiences, even when the music itself is relatively generic, but when films are accompanied by musical groups who are dedicated to their work as both entertainers and educators, these events can contribute significantly to a larger awareness of film history in general, and they can revive interest in and excitement about the accomplishments of specific classic films. Generally speaking, among the more seriously committed musical groups dedicated to invigorating the experience of the silent cinema, there have been two distinct approaches. The Mont Alto Motion Picture orchestra, originally an offshoot of the Mont Alto Ragtime and Tango orchestra, which was formed in Colorado in 1989 to play dance and salon music of the 1910s, is dedicated to presenting, as fully as feasible, the kinds of music and orchestration that would have accompanied films during their original releases. Mont Alto—a quintet of piano, violin, cello, clarinet, and cornet—began scoring silent films in 1994 and remains active. The Alloy orchestra, a trio formed in 1990 by Ken Winokur, Terry Donahue, and Caleb Sampson (who was replaced in 1998 by Roger Miller), has been dedicated to composing and performing modern music that rejuvenates silent classics. Using a wide range of instruments, both traditional (clarinet, drums, accordion, musical saw) and modern (electronic keyboard and synthesizers), plus what they call their Rack of Junk, a collection of found objects that are played as [End Page 121] percussion instruments, Alloy has offered audiences new musical experiences of silent classics. In 2020, after decades of touring the United States and performing abroad, the Alloy trio decided it was time to pause, a decision confirmed by the CoVID-19 virus. Whether this pause will reenergize the group and lead to further touring remains to be seen. of course, Alloy's music remains available at their website on the DVDs produced with their soundtracks; I would guess that for a good many of those who present silent films to the public or to college classes, Alloy's versions of particular classics—Metropolis (1927), The Man with a Movie Camera (1929), and The General (1926), to name just three—have become the way to experience these films. The history of cinema is more than the films that have been made and the writing they have engendered; it includes the ways in which films have been shown and seen—an often ephemeral dimension of this history. When I realized in the fall of 2019 that my hosting Alloy to present The General and Metropolis at Hamilton College might be my last in-person experience with the group, I decided to record an interview. our September 28, 2019, conversation was transcribed and edited, then added to and refined online during the spring of 2020. Scott MacDonald: Ken, how did Alloy begin? Ken Winokur: It's a bit of a complicated story. We consider Terry Donahue, myself, and Caleb Sampson the original members. Caleb and I had been doing a variety of first-night performances—New year's Eve performances—in Boston, and we decided to do one that would involve a large-scale junk-metal assemblage, a giant percussion instrument; and the minute that idea came up, I called Terry. Roger joined us in 1998, just over twenty years ago. Roger Miller: I'm the new guy and the baby of the group, too. SM: What was the first time the Alloy orchestra performed with a silent film? KW: our first event was at the Coolidge Corner Theater in Brookline, Massachusetts. I think it was in July 1991. We accompanied Metropolis. A film programmer named David Kleiler, who recently passed, liked the restoration of Metropolis that was done in 1984 by Georgio Moroder.1 This version had a disco-rock score with Freddy Mercury, Adam Ant, loverboy, and Pat Benatar. SM: I..." @default.
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• W3097089059 date "2020-01-01" @default.
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• W3097089059 title "“The Film Is Our Director”: Interview with Ken Winokur, Terry Donahue, and Roger Miller—The Alloy Orchestra" @default.
• W3097089059 doi "https://doi.org/10.2979/filmhistory.32.2.06" @default.
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