WEBVTT
00:08.562 --> 00:14.566
[SPEAKER_00]: Justin Sherburn is a composer producer and musical director and the mastermind behind a captivating Montopolis project.
00:15.087 --> 00:21.351
[SPEAKER_00]: Recently he performed a live score to the silent film, the return of Draw Egan at Lockhart's Gaslight Baker Theatre.
00:21.751 --> 00:24.794
[SPEAKER_00]: We caught up with him at the theatre before he went on to discuss his work.
00:25.534 --> 00:26.394
[SPEAKER_00]: and his process.
00:26.955 --> 00:33.998
[SPEAKER_00]: Oh and in case you miss the theater performance, you can check out Justin with this project Montopolis and San Marcos on March 22nd.
00:34.358 --> 00:39.340
[SPEAKER_00]: With a live performance and viewing of the film Yacona on which he scored the entire soundtrack.
00:39.720 --> 00:40.921
[SPEAKER_00]: We've featured that on episode 36.
00:41.781 --> 00:44.582
[SPEAKER_00]: You can learn more at MontopolisMusic.com.
00:44.943 --> 00:45.403
[SPEAKER_00]: Hi!
00:47.035 --> 00:50.157
[SPEAKER_01]: I am Justin Sherburn, I write music.
00:50.857 --> 01:05.886
[SPEAKER_01]: I do a lot of live scores for Silent Films, and tonight here at the Gaslight Baker Theater in Lockhart, this is a tribute to E&M or a Coney, and I'll be performing excerpts of his music set two, a Silent Film called Return of Draw Egan.
01:07.352 --> 01:11.773
[SPEAKER_01]: So there's a long and storied history of his particular performance.
01:12.013 --> 01:17.295
[SPEAKER_01]: Originally I did this, and I think 2014, and we just did it to the original movie.
01:18.135 --> 01:23.997
[SPEAKER_01]: And my idea was to arrange all the, this various music of the Marconi and set it to Old Sound Film.
01:25.297 --> 01:38.788
[SPEAKER_01]: And so I did that, and it was a lot of fun, but then we decided to do again years later, and I had two comedians who were associated with Master Pancake Theater, a popular comedy show at Eleanor Drafthouse, and they rewrote the film.
01:39.788 --> 01:49.412
[SPEAKER_01]: So they took the original film, it's an all-western starting William S. Hart, and they extracted all the dialogue cards from the film, and they replaced those dialogue cards.
01:49.592 --> 01:55.254
[SPEAKER_01]: Much like Master Pancake would do talking over the film, rewriting the film for a new experience for the audience.
01:55.814 --> 02:01.076
[SPEAKER_01]: They rewrote the dialogue cards to make it hilarious, and I think they did a great job.
02:01.396 --> 02:02.036
[SPEAKER_01]: It's pretty funny.
02:02.496 --> 02:06.878
[SPEAKER_01]: It's much as stupid jokes, and it's real silly, and we have a good time with it.
02:19.170 --> 02:26.936
[UNKNOWN]: I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up,
02:30.193 --> 02:37.299
[SPEAKER_01]: detriment probably I kind of want to always push down the low up and like just doing a scorch was on the film isn't enough.
02:37.439 --> 02:38.660
[SPEAKER_01]: I mean these are public domain films.
02:38.760 --> 02:43.404
[SPEAKER_01]: You can do whatever you want with a messy idea It's to take what's in the past and make something new with them.
02:44.004 --> 02:48.247
[SPEAKER_01]: That's why we have public domain, you know, and so it's a lot more difficult because
02:49.148 --> 03:08.160
[SPEAKER_01]: You know, people are purists, and especially in the film community, and they want to see like the original news for how to, they're original, you know, man with a movie camera or whatever, but the whole public domain idea is to like, here's this stuff from the past, let's make it new again, and so I always want to kind of mess with the formula a little bit and have fun with it.
03:08.280 --> 03:15.925
[SPEAKER_01]: I mean, I guarantee there would be nobody screening the return of drawing again for any reason whatsoever if it wasn't for this.
03:29.186 --> 03:33.209
[SPEAKER_01]: This in particular is pretty easy, honestly, because I didn't write the music.
03:33.269 --> 03:35.231
[SPEAKER_01]: I'm just rearranging the music a bit more, Coney.
03:36.032 --> 03:44.819
[SPEAKER_01]: And to me, the fun part was, to me, I really wanted to dig deep into more Coney because he's so prolific, and he wrote so much music.
03:45.520 --> 03:49.843
[SPEAKER_01]: And only a small fraction of that music is his classic Western themes.
03:50.644 --> 03:53.947
[SPEAKER_01]: But he wrote all this great music for all these different things.
03:54.567 --> 03:54.807
[SPEAKER_01]: And so,
03:55.875 --> 04:03.562
[SPEAKER_01]: I do play the classic themes, good bandy ugly, that's full of dollars, ecstasy of gold, these kind of things are in there.
04:04.042 --> 04:20.697
[SPEAKER_01]: But a lot of it is like, he did all this kind of real fan of like, kind of the funk scores of the 70s, like a wall of shifrin, and you know what I mean, Koni was doing that as well, where it was like this crazy instrumentation, you know, like this funk rhythm section, like a topal player,
04:21.538 --> 04:23.303
[SPEAKER_01]: You know, just random stuff that they were doing.
04:24.045 --> 04:28.656
[SPEAKER_01]: And to me, though, it's like, it's a lot more funny, you know, to put that stuff against in a Western.
04:52.113 --> 05:04.219
[SPEAKER_01]: Rather than, you know, you know, and so, I don't know, just had a lot of fun digging deep into the enumericony catalog and picking little weird things and putting them in there.
05:04.539 --> 05:07.921
[SPEAKER_01]: One thing I discovered was this film revolver.
05:08.682 --> 05:15.265
[SPEAKER_01]: It's like an action film with the 70s and it's got this great great music and so I just I stole a lot of things from that soundtrack.
05:15.525 --> 05:21.789
[SPEAKER_01]: Montopolis this group, so basically let's go the way back machine, Justin was a side man for many years.
05:22.209 --> 05:32.215
[SPEAKER_01]: And he played with various groups in Austin, I played with like eight and a half souvenirs this jazz group and I can go river or rock and roll band and lots of groups in between.
05:32.275 --> 05:42.001
[SPEAKER_01]: And finally around 2009, a friend of mine asked me to compose music for this adaptation of film called Lebel Loom Rouge, the Red Balloon.
05:42.741 --> 05:53.384
[SPEAKER_01]: And he was doing a theatrical piece, an adaptation of that film, and so I, from the first time, wrote a whole instrumental piece of music, you know, hour and twenty minutes, something like that.
05:54.084 --> 06:00.065
[SPEAKER_01]: And set it on a group of like six or seven musicians, and we had a great time doing it.
06:00.085 --> 06:00.885
[SPEAKER_01]: It was super fun.
06:00.985 --> 06:04.446
[SPEAKER_01]: It was like, oh, this is a whole other thing I can do, not just be a side man.
06:05.246 --> 06:07.087
[SPEAKER_01]: And so that's how my top list began.
06:08.966 --> 06:10.050
[SPEAKER_02]: Thank you for watching!
06:26.818 --> 06:30.279
[SPEAKER_01]: And so after that, then I was looking forward, what's the next project that we can do?
06:30.659 --> 06:37.401
[SPEAKER_01]: And so I found this film made with a movie camera, and we did a live score to that, and it was a lot of fun as well, and so that kind of set me on the path.
06:38.181 --> 06:43.683
[SPEAKER_01]: Basically, at the end of the day, it's ability to get out of sort of rock clubs.
06:44.843 --> 06:58.233
[SPEAKER_01]: They're kind of environment and more of a concert setting, more of a chamber music setting, and these theaters, and that's become a big catalyst for me, and I think just a really interesting subculture in our society right now, our house cinema.
06:58.594 --> 06:59.715
[SPEAKER_01]: And that's what I'm doing a lot of.
06:59.775 --> 07:03.918
[SPEAKER_01]: I'm touring around the country, playing at these art house cinemas, and because of the shift in our culture,
07:05.437 --> 07:31.811
[SPEAKER_01]: this subcultures become so important because, you know, a lot of that content has sort of shifted up river to where a lot of films that used to be exclusive to our house cinema has gone, you know, to the major cinemas, and I feel like the art house cinemas around the country of the really thriving are becoming more like multi-purpose, multidisciplinary venues, and they're doing film screenings, but they're also doing, you know,
07:32.151 --> 07:46.862
[SPEAKER_01]: Music performance and, you know, just gathering, you know, it's really like where intellectuals and communities gather, sentophiles gather, people who love the arts gather on a real community roots-based grassroots level.
07:47.542 --> 07:51.245
[SPEAKER_01]: And it's really fun, because that's where the smarties and every town gather.
07:51.706 --> 07:52.886
[SPEAKER_01]: And it's fun, those are my people.
07:53.607 --> 07:59.812
[SPEAKER_01]: And so that's why I'm, you know, continue, and I'm really enjoying, you know, planning and all these places around my country.
00:08.562 --> 00:14.566
[SPEAKER_00]: Justin Sherburn is a composer producer and musical director and the mastermind behind a captivating Montopolis project.
00:15.087 --> 00:21.351
[SPEAKER_00]: Recently he performed a live score to the silent film, the return of Draw Egan at Lockhart's Gaslight Baker Theatre.
00:21.751 --> 00:24.794
[SPEAKER_00]: We caught up with him at the theatre before he went on to discuss his work.
00:25.534 --> 00:26.394
[SPEAKER_00]: and his process.
00:26.955 --> 00:33.998
[SPEAKER_00]: Oh and in case you miss the theater performance, you can check out Justin with this project Montopolis and San Marcos on March 22nd.
00:34.358 --> 00:39.340
[SPEAKER_00]: With a live performance and viewing of the film Yacona on which he scored the entire soundtrack.
00:39.720 --> 00:40.921
[SPEAKER_00]: We've featured that on episode 36.
00:41.781 --> 00:44.582
[SPEAKER_00]: You can learn more at MontopolisMusic.com.
00:44.943 --> 00:45.403
[SPEAKER_00]: Hi!
00:47.035 --> 00:50.157
[SPEAKER_01]: I am Justin Sherburn, I write music.
00:50.857 --> 01:05.886
[SPEAKER_01]: I do a lot of live scores for Silent Films, and tonight here at the Gaslight Baker Theater in Lockhart, this is a tribute to E&M or a Coney, and I'll be performing excerpts of his music set two, a Silent Film called Return of Draw Egan.
01:07.352 --> 01:11.773
[SPEAKER_01]: So there's a long and storied history of his particular performance.
01:12.013 --> 01:17.295
[SPEAKER_01]: Originally I did this, and I think 2014, and we just did it to the original movie.
01:18.135 --> 01:23.997
[SPEAKER_01]: And my idea was to arrange all the, this various music of the Marconi and set it to Old Sound Film.
01:25.297 --> 01:38.788
[SPEAKER_01]: And so I did that, and it was a lot of fun, but then we decided to do again years later, and I had two comedians who were associated with Master Pancake Theater, a popular comedy show at Eleanor Drafthouse, and they rewrote the film.
01:39.788 --> 01:49.412
[SPEAKER_01]: So they took the original film, it's an all-western starting William S. Hart, and they extracted all the dialogue cards from the film, and they replaced those dialogue cards.
01:49.592 --> 01:55.254
[SPEAKER_01]: Much like Master Pancake would do talking over the film, rewriting the film for a new experience for the audience.
01:55.814 --> 02:01.076
[SPEAKER_01]: They rewrote the dialogue cards to make it hilarious, and I think they did a great job.
02:01.396 --> 02:02.036
[SPEAKER_01]: It's pretty funny.
02:02.496 --> 02:06.878
[SPEAKER_01]: It's much as stupid jokes, and it's real silly, and we have a good time with it.
02:19.170 --> 02:26.936
[UNKNOWN]: I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up, I'm not going up,
02:30.193 --> 02:37.299
[SPEAKER_01]: detriment probably I kind of want to always push down the low up and like just doing a scorch was on the film isn't enough.
02:37.439 --> 02:38.660
[SPEAKER_01]: I mean these are public domain films.
02:38.760 --> 02:43.404
[SPEAKER_01]: You can do whatever you want with a messy idea It's to take what's in the past and make something new with them.
02:44.004 --> 02:48.247
[SPEAKER_01]: That's why we have public domain, you know, and so it's a lot more difficult because
02:49.148 --> 03:08.160
[SPEAKER_01]: You know, people are purists, and especially in the film community, and they want to see like the original news for how to, they're original, you know, man with a movie camera or whatever, but the whole public domain idea is to like, here's this stuff from the past, let's make it new again, and so I always want to kind of mess with the formula a little bit and have fun with it.
03:08.280 --> 03:15.925
[SPEAKER_01]: I mean, I guarantee there would be nobody screening the return of drawing again for any reason whatsoever if it wasn't for this.
03:29.186 --> 03:33.209
[SPEAKER_01]: This in particular is pretty easy, honestly, because I didn't write the music.
03:33.269 --> 03:35.231
[SPEAKER_01]: I'm just rearranging the music a bit more, Coney.
03:36.032 --> 03:44.819
[SPEAKER_01]: And to me, the fun part was, to me, I really wanted to dig deep into more Coney because he's so prolific, and he wrote so much music.
03:45.520 --> 03:49.843
[SPEAKER_01]: And only a small fraction of that music is his classic Western themes.
03:50.644 --> 03:53.947
[SPEAKER_01]: But he wrote all this great music for all these different things.
03:54.567 --> 03:54.807
[SPEAKER_01]: And so,
03:55.875 --> 04:03.562
[SPEAKER_01]: I do play the classic themes, good bandy ugly, that's full of dollars, ecstasy of gold, these kind of things are in there.
04:04.042 --> 04:20.697
[SPEAKER_01]: But a lot of it is like, he did all this kind of real fan of like, kind of the funk scores of the 70s, like a wall of shifrin, and you know what I mean, Koni was doing that as well, where it was like this crazy instrumentation, you know, like this funk rhythm section, like a topal player,
04:21.538 --> 04:23.303
[SPEAKER_01]: You know, just random stuff that they were doing.
04:24.045 --> 04:28.656
[SPEAKER_01]: And to me, though, it's like, it's a lot more funny, you know, to put that stuff against in a Western.
04:52.113 --> 05:04.219
[SPEAKER_01]: Rather than, you know, you know, and so, I don't know, just had a lot of fun digging deep into the enumericony catalog and picking little weird things and putting them in there.
05:04.539 --> 05:07.921
[SPEAKER_01]: One thing I discovered was this film revolver.
05:08.682 --> 05:15.265
[SPEAKER_01]: It's like an action film with the 70s and it's got this great great music and so I just I stole a lot of things from that soundtrack.
05:15.525 --> 05:21.789
[SPEAKER_01]: Montopolis this group, so basically let's go the way back machine, Justin was a side man for many years.
05:22.209 --> 05:32.215
[SPEAKER_01]: And he played with various groups in Austin, I played with like eight and a half souvenirs this jazz group and I can go river or rock and roll band and lots of groups in between.
05:32.275 --> 05:42.001
[SPEAKER_01]: And finally around 2009, a friend of mine asked me to compose music for this adaptation of film called Lebel Loom Rouge, the Red Balloon.
05:42.741 --> 05:53.384
[SPEAKER_01]: And he was doing a theatrical piece, an adaptation of that film, and so I, from the first time, wrote a whole instrumental piece of music, you know, hour and twenty minutes, something like that.
05:54.084 --> 06:00.065
[SPEAKER_01]: And set it on a group of like six or seven musicians, and we had a great time doing it.
06:00.085 --> 06:00.885
[SPEAKER_01]: It was super fun.
06:00.985 --> 06:04.446
[SPEAKER_01]: It was like, oh, this is a whole other thing I can do, not just be a side man.
06:05.246 --> 06:07.087
[SPEAKER_01]: And so that's how my top list began.
06:08.966 --> 06:10.050
[SPEAKER_02]: Thank you for watching!
06:26.818 --> 06:30.279
[SPEAKER_01]: And so after that, then I was looking forward, what's the next project that we can do?
06:30.659 --> 06:37.401
[SPEAKER_01]: And so I found this film made with a movie camera, and we did a live score to that, and it was a lot of fun as well, and so that kind of set me on the path.
06:38.181 --> 06:43.683
[SPEAKER_01]: Basically, at the end of the day, it's ability to get out of sort of rock clubs.
06:44.843 --> 06:58.233
[SPEAKER_01]: They're kind of environment and more of a concert setting, more of a chamber music setting, and these theaters, and that's become a big catalyst for me, and I think just a really interesting subculture in our society right now, our house cinema.
06:58.594 --> 06:59.715
[SPEAKER_01]: And that's what I'm doing a lot of.
06:59.775 --> 07:03.918
[SPEAKER_01]: I'm touring around the country, playing at these art house cinemas, and because of the shift in our culture,
07:05.437 --> 07:31.811
[SPEAKER_01]: this subcultures become so important because, you know, a lot of that content has sort of shifted up river to where a lot of films that used to be exclusive to our house cinema has gone, you know, to the major cinemas, and I feel like the art house cinemas around the country of the really thriving are becoming more like multi-purpose, multidisciplinary venues, and they're doing film screenings, but they're also doing, you know,
07:32.151 --> 07:46.862
[SPEAKER_01]: Music performance and, you know, just gathering, you know, it's really like where intellectuals and communities gather, sentophiles gather, people who love the arts gather on a real community roots-based grassroots level.
07:47.542 --> 07:51.245
[SPEAKER_01]: And it's really fun, because that's where the smarties and every town gather.
07:51.706 --> 07:52.886
[SPEAKER_01]: And it's fun, those are my people.
07:53.607 --> 07:59.812
[SPEAKER_01]: And so that's why I'm, you know, continue, and I'm really enjoying, you know, planning and all these places around my country.
