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By Michael Turner
American Whiskey Bar is a impressive pretend memoir in regards to the un-making of a film—a movie which Michael Turner was once commissioned to jot down. even if, even if this movie was once ever “made” is arguable. And just one print is related to exist. however, American Whiskey Bar, a movie visible by way of just a handful of individuals, is easily on its method to changing into a curious footnote to cinematic history.
American Whiskey Bar, the booklet, is an try and set the list straight—a tale of intercourse, violence, lies, ambition, strength, paradox, desires, and remorse. contemplate your self warned.
First released in Canada in 1997, this re-creation, which incorporates a foreword via William Gibson (Neuromancer, trend Recognition), is the 1st version ever to be had within the U.S.
Praise for American Whiskey Bar:
“Tightly packed . . . the booklet weaves its method out and in of varied degrees of fact. . . . There’s a brilliant, playful brain at paintings here.”—Toronto Star
“Turner constructs an extreme, clever, and darkly funny satire. . . . Too unique to be nominated for awards.”—Quill & Quire
“Brilliant . . . a stunning, dizzying multilayered mixture of truth and fiction, of the believable and the preposterous, of the true and the hyper-real. it's also screamingly funny.”—Globe & Mail
Globe & Mail remarkable publication, 1997
Quill & Quire top booklet of 1997
Coolest Canadian e-book of the 12 months, Chapters
Michael Turner lives in Vancouver, the place, as well as books and screenplays, he writes artwork essays and edits ArsenalAdvance, a literary/visual artwork imprint. He has gained a BC booklet Prize for fiction and a Genie Award for unique track. lately, he has collaborated with artist Stan Douglas and filmmaker Bruce LaBruce. His novel The Pornographer’s Poem used to be released this yr by way of delicate Skull.
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This publication is a facsimile reprint and will comprise imperfections comparable to marks, notations, marginalia and wrong pages.
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Extra info for American Whiskey Bar
And we see a similar thing above the wainscoting: the fresh squares where lit paintings once hung. These pictures have now been replaced with the twisted neon that is beer promotion. Enter three sanitation workers. White. They are dressed in white coveralls. a is a gruff crew boss of about fifty. b is an energetic kid in his early twenties. And c is a slow-moving, cynical guy – mid-thirties. They exchange hellos with the bartender and pull up chairs around a small table closest to the bar: a in the middle, b camera-right, c camera-left.
But how did he know? He knew because Klaus told him. Just as Klaus told him to tell me that Klaus had beaten him up, fired him. Just as Klaus had told him to go find out about what I was up to. Just as Evgeny did find out about what I was up to. And now Evgeny was in my apartment, with my notes, with Michael’s e-mail address. And I was in Bulgaria. And I was standing before Klaus. His laughter. His huge, shitty laugh. His arm waving at the first ad, beckoning him to bring out the talent: the African man in the lab coat, the two prim and proper women – parodies of the people I interviewed for my proposed documentary, the one I went to Venice for.
It was on the last day of filming, after twenty-one days in a Bulgarian spa, and we were in the middle of the last scene. The African actor playing the doctor, who had been worked like a horse by Klaus from day one, was having problems maintaining an erection. Klaus, who by this time was already purple with rage over my failure to behave miserably, was screaming at the young actor, taunting him, calling him all sorts of things, which I could clearly see (from my close-up camera position) was having the opposite eVect on the problem at hand.
American Whiskey Bar by Michael Turner