Splendor opened September 17 in NYC and then September 24 and October 1st in other cities.January 29:I purchased a scanner today and Splendor.I will be updating this page quite a bit.Sorry for the wait everyone.

The soundtrack became available on Sept.14 by ASTRALWERKS!!!It has an excellent array of music as do all the other soundtracks.
Gregg Araki on SPLENDOR

"After completing my Teen Apocalypse Trilogy (Totally F***ed Up,The Doom Generation,Nowhere),I was really looking forward to do something new and different that was far outside the realm of angst-ridden eighteen-year-olds.Screwball comedy of the '30s and '40s had always been a favorite genre of mine from my school days-Howard Hawks,Preston Sturges,Leo McCarey,etc.-and I wanted to make something in that tradition while doing this sort of revisionist,postmodern thing with the genre at the same time.Creating a movie that '30s in spirit,structure,and infusing that with a very '90s,forward-looking aesthetic sensibility...

"My previous movies are frequently deemed `bleak' or `hopeless' because they end on a note of `Now what happens?' uncertainty.But I've always maintained that they aren't nihlistic in that thay all share an unyielding,almost naive belief in the ideal of love.So while Splendor's my most overtly romantic film to date,it's definitely more a devolopment of an underlying theme than an abrupt turnabout...

"It's also an accurate reflection of where I'm at personally and emotionally,I'm not really feeling too much like the bloody,cathartic finale of The Doom Generation at this moment in my life.Whether you call it it `newfound maturity' or `mellowing in the middle age,'I'm trying to look for other colors in life right now besides basic black.As always,the most important thing for me as a filmmaker is to keep growing and evolving.And to pursue whatever cinematic direction my heart and imagination lead me in..."

Love him or hate him ? and there's not much ground in the middle ? Gregg Araki is one of the few filmmakers to develop a style so unique that if one were blindfolded and led into a dark theater with no prior information, they would probably be able to say "Oh, this is a Gregg Araki film." If, however, one were to only see the end of his latest effort, "Splendor," they might be well-confused. Teen-angst, blood and guts be damned, Araki is on a positive trip this time around, with what you might, god forbid, call a "90's feel-good comedy." Sitting on the toilet in the bathroom of his condo (the only quiet place we could find to talk), Araki recently shared his feelings with indieWIRE on maturity, sexuality, and the changing visions of a Sundance veteran. indieWIRE: When I first saw "Doom Generation," it was in a theater full of teenage kids who had only come because they heard Perry Farrell was in it. It was 16-year-old guys with their girlfriends who were all first really identifying with the tough-guy character Xavier Red. Then suddenly, he's drinking sperm, and the whole theater went silent after that. You're terribly subversive, aren't you Gregg? Gregg Araki: [laughs] "We premiered "Doom Generation" [at Sundance] four years ago, and it was great. It was a lot like "Splendor" in the sense that nobody had seen it, and people didn't know at all what to expect. That's always the exciting thing about premieres. You don't get a warning of what's gonna happen. I strive for the unexpected. iW: Can you talk a bit about your relationship to Sundance, and why it's important? Araki: Sundance has been really great to me throughout the years, particularly given my background. Like "Totally F**ked Up" and "The Living End" were shot on 16 with super-low-budgets and no crew. My position has always been the underground, radical punk rock filmmaker, and the support that Sundance has provided over the years has given me a certain credibility, so it's more difficult for people to just dismiss my films. iW: What inspired you to do a trilogy of teen angst films? Araki: It was originally not a trilogy. I just did "Totally F**ked Up," and the experience of making that movie, working with kids who were 18 and 19, made me eventually decide I wanted to make a trilogy about this generation ? the lost generation. iW: In "Splendor," there seem to be some jokes that are tailored for the industry, like the Hollywood Reporter meets Psychology Today jab. Araki: They'll get a bigger response here than in Baltimore, I guess. The Ernest character in the film is a Hollywood type, and that's what a lot of those jokes are attached to. He's loosely based on some people I know. iW: In the past, you've listed Godard as an influence in your films. Who inspired you this time around? Araki: He's always been a huge influence, and he still is in this film. But "Splendor" was really inspired by that whole genre of romantic screwball sex comedies. The basic idea is a revisionist screwball comedy, but inject it with a millennium, futuristic aesthetic. I wanted it to be set two years in the future, but harkening back to the '30s and '40s glamorous movies star age. iW: It's also the most 'accessible' film you've ever made. Araki: I'm selling out! Actually, it's important to me not to repeat myself. I know I'm most well-known as 'that 'Doom Generation' guy,' but after completing "Nowhere" I made a conscious decision to do something different. Something with my voice and world-view, but different. 'Splendor' is a reflection of my continued growth. Each movie of mine functions as a Polaroid of where my head is at. This movie is electronic, peace, love ? everybody on ecstasy. That's where the title comes from, it's almost like a drug [says in a slow, sexy voice] ...'Splendor!'" iW: You use the theme of patriotic colors and the American flag in "Doom Generation," and also in "Splendor." Why? Araki: It has to do with this whole concept of America. I have an interest in America and the broader concept of what America is. In "Doom Generation," America is a ritualistic, bad, scary thing. In this movie, it's more about money and business. The girl is at a car show, having morning sickness, and basically feeling trapped. iW: Are you obsessed with three-somes, or is it just unconventional love that interests you? Araki: Well, "Nowhere" had more like a six-some [laughs]. I'm not obsessed with them, I find the sexual dynamic of that very interesting. For "Splendor" I really wanted to do this sex comedy that was written for three actors I'd worked with already. It was sort of written for them. iW: Up until fairly recently, you were known as a 'gay filmmaker'...and as 'gay' on top of that. But that's changed now. What happened and how has it affected your filmmaking? Araki: I've always been against that whole ghetto-izing thing. I don't like being characterized as any other way other than an individual with free choice, doing what I want, when I want. I think my life has changed. I'm in a different place personally and creatively. But it's a good place. It's sort of the next step, and I don't know what the step beyond the step is, but I feel good that I'm not where I was ten years ago. iW: That's beautiful, man. Araki: Brings tears to my eyes.
Linda Kim...Allison
Kathleen Robertson ..Veronica
Mathew Keeslar ..Zed
Johnathan Schaech ..Abel
Eric Mabius ..Ernest
Kelly MacDonald ..Mike
Audrey Rutton ..the gloved one
Nathan Bexton ..waiter
Adam Carola ..mike's stupid boss
Julie Millette ..supermarket cashier
Jenica Bergere ..model 1
George Pennacchio ..newscaster
Wesley B ..as himself
Dan Gatto ..

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