They say you should never judge a book by its cover. Of course, this cliché doesn’t really apply to the work of LA-based art director/illustrator Akiko Stehrenberger, who has created a plethora of exciting, iconic images for some of the best films and bands/artists of the past decade.

She has worked on film posters for A Serious Man, Away We Go, 500 Days of Summer, The Squid and the Whale, Lust, Caution, and The Kids Are All Right, as well as illustrated The White Stripes, Snoop, Kurt Cobain, The Yeah Yeah Yeahs, Britney Spears, and N*E*R*D for different magazines.

Stehrenberger’s work often blurs the lines between reality and illusion, bringing a whole new dimension to traditional caricatures.

For her now legendary poster for Funny Games (which was nominated for a Key Art Award for best best horror poster), Stehrenberger digitally painted the crying Naomi Watts without the help of a useable film still. The result was a hauntingly beautiful illustration that looks strikingly real.

My Liner Notes caught up with Stehrenberger to discuss her artwork, LA versus New York, and why she can’t openly diss Tyler Perry‘s films.

How much creative freedom do you have in your illustrations?

In editorial work, I have all the freedom. With movie poster advertising, I usually have a lot of freedom if I am choosing to illustrate on my own. (Which I try to do as much as possible when for the appropriate project.) If it is a client’s specific direction to ask for illustration, they usually have some visual references that I try to come close to. Luckily, there hasn’t been much nitpicking. It’s either they run with my illustration, or nix it completely. I would rather have it this way rather than totally butcher a piece.

Who and what are your inspirations?

It’s hard to pinpoint my inspirations, because they come from everything: some linear, some totally random. I think first and foremost, traveling inspires me. I think it’s imperative to get out of the L.A. bubble, furthermore, the movie poster advertising bubble. I try to travel as much as humanly possible. With a European dad, it’s hard not to have that travel bug! Secondly, the people around me inspire me. I have quite a creative group of friends and family. Aside from that, I often look at photography, exhibits, books, and art blogs to get the creative juices flowing.

Though many of your pieces contain some common elements, you are able to maintain a level of versatility that many illustrators often have trouble exhibiting. How are able to do this so effortlessly, and more importantly, how do you decide which style to take on for a specific piece?

I know the approach for my personal pieces isn’t appropriate for every movie poster project, as it can often have dark undertones and be overly exaggerated. When I am doing movie posters, I am an art director first, and illustrator second. I have to put emphasis in communicating the right thing. Thank you for calling it effortless! However, it doesn’t mean I don’t research or seek out reference to make sure I communicate accurately. I think versatility is important or else I would get bored with my work, and feel like I stopped growing.

For the Funny Games poster you used digital illustration for the first time, and needless to say it was a success since most people can’t tell whether it’s an illustration or a photograph. Is this a style you think you will adopt for certain pieces in the future?

It’s quite possible. I’ve always been stubborn about doing things tangibly for the most part. However, with movie poster deadlines, sometimes doing things digitally saves a tremendous amount of time, and allows for more flexibility. Being classically trained, there’s an automatic apprehension imbedded that digital is bad or cheating. Especially when everyone and their mother can create a digital illustration and claim to be an illustrator. However, I can usually tell when someone without classic training tries to do a digital illustration because they don’t know what to simplify or edit out. Goes back to the saying, “Draw what you know, not what you see”. But for me, as long as it doesn’t act as a replacement, I just see digital as another medium.

Between art direction and illustration, which do you prefer and why?

I think art direction is more challenging, and I love that I have to keep pushing myself. However, I definitely can’t beat the feeling I get when I paint. It’s so therapeutic and fulfilling for me. No overbearing clients, just my paints and me!

Why did you decide to move back to LA after pursuing freelance editorial illustration in New York for four years?

I actually moved back once I found out my mother was sick. I enjoyed my time in New York tremendously, and took back to L.A. what I had learned creatively and ambitiously.

Is the West Coast really the Best Coast?

Good question! I miss the constant inspiration and general ambition that NY has to offer. However, I enjoy my peace and quiet here. I may have to look a little harder to find refreshing work, ways to avoid traffic, and good Italian food, but nothing beats sitting in my own backyard. I don’t know if I will live here forever, but for now, it ain’t half bad!

A lot of your work is for music and film. What do you listen to and watch?

I’m totally inconsistent with what I watch and listen to. On one hand, I can be a total art snob, and the other, I know when to not take myself so seriously and kill a few brain cells. I listen to a lot from the ’60s to ’90s. I’m not really on top of newer bands nor have I been one to seek out the super obscure. But I’ll listen to anything from Bowie, Eno, Joy Division, Pulp to Snoop Dogg, Nirvana, and Arcade Fire.

Have you ever had to illustrate an artist/band or film that wasn’t your cup of tea?

The only thing that comes to mind is Dashboard Confessional from many years back. Luckily it was for an article FILTER wrote, dissing the band.

On a completely unrelated note, what did you think of Madea’s Family Reunion?

The movie, or the actual poster? [Laughs.] Well, it wasn’t as bad as I thought (the movie). My 11- year old niece is obsessed with Tyler Perry plays and movies, so I’ll have to be diplomatic on this one!

Aside from Funny Games and Life During Wartime, I haven’t seen a lot of the movie posters in public. Why is this?

I put in my portfolio the stuff I want to do, rather than the stuff I can do or do get printed. A lot of what you see on my site, is unprinted artwork that was presented to the client, possibly revised and then later nixed out of the equation. Why? There can be so many reasons. Usually, it’s when a client is nervous that something other than a big photo of an actor, won’t get theatre seats filled. In this economy, not many take chances. But in my art direction portfolio, there are some printed posters that I am not too ashamed to stick in my book, such as W., Surfwise, and a few others.

Which celebrity has been your favourite to illustrate so far?

Hmmm, that’s a tough one. I really liked painting Kurt Cobain for FILTER Magazine, because I wanted to focus more on his character than his likeness. It was also a great project because FILTER later asked me to paint the portrait on three different guitars that were signed by Kim Gordon for sweepstake prizes for the Gus Van Sant’s Last Days. Three great things in one, Kurt Cobain, Kim Gordon and Gus Van Sant!

We all know that in caricatures, the artist typically exaggerates physical features. But in the case of your Jarvis Cocker illustration, would you agree that his fingers are actually that freakishly long?

He’s a tall, wirey, sexy man, so yes, I guess I did give him freakishly long fingers [laughs]. Better to point at cameras and dance with!

Have you ever thought about illustrating a children’s book or comic book/graphic novel?

Yes, I have. I’d be more interested in a children’s book rather than a comic book/graphic novel. I think it’d be a lot of fun, if I could really embrace my personal approach. I grew up with books from Shel Silverstein, and Where the Wild Things Are, where the drawings weren’t so predictably cute and were more strange than anything. If i could do something like that, or even similar to the book “Little David”, illustrated by David Hughes, (he drew a butt hole on a cat!) I’d be very excited! I’m also obsessed with my niece and nephews, so hopefully I get on it before they’re into comic books!

La Blogotheque’s Take-Away Shows has been a staple bookmarked favourite for indie music fans since they first hit the Interweb four years ago. Capturing impromptu performances of various indie acts in natural, and sometimes unconventional, settings on the streets of Paris, the online video series has built a significant following over the years.

One fan in particular was so inspired by the series’ concept, he decided to create a Canadian counterpart. It all began last summer when former Sheridan film student Mitch Fillion began shooting a documentary on Hamilton’s burgeoning music scene. After filming, mixing, and editing plenty of live footage from various local bands, Fillion eventually decided that the material would not work as a cohesive film.

Instead, he came up with the idea for Southern Souls, a website that showcases intimate performances in varying environments from up-and-coming indie acts based in Southern Ontario.

To date, the website has more than 125 video clips, which features performances by The Wooden Sky, Ohbijou, Forest City Lovers, Laura Barrett, Maylee Todd, Diamond Rings, Evening Hymns, and My Liner Notes Presents… alumni, Lowlands.

My Liner Notes caught up with Fillion, who discussed his inspiration behind Southern Souls, combining his passions for film and music, and the future of the website following its recent relocation from Hamilton to Montreal.

My Liner Notes: The website obviously takes its cue from La Blogotheque and Black Cab Sessions. Were you ever worried that people would criticize the videos and website for being too similar in cinematography and design layout as these sites?

Mitch Fillion: It hasn’t bothered me. I talk about them being an inspiration all the time, in every interview and on the website. It’s more of an homage to them than anything, not worrying if something turns out similar but at the same time doing things the way I would do them. And I’ve always dreamed of working with them so it made sense to present things in a somewhat similar style to show them that you’re capable of it. Now that opportunity is finally here and I’ll be shooting my first session with them tomorrow afternoon in Montreal, so I guess it worked?

How do you end up choosing the bands/artists you do, and has anyone ever declined on your request to shoot video of them?

MF: I choose the bands because I like their music. I do this for free and the project reflects my musical taste so I wouldn’t film a band I wasn’t passionate about. The Tragically Hip didn’t respond to me but other than that I’ve been pretty lucky.

What makes for an interesting location to shoot a band?
 
MF: It should be unique visually or conceptually.

What is your favourite music documentary?

MF: The Devil and Daniel Johnston.
 
Aside from Vincent Moon (La Blogotheque), who are some of your other filmmaker inspirations?

MF: He’s not really an inspiration aside from that I am filming bands in the same fashion. He is amazing at what he does and I love his videos but you’ll never be as good as someone if you’re trying to be like them. I think it’s better to be your own inspiration and let your own work excite you. But aside from that I would say my biggest inspirations are some the great filmmakers of our time such as Jean Luc Godard, Ingmar Bergman, Stanley Kubrick, Alfred Hitchcock, Woody Allen, and Terry Gilliam, to name a few.
 
I understand that you don’t acquire any filming permits for any of these shoots. Have you ever been hassled by security or any authorities during a shoot?
 
MF: It’s happened, but they usually let us finish the song before they kick us out, or that is to say we just keep rolling. If you watch the Final Flash video you can see a dude standing with his arms crossed for the second half of the video.
 
What will become of the site now that you are relocating to Montreal?

MF: It will carry on as normal, the name won’t change, it’s too well known at this point and I recently registered it as a business. It’ll speak of it’s origin I guess, which is fine, and southern Ontario will always be my home and I’ll definitely still try to document what I can of it whenever I’m there. But just like I did in Hamilton and Toronto I’ll film bands that are touring through, hopefully some of my friends from back home.
 
What are some of your dream bands/artists you would want to film?

MF: Ryan Dahle, Joan of Arc, The New Pornographers. 

Craigslist can be a complete crapshoot. Sure, you might be able to find a pair of tickets to that Flaming Lips show next week, or even luck out on a spacious loft with an incredible view of the skyline.

But the listings site has also become a breeding ground for disturbed perverts and deranged lunatics. And that’s just the types of people you’re dealing with in the bartering section.

So the fact that Freelance Whales frontman Judah Dadone was able to use the site to connect with four seemingly normal individuals to assemble a band and eventually go on to record an album and play sold-out shows around the world, is nothing short of a miracle.

The Queens-based five-piece is chalk-full of precious, delicate harmonies backed by a rich assortment of instrumentation, including harmonium, banjo, glockenspiel, synthesizers, guitars, bass, drums and water phone.

And while their debut album, Weathervanes, may seem a little too sweet at first bite, you’ll probably warm up to it with subsequent tastings. After all, who doesn’t enjoy a slice of chocolate cake after a nice hearty meal.

Chuck Criss from Freelance Whales took a few minutes from their hectic touring schedule to talk about the band’s Ben Gibbard comparisons, busking in Brooklyn and Bah Mitzvah obligations.

My Liner Notes: What was the first album you ever bought as a kid with your own money? More importantly, are you still a fan of this band/artist today?

Chuck Criss: I think it was Live’s Throwing Copper. I still get excited when I hear a song off that album on the radio — it’s very nostalgic. It always makes me think of the demented album art it had and how it really struck me as a kid.

The name Freelance Whales seems a little ambiguous. Are we talking about whales that work as freelance detectives/astronauts/exotic dancers, or are we talking about other mammals — say chimps — that freelance as whales in their spare time?
 
CC: It’s both.

The band’s music seems to get compared a lot to The Postal Service. Would you say this comparison is fair, or completely unfounded?

CC: There’s definitely a Ben Gibbard-ish inflections on some of our tracks, but on the whole I would say our record sounds nothing like a Postal Service record. We have a lot more folk and other non-electronic elements that are weaved into our record.

You guys recently busked at the Bedford Street subway stop. Why would an established band like yourselves choose to do something as crazy as playing for change at one of the busiest subway stops? And on a completely unrelated note, would you guys be interested in playing my cousin’s Bah Mitzvah next week?

CC: Well, we’ve always busked in the subways ever since we first started the band. It’s something we did before we ever had become established. It was a great way of meeting new people and trying to get them to come out to shows. And yes, we talked to your cousin and we’ll be there. See you soon.
 
What’s your favourite whale movie: Free Willy, Free Willy 2: The Adventure Home, Free Willy 3: The Rescue, Whale Rider, or Precious: Based on the Novel Push by Saphire?

CC: Does Pinocchio count?

By Justin Lee

The following is an email interview with Nick Hornby that took place just a couple weeks after a serendipitous encounter with him on the flight from Cologne to London. It doesn’t, as the headline suggests, allow you to physically step inside the head space of Mr. Hornby in some grandiose Charlie Kaufman-penned vehicle. But it’s certainly the next best thing as he discusses his innate connection with music, the influence music has on his own writing, and why he could never be in a romantic relationship with a Susan Boyle fan.

My Liner Notes: Once they reach their mid ’30s, it seems as though a lot of people get set in their old music tastes and fail to venture out of those confines to explore new music. Why do you think this is, and why hasn’t this happened to people like you and I?

Nick Hornby: Well, the major obstacle is kids. You lose maybe 19/20’s of your free time, and eventually, you lose control of the car stereo. You can’t go wandering about on a Saturday, browsing. You don’t have time to listen to your old music, let alone anything new, and if your friends are having kids too, then nobody is recommending much to you any more. My saving grace was first of all my job, and secondly the internet. Of course, writing is hard work and so on. But I do find myself with the odd, um, free patch during the day. When I first started writing full-time, I befriended the guy who ran our local CD store, and he had very similar tastes to mine, so he introduced me to loads of things. He closed down, like everyone else, but then I started investigating music on the web, and…well, there’s a lot of it, isn’t there? But I’m in an entirely privileged position. If I had an office job, or was still teaching, I’m sure I’d have stopped listening to so much new stuff. I try and keep the friends I have with proper jobs in the loop, by making them CDs, and making them buy stuff.

How has music helped to contribute or influence you in your writing?

NB: Music and writing are inextricably linked. What I hear is what I want to write. It’s pretty much as simple as that – music fuels it all.

What do you listen to when you’re writing? Is there a particular genre, band/artist, or record that provides a more effective soundtrack to facilitate your writing process?

NB: There isn’t one particular thing, and I don’t work while I’m actually writing anyway. I can’t listen to anything with words while I’m working, and just about everything I like has words. But sometimes a piece of music  seems to have something that I’m after, tonally, and I play it a lot during the period that I’m writing. I wanted About A Boy to sound like REM’s “E-Bow The Letter,” for example. I’m not sure it does, or that anyone would be able to notice even if it did. But for some reason it helped me to write the book I wanted to write. And when I was writing A Long Way Down I listened over and over to bootleg versions of Springsteen’s Prove It All Night from the ‘78 tour.

You mentioned in Songbook that your severe lack of musical ability was one of the reasons why you went into writing instead of pursuing music. If you were suddenly blessed with the talent of, say, Dylan, would you wipe out all your past achievements in writing for a chance to pursue a music career?

NB: No, definitely not - unless you let me be 21 again at the same time. It’s a pretty good life, the writer’s life. And I think it’s much easier to sustain a career as a writer. I’m 52, and I have a complicated and expensive family, and the chances are that I’d have been finished as a musician at least a decade ago. And of course nobody knows how to make money out of music now anyway. My musician friends are all trying to switch careers.
 
You once said, “It’s no good pretending that any relationship has a future if your record collections disagree violently or if your favourite films wouldn’t even speak to each other if they met at a party.” Can you recount a past relationship where your music and film tastes “disagreed violently”, and how did it all end?

NB: Well, the truth is that conversations about tastes in culture become, in the end, conversations about all sorts of other things – like educational background, aspirations, and how much you have invested in the arts anyway. As I get older, I can see that waving these things during courtship around is a way of saying, “Hey, I’m OK – you could settle down with me.” If I listen to, I don’t know, Broken Social Scene, but she prefers Sonic Youth, then we’re not going to fall out. But if I’m into Broken Social Scene and she likes Susan Boyle, then we’re going to have problems. And those problems are going to be found in all sorts of areas, not just in our iTunes. I don’t think I could live with anyone who didn’t care about movies/books/films – and people who like SuBo do so because, actually, they don’t make their cultural life any kind of a priority. And that doesn’t make them bad people – just people I wouldn’t be able to make very happy. The chances are they’d prefer to be with someone who likes mountaineering. Or dogs.

How similar is your wife’s music/film tastes compared to your own?

NB: I think our tastes are very similar. She’s an independent movie producer, so she’s prepared to watch more movies than I am, simply out of professional curiosity. But we listen to more or less exactly the same sort of music. I’m the one who brings it into the house, though. She doesn’t really buy anything, and she chooses from within what I bring home.

What’s one band/artist you’ve introduced her to, and one that she’s introduced to you?

NB: The last thing she introduced me to, I think, was Laura Veirs.
 
One of the most shameful reasons why I am looking forward to eventually becoming a father is that I will be able to have some influence on my future son/daughter’s music tastes. What kind of bands/artists does your own son listen to and how much of a role did you play in shaping his music tastes?

NB: Ha! Well, good luck with that. That’s when you realize just how much music is about peer pressure. I have three sons. The oldest has autism, so he’s a different case – he can’t really choose his own. But the two little ones…They were fine with what I told them to like until they got to school. Then they realized that Dad’s tastes were redundant, because none of their friends had ever heard of anyone I liked. They watch X-Factor, our American Idol, and like just about everyone they see on it, at least in the final rounds. I have been able to play them the original versions of some of the songs they hear on the show, though. Last season, “Superstition” became a big favourite. You have no chance influencing your kids’ tastes. The whole point of listening to the stuff is actually to piss parents off. They don’t want to be approved of by you.