Green day alter ego band tv#

Considering his freely voiced fears at the start that the show might have been “absurd and not relatable and corny,” his unqualified endorsement of the material from its earliest stages pegs him as a complete convert. However, there’s plenty of Armstrong, whose appreciation for theater craft and embrace of the sense of community that blossoms within a Broadway company is one of the principal threads. Extensive live clips of the band’s concerts include a 1996 Prague show and a massive 2005 London arena performance, with Tinworth effectively shuffling Green Day’s original versions of the songs with their incarnations in the musical.Ī weakness of the doc is its failure to engage Armstrong’s bandmates Mike Dirnt and Tre Cool, whose input is largely limited to the occasional nod of approval. That aspect ultimately is reflected in his fractured recognition of himself in the show’s three male lead characters, as well as its angel of self-destruction, St. The film also provides a potted history of Green Day, focusing on Armstrong’s soul-searching investment in the American Idiot songs. Armstrong’s floored response upon hearing Kitt’s gorgeous wall-of-sound harmonies on “Last Night on Earth” for the first time is one of many warm indications of the mutual rewards of the collaboration.

Perhaps the most illuminating insight comes from arranger-orchestrator Tom Kitt’s work on the score, rebuilding Green Day’s tunes for multiple voices and themes. Lighting and video-projection tests also convey the thrill of watching an elaborate theater piece take shape.

Green day alter ego band tv#

This includes Mayer coaxing out a story and characters that expand on the narrative bones of the album choreographer Steven Hoggett developing an expressive, thematically appropriate physical language and scenic designer Christine Jones creating an environment for chaos out of 40-foot walls plastered with flyers, posters and graffiti and punctuated with windows and TV screens.

(That song, from the album 21 st Century Breakdown, is one of a small number of Green Day compositions from other sources featured in the musical.)įor theater geeks, a key interest will be getting rare access to witness how a complex production comes together. In one of the best sequences, editor Rob Tinworth intercuts Green Day and the cast performing “21 Guns” together at the Grammy Awards with the number as it’s staged in the show. Lively excerpts are included from workshop stagings, rehearsals, the 2009 tryout run at Berkeley Rep and the Broadway production at the St. He's available to design bespoke animations for up-and-coming bands.Making clever use of the iconic album-cover graphics as animation and onscreen text, the film captures the unique charge of the show, a hard-driving story of the tough lessons of youthful nihilism, set against a backdrop of political and social disenfranchisement. What started as a personal project ended up with the opportunity to work with Foo Fighters, Descendents, Beck, Bob Marley, Every Time I Die and many more.'įor more info on Agustin Esquibel and Animagu, and to see the creator's other animations, check out his website. 'Why stick to a static album cover when you can bring it to life?' Esquibel says when describing his forays into animated album art. He's actually worked with many major artists on animated artwork projects. 'And how has the genre evolved in the last 25 years? I took some of my favorite albums, brought them to life, and included them in this 'Pop-Punk Evolution,' featuring animated album covers by blink-182, Yellowcard, Paramore, My Chemical Romance, Waterparks, Machine Gun Kelly and more.'Īnimagu's the creative alter ego of Agustin Esquibel, a freelance motion designer and video editor based in Uruguay. 'Ever wondered how pop-punk album covers would look animated?' the video creator asks. Watch the 'Animated Pop-Punk Album Covers' chronicle down toward the bottom of this post.