Movies
Claudio Simonetti’s Goblin Hitting the Road to Play Live ‘Demons’ Score Across the Country This Fall
Following last year’s Suspiria tour, Claudio Simonetti’s Goblin is hitting the road this fall to perform the live score to Demons followed by a set of other classic Goblin compositions across North America.
Goblin founding keyboardist Claudio Simonetti plays with a new manifestation of the prolific Italian instrumental act that includes guitarist Daniele Amador, bassist Cecilia Nappo, and drummer Federico Maragoni.
In addition to the Demons dates, the band will play a best-of set at Eerie Horror Fest in Pennsylvania, while the tour’s Canadian stops will feature a Suspiria live score.
Produced by master of horror Dario Argento, 1985’s Demons is directed by Lamberto Bava from a script he co-wrote with Argento, Dardano Sacchetti (The Beyond), and Franco Ferrini (Phenomena). Simonetti composed the original soundtrack, which he has updated with his live band.
Urbano Barberini and Natasha Hovey star in Demons as two of the unfortunate moviegoers who attend a mysterious horror film preview screening, only to find themselves trapped in the theater with ravenous demons.
Tickets to Claudio Simonetti’s Goblin tour are on sale now. Select shows offer a VIP upgrade that includes a meet and greet with the band, private soundcheck party, VIP laminate, and first access to merchandise.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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