There’s a certain rhetoric about the “perfect pop song” that feels like it peaked 25ish years ago somewhere on a bus in the UK, where earnest young people bonded over shared cultdom to pass the time, the guiding sensibility that (random example) led Orange Juice frontman Edwyn Collins to approach future bandmate Steve Daly because of a Buddy Holly button he was wearing — a sign they had more to talk about than initially evident. This kind of living through music is the force powering Belle and Sebastian leader Stuart Murdoch’s directorial debut God Help The Girl, an indie pop […]

from Filmmaker Magazine http://ift.tt/WhU8Ev
from Filmmaker Magazine http://ift.tt/WhU8Ev
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