Feature Category: Article

The composer Disasterpeace – also known by his given name, Richard Vreeland – had been making scores for video games such as the indie hit, Fez, for several years when he was tapped by director David Robert Mitchell to score the 2014 horror film It Follows. The film and score were almost inexorably linked in reviews at the time, and much like John Carpenter’s music for the original Halloween, it became instantly iconic. Disasterpeace’s debut film score was an instant success.

In the time since, Vreeland has scored several more video games – most notably, Hyper Light Drifter – but recently returned to film scoring for Mitchell’s latest, a neo-noir starring Andrew Garfield, entitled Under the Silver Lake. The film’s both an homage to the genre, as well as coming up alongside more recent examples like Brick or Kiss Kiss Bang Bang with a modern sense of style and slyly subversive humor.

Unlike Vreeland’s previous work, the score isn’t chiptune or synth-based, but instead features a full orchestra, and would fit in perfectly alongside classic noir scores of the ’40s and ’50s. This is a Disasterpeace composition of another beast entirely, and we were excited to speak with Vreeland all about it.

STARBURST: How early in the process did you join Under the Silver Lake?

Disaterpeace: So, I was involved pretty early. I read the script before we started shooting. This movie has a bunch of music in it: not just score, but a lot of music on-screen, and a lot of the scenes where the actors are using music, playing music, at a concert – stuff like that. There was a lot of pre-production music that I had to write and help prepare, so I got involved in August of 2016, which was right around the time that they started shooting, so I was involved for over a year. It was a pretty long project.

Given the preponderance of ’90s music, a band as characters, and the songwriter, what challenges does all of that other music in the film present to your composition?

It’s interesting, because it definitely informed the score, but also, it had to be its own thing. The music of the world is going to have a different language to it than the score, which is sort of more of a commentary. What was fun about that was figuring out interesting ways to cross streams. One example is Turning Teeth, which is sort of the song of the summer or whatever, and it’s pretty much everywhere in the movie. It works its way pretty early into the score as sort of a motif.

There’s definitely quite a bit of that, even in circumstances where it’s not necessarily music that I wrote, but I was definitely thinking about. Things like Nirvana, where I’m just sort of thinking, ‘how can I weave this sort of feeling of a sort of early ’90s grungy period, this sort of touchstone for the character [of Sam]? If at all, is there a place for that in the score, even if the score is trying to do a very different thing?’

There’s a little bit of that that went into the thought process, and there are other examples that are like that: sort of the way that the film plays with the idea of being a kid and playing video games and discovering secrets and stuff – that sort of find its way into the score in different ways.

We definitely noticed the Legend of Zelda homage in the score at one point, where there’s that little chime of achievement…

Yeah, there’s a couple of scenes like that. There’s sort of when he discovers the underground tomb and when he’s going through the Nintendo Power. That’s just something that happened naturally when I was scoring that sequence. When you’re spending that much time with it – and even with first watch – there’s a sort of absurdity to it, but when you’re really inhabiting it, it becomes really obvious how ridiculous the whole thing, so it certainly presents itself as an opportunity to do something that’s a bit flippant and a bit comical – and also, fun, just playing with the boundaries of what’s real and what’s not. What’s underscore and what’s sort of breaking the fourth wall a little bit? Just being playful in that sort of way.

It’s definitely something that has been a hallmark of noir films since the beginning. If you look at them a little too closely, the conspiracies and crisscrossing paths can get to be a bit much. Were there any composers or scores you looked to when scoring Under the Silver Lake? The mix of noir and a sort of screwball comedy must’ve made for some interesting tonal shifts.

For sure. It was definitely a real challenge. On the reference side: I didn’t really go out and do a lot of just standalone listening, but at the beginning of the project, I had a bunch of different ideas for what the movie could sound like, and I was pretty far off from some of the intentions or hopes that David had for the score.

So, he recommended a bunch of movies for me to watch, to just get a better sense of the genre and what came before and how to bridge that gap. I went and watched Citizen Kane and Vertigo and Taxi Driver and Blue Velvet, and that was pretty much it. I watched each of those once and I just needed a little bit of reference for myself, because coming to the project, I basically had very little knowledge or familiarity with noir movies. Just seeing a couple different things that had a sort of commonality, started helping me develop a sort of language for the movie.

After we watched the film a couple of times, it seems like Under the Silver Lake operates in a modern time period, yet something apart from our actual reality. Was that appealing to you?

I think that’s sort of a thematic element that David has been developing. Certainly, It Follows was that way and I think this film is like that, as well. It’s interesting, because while this film has that anachronistic feel at times, it’s also meant to be a period movie, in a certain way. It’s meant to be set a certain time, but it’s just sort of the way that David paints this picture where – what’s real and what’s not real, it can be hard to tell.

His passion for films and references and the passions that he brings are so vivid and diverse that there’s almost a feeling that you’re a part of something that’s more than a particular point in time. It’s something that’s more connected to a bunch of different points along the way, as far as the history of movies.

Now that you’ve made a couple of movies with David Robert Mitchell, have you developed a shorthand to communicate what you’re both aiming for – is it easier or harder, at this point?

[Laughs] I think it’ a little bit of both. Working with someone multiple times, successfully, you definitely build a communications style, and a rapport and a trust with one another. I think there’s also more of an openness to be honest and to really push for your desires, and that can make things a little more adversarial at times, but ultimately, I think David and I have a ton of respect for each other, and I think we’re really proud of the work we’ve done together. We like each other, personally, so any of the challenges and hardships that come up as part of that process are easy to look past. Especially when you can look back and say, ‘we made something pretty amazing,’ there’s something to be proud of.

Whose idea was it to do a full orchestral score, then?

I think we both had the intention of working with an orchestra this time, but I think that we had somewhat different ideas about the specifics of that. I had an idea that it would be more of a melting pot, sort of grab-bag of different styles that would be even more video game stuff, and acoustic guitars. I think, David – his instincts were more towards a primarily classic film, orchestral kind of sound. Once we started playing with those ideas, I knew he had a really solid intuition about that idea, and it was the way to go.

We still knew that we wanted to pepper the score with other kinds of sounds and to have fun with it – to really sort of bring a breadth of ideas to the score. The way that the script brings a lot of ideas to the table, we really wanted to mirror that.

Disasterpeace’s score for Under the Silver Lake is out on Friday, April 19th via Milan Records.

Neil Jordan leaves a maverick stamp on every movie he makes. After a successful, if turbulent, sojourn into telly and a return to his first love of writing, the award-winning director of Company of Wolves, The Crying Game and Interview with the Vampire has returned to the cinema and turned his attention to the psycho-stalker genre with Greta, which stars Isabelle Huppert as a mysterious widow living alone in New York, and Chloë Grace Moretz as the innocent young girl she first befriends, then enchants, then entraps. We dragged ourselves kicking and screaming to the Soho Hotel in London to talk with Jordan about strange obsession, Excalibur and the joy of Spanish dubbing…

It’s been seven years since Byzantium (2012).  Is it the case that as you get older you get choosier with projects?

You want to know the honest to god’s truth? They get much more difficult to make. I was doing The Borgias on TV for quite a while, then I made Byzantium, then I kind of walked off a TV series (the Sky Atlantic hit Riviera, which began in 2017 and Jordan disowned after his initial scripts were re-worked by others) and then I wrote a novel called ‘Carnivalesque’ because I’ve always written novels. All of which takes time, so that’s really what it was.

Did you have Isabelle Huppert in mind early on for the lead role?

No, it’s very simple; I was sent the script, it was by a Hollywood guy called Ray Wright who I had never met. It was very simple, a generic piece. I’d never thought of making a “stalker movie” but there was a simplicity to it that I found really intriguing, you know? Because I find it very difficult to be simple. And the fact it was between two women really intrigued me, so I thought if I can get somebody interesting to play this I’ll make it. Isabelle was interested, I met with her and I kind of re-shaped the part around her, it became a conversation and we ended up making the film. It was just the fact that felt I could build a character around her that would be memorable. She’s an icon of French cinema, she’s one of the most controlled and interesting actors in the world.

How did the part evolve once she was on-board?

The part in the script I was sent was simply a Hungarian widow in her late 60s. The interest, affection and contact between Frances (Chloë Grace Moretz) and Greta was more based on pity rather than fascination. So it was lovely to construct this character that had this French veneer and underneath it was something of this other widow character. Isabelle told me her background, that her Grandfather was Hungarian, which I never knew, and she had some acquaintance with the Hungarian language. So together we constructed this character, but she’s a really…I mean her face changes by the minute. That scene where she’s lighting those candles in a church, she looked Garbo-esque. That ‘invasive eye’ is normally played by a man – it could have been Nicholas Cage, it could have been Anthony Perkins, Terrance Stamp…

It makes for a very different take on the genre…

That’s the interesting thing, this is much more terrifying really. The sexual dimension is almost entirely removed and this woman’s logic then becomes absolutely clear: she wants a friend. And she was promised friendship even though she’s set this trap to bring this person into her life. And the fact that this girl rejects her so brutally gives rise to this pathology, it all made absolute sense. Because once you remove that sexual dimension, what kind of lengths can loneliness drive you to?

 

 

 

The only significant male role is played by your long-term collaborator Stephen Rae. How would you characterise your relationship?

Obsessive…needy? No, I think the word might be ‘symbiotic’, although what does that mean? I never quite understand the meaning of that, but there are certain parts that I kind of need Stephen to deliver for me, that only he can play. For example in The End of the Affair as the husband who had to accept that his wife was in love with Ralph Fiennes. Stephen could understand that kind of logic and make it really moving. When I did Interview with the Vampire I created this character Santiago who was straight out of the French comedy of the period. Stephen got the theatricality of that and could deliver it. In The Crying Game, I wrote that role specifically for him.

This movie is very small-scale by your usual standards. Is this the shape of things to come for you?

Oh no, I’m still gonna make massive movies, don’t worry. This is tiny because it needs to be tiny, that was the attraction to me. I was kind of thinking of the unmentionable Roman Polanski a lot as I was making it. Tiny is good if you’re into the realms of dread and characters that are punishing each other. But it’s even harder to get a movie like this made than a $200 million movie. It’s weird, I mean the big actors don’t even want to read the parts for you because they get paid nothing and they know they’ll end up in some godawful studio in Budapest or bloody Bulgaria. It’s getting harder and harder.

You started out in the 70s as a short-story writer, was it a surprise to you that you became a filmmaker?

I was a short story writer, then a novelist, then a filmmaker. What was a surprise to me was that the minute I became a filmmaker that was all I was known as. A big surprise that, but it’s the way the culture seems to work.

Your first step into the movie business was in 1980 on John Boorman’s Excalibur, a film dear to STARBURST’s heart. How did that come about?

That was brilliant, amazing. John was very generous to me. We had written a script together that he had been trying to make all his life called ‘Broken Dreams’. That was the first time I met him, and then he said he was doing Excalibur and he asked me to re-write the last draft of the script with him for which I didn’t get a credit, but I think he enjoyed the conversation and he wanted me around when he was making the film. So I said, well, why don’t I make a documentary on you making the film? He said sure enough and he gave me the money to do it – it was amazing, I’d no idea what filmmaking was about or anything. It was like going to film school.

Like Boorman, you’ve always appeared to be a very independent-minded director, you pretty much do what you want to do. But do you feel free these days?

I feel older…I feel I know more what filmmaking is about. I’m not going to give out about the current state of things. I mean, it’s good that Netflix is there. I wish they were making more Brian De Palma movies actually, and more John Carpenter movies, but it’s good they’re filling in the gap that Hollywood used to fill so happily. DVD sales have basically collapsed, so it’s good they’re doing their series and making a Martin Scorsese movie (this year’s The Irishman). It’s all fine, but I do like seeing things in a cinema and I think there should be a more rapid inter-change between cinema exhibition and streaming. I think that would solve a lot, because if films are getting a big audience in the cinema they should stay in the cinema and if they don’t manage to get a big audience they should go to streaming almost immediately. I wish it was all more fluid.

Have you ever been to see your films in a foreign country? For a film like Greta, which is so centred on a few key performances, good dubbing must be crucial?

I have seen them and it’s very simple: you see the films in Spanish – they appear pornographic; you see them in French – they appear highly intellectual; you see them in Italian – they appear more comedic. It’s just bizarre. But no, I don’t get involved at all in that. I know some director’s do.

Greta is three-hander with a very interesting character dynamic at play. How do you work with your actors?

I’m very selfish, I use rehearsal entirely as a space in which I can re-write the parts, it’s as simple as that. I go ‘let’s go through this scene’ and they read the scene and I go ‘OK…we can go further with that, we can change that’. I’m refining the script.

But you still get those moments of revelation looking through the camera?

On yeah, the entirety of this movie was constructed through the camera. We were on a tiny little stage in Ireland with two little sets, particularly that little ‘Hansel and Gretel’ apartment Greta has. All of the drama, all of the tension, all of the undertones of the whole film, it’s created through the camera and it’s amazing what you can do in a tiny room, that’s what I really loved about making this film.

Is the next project already coming together?

Well I wrote a novel called ‘The Drowned Detective’ and I’ve written a screenplay about that, which is… hell to get going, absolute hell. Getting the money is just extraordinarily difficult. I suppose if I was making movies that cost $2 million…but I can’t do that. I can’t do everything with a hand-held camera, running around the streets, you know? I have to create an image.

Greta is in cinemas from April 18th.

Born in New York City but raised in Japan and Hong Kong, Christine Lynn Herman subscribes to the firm philosophy that home is where her books are. The Devouring Gray is her debut YA novel, a slow creep horror that has been impressing everyone who’s read it.

STARBURST: What’s the elevator pitch for The Devouring Gray?

Christine Lynn Herman: Stranger Things meets Riverdale in Four Paths, a small town in upstate New York where four teenagers must uncover dark family secrets to save everyone they love from a monster lurking in the woods.

And how would you pitch that to someone who isn’t into ghost stories?

If you enjoy stories about twisted family legacies in contemporary fiction, you’ll enjoy them even more with some messed-up magic thrown in. The Devouring Gray has both!

How would you describe The Devouring Gray series to an elderly relative?

There’s murder. You’ll like it.

What character is the most fun to write?

Harper’s POVs, and Isaac’s one-liners.

Which character seriously needs to have word with themselves?

The entire Hawthorne family is in serious need of some introspection. Especially Augusta.

How long did it take to write?

I got the idea in December 2014, wrote the first draft in spring 2015, signed with an agent in winter 2017, and sold it that summer – so, about four years of various drafts and revisions before it was finished.

Why the supernatural?

Because magic makes everything more interesting.

What’s with the name Four Paths?

There’s a reason, I promise. You’ll have to read the book to find out.

What has been the most interesting shift in genre writing in recent years?

The rise of a new generation of women who are true power players in adult science fiction and fantasy. Charlie Jane Anders, V. E. Schwab, Nnedi Okorafor, N.K. Jemisin, Samantha Shannon, and so many more writers are doing some really groundbreaking work right now. I’m really happy about it.

What’s next?

Right now I’m revising the sequel to The Devouring Gray, which is quite intense and a lot of fun. It’s slated to come out in spring of 2020.

What tropes do you personally avoid the most?

I’m not a huge fan of insta-love, although I do think it’s totally realistic for two characters to be attracted to one another the first time they meet. I also despise the trope of something bad happening to a woman solely to further the character development of a man. Hard pass on that one.

Describe your dream project?

One day, I really want to write something that reads like Heathers with dark magic. I’m still trying to figure the deeper idea out, though. It’s tough to get right.

If you could take one piece of art/music/movie/book/etc, and ensure it would last until the sun dies out, what would it be?

Probably Avatar: The Last Airbender – it’s an all-ages-appropriate masterclass in storytelling and character development.

If you could give the 16-year-old version of yourself any advice, what would it be? Would you listen?

I would tell her to keep writing and to stop worrying so much about what people think of her. She would listen to the writing part and completely disregard everything else.

The Devouring Gray is out now.

 

Tom Huddleston and Cavan Scott are highly experienced writers who specialise in making popular franchise fiction accessible to younger audiences. These brave gentlemen have written the first Warhammer Adventures books, which bring the detailed and complicated (and quite mature) worlds of Warhammer to the 8-12 aged audience. We caught up with them to find out more…

STARBURST: Tom, what’s the elevator pitch for City of Lifestone?

Tom Huddleston: The story is set in the mortal realms of Warhammer: Age of Sigmar, a world of adventure and monsters and battles and general mayhem. It follows a slave-girl called Kiri who flees her captors and sets out to find the fabled city of Lifestone, but when she gets there nothing’s as she thought it would be. It’s about friendship and bravery and magic and giant talking rats.

Cavan, how about the story behind Attack of the Necron?

Cavan Scott: Three kids and an alien ape survive the destruction of their planet only to find themselves hunted by one of the aliens behind the cataclysmic event.

Warhammer 40,000 is a well-established franchise; how did you the tackle of creating a Grim Dark story a younger audience?

CS: It was important that we never talked down to younger readers. This is still a dangerous universe, but obviously we’ve got to be responsible, making sure that the peril and thrills are age-appropriate, never getting too scary, while still maintaining the danger that makes the franchise so popular in the first place.

Age of Sigmar is a complicated fantasy setting. What did you do to navigate it?

TH: I did a whole lot of reading. I didn’t grow up with Warhammer, so I had to absorb a large amount of lore in a very short space of time. Luckily, it’s all really cool, exciting, and memorable!

What one thing did you have to take out in order to make the book work?

TH: Truthfully, not much. We had to move some scenes around, but the book came out pretty much fully formed.

CS: Well, we couldn’t have the gore and excessive violence that Warhammer 40,000 is known for – but there’s still plenty of jeopardy.

What character is the most fun to write?

TH: Probably Kreech, the leader of those devious talking rat-men the Skaven. They have a totally unique manner of speech, which is always enjoyable to write, plus he’s just this wonderfully grasping, shallow, self-important, vicious little fiend. All great qualities in a villain.

CS: I think Fleapit the Jokaero, as who wouldn’t want to write a grumpy cybernetic alien orangutan?

Which character would you like to have a long chat with?

TH: Probably Vertigan, the wise old witch hunter who brings the heroes of the book together. He’d have some amazing stories, about everything he’s seen and done in his years roaming the mortal realms.

How long did it take to write?

TH: Longer than it takes to read.

CS: The book has had a long gestation as we spent a long time working out the character, the overall story arc and the right tone. The book itself probably took a month or so to write and edit.

How have the fans been?

TH: On the whole, terrific. There was some initial uncertainty about the prospect of writing Warhammer stories – which have traditionally been rather violent – for younger readers, but that died away pretty quickly once the books actually came out.  Obviously, myself and Cavan had to tread a fine line between satisfying the hardcore fans and still making the books kid-friendly, but from the responses I’ve seen I’d say we achieved it. The whole idea was to give Warhammer fans something to share with their own young ‘uns, and that’s exactly what they’ve been doing.

CS: At first, quite a few fans seemed to be worried that this would somehow water down the universe as a whole, but hopefully by now their worries have proved to be unfounded. Certainly, the response to the first book has been fantastic, with lots of parents telling us how great it is to have their kids’ reading. The parents seem to have been enjoying the books too.

What has been the most interesting shift in genre writing in recent years?

TH:  I’m sorry, that’s a question for someone else. I buy all my books in charity shops, and am rubbish at following trends.

CS: I think the growth of TV binge-watching and long-form storytelling, from season-long arcs to single-stories told over multiple episodes. That’s influenced everything from comics to books – and even film franchises. Just look at the MCU. Now everyone wants shared universes.

What tropes do you personally avoid the most?

TH: I don’t place a blanket ban on anything. If it works for the story, I’ll use it.

CS: And it was all a dream…

What’s next?

TH:  First up it’s the second Warhammer Adventures: Realm Quest book, Lair of the Skaven, in which our heroes have to infiltrate a warren teeming with savage rat men. I won’t spoil it, but let’s just say Indiana Jones and the Temple of Doom was a major influence.

Then I have a new original novel coming out in October, it’s called FloodWorld and it’s an action-packed adventure story for 10+ readers, set in a world where the oceans have risen, submerging the cities. It’s a bit sci-fi, a bit disaster movie, a bit political thriller, and all super exciting.

CS: The next book in the series leads on directly from Attack of the Necron and sees the kids exploring a derelict spaceship – a derelict spaceship stalked by an alien from their worst nightmares. Claws of the Genestealer comes out in May.

Describe your dream project for us.

TH: I’d love to work on a movie adaptation of one of my own books. I think FloodWorld would make a cracking film, though you’d need several hundred million dollars to do it justice.

CS: Writing Superman for any medium, but especially comics.

You’ve written a lot of franchise work. What’s next?

TH: Well, the Warhammer Adventures: Realm Quest series has only just begun, so I’ll be writing those for the foreseeable. There are some really cool stories coming up – as far as I’m concerned, the books just keep getting better. But I would say that.

CS:  I’ve written a new five-and-a-half-hour Star Wars audio drama which explores the past of Count Dooku, the Sith played by Christopher Lee in the Prequel trilogy. Featuring a full cast, Dooku: Jedi Lost is published by Del Rey on April 30th. Beyond that… well, that would be telling…

If you could give the 16-year-old version of yourself any advice, what would it be? Would you listen?

TH: I’d tell myself to be more confident in my own abilities. But to be honest, I told myself that at the time and I didn’t listen.

CS: Never stop playing. Life is supposed to be fun. And yeah, hopefully they would, once they’ve stopped trying to be painfully cool – and failing horribly!

Attack the Necron and City of Lifestone are out now. Keep an eye on the Warhammer Community website for the latest news of all things Warhammer.

STARBURST catches up with young director and actor Kansas Bowling and gets and exclusive look behind the scenes of her as-yet-untitled next movie…

In 2016, director Kansas Bowling released B.C. Butcher, a 16mm prehistoric slasher film she had made at the age of 16. Shot almost entirely in her father’s backyard, the movie starred Rodney Bingenheimer, Kato Kaelin, and Kadeem Hardison, and was released by Troma Entertainment. In the years since, Bowling has directed a seemingly endless slew of eye-catching music videos for everyone from garage rockers the Death Valley Girls to the Fontaines.

The now 22-year-old Bowling’s newest film is in the editing stage at this very moment, and it looks to be another excellent throwback. In addition to directing, Bowling appears in the film as a professor, in the style of the Faces of Death films.

“Instead of talking to the audience and showing them gore footage, I’m talking to them like they’re parents, and showing them footage of what their delinquent teenage daughters are doing that they don’t know about,” the director explains to us. “It goes into a bunch of vignettes about troubled, delinquent teenagers.”

Brissa Monique

The film – whose title can’t be revealed while Bowling tries to line up the rights to the song that inspired it – is based on a bunch of girls with whom the director grew up, and looking back knowing how they turned out today.

“It’s like: ‘Oh, that person’s dead, that person’s in rehab, that person’s homeless,’” Bowling explains. She continues on to say that it’s not exploitative, but actually a feminist film: “But not in a tacky way.”

In the intervening years since B.C. Butcher, the director has learned quite a few things. That film was shot over nine straight days, with the same cast and crew every day. For this film, Bowling shot in bits and pieces over a year, and all over the United States – Los Angeles and the surrounding area, New York, Philadelphia, Baltimore, Las Vegas – and beyond, with one vignette set in Mexico City.

“There’s over 100 people in the movie – almost 120, I think,” Bowling says. “Depending on which day or which vignette, we had this DP, Andres Garzas, shooting it, or sometimes I would shoot it. Some scenes, my boyfriend, Don De Vore, shot.”

As if that wasn’t a massive scaling-up of operations in and of itself, there are also little movies within the movie, so, as the director says, it’s a very different style and a very different process than her first feature.  “Every time I do a shoot, I basically learn something new,” Bowling explains of the time she’s spent making music videos, and how that’s benefited her new feature. “I’ve become more confident in what I’m doing and I’ve been able to develop a very specific style, to me. I’ve definitely learned a lot. I’m confident to the point where I could be the entire crew by myself.”

Bowling and her sister, Parker, can both be seen in the trailer for Quentin Tarantino’s upcoming film Once Upon a Time in Hollywood, but at the moment, the director and actor is mum on the experience: “Right now, all I’m allowed to say is that I’m in it, or else I’ll get in a lot of trouble,” she explains with a nervous laugh.

Ariel King

We have an exclusive behind the scenes preview of Kansas Bowling’s upcoming feature. Shot during the filming, it’s entitled Guerrilla, and was shot and edited by Douglas Burgdorff, and shows both the excitement and monotony of shooting an independent film. It’s for a segment of the film about two hitch-hiking girls that get kidnapped by some rednecks.

The people that can be seen in the video are the actors in the scene Bowling was filming: Lily Noyes, Nina Ljeti, James Landry Hebert, Tyler Bradberry, and Dylan Lusetich. Also in there are the people helping out on set that day: Tori Pope, Director of Photography Andres Garzas, the director’s sister, Parker Love Bowling, as well as her boyfriend, Don De Vore, and Townes, Bowling’s dog.

KANSAS BOWLING: GUERRILLA from Douglas Burgdorff on Vimeo.

You can keep up to date with Kansas on Instagram.

Don De Vore and Sierra Green

Cynda McElvana