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Are the Quay Brothers still alive?

Stephen and Timothy Quay (/ˈkweɪ/ KWAY; born June 17, 1947) are American identical twin brothers and stop-motion animators who are better known as the Brothers Quay or Quay Brothers.
…
Brothers Quay.

The Brothers Quay
Occupation	Film directors animators writers production designers cinematographers editors
Years active	1979-present

Who were the Quay Brothers?

Who made tool sober video?

Adam Jones is no stranger to the art of music-video making. The guitarist and creative cog of Tool has been transforming the prog-metal band’s songs into dark animated clips since 1993’s “Sober.” For Tool’s latest video, “Parabola,”Jones made a technical leap.

Is Tool a religious band?

Ministry’s Al Jourgensen has taken credit for turning Tool into a spiritual band by dosing them with LSD, while many fans point to the influence of legendary comedian Bill Hicks.

What do you wear to a Tool concert?

Leather, dark colors, heavy boots, and some metal accessories are the essentials to wear to a metal concert. Sticking to darker hues, a pair of jeans and a logo or band T-shirt are a great base to start with. If you wish, you can add a leather jacket and boots to complete the look.

Why does Maynard stand at the back of the stage?

Apparently Maynard has an eye issue which manifests itself in a sensitivity to bright lights and flashes. It got so bad that it came close to ending his ability to perform live. When the lights get flashing and really going, it causes an almost vertigo-ish reaction that can lead to his passing out.

TOOL – Sober

The Brothers Quay: Progenitors of Tool’s Aesthetic | Tool Music

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Summary of article content: Articles about The Brothers Quay: Progenitors of Tool’s Aesthetic | Tool Music The veo for the 1993 single “Sober” blew me away the first time I saw it. Nearly 20 years after its release, the “Sober” veo remains remarkably popular, … …
Most searched keywords: Whether you are looking for The Brothers Quay: Progenitors of Tool’s Aesthetic | Tool Music The veo for the 1993 single “Sober” blew me away the first time I saw it. Nearly 20 years after its release, the “Sober” veo remains remarkably popular, …
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The Brothers Quay: Progenitors of Tool’s Aesthetic

Much of Tool’s widespread success comes from the intra-sensory unity of their aesthetic. As a band, they’ve made great music, but their album art, concert projections, and music videos have been integral to their ongoing popularity. Guitarist Adam Jones does essential work not only as a musician but as the art director of the band. He created most of Tool’s disturbing and iconic music videos that helped launch them into the mainstream.

The pitch-dark stop motion videos were certainly a large part of what drew me to the band. The video for the 1993 single “Sober” blew me away the first time I saw it. Nearly 20 years after its release, the “Sober” video remains remarkably popular, having racked up over ten million views on YouTube. Its eerie, atmospheric stop motion animation set it apart from other band-centered videos at the time.

The animation style contributes as much to the video’s tone as its content. You get the sensation of watching inanimate objects coming to life, moving of their own accord. After all, you’re looking at real objects lit by real light. No other filmmaking tool, not even CGI, can match the tangibility of stop motion. It’s a technique I associate with certain films from my childhood, which makes its use in “Sober” all the more disconcerting.

But Adam Jones wasn’t the first to realize that stop motion was an inherently disturbing method of animation that could be employed to great effect. He drew heavily from the work of the Brothers Quay for the aesthetic of the Tool videos.

Stephen and Timothy Quay, identical twin brothers from Pennsylvania, have been making animated films together since 1979. Their most famous short, Street of Crocodiles, was released in 1986. Much of the Brothers’ work features distressed, distorted human figures assembled from old doll parts and other found objects. A haunting tone permeates their filmography.

Jones’s borrowing of the Brothers’ style for his own video is one of many examples where the replica becomes more famous than the original. With “Sober,” he brought an existing short film aesthetic into mainstream culture. I don’t believe Jones ever publicly acknowledged the influence of the Brothers Quay on his own work, which is unfortunate, especially given that the twins were making music videos themselves around the same time. As far as I know, the Brothers never took issue with the imitative videos, although Kurt Cobain personally stated that Tool should have been sued for them.

While I do wish more credit were given where due, the “Sober” and “Schism” videos are excellent in their own right and a perfect complement to Tool’s music. They’ve aged better than most videos produced during the early ’90s. Watching them now is a great way to revisit some of Tool’s best songs.

Brothers Quay

Stephen and Timothy Quay ( KWAY; born June 17, 1947) are American identical twin brothers and stop-motion animators who are better known as the Brothers Quay or Quay Brothers. They were also the recipients of the 1998 Drama Desk Award for Outstanding Set Design for their work on the play The Chairs.[1]
Careers [ edit ]
The Quay Brothers reside and work in England, having moved there in 1969 to study at the Royal College of Art, London[2] after studying illustration (Timothy) and film (Stephen) at the Philadelphia College of Art, now the University of the Arts in Philadelphia. In England they made their first short films, which no longer exist after the only prints were irreparably damaged.[3] They spent some time in the Netherlands in the 1970s and then returned to England, where they teamed up with another Royal College student, Keith Griffiths, who produced all of their films. In 1980 the trio formed Koninck Studios, which is currently based in Southwark, south London.

Style [ edit ]
The Brothers’ works from 1979 to the present show a wide range of often esoteric influences, starting with the Polish animators Walerian Borowczyk and Jan Lenica and continuing with the writers Franz Kafka, Bruno Schulz, Robert Walser and Michel de Ghelderode, puppeteers Wladyslaw Starewicz and Czech Richard Teschner and Czech composers Leoš Janáček, Zdeněk Liška and Polish Leszek Jankowski, the last of whom has created many original scores for their work. Czech animator Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Svankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style and preoccupations had been fully formed.[4] In a panel discussion with Daniel Bird and Andrzej Klimowski at the Aurora festival in Norwich, they emphasized that a more significant influence on their work was Walerian Borowczyk, who made both animation shorts and live-action features.

Most of their animation films feature puppets made of doll parts and other organic and inorganic materials, often partially disassembled, in a dark, moody atmosphere. Perhaps their best known work is Street of Crocodiles (1986), based on the short story of the same name by the Polish author and artist Bruno Schulz. This short film was selected by director and animator Terry Gilliam as one of the ten best animated films of all time,[5] and critic Jonathan Romney included it on his list of the ten best films in any medium (for Sight and Sound’s critics’ poll of 2002).[6] They have made two full-length live action films: Institute Benjamenta (1996), or This Dream People Call Human Life, produced by Keith Griffiths and Janine Marmot, and The Piano Tuner Of Earthquakes (2005), produced by Keith Griffiths. They also directed an animated sequence in the film Frida (2002).

With very few exceptions, their films have no meaningful spoken dialogue (most have no spoken content at all, while some, such as The Comb (From the Museums of Sleep) (1990) include multilingual background gibberish that is not intended to be coherently understood). Accordingly, their films are highly reliant on their music scores, of which many have been written especially for them by the Polish composer Leszek Jankowski. In 2000, they contributed a short film to the BBC’s Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen. Whenever possible, the Quay Brothers prefer to work with pre-recorded music, though Gary Tarn’s score for The Phantom Museum had to be added afterwards when it became impossible to license music by the Czech composer Zdeněk Liška.[7]
They have created music videos for His Name Is Alive (“Are We Still Married”, “Can’t Go Wrong Without You”), Michael Penn (“Long Way Down (Look What the Cat Drug In)”) and 16 Horsepower (“Black Soul Choir”). Their style has been mimicked to the point that audiences mistakenly believed that the Quay Brothers were responsible for several music videos for Tool[8] but those videos were created by Fred Stuhr and member Adam Jones, whose work is influenced by the Quay Brothers. Although they worked on Peter Gabriel’s seminal video “Sledgehammer” (1986) as animators, this was directed by Stephen R. Johnson and the Quay Brothers in order to support their personal projects.

Before turning to film, the Quay Brothers worked as professional illustrators. The first edition of Anthony Burgess’ novel The Clockwork Testament, or Enderby’s End, included their drawings before the start of each chapter. Nearly three decades before directly collaborating with Stockhausen, they designed the cover of the book Stockhausen: Conversations with the Composer (ed. Jonathan Cott, Simon & Schuster, 1973). After designing book covers for Gothic and science fiction books while in Philadelphia, the Quay Brothers have created suggestive designs for a variety of publications that seem to reflect not only their own interests in particular authors, covers for Italo Calvino, Louis-Ferdinand Céline or Mark le Fanu’s study of the films of Andrei Tarkovsky, but also in themes and motifs that these authors develop. Literary texts are inspirational sources for almost all of their film projects, whether they serve as a point of departure for their own ideas or as a textual basis for filmic scenarios, and not as scripts or screenplays. The prowess in illustration and calligraphy seeps increasingly into many formal elements in their later films, evident as graphic embellishment in the set decoration, or their particular use of patterns in the puppets’ costume design. Titles, intertitles and credits appear in a variety of handwritten styles.

In an interview with Robert K. Elder for his book The Best Film You’ve Never Seen, the Quay Brothers discuss their creative process, stating that “If [a] project does eventually get approval, then we almost invariably chuck [the] original proposal out, not out of any cavalierness, but simply because we know that, as we start building the decors and the puppets, the script begins to grow and evolve very organically.”[9]
The critical success of Street of Crocodiles gave the Quay Brothers artistic freedom to explore a shift in subject matter, in part originating in literary and poetic sources that led to exploration of new aesthetic forms, but also because they were able to make extensive experiments in technique, both with cameras and on large stage sets. The Quay Brothers are best known for their puppet and feature-length films. Less known, but no less incisive in their creative development, is their intense engagement in stage design for opera, ballet and theatre: since 1988, the Quay Brothers have created sets and projections for performing arts productions on international stages. Their work at miniature scale has translated into large-scale designs for the theatre and opera productions of director Richard Jones: Prokofiev’s The Love for Three Oranges; Feydeau’s “A Flea in Her Ear”; Tchaikovsky’s Mazeppa; and Molière’s “Le Bourgeois Gentilhomme”. Their set design for a revival of Ionesco’s “The Chairs” was nominated for a Tony Award in 1998. The Quay Brothers’ excursion into feature films and live-action dance films were not an indication of a move away from animation and the literature that inspires them—on the contrary, the film explores the potential which slumbers in the combination of these cinematic techniques. Their puppet animation set designs have been curated as an internationally touring exhibition called “Dormitorium” which toured the east coast of the United States in 2009, including the originating venue of the Rosenwald-Wolf Gallery at the University of the Arts, Philadelphia, followed by Parsons The New School of Design, New York,[10] Old Dominion University, Norfolk, VA and Cornell University, Ithaca, NY.

The Quay Brothers are strongly influenced by literature and the written word – from Eastern-European poetry to South American magic realism.

Music is an essential part of the Quay Brothers’ films, as they also find inspiration in Eastern European classical music.[11] The Quay Brothers’ films feature music by the following composers:

Legacy [ edit ]
In 2010 The College of Physicians of Philadelphia received a Philadelphia Exhibitions Initiative grant through The Pew Center for Arts & Heritage for an exhibitions project that would include a new work by the Quay Brothers. The Quay Brothers produced a new film entitled Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum). The film is their first made in the United States, produced by Edward Waisnis through his company PRO BONO films in collaboration with Atelier Koninck QBFZ, London and it focuses on the history and collections of the College’s famed Mütter Museum. The film, with narration by Derek Jacobi and a musical score by Timothy Nelson, was shot on location in Philadelphia during the summer of 2010 and premiered in autumn 2011, with symposia, at The College of Physicians of Philadelphia in Pennsylvania; New York City’s Museum of Modern Art; and the Museum of Jurassic Technology in Los Angeles. The film was subsequently shown at the Wellcome Collection, London, England; the CFC Worldwide Short Film Festival in Toronto, Canada; The Institute of Contemporary Art, Boston, MA; The Museum of Fine Arts, Houston, TX; and at the Wexner Center of the Arts at Ohio State University, Columbus, OH. It was reviewed in both Sight & Sound and Film Comment magazines. The 35mm negative and print were selected for inclusion in the film collection of the Museum of Modern Art.

The Quay Brothers were commissioned by Leeds Canvas, a group of eight cultural organisations in Leeds, UK, to create in May 2012 a major citywide art installation, OverWorlds & UnderWorlds. The commission was one of twelve ‘Artists Taking the Lead’ projects around the UK, Arts Council England’s flagship contribution to the London 2012 Cultural Olympiad. Later in the same year, the Quay Brothers were the subject of a grand retrospective exhibition at the Museum of Modern Art, New York entitled Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets which featured work spanning their entire career, tracing back as early as childhood, with much of the material shown for the first time. Organized by Ron Magliozzi, Associate Curator of MoMA’s Film Department, the exhibition ran from August 12, 2012 through January 7, 2013 and included a full coinciding film program.[12][13]
In 2013, the Quay Brothers were recipients of a residency program award at the Wexner Center of the Arts, Columbus, Ohio. The project they undertook coinciding with this residency was a puppet animation film entitled: Unmistaken Hands: Ex Voto F.H.–that revolves around the work and life of Uruguyan writer Felisberto Hernández, often referred to as the father of ‘magic realism’, and for whose work the Quay Brothers share an affinity. The production was overseen by Edward Waisnis through PRO BONO films, in collaboration with Atelier Koninck QBFZ, and the support of the Fundación Felisberto Hernández, and features a score composed by Timothy Nelson, who has worked with the Quay Brothers previously. As of January 2014, the Quay Brothers have been in production with The Digital Toy Company on a joint film/video-game project entitled Asleep: I Hear My Name.[14]
The Quay Brothers’ work was exhibited in two further major international exhibitions in 2013/2014. The first, The Quay Brothers’ Universum was the Quay Brothers’ first ‘solo’ exhibition in Europe and took place at the EYE Film Institute Netherlands, Amsterdam from December 15, 2013 – March 9, 2014. The second, Metamorfosis. Visiones Fantásticas de Starewitch, Švankmajer y Los Hermanos Quay was held at the Centre de Cultura Contemporània de Barcelona, Barcelona (25 March – 7 September 2014) and La Casa Encendida (2 October 2014 – 11 January 2015), Madrid, respectively. The exhibition was curated by Spanish animation curator, programmer and historian Carolina López Caballero and was a major exploration of the art of stop motion animation, placing the Quay Brothers’ work alongside Russian-born puppet animation godfather Ladislas Starewitch and Czech surrealist master Jan Švankmajer.

Hollywood director Christopher Nolan revealed himself to have been an admirer of the Quay Brothers’ work since coming across their films late at night when they were originally screened on Channel 4 in the UK. In 2015 Nolan curated a theatrical tour showcasing newly restored 35mm prints of the Quay’s films In Absentia, The Comb and Street of Crocodiles. The programme also included the eight-minute ‘documentary’ Quay (2015) which Nolan directed as an homage to the twins. The programme and Nolan’s short received critical acclaim, with Indiewire writing in their review that the Quay Brothers “will undoubtedly have hundreds, if not thousands more fans because of Nolan, and for that The Quay Brothers in 35mm will always be one of latter’s most important contributions to cinema”.[15] [16]
Directly after the launch of the 35mm programme in the states, the Quay Brothers were celebrated at the Bristol Festival of Puppetry, UK (August – September 2015).[17] A retrospective of their work was curated by animation director Joseph Wallace, who also hosted a conversation with the Quay Brothers about the relationship between their animation and stage work at Watershed (Bristol). Wallace, along with Puppet Place(the organisation behind the festival), also commissioned the Quay Brothers to create an installation which ran for the duration of the festival and was displayed in a disused control room on a bridge in the centre of Bristol entitled: Homage To The Framed Perspective of an Abridged Conversation Between the Painters Sassetta & Uccello and the Mystical Occurrence that Happened Before Your Arrival..

The Quay Brothers collaborated with Louis Andriessen in 2016 and designed decors for his opera Theatre of The World which premiered at the Walt Disney Concert Hall in Los Angeles [18] before playing at the Carré Theatre in Amsterdam as part of the Holland Festival.[19] As well as the design, the Quay Brothers also produced animated projections which accompanied the performance.

In October 2016 a two disk Blu-ray collection of the Quay Brothers films dating 1979-2013 entitled “Inner Sanctums” was released by the British Film Institute.[20] The edition includes 24 of the Quay Brothers’ short films, of which three are UK premieres and five are world premieres, along with a disk of special features including footnotes, interviews, rare behind the scenes films and Christopher Nolan’s short portrait of the brothers; Quay (2015).

Awards and honours [ edit ]
Film Awards Punch And Judy: Tragical Comedy or Comical Tragedy Annecy Prix Émile Reynaud (1983) Street of Crocodiles Cannes International Film Festival, nominated for the Golden Palm (1986) Zagreb World Festival of Animation Films, 3 awards (1986) Catalan International Film Festival, Sitges: Caixa de Catalunya (Best Film SF) (1986) MFF w Odense: Grand Prix for Best Fairytale Film (1986) Festival International Du Film & De Science Fiction, Bruksela: Grand Prix (1986) San Francisco International Film Festival: Grand Prix, Best Short Film (1986) MFF Fantasporto, International Fantasy Film Award (1987) Rehearsals for Extinct Anatomies San Francisco: Best Experimental Film (1988) The Comb Oberhausen International Short Film Festival: Grand Prix (1990) De Artificiali Perspectiva Or Anamorphosis Nominated for BAFTA Film Award (1992) Institute Benjamenta IFF Special Mention Locarno Main Competition & Youth Jury: The Second Prize (1995) Stockholm International Film Festival: Grand Prix (1995) In Absentia Official Selection – Directors Fortnight, Cannes International Film Festival (2000) Nominated for the Prix Italia, Best Music Film for Television (2000) Lipsku International Film Festival: Golden Dove Award (2000) Tampere International Film Festival: Special Jury Award (2000) Montreal International Film Festival: Special Jury Mention (2000) Prague International Film Festival: Golden Prague Award (2000) Kraków Film Festival: Honorary Diploma Award 50th Melbourne International Film Festival: Best Short Film Turkey International Film Festival: Grand Prix {Ex Aequo} Sitges International Film Festival – Festival Internacional de Cinema de Catalunya: Best Short Film (2001) British Animation Awards – Best Film: Cutting Edge (2002) Palmars, Classique en Images, Prix Sacem, Paris (2002) The Piano Tuner of Earthquakes Locarno International Film Festival: Special Mention, Main Competition & Jury des Jeunes (2005) Sitges International Film Festival – Festival Internacional de Cinema de Catalunya (for Best Special Effects) (2005)

Filmography [ edit ]
Feature films

Short films

Music videos

Commercials

The Repeat Prescription Report (2017) Pharmacy2U

(2017) Pharmacy2U Tempus Fugit (2016) Slow Time, Leffe

(2016) Slow Time, Leffe Wonderwood (2010) Comme des Garçons

(2010) Comme des Garçons Kinoteka, 1st Polsk Filmfestival ident (2009) Polish Institute, London

(2009) Polish Institute, London Mistletoe Kisses (2007) Galaxy, Mars, Inc.

(2007) Galaxy, Mars, Inc. NHL, Laundromat (2001) Fox Sports

(2001) Fox Sports NHL, Library (2001) Fox Sports

(2001) Fox Sports Magnets (2001) Chili’s

(2001) Chili’s Rice Krispies Treats – Float (2000) Kellogg’s

(2000) Kellogg’s Pitney Chairs (1999) Pitney

(1999) Pitney Northern Rock (1999) Northern Rock

(1999) Northern Rock Mars Celebration (1998) Mars, Inc.

(1998) Mars, Inc. Fox and Crow (1998) Badoit

(1998) Badoit Lion and Zebra (1998) Badoit

(1998) Badoit Weed Families (1998) Roundup

(1998) Roundup Weeds (1998) Roundup

(1998) Roundup Doritos idents (1997) Frito-Lay

(1997) Frito-Lay The Wooden Box That Collapses (title sequence) (1997) The End

(title sequence) (1997) The End Lockets Metallica (1996) Mars, Inc.

(1996) Mars, Inc. Swallow (1996) Murphy’s Irish Stout

(1996) Murphy’s Irish Stout Warriors (1996) Murphy’s Irish Stout

(1996) Murphy’s Irish Stout Brainfreeze (1995) 7-Eleven Slurpee

(1995) 7-Eleven Slurpee Blue Cross (1995) Blue Cross Blue Shield Association.

(1995) Blue Cross Blue Shield Association. Dolls (1994) The Partnership for a Drug Free America

(1994) The Partnership for a Drug Free America Trees (1993) Coca-Cola

(1993) Coca-Cola Le Bourgeois Gentilhomme (title sequence) (1993) The End

(title sequence) (1993) The End Fun Touch (1989) Nikon

(1989) Nikon Zenith (1988) MTV

(1988) MTV MTV ident (1988) MTV

(1988) MTV BFI ident (1998) British Film Institute

(1998) British Film Institute Skips (1988) K.P. Skips

(1988) K.P. Skips Dulux (1987) Dulux

(1987) Dulux Walkers Crisps (1986) Walkers

(1986) Walkers Honeywell (1986) Honeywell Computers [31]
Appearances

Opera, ballet and stage [ edit ]
The Birthday Party (2018) By Harold Pinter, directed by Ian Rickson at the Harold Pinter Theatre, London.

(2018) By Harold Pinter, directed by Ian Rickson at the Harold Pinter Theatre, London. Theatre of the World (2016) By Louis Andriessen, directed by Pierre Audi. Dutch National Opera, Amsterdam/Holland Festival, Amsterdam.

(2016) By Louis Andriessen, directed by Pierre Audi. Dutch National Opera, Amsterdam/Holland Festival, Amsterdam. An Evening at the Talk House (2015) By Wallace Shawn, directed by Ian Rickson at the National Theatre, London.

(2015) By Wallace Shawn, directed by Ian Rickson at the National Theatre, London. Overworlds & Underworlds (2012) A Leeds Canvas initiative for the 2012 Cultural Olympiad, Leeds.

(2012) A Leeds Canvas initiative for the 2012 Cultural Olympiad, Leeds. I looked back when I reached halfway (2011) Collaboration with violinist Alina Ibragimova on Béla Bartók’s Sonata for Violin (1944). Chetham’s School of Music/Manchester International Festival, Manchester; Wilton’s Music Hall, London.

(2011) Collaboration with violinist Alina Ibragimova on Béla Bartók’s Sonata for Violin (1944). Chetham’s School of Music/Manchester International Festival, Manchester; Wilton’s Music Hall, London. Bring Me the Head of Ubu Roi (2008) Projections for Pere Ubu. Queen Elizabeth Hall, London.

(2008) Projections for Pere Ubu. Queen Elizabeth Hall, London. Paul Bunyan (2007) By Benjamin Britten, directed by Nicholas Broadhurst. Theater am Kornmarkt Bregenz/Theater Luzern.

(2007) By Benjamin Britten, directed by Nicholas Broadhurst. Theater am Kornmarkt Bregenz/Theater Luzern. Pinocchio (2006) By Martin Ward, choreographed and directed by Will Tuckett. Royal Opera House, London.

(2006) By Martin Ward, choreographed and directed by Will Tuckett. Royal Opera House, London. The Cricket Recovers (2005) By Richard Ayres, directed by Nicholas Broadhurst. Aldeburgh Festival, Suffolk, and Almeida Opera, London.

(2005) By Richard Ayres, directed by Nicholas Broadhurst. Aldeburgh Festival, Suffolk, and Almeida Opera, London. The Anatomy of a Storyteller (2004) Ballet by Kim Brandstrup. Royal Opera House, London.

(2004) Ballet by Kim Brandstrup. Royal Opera House, London. Death and Resurrection (2003) By J. S. Bach and Steve Martland, conducted by Sir John Eliot Gardiner, Steve Martland. Four short films illustrating Martland’s Street Songs. Tate Modern and St. Paul’s Cathedral, London.

(2003) By J. S. Bach and Steve Martland, conducted by Sir John Eliot Gardiner, Steve Martland. Four short films illustrating Martland’s Street Songs. Tate Modern and St. Paul’s Cathedral, London. The Wind in the Willows (2002) Ballet by Will Tuckett. Royal Opera House, London.

(2002) Ballet by Will Tuckett. Royal Opera House, London. Queen of Spades (2001) Ballet by Kim Brandstrup. Les Grands Ballets Canadiens, Montreal.

(2001) Ballet by Kim Brandstrup. Les Grands Ballets Canadiens, Montreal. Baa-Laamsfest (1999) By Olga Neuwirth, directed by Nicholas Broadhurst. Wiener Festwochen, Vienna.

(1999) By Olga Neuwirth, directed by Nicholas Broadhurst. Wiener Festwochen, Vienna. The Chairs (1997) By Eugène Ionesco, directed by Simon McBurney. Theatre de Complicité and Royal Court, London and John Golden Theater, New York. (The Quay Brothers won the 1998 Drama Desk Award for Best Design and were also nominated for a Tony award)

(1997) By Eugène Ionesco, directed by Simon McBurney. Theatre de Complicité and Royal Court, London and John Golden Theater, New York. (The Quay Brothers won the 1998 Drama Desk Award for Best Design and were also nominated for a Tony award) Cupid & Psyche (1997) Ballet by Kim Brandstrup. Royal Danish Ballet, Copenhagen.

(1997) Ballet by Kim Brandstrup. Royal Danish Ballet, Copenhagen. The Hour We Knew Nothing of Each Other (1996) By Peter Handke. Theater ballet directed by Kim Brandstrup. Malmo Dramatiska Theatre, Sweden.

(1996) By Peter Handke. Theater ballet directed by Kim Brandstrup. Malmo Dramatiska Theatre, Sweden. A Midsummer Night’s Dream (1996) By William Shakespeare, directed by Jonathan Miller. Almeida Theatre, London.

(1996) By William Shakespeare, directed by Jonathan Miller. Almeida Theatre, London. Le Bourgeois Gentilhomme (1992) By Molière, directed by Richard Jones. Royal National Theatre, London

(1992) By Molière, directed by Richard Jones. Royal National Theatre, London Mazeppa (1991) By Pyotr Ilyich Tchaikovsky, directed by Richard Jones. Bregenz Festival/Nederlands Opera

(1991) By Pyotr Ilyich Tchaikovsky, directed by Richard Jones. Bregenz Festival/Nederlands Opera A Flea in Her Ear (1989) By Georges Feydeau, directed by Richard Jones. Old Vic, London.

(1989) By Georges Feydeau, directed by Richard Jones. Old Vic, London. The Love For Three Oranges (1988) By Sergei Prokofiev, directed by Richard Jones. Opera North, Leeds/English National Opera, London.

(1988) By Sergei Prokofiev, directed by Richard Jones. Opera North, Leeds/English National Opera, London. Dybbuk (1988) Ballet by Kim Brandstrup. The Place, London.

References [ edit ]
Further reading [ edit ]
Journal articles on the Quay Brothers

Buchan, Suzanne, “Liberation of the Mistake: A Glimpse into the Quay Brothers” Research Process’, in: Proof, Vol 3 No 1 (2008): 16-20

Costatini, Gustavo. ” De Artificiali Perspectiva : The Brothers Quay’s Use of Sound and Music.” Filmwaves Magazine, Issue 32 (2007): 43-47

: The Brothers Quay’s Use of Sound and Music.” Filmwaves Magazine, Issue 32 (2007): 43-47 Fiumara, James. “The Thirteenth Freak Month: The Influence of Bruno Schulz on the Brothers Quay.” Kinoeye, Vol 4 Issue 5 (2004)

Buchan, Suzanne H. ‘Choreographed Chiaroscuro, Enigmatic and Sublime.’ Film Quarterly, Spring (1998): 2–15.

Nichols Goodeve, Thyrza. “Dream Team: Thyrza Nichols Goodeve Talks with the Brothers Quay.” Artforum, April (1996)

Hammond, Paul. “In Mystery, Shrouded: On the Quays’ New Film.” Vertigo Magazine, Vol. 1 No.5 (1995): 18-20

Atkinson, Michael. “The night countries of the Brothers Quay .” Film Comment, September/October (1994): 36-44

.” Film Comment, September/October (1994): 36-44 Atkinson, Michael. “Unsilent night: The Brothers Quay.” Film Comment, Vol. 30 No. 5, September/October (1995): 25-38

Romney, Jonathan. “The Same Dark Drift.” Sight and Sound, Vol. 1, No. 11 (1992): 24-27

Romney, Jonathan. “Brothers in Armature.” City Limits. No. 446 (1990): 16-17

Atkinson, Michael. “Stirrings in the Dust.” Afterimage, No. 13 (1987): 4-9

Wadley, Nick. “Masks, Music, and Dances of Dream”. PIX, no. 2, January 1997, 126-134; + Interview with Brothers Quay, 135-143

Hammond, Paul. “In Quay Animation.” Afterimage 13, Autumn 1987: 54-67

Academic essays on the Quay Brothers

Buchan, Suzanne. “The Animated Spectator: Watching the Quay Brothers’ ‘Worlds'”. In Suzanne Buchan (Ed) Animated Worlds , pp 15–38. Eastleigh: John Libbey Publishing, 2006. ISBN 0-86196-661-9

, pp 15–38. Eastleigh: John Libbey Publishing, 2006. ISBN 0-86196-661-9 De Rosa, Agostino. “Dove lo sguardo esita” (Where the gaze hesitates). In Agostino De Rosa, Giuseppe D’Acunto (Ed), La Vertigine dello Sguardo. Tre saggi sulla rappresentazione anamorfica (The Vertigo of Sight. Three Essays on the Anamorphic Representation), pp 184–201. Venezia: Cafoscarina Publishing, 2002. ISBN 9788888613314

(The Vertigo of Sight. Three Essays on the Anamorphic Representation), pp 184–201. Venezia: Cafoscarina Publishing, 2002. ISBN 9788888613314 Weiner, Steve. “The Quay Brothers’ The Epic of Gilgamesh and the ‘Metaphysics of Obscenity'” in J. Pilling (Ed.), A Reader in Animation Studies London, John Libbey & Company, 1997.

Books on the Quay Brothers

Mikurda, Kuba and Prodeus, Adriana (Eds). Trzynasty miesiąc. Kino Braci Quay . Cracow-Warsaw: Korporacja Ha!art & IFF Era New Horizons, 2010. ISBN 978-83-61407-62-1. (in Polish)

. Cracow-Warsaw: Korporacja Ha!art & IFF Era New Horizons, 2010. ISBN 978-83-61407-62-1. (in Polish) Buchan, Suzanne. The Quay Brothers. Into a Metaphysical Playroom . University of Minnesota Press, 2010. ISBN 0-8166-4659-7

. University of Minnesota Press, 2010. ISBN 0-8166-4659-7 Pilling, Jayne and Fabrizio Liberti (Eds). Stephen e Timothy Quay. Bergamo: Stamperia Stefanoni, 1999.

Catalogues

Costa, Jordi. (Ed) “Quay Brothers”. Sitges: Sitges Festival Internacional de Cinema de Catalunya, 2001.

Dormitorium: An Exhibition of Film Décors . Philadelphia, PA: The University of the Arts, 2009.

. Philadelphia, PA: The University of the Arts, 2009. Magliozzi, Ronald S. and Edwin Carels. Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets . NY: The Museum of Modern Art, [2012]. ISBN 9780870708435.

. NY: The Museum of Modern Art, [2012]. ISBN 9780870708435. Buchan, Suzanne, et al. The Quay Brothers’ Universum . Amsterdam: Filmmuseum EYE, 2013. ISBN 978-94-6208-127-7

. Amsterdam: Filmmuseum EYE, 2013. ISBN 978-94-6208-127-7 López Caballero, Carolina, et al. “Metamorfosis. Visiones Fantásticas de Starewitch, Švankmajer y Los Hermanos Quay”. Barcelona: Centre de Cultura Contemporaània de Barcelona / Diputacioó de Barcelona, 2014. ISBN 978-84-9803-668-8

DVD/Blu-ray

Puppet Master

Adam Jones is no stranger to the art of music-video making. The guitarist and creative cog of Tool has been transforming the prog-metal band’s songs into dark animated clips since 1993’s “Sober.” For Tool’s latest video, “Parabola,”Jones made a technical leap. Forgoing his usual techniques – in-camera effects and sculpture – he enlisted the computer to bring to life his geometric vision. Why?The video’s lanky 3-D puppet demanded such perfect symmetry that it was impossible to create it with human hands. Jones and Chet Zar (cofounder of f/x house Screaming Lobster) designed the puppet onscreen, then output the data to a ThermoJet solid-object printer, which sprayed layers upon layers of hot wax until the puppet was born. In the video, the creature is a visual mindmeld – its face pulsates as it skulks behind its live-action master (played by trip-hopper Tricky). Tool fans got a pirated preview of the video online; look for the legit version on TV – minus the three-hour download.

PLAY

Virtually New York

Eye Gloss

Rinse ‘n’ Read

Read Me

Fighting Fire

Cyberman

Tadpole

Armitage: Dual-Matrix

Next-Gen Multiplayer Online Games

Stunt Driving From the Sofa

Turn Your PS2 Into a PC

Puppet Master

Sim Studio

Audiovent Studio

Julia Fordham

The Makers

Fetish

Setting Up Base

Instant Readouts

On-the-Fly Typing

Char Warriors

Good-Bye CD Towers

Covert IM Services

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