I won’t bore you with the detailed minutiae of the past 2 years. I work 12 hour days to pay for my films and spend my free time reading in a library or seeing old movies. Nothing to see here folks. While in Vienna for 5 months to improve my German, I found a place I’d gladly have spent the past 2 years in. Past Stadtpark, down Ungargasse, a very smoky cafe with two versions of one beer, a no-nonsense, snappy proprietress who wears all black, beautiful gray, plastic cleaning gloves, and who will serve you when you’re ready. Ah, and the greatest selection of avant-jazz and classical LPs, all played in their entirety and slightly too loud for normal conversation. If too many people show up she starts sending people away. You can have your Kunsthistorisches Museum, your Filmmuseum, even your Globenmuseum, and all your Kaffeehäuser with their Überstürzte Neumänner. When I go to Vienna, it is for Malipop and Malipop alone. But don’t look for me there, she won’t appreciate us talking over The Necks, Max Richter’s “Sleep Remixes,” or that recording of “The Rite of Spring” by the Kurt Cobain of the Greek conducting world Teodor Currentzis, and I won’t risk jeopardizing my spot in this place.
Ted Fendt showed his debut feature Short Stay at the Forum in 2016. His new film is Classical Period.
