The Washington Post - USA (2021-10-25)

C2 EZ RE THE WASHINGTON POST.MONDAY, OCTOBER 25 , 2021

for something less lethal.

The Santa Fe District Attorney’s

Office will determine who, if any-

one, will face charges.

Tristano said that, based on the

details he has heard, the shooting

seems attributable to a lack of dis-

cipline regarding firearms safety.

“There’s no reason something

like this should ever, ever happen,”

said the master armorer. “Ever.”

[email protected]

[email protected]

“No one just goes over and picks

up a gun and walks on set with it,”

Tristano said.

Investigators are still trying to

answer whether the gun being

loaded with live ammunition was

an accident or done on purpose,

whether a manufacturing error

mispackaged a live round, wheth-

er this was supposed to be a b lank

or whether this type of ammuni-

tion, a soft round or perhaps a

“cowboy soft round,” was confused

When the time comes to shoot a

scene with gunfire, he starts by

giving the actor an unloaded rub-

ber match of the weapon that’s

going to be used. After going over

the shot and safety parameters, he

asks the assistant director, “Are

you ready to go hot?” He asks how

many blanks they plan to fire, then

loads it at that number and hands

it to the actor. Once the scene has

been filmed, he takes back the gun

and clears it.

set by each individual armorer, he

said. Tristano, whose career in-

cludes handling the weaponry on

a 1998 film featuring Baldwin

called “Thick as Thieves,” said he

keeps guns being used on a s et

unloaded and open, “so it ’s very

visible to the crew and the cast

that everything in there is safe.”

They are never left unattended,

and they are only touched by

Tristano, his crew and the actor

firing the weapon.

Tristano said. California, with its

strict regulations on firearms, has

higher standards than many states,

requiring that armorers hold an

Entertainment Firearms Permit.

The licensing process is handled by

the state ’s Justice Department; ap-

plicants submit to fingerprinting

and a background check. There are

additional licenses required for

specific firearms, Tristano added,

such as machine guns.

On set, guidelines are typically

recent episode of the podcast
“Voices of the West,” Gutierrez,
using the name Hannah Reed, de-
scribed her anxiety when she took
the role, saying: “I was really ner-
vous about it at first, and I a lmost
didn’t take the job because I
wasn’t sure I was ready. But doing
it, it went very smoothly.”
Some states require armorers to
be licensed, while others do not,

BALDWIN FROM C1

After ‘Rust’ death, people wonder: Who is in charge of weapons on film sets?

more difficult to have a perspec-

tive and a criterion nowadays

than it used to be.”

Promiscuous yet principled.

That’s clearly one of the most

wonderful paradoxes in Veloso’s

songwriting. But if you try to

bend all of his music around one

singular idea, one signature vir-

tue, it might look something like

optimism. Across 50-plus years,

through all of its wild shapes and

prismatic iterations, Veloso’s mu-

sic has routinely refused the no-

tion of despair.

“I don’t feel attracted to being

like that,” he explains. “I also

programmatically choose some

kind of optimism, because cyni-

cism, and even pessimism, free

you from responsibility.” To Velo-

so, without “a stubborn opti-

mism” in Brazil, the world would

have never experienced the bossa

nova of João Gilberto, or the films

of Glauber Rocha, or the revolu-

tionary pop of the tropicalistas.

His idea here feels vast, and

simple, and true: Art can help

people feel “responsible for their

future and the future of their

society.”

In that light, Veloso’s lullabies

and protest anthems suddenly

seem to bind together so tightly,

they almost become one and the

same. Both types of songs seek to

comfort us as we move into the

unknowable. So maybe it isn’t

totally absurd to ask Veloso the

biggest question there is: What

does he think happens when we

die?

Perhaps at a l oss, he smiles,

unbothered. “I don’t know,” Velo-

so says. “I’ve never died.”

[email protected]

Bolsonaro isn’t monopolizing
Veloso’s brainspace, though. This
new album — unsurprisingly gor-
geous, adventurously polyrhyth-
mic, sung in Portuguese, record-
ed while quarantined in his home
studio — is titled “Meu Coco.” The
face-value translation is “My Co-
conut,” but Veloso offers a more
precise read while gently rapping
his knuckles on the side of his
head: “ ‘My Noggin.’ ”
These days, it’s filled with ideas
about race, technology, t he sensa-
tion of watching sunlight bounce
across a body of water and more.
One especially sumptuous song,
“Enzo Gabriel,” cites the most
popular name for newborn boys
in Brazil in 2018 and 2019 as
evidence of a national hivemind,
or maybe even a collective sub-
consciousness. Veloso thinks he
understands the popularity of
“Enzo” — he says a famous Brazil-
ian actress had given her child
that name — “but who put it
together with Gabriel, I don’t
know,” he says. “So it’s a s ong
directed to one person who is
called Enzo Gabriel, and he is
asked, ‘What will be your role in
the salvation of the world?’ ”
In a w orld of endless questions,
Veloso sometimes worries he’s
written too many songs — but not
too much. “To like songs is to like
quantity,” Veloso says, reciting a
new mantra of his, and “with the
Internet and streaming, every
Friday, lots of songs are launched.

... There’s some pleasure in liv-
ing in the quantity, but of course,
one has to be able to have a
criterion, a perspective. And it’s

NOTEBOOK FROM C1

Even in the Bolsonaro era, Caetano Veloso doesn’t despair

FERNANDO YOUNG

Eternally optimistic at age 79, Caetano Veloso wrote a song for his gorgeous, adventurously polyrhythmic new album that name-checks a

popular baby boy name in Brazil, asking a child named Enzo Gabriel, “What will be your role in the salvation of the world?”

S0141 6x5

Stay one step ahead of the weather with the

Capital Weather Gang

@capitalweather

washingtonpost.com/news/capital-weather-gang

sweater or tank top?

THEATRE

New HVAC system!

Mask&proof of

vaccination

required.

All

tickets

$20

In residence at Source

1835 14th ST NW WDC 20009

ConstellationTheatre.org

Located only two blocks from the

UStreet Station on the Green and

Yellow Metrolines.

Awaken your senses with beautiful imagery,music,

dance and poetry in this captivating kaleidoscope of

transcendent traditions from around the world. The

award-winning musical duo ofTomTeasley and Chao Tian

will performapropulsive new soundscape powered by a

cross-cultural fusion of percussion.

Th, Fri, Sat at8pm

Sat, Sun at3pm

ConstellationTheatre.org

Now Playing!

Mysticism&Music

Must Close Nov 7

MUSIC-CONCERTS

Co-directed by

Michael McCarthy

and Daniel Lee.

Starting at

$45

Washington National Cathedral

3101 WisconsinAveNW

Cathedral.org

Ventureinto the darkened expanse ofaGothic cathedral

for aspine-tingling specter of spooky musical classics for

All Hallows Eve. Featuring Cathedral OrganistTomSheehan

and Cathedra.

Sunday,October 31, 2021

4pmEST

AConcert for

Halloween

The Guide to the Lively Arts appears: • Sunday in Arts & Style. deadline: Tues., 12 noon

• Monday in Style. deadline: Friday, 12 noon • Tuesday in Style. deadline: Mon., 12 noon • Wednesday in Style. deadline: Tues., 12 noon


• Thursday in Style. deadline: Wed., 12 noon • Friday in Weekend. deadline: Tues., 12 noon • Saturday in Style. deadline: Friday, 12 noon
  For information about advertising, call: Raymond Boyer 202-334-4174 or Nicole Giddens 202-334-4351
  To reach a representative, call: 202-334-7006 | [email protected] 21-0135

S0129-6x1.5

Retropolis

Stories of the past, rediscovered.

washingtonpost.com/retropol is