(L to R) Rob Reiner and Christopher Guest in ‘This Is Spinal Tap.’ Photo: Embassy Pictures.
Preview:
Director Rob Reiner says he’s preparing to shoot the ‘Spinal Tap’ sequel in February.
Stars Michael McKean, Christopher Guest and Harry Shearer will all reprise their roles.
Reiner is likening the tone to Martin Scorsese’s ‘The Last Waltz’ documentary.
‘Spinal Tap’ fans, prepare to set your excitement dial to 11. Why so? After years of teasing and talking about it, the team behind the legendary mockumentary are officially getting the band back together on big screens for a sequel.
At least, that’s what director Rob Reiner –– who also appeared in the original as faux documentarian Martin “Marty” Di Bergi –– is saying, when asked for an update on the sequel.
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What was the story of ‘This is Spinal Tap’?
(L to R) Harry Shearer, Christopher Guest, and Michael McKean in ‘This Is Spinal Tap.’ Photo: Embassy Pictures.
To give its full title, ‘This is Spinal Tap’ was a mock doc following the titular heavy metal band around as they tour their new album. The madness that ensues includes them being second billing to a puppet show, a Stonehenge prop designed to entirely wrong specifications and much talk of the fates to befall various former drummers.
The film stars Michael McKean, Christopher Guest and Harry Shearer as the main members of the band, David St. Hubbins, Nigel Tufnel and Derek Smalls, and while there was an outline for each scene and certain points that had to be hit, a lot of the movie was improvised by the cast.
Released in 1984, it makes regular appearances on or atop Best Comedy lists and was selected for preservation by the National Film Registry and deemed “culturally, historically, or aesthetically significant” by the Library of Congress.
Since the original film, there has been a DVD sequel, ‘The Return of Spinal Tap’, and an album, ‘Spinal Tap: Back from the Dead’ arrived in 2009.
The band has also toured a few times, but this marks the full reunion of Reiner with his stars.
“We’re making a sequel. We’re going to start shooting in the end of February and everybody is back.”
Reiner hinted that the plan for the film is to mimic the style of Martin Scorsese’s ‘The Last Waltz,’ the legendary concert film that documented the farewell tour of the Canadian American rock group The Band.
And from the sound of it, it’ll be a farewell to the Tap. At least, for now. Here’s what Reiner said:
“You don’t want to overstay your welcome. This is like stand-up — you leave them wanting. You go off on a big laugh and go out. The worst thing you could do is just load it up with, even if they’re funny things, they may be tangents and things that take away from the drive of the film.”
In the same interview, Reiner revealed that the likes of music icons Paul McCartney and Elton John would make an appearance in the new movie, representing just two people in the industry who are big fans of the original.
When will the next ‘Spinal Tap’ be in theaters?
While the movie had been scheduled for March 19, 2024, the actors’ strike put an end to that. As it stands, the film does not have a release date set.
(L to R) Harry Shearer, Christopher Guest, and Michael McKean in ‘This Is Spinal Tap.’ Photo: Embassy Pictures.
Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), ‘Killers of the Flower Moon’ tracks the suspicious murders of members of the Osage Nation, who became some of the richest people in the world overnight after oil was discovered underneath their land.
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Who is in the cast of ‘Killers of the Flower Moon’?
(L to R) Lily Gladstone and Martin Scorsese in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
Moviefone recently had the pleasure of attending a virtual press conference, along with other members of the press, for ‘Killers of the Flower Moon,’ featuring Oscar-winning director Martin Scorsese. The legendary filmmaker discussed his new movie, what attracted him to the story, shooting in Oklahoma, historical accuracy vs. emotional truthfulness, casting Lily Gladstone, reuniting with DiCaprio and De Niro, and the music of the late great Robbie Robertson.
You can read about the press conference below or click on the video player above to watch excerpts from the interview.
Scorsese on Accurately Representing the Osage Community
(L to R) JaNae Collins, Lily Gladstone, Cara Jade Myers and Jillian Dion in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
The iconic director began by discussing how he and his production team went about accurately representing the Osage community in ‘Killers of the Flower Moon.’
Martin Scorsese: Well at first, it was very important for me, as soon as I saw the book, and I said, “Well, if you want me to be involved with anything that has to do with indigenous people and Native Americans, I had an experience in the 70s where I began to become aware of the nature of what their situation was and still is.” I’d been blindly unaware of that, I was too young. It’s taken me years and I’m fascinated by how do you really deal with that culture in a way that is respectful? How truthful can we be and still have authenticity and respect, dignity and deal with the truth, honestly, as best we can. Having said that, that story, when I read it, indicated to me that this would probably be the one that we could deal with that way. Particularly by getting involved with the culture of the Osage and actually placing cultural elements, rituals, spiritual moments. People talk about mystical realism or something. Now this is real. You see the dream. The dream is real. The ancestors come. So for me, I wanted to know how, I wanted to play with that world in contrast with the white European world. I felt that this could have afforded us the possibility. Ultimately what happened was that we were dealing with the script on the basis of the David Grann’s book, which is excellent, but the book also has the subtitle, the ‘Birth of the FBI.’ For about a year and a half to two years, I was doing ‘The Irishmen’ and that sort of thing, and Eric Roth and I were working and we felt that we took the story of the birth of the FBI as far as we could take it, and I wanted to keep balancing with the Osage and it was getting bigger and bigger and more diffused. Ultimately this was supplemented by the times that we went out to Oklahoma and met with the Osage. My first meeting was with Chief Standing Bear and his group, Julie and Addie Roanhorse and Chad Renfro, and it was very different than what I expected. They were naturally cautious. I had to explain to them that I’m going to try and deal with them as honestly and truthfully as possible. We weren’t going to fall into the trap. We think of the cliche of victims or the drunken Indian, this sort of thing, and yet tell the story as straight as possible. What I didn’t really understand the first couple of meetings was that this is an ongoing situation, an ongoing story out in Oklahoma. In other words, these are things that really weren’t talked about in the generation I was talking to and in the generation before them. It was the generation before them that this happened to and so they didn’t talk about it much. The people involved are still there, meaning the families are still there, the descendants are still there. What I learned from meeting with them, having dinners with them, including Margie Burkhart, I think she was the relative of Ernest Burkhart. She pointed out, and a number of other people pointed out that you have to understand, a lot of the white guys there, a lot of the European Americans, particularly Bill Hale, they were good friends. One guy pointed out, he said Henry Roan was his best friend, and yet he killed him. People just didn’t believe at the time that Bill would be capable of such things. So, what is that about us as human beings that allows for us to be so compartmentalized in a way? After they saw ‘Silence,’ they sort of felt a little more comfortable with me doing this. Margie Burkhart said, one has to remember that Ernest, her ancestor loved Mollie and Mollie loved Ernest. It’s a love story. Ultimately what happened is that the script shifted that way, and that’s when Leo decided to play Ernest instead of Tom White. By that point, we started reworking the script and it became really, instead of from the outside in coming in and finding out who’d done it, when in reality it’s who didn’t do it. It’s a story of complicity. It’s a story of sin by omission, and silent complicity certain cases. That’s what afforded us the opportunity to open the picture up and start from the inside out.
Shooting in Oklahoma
(L to R) Robert De Niro and Jesse Plemons in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
Scorsese was determined to shoot the film in Oklahoma, where the story is based. He talked about the first time he visited Oklahoma and how he began to visualize shooting the movie there.
MS: Well, I think the first time was in 2019. It was a little confusing because of shooting ‘Irishman,’ doing the CGI, which was a longer post-production, four or five months, and then COVID hitting, but I know we were there before COVID. We at least had two trips there before COVID. For me, I am a New Yorker. I grew up in the lower East side of New York. I’m very urban. I don’t understand weather that much or where the sun is when you’re on the set. I was very surprised to learn that it’s set in the West. That’s because I was driving down Sunset Boulevard one time about 30 years ago, and I saw the sun setting and I said, it’s great. It’s “Sun-set Boulevard.” The sun sets in the West, I go, “oh, now I get it.” Anyway, when I got there, all I can tell you is those prairies are quite something and they open your mind and your heart. They are just beautiful. Especially driving on these roads, straight roads were prairie and on both sides, wild horses, bison and cows, but the wild horses just out to pasture for the rest of their lives and it was like idyllic. So I said, “Where do I put the camera at this point? How much of the sky? How much of the prairie?” Should it be 1.85 or should it be 235? We got to go 235. You’re going to want to see more of this land. Then I began to realize that the land itself could be sinister. In other words, you’re in a place like this and you don’t see people for miles. You could do anything. Particularly, it turns out a hundred years ago, for me, 1920 is like fifty years ago because I was born in 1942, so the 1920s are to me the way the 1990’s are now to younger people. So when they told me, “Marty, this is a hundred years ago,” I keep thinking, “why are we making a period piece? It’s like normal.” I mean, yes, they were old cars. So I said, “It’s not really a Western, it’s normal.” But when I saw that and I realized this is a place where you don’t need the law. I mean, you have the law, but the law isn’t working that way. You can make the law work for you if you’re smart enough, as we know now, many people do. What I mean by that is that it’s still a wide open territory. You have law, but it’s a wide open territory. So the place, as beautiful as it is, can shift to being very sinister. What I wanted to capture ultimately was the very nature of the virus or the cancer that creates this sense of an easygoing genocide. That’s why we went with the story with Mollie and Ernest because that’s the basis of the love. The love is the basis of trust. So when there’s betrayal that way, that deep, and we know that for a fact that it was that way. Here’s our story.
‘Killers of the Flower Moon’ director Martin Scorsese.
Scorsese also talked about balancing historical accuracy with what he calls the “emotional resonance” of the movie.
MS: This was a constant, historically accurate, and I should say the word “truthful.” You can have a ritual and you shoot a ritual is the way it should be, but it may have been slightly different at the time. We had a lot of support from the Osage authority, the experts who were giving us the indication of how to go about these things, Johnny Williams, and a number of other people. So with them, we tested the accuracy of the rituals, the weddings, the funerals, everything that happened at the funerals, all of this sort of thing. In some cases there was wiggle room because quite honestly, I think the last two generations of Osage forgot about or was taken out of their experience because they had to become white European, they had to become Christians, Catholics, or whatever. So they forgot about all that. In fact, there’s a new resurgence of the learning of the language. We had language teachers there, and Lily Gladstone learned the language and so did Leo, and so did De Niro who really fell in love with it and wanted to do more scenes in Osage. But I suggested that maybe it’s too much for him, but he just liked the sound of it. They were all learning again to put their culture back together through this movie and we were going with them. So what actually happened was, we would ask, does this person put the blanket on this way, is that right? Well, one person would say yes, I would say maybe no. Another one would say, you have a little room here to play with it and have some creative license. So that’s the way we did it throughout every scene that way. That was done a lot in pre-production and during the shoot. So we had that as a basis. There are ways that were never insistent, but there were ways they got to me, certain information where it was Marianne Bower, for example, one of our producers and she’s like my archivist, and she was able to help keep it all together between myself and the Osage.
Casting Lily Gladstone
(L to R) Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
The director discussed casting actress Lily Gladstone as Mollie Burkhart and why her casting was pivotal to the film’s success.
MS: Well, I believe Ellen Lewis showed her to me in ‘Certain Women,’ Kelly Reinhardt’s film. I thought she was terrific and then COVID hit and we weren’t able to meet. So after the pandemic was calming down, we met on Zoom. I was very impressed by her presence, the intelligence and the emotion that’s there in her face, but you see it. You feel it, but it’s all working behind the eyes. You could see it happening. Also, her activism, which wasn’t overtaking the art, in other words, the art was in the activism in a sense. So the art takes over and in a way which we think then would be more resonant later on after you see the movie, you may be thinking about it more rather than a person preaching at you. I think the first big scene we did was one of my favorite scenes where she has dinner with Earnest alone and she’s questioning him, a little bit of an interrogation. “What are you doing here? Are you afraid of him? What’s your religion?” All this sort of thing. Then you begin to see the connection between the two. When she says, “Ha, coyote wants money.” And surprisingly he said, “That’s right, I love money.” So she knows, this is the other thing, she knows what she’s getting into. Even her sisters later, which is also a scene that we put in with the Osage and the Native American actors. They said, “What if we’re talking about the guys while they’re playing that game and we’re talking about my husband and talking about that guy with the blue eyes likes you and, you know, I don’t think he just wants money. It doesn’t matter. He’s nice. He wants to settle down.” Why don’t we just show that that’s how it could happen? So that’s the way the script was ultimately created by these moments. So with Lily, there was that scene, and of course the scene where he’s driving her in the taxi and it’s only one shot. He says something about, “I want to see who’s going to be in this horse race.” And she says something in Osage and He goes, “What’d you say?” And she says it in Osage again. And he says, “Well, I don’t know what that was, but it must’ve been Indian for handsome Devil.” That’s an improv, and you see her laugh for real. So that moment you have the actual relationship between the two actors. These were the two moments. We felt very comfortable with her. Also we had a feeling that we needed her. We needed her to help us tell the story of the women there. We would always check with her and work with her on the script. There were scenes that were added and rewritten constantly.
Reuniting with Leonardo DiCaprio and Robert De Niro
(L to R) Robert De Niro and Leonardo DiCaprio in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
Martin Scorsese has made ten movies with Robert De Niro, and five with Leonardo DiCaprio, but ‘Killers of the Flower Moon’ marks the first Scorsese movie to feature both actors. The director discussed his working relationship with both De Niro and DiCaprio.
MS: Well, in the case of Robert De Niro, we were teenagers together, and he’s the only one who really knows where I come from, people I knew and that sort of thing. Some of them are still alive. He knows them. I know his friends, his old friends, and we had a real testing ground in the 70’s where we tried everything and we found that we trusted each other. It was all about trust and love. That’s what it is. That’s a big deal because very often if an actor has a lot of power, and he had a lot of power at that time, an actor could take over your picture, the studio gets angry with you, and the actor comes in and takes it over. With him I never felt that. I never felt that. There was a freedom. There was experimenting and also, he’s not afraid of anything. He wasn’t afraid to do something. He just did it. Years later he told me he worked with this kid, Leo DiCaprio, a little boy in ‘This Boy’s Life.’ He said, “You should work with this kid sometime,” but it was just casual. With him, something like that, a recommendation at that time, I think in the early 90’s, is not casual. He says it casually, but he rarely said that. He rarely gave recommendations. So years go by and I’m presented with Leo with ‘Gangs of New York,’ and we worked together in ‘Gangs.’ He made ‘Gangs’ possible actually. He loved the pictures I’d made and he wanted to explore the same territory. So we developed more of a relationship when we did ‘The Aviator.’ Towards the end of it, there was something happening in maturity with him, not quite sure, but we really clicked in certain scenes and that led to ‘The Departed,’ and then we became much closer. That was a project where Bill Monaghan, me, and other people, we were writing all the time and recreating that character that he played of Billy. During that time, he really found out that even though it’s a thirty years difference, he has similar sensibilities. He’ll come to me and he’ll say, listen to this record. It’s Louis Jordan and Ella Fitzgerald. I grew up with it. He’s not bringing me anything new, but he likes it. That’s interesting. He’ll call me and says, “I had a cold and I was looking at Criterion Films and I wanted to catch up on some of these classics, and I saw this incredible movie. It’s a Japanese picture. It’s called ‘Tokyo Story.’ Did you ever see it?” This was last year, I said, “yeah.” I mean, it took me a few years to catch up. I couldn’t even understand Ozu‘s style, seeing it for the first time in the early 70’s because we used Orson Welles’ cameras, and this guy got it from watching it on a big screen TV. That’s very interesting to me to be open that way to older parts of our culture, newer parts of our culture, of course, and the curiosity that he has about other people and other cultures. There’s a trust. Even if we can’t get it right away, we know we’ll come up with something. Maybe other people have relationships where they come up with it faster. Well, we don’t. We just work it through. For example, the scene between Leo and Bob in the jail at the end. That scene ultimately was finally written, I think a few days before we shot it, working with the two of them and working with Marianne and everybody because we had said so much, and it could have gone so many different ways, but what does the picture really need? How much more is there for them to say to each other after all that’s happened? So we went that way. It’s trust. Particularly doing ‘The Wolf for Wall Street,’ by the way he came up with wonderful stuff that was outrageous. So I pushed him, he pushed me, then I pushed him more than he pushed me, and suddenly everything was wild. It’s really quite something. He had a good energy too on the set. That was also important. Very important, because in the mornings, I’m not really good and I’d get on set and then I’d see him or Jonah Hill or Margot Robbie, or him and Lily, and suddenly they’re all like, “Hey.” I said, “Okay, let’s work.”
The importance of Music in his Movies
(L to R) Martin Scorsese and Robbie Robertson at a screening of ‘The Last Waltz’ at the Toronto International Film Festival in 2019.
Finally, Scorsese discussed the importance of music in his movies, and how it influences the way he moves his camera. He also spoke about his longtime collaborator, the late musician Robbie Robertson, and his musical contributions to ‘Killers of the Flower Moon.’
MS: The way I like to make pictures, for the most part I’ve learned, not intentionally, but I feel it is like the pacing of music. The boxing scenes in ‘Raging Bull’ are like the ballet scene in ‘The Red Shoes’ where everything is seen and felt from inside the ring, inside the fighter’s head. The way everything is felt and seen inside the dancer’s head of Moira Shearer in ‘Red Shoes.’ The covering of the band singing ‘The Weight’ in ‘The Last Waltz,’ doing it in a studio was very much according to the music, to the different bars of music and how a camera would move, et cetera. Sometimes I played the music back on the set in the case of ‘Goodfellas’, a number of times. The end of ‘Layla,’ for example, was played back as we were doing the camera moves. For me, ultimately a movie is more like, I’m trying to get to a movie being a piece of music. I think that’s why I do these music documentaries at the same time, I’m trying to get to the pacing and rhythm of something that can be played. For example, you play a symphony and you live with it. “I’ve heard the Beethoven Symphony so many times, I don’t want to hear it again.” No, you play it. “Well, I like the third movement. I want to hear the second movement again.” No, I mean, you live with it. Or Baroque music, anything by Bach or Philip Glass let’s say. In a case like this, very often if a film is playing on TCM, I take the sound off and I just watch. It’s living with me. I live with it. If it’s a Hitchcock or it’s a Ford or a newer one, whatever, I’m looking, and I can tell there’s a musical rhythm to the pacing of the camera and the edit. What I mean by the camera, it’s the size of the people in the frame, the editing and camera movement. I could feel it. So that’s how I exist in a sense. So for me, it’s really about getting the pace of music. That’s done very carefully on set, but also even more carefully in the editing. That’s why this picture is more like somebody pointed out recently, a Bolero, where it starts slower and moves slowly and encircles, and then suddenly gets more intense, and suddenly goes more and more until it explodes that way. So I felt it. I couldn’t verbalize the way I am now, but I felt it in the shoot and in the edit. A lot of the music that kept pushing me was what Robbie Robertson had put together, particularly that base note that he was playing. When Ernest drops her off for the first time at Mollie’s house, she looks at him, she turns, and all of a sudden you hear, boom, boom, boom, boom, boom. I said, “I wanted something dangerous and fleshy and sexy, but dangerous.” That beat took us all the way through. Then he sent me some hymn and I picked up music from Harry Smith’s Anthology of Folk Music, all this sort of thing. One particular piece called the ‘Indian War Whoop’ by Hoyt Ming and his Pep Steppers was very important. ‘Bulldoze Blues’ by Henry Thomas, which became ‘Going up the Country’ by Canned Heat. All of this, and ‘See See Rider Blues’ by Ma Rainey, and of course Emmett Miller singing ‘Lovesick Blues,’ which became the great ‘Lovesick Blues’ by Hank Williams later on, but this was the first. So it’s all that’s in there, but the drive of the movie is what Robbie put down, and we pulled it through that way.
(L to R) Leonardo DiCaprio and Lily Gladstone in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
Scene from ‘Taylor Swift: The Eras Tour Movie.’ Photo: AMC Theatres.
The most anticipated concert film of all time will hit theaters on October 13th when ‘Taylor Swift: The Eras Tour’ is released.
But Taylor Swift is not the first musician to release a concert film. Artists including Beyoncé, Justin Bieber, Katy Perry, David Bowie, Bob Dylan, The Grateful Dead, The Rolling Stones and The Beatles have all released concert movies, while Oscar-winning filmmakers like Martin Scorsese, Peter Jackson, and Jonathan Demme have taken a crack at translating the magic these performers create on stage to the big screen.
In honor of the release of ‘The Eras Tour,’ Moviefone is counting down the top 20 concert movies of all time!
Note: For this list we are including both concert movies and documentaries about musicians that include concert footage.
Justin Bieber in ‘Justin Bieber: Never Say Never.’ Photo: Paramount Pictures.
Tells the story of Justin Bieber, the kid from Canada with the hair, the smile and the voice: It chronicles his unprecedented rise to fame, all the way from busking in the streets of Stratford, Canada to putting videos on YouTube to selling out Madison Square Garden in New York as the headline act during the My World Tour from 2010.
Trip (Dane DeHann), a young roadie for Metallica, is sent on an urgent mission during the band’s show. But what seems like a simple assignment turns into a surreal adventure.
“One Direction: This Is Us” is a captivating and intimate all-access look at life on the road for the global music phenomenon. Weaved with stunning live concert footage, this inspiring feature film tells the remarkable story of Niall, Zayn, Liam, Harry and Louis‘s really like to be One Direction. Directed by Morgan Spurlock.
Through concert performances and interviews, this film offers us an “inside look” at this famous rock group, “The Who”. It captures their zany craziness and outrageous antics from the initial formation of the group to its major hit “Who Are You”, and features the last performance of drummer Keith Moon just prior to his death.
Katy Perry during the ‘Katy Perry: Part of Me’ performance for Pepsi Fleet Week in New York on Wednesday, May 23rd, 2012. Photo: Amanda Schwab / Starpix for Paramount Pictures.
Giving fans unprecedented access to the real life of the music sensation, ‘Katy Perry: Part of Me’ exposes the hard work, dedication and phenomenal talent of a girl who remained true to herself and her vision in order to achieve her dreams. Featuring rare behind-the-scenes interviews, personal moments between Katy Perry and her friends, and all-access footage of rehearsals, choreography, Katy’s signature style and more.
Hammersmith Odeon, London, July 3, 1973. British singer David Bowie performs his alter ego Ziggy Stardust for the very last time. A decadent show, a hallucinogenic collage of kitsch, pop irony and flamboyant excess: a musical symbiosis of feminine passion and masculine dominance that defines Bowie’s art and the glam rock genre.
A once-in-a-lifetime live, global original concert event offering fans from around the world a front-row seat to witness the groundbreaking magic of the Rocket Man back at Dodger Stadium and showcasing Elton John as audiences have never seen him before, paying tribute to the icon and the seminal moment in 1975 that cemented his global success.
The best of Led Zeppelin’s legendary 1973 appearances at Madison Square Garden. Interspersed throughout the concert footage are behind-the-scenes moments with the band. Includes blistering live renditions of “Black Dog,” “Dazed and Confused,” “Stairway to Heaven,” “Whole Lotta Love,” “The Song Remains the Same,” and “Rain Song” among others.
In 1987, to capitalize on his growing success in Europe, Prince toured extensively to promote the album of the same name and sales increased accordingly. However, the United States remained resistant to his latest album, and sales began to drop; it was at this point that Prince decided to film a live concert promoting the new material, for eventual distribution to theaters in America.
(L to R) Ringo Starr, Paul McCartney, John Lennon, and George Harrison in Disney+’s ‘The Beatles: Get Back’
On the 30th of January, 1969, the Beatles performed an unannounced concert from the rooftop of their Apple Corps headquarters at Savile Row, within central London’s office and fashion district. Experience the final and unforgettable iconic performance of The Beatles in a special 60-minute presentation, digitally remastered into the image and sound quality of IMAX DMR technology. Directed by Peter Jackson.
An intimate look at the Woodstock Music & Art Festival held in Bethel, NY in 1969, from preparation through cleanup, with historic access to insiders, blistering concert footage, and portraits of the concertgoers; negative and positive aspects are shown, from drug use by performers to naked fans sliding in the mud, from the collapse of the fences by the unexpected hordes to the surreal arrival of National Guard helicopters with food and medical assistance for the impromptu city of 500,000.
A detailed chronicle of the famous 1969 tour of the United States by the British rock band The Rolling Stones, which culminated with the disastrous and tragic concert held on December 6 at the Altamont Speedway Free Festival, an event of historical significance, as it marked the end of an era: the generation of peace and love suddenly became the generation of disillusionment.
Directed by Cameron Crowe and carved from over 1,200 hours of footage spanning the band’s career, ‘Pearl Jam: Twenty’ is the definitive portrait of Pearl Jam. Part concert film, part intimate insider-hang, and part testimonial to the power of music.
From the rain of Japan, through threats of arrest for ‘public indecency’ in Canada, and a birthday tribute to her father in Detroit, this documentary follows Madonna on her 1990 ‘Blond Ambition’ concert tour. Filmed in black and white, with the concert pieces in glittering MTV color, it is an intimate look at the work of the music performer, from a prayer circle with the dancers before each performance to bed games with the dance troupe afterwards.
(L to R) Joan Baez and Bob Dylan in ‘Rolling Thunder Revue: A Bob Dylan Story’ by Martin Scorsese. Photo: Netflix.
Directed by Martin Scorsese, part documentary, part concert film, and part fever dream, this film captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall of that year.
A concert film documenting Talking Heads at the height of their popularity, on tour for their 1983 album “Speaking in Tongues.” The band takes the stage one by one and is joined by a cadre of guest musicians for a career-spanning and cinematic performance that features creative choreography and visuals. Directed by Jonathan Demme.
Released in 1977 and directed by Jerry Garcia, is a film that captures performances from the Grateful Dead’s October 1974 five-night stand at the Winterland Ballroom in San Francisco. This end-of-tour run marked the beginning of an extended hiatus for the band, with no shows planned for 1975. The movie also faithfully portrays the burgeoning Deadhead scene. The film features the “Wall of Sound” concert sound system that the Dead used for all of 1974.
In this wildly entertaining vision of one of the twentieth century’s greatest artists, Bob Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price.
Robbie Robertson in Martin Scorsese’s ‘The Last Waltz.’ Courtesy of United Artists.
Martin Scorsese’s documentary intertwines footage from “The Band’s” incredible farewell tour with probing backstage interviews and featured performances by Eric Clapton, Bob Dylan, Joni Mitchell, Van Morrison, and other rock legends.
Robbie Robertson, a founding guitarist of legendary musical group The Band who launched a successful solo career and worked closely as a composer on Martin Scorsese’s movies and more has died. He was 80.
Born Jaime Royal Robertson on July 5, 1943, in Toronto, he began playing guitar at age 10 and six years later joined up with Levon Helm in The Hawks. Robertson’s guitar style on songs such as ‘Who Do You Love’ helped birth in an era of classic bluesy rock and influenced countless musicians.
Robertson got his break at age 16 with Ronnie Hawkins’ The Hawks, which eventually would feature many of his Band mates. He was Bob Dylan’s guitarist on the infamous mid-’60s ‘Going Electric’ tours and, as leader of The Band, collaborated on groundbreaking album ‘The Basement Tapes’, helping to invent the Americana genre.
The Band hit it big with their debut album ‘Music from Big Pink’, which included classic track ‘The Weight’, which graces numerous movie soundtracks (in case the name doesn’t register, listen to this and you will recognize it immediately). In 1969, The Band played at Woodstock and became the first North American rock group to appear on the cover of Time magazine.
They would go on to enjoy many more hit albums and singles, and when Robertson left the band in 1976 to pursue a solo career, the final concert was captured forever in iconic Martin Scorsese documentary ‘The Last Waltz’.
Robbie Robertson in Martin Scorsese’s ‘The Last Waltz.’ Courtesy of United Artists.
In addition to his work with Scorsese, he also contributed to the 1988 Bill Murray Christmas comedy ‘Scrooged’, recording a poppy, keyboard-heavy cover of The Band’s “Christmas Must Be Tonight,” which he wrote originally for the album ‘Islands’.
Martin Scorsese released the following statement about his friend and colleague:
“Robbie Robertson was one of my closest friends, a constant in my life and my work. I could always go to him as a confidante. A collaborator. An advisor. I tried to be the same for him. Long before we ever met, his music played a central role in my life — me and millions and millions of other people all over this world. The Band’s music, and Robbie’s own later solo music, seemed to come from the deepest place at the heart of this continent, its traditions and tragedies and joys. It goes without saying that he was a giant, that his effect on the art form was profound and lasting. There’s never enough time with anyone you love. And I loved Robbie.”
Here’s the note on Robertson’s death released by the Rock and Roll Hall of Fame, into which The Band were inducted in 1994:
“The architect and primary songwriter of The Band, 1994 inductee Robbie Robertson changed the course of popular music in the late 1960s. Though born and raised in Canada, Robertson found poetry in America’s history and mythology, and with a fusion of blues, rock, folk, R&B and country, his compositions embodied the genre that came to be known as Americana. Such songs as ‘The Weight,’ ‘The Night They Drove Old Dixie Down,’ and ‘Up On Cripple Creek’ have become cultural monuments, thematically fusing the past with the present and leaving an immeasurable impact. Robertson’s razor-sharp guitar leads were a critical part of The Band’s sound, and after the group’s original lineup ended with the epic concert and film ‘The Last Waltz’, he went on to an acclaimed solo career and extensive work scoring films, including those of director Martin Scorsese.”
Robertson is survived by his wife, Janet; his children, Alexandra, Sebastian, Delphine; grandchildren Angelica, Donovan, Dominic, Gabriel and Seraphina.
Joni Mitchell in Martin Scorsese’s ‘The Last Waltz.’
It’s been a quiet few years for Cameron Crowe in terms of narrative output on big or small screens. Though he had a great run from the time he wrote ‘Fast Times at Ridgemont High’ (based on his own experiences going undercover at a high school), and created the hit movies ‘Say Anything’, ‘Singles’, ‘Jerry Maguire’, ‘Almost Famous’ and ‘Vanilla Sky’, he saw his most recent movie, ‘Aloha’ fail to connect with audiences and criticized for some dodgy racial elements (Emma Stone as a native Hawaiian just didn’t fly), and on TV, his Showtime series ‘Roadies’ (which trod similar ground to ‘Almost Famous’ but in the present day as opposed to the 1970s) was cancelled after one season.
Now, though, after a more recent fallow period (more on that below), it appears he’s back with a new planned movie that means a lot to him.
While little concrete is known about the movie yet, it apparently stretches further than a conventional biopic, driven by Crowe’s close friendship with Mitchell, who he has known since he was a young journalist working for Rolling Stone magazine, which published his profile of her in 1979.
Joni Mitchell in Martin Scorsese’s ‘The Last Waltz.’
Joni Mitchell’s story
The Canadian-American musician, producer, and painter was one of the most influential singer-songwriters to emerge from the 1960s folk music circuit and became known for her starkly personal lyrics and unconventional compositions which grew to incorporate pop and jazz elements. In her career, she has won 10 Grammy Awards and induction into the Rock and Roll Hall of Fame in 1997.
Her hits include ‘Both Sides Now’, ‘River’, ‘Big Yellow Taxi’ and ‘Woodstock’, while one of her albums, ‘Blue’, is considered among the greatest of all time.
Mitchell suffered a brain aneurysm in 2015 but recovered enough to make a rare public appearance at Clive Davis’ annual pre-Grammy party, escorted by Crowe.
What has Cameron Crowe been up to since ‘Roadies’?
Crowe hasn’t exactly been sitting around since ‘Aloha’ and ‘Roadies’, though –– he’s produced a documentary about David Crosby called ‘Remember My Name’ and directed the short Stevie Nicks: Show Them the Way’.
And Crowe was also busy getting the stage musical based on ‘Almost Famous’, which is now playing on Broadway.
He’s reportedly been at work on the Mitchell movie during pandemic but has yet to reveal what form it’ll take or whether various actors will be playing her in the course of the film. At 79, Mitchell remains as vital as ever, and is involved with the movie, which means Crowe should enjoy full access to her back catalogue and real insight into her life and career.
With luck, this could bring Crowe back to make more movies, though as of right now, we don’t know where the new film is set up.
(L to R) Producer Cameron Crowe, David Crosby and director A. J. Eaton from ‘David Crosby: Remember My Name.’
