Archive for the 'General' Category

82. G A S P

Interesting new organization

I don’t usually get involved with political groups but when founder and co-mama Ursula Forage contacted me asking for a pledge I complied without hesitation.

Ursula said her members, which now only number around 1000 in the entire continental USA, felt uncomfortable having Palin appropriate their image and identity for her ultra-Right vision of America.

“We don’t see her having grizzly qualities at all, ” states Forage. “Her claws and teeth are too small; she’s much more like a mouse or tundra rat.”

81. RAPTURE

July is literally melting into August here in NYC. I spend my days trying to get two new feature scripts off the ground. To help keep my sanity during this process I go to a boxing gym twice a week. Yesterday, the owner looked at me like I was an idiot when I asked when he was getting air-conditioning.

“Boxers like to sweat,” he said. “That’s why they come here.”

After my workout even my boxing shoes were soaking wet.

Another thing I do to keep my sanity (apparently filmmaking is a constant endeavor to keep from going insane) is mess around with music. Over the past 2 years I’ve been collaborating with Will Crewdson in the UK and Grog in LA in a transatlantic musical consortium we call The Black & Blue Orkestre.

The sound is a little dark and cinematic with a strong groove. It’s as if we all share a mother of purported gypsy origin who spent the night with Elvis, Nick Cave and Ennio Morricone in a Mississippi bayou. We’ve done 2 covers and 3 originals. I record the vocals and a very basic arrangement and send the tracks to Will. He lays down all the guitars, percussion and synths and solidifies the arrangement. He sends this to Grog who writes and records the bass line.

It’s a pretty amazing process. There is no boss. Everyone gives each other respect and freedom. This week we finished another song, called Rapture.

Rapture by The Black & Blue Orkestre

 I suggested Grog sing on this one as well. She’s got an incredible voice. Both she and Will have major projects elsewhere. Grog and her band Die So Fluid have just released a new album and Will recently spent several months recording with Adam Ant.

Who knows what will happen with our scrappy little trio. Will we ever perform live? Would anyone care? If the icy dread that instantly fills my gut at the thought of singing in front of people is any indication it seems highly unlikely. But, the sense of wonder at seeing a song come together is deeply satisfying to my soul. And for the moment, that’s good enough.

One of our covers, 16 Tons, is going to be played in a radio podcast Sunday, August 1. It was included in an in-depth interview I did last week with Today Is Boring, an arts related radio show hosted by Adam Carr and Tree Carr. We had a long, inspired talk about several of my films with special focus on When You’re Strange. The first airing tomorrow night can be heard here. Hit the big red Listen Now button.

Afterwards the entire interview will be in the show’s archives. And they’re going to play 16 Tons.

I can’t believe it. A song on the radio.

80. MILITARY BRAT

The theatrical life of When You’re Strange is fading away. I’ve spent months talking about this film. Sometimes, when I least expect it, I get the strangest feeling that I’ve actually learned a few things on this crazy trip.

Jim’s father was a career Navy officer who retired as an Admiral. The Morrison family moved frequently to different naval bases around the country.

Young Jim and his father

Jim’s sister Anne told me me how she, Jim and their younger brother Andy took a navy shuttle bus into the base movie theater one night to watch a John Wayne movie. It was around 1955; Jim was maybe 12. At this time it was a requirement on military bases for audiences to stand while the National Anthem played. Jim, half in joke and half in patriotic fervor, stood and started singing at the top of his lungs. He was the only one singing and he sang the whole song.

Jim in highschool

I can see him doing this pretty clearly. I rode on those same military buses as a kid. My father was a Colonel in the Marine Corps. When I was 12, in 1965, I’d already moved 6 times.

The buses were driven by enlisted men in fatigues with really short hair. They’d been instructed to enforce complete silence. On the way to school the boys were seated on one side and the girls on the other. If a kid talked they were made to sit on the other side. The idea was that this would be humiliating, primarily for the boys, and would thereby prompt obedience. I can’t remember a single instance where a girl showed anything more than annoyonce in being forced to cross the aisle.

In elementary school the same No Talking rule applied during lunch. Boys and girls were permitted to sit together in the lunchroom though very few did. So, the punishment for talking was having your lunch taken away.

Even at 9 years old I suspected there was something absurdly tyrannical about making a room full of kids eat in complete silence. Once, a small, timid girl cried out at a sudden crack of thunder. The teacher, a clumping, thick-legged woman immediately took her lunch away. The girl sat stricken, fighting back tears. As distraught as she was I knew she was also starving.

I got up, walked over and gave her half my sandwich. The teacher glared at me but did nothing.

An equally rigid set of rules existed at home.

My father’s word was law. No one ever contradicted him. My mother, though sympathetic, bought into the chain of command and when push came to shove, which it frequently did, she always sided with the commander.

There was no television in the house. C’s on report cards and other infractions brought punishment from my father, usually with the belt to his uniform trousers. One of the worst came after I let a screen door slam.

This kind of discipline is designed with a single purpose; to create absolute obedience. It is the essence of the military. Survival depends on orders being obeyed instantly. Any questioning or hesitation from an individual could result in death or defeat for the entire group.

Naval Order

But, for a child this kind of discipline can crush a soul. Questioning is the essence of Life. It is how we learn to see. It is how we determine our own thoughts, how we develop the personality that is totally particular, special and unique to ourselves.

The struggle against a parent inflicting this kind of discipline is really one of life and death. There is no middle ground. To buy into it even a little means keeping a part of yourself subjugated, voiceless and inferior.

To fight it means standing up in the face of it and declaring, “It is either you or me.”

Apparently, this is exactly what Jim Morrison did. 

There is no evidence that Admiral Morrison included physical abuse in disciplining his children. Anne Morrison recalls her father with great fondness and affection.

 Jim on one of his father’s ships

But, Jim swung out of the family nucleus very early. He left home to go to college; first in Florida, then in California at UCLA. When he ran into Ray Manzarek a few months after graduating, he had no money, no job and was living on someone’s roof a few blocks from Venice Beach.

He was essentially homeless.

A little more than a year later Jim, Ray, John Densmore and Robby Krieger released their first album as the Doors. Jim’s separation from his family was already so entrenched they barely knew he was in a band. Andy found out the Doors had made a record only when a friend showed him the album and said one of the guys on the cover looked a little like his brother, Jim.

Although Jim later claimed he was only joking one wonders how Andy and the rest of the family reacted when they read the way he described them in the album’s liner notes:

Bio information on 1st album

Jim took the name of the band from this line in a poem by William Blake. It not only shows what Morrison was reading as a teenager; it also gives a glimpse into what his mind was turning on to. 

Doors of perception

Blake is suggesting if we cleared all the obstacles in our vision we would see life as it is; an alternately fascinating and terrifying mystery. Some of the things that keep us from seeing are the institutions we’ve set up to provide meaning and order; massive social cornerstones like Government, School, Religion and Family.

Although well-intentioned, each of these can become oppressive; serving as walls against any real self-discovery or awareness. The goal is to see things as they are, not as other people tell us they are. This takes courage. It is not easy to see so openly, and so honestly. It is painful, frightening and in some cases it brings complete alienation.

Perhaps this is why the Doors music resonates so deeply with those who’ve never felt they belonged anywhere.

It is impossible to know what really went on inside the Morrison family but Jim’s exit from it was permanent. Whatever he saw there pushed him out into the void with a vengeance. Home for him was someplace else entirely.

Marrison at the Singer Bowl

As maddening and frustrating as it was to his friends and bandmates, his only responsibility seemed to be total freedom. He plunged headfirst into chaos in every performance. And, having survived, the next night he seemed obligated to go even further.

Jim at the Singer Bowl

This commitment seems part of Morrison’s DNA. His girlfriend Pam asked him why he exhausted himself at an early show when he knew he had another one to give in an hour. His response was genuine surprise, “Why not? I might not live to the next one.”

Ray told me this story: shortly after that fateful meeting on the beach in Venice, Ray invited Jim to move in with him and his girlfriend, Dorothy. It all went pretty well for a while, with the two of them writing music, rehearsing and playing a few gigs. Then one day Ray looked at Jim’s hair and suggested he get it cut.

Jim erupted, screaming at Ray, “Don’t you ever tell me what to do!” Though they remained close friends Jim moved out, permanently.

The issue of hair in the military is intense. For the first 17 years of my life I had a crew-cut. It was barely tolerable in the early 60’s but when the family moved to California in 1968 it was excruciating. My junior high school was in town, outside the Marine base. I was literally the only one in it with short hair. Kids used to walk up to me in the hall and laugh in my face. Every plea to my father to let me grow my hair was refused. In fact, punishment for my brother and me now started with a visit to the military barber who was instructed to shave our heads even closer.

The ban was finally lifted when I went away to college. I’ve never cut my hair short since.

But, not every child from a military family goes through this kind of trauma. It takes something more than haircuts and discipline.

Before the Doors made their first record Jim approached a wealthy friend of his father for a loan. The friend told Admiral Morrison of the request and asked his advice. In a letter recounting this event Jim’s father writes:

Father’s letter

There is a lot of subtext in these few lines. I’m struck by both men’s concern over the length of Jim’s hair. But, even more significant is Admiral Morrison’s insistence the friend turn Jim down. He was completely oblivious to Jim’s gift. The gulf between them was so great he seemed to have no idea who his son was.

The myth of Family is a powerful one. It proclaims that family connections are sacred and should be maintained at all costs. We all buy into this; understandably. Who wants to be an orphan? But, I think sometimes the cost can be too high. I think sometimes maintaining family connections only perpetuates pain and disappointment.

Jim Morrison chose to cut himself loose from them. It could have been an act of supreme selfishness; a childish cry for attention. Or it could have been a statement: I will be what I am, not what you say I am.

In any case, it took balls.

That’s one of the things I learned in making this film.

79. EMMY NOMINATION

Well, I got a crazy email this morning from one of the producers informing me When You’re Strange has been nominated for an Emmy.

Whacked but Fact; this is indeed true. It seems the episode of American Masters on PBS in which When You’re Strange screened was nominated for Outstanding Achievement in a Non-Fiction Series.

It’s a little indirect, but hell, really great news.

Also, the film continues to perform well in Europe. France has expanded its release to 100 prints. Just to put things in perspective, in the widest point of the US release there were 8 prints.

Germany, Norway and Sweden are doing very well. Nothing definitive from the UK yet. I think Japan is on the horizon.

78. WEEK ONE in FRANCE

This came in a little while ago from MK2, the French distributor. Thought I’d share it with you.

Dig that poster.

 

THE FRENCH PUBLIC IS HIGH ON THE DOORS

When You’re Strange, the Doors documentary, directed by Tom DiCillo, reached 55 099 admissions in France in one week, on 55 prints.

It is the best opening of a musical documentary in France in a long time. French film goers overwhelmingly voted in favour of the band with a rating outside cinemas of 93% (Source Ecran Total / Observatoire de la Satisfaction).

Along with the newsstand Special Edition of the Magazine ‘Trois Couleurs’ dedicated to the group and a soundtrack released by Rhino France, Tom DiCillo’s film reinforces the myth and reveals the true cult of the Doors, especially with the young public.

In its second week, French distributor MK2 Diffusion, has added 37 prints, which adds up to a total of 92 copies in France.

Thanks to everyone who has supported the film!!!

french-poster.jpg


77. VIVE LES DOORS

The trip to Paris last week was short, fast and intense.

Started press with John Densmore a few hours after I arrived, took a break, had dinner with MK2, the French distributors, and then went to the premiere.

The 450 seat theater was full. The translator introduced me as being from Iceland. I have no idea why. I then introduced the film, thanking MK2 for an amazing promotional campaign and reminding everyone the footage was all real. Then I introduced John and he told the story of how Jim wrote “People Are Strange.”

We were quickly ushered into another theater downstairs where an overflow crowd was waiting. These were mainly fans who’d waited for hours trying to get in. John and I were asked to introduce the film again. I looked at the group of long-haired young French kids sitting in the front row and their eagerness was so contagious I asked them if they’d brought a joint for me.

Then I thanked MK2 again, but said I was a little disappointed because originally they’d told me that as part of their promotion they were going to pass out doobies at every screening. In closing, John told his Jim and “People Are Strange” story and as we walked back up the aisle the group of kids were all swaying and singing the song in unison.

On my way back to the hotel I spotted this ad for a magazine MK2 put together for the film.

French poster for When You’re Strange magazine

The entire issue is about When You’re Strange. A friend of mine took the picture. The poster was on a moving roll with three other ads. A moment later a guy arrived in a van to change out the roll. He put in a new roll, again with a poster of the magazine. My friend told him I was the director of the film. The guy immediately took out a razor blade.

Then he lay the old roll of ads on the sidewalk, cut out the poster for When You’re Strange and gave it to us.

The next day I did press from 11am to 8pm. And the next morning I flew home. But, before I headed to the airport I decided to run into the subway and see if I could find any posters of the film. I entered the subway station and saw nothing. I figured the posters were deep in the subway system and I’d have to buy a fare and ride around until I found one.

Then something caught my eye. I turned around and saw this behind me; looming right at the entrance to the subway.

French ads for When You’re Strange in the subway

I asked an old guy just getting off a train to take the picture.

Please forgive me for these two shots. I was a little…happy. Based on my experience here in the US part of me just simply could not believe there were actually posters for the film put up where people could see them.

THIS JUST IN:
When You’re Strange opened in France today. The official word from MK2 is very good. Just got this email from them:

Hi Tom,
Hope you are well, I have great news for you! Today is the first day of release and the film is doing really good: 5, 500 admissions in Paris today and around 10, 000 in the rest of France (at least $100, 000!).

Reviews are very good, admissions too, we are so happy !

All kind of audiences: young people, elders, teenagers… The film is the event of the week here. It is currently the number two highest grossing film in the country, just behind a French comedy.  Everybody is here at the MK2 office celebrating and share with you a glass of champagne!

Well, well. Vive les Doors.

76. STRANGE IN PARIS

This photo just came in thanks to Noemie in Paris. She took it in a subway station. I’ve had other friends say they’ve seen the poster all over the city.

French Strange Poster

My sincere congratulations to MK2, the French distributor. This is one cool poster and is definitely going on my wall, ASAP.

And more importantly, they are clearly promoting and advertising the film.

I arrive in Paris Tuesday morning. The premiere is that night. John Densmore and I will attend and then do a day of press together.

I’m thrilled about the film’s coming to life in France. Thanks, Noemie.

75. FLOWN

There are many strange emotions that accompany events in this business but none is quite as complex as the moment when a film leaves a theater.

A little over a week ago When You’re Strange disappeared from movie screens in NYC. It left with the same lack of fanfare with which it opened. I glanced in the paper one day and it was simply gone. I kept looking at the tiny title of the film that had replaced it thinking–hoping I’d misread it. It felt like part of me had disappeared.

So now the film will play fitfully around the country for a few more weeks I guess; a night here, a day there. I’ve heard from quite a few people who saw the film on PBS, including my mother who declared,

I never knew all those things about Jim Hendrix.

Most of the responses were extremely engaged and emotional so apparently some of what I’d strived for came through on the small screen. I was puzzled why the promotion for the PBS screenings included the original release poster title layout but had my name removed. Most likely another marketing decision.

But, if I really look at how this thing could have gone down there are many things to be thankful for. The film did get a theatrical release. Some of you saw it on the big screen. It played in NYC for a month which is no small feat considering the current financial climate and the fact the film is a music documentary. I think it could have played longer. I think this amazing band deserved the honor of a larger ad or two but those decisions were made by industry professionals who were not obligated to listen to me.

Still, I’m happy the film didn’t end up as a straight-to-dvd sale to Walmart, which for a while was being considered as a viable option.

You’ll see I’ve changed the banner of the blog. I’m still going to be discussing When You’re Strange but I feel it is time to slip away my own self. I don’t have information on things like DVD releases or which other countries will be releasing the film and when. Alas, I only wrote and directed the film. But, if you want to keep fresh on all things happening with the film, and The Doors I would highly recommend checking out Ida’s detailed and refreshingly candid site (idafan.com) which she updates regularly.

There is still a lot of stuff coming up about the film that I’ll be relating. I’m going back to Paris at the beginning of June for the French premiere. John Densmore will be going with me again. Ray and Robby have performance dates that unfortunately conflict. Hopefully the volcano goddess will be in a better mood.

I’m excited about the French release. They’ve put a lot of time and thought into their promotional campaign. They have a real release planned along with the premiere, with a very cool poster and full-run openings in around 20 cities. The same type of official release will happen in the UK on July 5 and I will be going over to London to help promote it.

Meanwhile I’ll be attempting to move my new film forward, a contemporary crime thriller I wrote called Lighthouse Road.

So, there you have it. One door closes and another one opens. Or, as Moe from the 3 Stooges once said,

One door closes and another one hits you in the face.

74. INCLUDE ME OUT

Two weeks after my return from Paris my brain is back, slightly battered but in better shape than my soul.

I don’t think it is anything more than a simple observation of fact to point out that advertising for When You’re Strange has been pretty much non-existent. The other night I ran into a friend on the street right in front of the Angelika theater here in New York. When I mentioned the film he said he didn’t even know it was playing. I’ll never forget the astonishment on his face when I turned him around and pointed across the street to where the film’s title was in the marquee.

The manager at the Angelika told me the film was doing well, but could be doing much better if there was more advertising. And this week, because of dwindling attendance, the film leaves the Angelika for a smaller venue.

With a strategy like this the film’s fate could not have been more predictable. Elaine and Renata have written in detailing their heroic efforts to revive the film in Atlanta. They expressed puzzlement, as did many of you, as to why the film played at the theaters it did, and why for such a short amount of time.

I too, was puzzled. So, this is what I learned.

The deal with PBS to televise the film in May was made before a theatrical distribution plan was in place. PBS chose the May 12 date because it allowed them to get the most attention for the film during Sweeps Week. This is great for them because it helps garner higher TV ratings. It’s great for the producers of the film because they made money on the deal.

However, it wasn’t so great for the theatrical release of the film. Since the release date was on April 9, movie theaters wanting to show the film had only a very small window to reach audiences before the film was available for free to millions of people. Therefore, ALL of the first-run theaters passed on the film. They did not want to spend time and money on a film that would only be ‘fresh’ for a little more than a month.

And so, only the smaller, independent theaters took the film, knowing they could show it for a week, or in some cases–a day, and not expend a lot of effort or cash. This is why the film played in a college auditorium in Atlanta and why it will play for only one night in several cities around the country.

The distributor’s strategy appears to have been the classic “No Ad” approach. I’m not an expert so I don’t really know how effective this approach has been in the past. Apparently it saves the distributor the annoyance of spending any money to advertise the film. When I did question them about the ‘minimal’ advertising in newspapers they responded with the reasoning that “nobody reads newspapers anymore.”

So, imagine my surprise as I opened today’s paper and saw a quarter-page ad for a new indie film distributed by the notoriously tight-fisted Sony Pictures Classics. Not only did they run the ad the week before the film opened, they foolishly ran it again in color on opening day. I felt horrible for not calling to tell them to stop wasting their money. What were they thinking running a color ad in a paper that no one reads!?

I know I’m a moron about these things but that idiot part of me keeps wondering what might have happened if When You’re Strange had been given just one quarter page ad, in color.

Of course this leads us inevitably to the Reviews (in the same papers no one reads). Two pissy reviews in NYC and LA almost effectively strangled the film there–especially with no advertising to counter them. I thank you all for your support and suggestions not to take them personally. The truth is, I learned this lesson very early on. Here are two quotes from “major” critics on my first film, Johnny Suede:

A MASTERPIECE IN A MINOR KEY
P.J. Flooring, The Guardian, UK

MUCH HAIRDO ABOUT NOTHING
Everett Klempf, NY Times

Even though I just made the second one up the point is if you believe one you have to believe the other. I discovered quickly that the only thing that matters is how I feel about the film. An honest assessment of what I’ve accomplished (or not accomplished) is the only way I can proceed to the next film. False flattery, especially from myself, leads only to falseness.

The only reason I’m bothered by negative reviews is their potential to prevent people from experiencing the film on their own. And, if no one goes to see the film it directly impacts my ability to make another one. To me, this system is criminally insane.

Is one person really any more capable of determining what is ‘good’ or ‘bad’ than anyone else? Based on what I’ve seen over the last 40 years I’m not convinced. I’ve never read a review of one of my films that informed or illuminated something I didn’t already know. In general critics either recount a film and call the filmmaker a genius or they recount a film and call the filmmaker a dumbshit. As far as I can tell, only two people benefit from this; the filmmaker lucky enough to get a ‘good’ review and the critics themselves as they solidify their position as the ‘true’ arbiters of taste; as if their masturbatory scribblings are in some way as important as the films they write about.

I think at the end of every review it should be compulsory for the critic to end with,

This is only my opinion. I really know no more than the guy behind you at Starbucks. I’m just some lucky bastard who gets paid to sit in the dark. I urge each and every one of you to go see the film and make up your own mind.

So, what function do critics really serve? Without them, films would still exist. Without films, they would not. The writer Guy de Maupassant (1840-93) had some thoughts about what a good critic could provide.

Guy de Maupassant 
Guy de Maupassant

This is from the introduction to his novella Pierre and Jean.

A critic should be without bias, should have no preconceived theories and should not strictly adhere to ideas from any ’school’ or trend. He must distinguish and explain the most contrasting and diverse artistic aims. Most critics reject anything outside their own aesthetic system. Instead, a critic worthy of the name should have an understanding open to everything, should so exceed his own personality that he can reveal and praise works of art that he personally dislikes but as a judge he is obliged to comprehend. The public is made up of millions of people who cry out, “Console me, amuse me, make me sad, make me shudder, make me weep.” Only a few people ask the artist, “Do something beautiful in the form that suits you best according to your own temperament.”

Or as filmmaker Jean Luc Godard (Breathless, Weekend) said a bit more simply:

A critic is a soldier who fires on his own troops.

Jean Luc Godard
Jean Luc Godard

73. US of A

Made it home Tuesday night just before sunset. I have to say the NJ Turnpike never looked so good.

Back in the Us of A

The trip back to the US took over 18 hours. I stood in a frenzied clot of passengers at the Orly airport in Paris from 6:30 in the morning until 2pm; first waiting to see if I had a seat, and then waiting to see if the plane would take off before the airport shut down again. A woman from the airline came out to make an announcement. No one could hear her. I stepped out of line, leaving my luggage behind me, and walked up closer to hear what she was saying.

What she was saying was that everyone should stay in line. When I turned around I saw that the entire line had collapsed around me and about 300 people had now all rushed forward with their luggage. I went back to get mine and found myself far behind people who had arrived in the line hours after me. 

The tension was so high I’m surprised fistfights didn’t break out, especially since I was doing my best to start one.

I finally made it into the boarding area around 2:30. Just before getting on the plane the French Aviation Authority routed us south to Lisbon, Portugal–a 2 hour flight. We made it out just as all the Paris airports started closing again. After re-fueling in Lisbon, we started the crossing to Newark; another  8 1/2 hours in the air. The moment the plane started moving I instantly fell asleep.

My last day in Paris had been a strange one. I walked the city for hours, trying to enjoy myself but wracked with anxiety about having no idea when I’d be getting out. I took this picture. I felt like it really, really expressed my frame of mind.

Last day in Paris

Got back to the hotel room to find the message urging me to be at the airport at 6:30 am. After quickly packing, I met John for a drink and told him of my pending departure. He still had no ticket out and was not in a good mood.

We sat in the hotel lobby sipping scotch for a half hour. When I mentioned how bewildered I was at the nastiness of some of the US press he quietly urged me to not worry about it. “The press has always loved to hate us,” he said. “You made a great film. There is no question in my mind you were the guy for us. You told our story.”

At that moment I felt a rush of emotion so intense I had to turn away. It was difficult for me to comprehend the man sitting opposite me in his long, silver hair, gathered in the back in a neat ponytail, was one of the guys I never dreamed I’d meet when I was 14 and first listening to the original, long version of “Light My Fire”–that he was John Densmore, the sharp, precisely frenzied drummer I’d been watching on editing and movie screens for almost 2 1/2 years.

I managed to tell him how much I’d come to respect and admire him. We wished each other luck on getting home. Then we embraced and he was gone. When the alarm woke me 5 hours later I was deep in the tendrils of a dream where I was standing on the edge of vast, dark river; peering across it and unable to distinguish anything on the opposite shore.



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