CONTACT

For professional inquiries Tom DiCillo can be reached through his manager below. This is for business only. Personal correspondence will not be read or returned.

Jennifer Levine at Untitled Entertainment
310-601-2105
levine@untitledent.com


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56 thoughts on “CONTACT”

  1. Dear Tom,
    I graduated from Old Dominion in 2008 and later moved to LA to be an actor on November 17th, 2010. I read your article in the Monarch magazine and it blew my mind! You have worked with everyone I have ever dreamed of working with. I can’t wait until I get to see “When You’re Strange” because I am a huge Doors fan. Jim Morrison was one of my inspirations to move to California with $400 and a willingness to win. I would love to hear from you!
    Respectfully,
    Steven Stone
    smstone85@gmail.com 757-537-0857

  2. Vivo in Italia, ho appena visto The realer blonde, non sapevo fosse tuo, mi è piaciuto, ha quel sapore newyorkese che mi manca.. Milan, 01.24 pm, GoodNight Tom.

    1. Hello Carlotta,
      Thank you for writing. Grazie. I don’t write or speak Italian beyond a few words. But I’m glad you liked The Real Blonde and that it reminded you or your time in New York.
      best,
      Tom

  3. Hi Tom,

    Do you ever feel like saying “To hell with waiting several years for funding to come through for a project” and just getting a bunch of actors/friends together and making a feature-film in a simular method to how you made ‘Scene 6, Take 1’? And maybe considering the possibilities of digital technology?

    Regards,
    Jack

    1. Hey Jack,
      Sorry it took so long to get back to you. This is a good question. I have considered that option many times, and am considering it now. There is nothing worse than feeling like you have to wait until some other person can give you the money, or the “permission” to make a film. It is infuriating. Every single film goes the exact same route–not just mine. They all start with getting the cast. Get me Ryan Gosling and we’ll give you the money. Write a “high concept” script and we’ll give you the money.

      It makes you want to slap people. Especially when you think about the fact that all these actors started out as nobody’s. And I happen to think their acting was much better then.

      The best feeling is the opposite. That’s when you somehow take control of the film yourself. You write it in such a way that you can fool somebody into giving you a small amount of money. Then you cast whoever you want. You cast the best actor for the part, not the most famous actor.

      The problem unfortunately is distrubution now. It is incredibly depressing to go through all that work for no money and have the film play two days in a theater or not even get distribution at all. Sadly it is how a film performs in the public arena that affects how and if a filmmaker can make another film.

      But, yes. The most exciting moments of my filmmaking career were on the set of Living In Oblivion. It was a sense of complete freedom and though terrifying at times it was absolutely exhilarating.
      best,
      Tom

      1. Hey Tom,

        Thank you for your response. I can only try to imagine how frustrating this waiting game must be for yourself and others like you when looking to get films made.

        I’ve been shooting my first feature called ‘What Happened After Macbeth’ since May 2010 and lots have asked me how I’ve financed it. I tell them that there is no funding and that I wouldn’t know how to go about doing that; I’m too impatiant and sadly there is no UK Film Council anymore (I’m from Manchester, England). I just want to get on with it and see what I can achieve with my meager set up of a mini DV camera, two small lamps and a soundman. For obvious reasons this situation reminds me of Living in Oblivion and the conditions it was made under.

        Once the film is finished I have no idea how to go about marketing it as there isn’t really any indie film scene in England like America and Europe have, but I hope the film can win a small but loyal audience that ‘get it’. I can honestly say that seeing Living in Oblivion when I was 17 is what lead me to actually giving it a go about ten years later.

        All said and done, I’m a big fan of all your films and will continue to see anything you make. I wont ask you when you’re next film is out as I’m sure you’re working on getting that made as we speak.

        Regards,
        Jack Doyle

        1. Hey Jack,
          It sounds like you’re doing the right thing, which is really the only thing–taking matters into your own hands. This is a crucial step. Most people in this business, from actors to writers to directors, begin with the misconception that the only way to proceed is when someone opens a door for you.

          Sometimes this actually does happen for a few people. But, the reality is much different. And sometimes you get to the point where waiting for a door to open is like taking a daily dose of poison. So, you kick the fucking door down. Or you walk outside and go all the way around the block to another building. Or you build your own building.

          Get your film finished. Get it in the best shape you can. I would do this before showing it to people. Most people have FIS (First Impression Syndrome) which means whatever they see the first time is what sticks in their brains.

          Once you feel it is as good as you can make it start sending it to festivals. This is still a viable way to get people aware of you and your work.
          And don’t freak out if you get a lot of rejections. This whole business is based on people saying NO, because it is the easiest thing for them to say. Just keep submitting. Try a whole range of festivals.

          If Living In Oblivion inspired you to get into this business then all I can say please accept my apologies.
          best,
          Tom

          1. Hey Tom,
            Actually, your words are wonderful. Sending films to festivals is an idea that came to my mind some days ago, and when i read your words now they asserted to me my idea. For everyone to prove him/herself in film industry s/he must endure and go through big challenges. The reality is always different from dreams. It is never like what imagined. And big dreams need long breaths.

  4. Hi Tom,

    Something else I was also meaning to ask you: I have both the Living in Oblivion and Box of Moonlight books and I was wondering if there were any plans for future books based either each film or a bigger book covering your life and work?

    Regards,
    Jack

    1. Hey Jack,
      Well, I’m very flattered you have those two books. I enjoyed writing them a lot. I thought about writing books about Delirious and When You’re Strange. So much goes on behind the scenes that people just would not, perhaps should not believe. Perhaps it is best to leave them in their innocence.

      I might consider writing something about film directing, from A to Z. There are some elements of my musings throughout this blog. I do feel I’ve come to understand some simple, basic things about this art/business form and I sure as hell wish someone had told me some of them.

      best,
      Tom

  5. I’m a huge fan of your movies, and I just wanted to tell you that my favorite scene of any movie ever is the car scene from Box of Moonlight, when “Cuts You Up” starts playing. The first time I saw it I was dumbfounded–I couldn’t talk, and I felt like crying and fainting at the same time, mixed with a feeling of drinking a cold glass of water on a hot day. This sounds kind of awful, but it’s actually incredible. It feels like a part of me I was never aware of is taking over for a bit.
    I love this movie, and your other movies, and thank you so much for making them. You are brilliant!

    1. Hey Katherine,
      Thanks for writing. Wow, that’s quite a reaction. I happen to love those flying sequences in Box of Moonlight too. They were originally scheduled to be shot at the beginning of the shoot, in Knoxville, Tennessee. But, the weather was cold, gray and rainy so we had to cancel. We had very little money so to reschedule was very difficult.

      On the last day of shooting the weather cleared and we jumped in a small helicopter piloted by a local guy, a Vietnam vet. Just for chuckles he would fly straight up then down at the ground at around 200 mph. We shot all the flying stuff in about 2 hours, about an hour before the sun went down. The light was unbelievable. The shots were essentially improvised. We did have contact with the car down below and I had chosen the road to be driven on but that was it.

      The camera was mounted beneath the helicopter. The only way to pan or tilt was for the pilot to turn the chopper. I was sitting in the back seat with a small monitor on my lap so I could see what the camera was filming. I would yell out instructions to the pilot and basically just sit there in awe with my mouth open watching the shot unfold in front of my eyes.

      People ask me why I continue in this business. It is because of the highs (literally) of moments like this. I’m truly touched that you responded to it.
      best,
      Tom

  6. Dear Tom,
    Here is a story for you.
    I am in the middle of trying to make my first, no-budget film; surely you can imagine how many heart (and head) aches this process entails. Tonight, as I reviewed my footage, I panicked. Why did I ever think I wanted to work with film?!! Somehow deciding to make a film puts so much responsibility on your shoulders- to work well with people, to do a good job, to…meet your own expectations and ideals! There is so much room for failure.
    In order to take a break from looking at my own work, I decided to watch Delirious. I must thank you, because your film shook me and brought me back to my senses, giving me courage and truly reminding me to…go with the flow! The dynamics that you expose through Steve Buscemi’s character reflect sides of myself that I don’t like considering, that scare me, that get in the way of a serene creative process and an empowering interaction with others. Having them so plainly and almost brutally presented to my eyes forced me to accept them and overcome them. This epiphany comes at the right time, as a real gift.
    I wanted to let you know that your work is furthering human inspiration and creativity. Thank you.

    hugs,
    -bruna

    1. Hello Bruna,
      I’ve been out of town for a few weeks. I saw your comment and appreciated it very much but was unable to reply until now.

      Your comments about Les (Steve Buscemi’s character) were a pleasure to read. I must say you are one of the few people to see the conflict in his character. I believe there are elements of his desperation and need in all of us; myself included.

      I’m very interested in these intensely human elements. Most of the time we deny them. They are difficult to look at. They are even more difficult for audiences to look at when watching a character in a film. But, for me they make the character much more meaningful and emotional. No one is either all good, or all bad.

      A furious woman cornered me after a screening once and demanded to know why I did not have Les shoot Toby at the end of the film. I tried to explain that Les’ acceptance of Toby was actually an acceptance of himself but I could see that my words were doing nothing to satisfy her thirst for a more “filmic” finale.

      I wish you the best with your film.
      Tom

  7. Hi Tom

    Just finished watching “Blonde” again. I was curious if it was destined for Blu-Ray and during my internet search I found your website.
    It’s hard to believe that was 15 plus years ago. You probably don’t remember, but my name is on the film too. I lost contact with Frank over the years but I’m sure the two of you have kept in touch. You were a great pair to work with.

    1. Hey Chris,
      Great to hear from you. I don’t think The Real Blonde is getting to Blu-ray any time soon. I see Frank occasionally. Very talented guy.
      I hope you’re well.
      best,
      Tom

  8. Hi Tom –

    I’ve seen most of your movies. I was blown away by Living in Oblivion, etc… But I wanted to let you know that I think that Delirious is a work of genius. I can’t think of any movie (ever) that has sucked me in and taken me on a ride like that movie did…it put me through the full range of emotions. Also, I thought all of your actors were incredible, and I loved the music.

    1. Hey Jerome,
      Thanks very much for writing. I appreciate your comment.

      I’m glad you liked Delirious. I put a lot into it and I was very pleased with some of the things that were discovered in it. I’m glad you mentioned the actors because I would agree with you; they all brought something spectacular to their parts.

      I especially enjoyed working with Callie Thorne and David Wain, as K’harma’s manager and publicist. Mostly I just sat back and watched in delight. I was also deeply impressed with Gina Gershon. And Elvis Costello was a joy, because he wanted to play a kind of self-centered blow-up of himself.

      And of course everyone knows how I felt about Buscemi’s performance.

      Adding music to a film is one of the most exciting parts of editing. There is still something incredibly magical about laying a piece of music next to a series of images. You never know what’s going to happen. And, if it happens to work then the moment is very powerful.

      I’ve been known to jump out of my chair.

      best,
      Tom

  9. April 6, 2012

    Hello Mr. DeCillo,

    My name is Tim Skoglund and I live in Salt Lake City.
    “Living in Oblivion” is one of my favorite films and my most favorite film about film. It is such a gem. I saw it when it was released and I have seen it since with the clip of you, Steve Buscemi and Zhenya Kiperman discussing the film with a group of students. “Living in Oblivion” is an inspiration and caution to aspiring artists everywhere.
    Last year I accepted an invitation to participate in a CERT training course. CERT is an acronym for “Community Emergency Response Team”. The program was established after September 2001 to prepare ordinary people to deal with disasters such as floods, earthquakes, wildfire, hurricanes, social mayhem and an assortment of other hazards. The training was worthwhile but I wonderded how I could convert the information into a story.
    I have written a teleplay ( 3rd. draft, 42pp.) that explores how a family prepares for a natural disaster. An established writer has told me that I ‘have a movie’ and I have not yet shown the entire script to anyone. So, the script itself has a backstory and I think it has commercial potential as well as the potential to do some good in the world.
    So thanks for opening my eyes to the possibilities and pitfalls of film.

    Best,

    Tim Skoglund

  10. Hi Tom,

    Just a couple of questions aboe ‘The Real Blonde’.

    Is there likely to be a DVD reissue with a commentry track? It’s just that there isn’t that much written about the film out there and your commentry tracks are always very insightful.

    Aside from the above, I was also wondering how you feel about the film today?

    Thanks.
    Jack

    1. Hey Jack,
      Thanks for your comment. I thought I’d done a commentary on the Real Blonde DVD. Maybe not. No, there is no likelihood of a reissue of the film coming out.

      I feel good about the film. I think there are some very strong performances in it and I like what the film is about. Of course there are some things that I’d wish I’d done differently but I imagine that is something every director feels. It was great working with Dave Chappelle. And Daryl Hannah was a blast; completely willing to go as far with her character as she could.

      best,
      Tom

  11. Hello Tom!
    Thank you for Living in Oblivion and Delirious! Awesome movies, really! As well as your sense of humour ;) I have one question that I want to ask you: was Steve Buscemi acting during the filming of SB “Leak”? I mean, he was definately aware he was taped, but was it a play, a part of Delirios movie, or an interview that went naturally and wasn’t planned, at least at his part? I think you are megatalented, thank you for your work.
    E.

    1. Hey Eli,
      Thanks for writing. I’m glad you liked some of the films. I’m also glad you asked that question about the Steve Buscemi Leak.

      The whole thing was planned but not scripted. We both were acting. I’d told Steve a few days earlier my idea of trying to do a series of videos to help promote Delirious because the distributor wasn’t spending anything. Steve’s film Interview was being released that week so he suggested I come by the hotel where he was having his big day of publicity for the film. So, I walked in, with the cameraman, and we just started winging it.

      Neither of us knew where the thing was going. It was actually a lot of fun. I am deeply indebted to Steve for being so open and willing.
      best,
      T

      1. thank you for your kind reply:) I think all the Leaks were great especially because they appear so realistic, but i’m glad you were all acting and no one broke up :p Are you planning to make another movie with Steve? You two seem to form such a nice tandem working together. I haven’t watched all of your movies, but I’m getting there. Wishing you luck and good promotions for the upcoming movies! Anyway, the idea of promotion Delirios in such a way was awesome!))

  12. Hi Tom,

    First, I want to tell you how much I appreciate and enjoy your work. I’m not so good with the blogging thing, so I only recently discovered this site! I really enjoyed the music videos and music you have up on here as well. Really cool.

    A little background on me and why I’m writing you here: after I graduated from NYUGFTV (’84), I moved to L. A. in 1987. Although I set out to make narrative films, I ended up making some documentaries and working in feature animation (a guy’s gotta make a living, right?). At any rate, my journey has now led me to teaching film history at the Art Institute in Hollywood. I show various classic and contemporary films in my class to increase their awareness of sub and combined genres, as well as, to give the students some practical knowledge about the filmmaking process. I want very much to show your film, “Living In Oblivion” in the class (not only because it’s one of my favorite films, but because it’s an incredibly brilliant account of what happens on almost every film set.) My school has attempted to purchase the appropriate licensing for me to screen the film in the class, but has had trouble figuring out who to contact for this. I’m wondering if you could steer me in the right direction or help me figure this out in any way?

    Sorry to bother you about this here, but I want to expose as many of my students to your work as possible. I hope “Oblivion” will, at least, inspire them and help them appreciate what filmmakers go through to make their vision a reality.

    At the very least, I got the opportunity to finally tell you how much I love your work! Thanks for your time and for making such great films.

    Cheers,
    Michael

    1. Hey Michael, great to hear from another alumni who survived NYU. Thanks for your interest in screening Living In Oblivion. You should probably start directly with Sony Classics here in NYC. Their main number is 212-833-8835. You’d want to talk to someone in their licensing department. You can mention that we spoke.

      Alternately you could screen the DVD. I know that kind of violates my credo about films being projected but in this case there might be some benefits from it. I know that most of the real film prints that still exist are in pretty bad shape. The last time I saw one there was a massive 5 minute gap chopped out of one reel where the print had been damaged. With the DVD you’d get what is most probably the best visual representation of the film available.

      Plus, there is an extra on the DVD your class might enjoy. It is an interview with me and Steve Buscemi in front of an audience right after a screening of Living In Oblivion. It is informative, especially when I yell at a guy in a wheelchair.

      Let me know how you make out. Your class sounds great.

      best,
      Tom

      1. Thanks so much, Tom. I think the DVD is probably the best bet as the school is emersed in the digital realm (no film projectors as far as I can see!). It’s a different world from those 16mm cameras and film stock we tinkered with on East 7th street (okay, so sometimes I get a little sentimental for the olden days!). At any rate, I’ll let you know what Sony Classics says. Also, thanks for the tip on showing the DVD extra to the class. I’m sure they will enjoy that!

  13. Dear Tom,
    Next Filmfest München is coming soon, and by noticing it I remember your retrospective last year. It was fantastic and I only wished, there would be such a retrospective again, or much better, a new film by Tom DiCillo.
    Did you see the little film we made about you for the University of Film and Television in Munich? Thanks again for your time, patience and your generous way.
    It would be great to have you some day here again, maybe for a Master Class?
    Best regards from Germany,
    Nuria

  14. Hey Tom,

    I have only seen 3 of your films so far (Living in Oblivion, The Real Blonde, and Delirious), but I have you on my list as one of my favorite directors. Your films are so funny! I am actually 18 and studying to be a filmmaker myself. One of my films has even accumulated 3,000 views on youtube (baby steps, baby steps, haha). I just wanted to say that your success has given me much hope that I will be at least somewhat successful.

    Also, one more thing: Any plans to release any new fiction pieces soon? Maybe another one with Alison Lohman (drools)? haha. Anyway, have a good day, sir and keep up the good work.

    Regards,
    Philip Merrick

  15. Tom,
    I think often of the great time I had working together back in the 1980’s on the film, “The Beat”. I am very proud of all your work that has followed.
    Whenever you are in LA please reach out to me if you have the time? I would love to see & chat with you again.
    peace, david

    1. Hey David,
      Great to hear from you. I remember our times together on The Beat well: long hours, short pay, a crew that went on strike, horrible food and a kid who took a header stage-diving at a Cro-Mags concert. But, you and the cast were great and I seriously recollect those moments with pleasure.
      I do get out to LA occasionally. Next time I’ll get in touch. How are things with you these days?
      best,
      Tom

  16. Tom DiCillo’s Work Rocks!

    In Carlsbad NM, I work as dishwasher.  Other than NPR, The New Yorker, & books, sundry DVDs are my escape to more exotic philosophical climes.

        Among recent films I’ve seen are “The Avengers” (ghastly boring), “Guns, Girls, & Gambling” (nice eye-candy, but hokily contrived, & thus soulless), “Living In Oblivion” (loved & purchased it), and “Delirious” (splendid! — fixin to purchase).

        I’m appalled to think that “Avengers” is huge, “G,G,&G” is profitable, and DiCillo’s work languishes unwatched.

        If I like a film, I try to encapsulate it in a limerick.  Odd hobby.  It’s not art, of course.  But it’s sort of a divining rod for art.  Artless flicks fail to inspire even a limerick outta me.

        For what it’s worth, here are two:

    “Living In Oblivion” (6/13/2013) —
    An indie film stumbling forth;
    Buscemi adapts as scenes morph.
        They make a rum go.
         But stealing the show
    is Dinklage as one pissed-off dwarf.

    “Delirious” (6/13/2013) —
    Paparazzo Buscemi commands
    homeless Michael Pitt’s Toby, who stands
        for much sweeter feeling,
        but the climactic healing
    comes when sniper and target join hands.

        Keep on filming!  Out here, some working stiffs depend on your art!

    –Michael Bromka

    Sent from my iPhone

  17. Mr Dicillo.

    I caught Johnny Suede on late night TV in Australia when I was 12 or 13 years old(20 years ago).
    Fatefully I recorded it on VHS and showed it to my two best friends the following night.
    Instantly it became our bible. We went out and all found black suede winkle pickers from thrift stores and all started quiffing our hair. Quite a sight to see in rural Australia.
    I’m here now and owe it to my brothers to visit the sights of our most lauded bible. I know its shot in Williamsburg and a lot of what exists there is now shopping malls and boutique dog salons. I’ve been watching the exteriors frame by frame to catch a street sign or landmark to no avail. It looks like it may be around Kent and Division?
    I know its kind of ridiculous but can you help?

    1. Hey Sed,
      I can’t tell you how impressed (and flattered) I am that you found something to relate to in Johnny Suede when you were 13. But, then in a way Johnny is really like a 13 year old in a man’s body.
      You are absolutely right, we shot a lot of the exteriors around Kent. In fact, I was amazed a few weeks ago to be driving through Williamsburg and saw that much of that area where we shot is still there.
      If you start on Kent around S 5th street and head east toward Metropolitan you will be in the main shooting area. Our production office building is still there. If you’re driving, look left toward the river and you will several of the old buildings are still there. The scene of Johnny finding the hand in the street, Johnny passing Flip Doubt on the street, Johnny walking to pawn his guitar. All still there.

      Good eye.

      Thanks for writing. If you see anything that really connects to the film take a photo and I’ll post it here.
      best,
      T

  18. Dear Tom…

    We have spoken once previously, & you were very kind to me.

    I want you to know how grateful I am for your astonishing work as a film maker, & my respect and admiration for you as a decent human being.

    I am an Australian, currently in Milwaukee.

    I am heading for Kentucky, from whence I will embark on a pilgrimage to where I understand ‘Box of Moonlight’ was shot…Knoxville TN?

    I feel it is important to say…I have watched ‘Box’ hundreds of times. Literally.

    There was a time in my life where things were touch and go; it was pretty bleak.

    I would watch the VHS tape of the film through to the end…then rewind it and start it over and watch it again and again.

    It was a world where I felt safe- & did not want to leave.

    A little odd? I won’t argue with you.

    But I truly believe this film kept me alive.

    Without sounding too sentimental…I have always felt that the world as created in this beautiful little film is not only very real…but a place I would love to live.

    A very powerful world you created.

    & one I would very much like to visit.

    I should say…I am much healthier now, in all respects…but I never quite shook the desire to seek this world out.

    Or rather, at least find the actual locations and try to get a sense of the world you conjured to life…just once.

    Frankly?

    I would love to see where ‘the kid’ lived.

    Would it be possible to locate that piece of land? Do you recall where it was? Or are you able to furnish me with any contact details?

    Pilgrimages are SO important to spiritual beings.

    It might seem an odd one…but this is mine. (no more odd than anyone else’s, I guess.)

    If anything…it’s a testament to your talent as a film maker.

    thank you again for your time, and you beautiful, magical work, Tom.

    Best,

    John Warwick Arden

    1. Hey John,
      I’m really touched you have such a strong connection to the film. I have felt that way about certain films and books myself. I think you should take a trip to that part of Tennessee where the film was shot. It is an incredibly beautiful part of the country, especially in the summer.

      I would only offer this note of caution. The film is a work of fiction. Everything in it was created. Kid’s trailer did not exist until I had the idea for it. My art department created it by finding an old trailer and cutting one side off. We went scouting for locations around rural Knoxville and found a good spot for it. When we finished shooting the scenes the trailer was moved away and most likely demolished. Who in their right mind would live in half a trailer?

      The world Kid lives in was also created. I used locations that were miles apart to build the illusion of the town, the quarry, the tomato field. The tomato field was a bare patch of ground that my art department populated with tomato plants for the day. We had to shoot fast because in that hot summer sun they were wilting and dying by the minute.

      I made the film in 1998. I doubt that most of the locations are still there. Trying to find them might turn into something as disappointing as Al’s pilgrimage to Splatchee Lake. But, I think your idea of a pilgrimage or odyssey is a good one. If you rented a car and spent a few days driving through the countryside in a 30 mile radius around Knoxville you would feel the beauty and spirituality I felt when I first went there to scout locations for the film. There is something real there that you could experience–just realize it won’t be the specific fantasy that was created in the film.

      best,
      Tom

  19. Tom – I just saw “When You’re Strange” on PBS. Superb… and you made the right decision in using Morrison’s film HWY. I wonder if you could help me with something I saw in the film from approximately 22:46-22:51 [Vimeo source] – it’s a clip of The Doors at an outdoor gig. Can you tell me whether it was footage from the KFRC Fantasy Fair and Magic Mountain Music Festival (FF&MMMF), which took place one week prior to the Monterey Pop Festival in summer 1967 and was the world’s first known rock festival? I’m a bit of a rock festival historian (please see my article: http://likethedew.com/2012/03/04/we-can-all-join-in-how-rock-festivals-helped-change-america/). I’m always on the lookout for new and rare material about rock festival history. If that footage is from the FF&MMMF, it is one-of-a-kind, and I doubt that even the FF&MMMF festival’s promoter, Tom Rounds, is aware that it exists. Do you know? Thank you!

    1. That’s a great question Bill. Thanks for your support. I will run it by John Densmore. He’s pretty attuned to the specific dates a places. Stay tuned.
      T

    2. Hey Bill,
      Here’s John Densmore’s response:
      “Don’t think this is true… we were at Steve Paul’s “Scene” on W46th in NYC around the Monterey Pop Festival, so we probably were touring the east coast… so probably not…”

      best,
      Tom

      1. Thanks very much Tom, and John. Although it certainly could have been possible that The Doors were elsewhere during the Monterey Pop Festival, the FF&MMMF took place one week earlier and The Doors are widely documented (through photos, etc.) as having actually performed there. I’m just trying to find out if that color footage I described at that point in “When You’re Strange” is from the FF&MMMF. I already know the band performed there, but I don’t know if that clip shows a piece of that performance. Sorry if I contributed to any confusion, and I hope this clarifies what I’m trying to figure out. Thanks.

        1. Tom – I think I’ve gotten to the bottom of it, or rather, Len Sousa of thedoorsguide.com did. According to Len, “The footage isn’t from the 1967 Magic Mountain Festival but the Northern California Folk-Rock Festival on May 19, 1968. It was shot by the ‘Feast Of Friends’ film crew and one of the cameramen at this particular show was Harrison Ford.” Thanks for indulging me in my search.

  20. HI Tom,

    I am a huge fan of Delirious and was curious what kind of diffusion filter you used when shooting Karma? It looks beautiful.

    Thanks, George

  21. I have a question relating to “When You’re Strange” and you are my last resort, I have exhausted all other options. Early on in the movie the origin of the oedipal section of “The End” is explained over visuals of what looks like the Granada documentary “The Doors Are Open”, however there’s a live version of the song I have never heard before. The rimshots are very clear like in “Hollywood Bowl” but Jim’s (I feel I can call him Jim after all the time we’ve spent together) crescendo from the “Mother” section is new to me. I have never heard it phrased exactly like that before. Two soft and then the gutteral roar. I have chased every other live version of “The end” I could find but I cannot find that exact one. Can you please please please let me know which version of “The End” you used for those scenes. Thanking you in advance.

    1. Hey Robert,
      Thanks for writing. Great question; you should have come here first.
      First, let me tell you why it is a great question. You clearly LISTENED to the track. I found that many people did not allow themselves to experience the film in this way–they did not really hear it, nor did they really see it. For example, the entire Miami Concert sequence was made up of random shots of other performances I cut together with the only existing audio of the event. None of the experts ever wondered how this “Miami footage” came into being. Also, all the stuff of Jim walking in the desert is REALLY JIM. It is from his own film HWY from which fragments have existed on the internet since 1987. It would have taken literally 2 clicks on a computer to verify this.

      So, you very kindly brought your ears. And what you heard is a version of The End that exists nowhere else but in the film. I had the mind-blowing experience of listening to the original master tracks of the song. One track was devoted solely to Jim’s vocal. And in a small editing room, with just me and one other person, we heard Morrison plunge into that Mother section like a highspeed train going over a cliff. He screamed the “I want to fuck you!” parts over and over again. It was unbelievably intense. It felt like he was in the room with us.

      The reason I was going into the tracks like this was because in my talks with John, Ray and Robbie they all told me that when Jim performed the original at The London Fog and later The Whisky, he would change the song and depending on his mood or level and degree of his altered state, he would take the lyrics much further than ended up on the record. There is the famous story of the Whisky owner firing them when he heard one especially raw version.

      So, I went into the original recording and took some of Jim’s phrasings of that section and cut them into the audio track from the Granada doc performance which you astutely identified. The idea was to give the viewer the same sense of what audiences might have felt in hearing the song the first time, un-cut; un-censcored. Just the way Morrison might have sung it late one night at the Whisky. I suppose purists could call it “recreated” but from everything I learned from his bandmates it was a very honest portrayal of how The Doors performed the song.

      I hope this helps.
      best,
      Tom

      1. Tom thank you so much for your very kind response. The hair stood up on the back of my neck reading you describing hearing the original multi track tape. That is a once in a multiverse experience. I loved “When You’re Strange” in fact it has been central in me rediscovering The Doors music this Summer. Like most of my peers I listened to the band in my late teenage years but then somehow lost contact with the music. That hiatus will never be repeated – so thank you very much. Pure beauty is so rare we need to keep some of it around us in our lives at all times just to remind ourselves what is possible.

  22. Hi Tom, I have two questions.
    Can I buy your music in a lossless format (digital or CD) anywhere? I mean Black and Blue Orkestre.
    Do you plan to receive any financial aid? Kickstarter, own bank account, etc.
    (I had the intention to maintain a good director, but did not find a suitable method:))

    1. Hello Mio,
      The only way I know you can buy the Black & Blue Orkestre music is via iTunes or Amazon. In both cases it is either AAC or MP3. But, we put such work into the mastering that if you convert to WAV the sound is exceptionally good.
      At the moment I am not using Kickstarter but I know several people who are and who like it very much.
      T

  23. Tom,
    I always say I live for cinema. My true love for cinema started when I saw Living in oblivion for the first time. I was 13 years old and something really changed. I spent a whole weekend watching it again and again, I even lost count. Then I decided it would always be my favorite movie. Thank you so much. I hope one day I’ll get to meet you and thank you in person.
    Now I see that you made Down in shadowland. I just read about it and felt even more connected to you. The thing is I’ve always known that if I ever got to make my own movie, it would be about people. And the subway seemed the perfect place to me. And you made it. The two minute trailer’s beauty just made me cry! I don’t know what to say, I love you very much. I deeply admire you.
    PD: I’m from Spain so I’m not sure how I’ll be able to watch it, if you remember please let me know when there’s a way.

    Thank you again, for everything

    -Lucía

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