How many people know one of Jim Morrison's favorite blues singers was a cat named Arlen Condrell? Arlen was in a band called The Bottom Feeders. He died penniless in Chicago at 47, in 1961. In one of Morrison's notebooks I discovered this fragment of Arlen's lyrics:
Go fuck yourselves, my petty friends.
Go fuck yourselves, said he.
Get busy with your sweaty hands
Cuz you sure ain't fuckin me.
I can appreciate Morrison's appreciation. I left NYC and relocated to LA for over 9 months to write and edit this film. Some people, knowing literally nothing about me, have accused me of only being a "director for hire." Well, hire this; I've been working on this film for nothing since May, 2008. If anyone thinks I'd go through all this just to make a piece of shit then all I can say is,
Sing it again, Arlen.
I apologize for nothing. I'm not sorry some Sundance critics didn't get it. That's their problem, not mine. Sure, some of the hissy-bitchy press is annoying. But, it's not going to stop me and it's not going to stop this film from being seen and appreciated by people open enough to make up their own minds.
The most obvious sign of a useless review is one that refuses to identify anything that is good in a film. And I can say without question there are many successful things in When You're Strange.
Using rarely seen footage of an obscure Doors concert, and a scratchy audio tape, my editors and I create an 8 minute scene that puts you right in the seats at the Miami Dinner Key Theatre. It, like many other scenes, plays entirely without narration. It is an amazing sequence; especially since the only thing that exists from that pivotal moment is this audio tape and a few b/w photos of Morrison.
The film uses outtakes from Morrison's own film HWY and creates a character who becomes the spirit of Morrison wandering throughout the film; as if he's searching for the meaning of the Doors, and of himself. There are moments watching Morrison here that are intimate and disturbing. John Densmore told me it moved him to tears.
If a critic isn't honest enough to point out the things of value then I trust nothing they say. It simply shows they are blind in one eye and bloodshot in the other.
To the fans that are chewing over these "reviews", re-posting them over and over, saying things like, "This is definitely affecting my reaction to film," all I can say is, why are you perpetuating this horseshit? Why are you wallowing in this pit of negativity?
"You're all a bunch of slaves! Lettin' other people tell you what to do!!"
Jim Morrison. Dinner Key Theatre. Miami, Fla.
True Doors fans know that the critics tore the band apart when Waiting for The Sun was released. The fans didn't listen to the critics then; they supported their band and bought the album, leading the Doors to their 3rd gold record. This refusal to blindly accept the opinions of others is what I respect most about the Doors, second only to the great, dark beauty of their music.
You want to trash the film? Then do it based on your own reactions, not the hysterical squealings of others. Maybe it isn't the greatest film ever made about the Doors. Maybe it doesn't prove once and for all that it is actually Jim's face on the Shroud of Turin.
But, there is much that it does do. I know there are a lot of devoted Doors fans out there. I respect your great passion for this great band. Instead of strangling it in the crib perhaps you could show the film the respect of simply giving it a chance.
The one thing I underestimated is how personally the Doors music affects people. Everyone feels it is talking directly to them. They feel like they own it, that it belongs to them. I feel this myself and I never intended to violate that in others. I never wanted to tell anyone what to think. My only intent was to let the film tell the story. I used too many words. I'm fixing that. But, the words I used are true. I got them directly from Ray, John and Robby.
At Sundance, Robby came up to me and said, "I just want to thank you."
"For what?" I asked.
He looked away for a moment then said quietly, "For letting people know I wrote "Light My Fire."
This film is for all the people out there who didn't know that.
It's for all the people who knew that and appreciate that I felt it was crucial to point it out.
Anyone who thinks this information is useless can go fuck themselves. And I mean that in the most sincere way possible; exactly the way Arlen Condrell meant it.
That exchange with Robby was deeply rewarding. Nothing I've read or heard since will ever take that away from me. I'd rather have that moment with him than any "good" review. The fact is, there were a great many positive reactions to the film at the festival.
Unknown to me, Sting was in the audience at the premiere. He loved the film and was very moved by it. The reason I know this is that he found me a day later and told me so himself. It wasn't his celebrity that impressed me. It was the fact the appreciation was coming from another musician.
The audience at the screening in Salt Lake City applauded after the film. Almost all of the 300 people stayed for the Q & A which was enthusiastic and 100% positive. Jim Southwick, manager of John Densmore's website was at the screening.
"The first thing you are struck with is the clarity and brilliance of the footage. Scenes that were once a dull backdrop are now being presented in a vibrant movie style. The concept of using this footage for the beginning soundtrack is completely unexpected and from a point of creativity - I thought brilliant.
There is a scene with Jim that really struck me as to his innocence, his playfulness, and his humanness. We finally get some decent billing on the musicians that were as much a part of The Doors as the vocalist. I felt the movie was a success in its concept and in its execution."
Kerry Humpherys, editor of The Doors Collectors Magazine, was also in the audience.
"The 90-minute film consists of a plethora of vintage clips sewn together to make a cohesive patchwork that tells the story of The Doors in a way you have never before imagined. You may have heard the Doors’ story before, but this movie visualizes the experience in a way that has to be seen to be believed.
As the film begins, the viewer is treated to some of the unseen footage from Morrison’s HWY that was provided by photographer, Paul Ferrara. For many years, there has been a stranglehold on all of the HWY footage, but DiCillo broke through those barriers and provided us with nothing less than high definition on the big screen. I was blown away after five minutes and it just got better."
I understand how possessive fans are about the Doors but I am astonished at how destructive that ownership can get. Ray, John and Robby share my astonishment. They all endorse and embrace this film. It is their story. They told it to me. Do these other "experts" really think they know the story better than the band themselves? Perhaps they feel the Doors' lives, their souls and even their identities belong to them as well.
No one owns the Doors. But, clearly there are some out there who will never allow the Doors to be what they are; human beings.
"When You’re Strange" director Tom DiCillo has done a great job pulling together lots of previously unseen footage of Jim Morrison. In fact, DiCillo is the first filmmaker ever to make Morrison seem like a real person who was very insecure, troubled, and haunted. The film is one of the few that offers anything new or revelatory on the pre-digested Doors myth, and should garner a nice sized audience when it’s finally released."
Roger Friedman, Fox News
This film was never meant to be the eternal encyclopedia about the Doors. It was never meant to solve all the rumors and myths. Its sole intent was to use only the original footage to allow the audience feel the band, and their time, as they were. And out of this, hopefully develop a new myth; one of respect and admiration for them all as musicians, as artists and as individuals.
There is no hidden shit here. The emotional core is right there on the screen. Clearly, that truth is affecting people. The film premieres in Europe next month at the Berlin Film Festival. There is strong activity from foreign buyers and real interest in a US theatrical release. Soon fans can see it for themselves and open their own Doors of perception.
By the way, this just in.
Thanks for your extremely gracious words of support.
My struggles are no more important or interesting than anyone elses but your words will give me inspiration to carry on.
Please, please, please never stop delivering the truth of the human heart that only Tom DiCillo is capable of delivering, no matter what.
Thanks for the comment. Sometimes you can come out of that festival feeling like nothing matters. You helped quite a bit to turn that feeling around.
I was totally moved by your responses. And the camraderie you have established with John, Ray, and Robbie is evident.
It’s like somewhere along the way, you were born to tell their story. How amazing is that and what an honour.
I never saw the three of them together, is there still a lot of acrimony amongst them? and did you have to be a kind of counselour between them while you were working on the project.
Oh man, you were great on those videos.
Thanks, yet again, for this info. I will check it out.
Maybe the Doors were fortunate to have me. I was fortunate to have them. I do think I brought something personal and unique to their story. Mainly I’m glad they trusted me. You can imagine how suspicious and careful they would need to be; especially with everyone feeling like they own the Doors and that their own private feelings are the ‘truth’ about the band.
That would make me run for the hills if I were the Doors.
I think it worked out well for us all.
I’m glad you’re going to see the film in Berlin. I am there only until Feb. 10. I think the Doors will also be gone by the 14th. But I will be at every screening–unfortunately except for the last one which is on the 14th.
Perhaps you can come earlier?
I’m really looking forward to taking the film to SWXSW. I’ve heard so much about the festival over the years and have never been there. We should have the new narration, and narrator in by then so I think it will be a whole new experience.
Thanks for bringing this to everyone’s attention.
Well, I’m glad to hear you say I haven’t let you down yet. If I do, I absolutely want you to let me know. I feel I haven’t let myself down and that is what is keeping me going.
Good things are on the horizon.
Thanks for writing.
Thanks, man. One thing I learned from this Doors film (and from Morrison) is that life is all there is. This is it. If you want something you’ve got to go for it now. If you believe in something you’ve got to stand up for it now.
I feel this stronger than ever. And you know what? When you truly believe in something then it is actually easy to stand up for it.
We will break on through. I know it.
Well, thank you, man. Those are great words and clearly heartfelt.
I’m touched that Box of Moonlight struck something with you. It did with me as well. One thing that most critics never quite got was that Al Fountain gives as much to the Kid as he gets from him. They never understood this and it always bothered me.
Thanks for your offer of help. I will take you up on it when the need arises.
The producers should be paying you. No bull. All these links and supportive words are incredible–and incredibly helpful.
Many, many thanks.
I posted this comment from you before. But here it is again. Pretty comical actually. Thanks for perservering. I’m glad Les and Toby have their counterparts in BizarroWorld.
Jusst found out there will be no official site until the movie hits US theaters–which makes sense. So, I guess for the moment this is the official site. Who would’ve thought, huh? And me not even getting paid.
If this were entirely my project then I would have a lot to say about what goes on the website. But, it is not and so there are many other people who have agendas and interests of their own and this is mainly what you will see when the site goes up. However, I will be involved and I have a good relationship with all the folks so there should be some cool stuff on there.
Rhino and the Doors management are putting together the soundtrack details. I’m not included in those discussions.
But, they have great taste and I’m sure the soundtrack is going to be killer.
Narrator announcement to be official in Berlin. Keep checking.
I think it’s a beautiful dedication to your movie ! ;o)
Even if Denis Fongue & Violenn Simon didn’t do for that I think.
a) Will there be a theatrical release in indie theaters in the US? If so, when?
T. There is now a very high likelihood of a US Theatrical release. A more definative answer will come next week. But, I feel it would not be out of the question to see the film in US theaters by the summer of 2009.
T. Don’t know yet. But rest assured, it’s going to be high quality.
T. The extras are still being gathered. We are very interested in the interview with the Admiral and Jim’s sister Anne.
T. Not sure. But the quality of almost all of the footage is very high.
T. My narration was always intended to be temporary. But, it was by no means terrible and it was actually praised by a lot of people. No matter: there were simply too many words. That is a valid criticism and I have addressed it. The words themselves are what they are. Like I said in the post, this is the film I wanted to make. There is much in it that has the potential to enlighten, move and illuminate. We have almost finished securing a rather well known individual who I’m thrilled to have do the narration.
T. Have not seen Imagine. After watching all the amazing archival footage of the Doors I made a decision to let this film tell their story. I decided not to use any contemporary interviews with family or celebrities talking back in time. I believe without question this decision was correct. It allows the viewer to enter the world of the Doors and stay there. I try to let the Doors talk from this period as often as possible. More I try to let the film do the talking. When there needs to be a connection then the narration comes in.
Thanks for the support; I appreciate it. Things are moving in a different direction now. I am not so stupid as to not notice a pattern in the criticism. I’ve cut quite a bit of narration and rewritten much too. We are getting a new narrator that I’m very excited about and am certain it will be a great boon to the film.
Yes, sending to my manager is the best thing. I’m running around a little crazy these days.
What a beautiful note. I appreciate your even-handed logic. Again, I feel confident the film will get close to you. I will be making an announcement in a day or two that should make a US theatrical release inevitable, and profitable for the distdributor.
Yes, we are sensitive. But, in my case I think I can honestly say I let much of that go shortly after the release of my first film, Johnny Suede.
What I’m more troubled by now is the potential damage done to the film by critics who write irresponsible reviews. Every film has the right to find an audience. It is patently absurd for ANYONE to dictate what should be seen and what shouldn’t–unless you’re living in North Korea or Iran right now. And even then it’s not OK–it’s just government policy of a dictator.
So yes, here in the US and A, it sure would be nice if some people would realize we still live in a cultural democracy.
Sorry for the rambling.
Thanks for writing. Your words were helpful.
Thanks for your kind words. I think there is a very good chance the film will have a theatrical release in Italy. Berlin is the best place to make the sales to all the European countries and I feel confident the film is going to do well there.
When we get an Italian distributor I’ll let you know and perhaps you can do some promotion for us.
But, it raises many questions. Why is the public so affected by these “reviews?” What makes them take someone else’s word over their own reaction?
And, why are these “critics” so sensitive, fer fuck’s sake? Man, you look at them cross-eyed and you’re on their anthrax list.
Not sure what the answer is. I think your advice to just keep working and trusting people to make up their own minds is the most healthy.
Thanks very much for sharing that story with me. I think (and hope) your wife should be proud of you for trying to give her some assistance.
I’m sorry you got sick. The SLC screening was my favorite at the festival. It was filled with people with only one intention: to watch the film.
Afterwards, as you say, they made up their own minds. And there is no question in my mind the overwhelming response was emotional and positive.
But, you know, I’ve had this reaction to almost all of my films. Even Living In Oblivion was trashed originally as a “one joke film only for filmmakers.” That review killed all chances of a theatrical life for the film outside the bigger cities.
My films tend to lead the viewer into a more emotional area. Some people like it; others see nothing and get furious.
What the hell.
As far as success; I’ve got it. I’ve been able to make every film the way I thought it should be made. I’m not embarassed about anything that has my name on it.
Hope you feel better.
Listen, my friend. You clearly have had some complications with The Doors. I don’t doubt you and I don’t judge your current feelings. But, my dealings with them have been very cool. They have been open, honest and trusting. And this includes everyone at their management.
I’m sincerely sorry you had a bad time. But, I have to tell you I can’t promote or encourage you to perpetuate your misfortunes here.
But, I can only go off of what I know.
What a great description of The Doorsin concert. I only used the Morrison excerpt as the whole piece was pretty long. But, it was immensely helpful in some of the rewriting I’m doing.
thanks, me brotha.
That’s the first I heard about the speed problem. I’ve seen the film projected at least 50 times and never noticed any slowness. I’m not certain but it may be the way it plays on the web. We’ve had some pretty expert experts overseeing the sound.
But, I’ll mention it to the team.
You know, you are actually astute about the upbeat quality of The Doors music. Not all of it is dark and brooding. And even that is uplifted by the genius of the playing.
I had the great (unexpected) pleasure of seeing Ray and Robby play together at Sundance. The moment is out there already on Youtube. But, man seeing them play showed me just how committed they are to music–and how much they love it.
Thanks for writing,
b) Will this be issued as a high-def Blu Ray?
c) Will any of the interviews taped for this release (but not included in the final print) be included as bonus material on the Blu Ray / DVD? Like the interview with Jim’s father?
d) Were you able to find and use the master 2″ quadruplex videotape of the 1969 WNET Critique show for the documentary? Or were you stuck using the poor quality dub?
e) I’ve read reviews that your narration did not play well to audiences. What’s your take on this? Does this have any merit? If so, any plans to hire a professional voice talent to redo the narration?
f.) Have you seen “Imagine: John Lennon” (1988) documentary by Andrew Solt? The approach he used was to let Lennon tell his own story by using taped Lennon interviews to propel the narrative trajectory. Did you employ this approach at all in your Doors documentary? Or did you narrate yourself for the bulk of the film?
thanks a lot to show to the world and young people the TRUE shots of Jim and The Doors, the real magic of their music… I’m an italian journalist and hope to see the film also in Italy… You think about an italian step of film promotion? Let me know, please…
I once responded to a web reviewers critique of one of my wife’s novels with the words, “I need to correct your vary anal comments about the book” and went on to explain where the reviewer had not read carefully.
The subsequent brouhaha led the publisher to call my wife and ask me not to do that again because they were now going to blacklist her books from being reviewed in the future on their website.
Pathetic but true.
As far as I am concerned, reviewers sit on their perch and think they can control the outcome of the world in which they comment about, without expecting the artist, or those close to them, might like to respond to the contrary.
Since that incident I don’t comment to reviewers anymore because I think that the fans of her work, and in your case, The Doors and this work, are going to make up their own minds, and you can trust that this will in no way affect anybody’s desire to see this film.
If anything it may increase people’s interest in it.
The critics are usually there for one reason, and that is to find fault.
But beauty often lies in the shadows and what is unseen.
When we understand that, I believe we understand art.
If this film moves people in the way I am reading between the lines, I am sure you have created a masterpiece and I hope we get to see it sooner than later in Canada.
Thanks for your passion and committment to this project, I am sure it is fantastic.
That’s a great story about Morrison and the journalist in the elevator. There is an amazing recording of Jim talking to Village Voice reporter Howard Fine. He shows amazing patience and humor with him, even when Fine derides some of his lyrics.
I greatly appreciate your words of support. I don’t negate the critics, or begrudge them their opinion. All I can say is that I gave this film everything I have. The film exists. The audience exists. No offense meant to anyone but I’m not sure the 3rd party is required.
You keep than excitement and enthusiasm going and we all will stay warm all winter.
You can see this film when it comes out sometime within the next 6 months. All of us on the team believe a US theatrical release (in movie theaters around the country) is not only possible but very likely.
Like I said above, a development today may make that a done deal. When it is official I’ll let you know.
I think I can safely say you will greatly enjoy the film.
Pretty nice poem. I think Arlen Condrell would appreciate it.
Look, everyone is entitled to their own opinion. But you are right. I started with the Doors own words. I felt that if what I made was true and accurate for them, then that is all that mattered.
I think true Doors fans will see the value in this.
I won’t let the critics get me down. Sometimes though, in this very unstable world of film, the critics voices are the only ones heard by distributors. And that can sometimes have a real effect on the fate of a film.
I sincerely hope your first viewing of the film will be in a theater and not on dvd.
That is when I get disturbed. Who are these people to say what other people can see? Let the film speak for itself.
Thanks for writing. I love that quote from Jim about “the band people love to hate.” You see into him a little bit there, that despite his great committment to rising above the petty acceptance of the day, he really was bothered by the way people dismissed the Doors.
I’m not comparing myself to him, or the band in any way. If people, after seeing the film, find that it is not for them then c’est la vie. That is their right. But to judge it before seeing it? That’s just plain stoopit.
Plus, I think the new level of discovery in the film is more on a human plane. Some people may find it moving and powerful. Others may go, “huh?”
For me, it is the human plane alone that has value.
Very good observations. If you look back at some of my posts during the Delirious ordeal you’ll see an observation I made. I’ve always been amazed by how much pleasure people take in tearing something apart. They rarely, if ever, invest anywhere near as much energy or enjoyment in appreciating something.
Why this is I don’t know.
But, I stand by this film. And I always will.
Your support makes it much easier. Thank you.
the question is not redundant. Believe me, I ask it every day. But, there was a development today that think will have a huge effect on securing a US deal. As soon as it is definite I will announce it here.
The economy is really doing a number on films that get distribution. And documentaries usually fall behind anyway. But this film plays more like a narrative feature and I feel very confident a theatrical release will be profitable for a distributor and immensely rewarding for fans.
Keep checking in.
Still holds true
Those who can, DO
Those who can’t, REVIEW
Really great to hear from you.
I agree with you completely about Robby. He is an astonishing individual. His heart is huge and his talent is beyond description.
I’m glad you appreciated my conviction this information about him writing LMF was crucial to the film.
I also agree with you about Morrison’s spirit of freedom. One thing I learned from this film was that all 4 of the Doors had a great respect for artistic freedom. They gave it to each other and they sought it instinctively as a group. Morrison in particular felt it was criminal for anyone to interfere with an artist’s intent. He knew how destructive a dismissive comment could be or a negative judgement.
He couldn’t stand anyone telling him what to do. Not for egotistical reasons, but because he believed no one has the right to stop or devalue another’s artistic intent. No one.
Learning this from him was an incredible gift.
I sincerely appreciated your comment.
Thanks so much for your support. I guess I’ve always felt that the best connection is the most direct. It is something I’ve tried to do in my films–to bring people into as close a contact as possible with something that interests me.
I feel the same way writing back to people here. I appreciate anyone taking the time to tell me something directly.
Maybe it is naive but it feels the most honest.
Wow, man. You have touched me. Thank you.
I used to get really upset when things would go bad. I’d get depressed and think, “That’s it. I’m giving up.”
But, one day I looked around and said, “You know what? I’m still here. I’m still alive. The fuckers didn’t kill me. I can still put one foot in front of the other. And if I can do that, then there is really no excuse for me not to start again.”
Sounds like you’re doing the same.
I feel the same way about music. It was one of the reasons I was so excited to start this film.
I’m honored you have Living In Oblivion ready to watch sometime at your folk’s 50th anniversary.
What a cool comment. I think you’re right. There will be two camps for this film. I chose to side with the source, Ray, Robby and John. Anyone who has trouble with that really is not interested in the Doors anyway.
And, listen. I’m not asking for favoritism or special treatment. If you see the film and you don’t like it, that is fine by me. My problem is with the critics who take it upon themselves to determine if the film is even seen by the people who want to see it most.
I’m not preventing the critic from doing anything. They should not prevent the film from having the chance of being seen.
That is really no different from the Taliban. I’m totally serious. Let the film be seen and let people decide.
Thanks for the good wishes for Berlin. I head over 1st week of February. Let’s see what happens.
How are things in Noho? I kind of miss the place now–especially in the NY winter.
I really liked your comment a lot. “A critic is not a profession.” I think there are some good critics but I agree that the best critic is the person who just goes to the film.
The film exists without the critic. The film does not exist without the audience.
I think the film will come to Greece. The next month or two will be important. I am so glad to hear there are big Doors fans in Greece. The film is about the Doors; all 4 of them. There is a brief time spent on Jim and Pam in Paris but so much of that time is not well-documented and full of rumor.
To me the Doors were 4 people. When one of them left the planet then that is the end of the Doors story for the film.
Your English is good. Much better than my Greek.
You keep your passion and I will keep mine.
Thanks for your great comment. My feeling is this: people at Berlin will respond strongly to the film. There is already enormous interest from European buyers. I have been pushing for theatrical releases in all territories because I believe that is the best way to attract audiences.
I know it is also the best way for Doors fans to see the film.
So, be patient. Keep your eyes open and keep the faith.
I think the film will come to Sweden where you and your fellow Doors fans will get a chance to see it.
Thanks so much for your kind words. Coming from a writer like you they mean a lot.
My main point with the “negative” reviews is that to me they carry no weight if they don’t have the balls to mention the stuff in the film that is good. And believe me, there is a lot.
Remember some of the Writer’s Blogck posts? Remember how I said people seem to get immense pleasure out of tearing something down but for some reason simply cannot find the same pleasure in acknowledging any thing that works?
Wallow in one or two of the good reviews, guys. See how that feels on your skin.
I’ll be talkin’ at ya.
T. Not really. Just a few paragraphs in one blog.
T. I thanked (and thank) you for your best wishes. But if you’re going to mention reviews then you need to embrace the good ones as enthusiastically as you’ve embraced the negative ones.
T. No offense intended but you are not really in a position to say what I have and have not delivered until you see the film.
A. I will of course hold final judgement until I see the bloody thing–
T. Oh, OK. I see.
A.–but if you are not gonna release it till 2010 on DVD and the film does not garner interest from the distributors so we don’t see it in our local cinemas how will the average Doors fans manage that? Do you expect fans to NOT talk about the project?
T. Please do talk about the project. Just be inclusive of ALL that is written. Or just simply wait. It’s going to come out. There is no question. Make up your own mind. Why let someone else’s reaction taint your consciousness? “When the Doors of perception are cleansed all things will appear to man as they are; infinite.” William Blake to Jim Morrison.
T. Emphatically untrue. But if you insist then, again, give EQUAL value to all the reviews, not just the negative ones.
T. No, I don’t.
A. You have it mate.
T. I said I didn’t want it.
A. But you were charged with making a documentary about The Doors as well.
T. No, I wasn’t charged with anything. I did the film for purely artistic reasons. And as an artist I have only one obligation. The truth as I see it.
A. From what I have heard so far it seems that you did not do that good a job.
T. I heard some monkeys can lick their own balls.
T. You mispelled Rison. It is correctly spelled Risin to make the anagram accurate.
A. –is an anagram of Jim Morrison is The Doors For Dummies and that is NOT what we were told was on offer.
T. I would tread very carefully here. The LMF writing distinction was very important to Robby. The Doors read these things and it almost sounds like you are calling Robby a dummy.
T. Excellent point, and sound advice. I will take it.
T. This is a film about the Doors, not by the Doors. And nothing was delivered. I made a good film, not a box of shoes.
T. Judgmental is not quite the right word. Help me out here; What’s a good word for trashing something sight unseen?
T. There is no loser. The film is good. And again, may I remind you–you haven’t seen the film.
T. Thank you, Alex. It does.
I have read all the reviws about When youre strange ,some say about the “bad” narration and storytelling , i say f*** them!A reviewer is not a proffesion for me so i havent beleived anyhting of what they say!
WE ,and i mean the Doors Fans ,WE are the true reviewers and i think our opinion matters most ..
Anyway some q’s
When is the new website coming up(i would love to see some new clips and screencaps of the film in the website )
Does When you’re strange contain footage of Jim and Pam in Paris ??There so much talk about that in the DOors messageboard!
Greetings from Greece and i hope that the film will reach greek audience and we will be able to see it in the big screens!
Great work and admirable resolve, Tom. Keep it up 🙂
Thanks very much for writing. You are right, the film is the real deal. Everything in it is real footage of the Doors. And I am passionate about it. I will continue fighting for as long as it takes.
Thanks for your passionate comment. Yes, it is too bad some critics did not understand the film. But their negativity will have no effect on the film. Remember, these are the Doors. The true Doors fans will go see the film and make up their own minds.
I looked too. Apparently Condrell and The Bottom Feeders never recorded anything.
I will check on the When You’re Strange site today.
thanks for writing.
But now I read your funny post and I’m happy the way you take it. Yesterday I was reading about Bizet’s Carmen, in its opening run at Paris was denounced by the majority of critics (even is said that Bizet died because of the deception). Months later, it was produced in Vienna, to critical and popular success. And now it has been one of the world’s most performed and popular operas.
So come on everybody and sing with Tom that Arlen Condrell’s song!
I’m sure the film is going to be succesfull by it self and, earlier or later, all we could see it in theatres.
Thanks for your passion!
I just want to know where I can found some mp3 or cd of Arlen Condrell and The Bottom Feeders ?
I looking for on internet but nothing …