Just as my brain recovers from the trip to Deauville someone sneaks up from behind and thwacks it with a giant tennis racket. As a result it lands in San Sebastian, Spain about 7 hours before me and stubbornly keeps its distance. The 5 days there play like a slightly damaged DVD with only flashes of coherence breaking through.
This shot from the hotel window does a little bit to help convince me I was there.
The modern structure is the Kursaal, the festival's 1800 seat theatre. Beyond it is the Atlantic Ocean. The waves are long and sloping and can get massive. Even on a cloudy, rainy day there are at least 100 surfers in the water.
San Sebastian is considered the smallest of the A-List festivals just after Cannes, Berlin and Venice. It gets the big films and celebrities (Tarantino and Brad Pitt were there the day before I arrived) but there is none of the attending bullshit. This gives the festival the rare combination of both glamor and intimacy.
My friend Pepe Colubi arrives from Barcelona. He's a free-lance journalist and novelist. He's following me around for a day doing a short piece for the Spanish daily El Pais. Pepe lived for a year in LA in 1983 and is still severely addicted to California surf culture (among other substances). In the hotel lobby he shows my wife Jane and me how to drink an iced double espresso. Pour the hot espresso into a glass of ice. Quickly drink the hot-cold concoction in one gulp. Wait three seconds for the caffeine rush that hits like a snort of coke.
A woman walks up to our table, points at me and exclaims, "Gilipollas!" I'm about to thank her when Pepe informs me this is Spanish for a part of the human anatomy where the sun seldom shines. When she staggers back against the wall I realize she is drunk. She lurches in for another round of invective before hotel security arrives and escorts her out.
The caffeine buzz and and a shot of scotch get us across the street and into the theatre. To my amazement it is almost full; at least 1300 people have shown up at 4:30 in the afternoon. The film plays to almost complete silence. But, again as in Deauville, no one walks out. At the end a huge, lengthy ovation so passionate it startles me.
The press conference afterwards starts quietly. My brain had not informed me it was taking the day off. It's not until a journalist asks me what I learned from the film that something stirs awake in me.
"I learned that it is OK to believe so strongly in something that success is irrelevant. The Doors music has never been heard in a commercial. I am hugely inspired by that; especially today when literally everything is for sale."
Or something like that. You can fast forward through it here.
Afterwards a quick photo session on the promenade just above the beach. Behind me the waves are incredible. In the afternoon sun the water looks like blue jello. All I can think about is getting in it.
Jim Jarmusch is at the festival with his most recent film, The Limits of Control. He and Sara Driver come to the screening of When You're Strange. At dinner afterwards they both express how much they were impressed by and moved by the film. I've known Jim since 1976. Although we both live in NYC sometimes years go by without us seeing each other. Here in San Sebastian, 4000 miles from home, we sit and talk and it is like nothing has changed. He shows me and Pepe a card trick with no cards.
There is an unusual press event the next morning. In an indoor studio a line of tables has been set up on a fake street set. A number of filmmakers are seated at these tables as if we are at an outdoor cafe. An audience sits before us. Some guy is playing cocktail music on a piano. I'm not sure if it's my hangover, the jetlag or what he's playing but the gooey, lite-jazz coming from the piano is beginning to induce dizziness and nausea.
The show is filmed live. The host, a very well informed Spanish TV journalist, goes from table to table doing lengthy interviews with each filmmaker. I'm number four. This gives me time to observe that there is something oddly absurd about this complete stranger coming up to tables at an "outdoor cafe" and just sitting down uninvited. I guess this is what prompts my response when he sits down beside me and asks, "So, Tom DiCillo, When You're Strange. What can you tell us?"
"Well," I say, "What I can tell you is that the service at this place is terrible. I ordered a beer two hours ago and I'm still waiting for it."
The audience laughs. They get the joke. Clearly I had not ordered a beer because it is not a real cafe. But the host's laugh is tense and uneasy. He says he will take care of it and then explains that the guy at the piano has been playing Light My Fire for 45 minutes. The news floors me. All I can think is thank god Ray Manzarek is not here to hear it.
Two minutes later, to my horror, a real beer is set upon my "table." The audience applauds. Of course the expectation--even at 9:30 in the morning--is that I drink it.
I raise the glass and take a sip. The audience applauds again. I smile grimly and set the glass back down, exerting great effort not to show the effect the beer has gurgling and fizzling down into my empty stomach.
I had honestly thought it was a good line.
That night a drunken Basque woman crawls out from beneath my bed and stabs me in the teeth with a cocktail swordfish. I open my eyes and I'm driving north in the rain on the New York Thruway. When You're Strange is showing in 6 hours at the Woodstock Film Festival.
Festival co-founder Meira Blaustein had seen the film at the LA Film Festival. She liked it so much she immediately phoned me with an invitation. And immediately, I said yes. Woodstock has emerged as one of this country's most unique and exciting festivals in the 10 years since Blaustein founded it with her partner, Laurent Rejto. Because of their profound commitment to film the festival attracts impressive attendance from actors and players in both the independent film world and Hollywood.
The festival headquarters is in an old bar/coffee shop just off the main street. There is a quick request for a radio interview. Just before we go live the producer urgently reminds me not to say "the F word."
"I thought this was Woodstock," I mutter.
"This is a Republican funded radio station."
During the interview all I can think about is the F word. Will I say it? Should I say it? Did I just say it? Finally the interviewer wraps up by asking, "So, what's next for you with this crisis in independent film?"
"Well, I'm seriously contemplating opening a lingerie store."
He stares at me. "Women need lingerie," he says finally. Behind him I see the producer wince as if in agony.
I stroll through the town. An odd feeling comes over me as I pass folk art galleries, Tibetan jewelry stores and health food bakeries. I stop in front of a store selling tie-dyed clothing and pot paraphernalia. Richie Havens singing High Flying Bird comes through the open door. A sign above it reads, Hippies Welcome. Kevin Corrigan walks out. He was in Living In Oblivion and Delirious. He's at the festival with two films. He's also a huge Doors fan and had turned me on to a CD of a rare Jim Morrison interview that I used in a key scene in When You're Strange.
We share an embrace before he's gone, rushing off to a screening of one of his films.
BMI hosts a dinner for musicians and films about music at the festival. I meet Michael Lang, the founder of the original Woodstock music festival. Barbara Kopple, a filmmaker I greatly admire is there along with Leon Gast who made the brilliant documentary When We Were Kings.
At 10 pm I'm driven to the theatre for the screening of When You're Strange. The parking lot is jammed. The woman who is driving me finds a spot then says quietly, "I'm not sure if you're into it but I feel compelled to ask; would you like to sample a bit of Woodstock organic homegrown?"
Now, here are the facts: in 10 minutes I have to stand up in front of 500 people and introduce the film. Then I have to do a 25 minute Q & A after the screening. With that in mind I turn to look at this woman driver. She's a little older than me and attractive in a soft, pleasantly plump sort of way. Her long black hair is pulled back in a thick ponytail. A pair of wire-rimmed glasses reflect the light from a slowly passing car. As she smiles she suddenly reminds me of my highschool art teacher.
It is of no consequence whether I do or do not inhale but I will say this; that night I give the best introduction to the film I've ever done. In fact, when I slip into my seat filmmaker Richard Linklater surprises me by leaning over and whispering, "You nailed that one, dude!"
Watching the film with the Woodstock audience is truly enlightening. Most of them have lived through the events in the film; the rise of the Youth Movement, the anti-Vietnam War protests, the drug experimentation and the belief in tolerance and acceptance for all Americans--men and women. Every time these themes are addressed in the film the audience applauds, laughs or yells at the screen. And they all move to the music.
At that moment I realize what I'd been feeling walking through town--a surprising sense of familiarity. These ideas had a huge impact on me when I was 17. They formed a large part of my consciousness, especially the belief in artistic freedom and the rejection of automatic obedience to Authority. For the first time I realize how deeply ingrained these ideas are in the film.
Afterwards, an amazing response comes from Leon Gast. He puts his hands on my shoulders, looks me directly in the eye and says, "You had me from the first second. And you never let go."
In the morning I speak on a panel called Music In Film. It is hosted by Doreen Ringer Ross from BMI and ends up being that rare public discussion that is both informative and entertaining as hell. It is interesting to me as I tell a very heavy story about my nightmares with an ego-ridden composer that I am the only one not laughing.
Again, you can wander through clips from the panel here.
I stick around afterwards to listen to a panel on The Crisis In Independent Film. The panelists are all key players in the independent film world. I am extremely anxious to hear what they have to say. The stock market crash has had a devastating effect on the community. Every filmmaker I know is talking about how awful things are. Nothing is being made. Five independent studios have folded in the last year. Only films with huge bankable stars even have a chance of getting financed. With two new scripts just entering the development stream, yes, I am very curious to hear some advice from the front lines.
Despite my genuine respect for all the panelists I start to get the sense that nobody really knows what's going on. There is a lot of talk about "new models, out of the box creative financing, the great power of the new inexpensive media and the unexplored value of the internet." But no one talks about how to get a film in front of an audience. Then, one panelist drops this bombshell,
"The theatrical release now has a diminished importance, occupying only one small layer of a many-tiered marketing campaign for a film."
All the panelists agree.
My brain starts cramping. I'm just as much a realist as anyone else but what is a film without a theatrical release? The entire concept of cinema was born out of theater and public performance. The first narrative films were really nothing more than filmed plays. No one, then or now, would ever have considered putting on a play for an audience of one. That experience is generally called reading a book. Film began as a communal experience. Going to the cinema in large, sweaty clumps of humanity was the way film became scorched into the massive public consciousness and became Bigger Than Life.
It was not until the introduction of the VHS tape that individual, personal ownership entered the equation. Now people could take the film home and watch it on their TV's. Now an ancillary market sprang up for revenue after the theatrical release. Home video was born. A completely different way of watching a film emerged. Alone. By yourself. On a pale, 2-foot screen next to the radiator.
How is this a victory or a way to survive the Crisis? To me it is a tragedy of gargantuan proportions. It means the only films that will screen in theatres will be the spectacle films; the "high-concept" lobotomizers about robots, 3D mice and the end of the world.
Somehow though, I walk out into the daylight inspired. I don't think people are going to let the theatrical experience become extinct. Seeing the audience's reaction even to the Doors film convinces me of that. There will always be a fierce and passionate desire for people to gather together in groups and allow the art of cinema to do its magic. It will be harder to get an independent film into a theatre; there is no question about that. But, I'm excited about it. It's like the wild west again.
No laws, no rules. Anything goes. Anything can happen.
I go back to my room and pack. The festival had arranged for me to spend the night in the guest room of someone's house deep in the woods. The owner's car is in the driveway but no sound comes from the house. A light fog settles in outside the window. This is me in the room.
This is me not in the room.
Great to hear from you. I don’t know if I captured the true Doors but I can tell you this: I sure tried. One thing I came away with after making the film is clearer sense of how complicated all the members of the band were.
Thanks for writing.
That’s funny, Wilson’s comment about light.
But, I think you might have misunderstood me. My technical skills were in no way a limitation. I actually knew a lot about light. I just did not feel restricted by logic.
I’ve purchased and poured over every Doors movie I can get my hands on, and searched for every other existing video I could find on the web that I have not yet seen. As a 21 year old musician/artist, I find the Doors to be the most inspiring band of all time, therefore I search for the true Doors. Not some fantasized Oliver Stone version. I have been anxiously anticipating this film since I first read about it quite some time ago. I would have loved nothing more than to be at Sundance for its screening. However, being in Iowa, fresh out of college, and broke as most my age are… I unfortunately wasn’t able to make it. I would like to congratulate you on your success. I’m truly happy the film fell into the hands of a caring individual. Best of luck in the future. & Can’t wait to see the film.
Take it easy,
I’m pleased (and amazed) you saw Delirious at a theatre in Zurich. I was never informed the film had a theatrical release there.
That’s a really good question about Johnny Depp’s interest in the Doors. Let me just say this, Johnny’s involvement happened very quickly. And, as you can imagine, his schedule is pretty insane. So, in order for him to commit himself as deeply as he did to this narration I know without question his motivation came from a strong connection to the Doors, their music and Jim Morrison’s intense private and public struggles with his art and fame.
Happy New Year to you as well. Yes, it is great news about PBS. But, I’ve recently had strong assurance from the producers that “there will be a theatrical release.”
So, keep your eyes peeled for that.
That’s a great story about seeing Stranger Than Paradise with Robert Wilson. Ironically, about a year after Stranger was released I shot a documentary for a fellow NYU grad Howard Brookner on…Robert Wilson. We spent quite a bit of time at Wilson’s loft just off the Hudson River. I think I recall Jarmusch did some sound recording for a few days while we were shooting.
great to hear from you again. Thank you for your good wishes for the New Year. I wish the same to you.
Yes, I am working on some new projects. Lost In Blue is one of them. But, don’t believe anything you read on IMDB. In fact, I think the initials stand for I Must Don’t Believe.
Actually I’m doing some small tweaks on the Doors film, mostly sound fixes. I think it will be finally finished in a week.
My best to you.
Believe me I will do my best to see if the film can get a theatrical release in Mexico. If that doesn’t happen I know there will be a DVD, but I just don’t know when at this moment.
Rest assured, you WILL be able to see this film. PBS has secured the first TV rights and will air it during the May sweeps (whatever that means). There will definitely be a major DVD release in the US sometime after that.
And, I’m still hopeful there will be news about a theatrical release within the next few weeks.
I’m glad the Doors have inspired your writing. I too was inspired; first when I originally heard them, and then again in the making of this film.
Artistic freedom is the only thing that matters.
THIS IS PROBABLY NOT UP TO YOU BUT PLEASE BRING THE MOVIE TO MEXICO! MONTERREY MEXICO,I AM SURE THE MOVIE WILL MAKE A LOT OF MONEY HERE,OR AT LEAST RELEASE IT ON DVD ON THE US SO THAT THE MEXICAN PEOPLE CAN WATCH THIS
I AM DYING TO SEE THIS 🙁
BY THE WAY YOU ROCK!
THANKS FOR THE ATTENTION!
That’s a nice wish for us all. Thank you and equal great things to you for this next year.
I’ve been pretty busy with my other projects but there should be some Doors news in a few weeks.
Ahh, yes…Sundance. Well, I did meet Sting there.
Thanks for replying to me. Yes my work in films continues. Getting better and better! And you? I saw you were preparing a new feature film. How is it going?
I actually find myself trying to cause challenges for myself when I paint. Because really there are none.
I will do things like order a bunch of new odd size canvass that I am not use too. Sometimes I will get rid of all of my existing paints and start over with just a few and force myself to work with them at first. . I constantly change locations and the types of easels I use. Every time a gallery has told me “those colors don’t work “or “you should not frame that “or “you should really stick to one size “… whatever has been said … I find it inspirational and say “”” oh yeah … why not… let me try.
– Mike McKeever, Chaska , MN
Thanks for the good wishes and I send them right back to you.
I would like nothing more than to see Ray, John and Robbie play together again. They all love the film and would do anything to support it. I think it would be an historic event.
Hey, I know how I felt just seeing Ray and Robbie play Riders on the Storm at Sundance.
But, as you know, there is a lot of back history with these immensely gifted and complex guys.
We shall see.
There is so much in your wonderful comment I’m not sure where to start.
First, thanks for allowing your curiosity to lead you to watching a film that few people were even aware of at the movie theater. I appreciate it enormously.
I too arrived in NYC in the late 70’s. It was a wild time to be there, even for the natives. I know very well what you mean about the devastation AIDS left behind in terms of filmmakers, artists and musicians. Before it hit though NYC was in one of the most creative and free creative movements I’ve ever experienced. That is utterly gone now.
The lack of that is I think directly related to where independent film is at the moment. It is almost like that entire sensibility has been rubbed out. The language to describe it and the willingness to perpetuate it is gone.
Your ideas about helping to promote Delirious are good and astute. Unfortunately I do not have the rights to offer the DVD online. As I mentioned in my reply to Mike McKeever above, all that had to be given to the financiers so they would give me the money to make the film.
I can guarantee you the last thing they want to do give me free rein to promote the film.
Money controls this business. Sometimes the product gains the upper hand and money has to chase it. Unfortunately right now it is the money running the show. There is very little of it and everyone wants it. So, the financiers can do whatever they want and call all the shots.
It will shift back again–I know it. I absolutely believe that people have a built in safety valve for bullshit. When it gets intolerable then the whole thing blows up.
We’re due, baby. We’re due.
There will be some When You’re Strange news in a few weeks.
Thanks for writing. I respect your decision to take care of your parents. Not an easy task.
That’s a great comment about you giving a filmmaker Living In Oblivion. Sorry it took so long to get back to you. Been a little crazed. Good crazed though.
I hope your work in film continues.
Something is not quite right
Calling in the dogs
Calling all the dogs
Calling on the gods
Meet me at the edge of town
Outskirts of the city
Just you and I
And the evening sky
You’d better come alone
You’d better bring your gun
We’re gonna have some fun
Talks are underway with two possible US distributors but nothing has been signed yet. That means there is also no specific release date until one of those deals has closed.
Like I said, the moment there is real news you will read it here.
Patience, my friend.
See the light, babe
And when I read Laura’s message, I felt happy!!
Thanks again for this amazing movie.
Actually Mike McKeever’s questions opened up a whole box of thoughts on the subject of artistic freedom and the filmmaking process. I’m thinking a dedicated blog post may be coming.
…craziness of rushing and making the day and keeping the film on schedule you must always, always have the belief that you are creating something alive. You have to fight with all your soul to not just settle for “getting the scene shot on film.”
Thank you for another impressive series of thoughts and questions. To be honest with you the issue of spontaneity and experimentation in making a film has been preoccupying me lately. Mainly because I’ve come to see these ideas are directly opposed to the basic necessities of the filmmaking process.
Thanks for the thoughts, I relate to everything you said on Art and Business. So here is my next deep seeded thought for you to ponder.
They seem to make Art more human in some strange way.
I think with you and Buscemi in Johnny Suede, it would be a different film -I would like to see it too. Now, that we are talking about Brad Pitt (I think he is a great actor -one of my favorites) I would like to ask you something: I always had the impression he is a director’s actor, with a good (strict) director he can go superb, with a “do it as you feel it” director, he goes under. Am I right, or it’s just my impression?
will never call you mister again. cool music from The Redskins. Thanks for the tip.
It is fascinating to me Greek rock music fans are supporting these intense rock necrophilia groups. I believe necrophilia is a Greek word meaning Republican in this country.
I’m really pleased you like Johnny Suede so much. I did work hard on the script. Not many people know I originally performed the part of Johnny on a tiny NYC stage in 1986.
I was going to play Johnny in the film and had even gotten Steve Buscemi to play Johnny’s best friend, Deke. But, as you know, Brad Pitt slipped in and the rest is hysteria.
I love Nick Cave in the film. It was his idea to make Freak Storm an albino. I said, sure.
We just made a sale to Germany for the Doors film. So, be patient. We’re getting closer and closer to the Necropolis.
Great comment. Very funny. You’re right, everything is totally Greek on your link. It looks very impressive though and I love the photos you used from Johnny Suede. I’m sure you did a great job on the translation. More than anything I’m happy you found some pleasure in the film and were inspired enough to share it.
Well, your comment really made my day. Seriously. I’m struggling, like most independent directors these days, with an increasing sense of whathefuck. The fact that you responded to this crazy little movie that I made out of utter desperation was so uplifting and inspiring that I actually made it through the day without punching somebody.
Truthfully, your words were very meaningful. That is hilarious your DP was also named Wolf. How thoughtful of your husband to turn you on to my lunacy right when you were immersed in your own.
All I can say is making Oblivion was one of the most creatively satisfying experiences I’ve ever had in this business. We were all alone. There were no producers, no agents, no studio execs telling us what to do. It was just a crazy bunch of actors and filmmakers living in our own delirium for 20 days.
There can sadly be no sequel. Too many changes over the years.
I wish you the best with your project.
So, I hope I haven’t screw your article by translating it… and I just wanted you to know.
Just saw Living in Oblivion for first time tonight. My husband/Cinematographer brought it home as therapy for me as we are going through LIVING HELL with a comedy we have been working on for a year- had full financing- turned out to be a sham- guy disappeared when we tried to sue- then actor freaked out and left for a 15$/hour day job answering phones for a TV executive after we spent money on four days of shooting with him as lead…been as you say, either suicidal or homocidal for days and I swear to God, your film has perhaps saved my life or at least my mind…we laughed and laughed and laughed and ABSOLUTELY LOVED THIS FILM. I am asking for it as a Christmas gift as I need the DVD on my shelf. You NAILED it!!!! I went to NYU in early nineties but the same cast of crew characters in the NY indie are still there…loved the DP character and believe it or not, my NYU DP was Israeli and his name “Ze’ev” translates into “wolf” in English! Your film should have won best pic at Sundance!!! Anyway, I just wanted to thank you from the bottom of my heart for keeping us going and giving us a perspective to laugh…the best part was the mother hitting the mark at the end- so damn funny! Just so great! I think you need to make a sequel…
I’m glad you found something of interest in the mini-essay. You could really write a book about the subject. Everyone says the film business is all about Compromise. Apparently the most successful know how to do the dance effortlessly. Me, I guess I got two left feet.
The sale to Australia is done. I’m fairly confident they are planning a theatrical release in 2010. As soon as I know something more definite I’ll post it here.
Any sign of an Australian theatrical release? and was just curious as to why you call ‘Roadhouse Blues’ ‘Let it roll’ in Spanish press conference? Thanks,
Won’t be this Christmas. See my response to Brittney above.
Well, this is a very interesting question. I could go on about the answer for several hours or even days.
there is some significant movement here in terms of US distribution and the pending DVD release. The two events are linked together. The usual plan is the film opens first in theaters and this then helps raise attention for the DVD release.
I did quite a bit of abstract painting the last few years just kind of fell into it.
I ended up selling some paintings, got a website, went into galleries, attended shows, worked on murals and commissions.
That’s an inspiring speech by Henry Rollins. Thanks for sending it. I think we live in a time where it is crucial for people to stand up and say what they believe in. Even at the risk of retribution from authority.
I will say though that verbalizing what you think is an exercise that requires some discipline and thought. Otherwise, people come off as raving bullies, like Rush Humbaugh.
I can’t speak for Morrison. No one can. But, clearly he had a passionate belief in freedom of expression. It would not surprise me if he had read Voltaire’s thoughts on the subject.
I totally agree with you. Again, my comment to the guy about the theatrical release was about another script of mine, not WYS. WYS is going to be released theatrically. It won’t be a huge, media-slobbering release, but it will begin its journey on the big screen.
This is a great comment. Thanks for posting it.
You astutely observe that the whole image business is in an enormous state of flux.
To me, the internet has enabled more people to see films but it has also miniaturized the whole experience. It is what it is. This phenomenon of people having such personal access to films that they can watch them on their Blackberry’s is merely a reflection of where we are at as a culture.
We are poking at life with our thumbs and forefingers.
Eager to read your musings on your blog. For some reason it didn’t show up. Try linking it again.
Sits Here Puzzled. I like that.
But, again; don’t be puzzled. It’s a money business and always has been. It’s only the freaky artists that screwed it up; making people think that going to a film could be different from shoving frozen hotdogs up your nose.
The thing right now is that the money people are in power. They can say we won’t give you any money unless you agree to our terms. And their terms are ever-increasingly intended to protect their asses.
For the moment they can get away with it.
That’s why I have no patience for critics who dismiss truly original independent films. They don’t get it and they never will. They think that spirit to try something different is as common as ordering a Big Mac.
In fact, it is extremely rare and fragile. It is also, in my humble estimation, as crucial to our survival as water.
No, I don’t think WYS will be out for New Year but there is still strong interest though from US distributors. And my comment to the financier was about another script, not about WYS.
See, my problem, and yours apparently, is that I keep thinking about the kinds of films that changed my life. Films like La Strada, The Conformist and Midnight Cowboy. And I still am bewildered why there are not more of them. Why the only thing that matters right now is cash for clunkers.
I still believe that the most entertaining films are the most honest, whether it is The Wizard of Oz or Mulholland Drive. And that is my problem.
But, hey. What the hell.
You keep writing. I’ll keep trying.
Good to hear from you. This whole issue of the theatrical release is getting krasczzzier and krassczier. Just came from a meeting with a potential financier who again said “The theatrical release is now just a small part of a film’s marketing trajectory.”
Yes, you can rest assured a soundtrack is in the works. As you surmised, it will most likely be timed for the theatrical release.
It’s funny, a friend of mine, Chioke Nasoor, turned me on to the idea of an internet journal two months before Delirious was released. I was skeptical and uninformed. Now, two years later I can’t imagine doing it any other way.
Thanks for your comment. Apparently you are not aware that from now on it will cost 4 dollars to post a comment and 3 dollars to read them.
Seriously, I’m glad you find something of interest here. I try to call it as it see it.
Bicycle Thief is an amazing film. One of the gems of the Italian neo-realists. Good call on renting it.
Glad you like the song. We worked pretty hard on it.
I wouldn’t bemoan the fact you get films later than NY. At least you get them. And sometimes it takes me a month to get out to the theatre.
Another one that looks great is Oren Moverman’s The Messenger, starring Woody Harrelson. Oren is a friend. His film has been following me around the world at the same festivals and I’ve never had a chance to see it. That one I’ll go to the first weekend.
Yes, enthusiasm. It beats ego every time.
Remember, ego is oge backwards, as in Ogeod, why did I ever hire that whackjob!!!???
It was great to meet you in San Sebastian. Already it seems like many months ago. Yes, it was very interesting to finally bring the Doors to Woodstock. The audience was pretty amazing. It made me realize that for people who really knew that time the film carries great meaning.
Good luck with your music.
Thanks to Stuart for posting the article about “HWY” (a case of HWY robbery?). I did my duty as a Doors fan and googled. “Corky” Courson died in 2008 (RIP). So who owns Jim’s poetry and “HWY” now? Is it still the Coursons, and if so are they more open now to releasing stuff?
I see that finally you have given The Doors the oportunity to be at Woodstock Festival, forty years later…
Let’s all give enthusiasm a chance!
Thanks for the link to the HWY essay. It is is a very informative, well-researched disussion of Morrison’s film HWY. I would encourage everyone to read it. It is also fascinating to discover how resistance to Oliver Stone’s attempts to delve a little deeper into some elements of the Doors’ history echoed some of my own.
I agree, HWY should be released on it’s own. As the completely separate work that Morrison created.
This is my point about all these millions of people who feel compelled to force their single opinions onto the film. Who really cares? I don’t. The only thing that is important to me is how I genuinely feel about what I made.
Words is words is words is words.
I like both Feast and HWY. I think it was insightful of Morrison to arrange for Feast to be made. It shows the band as they really were.
Thanks for writing. It sounds like you know Pepe Colubi. Is this true?
I met him about 10 years ago in Gijon and we became friends instantly. I think it is because we both are essentially lunatics in our pyjamas.
It was great to have him in San Sebastian for 24 hours.
It’s good to know you got some laughs out of this one. Both of those were true stories.
Yes, that would be a good discipline; taking a ridiculously bad experience and making it ridiculous right away. Not that easy to do, but worth a try.
I’m glad you are enjoying the blog. Your words inspire me continue.
Thanks very much for your comment. It was great to meet you and you can rest assured I will be back to Woodstock.
Thanks for writing. There is some progress on a US release. Nothing 100% just yet, but progress. So, you just keep being patient and I think there is a good chance you will get to see the film on a screen.
Always enlightening to read your comments. Yes, time does take the agony out of things. And I must say I find it reassuring in a way that at least now if I ever have to talk about music I will always have a good story to tell.
That’s worth something.
By the way, I went to a movie last Sunday, An Education, and it was sold out. So, people are still going to the theater.
I think you can understand why I chose not to include your link. People can say whatever they want out there in the world and god knows there are millions of ’em who do but on my site I sort of like the idea of being able focus on the stuff I feel is truthful and accurate.
To have Pepe Colubi as Ciccerone for a day is a great privilege.
Hope you come back soon, and thank you so much for your movie!
The stories of the F word and the lingerie store kept me happy for a few minutes. Giggle, giggle!!
Thank you Tom!
Look forward to reading you soon!
And watching your films too!
I really enjoyed meeting you at WFF. Reading this great blog is a real treat. Glad we were able to hook up just before the screening…thanks for the kind words just before the Q & A!!!
I LOVE the film… and wish you everything good– and please, come back to WFF soon with more great movies!!