Well, blow me down.
When You're Strange just won the Grammy.
I'm celebrating right now. I urge everyone else to do the same.
Alright, I'm back from celebrating and doing what I should have done 3 hours ago; acknowledging the people who worked so intensely with me on this film. And I mean worked. The other people, you know; The Executive Folks, will be getting their congratulations all next week--and well they should. But, here are some of the people who worked in the pit, carving this film out of stone with me.
Micky Blythe and Kevin Krasny--Editors. Each was spectacular and crucial. The film was roughly divided in half; Kevin worked on one half with me and Micky on the other--in neighboring editing rooms. In its final stages when finances grew slim Micky took over and guided the film with me into its finished form. As amazing as the footage was, it might help to remember much of it was usable only in fragments. There was little if any continuity, or real chronology. Micky and Kevin helped me build a stone wall out of confetti.
Megan Robb--Assistant Editor. Megan edited many sequences herself. She was a wizard on the editing machine and also designed several of the graphics and photo montages.
Tim Deluca--Supervising Producer. When You're Strange was edited in the post-production offices of Law and Order, on the Universal lot in LA. Tim's job was to handle post-production on all the various L&O series--in addition to When You're Strange; which was an add-on, an extra, a neighbor's child hanging around for dinner. Tim fed us well.
Mark Dragin--Post Production Supervisor. There was a great interaction between the editing room and Fotokem, the digital lab that handled all the different media used in the film. Mark co-ordinated all the excruciatingly fine details that went into making the final digital master, as well as making sure everything was organized and done correctly.
Paul Ferrara--Cinematographer. Paul shot Jim's film HWY and Feast of Friends, in addition to much of the footage in When You're Strange. Without the HWY footage, When You're Strange would be minus a massive dose of soul. To all the genius morons who thought the footage of Morrison was faked I urge you to give Paul a call. I'm sure he'd love to hear from you.
Andy Koyama and Chris Carpenter--Rerecording engineers and mixers. Andy and Chris blasted through an insanely brief studio mix period and offered great aural input in getting the final sound mix right for the film. It was very tricky balancing the effects, the Doors music and Johnny Depp's narration and these two did it brilliantly.
Jeff Kaplan--Dialogue Editor and additional sound design. Jeff and his team cleaned up all the dialogue and built all the layers of sound that bring such crucial energy, fluidity and surprise to the film.
Deborah Ricketts--Archivist and Footage Researcher. Deb spent months bringing us amazing footage from the period; between 1966-71. She listened to my crazy, specific requests and always came up with the gold.
Gus Comegys--Online Editor and Graphic Design. Gus designed all the moving graphics in the film, anything that wasn't a straight out shot of footage was created by Gus; all the freezes, zooms, text enlargements.
Kostas Theodosiou , at FotoKem--Colorist. Kostas sat with me for 3 days going over every frame of the film. He sharpened the images, brought the colors to life, adjusted frame sizes to their maximum visual impact. It is impossible to describe the enormity of what his eye brought to the finished film.
Kristel Crews--Peter Jankowski's Assistant. Crystal helped me in so many ways during my lengthy relocation out to LA. She was always a voice of reason, calm and support.
Ida Miller--founder and administrator of www.idafan.com; the most comprehensive Doors site on the web. Ida came to an early screening and tactfully observed I'd completely left out any mention of Waiting For The Sun. Her suggestion ended up in helping create one of the strongest sequences in the film, I Am The Lizard King.
Jac Holzman--founder of Elektra Records, the record company that first signed the Doors. I interviewed Jac during my research for the film. Afterwards he came to several screenings and steadfastly offered his gracious enthusiasm and encouragement.
Peter Jankowski--Producer. Peter was the man who called me in 2008 and offered me the job. He was my ally in making this film for almost three years. We did not always agree but his passion for the film, and for the truth was just as relentless as mine.
Johnny Depp--Narrator. Johnny's voice to me is the spirit of Morrison. The fact that he brought so much of his own intellect, soul and passion to the film actually leaves me speechless. He is not a voice in the film. He is in the film.
And can I just say, I'm fucking thrilled the film won this award. A Grammy. Recognition from musicians.
I hope those storms veered from you. Jeez. Mario
Félicitations pour ton Grammy! Génial!
Once again I can only thank you with utmost sincerity for your appreciation of some of the things I worked so hard on in my films.
Now that is interesting. I did not see the show with Buscemi but some of what you say starts to make some sense. Originally Steve resisted my approaches for him to play the part, even after I told him I’d written it for him–which I did.
But the thing that made the most impact om me the last time I saw Delirious was when Toby stepped out of the hotel in the morning after having spent the night with K´Harma. That might be the best depiction of happiness/falling in love I have ever seen on the big screen. So accurate! And the music is just wonderful!
thanks for sending the notice about Delirious being on Swedish TV. I appreciate very much your enthusiasm for the film. I confess (at the risk of sounding self-promoting) that I share your puzzlement about how the film was received by the world.
No, I don’t film locations, though once someone gave me an inexpensive little video camera and I took it around with me for over a year. Didn’t really look at locations with it, I kind of documented some of the experiences of being with Delirious in Europe and some of the US festivals. Lots of shots of me alone in hotel rooms.
And stormed the old Bastille,
And marched upon the serpent’s head,
And crushed it ‘neath its heel.”