1/25/2024 0 Comments Movie the velvet underground 2021![]() “I was testing instincts and assumptions and speculation, stuff that was in all the history I’d been researching that I suspected was there,” he said. The research process took several years before Haynes sat down for the interviews. Everything was just crossing these boundaries constantly.” “It was happening in every conceivable way around this band, whether it was Cale living with Jack Smith on Ludlow Street or the band being asked to make music for one of Jonas’ multimedia film series at the cinematheque. “This band was formed by the avant-garde cinema and culture of New York at this time,” Haynes said. The movie also features the last major interview with Anthology Film Archives founder and experimental cinema rabble-rouser Jonas Mekas, who captured much of the scene in question with handheld camera over the years, and ends with a dedication to him. Cale is especially valuable for insight into the history of the band’s dispassionate sounds (“I’m Waiting for the Man” undergoes a fairly dramatic revision), and how they drew on the work of other artists around them at the time. The late Reed’s voice is often heard on the soundtrack, but new interviews include surviving band members John Cale and Mo Tucker as well as Modern Lovers’ Jonathan Richman and film critic Amy Taubin, one of the few participants to appear in old footage from Warhol’s screen tests. Haynes adopts the language of avant-garde film to tell the story, with ample split screens and bountiful archival footage competing for space, as the movie creates an audiovisual immersion into the evolution of the band’s artistry. ![]() Then you all of a sudden find the common denominator, and it is a radical discovery.” I was already listening to Bowie, Roxie, and punk rock. ![]() “It’s just funny how you discover things when you’re young that are sort of out of order. “It felt like the instant I landed in college it was coming at me from all sides,” Haynes said. The 60-year-old filmmaker was about a decade removed from the era portrayed in the movie, but like many generations, he was inspired by a legacy of rebel artists united by Andy Warhol’s factory as well as a wave of experimental cinema that took shape in downtown Manhattan. We’re not really concentrated in the same ways.” “Our internet life, our digital life, disperses us. “We needed every bit of creative nourishment and a sense of vitality from what had happened in the past,” he said. With the finished product screening to a boisterous reception at Cannes ahead of an anticipated fall season launch, Haynes said he looks back on the final stage of post-production as a lifeline. “How lucky were we?”Ĭinetic and Submarine sold the movie to Apple from footage presented to buyers at Cannes in 2019, after the director had completed 19 of the 20 interviews, all with people who were around for the band’s legacy and witnessed the explosion of underground art in the late ‘60s. “It’s just really hard to imagine getting through that crazy fucking time without this movie,” Haynes said. “I would probably have picked a bucolic tiny place to be where you can create your own reality, but I had this.”ĭay after day, the story of “The Velvet Underground” kept him sane. “When things shut down in a big city, it’s almost more chilling,” he said. Maïwenn Confirms She Assaulted a French Journalist Ahead of ‘Jeanne du Barry’ Cannes Premiere Instead, he spent weeks at a facility in Venice, with short breaks to watch sunsets from the beach. (Their other editor, Adam Kurnitz, collaborated remotely from New York.) Haynes couldn’t retreat to his home in Oregon (where his neighbor, Kelly Reichardt, hunkered down) because it was undergoing renovations. Haynes had been developing a nonfiction look at the history of Lou Reed’s seminal New York band for several years by early 2020, and wound up quarantined with co-editor Affonso Gonçalves in Los Angeles for several months. That sentiment has been on his mind a lot over the past year. For people who work collaboratively, it’s hard not to be around each other.” “I hadn’t been separated from Christine Vachon this long in our entire lives together,” Haynes said in an interview from the festival a few days later. During a stopover in Amsterdam, he met up with Christine Vachon, his longtime producer who had worked with him ever since his early days of “Superstar: The Karen Carpenter Story” and “Poison.” Forced to different sides of the country when the pandemic set in, they were finally reunited to launch another film. Todd Haynes wasn’t even in Cannes yet for the premiere of his new documentary, “ The Velvet Underground,” when things got emotional.
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