list http://www.spout.com/ Recent community activity around Love Her Madly on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Love_Her_Madly/231076/default.aspx Title: Love Her Madly
Year: 2000
Director: Ray Manzarek
Plot: Best-known as the innovative keyboardist for the legendary rock group the Doors, Ray Manzarek makes his feature directorial debut with this sexual suspense thriller. The film focuses on four people at a California art school. Over the course of 24 hours, the lives of the three men and one woman intertwine as tensions rise. And by the end someone will end up dead. Manzarek also served as the film's co-writer and composed the score with musician Bruce Hanifan. ~ Matthew Tobey, All Movie Guide
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]]>Thu, 16 Oct 2008 17:00:43 GMTLove Her Madly2000Ray ManzarekBest-known as the innovative keyboardist for the legendary rock group the Doors, Ray Manzarek makes his feature directorial debut with this sexual suspense thriller. The film focuses on four people at a California art school. Over the course of 24 hours, the lives of the three men and one woman intertwine as tensions rise. And by the end someone will end up dead. Manzarek also served as the film's co-writer and composed the score with musician Bruce Hanifan. ~ Matthew Tobey, All Movie Guide12http://www.spout.com/ProductImages/t38613fnm36.jpghttp://www.spout.com/films/Love_Her_Madly/231076/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/10/16/36398.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/16/2008 1:00:43 PM
Body: It hasn’t been terribly uncommon since the late ’60s for musicians to get behind the camera, whether for a straight concert film, a tour documentary or some kind of silly narrative focused on themselves and their bands. Jerry Garcia co-directed The Grateful Dead, Frank Zappa co-directed 200 Motels, The Beatles collectively co-directed The Magical Mystery Tour and separately John, Paul and Ringo has each taken the helm on a film project, some more artsy (John and Yoko’s cinematic collaborations, like Up Your Legs Forever) or less self-focused (Ringo’s Marc Bolan doc, Born to Boogie) than others. Now it’s a little more common for musicians to become directors of fictional films that aren’t so reflexive. Many don’t even have anything to do with music at all. And many are so awful that it’s safe to say the filmmaker should stick to music making. This week, IFC releases the directorial debut of Madonna (Filth and Wisdom), and Beastie Boy Adam Yauch has a new basketball documentary (Gunnin’ for That #1 Spot) hitting stores, so we’d like to celebrate by looking at some other musicians who turned filmmaker, for better or worse. Musician: Ray Manzarek, keyboardist for The Doors Debut Narrative Feature: Love Her Madly (2000) He and Jim Morrison met in film school, so it isn’t too surprising that Manzarek shot a lot of the tour footage that you find on Doors home videos, nor is it too surprising that he’d have greater aspirations as a director. But he really blew it with his first narrative feature, named for one of his band’s songs, which came with the Skinamax-ready tagline, “At the crossroads of art and obsession…waits murder.” Musician: Prince Debut Narrative Feature: Under the Cherry Moon (1986) Following the success of his acting debut in Purple Rain, Prince became attached to star in this black and white period musical and then ended up replacing Mary Lambert as its director. Unfortunately, the Fellini-influenced musician-turned-filmmaker disappointed, and Under the Cherry Moon bombed at the box office. Yet Prince would still go on to helm the concert film Sign o’ the Times and the even less popular Purple Rain sequel, Graffiti Bridge. Musician: Master P Debut Narrative Feature: I’m Bout It (1997) Rapper Master P is probably the most prolific filmmaker on this list, but he’s possibly also the least deserving of directorial work. Most of his movies have been ranked extremely low by IMDb users, yet they must be somewhat popular, as he’s been able to release nine straight-to-video titles since he first shared the director’s chair with Moon Jones for the semi-autobiographical I’m Bout It. His tenth movie, Internet Dating, hits stores December 30. Musician: Bob Dylan Debut Narrative Feature: Renaldo and Clara (1978) Dylan got his directorial feet wet working with D.A. Pennebaker on the doc Eat the Document, and then with this nearly four-hour surreal pic he pretty much drowned himself as a filmmaker. Not only was it poorly reviewed, it also played to mostly empty theaters, resulting in a recut two-hour version that focused primarily on the film’s musical performances. Currently, there is no cut of the film available to fans, though excerpts can be found on a bonus DVD released with a live CD a few years ago. Musician: Neil Young Debut Narrative Feature: Human Highway (1982) Young’s filmmaking alter-ego, “Bernard Shakey”, started off with the CSNY doc Journey Through the Past and has since also continued making films about his old supergroup, most recently with CSNY Deja Vu. But he’s also let a few narrative films slip through, including this weird edge-of-apocalypse tale co-directed by actor Dean Stockwell and featuring the members of Devo. Considering how easily it could be a cult classic today, it’s a shame the film isn’t available on DVD. Young’s more serious fans, though, at least have his so-so rock opera Greendale to enjoy for now. Musician: Rob Zombie, singer of White Zombie Debut Narrative Feature: House of 1000 Corpses (2003) Exactly what you’d expect from a heavy metal star, Rob Zombie entered filmmaking with a violent exploitation horror film. He followed it with the more accessible and more successful sequel The Devil’s Rejects and the more mainstream Halloween remake. It’s still up in the air if he’s better suited for the concert stage or the director’s chair. Musician: Fred Durst, singer for Limp Bizkit Debut Narrative Feature: The Education of Charlie Banks (2007) Many people would have expected something akin to Zombie’s filmmaking style to also come from rap-rocker Durst, but the former Limp Bizkit frontman surprised audiences at the 2007 Tribeca Film Festival when he premiered this 1970s-set coming-of-age drama. Even more shocking than its genre and tone, though, was that it isn’t actually completely terrible. However, Durst’s sophomore effort, The Longshots, which opened to poor reviews and poor box office, may be evidence that Durst’s future as a filmmaker isn’t as bright as originally thought. Musician: Ice Cube Debut Narrative Feature: The Players Club (1998) He’s a much better actor than some might have expected or may still give him credit for — even if he sometimes appears in crap like Durst’s The Longshots — but Ice Cube’s filmmaking ability leaves much to be desired, as evidenced with this debut and only feature from the former member of rap group N.W.A. It’s not so awful, though, that he shouldn’t keep trying. He’s certainly not the worst rapper-turned-filmmaker (that might be Master P). Musician: David Byrne, singer/guitarist for Talking Heads Debut Narrative Feature: True Stories (1986) When Byrne’s quirky Warner Bros.-distributed film was released to theaters, it somehow failed to connect with either moviegoers or critics. Since then, it has fortunately become a cult hit, possibly because every film featuring John Goodman eventually catches on with cult audiences (Speed Racer may eventually have its day!). Following this fictional effort, Byrne went on to direct a couple of documentaries, including the arty Ile Aiye (The House of Life) about a Brazilian spirit cult. Musician: Frank Sinatra Debut Narrative Feature: None But the Brave (1965) This might be considered more along the lines of an actor-turned-filmmaker effort, but even during the peak of his movie career, even after he won an Oscar, the “Chairman of the Board” was first and foremost a singer. Sinatra had already produced a number of films, including Ocean’s Eleven, but Warner Bros. was still reluctant to give him his first directing gig. And perhaps the studio should have kept him out of the role, since he apparently didn’t even have the decency and respect to call his Japanese actors by their real names (he reportedly called them all “Freddy”). Though the WWII film was a modest hit, ol’ blue eyes never sat in the director’s chair again, but it’s speculated this has more to do with Sinatra’s wanting less responsibility than the studios’ wanting less racism from their filmmakers. Originally posted on:SpoutBlog
]]>Thu, 16 Oct 2008 17:00:43 GMTSpoutBlogSpoutBlog on spout.com10/16/2008 1:00:43 PMIt hasn’t been terribly uncommon since the late ’60s for musicians to get behind the camera, whether for a straight concert film, a tour documentary or some kind of silly narrative focused on themselves and their bands. Jerry Garcia co-directed The Grateful Dead, Frank Zappa co-directed 200 Motels, The Beatles collectively co-directed The Magical Mystery Tour and separately John, Paul and Ringo has each taken the helm on a film project, some more artsy (John and Yoko’s cinematic collaborations, like Up Your Legs Forever) or less self-focused (Ringo’s Marc Bolan doc, Born to Boogie) than others. Now it’s a little more common for musicians to become directors of fictional films that aren’t so reflexive. Many don’t even have anything to do with music at all. And many are so awful that it’s safe to say the filmmaker should stick to music making. This week, IFC releases the directorial debut of Madonna (Filth and Wisdom), and Beastie Boy Adam Yauch has a new basketball documentary (Gunnin’ for That #1 Spot) hitting stores, so we’d like to celebrate by looking at some other musicians who turned filmmaker, for better or worse. Musician: Ray Manzarek, keyboardist for The Doors Debut Narrative Feature: Love Her Madly (2000) He and Jim Morrison met in film school, so it isn’t too surprising that Manzarek shot a lot of the tour footage that you find on Doors home videos, nor is it too surprising that he’d have greater aspirations as a director. But he really blew it with his first narrative feature, named for one of his band’s songs, which came with the Skinamax-ready tagline, “At the crossroads of art and obsession…waits murder.” Musician: Prince Debut Narrative Feature: Under the Cherry Moon (1986) Following the success of his acting debut in Purple Rain, Prince became attached to star in this black and white period musical and then ended up replacing Mary Lambert as its director. Unfortunately, the Fellini-influenced musician-turned-filmmaker disappointed, and Under the Cherry Moon bombed at the box office. Yet Prince would still go on to helm the concert film Sign o’ the Times and the even less popular Purple Rain sequel, Graffiti Bridge. Musician: Master P Debut Narrative Feature: I’m Bout It (1997) Rapper Master P is probably the most prolific filmmaker on this list, but he’s possibly also the least deserving of directorial work. Most of his movies have been ranked extremely low by IMDb users, yet they must be somewhat popular, as he’s been able to release nine straight-to-video titles since he first shared the director’s chair with Moon Jones for the semi-autobiographical I’m Bout It. His tenth movie, Internet Dating, hits stores December 30. Musician: Bob Dylan Debut Narrative Feature: Renaldo and Clara (1978) Dylan got his directorial feet wet working with D.A. Pennebaker on the doc Eat the Document, and then with this nearly four-hour surreal pic he pretty much drowned himself as a filmmaker. Not only was it poorly reviewed, it also played to mostly empty theaters, resulting in a recut two-hour version that focused primarily on the film’s musical performances. Currently, there is no cut of the film available to fans, though excerpts can be found on a bonus DVD released with a live CD a few years ago. Musician: Neil Young Debut Narrative Feature: Human Highway (1982) Young’s filmmaking alter-ego, “Bernard Shakey”, started off with the CSNY doc Journey Through the Past and has since also continued making films about his old supergroup, most recently with CSNY Deja Vu. But he’s also let a few narrative films slip through, including this weird edge-of-apocalypse tale co-directed by actor Dean Stockwell and featuring the members of Devo. Considering how easily it could be a cult classic today, it’s a shame the film isn’t available on DVD. Young’s more serious fans, though, at least have his so-so rock opera Greendale to enjoy for now. Musician: Rob Zombie, singer of White Zombie Debut Narrative Feature: House of 1000 Corpses (2003) Exactly what you’d expect from a heavy metal star, Rob Zombie entered filmmaking with a violent exploitation horror film. He followed it with the more accessible and more successful sequel The Devil’s Rejects and the more mainstream Halloween remake. It’s still up in the air if he’s better suited for the concert stage or the director’s chair. Musician: Fred Durst, singer for Limp Bizkit Debut Narrative Feature: The Education of Charlie Banks (2007) Many people would have expected something akin to Zombie’s filmmaking style to also come from rap-rocker Durst, but the former Limp Bizkit frontman surprised audiences at the 2007 Tribeca Film Festival when he premiered this 1970s-set coming-of-age drama. Even more shocking than its genre and tone, though, was that it isn’t actually completely terrible. However, Durst’s sophomore effort, The Longshots, which opened to poor reviews and poor box office, may be evidence that Durst’s future as a filmmaker isn’t as bright as originally thought. Musician: Ice Cube Debut Narrative Feature: The Players Club (1998) He’s a much better actor than some might have expected or may still give him credit for — even if he sometimes appears in crap like Durst’s The Longshots — but Ice Cube’s filmmaking ability leaves much to be desired, as evidenced with this debut and only feature from the former member of rap group N.W.A. It’s not so awful, though, that he shouldn’t keep trying. He’s certainly not the worst rapper-turned-filmmaker (that might be Master P). Musician: David Byrne, singer/guitarist for Talking Heads Debut Narrative Feature: True Stories (1986) When Byrne’s quirky Warner Bros.-distributed film was released to theaters, it somehow failed to connect with either moviegoers or critics. Since then, it has fortunately become a cult hit, possibly because every film featuring John Goodman eventually catches on with cult audiences (Speed Racer may eventually have its day!). Following this fictional effort, Byrne went on to direct a couple of documentaries, including the arty Ile Aiye (The House of Life) about a Brazilian spirit cult. Musician: Frank Sinatra Debut Narrative Feature: None But the Brave (1965) This might be considered more along the lines of an actor-turned-filmmaker effort, but even during the peak of his movie career, even after he won an Oscar, the “Chairman of the Board” was first and foremost a singer. Sinatra had already produced a number of films, including Ocean’s Eleven, but Warner Bros. was still reluctant to give him his first directing gig. And perhaps the studio should have kept him out of the role, since he apparently didn’t even have the decency and respect to call his Japanese actors by their real names (he reportedly called them all “Freddy”). Though the WWII film was a modest hit, ol’ blue eyes never sat in the director’s chair again, but it’s speculated this has more to do with Sinatra’s wanting less responsibility than the studios’ wanting less racism from their filmmakers. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/5/28/30094.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/28/2008 3:01:02 PM
Body: Ten years ago, I attended a book signing for Ray Manzarek’s memoir, Light My Fire: My Life with the Doors, and I asked the author/keyboardist why he doesn’t just make another movie about The Doors. Manzarek had spent most of the event complaining about Oliver Stone’s 1991 film, and he did graduate from film school, so I figured he’d at least thought about the idea. But he responded by saying he had other films he wanted to make, from original scripts he’d written. I’m pretty sure one of the scripts he mentioned then became his 2000 film Love Her Madly, which has a nice exploitive title. And now according to Billboard, he’s got four more scripts, including one based on either the song or album L.A. Woman (the best driving album of all time, IMHO) and another that sounds suspiciously like the scene from Stone’s film in which the band and friends do drugs in the desert. But apparently he’s still not up to the challenge of writing something that will go against Stone and Randall Jahnson’s script for The Doors. Fortunately, he’s doing the next best thing — or, maybe really its actually the better thing — and consulting on a comprehensive documentary that will chronicle the band’s whole career. It’s unclear how involved he is with the project, but he told Billboard that he recently saw a cut of it and that it’s still six months away from being releasable. He also mentioned that it will be filled with footage we’ve never seen before. Most importantly, though, he stated that it’s “the anti-Oliver Stone. This will be the true story of the Doors.” From what I remember, the scene from Stone’s movie that’s most objectionable to Manzarek is the Andy Warhol party sequence, in which he, Robbie Krieger and John Densmore are portrayed as abandoning Jim. But whether or not it happened that way, the sequence (watch it above) is one of many great music video montages disguised as legitimate narrative in the film. And it should be appreciated as nothing more. Still, regardless of the fact that Manzarek should probably just let it go about Stone’s movie after 17 years (especially since he’s supposedly at least happy with Kyle Maclachlan’s portrayal of himself), and even ignoring the fact that this is all just his latest way of milking his old band for all its worth (not that I don’t encourage it with my buying his book and attending the “Doors of the 21st Century” concert), this new film sounds like a great idea. Aside from hopefully allowing Manzarek to vent some more, it comes at a time when rock docs are doing pretty well (of course, they have to when they’re either in 3D or directed by Scorsese). Plus, it might appease any fans who, like Manzarek, aren’t happy with The Doors. But are there actually a lot of people who like The Doors’ music who can’t enjoy more than two hours of scenes set to The Doors’ songs? I’m probably one of many Doors fans that will always love Stone’s biopic, despite its inaccuracies (or whatever else the problem). And I’m one of the many who will really appreciate this new nonfiction film, despite its probable lack of dramatization, sensationalism and Val Kilmer. Hooray for having different ways of cinematically telling (roughly) the same story. Originally posted on:SpoutBlog
]]>Wed, 28 May 2008 19:01:02 GMTSpoutBlogSpoutBlog on spout.com5/28/2008 3:01:02 PM Ten years ago, I attended a book signing for Ray Manzarek’s memoir, Light My Fire: My Life with the Doors, and I asked the author/keyboardist why he doesn’t just make another movie about The Doors. Manzarek had spent most of the event complaining about Oliver Stone’s 1991 film, and he did graduate from film school, so I figured he’d at least thought about the idea. But he responded by saying he had other films he wanted to make, from original scripts he’d written. I’m pretty sure one of the scripts he mentioned then became his 2000 film Love Her Madly, which has a nice exploitive title. And now according to Billboard, he’s got four more scripts, including one based on either the song or album L.A. Woman (the best driving album of all time, IMHO) and another that sounds suspiciously like the scene from Stone’s film in which the band and friends do drugs in the desert. But apparently he’s still not up to the challenge of writing something that will go against Stone and Randall Jahnson’s script for The Doors. Fortunately, he’s doing the next best thing — or, maybe really its actually the better thing — and consulting on a comprehensive documentary that will chronicle the band’s whole career. It’s unclear how involved he is with the project, but he told Billboard that he recently saw a cut of it and that it’s still six months away from being releasable. He also mentioned that it will be filled with footage we’ve never seen before. Most importantly, though, he stated that it’s “the anti-Oliver Stone. This will be the true story of the Doors.” From what I remember, the scene from Stone’s movie that’s most objectionable to Manzarek is the Andy Warhol party sequence, in which he, Robbie Krieger and John Densmore are portrayed as abandoning Jim. But whether or not it happened that way, the sequence (watch it above) is one of many great music video montages disguised as legitimate narrative in the film. And it should be appreciated as nothing more. Still, regardless of the fact that Manzarek should probably just let it go about Stone’s movie after 17 years (especially since he’s supposedly at least happy with Kyle Maclachlan’s portrayal of himself), and even ignoring the fact that this is all just his latest way of milking his old band for all its worth (not that I don’t encourage it with my buying his book and attending the “Doors of the 21st Century” concert), this new film sounds like a great idea. Aside from hopefully allowing Manzarek to vent some more, it comes at a time when rock docs are doing pretty well (of course, they have to when they’re either in 3D or directed by Scorsese). Plus, it might appease any fans who, like Manzarek, aren’t happy with The Doors. But are there actually a lot of people who like The Doors’ music who can’t enjoy more than two hours of scenes set to The Doors’ songs? I’m probably one of many Doors fans that will always love Stone’s biopic, despite its inaccuracies (or whatever else the problem). And I’m one of the many who will really appreciate this new nonfiction film, despite its probable lack of dramatization, sensationalism and Val Kilmer. Hooray for having different ways of cinematically telling (roughly) the same story. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
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