list http://www.spout.com/ Recent community activity around Kurt Cobain About a Son 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/Kurt_Cobain_About_a_Son/290313/default.aspx Title: Kurt Cobain About a Son
Year: 2007
Director: A.J. Schnack
Plot: Filmmaker A.J. Schnack draws from over twenty-five hours of audio taped interviews to offer an intimate meditation on the life of the man who changed the face of rock and roll in the 1990s in this film that uses materials originally gathered for music journalist Michael Azerrad's book Come as You Are: The Story of Nirvana. From his early childhood to his discovery of music and his troubled attempts to make sense of his skyrocketing fame as a member of Nirvana, Cobain recounts his life in a series of previously unreleased recordings. By combining the interviews with footage of Aberdeen, Olympia, and Seattle - three Washington cities that played a major role in Cobain's tragically short life - director Schnack assembles a dreamlike journey into the mind of an oft-discussed but widely misunderstood legend. An ethereal score by Death Cab for Cutie's Ben Gibbard and Nirvana producer Steve Fisk, as well as songs by some of Cobain's favorite recording artists including David Bowie and The Melvins, merge with evocative imagery to strip away the legend and portray the subject as a real man whose talents stood in stark contrast to his ability to deal with the hardships of fame. ~ Jason Buchanan, All Movie Guide

Interview with AJ Schnack and Michael Azerrad about Kurt Cobain About a Son

Kevin talks to a couple of filmmakers who broke the "rockumentary" mold, in part by using ambient music and images.
(11/11/2006 Starz Denver Film Festival)


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Roundtable Recap: Wednesday, November 15
Bill, Kevin and Dave sat down over dinner to discuss their top three movies of the festival so far.
(11/15/2006 Starz Denver Film Festival)




Times Tagged: 31
Number of Lists: 7
Number of blog posts: 61
SpoutRating: 3
]]>Thu, 09 Jul 2009 11:23:17 GMTKurt Cobain About a Son2007A.J. SchnackFilmmaker A.J. Schnack draws from over twenty-five hours of audio taped interviews to offer an intimate meditation on the life of the man who changed the face of rock and roll in the 1990s in this film that uses materials originally gathered for music journalist Michael Azerrad's book Come as You Are: The Story of Nirvana. From his early childhood to his discovery of music and his troubled attempts to make sense of his skyrocketing fame as a member of Nirvana, Cobain recounts his life in a series of previously unreleased recordings. By combining the interviews with footage of Aberdeen, Olympia, and Seattle - three Washington cities that played a major role in Cobain's tragically short life - director Schnack assembles a dreamlike journey into the mind of an oft-discussed but widely misunderstood legend. An ethereal score by Death Cab for Cutie's Ben Gibbard and Nirvana producer Steve Fisk, as well as songs by some of Cobain's favorite recording artists including <a href="/players/P____82636/default.aspx" style='text-decoration:underline'>David Bowie</a> and The Melvins, merge with evocative imagery to strip away the legend and portray the subject as a real man whose talents stood in stark contrast to his ability to deal with the hardships of fame. ~ Jason Buchanan, All Movie Guide <br><br><b>Interview with AJ Schnack and Michael Azerrad about <i>Kurt Cobain About a Son</i></b><br><br>Kevin talks to a couple of filmmakers who broke the "rockumentary" mold, in part by using ambient music and images.<br>(11/11/2006 Starz Denver Film Festival)<br><br><embed src="http://odeo.com/flash/audio_player_tiny_black.swf" quality="high" width="145" height="25" name="audio_player_tiny_black" align="middle" allowScriptAccess="always" wmode="transparent" type="application/x-shockwave-flash" flashvars="audio_id=2489483&audio_duration=446.711&valid_sample_rate=true&external_url=http://media.odeo.com/2/8/5/schnackazerrand_cobain.mp3" pluginspage="http://www.macromedia.com/go/getflashplayer" /></embed><br /><a style="font-size: 9px; padding-left: 35px; color: #f39; letter-spacing: -1px; text-decoration: none" href="http://odeo.com/audio/2489483/view">powered by <strong>ODEO</strong></a> <br><br><b>Roundtable Recap: Wednesday, November 15</b><br>Bill, Kevin and Dave sat down over dinner to discuss their top three movies of the festival so far.<br>(11/15/2006 Starz Denver Film Festival)<br><br><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=7,0,0,0" width="165" height="30" id="dkb_roundtable.mp3" align="left"><param name="allowScriptAccess" value="sameDomain" /><param name="movie" value="http://www.spoutblog.com/podcast_files/central.swf?media_path=http://www.spoutblog.com/podcast_files/dkb_roundtable.mp3" /><param name="loop" value="false" /><param name="menu" value="false" /><param name="quality" value="best" /><param name="salign" value="lt" /><param name="bgcolor" value="#ffffff" /><embed src="http://www.spoutblog.com/podcast_files/central.swf?media_path=http://www.spoutblog.com/podcast_files/dkb_roundtable.mp3" loop="false" menu="false" quality="best" salign="lt" bgcolor="#ffffff" width="165" height="30" name="dkb_roundtable.mp3" align="left" allowScriptAccess="sameDomain" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" /></object><br /><br /> 31Tag Target (>10)7613http://www.spout.com/ProductImages/s290313.jpghttp://www.spout.com/films/Kurt_Cobain_About_a_Son/290313/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/3/4/40814.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/4/2009 2:00:51 PM
Body: On Sunday at True/False, filmmaker/blogger AJ Schnack screened the first thirty minutes of Convention, his verite-style film documenting the 2008 Democratic National Convention with an eye on the Denver locals (politicians, city administrators, journalists, protesters) who were in the mix. Shot by Schnack in collaboration with nearly a dozen documentarians (including the Oscar-nominated directors Laura Poitras and Julia Reichert, and Daniel Junge, who directed the Oscar-shortlisted They Killed Sister Dorothy), the film’s making-of process was almost as much of a serendipity-dependent feat of execution as the event captured on screen. As his, uh, primary inspiration, Schnack cites Robert Drew’s Primary, a Direct Cinema landmark documenting the Wisconsin primary race between John F. Kennedy and Hubert Humphrey. The first American nonfiction picture filmed with sync sound, its IMDb profile reads today as a who’s-who of 60s documentary film: Drew as audio recordist, Albert Maysles and Ricky Leacock behind the camera and D.A. Pennebaker in the editing room. Time will tell if Convention’s slate of collaborators seems as starry 50 years on, but in the present it stands out as a film built out of and on top of connections made on the film festival circuit. If, in the context of the incestuous world of indie film, that hardly seems all that noteworthy, it is relevant that the production seems to have harnessed the scrappy, obsessive energy of that rather insular community and put it to the service of documenting an event that could potentially have meaning to a much larger segment of the population. After the screening, Schnack acknowledged that his choice to document the Democratic convention rather than the Republican one had a lot to do with access. “Had the Republicans been in Denver and the Democrats had been in Minneapolis, we would have still been in Denver, because I don’t really have friends in Minneapolis.” One of those friends in Denver is Britta Erickson, executive director of the Denver Film Festival (where Schnack’s last feature, Kurt Cobain: About a Son, won the jury prize) and Convention’s producer. Erickson greased the wheels to help the filmmakers gain access to local institutions like the Denver Post. In some sense, Erickson noted at Sunday’s event, the film’s rocky, cash-strapped and lightning-fast pre-production schedule (shooter Nathan Truesdale said he made the two hour drive from his home in Columbia to the St. Louis airport without knowing for sure if there’d be a ticket to Denver waiting there for him) actually led to a serendipitous accident of timing: she was tasked with opening doors for the production in July, shortly after the Convention’s fund raising committee hit their projected dollar goal. “In July, there was a lot of elation in town,” Erickson said. “So I didn’t have to do a whole lot of persuasion.” Once the assorted filmmakers got into town, it was necessary that they jump straight into the pre-vetted fire without much guidance. Says Truesdell, who is editing the film with Schnack, “Once people landed, we basically just gave them a camera and a phone number, and they chased after [a subject] we had already talked to.” Schnack says, “The reason I wanted to have filmmakers, as opposed to just shooters, do this is because I knew they’d have to make decisions.” He employed a three-part process for choosing collaborators. “First, it was people I had been around and liked and thought it would fun to work with. Second, it was people who had shot their own films. I wanted people who were both directors as well as cinematographers. Third, it was who was available and wanted to jump on the plane.” Early indications suggest the unconventional production process was, well, productive. “This is something I would like to do on a regular basis,” Schnack says, stressing the value of the trust and comradere he shared with the collaborating filmmakers. “We are lucky as filmmakers that we get to go to film festivals and drink and enjoy each other’s films and hang out, but the chance to work together is exceedingly rare. And omnibus films, you tend to go off on your own path. On this…on the final day at Invesco, Nate has the camera, I can’t get out on the field, I yell at him to shoot his heart out and he gets the most amazing shots of Obama on stage that I’ve ever seen. That’s why I wanted to make this film, to have that experience.” There was one aspect of the experience that the film festival veterans weren’t prepared for. “Going to film festivals, you get these very secure badges,” Schnack pointed out. The badge that allowed admittance into the super-secure perimeter around the Convention “doesn’t have your name on it, doesn’t have your picture. It’s the most insecure thing I’ve ever seen in my life.” Convention is still in post-production; the team plans to premiere on the festival circuit later this year. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 04 Mar 2009 19:00:51 GMTKarinaKarina on SpoutBlog3/4/2009 2:00:51 PMOn Sunday at True/False, filmmaker/blogger AJ Schnack screened the first thirty minutes of Convention, his verite-style film documenting the 2008 Democratic National Convention with an eye on the Denver locals (politicians, city administrators, journalists, protesters) who were in the mix. Shot by Schnack in collaboration with nearly a dozen documentarians (including the Oscar-nominated directors Laura Poitras and Julia Reichert, and Daniel Junge, who directed the Oscar-shortlisted They Killed Sister Dorothy), the film’s making-of process was almost as much of a serendipity-dependent feat of execution as the event captured on screen. As his, uh, primary inspiration, Schnack cites Robert Drew’s Primary, a Direct Cinema landmark documenting the Wisconsin primary race between John F. Kennedy and Hubert Humphrey. The first American nonfiction picture filmed with sync sound, its IMDb profile reads today as a who’s-who of 60s documentary film: Drew as audio recordist, Albert Maysles and Ricky Leacock behind the camera and D.A. Pennebaker in the editing room. Time will tell if Convention’s slate of collaborators seems as starry 50 years on, but in the present it stands out as a film built out of and on top of connections made on the film festival circuit. If, in the context of the incestuous world of indie film, that hardly seems all that noteworthy, it is relevant that the production seems to have harnessed the scrappy, obsessive energy of that rather insular community and put it to the service of documenting an event that could potentially have meaning to a much larger segment of the population. After the screening, Schnack acknowledged that his choice to document the Democratic convention rather than the Republican one had a lot to do with access. “Had the Republicans been in Denver and the Democrats had been in Minneapolis, we would have still been in Denver, because I don’t really have friends in Minneapolis.” One of those friends in Denver is Britta Erickson, executive director of the Denver Film Festival (where Schnack’s last feature, Kurt Cobain: About a Son, won the jury prize) and Convention’s producer. Erickson greased the wheels to help the filmmakers gain access to local institutions like the Denver Post. In some sense, Erickson noted at Sunday’s event, the film’s rocky, cash-strapped and lightning-fast pre-production schedule (shooter Nathan Truesdale said he made the two hour drive from his home in Columbia to the St. Louis airport without knowing for sure if there’d be a ticket to Denver waiting there for him) actually led to a serendipitous accident of timing: she was tasked with opening doors for the production in July, shortly after the Convention’s fund raising committee hit their projected dollar goal. “In July, there was a lot of elation in town,” Erickson said. “So I didn’t have to do a whole lot of persuasion.” Once the assorted filmmakers got into town, it was necessary that they jump straight into the pre-vetted fire without much guidance. Says Truesdell, who is editing the film with Schnack, “Once people landed, we basically just gave them a camera and a phone number, and they chased after [a subject] we had already talked to.” Schnack says, “The reason I wanted to have filmmakers, as opposed to just shooters, do this is because I knew they’d have to make decisions.” He employed a three-part process for choosing collaborators. “First, it was people I had been around and liked and thought it would fun to work with. Second, it was people who had shot their own films. I wanted people who were both directors as well as cinematographers. Third, it was who was available and wanted to jump on the plane.” Early indications suggest the unconventional production process was, well, productive. “This is something I would like to do on a regular basis,” Schnack says, stressing the value of the trust and comradere he shared with the collaborating filmmakers. “We are lucky as filmmakers that we get to go to film festivals and drink and enjoy each other’s films and hang out, but the chance to work together is exceedingly rare. And omnibus films, you tend to go off on your own path. On this…on the final day at Invesco, Nate has the camera, I can’t get out on the field, I yell at him to shoot his heart out and he gets the most amazing shots of Obama on stage that I’ve ever seen. That’s why I wanted to make this film, to have that experience.” There was one aspect of the experience that the film festival veterans weren’t prepared for. “Going to film festivals, you get these very secure badges,” Schnack pointed out. The badge that allowed admittance into the super-secure perimeter around the Convention “doesn’t have your name on it, doesn’t have your picture. It’s the most insecure thing I’ve ever seen in my life.” Convention is still in post-production; the team plans to premiere on the festival circuit later this year. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/awkwardj/archive/2008/8/1/33394.aspx Post By: awkwardj
Post To: honest to blog
Post Date: 8/1/2008 11:48:27 AM
Body: I can listen to Kurt Cobain talk all day. This movie would have worked better as a audio book. Just slapping some images of Aberdeen and Seattle over Kurt's voice a movie does not make.
]]>Fri, 01 Aug 2008 15:48:27 GMTawkwardjhonest to blog8/1/2008 11:48:27 AMI can listen to Kurt Cobain talk all day. This movie would have worked better as a audio book. Just slapping some images of Aberdeen and Seattle over Kurt's voice a movie does not make. http://www.spout.com/blogs/paul/archive/2007/12/21/23090.aspx Post By: paul
Post To: paul on spout.com
Post Date: 12/21/2007 4:16:05 PM
Body: When filmmakers betray the documentary they’re making. Karina wrestles with The Axe in the Attic, a documentary where the filmmakers hijack their own story by inserting themselves into it. Kurt & Courtney (1998), Nick Broomfield’s attempted investigation into Kurt Cobain’s life and death, is a classic example of the same folly. But AJ Schnack’s Kurt Cobain About a Son (opening tonight) sets a new gold standard for self-restraint. FilmCouch #40 Kurt Cobain About a Son, Kurt & Courtney Originally posted on:SpoutBlog » Paul
]]>Fri, 21 Dec 2007 21:16:05 GMTpaulpaul on spout.com12/21/2007 4:16:05 PMWhen filmmakers betray the documentary they’re making. Karina wrestles with The Axe in the Attic, a documentary where the filmmakers hijack their own story by inserting themselves into it. Kurt & Courtney (1998), Nick Broomfield’s attempted investigation into Kurt Cobain’s life and death, is a classic example of the same folly. But AJ Schnack’s Kurt Cobain About a Son (opening tonight) sets a new gold standard for self-restraint. FilmCouch #40 Kurt Cobain About a Son, Kurt & Courtney Originally posted on:SpoutBlog » Paul http://www.spout.com/blogs/spoutblog/archive/2007/11/20/21857.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/20/2007 12:01:31 PM
Body: It’s pretty upsetting when you see more documentaries than most Americans, and yet you haven’t seen any of the 15 docs deemed best of the year by the Academy. This is my case this year, and I guess I was slacking. Or maybe the real problem is that Oscar has shortlisted too many films that haven’t been released commercially. In his IN DEPTH look at the shortlisted docs, Kurt Cobain About a Son filmmaker AJ Schnack points out that only 6 of the films have pursued a true theatrical release and 2/3 have not been available for review by critics nor have they reported their box office. For commentary on Schnack’s earlier analysis of both this year and last year’s eligible docs, check out Karina’s post from last week. So, there’s my excuse. Anyway, I still have many months to see the docs that are most likely to receive the five nominations. My guesses of what I need to see before Oscar night: Sicko, No End in Sight, Lake of Fire, Body of War and War/Dance (or Taxi to the Dark Side, if the Academy allows so many Iraq War docs). Of course, if I want to be a true doc fan, I should make sure to see all 15, as well as a lot of other films left outside the shortlist. (more…) Originally posted on:SpoutBlog
]]>Tue, 20 Nov 2007 17:01:31 GMTSpoutBlogSpoutBlog on spout.com11/20/2007 12:01:31 PMIt’s pretty upsetting when you see more documentaries than most Americans, and yet you haven’t seen any of the 15 docs deemed best of the year by the Academy. This is my case this year, and I guess I was slacking. Or maybe the real problem is that Oscar has shortlisted too many films that haven’t been released commercially. In his IN DEPTH look at the shortlisted docs, Kurt Cobain About a Son filmmaker AJ Schnack points out that only 6 of the films have pursued a true theatrical release and 2/3 have not been available for review by critics nor have they reported their box office. For commentary on Schnack’s earlier analysis of both this year and last year’s eligible docs, check out Karina’s post from last week. So, there’s my excuse. Anyway, I still have many months to see the docs that are most likely to receive the five nominations. My guesses of what I need to see before Oscar night: Sicko, No End in Sight, Lake of Fire, Body of War and War/Dance (or Taxi to the Dark Side, if the Academy allows so many Iraq War docs). Of course, if I want to be a true doc fan, I should make sure to see all 15, as well as a lot of other films left outside the shortlist. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/8/17/18312.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/17/2007 5:00:53 PM
Body: AJ Schnack dropped a hint on his blog yesterday about the soundtrack for his new film, Kurt Cobain: About a Son, and I followed the link to Barsuk Records to take a look at it. It looks amazing–21 tracks, songs by David Bowie, Butthole Surfers and Iggy Pop, plus scraps of the Michael Azzerad interviews with Cobain that are used in the film. There are no Nirvana songs, but that’s to be expected (rights-wise, they are alleged to be prohibitively expensive), and really — if you’re interested in the film, you probably already own every Nirvana recording that’s been released. As David Lowery points out, About a Son begins a one-week Oscar qualifying run today in Los Angeles, as part of DocuWeek. It’ll hit additional cities in the fall. Originally posted on:Spoutblog
]]>Fri, 17 Aug 2007 21:00:53 GMTSpoutBlogSpoutBlog on spout.com8/17/2007 5:00:53 PMAJ Schnack dropped a hint on his blog yesterday about the soundtrack for his new film, Kurt Cobain: About a Son, and I followed the link to Barsuk Records to take a look at it. It looks amazing–21 tracks, songs by David Bowie, Butthole Surfers and Iggy Pop, plus scraps of the Michael Azzerad interviews with Cobain that are used in the film. There are no Nirvana songs, but that’s to be expected (rights-wise, they are alleged to be prohibitively expensive), and really — if you’re interested in the film, you probably already own every Nirvana recording that’s been released. As David Lowery points out, About a Son begins a one-week Oscar qualifying run today in Los Angeles, as part of DocuWeek. It’ll hit additional cities in the fall. Originally posted on:Spoutblog http://www.spout.com/blogs/spoutblog/archive/2007/7/26/16594.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/26/2007 4:56:31 PM
Body: Filmmaker A.J. Schnack, who usually blogs here, has launched a new blog devoted to his upcoming Kurt Cobain documentary, Kurt Cobain: About a Son. I found the above clip from the film on the new blog, but it’s apparently been on YouTube for a while — behold the 78 comments it’s earned, which include such insights as “Courtney love is bitch. I hope she burns in hell.” and “Kurt Cobain is alive, Gods never dies..” It’s frustrating to see that there’s still so much anger and speculation surrounding interest Cobain’s manner of death, because Schnack’s film (which, in tone and content, is well represented by this clip) really has no interest in any of the conspiracy theories. Based on audio interviews conducted by journalist Michael Azerad for a circa 1993 book about Nirvana, it’s a poetic and introspective portrait that does a lot to puncture the “Cobain was a God brought down by a harpie devil” myth that I’m sure most reasonable people grew tired of about ten years ago. Originally posted on:Spoutblog
]]>Thu, 26 Jul 2007 20:56:31 GMTSpoutBlogSpoutBlog on spout.com7/26/2007 4:56:31 PM Filmmaker A.J. Schnack, who usually blogs here, has launched a new blog devoted to his upcoming Kurt Cobain documentary, Kurt Cobain: About a Son. I found the above clip from the film on the new blog, but it’s apparently been on YouTube for a while — behold the 78 comments it’s earned, which include such insights as “Courtney love is bitch. I hope she burns in hell.” and “Kurt Cobain is alive, Gods never dies..” It’s frustrating to see that there’s still so much anger and speculation surrounding interest Cobain’s manner of death, because Schnack’s film (which, in tone and content, is well represented by this clip) really has no interest in any of the conspiracy theories. Based on audio interviews conducted by journalist Michael Azerad for a circa 1993 book about Nirvana, it’s a poetic and introspective portrait that does a lot to puncture the “Cobain was a God brought down by a harpie devil” myth that I’m sure most reasonable people grew tired of about ten years ago. Originally posted on:Spoutblog http://www.spout.com/blogs/spoutblog/archive/2007/7/21/15474.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/21/2007 2:58:18 PM
Body: Filmmaker A.J. Schnack, who usually blogs here, has launched a new blog devoted to his upcoming Kurt Cobain documentary, Kurt Cobain: About a Son. I found the above clip from the film on the new blog, but it's apparently been on YouTube for a while -- behold the 78 comments it's earned, which include such insights as "Courtney love is bitch. I hope she burns in hell." and "Kurt Cobain is alive, Gods never dies.." It's frustrating to see that there's still so much anger and speculation surrounding interest Cobain's manner of death, because Schnack's film (which, in tone and content, is well represented by this clip) really has no interest in any of the conspiracy theories. Based on audio interviews conducted by journalist Michael Azerad for a circa 1993 book about Nirvana, it's a poetic and introspective portrait that does a lot to puncture the "Cobain was a God brought down by a harpie devil" myth that I'm sure most reasonable people grew tired of about ten years ago. Originally posted on:SpoutBlog
]]>Sat, 21 Jul 2007 18:58:18 GMTSpoutBlogSpoutBlog on spout.com7/21/2007 2:58:18 PM Filmmaker A.J. Schnack, who usually blogs here, has launched a new blog devoted to his upcoming Kurt Cobain documentary, Kurt Cobain: About a Son. I found the above clip from the film on the new blog, but it's apparently been on YouTube for a while -- behold the 78 comments it's earned, which include such insights as "Courtney love is bitch. I hope she burns in hell." and "Kurt Cobain is alive, Gods never dies.." It's frustrating to see that there's still so much anger and speculation surrounding interest Cobain's manner of death, because Schnack's film (which, in tone and content, is well represented by this clip) really has no interest in any of the conspiracy theories. Based on audio interviews conducted by journalist Michael Azerad for a circa 1993 book about Nirvana, it's a poetic and introspective portrait that does a lot to puncture the "Cobain was a God brought down by a harpie devil" myth that I'm sure most reasonable people grew tired of about ten years ago. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
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