list http://www.spout.com/ Recent community activity around U2 3D 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/U2_3D/331053/default.aspx Title: U2 3D
Year: 2008
Director: Catherine Owens, Mark Pellington
Plot: Hollywood A-list director Mark Pellington (The Mothman Prophecies, Arlington Road) and newcomer Catherine Owens team up to break new cinematic ground by co-helming U2: 3D - the first three-dimensional concert film in movie history. The effort intercuts footage culled from several U2 shows on their 2005-6 Vertigo tour in Mexico City and Buenos Aires, Argentina, with Bono, The Edge, Adam Clayton and Larry Mullen, Jr. performing before rapt audiences. The picture opens with several thematically-light rock songs, such as "Beautiful Day" and "Vertigo," but soon segues into more politically conscious material at the hands of social change advocate Bono and his bandmates, such as the numbers "Bullet the Blue Sky," "Love and Peace or Else," and "Sunday Bloody Sunday"; at one critical point, the Universal Declaration of Human Rights is projected high above the audience and group members read it aloud. Pellington, Owens, and cinematographers Tom Krueger and Peter Anderson make frequent use of a roving camera and multilayered 3-D effects; they also step away from the approach utilized in the band's previous concert film, U2: Rattle and Hum, by omitting interviews and focusing exclusively on concert footage. The full version of U2: 3D runs 80 minutes; a 56-minute "preview" version ran out of competition at the 2007 Cannes Film Festival ~ Nathan Southern, All Movie Guide
Times Tagged: 5
Number of Lists: 1
Number of blog posts: 5
SpoutRating: 3
]]>Sun, 28 Dec 2008 01:34:11 GMTU2 3D2008Catherine Owens, Mark PellingtonHollywood A-list director Mark Pellington (<a href="http://www.spout.com/films/204398/detail.aspx" style='text-decoration:underline'>The Mothman Prophecies</a>, <a href="http://www.spout.com/films/129431/detail.aspx" style='text-decoration:underline'>Arlington Road</a>) and newcomer Catherine Owens team up to break new cinematic ground by co-helming U2: 3D - the first three-dimensional concert film in movie history. The effort intercuts footage culled from several U2 shows on their 2005-6 Vertigo tour in Mexico City and Buenos Aires, Argentina, with <a href="http://www.spout.com/players/P_____7314/default.aspx" style='text-decoration:underline'>Bono</a>, The Edge, Adam Clayton and Larry Mullen, Jr. performing before rapt audiences. The picture opens with several thematically-light rock songs, such as "Beautiful Day" and "Vertigo," but soon segues into more politically conscious material at the hands of social change advocate <a href="http://www.spout.com/players/P_____7314/default.aspx" style='text-decoration:underline'>Bono</a> and his bandmates, such as the numbers "Bullet the Blue Sky," "Love and Peace or Else," and "Sunday Bloody Sunday"; at one critical point, the Universal Declaration of Human Rights is projected high above the audience and group members read it aloud. Pellington, Owens, and cinematographers Tom Krueger and Peter Anderson make frequent use of a roving camera and multilayered 3-D effects; they also step away from the approach utilized in the band's previous concert film, U2: Rattle and Hum, by omitting interviews and focusing exclusively on concert footage. The full version of U2: 3D runs 80 minutes; a 56-minute "preview" version ran out of competition at the 2007 Cannes Film Festival ~ Nathan Southern, All Movie Guide5Slightly Tagged (1-5)153http://www.spout.com/ProductImages/s331053.jpghttp://www.spout.com/films/U2_3D/331053/default.aspxFilm http://www.spout.com/blogs/usesoap/archive/2008/12/27/38883.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/27/2008 8:34:11 PM
Body: Make no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer “event movies” (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL·E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008.
]]>Sun, 28 Dec 2008 01:34:11 GMTusesoapusesoap Blog12/27/2008 8:34:11 PMMake no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer &ldquo;event movies&rdquo; (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL&middot;E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008. http://www.spout.com/blogs/karina/archive/2008/12/4/37931.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 12/4/2008 12:01:54 PM
Body: I’ve spent the morning combing the various Sundance line-up overviews, wherein reporters for a variety of publications digest the four competition line-ups announced yesterday in an attempt to find an overarching theme/predictive slant which they can then hand-deliver to their mainly mainstream audiences. One thing I’ve learned: such stories should never be read back-to-back. “Sundance’s writers and directors are turning toward more uplifting narratives,” writes John Horn in the LA Times. Oh good! Oh, but wait — according to USA Today, “The comedies are dark, and the dramas are even darker at the annual showcase of low-budget moviemaking.” What am I supposed to believe? But seriously, folks. One observation from Horn’s story is worth a ponder: [Sundance programming director] Cooper says the festival’s 16 competition documentaries, selected from 879 submissions, continue the nonfiction filmmaking trend toward advocacy and away from impartial journalistic observation. “They are basically telling you what to do, versus ‘This is something that is going on,’ ” Cooper says. I guess the word that rankles there is “trend.” I’ve never been to a documentary-heavy film festival that didn’t have its share of edutainment, but looking at the most successful nonfiction films of this past year (whether at the box office or with critics or with awards bodies, or all of the above), what’s notable is that surprising lack of prescriptive, “Here’s a problem … and a solution!”-style filmmaking. I mean, Man on Wire? The best reviewed documentary of the year and the apparent Oscar frontrunner? What is that advocating, exactly — art crime? Is the lesson of Trouble the Water that aspiring rappers who live in the path of hurricanes should try to have video cameras handy at all times? As far as high grossing films, there’s U2 3D, which tells us to … be U2, and get shot in 3D. You could definitely say that Religulous steers “away from impartial journalistic observation,” and there’s no question that it’s been a success, but there is some question as to whether or not an insult comic’s staged road trip really counts as “documentary”, let alone “advocacy.” And of course, there’s my favorite work of advocacy, Encounters at the End of the World, in which Werner Herzog tells us to steer clear of “abominations” like yoga studios and ATMs, and attempts no impartiality in regards to suicidal penguins. Bottom line: it wouldn’t be crazy super weird if there were a lot of documentaries “telling you what to do” at Sundance, but the most successful nonfiction films of 2008 didn’t. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 04 Dec 2008 17:01:54 GMTKarinaKarina on SpoutBlog12/4/2008 12:01:54 PMI’ve spent the morning combing the various Sundance line-up overviews, wherein reporters for a variety of publications digest the four competition line-ups announced yesterday in an attempt to find an overarching theme/predictive slant which they can then hand-deliver to their mainly mainstream audiences. One thing I’ve learned: such stories should never be read back-to-back. “Sundance’s writers and directors are turning toward more uplifting narratives,” writes John Horn in the LA Times. Oh good! Oh, but wait — according to USA Today, “The comedies are dark, and the dramas are even darker at the annual showcase of low-budget moviemaking.” What am I supposed to believe? But seriously, folks. One observation from Horn’s story is worth a ponder: [Sundance programming director] Cooper says the festival’s 16 competition documentaries, selected from 879 submissions, continue the nonfiction filmmaking trend toward advocacy and away from impartial journalistic observation. “They are basically telling you what to do, versus ‘This is something that is going on,’ ” Cooper says. I guess the word that rankles there is “trend.” I’ve never been to a documentary-heavy film festival that didn’t have its share of edutainment, but looking at the most successful nonfiction films of this past year (whether at the box office or with critics or with awards bodies, or all of the above), what’s notable is that surprising lack of prescriptive, “Here’s a problem … and a solution!”-style filmmaking. I mean, Man on Wire? The best reviewed documentary of the year and the apparent Oscar frontrunner? What is that advocating, exactly — art crime? Is the lesson of Trouble the Water that aspiring rappers who live in the path of hurricanes should try to have video cameras handy at all times? As far as high grossing films, there’s U2 3D, which tells us to … be U2, and get shot in 3D. You could definitely say that Religulous steers “away from impartial journalistic observation,” and there’s no question that it’s been a success, but there is some question as to whether or not an insult comic’s staged road trip really counts as “documentary”, let alone “advocacy.” And of course, there’s my favorite work of advocacy, Encounters at the End of the World, in which Werner Herzog tells us to steer clear of “abominations” like yoga studios and ATMs, and attempts no impartiality in regards to suicidal penguins. Bottom line: it wouldn’t be crazy super weird if there were a lot of documentaries “telling you what to do” at Sundance, but the most successful nonfiction films of 2008 didn’t. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/12/4/37930.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/4/2008 12:01:37 PM
Body: I’ve spent the morning combing the various Sundance line-up overviews, wherein reporters for a variety of publications digest the four competition line-ups announced yesterday in an attempt to find an overarching theme/predictive slant which they can then hand-deliver to their mainly mainstream audiences. One thing I’ve learned: such stories should never be read back-to-back. “Sundance’s writers and directors are turning toward more uplifting narratives,” writes John Horn in the LA Times. Oh good! Oh, but wait — according to USA Today, “The comedies are dark, and the dramas are even darker at the annual showcase of low-budget moviemaking.” What am I supposed to believe? But seriously, folks. One observation from Horn’s story is worth a ponder: [Sundance programming director] Cooper says the festival’s 16 competition documentaries, selected from 879 submissions, continue the nonfiction filmmaking trend toward advocacy and away from impartial journalistic observation. “They are basically telling you what to do, versus ‘This is something that is going on,’ ” Cooper says. I guess the word that rankles there is “trend.” I’ve never been to a documentary-heavy film festival that didn’t have its share of edutainment, but looking at the most successful nonfiction films of this past year (whether at the box office or with critics or with awards bodies, or all of the above), what’s notable is that surprising lack of prescriptive, “Here’s a problem … and a solution!”-style filmmaking. I mean, Man on Wire? The best reviewed documentary of the year and the apparent Oscar frontrunner? What is that advocating, exactly — art crime? Is the lesson of Trouble the Water that aspiring rappers who live in the path of hurricanes should try to have video cameras handy at all times? As far as high grossing films, there’s U2 3D, which tells us to … be U2, and get shot in 3D. You could definitely say that Religulous steers “away from impartial journalistic observation,” and there’s no question that it’s been a success, but there is some question as to whether or not an insult comic’s staged road trip really counts as “documentary”, let alone “advocacy.” And of course, there’s my favorite work of advocacy, Encounters at the End of the World, in which Werner Herzog tells us to steer clear of “abominations” like yoga studios and ATMs, and attempts no impartiality in regards to suicidal penguins. Bottom line: it wouldn’t be crazy super weird if there were a lot of documentaries “telling you what to do” at Sundance, but the most successful nonfiction films of 2008 didn’t. Originally posted on:SpoutBlog
]]>Thu, 04 Dec 2008 17:01:37 GMTSpoutBlogSpoutBlog on spout.com12/4/2008 12:01:37 PMI’ve spent the morning combing the various Sundance line-up overviews, wherein reporters for a variety of publications digest the four competition line-ups announced yesterday in an attempt to find an overarching theme/predictive slant which they can then hand-deliver to their mainly mainstream audiences. One thing I’ve learned: such stories should never be read back-to-back. “Sundance’s writers and directors are turning toward more uplifting narratives,” writes John Horn in the LA Times. Oh good! Oh, but wait — according to USA Today, “The comedies are dark, and the dramas are even darker at the annual showcase of low-budget moviemaking.” What am I supposed to believe? But seriously, folks. One observation from Horn’s story is worth a ponder: [Sundance programming director] Cooper says the festival’s 16 competition documentaries, selected from 879 submissions, continue the nonfiction filmmaking trend toward advocacy and away from impartial journalistic observation. “They are basically telling you what to do, versus ‘This is something that is going on,’ ” Cooper says. I guess the word that rankles there is “trend.” I’ve never been to a documentary-heavy film festival that didn’t have its share of edutainment, but looking at the most successful nonfiction films of this past year (whether at the box office or with critics or with awards bodies, or all of the above), what’s notable is that surprising lack of prescriptive, “Here’s a problem … and a solution!”-style filmmaking. I mean, Man on Wire? The best reviewed documentary of the year and the apparent Oscar frontrunner? What is that advocating, exactly — art crime? Is the lesson of Trouble the Water that aspiring rappers who live in the path of hurricanes should try to have video cameras handy at all times? As far as high grossing films, there’s U2 3D, which tells us to … be U2, and get shot in 3D. You could definitely say that Religulous steers “away from impartial journalistic observation,” and there’s no question that it’s been a success, but there is some question as to whether or not an insult comic’s staged road trip really counts as “documentary”, let alone “advocacy.” And of course, there’s my favorite work of advocacy, Encounters at the End of the World, in which Werner Herzog tells us to steer clear of “abominations” like yoga studios and ATMs, and attempts no impartiality in regards to suicidal penguins. Bottom line: it wouldn’t be crazy super weird if there were a lot of documentaries “telling you what to do” at Sundance, but the most successful nonfiction films of 2008 didn’t. 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/blogs/usesoap/archive/2008/3/10/26068.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 3/10/2008 8:53:07 PM
Body: One of my first “real” concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its “Joshua Tree” tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn’t found what I was looking for.After witnessing “U23D,” now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes – from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton’s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as “The Nightmare Before Christmas” or “Beowulf,” you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little “ghosting,” a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief “comeback,” (“Jaws 3-D,” “Friday the 13th Part 3-D,” “Amityville 3-D,” “Metalstorm: The Destruction of Jared-Syd,” “Spacehunter: Adventures in the Forbidden Zone”), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie’s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (“Where the Streets Have No Name,” “One,” “Pride,” “Vertigo”), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (“Sunday, Bloody Sunday,” originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end.
]]>Tue, 11 Mar 2008 00:53:07 GMTusesoapusesoap Blog3/10/2008 8:53:07 PMOne of my first &ldquo;real&rdquo; concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its &ldquo;Joshua Tree&rdquo; tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn&rsquo;t found what I was looking for.After witnessing &ldquo;U23D,&rdquo; now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes &ndash; from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton&rsquo;s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as &ldquo;The Nightmare Before Christmas&rdquo; or &ldquo;Beowulf,&rdquo; you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little &ldquo;ghosting,&rdquo; a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief &ldquo;comeback,&rdquo; (&ldquo;Jaws 3-D,&rdquo; &ldquo;Friday the 13th Part 3-D,&rdquo; &ldquo;Amityville 3-D,&rdquo; &ldquo;Metalstorm: The Destruction of Jared-Syd,&rdquo; &ldquo;Spacehunter: Adventures in the Forbidden Zone&rdquo;), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie&rsquo;s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (&ldquo;Where the Streets Have No Name,&rdquo; &ldquo;One,&rdquo; &ldquo;Pride,&rdquo; &ldquo;Vertigo&rdquo;), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (&ldquo;Sunday, Bloody Sunday,&rdquo; originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end. http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
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