| 15th February 2008 07:42 PM |
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| glencar |
An ad? I wish I'd seen it! |
| 15th February 2008 08:43 PM |
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| mrhipfl |
here you go Glencar.
http://www.vh1classic.com/view/playlist/1571454/208509/Start_Me_Up_Rolling_Stones_Videos/Shine_a_Light_Auction/index.jhtml
and here's the auction:
http://www.vh1auctions.com/cgi-bin/auction.cgi?action=BuyerViewProductDetail&ProductID=1000000000307157
[Edited by mrhipfl] |
| 16th February 2008 10:51 PM |
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| Bitch |
auction bid is up to $3250
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| 17th February 2008 10:38 AM |
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| gimmekeef |
quote:
Bitch wrote:
auction bid is up to $3250
I almost put in a bid....its tempting...the meet the Stones part would be great ..but likeley one of those lame walk byes with 100 other "fans"..Plus I'd be so loaded I might puke on the red carpet |
| 17th February 2008 12:42 PM |
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| Gazza |
From The Sunday Times
February 17, 2008
Rolling Stones: Shine a Light
In the great new Martin Scorsese documentary Shine a Light, you'll see The Stones up close and personal
By Bryan Appleyard
Watch the Shine a Light trailer
Martin Scorsese has said of Shine a Light, his new film about the Rolling Stones: “There’s no more answering of the questions. The questions are always going to be the same, so what’s the answer? The answer is perform, and we’re going to show you the performance.”
As I came out of a screening of the film, a couple of young film hacks were whining that it didn’t “tell us what they’re doing now”. And one review of the Berlin film festival screening moaned that it was “simply another in a long line of concert films”, describing its documentary content as “peripheral and sporadic”.
Film hangers-on being slightly more stupid than the rest of us, you will probably be hearing a lot of this kind of stuff. Don’t listen. Shine a Light will blow you away, as it did me.
It consists primarily of the Stones performing over two nights at the Beacon theatre, New York. They have guests – Buddy Guy, Christina Aguilera, Jack White – but really, this is all about the four surviving (le mot juste) members of the band.
The show material is set up by black-and-white footage of a nerve-racked Scorsese and an aristocratically remote Mick Jagger discussing the set, and lots of vague hanging around. Weirdly, the Clinton clan appear at one point. “The Rolling Stones are waiting for YOU!” Hillary says disbelievingly to Bill. Then the performance footage is interrupted by clips of old interviews with the band. These circle round the theme of passing time. They enhance the sense of celebration and wonder. Against all the odds, against all the ephemerality of youth, against the self-inflicted punishment of the rock life, against Altamont and the death of Brian Jones, the Stones are still rolling. The questions have all been asked; the only answer left is to perform. This is what the Stones do, and this is what Scorsese, supremely, does. “The music stays. And the performance stays. This is something that I found inspiring. So I decided not to interview anybody.”
Scorsese has said he looked for a story for the film, but didn’t find one. In fact, he did. The performances themselves become a story, with extraordinarily vivid characters and songs as chapters. Never has Ron Wood been so Ron, Charlie Watts so Charlie, Mick Jagger so Mick and Keith Richards so, well, Keef. Buddy Guy produces the most moving moment in the film when, after an exquisite solo, Richards simply hands him his guitar. And I just didn’t know Aguilera could be this good. Scorsese hired the best cameramen in the business to shoot the performance, and it shows.
Yet, although the film says so much about the Stones, it says even more about Scorsese. This is, in some very fundamental sense, an autobiography. “When I was growing up,” he has said, “in my neighbourhood, there was music everywhere. In the summer, especially, you could hear the record-players and jukeboxes. They were always outside on the street. One was playing swing and another had ballads. Then somewhere else, say, on the second floor, there was opera. It was like a series of mini-concerts.”
He says the Stones in particular “fuelled” films such as Mean Streets, Raging Bull, Goodfellas and Casino. The music made him imagine scenes in movies. We all know about this. People now routinely talk about the “soundtrack of their life”. The car stereo and the iPod give us music everywhere, enhancing, layering and dramatising reality. Scorsese showed us how this works.
He is an operatic director. The Coen brothers, in No Country for Old Men, Paul Thomas Anderson, in There Will Be Blood, and many other contemporary directors have aspired to a pure, stripped-down form of storytelling. Scenes stand alone without any strong sense of directorial manipulation. But Scorsese cannot let anything stand alone. He loads every shot with expressive devices: who can forget Robert De Niro tumbling through flames to the sound of Bach’s St Matthew Passion in the opening sequence of Casino? Or he produces virtuoso, look-at-me camera effects, such as the interminable shot in Goodfellas when Ray Liotta takes Lorraine Bracco into a nightclub, and our own amazement at the shot matches her amazement at the street power of her new boyfriend.
The soundtrack has always been an essential aspect of this manic desire to wring the maximum effect out of every scene. As Scorsese has made clear, the record-players and jukeboxes of his childhood accustomed him, as they did all of us, to the idea that life itself had a soundtrack. Whereas in prerock films music was a self-conscious add-on, in postrock films, thanks largely to Scorsese, it became the natural accompaniment to the action. Mean Streets (1973), the movie that first established Scorsese as a modern master, is simply awash with pop and rock. No fewer than 23 songs – two by the Stones – are listed in the credits. Raging Bull (1980) has 29, Goodfellas (1990) 43, including the Stones’ Gimme Shelter, a track Scorsese can’t seem to live without. It appears most recently in The Departed (2006). These figures aren’t so amazing these days, but that’s because of Scorsese. He is also responsible, I believe, for the pervasive use of pop and rock tracks in advertising.
The point is not just that he used music, but that he did it so well. In the 1930s, in films such as Alexander Nevsky, Eisenstein and Prokofiev laid down the rules for music and movies. For example, they showed – and Eisenstein wrote about – how a single chord could echo the composition of a shot. Scorsese is not that cerebral – he’s too much of a performer – but he is just as great an artist. He doesn’t just chuck in any old tracks: he matches music to scene with impeccable taste. There is no more Scorsesean effect than the hard-rock track, one to which we might imagine ourselves bopping happily, laid over sequences of appalling violence. And, at such moments, there is no more dazzling expression of the discontinuities of modern life.
Meanwhile, Scorsese has punctuated his career with filming, not just using, the music. This part began when he was second unit director on Woodstock (1970), the rock-doc that, for baby-boomers, defined the genre. In The Last Waltz (1978), he filmed the Band’s farewell concert. He was blessed with an unparalleled lineup of stars, from Dylan to Van Morrison, Neil Young, Joni Mitchell and Emmylou Harris. But he didn’t just point and shoot. Through colour, editing and camerawork, he captured the epic sadness of the occasion. It was a farewell to rock innocence. But he also made Michael Jackson’s Bad video, a brilliant gangster/horror short, and, in 2005, No Direction Home, a documentary about Bob Dylan that Scorsese managed to turn into a masterpiece without actually meeting the singer. He is now planning films on the lives of George Harrison and Bob Marley.
There is an obvious theme here: Wordsworthian emotion recollected in tranquillity. A filmed concert is not the thing itself, it is a record of emotional intensity. By rejecting interviews and an excess of documentary content, Scorsese has made the act of recording the whole point of Shine a Light. But, though both films seem to look back, he makes an important distinction between The Last Waltz and this movie. “It’s a very different thing. The Last Waltz was a kind of elegy, looking back... It was more to do with a kind of a... not resignation, but an acceptance of time passing. In Shine a Light, in my mind, the Stones are still immediate. They still are as young [as they were in] the 1960s. They still are as young as the way they appeared in the 1970s. In my mind, Shine a Light is something that’s still of the present time, and is defiant.”
This is the thought of an older man – Scorsese is now 65. (There’s a very funny old-guy moment in the film when some lights come on with a blinding flash and a crashing sound, and he remarks that it has cleared his sinuses.) Where once he might have been content to live with rock and pop as ephemera, he now wants to assert their timelessness and significance. “In my mind,” he says, “I did this film 40 years ago.” But he had actually to make it – to get it out of his mind – to preserve those 40 years.
This is, perhaps, an obvious baby-boomer impulse, the desire to preserve the lives of the postwar generation. “This might,” he says, “give some sense of what it’s like as a working band on stage, for generations to come, for them to see this and appreciate who the band are.” As in the late 1960s, there is a need to insist, through film, that this is not just cheap music. Jean-Luc Godard’s Stones film, Sympathy for the Devil (1968) – which Scorsese regards as a masterpiece – is, in its way, a precursor to Shine a Light. That film also sees the sweaty practice of rock as of lasting significance.
The superior rock doc is a widespread phenomenon at the moment. At Berlin this year, audiences saw Neil Young’s rock doc CSNY Déjà Vu, about the 2006 Crosby, Stills, Nash and Young Freedom of Speech tour, protesting against the Iraq war. But the desire to preserve the rock experience on film goes further than that. On the straight performance front, Damon Albarn has brought his cartoon band to life with Gorillaz: Live in Manchester. And there’s Alvi and Moretti’s straight documentary Heavy Metal in Baghdad, about Iraq’s only heavy-metal band, Acrassicauda.
As so often with Scorsese, Shine a Light is a technical tour de force, a visceral hit and a film that expands in the imagination. Precisely because of the sheer quality of the filming, one sees Wood, Watts, Jagger and, preeminently, Richards for what they are: extraordinary, exotic, extravagant creatures, adepts of a strange ritual in which we have all, at one time or another, been participants. But it is also an artist’s autobiography, a tale told through feeling rather than event. In the midst of Scorsese’s mean streets, boxing rings, casinos and shoot-outs, there has always been music, there has always been the Stones. That’s the way it was. There’s no more answering of the questions.
Shine a Light opens on April 11. The Rolling Stones will be in London’s Leicester Square on April 2, as Shine a Light premieres simultaneously there and at 100 cinemas across the country via live satellite. Cinemagoers nationwide will experience a Rolling Stones concert as never before – as the fifth member of the band, from the front row and from behind the scenes. For details, visit www.shinealightmovie.co.uk. Tickets are on sale from March 7 www.bryanappleyard.com
[Edited by Gazza] |
| 17th February 2008 08:27 PM |
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| glencar |
Zexy! |
| 17th February 2008 08:47 PM |
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| mrhipfl |
I wonder how high the auction is gonna get. The gibson guitar you get with it could be sold on ebay for at least $3000 |
| 18th February 2008 10:19 AM |
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| Bitch |
According to the auction details, this confirms the Stones will be in NY on March 30th. It looks like it to me ~ Gazza~ man of wealth and information ~ please help me interpret the details ~ the NY details seem fuzzy ~ yet the London appearance April 2nd is confirmed. Why would they announce the London date and not the NY date since the NY date is earlier?
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| 18th February 2008 11:26 AM |
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| Gazza |
Beats me. Probably as much to do with the distributors in each country as much as the Stones.
Maybe also its more to do with the fact that New York isnt actually going to be the US premiere of the film - its going to be in Austin about three weeks earlier. So, there's going to be more media hype surrounding London than New York as the media interest for the US premieres will be split between two cities.
The UK premiere is also going to need to be planned and announced more in advance because of the simultaneous broadcast of it in 100 cinemas nationwide on the same date.
[Edited by Gazza] |
| 18th February 2008 01:37 PM |
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| open-g |
Nerve wins at the Berlinale
Wolfgang Krause isn't a celebrity - and never was a celebrity.
With the film industry, he has nothing to do. He's not even a film journalist.
Nevertheless, he succeeded in something, of which millions of people can only dream of:
In the past week, he has not only managed, without having any legitimacy, to smuggle himself directly to the red carpet premiere at the Berlinale and get in touch with stars like singer Mick Jagger, actress Goldie Hawn and director Martin Scorsese. He has also accomplished, in an adventurous way, to sneak into the 1600 film Celebrities occupied hall.
"With a mixture of nerve and courage," says the owner of the restaurant Le Midi -"and with a lot of luck."
Actually, Krause had hoped to get in with an official ticket.
"But there was nothing he could do, even Mick Jagger only got 60 tickets for his friends - even though he had 150 orders."
Nevertheless, he decided to roam the premiere cinema in an elegant evening outfit just to see if he could somehow enter.
His projects seemed to be doomed to failure early: "Even the journalists were sharply controlled." However, it startled??? him. "I held my phone to the ear, pretended as if I am busy - and simply marched past.
Suddenly, I was among the paparazzi. "In the following hours, he witnessed a unique Star parade: Stones boss Mick Jagger, rock legend Neil Young, singer Patty Smith, actress Hannelore Elsner - these were just a few celebrities directly in front of him giving interviews to ZDF-tv. His Digi-Cam clicked endlessly - professional photographers next to him could barely have made better photographs.
Meanwhile: His project, to give Jagger the book about the Stones appearance in 1965 in Munster failed.
As the stars passed by, Krause didn't want to accept that the evening for him was over.
"I crept through a side entrance unobserved, then through a stairwell, and finally through another door - until I suddenly found myself in the middle of the premiere cinema hall again." At the front there were the Stones, before him Hannelore Elsner and Mario Adorf.
Because no seats were available, he attended the opening of the festival from the side, standing. And once he was in, he enjoyed the premiere party - until 4 o'clock at night with a friend .
"I have spoken with the Heike Makatsch and Till Schweiger, 'said hello to Joschka Fischer. It was just great. "At least then his fear had disappeared, because in between, so Krause, he had to flee to the toilets, twice " to reassure myself again ".
In the end everything went well. For the man from Münster the evidence was clear: "Where there's a will, there's a way."
Saturday 16 February 2008 | Source: Westfälische Nachrichten (Munster) |
| 18th February 2008 10:46 PM |
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| Bitch |
quote:
Gazza wrote:
Beats me. Probably as much to do with the distributors in each country as much as the Stones.
Maybe also its more to do with the fact that New York isnt actually going to be the US premiere of the film - its going to be in Austin about three weeks earlier. So, there's going to be more media hype surrounding London than New York as the media interest for the US premieres will be split between two cities.
The UK premiere is also going to need to be planned and announced more in advance because of the simultaneous broadcast of it in 100 cinemas nationwide on the same date.
[Edited by Gazza]
Thanks man! ok if Austin is 3 weeks earlier that's March 14th, only 3 weeks away from now ~ not much hype about that yet ~ and why Austin of all places? It isnt very popular. For movie premieres, LA would be the place, and its surprising Hollywood isnt getting the US premiere. A better choice for celebrity hype and parties. Who thinks Austin is a good idea? |
| 19th February 2008 07:06 AM |
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| Gazza |
it's being premiered in Austin as part of the SXSW Festival which opens there on 10th March. It's a huge industry event. Just like Berlinale was.
Its not like SAL is going to be big box office. Premiering what will be a minor film in commercial terms as part of what is already a major media event makes probably better sense, publicity wise.
Movie premieres in Hollywood are two a penny. A Stones film premiering there would barely cause a ripple.
[Edited by Gazza] |
| 19th February 2008 11:44 AM |
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| Bitch |
OK thanks again Gazza! I checked the website for South By Southwest Festival, its a weeklong event from March 7 - 15th. SAL is scheduled for Friday March 14th at 7:30 PM.
Friday March 14th
Austin Convention Ctr
11:00 AM We Dreamed America U.S. Premiere
1:00 PM Nerdcore Rising World Premiere
3:30 PM They Killed Sister Dorothy World Premiere
6:30 PM FrontRunners World Premiere
9:00 PM Sex Positive World Premiere
Alamo Lamar 1
11:00 AM The Wild Horse Redemption U.S. Premiere
1:30 PM the Art of karaoke
1:30 PM Dancing Alfonso U.S. Premiere
4:00 PM The Amazing Truth about Queen Raquela North American Premiere
6:30 PM Pierre
6:30 PM The Marconi Bros. World Premiere
9:00 PM The Fashion 'Solo Impala'
9:00 PM Lomita 'Broken Boy'
9:00 PM Kissinger 'Sydney Stone'
9:00 PM Socadia 'Always Near'
9:00 PM The Good Life 'Heartbroke'
9:00 PM Riverboat Gamblers 'Don't Bury Me...I'm Still Not Dead'
9:00 PM Hey La La 'Art of Toys'
9:00 PM The Specimen 'Do U Damage'
9:00 PM Group Sounds 'Temporarily in Love'
9:00 PM Music Videos
9:00 PM TV on the Radio 'Me-I'
9:00 PM The Happy Bullets 'The Vice & Virtue Ministry'
9:00 PM Dead Meadow 'What Needs Must Be'
9:00 PM The Duke Spirit 'The Step and the Walk'
9:00 PM Sharon Jones and the Dap-Kings 'Tell Me'
9:00 PM Go!Team 'Grip Like a Vice'
9:00 PM Cornelius 'FIT SONG'
9:00 PM Albatross 'Giant'
9:00 PM Coparck 'A Good Year For the Robots'
9:00 PM Gravy 'Rock Scientists'
9:00 PM Yea Big and Kid Static 'The Life Here'
9:00 PM Love Like Fire 'I Will'
9:00 PM Blonde Redhead 'Top Ranking'
Alamo Lamar 2
12:00 PM Beijing Haze
12:00 PM The Problem with Machines that Communicate
12:00 PM The Execution of Solomon Harris
12:00 PM Mr. Mustache
12:00 PM Bachianas No. 5
12:00 PM The Soldier's Wife
12:00 PM Small Apartment
12:00 PM Reel Shorts 2
12:00 PM The European Kid
2:30 PM Reel Shorts 3
2:30 PM KID
2:30 PM Closing Night
2:30 PM The Stain on the Sidewalk
2:30 PM Glory at Sea
2:30 PM A Catalog Of Anticipations
2:30 PM The Second Line
5:00 PM Plan-b
5:00 PM Shot
5:00 PM Sprout
5:00 PM A New Toy
5:00 PM Clothes Horse
5:00 PM Quinceanera
5:00 PM The Aviatrix
5:00 PM Peterson's Savings and Loan
5:00 PM Texas Shorts
7:30 PM Wild Blue Yonder North American Premiere
10:00 PM Do You Sleep In the Nude? Regional Premiere
Alamo Ritz 1
11:00 AM Throw Down Your Heart World Premiere
1:30 PM Mongol Regional Premiere
4:30 PM Punk Rock Passport
6:30 PM Mister Lonely U.S. Premiere
9:30 PM Explicit Ills World Premiere
11:59 PM Not Your Typical Bigfoot Movie World Premiere
Alamo Ritz 2
12:00 PM The Apology Line
12:00 PM Don't Get Me Wrong U.S. Premiere
2:30 PM Paper Covers Rock World Premiere
5:30 PM The Black List Regional Premiere
8:00 PM Full Battle Rattle North American Premiere
11:00 PM Dance of the Dead World Premiere
Dobie
11:00 AM The Sweet Lady with the Nasty Voice World Premiere
1:30 PM Hori Smoku Sailor Jerry World Premiere
4:00 PM The New Year Parade Regional Premiere
6:30 PM Ubuntu
6:30 PM The Ostrich Testimonies World Premiere
9:00 PM Triage: Dr. James Orbinski's Humanitarian Dilemma Regional Premiere
IMAX
7:30 PM Shine A Light North American Premiere
Paramount
11:00 AM Shot In Bombay North American Premiere
1:45 PM We Are Wizards World Premiere
4:15 PM Older Than America World Premiere
7:00 PM Assassination of a High School President Regional Premiere
9:45 PM Dreams With Sharp Teeth World Premiere
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| 19th February 2008 01:40 PM |
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| gimmekeef |
So Austin premiere is Imax...That should hopefully create the buzz and then get the Imax US/Global dates and dates announced and tix etc... |
| 19th February 2008 09:26 PM |
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| Nellcote |
I was lucky enough to go to SXSW in '04.
Everyone should go at least once.
It is a wicked pissah musical extravaganza, in one of the best rockin cities in the US.
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| 21st February 2008 03:37 PM |
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| luxury1 |
it looks like Christina is attempting to escape Mick's grasp in today's header (courtesy Scope in the balcony, while some of us found better seats....). Did Max ever wake up to enjoy the show?? |
| 21st February 2008 04:20 PM |
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| open-g |
That's a funny scene in the movie too - she kinda yelps while Mick grabs her - tehehe |
| 24th February 2008 09:37 AM |
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| open-g |
The updated Shine A Light movie site is highly recommended.
you actually get to hear SAL and other snippets
http://www.shinealightmovie.com/main.php?swf=trailer
re-check it out! |
| 24th February 2008 05:19 PM |
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| speedfreakjive |
quote:
open-g wrote:
The updated Shine A Light movie site is highly recommended.
you actually get to hear SAL and other snippets
http://www.shinealightmovie.com/main.php?swf=trailer
re-check it out!
the snippet of Shine A Light is on in the background in the 'Download' section
Lovin Cup in the 'Gallery' section |
| 29th February 2008 04:56 PM |
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| TomL |
s |
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| Left Shoe Shuffle |
List of some IMAX theatres showing SAL here... |
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| glencar |
Mucho gracias! |
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| glencar |
I don't think that list is complete because the Shidoobbbbs are converging on a Manhattan theater for the 1st night. |
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| Left Shoe Shuffle |
quote:
glencar wrote:
I don't think that list is complete because the Shidoobbbbs are converging on a Manhattan theater for the 1st night.
Obviously not - hence the "some", with NY and LA being a couple of glaring omissions.
It's also going to be shown at the Tropicana IMAX in AC.
Unless they postpone it...  |
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| Bitch |
quote:
Left Shoe Shuffle wrote:
Obviously not - hence the "some", with NY and LA being a couple of glaring omissions.
It's also going to be shown at the Tropicana IMAX in AC.
Unless they postpone it...
LOL! The last AC postponement was due to the Beacon show! SAL! |
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| andrews27 |
Shine a Light? That's what the ushers do when you burn one, right? |
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| speedfreakjive |
updated info and website for the UK premiere -
http://www.shinealightmovie.co.uk/
seems like 100 cinema's will be getting the film, which is pretty sparse, not sure which ones though |
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| Ade |
quote:
speedfreakjive wrote:
updated info and website for the UK premiere -
http://www.shinealightmovie.co.uk/
seems like 100 cinema's will be getting the film, which is pretty sparse, not sure which ones though
one of them is my local fleapit, 5 minutes walk from my place...i hope to get tickets at 2pm today,
when they go on sale.
£12.50 and a t-shirt thrown in....
sounds too good to be true. |
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| Gazza |
saw the list in the Daily Express this morning.
We're not getting the premiere. Bastards.
Dublin, however, is one of the 100 "UK" cities who are, which is an interesting take from a historical and geographical perspective.
Tickets on sale today at 2 pm.
The film is shown nationwide from 11th April
[Edited by Gazza] |
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| Ade |
sorry to hear that Gazza-
yes, i noticed that Belfast wasn't on the list.
the national press adverts, this morning, are quite high profile, i expect the shinealight link, when it goes active at 2pm, will be akin to a mad frenzy.
I have to be honest, and say, i won't be losing sleep if i miss out on tickets
(as i generally do with these things).
The idea of this movie doesn't grab me, at the mo.
[Edited by Ade] |
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