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Topic: Shine a Light stuff - top read Return to archive
14th December 2007 06:01 PM
Daethgod
dunno if this has been posted b4 .. grabbed it from IORR

you can almost hear the Scorsese thick NY accent :

Scorsese jerks a look at me and says, "Could you see his face? I couldn't see his face. Was he happy? Sad? Did he hate us? Could you tell? I don't know. I couldn't tell. I have no idea."

----------------------


The Making of "Shine a Light" Anybody else read this article? new
Posted by: DaveG (IP Logged)
Date: December 14, 2007 22:28

I found this article in a recent supplemental magazine with Conde Nast Traveler. It contains some great nuggets of information about how the film was conceived and put together. This may not be anything new, but I found it fascinating.

Soul Survivors
By Mitch Glazer
Nobody does rock 'n' roll like the Rolling Stones. Nobody uses it like Martin Scorsese. MITCH GLAZER joined the team as the legendary band and director filmed Shine a Light
Producer Steve Bing has an idea: Martin Scorsese and the Rolling Stones. It's February 2006, 36 years since the last, best Stones film, the Maysles brothers' masterful Gimme Shelter, and the Rolling Stones are in the middle of a record-shattering world tour, playing with more daring and heart than ever. It's time, way past time, for the world's greatest director to capture the world's greatest rock 'n' roll band in concert. Bing's just co-financed Jonathan Demme's soulful Neil Young-concert film, Heart of Gold, but to a lifelong music fan, a Stones-Scorsese movie is the holy grail. Steve Bing is in.

Nobody uses rock 'n' roll like Martin Scorsese. Nobody gets rock 'n' roll like Martin Scorsese: Robert De Niro's slow-motion, "Jumpin' Jack Flash" descent into a hellish Little Italy bar in Mean Streets or Ray Liotta's coke-fueled implosion in GoodFellas (a 10-minute rocket sled: Nilsson, Stones, the Who, Muddy Waters, George Harrison) or Jack Nicholson in The Departed, humiliating a pedophile priest to the Beach Boys' breezy "Sail On, Sailor." Scorsese has a great musician's feel. He finds the groove, weds the ideal song to a scene like a bluesman bending a note. It's instinct and immersion.

He heard doo-wop (and Verdi) on the stoops of Little Italy, rocked in the Brooklyn Paramount Theatre in '57 to Buddy Holly, Little Richard, and Jerry Lee Lewis, and then found himself onstage at Woodstock with N.Y.U. buddy director Michael Wadleigh and (future Scorsese editor-for-life) Thelma Schoonmaker. Scorsese actually edited Sly Stone's delirious, defining "I Want to Take You Higher" sequence from Woodstock. A couple of years later Scorsese cut The King, receiving "montage supervisor" credit on the 1972 film Elvis on Tour. And all of this a prelude to his grand re-invention of the concert film, the Band's rocking elegy, The Last Waltz. Toss in Michael Jackson's "Bad" video; producing an encyclopedic blues tribute, Lightning in a Bottle; and a peek behind the mask in the revelatory Bob Dylan documentary No Direction Home, and you have the greatest practitioner, interpreter, and champion of rock 'n' roll in film.

The Rolling Stones are special for Scorsese as well. They are a constant in some of his finest work; "Gimme Shelter" alone floats ominously through GoodFellas, Casino, and The Departed. As Scorsese says, "No matter what, we always thought of the Rolling Stones as our band. New York's band. The conviction, the soul, the attitude ... there's something New York in their music, you know? They may be from London, but they're a New York band."

Scorsese is in.


Mick Jagger has an idea. Actually two ideas: Scorsese should multi-camera-shoot a huge stadium show in Amsterdam. (Jagger sees the size and spectacle, the theater, of the Rolling Stones' stadium show as inherently cinematic.) He also has a notion for a scripted narrative, a written intro and coda that will frame the concert, give shape and drama to the movie.

Steve Bing has another idea ... me. After the Heart of Gold premiere, on February 7, 2006, he calls and asks me, "Would you be interested in writing the scripted intro to ... " Yes. I'm in.

The next night, Scorsese calls. I don't remember too many details of our first chat–it's like Randy Newman fantasizing about hanging with Bruce Springsteen in "My Life Is Good": "Oh, we talked about some kind of woodblock or something. And this new guitar we like ... " Me and Marty (that's how he introduced himself), you know, two movie guys talking about everything from Robert Graves and the ancient Greek philosophy of performance to the Rolling Stones. I do remember he's inspired (inspiring), funny, fast, and collaborative. He recommends one of his favorite concert films, Bert Stern's documentary about the 1958 Newport Jazz Festival, Jazz on a Summer's Day. Scorsese and Jagger have spoken about using it as a template–it's Jagger's favorite as well. Scorsese is neck-deep in editing his new movie, The Departed, and eager for ideas. This can't just be another concert film. The Rolling Stones have shot and sold virtually every world tour they've ever done. There has to be a reason: the bittersweet finality of The Last Waltz, murder and the death of the hippie dream in Gimme Shelter, Newport's class-color war in Jazz on a Summer's Day. A context, a story.

A few weeks later, I fly to New York for the first of several meetings with Scorsese. They take place in his office, on 57th Street, and in his Upper East Side town house. He invariably strides in from editing The Departed, shaking his head, laughing about the insanity, the chaos of the movie: "Is it shit? Is it great? I don't know. I have no idea. What the hell is it? We've got some great things. I know that. Some great scenes, but it's crazy, a crazy puzzle. This one could go any way. It's happening right now. Right next door." Sitting down on the other side of the coffee table. "So ... the Rolling Stones." And off we'd go. Our meetings, prefaced by Emma Tillinger (Scorsese's Sikelia Productions head) with "Marty's only got an hour today," always wonderfully stretch all afternoon. Somewhere in the middle of these marathons, we find the heart of the beast, the reason for his concert movie–the Stones, the city, and, at my insistence, Scorsese. Create the dream Rolling Stones concert in a small, sweaty venue in New York City and let Martin Scorsese's passion loose in front of and behind the camera. Simple. Bliss.

Keith Richards says he'll do whatever Martin Scorsese wants.

Steve Bing gets Mick Jagger to agree to a meeting in New York where he and Scorsese can present their notion of a more intimate venue, officially pitch the idea of a Stones-Scorsese-New-York-City concert film, face-to-face. I'm invited, I assume, as a human sacrifice.

We meet in the Carlyle lobby around three in the afternoon, March 14, 2006. Everybody seems slightly ... jangly, Scorsese more caffeinated than usual. Bing calls up to Jagger's room; we pile into the elevator and head to the penthouse. Somebody ushers us into the suite's living room. A love seat and a single chair face an overstuffed armchair positioned in front of the picture window. Michael Cohl, the Stones' longtime tour director, greets us and gestures to our seats. Cohl is bearded, intense, and seems to be glowering. Fortunately, Victoria Pearman, president of Jagged Films and an ally, steps into the suite behind him.

Bing takes the offered chair, and Scorsese and I sit side by side in the love seat. As Mick Jagger glides in, smiling, subdued, regal, and sits in the armchair facing us, I can't help but notice that Scorsese and I are staring into a blinding sunset. The sun is setting in the picture window directly behind Jagger. His face is completely in shadow: a total eclipse of the Mick. After a few moments of casual industry chitchat, Bing says something like, "Well, I think Mitch has some ideas for the movie." I swallow, fix my gaze at what I assume are Jagger's eyes, and launch into the Stones-Scorsese-and-the-city pitch about an intimate, roots, rock 'n' roll venue, the band sharing the stage, he and Richards sharing a mike ... Fairly quickly we're in the elevator heading down to the lobby. Silence. Bing clears his throat: "Hey, I think that went pretty well." Scorsese jerks a look at me and says, "Could you see his face? I couldn't see his face. Was he happy? Sad? Did he hate us? Could you tell? I don't know. I couldn't tell. I have no idea."

Six months later, on Sunday, October 29, and Wednesday, November 1, 2006, in New York's elegantly wasted Beacon Theatre, the Rolling Stones give two heart- stopping performances (the second show is already considered legendary by Stones aficionados). Martin Scorsese and his hall-of-fame cinematographers (Albert "Gimme Shelter" Maysles, Bob "The Aviator" Richardson, John "The Thin Red Line" Toll, Emmanuel "Children of Men" Lubezki, Ellen "Eternal Sunshine of the Spotless Mind" Kuras, Stuart "Once Were Warriors" Dryburgh, etc.), with their 17 cameras, shoot the shows to death, while Scorsese hunches over a bank of monitors in the dark director's booth in the rear of the theater. The band roars, the hall shudders, all 17 camera shots flicker before him, total rock 'n' roll chaos. "I'm gonna vomit," Scorsese says to no one in particular. Months later he'll reflect, "It's pure adrenaline. It's like a car race. I mean, you're just going. And it felt to me the concert was over in 20 minutes. I have no idea what happened. That's the fun of it. The fun of it is the anxiety. The fun is not knowing what you're going to get."

The concert film, Shine a Light, is everything the shows were: raw, soulful, furious, ageless rock 'n' roll ... and more. The cameras are where we've never been before: a shot from behind Charlie Watts's drum kit catches Jagger as he spins his crazy, teenage body away from the audience, smiling and rolling his eyes at his exertion; Richards' hands, permanently gnarled around his guitar neck; Ronnie Wood, all Popeye grin and rooster cut, delighted at his own newly sober skills; Mick and Keith, brothers for 50 years, touching foreheads, sharing a mike and a wink during "Far Away Eyes."

The context, the reason for Scorsese's Rolling Stones film, in the end, transcends the venue or the city or Marty Scorsese himself; it's the fragility and triumph of this wonderful moment. Last year Keith Richards underwent brain surgery, Ronnie Wood fought his addictions in rehab, and Charlie Watts battled throat cancer. This will not go on forever, and they know it. And the Rolling Stones are still younger, tougher, cooler, and play better than you. This show, this film, is the Stones' gift. Their joy and virtuosity, their casual rock 'n' roll heroism, is caught and celebrated by perhaps our finest director. Rip this joint, indeed.
14th December 2007 07:29 PM
Left Shoe Shuffle Top read indeed.

Thanks for posting.
14th December 2007 07:32 PM
gotdablouse thanks for sharing, definitely pumped me up about that movie after the letdown of the postponment. Love Gimme Shelter (or is it Monkey Man?) in Casino too, best rock momment in a movie!
14th December 2007 07:36 PM
Jumacfly great article Daeth.

thanks to this guy we won t have licks number3 DVD

Really looking forward for the movie.
14th December 2007 07:49 PM
open-g

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14th December 2007 09:11 PM
Paranoid_Android I read that article too, about a month ago...it came with our COOKIE magazine...lost the suppliment...it was a good read...top 50 soundtracks...the death of DISCO...Shine a Light...other stuff too
14th December 2007 11:19 PM
corgi37 I am now excited about this again.
15th December 2007 07:00 PM
Jaggedblues
quote:
The concert film, Shine a Light, is everything the shows were: raw, soulful, furious, ageless rock 'n' roll ... and more. The cameras are where we've never been before: a shot from behind Charlie Watts's drum kit catches Jagger as he spins his crazy, teenage body away from the audience, smiling and rolling his eyes at his exertion; Richards' hands, permanently gnarled around his guitar neck; Ronnie Wood, all Popeye grin and rooster cut, delighted at his own newly sober skills; Mick and Keith, brothers for 50 years, touching foreheads, sharing a mike and a wink during "Far Away Eyes."

I can't freaking wait for this movie..
17th December 2007 07:38 AM
Moledmc Thanks for this. I simply can't wait. They better bloody play it at the Odeon.

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17th December 2007 11:00 PM
robpop Nice read. looking foreward to the film and Mick singing with the yinzer chick.

[Edited by robpop]
17th December 2007 11:31 PM
Some Guy Some Guy is in.
18th December 2007 07:39 AM
glencar 4 months away...

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