Tag Archives: rockumentary

Upcoming Screenings

Upcoming screenings of COLOR ME OBSESSED, A FILM ABOUT THE REPLACEMENTS:

June 20th – Star Theatre, Portland, OR

June 23rd – Cafe Cinema, Virginia Beach, VA

July 5th – CBGB Fest, NYC

July 15th/16th – Hollywood Dormont, Pittsburgh, PA

July 23rd thru 29th – Cinefest Film Theatre, Atlanta, GA

July 27th – Cafe Nine, New Haven, CT

July 28th – Indie West Fest, Ventura, CA

Follow the film’s Facebook page for details and additional screenings.

Upcoming screenings of WHAT DID YOU EXPECT? THE ARCHERS OF LOAF LIVE AT CAT’S CRADLE:

June 15th – NXNE Festival, Toronto, Canada (World Premiere)

June 18th – Sled Island Festival, Calgary, Canada

July 5th – CBGB Fest, NYC (US Premiere)

July 7th – Cat’s Cradle, Chapel Hill, NC

Follow the film’s Facebook page for details and additional screenings.

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Filed under archers of loaf, Color Me Obsessed, documentaries, rockumentary, the replacements

What Did You Expect?

I finished editing my Archers of Loaf concert documentary WHAT DID YOU EXPECT? yesterday. I love this film. I love this band. I actually feel as if I somehow managed to capture their raw energy as well as their personalities in the film. And a lot of credit goes to my amazing crew: Jan Radder, Sarah Hajtol, Adrian Correia, Andrew Ross and Cory Maffucci.

It still needs color correction, a sound mix on the interview sections, and probably a little tweaking of a shot here and there. But it’s basically finished and I’m really happy with it. And also sad, that I won’t be blasting those amazing songs every day in my editing room.

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nerves

I’ve never been nervous about work before. But I am…about shooting the Archers Of Loaf live concert film WHAT DID YOU EXPECT? this week. I love this band. I truly do. And I want to make them the greatest fucking in-your-face kick-ass concert film of all time. I just have to make sure I do…

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The making of COLOR ME OBSESSED – part 31 (I NEVER WANTED MUSIC!)

A perfectly over-rated example of the rock doc genre is the Ramones flick END OF THE CENTURY. Yes, it’s better that the average VH1 special. But not by that much. In every frame you know that Joey is already passed onto the other side. Had the filmmaker begun the project two years earlier, I wouldn’t be making this criticism. But the film feels wrong to me. As do most rock docs made after a band is longer with us (for whatever reason). Whether that band be X, the Beatles, or anyone in between. Something is missing.

Which is why I never (“NEVER!” I screamed) wanted for a moment to give my favorite band of all time such treatment. I truly believe that any “traditional” doc on The Replacements will play like one of these VH1 specials. So, when the opportunity to make this film fell into my lap, I knew I had to come up with something as daring, as unique as my subject. That fuck-you to tradition that The Replacements so deserved.

I knew some would have issue with my approach. That, like the band at so many junctures in their career, I risked falling flat on my face. But, and anyone who knows my career knows this to be true, is was a risk I was more than willing to take.

What probably surprises me most is that some people insist I’m lying. That I couldn’t afford the rights to the Mats music. I have to think those people just can’t comprehend risk taking, or doing something different. They’re so caught up in tradition, they see the world through blinders and are unable to accept originality. How they ever became Mats fans is beyond me. Perhaps they grew jaded and crusty as they got old. Or perhaps they’re just jealous that it worked. As I know it does. As the dozens of IMDB reviews from people who’s seen the film at festivals have confirmed. Many of whom who entered with their arms folded against my no-music nuttiness, only to leave with a satisfied grin plastered to their face. Originality can do that. It can make you feel alive again. (If you give it a chance.) Sort of like The Replacements did the first time we all heard them.

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Filed under directing, documentaries, filmmaking, independent film, indie rock, rock n roll, rockumentary, the replacements

The making of COLOR ME OBSESSED – part 30

When CMO took on a life of its own, and honestly pushed every other project (ONE NIGHT STAND, and my new novel NOT SO PRETTY especially) aside, I started over-dosing on rock documentaries, or rockumentaries, if you will. There were many that I love:

I AM TRYING TO BREAK YOUR HEART, A FILM ABOUT WILCO is amazing because filmmaker Sam Jones is the luckiest sonofabitch on the planet. Not only did he get to make a doc on Wilco, he witnessed them recording one of their most acclaimed albums, the firing of one of their founding members, them being dropped by their label, then being resigned by another label (and payed three times the advance) owned by the same parent company. Seriously, there’s so much amazing conflict that you half expect Jeff Tweedy to discover a cure for cancer during the recording of Heavy Metal Drummer. Shot in glorious black and white, the film is perfect in almost every aspect. I love this movie.

THE DEVIL AND DANIEL JOHNSTON is another masterpiece. And why? Because filmmaker Jeff Feuerzeig had access to Johnston’s life in such extreme detail, nothing was missing. How could it be, Johnston recorded seemingly his every thought. This is of course more than a rock doc, it’s about mental illness and the power of art. It is a brilliant piece of filmmaking.

ANVIL: THE STORY OF ANVIL is yet another. It’s the real life SPINAL TAP, a true story of never letting go of the rock dream…no matter what. And it even has sort of a happy ending.

I bring up these three films for a reason: the access the filmmakers had to the band/musicians in question. They were all present, offering almost disturbing insight into their creative prosesses. These to me are the only sort of rock docs that work. Otherwise, the films play like a VH1 Where-Are-They-Now? Special. And not that there’s anything wrong with those specials. They’re fine for what they are: a fun look back at a band/musician we loved. But that’s all they are. They are NOT, nor will they ever be, FILMS.

Yes, children “FILM” is a sacred word.

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The making of COLOR ME OBSESSED – part 21.5

I’ve finally come to the realization that I’ll never be a blogger. And I’m okay with that. I think back to a filmmaking couple that did a very sweet little film that premiered shortly before my You Are Alone did in 2005. I saw theirs at the festival where my premiered. They started blogging about the fest circuit, about making their film, about being broke, pretty much about anything that came to mind. Regular blogs, video blogs, they were even quite popular.

But what I felt at the time was that they had stopped being filmmakers, and had become professional bloggers. Which is fine. If that’s what you want to be, and that you realize it’s what you really are. I’m not sure they ever realized that.

Since then we’ve really seen no other features from this talented couple. I’ve made Friends (With Benefits) and Color Me Obsessed, and I’ve already started work on three others. A weeks or so ago, when I was in Madison for the truly wonderful Wisconsin Film Festival, I had enough down time where I figured I’d get some blogs written. Instead I worked on the script for a film called Broken Side Of Time, which is part three of my planned Alone Trilogy. (Hell, it might end up being part two.) I worked on the script not because I needed to, there was no rush, no deadline, but because I wanted to. It’s what I like to do. It’s what I do. Blogging on the other hand feels like work. And I have no desire to become a professional blogger. I’m a filmmaker. And happy to be one.

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The making of COLOR ME OBSESSED – part 20

Diane was one of the first to contact me about this project, shortly after hearing that I’d taken it over. Little did I know at the time she would become our Color Me Obsessed angel, the executive producer that truly rose to the occasion at every opportunity, every chance I gave her. This would be a much different film without Diane’s participation. She became the sort of executive producer every filmmaker dreams of.

After her interview was over, she took us upstairs to her museum in the making, a collection of rare Mats memorabilia unlike I’ve ever seen in one location. Posters, tickets (she had a ticket for their SNL appearance!), vinyl, and even a test pressing. It was the collection the rock hall of fame should have, but doesn’t.

Next up, Ira Robbins, founder of the legendary Trouser Press. Now for those of you not rocking out in the late 70s, TP was the indie rock alternative to Rolling Stone. It was sort of the Pitchfork of its day. (Ira, please don’t hate that comparison, I mean it as a compliment.) The interview was brilliant. Here we had one of the most respected rock journalist of all time approaching the Mats from a historical perspective. Why they mattered. What made them different. What made them great.

As I once again said to Adrian one the drive home, “we have a movie!”

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