Don’t forget that Cameron’s Pearl Jam Twenty documentary will be accompanied with the release of a soundtrack and book! The book will include an introduction by Cameron. Amazon shows that the 256 page book will be published by Simon & Schuster with a release date of September 13, 2011. We will keep you posted when more soundtrack details emerge and when we get a release date for the documentary.
I’m pleased to present Cameron’s introduction to the recent book, Bob Marley and the Golden Age of Reggae. The book written by Roger Steffens and Jeff Walker focuses on the years 1975-1976 and includes some great photographs by Kim Gottlieb-Walker. For additional Bob Marley reading, you might want to check out Cameron’s piece in Rolling Stone that documents the shooting/assassination attempt from December 1976,
Budweiser also ran a “Tiny Dancer” inspired commercial during the Super Bowl…
In celebration of the recently updated Journalism section, I’m proud to present more rare Cameron Crowe penned reviews,circa 1972, from the San Diego Door. Cameron looks favorably on Mother Hen, Procul Harum: Live in Concert with the Edmonton Symphony, McKendree Spring 3 and Melanie’s Gather Me. On the other hand, there’s not a lotta love for the Raspberries Self Titled debut, Bloodrock Live and Grand Funk Railroad’s album Mark, Don and Mel. There are now 140 Cameron Crowe penned pieces in the Journalism section. Enjoy!
Just in case you missed it, Cameron created a documentary on the recent collaboration between Elton John and Leon Russell. This album is their first work together since 1970 and was produced by Oscar and Grammy winning producer T Bone Burnett. Cameron was present during the recording sessions and the resulting studio footage and interviews comprises the Making of the Union mini documentary available exclusively on the deluxe edition of the CD. There are plans for a full length version at some point in the near future.
As you recall, Cameron’s relationship with Sir Elton goes back many years to his days with Rolling Stone. Take a look:
Lastly, in another Crowe connection, the album cover was shot by esteemed photographer Annie Leibovitz. The 6 minute mini-documentary is also on YouTube, but I would seek out the DVD version for the best quality.
Cameron did another quick email interview with the folks over at MovieFone. Topics included Say Anything…, Almost Famous and his Oscar win for Best Original Screenplay. Here’s the highlights:
Moviefone: Compared with the other four films you wrote and directed yourself, where does ‘Almost Famous’ rank in terms of importance to you personally?
Cameron Crowe: [The most important is] definitely ‘Almost Famous,’ a script that was in my drawer as a passion project for a long time. I wanted to make a movie that paid tribute to a lot of very vivid characters I met [back] in the day, and also I wanted to make a movie about loving music. Every character, in some way or another, is dedicated to the way music can make you feel. On the right day, the right song can last forever.
I still make a mix CD every month, as a diary for how that month felt. ‘Almost Famous’ was like a mix in movie form. That’s the way it felt to be 15 and falling in love with life and music.
Were you any more or less meticulous about song selection on ‘Almost Famous’ than you had been on previous films?
I’m always meticulous, but in many ways the song chooses the scene. There is usually a song that I’ve written the scene to, like Led Zeppelin’s ‘Misty Mountain Hop,’or there is only one song that was meant to be in that spot. Songs are sacred things and you have to earn them. People hear them in a new way thanks to a movie, and you want the movie to always do the song justice. Take Cat Stevens’ ‘The Wind’ or Elton John’s ‘Tiny Dancer’ in ‘Almost Famous’ — they were the only two songs that worked. You know when it’s right.
You’ve gone on record saying that Billy Idol’s 1986 song ‘To Be a Lover’ was your inspiration for the boom box scene in ‘Say Anything …,’ so we were wondering if ‘Tiny Dancer’ was your first choice.
‘To Be a Lover’ was a song I liked for [exactly] one day — the day I wrote that scene. It never worked for the scene the day before or after. John Cusack is playing Fishbone’s ‘Bonin’ in the Boneyard’ in the actual scene, but when we put the movie together, it didn’t work at all. He seemed like a crazed Fishbone fan who just happened to be outside her window.
But with ‘In Your Eyes,’ it was like his life was leading to that moment. We were lucky Peter Gabriel let us use it. It’s a mystical kind of marriage, when a song works with film. I live for those kinds of marriages. It’s always fun to find that connection as a director.
‘Tiny Dancer’ was always the choice [for the ‘Almost Famous’ scene]. It was always my favorite song from the ‘Madman Across the Water’ album, and always felt like the perfect song that could bring a band back together. It’s also about the road and about the women you sometimes meet on tour. Thanks again to Elton for giving us all the separated tracks so that we could mix it especially for the movie.
What has Elton John said to you about that scene?
He’s discussed the song a lot, and it’s now a perennial in his live show. He also gives the movie credit for its resurgence, which is ridiculously generous. My mom called me one night not too long ago and said, “Quick — turn on the TV. Elton John is thanking you for ‘Almost Famous.'” I turned on the TV. It was surreal. He’s a completely surprising, generous artist whose work just gets stronger.
Of all the memorable scenes in the film, why do you think the ‘Tiny Dancer’ one has remained so indelible?
Because everybody in the scene loved the song so much and loved singing it — except for Noah Taylor, who plays the road manager. He loathed the song. He’s a punk-rocker through and through. If you look at his face, he’s in exquisite pain!
How satisfying was it for you that your script for ‘Almost Famous’ beat out, say, ‘Gladiator’ for Best Original Screenplay?
I was in shock. Fully expected Kenneth Lonergan’s wonderful script for ‘You Can Count On Me’ to win, and when they announced my name, the world turned psychedelic. I still don’t remember what happened next. I think [presenter] Tom Hanks saw the panic in my eyes and said, “Turn around, say a few words, have fun …” What I said at the podium, I have no idea.
“I am a golden god!” vs. “Show me the money!” — which quote wins?
“Show me the money,” because I just heard Obama quote it in the State of the Union address.
Last question: Whatever happened to Lloyd’s boom box, by the way?
It’s in my garage. I think I’ll play a Fishbone cassette on it tonight, in your honor.
Matt Damon, Script Supervisor Ana Maria Quintana, Cameron Crowe and Director of Photography Rodrigo Prieto
A few more pictures from late January have surfaced with Cameron (and crew), Matt Damon and Thomas Haden Church on the set of We Bought a Zoo. Enjoy!
For our retro bit this week, I stumbled across this great picture which was probably taken on the set of Singles. Front Row – From left to right, Chris Cornell – Soundgarden, Matt Dillon, Cameron Crowe. Back Row – From left to right, Jeff Ament (Pearl Jam) and Layne Staley. (Alice in Chains lead singer who passed away in April 2002). I’m sure we’ll get some great stories about Pearl Jam and their Singles involvement on the upcoming Pearl Jam Twenty documentary.
