‘Laurel Canyon’ ’60s /’ 70s L.A. The director of bringing rock back to life – diversity

Laurel Canyon is a real place, but it was founded in the late 1970s and early 70s by director Alison Elliott’s “Laurel Canyon.” The memory of the rock scene often came as a brigade-style dream.

The two-part documentary of the first half of Apex, which premiered on May 31, casts a spotlight on Birds, Doors, Buffalo Springfield, Mamas and Papas, Love, Frank Japa, and others who led to Woodstock, ix, and how they The people of the enclave were neighbors. The second part of Sagittarius on Sunday night featured Lloyd Jackson Brown, Johnny Mitchell, Crosby Steels Nash & Young, Linda Ronstadt, Flying Burito Brothers and, of course, the newcomer band whose previous theme was “History of Ag Gall”.

Diversity The twins have spoken to Ellwood in premieres about making the critically acclaimed dock.

Variety: With the exception of Henry Diltz and Nurit Wild, did you prefer not to have anything on-camera and only take audio interviews?

Ellwood: Just audio-out was the decision outside the gate. Our documentaries didn’t think of interviewing anyone on our camera except Henry and Nurit. They physically show their photographs or their slides, so not only do they have to talk, they have something to do with the camera. But we wanted it to be immersive and experimental. Especially when there are a lot of artists involved and you go out with different talking headlines, you were taken out of that moment. Unfortunately, several artists have died, and obviously we haven’t been able to interview them, and a distinction has been made between who was on camera and who wasn’t.

At first people might think, “I want to see what David Crosby or Michelle Phillips looks like now.” “But if you start thinking about how people have changed, it will be easier to get out of the movie.” Obviously, if anyone wants to know what Chris Hillman looks like now, he has the internet.

Properly. It is quite easy to find. Honestly, they are more self-aware of how they look as they get older. And that’s something we had to deal with Rock Docs in the past. [Laughs.] And you know that the last thing you want to do is rebuild because people don’t like what they look like. In any case, we weren’t going to do the on-camera interview for that. Interviews tend to be a bit more private and secure and casual without your face camera. And most were eager to take part, which was great.

It just seems like people who couldn’t get Neil Young and Johnny Mitchell, who could never be something easy.

We tried with the two of them. We tried honestly with Carol King and James Taylor, because they too were part of the scene – not exactly as much as the others. But all these people are people who, for whatever reason, are not very interested in this kind of interview. Thanks to us, Johnny and Neil had many archive interviews. And there were also several archive interviews with Carol King, but she never talked about Laurel Canyon, so it seemed a bit foreign. If we had found him, we would have included him.

Was there anyone you were most surprised to interview?

Quite a few things give great things. David Crosby wasn’t in the best mood when I gave him the interview – I walked away from that interview thinking it wasn’t going well – but he ended up saying a lot of good things. Johnny Echols (from Group Love) was just beautiful. Jackson (Brown) was a bit warlike with me, which was fun. He says, “There is nothing special about it. It’s a fairy tale. ”I would say,“ OK! That’s your opinion. [Laughs.]

You’ve been wanting to make a movie about this for 20 years, since you were fascinated by the door, so you were immersed in lots of lore. Is there a story you haven’t heard before?

I didn’t know about Peter Torque being a nudist. I didn’t know Steve Martin was dating Linda Ronstadt. It was a funny story. I didn’t know about the door / love connection [in which the latter band helped the Doors get a record deal, only to come to regret it]. I had no idea that Alice Cooper was absolutely tied up in the gorge. It came as a complete surprise. That’s the story he told me about Frank’s show at 7am for his audition [Cooper misunderstands that Zappa wanted him to come by the house the following night, not the following morning]- I mean, it’s just a classic, it’s funny. And Jappa then said, “Oh, no, go ahead. Do your job,” and then he signed them.

There are three more notable documentaries that have touched on this scene in the last year and a half – obviously “Echoes of the Mountains” and then there are docs about Crosby and Ronstadt. Did you like any edits as a result of first being published because something was already obsessed?

I deliberately didn’t see any of these films before we finished it. Some people on our team did, and they were aware of the crossover footage, so some of the footage used for a few other projects so we stay away so we won’t repeat. But in terms of style or anything like that, I was deliberately unaware of what they did before they finished. And from the beginning, we knew what we wanted to do, so it wasn’t like changing in the middle or anything.

How did you first feel about “Echoes in the Canyon” knowing that so many people would compare the two?

Honestly, I didn’t really think much about it. I’m relieved to know there aren’t too many footage crossovers to worry about. And I was relieved to learn that they only covered a certain deadline, because I knew our project was more comprehensive. I mean, it was a movie made by their design and our movie was different by design.

These other films only cover the period 1965-68, which has nothing to do with the careers of Jackson Brown or Johnny Mitchell, or why all the other names most involved with this canyon are wondering why. Your part will end in 1 ’99 and you will have part ‘2 in the mid-70’s.

Yes. We felt that the scenes there really started to stick once the border was established once in ’65 and after the agglomerates enlarged it, the scene in Laurel Canyon in the ’75 changed a lot. Most people are gone. Prices have become more expensive, so new waves of artists have risen above the punk scene as people can’t afford to stay there, so when the Laurel Canyon scene erupted outside. And I think the big thing Linda explains is that they don’t play in clubs anymore. A lot more money was happening, and they were building stadiums and stadiums and they were no longer playing for each other.

There aren’t a lot of visual signs in the canyon, for people who love L.A. Don’t really know how important it was for them to try to establish Laurel Canyon in a spectacular and geographical way?

We always felt that we wanted to create Laurel Canyon within ourselves and a character that had this mystery in it and was drawing all these people together. You know, it was to unlock this environment of doors and people would float and push each other and descend from each other up the street. And they were very close to the clubs, so they would go to the clubs and then the clubs would close at 2 and continue until the morning in the hills. What was fun in the gorge now in the horrible era of covids is that they brought it back. [some of that feel]. Everyone opens their doors on a certain night and plays all this music, so the music is picking up again with the canyon.

One of the things you have established is that L.A. How unique as a metropolis where you can be on this striking commercial strip and in less than three minutes become something that feels like a mountain, listening to owls.

Yes, it totally. Although I would argue that you won’t find it anywhere else in Los Angeles in three minutes. It may take you more than three minutes to pass the Canyon Store [from Sunset Blvd.].

There are Ultimant and Manson murders as you turn corners from 1st to 2nd. But you don’t pay too much attention to all the things that suddenly go dark, because after Johnny, Jackson and CSNY, such a big, encouraging thing didn’t seem to come. There is a kind of darkness, but it is still not dark at that time.

I think the tonal difference we were able to realize that we wanted to explore was that the darkness itself became more and more – because the undertones of the civil rights scene were happening in the first part. The Vietnam War was going on, and these guys were all draft-worthy. So under all those things it was always dark. But I think they were aware as human beings; They kind of grew up and became more aware of the darkness. Manson and Ultimant happened, and these things were especially tied to music and this hippie national movement, where suddenly hippies were considered (potentially) dangerous. It has moved and I think the music has moved. I mean, “Ohio” is very different from “for its value”. Although “what it is worth” has become music for Vietnam, it was not initially written about. And I think a lot of people don’t know that. The kids are trying to get to a club they don’t know about! [Laughs.] However, it became Vietnam to everyone. And I think the artists have matured and become more aware of their role in the world and their activity is starting to emerge.

Have you ever wondered if you would be able to keep people interested when you have photos or archive footage for so long?

No, I always had faith. I mean, first of all, those stills are incredibly beautiful, and I think stills capture so much information and tell stories and in some cases they are better than taking pictures. We also did a lot of Super-8 shots to make it look like old footage. Our photography director Sam Painter had a lot of fun playing with some visuals to do the B-role and sometimes people might not know what archive and what we shot and it was fun. And we got lots of helicopter shots and we deliberately wanted to make them look modern and new; We didn’t try to fake it. Ryan Saffron, one of the makers of the helicopter, wants people to know that they are not drone shots!

As far as vintage clips go, when you talk to Dill Clark in Neil Young, there’s nothing better than this. And Henry Diltz – some of us didn’t realize that he had this folk music background as a member of the modern folk quadrangle before he became a full-time photographer. Looking at him in those clips almost makes it look like you’re seeing spoofs, like a spinal tap like a folder.

I know, it’s so funny, he’s so intense. And even then when they go electric and he likes, “We don’t need to sing about the oxcart driver anymore,” you cut him off and he’s still intense she’s so pretty, she’s such a character. He is such a beautiful man. I adore Henry.

And you still have Diltz all the time in L.A.

I don’t know if you noticed in his arm, but the day we gave the interview, he has the wrist of a troubadour. He had gone to Troubadour the night before. He is still living.

Rock Doc Aficonados will make you think of your upcoming Go-Go movie a few years ago and now a “music documentary” between “The History of the Agglomeration”. But your career has expanded beyond that. How much music do you want to have on the dock track or not get too much typecast for it?

For me, until I learn something, I’m excited about a project. And music projects are so fun because, one, there’s music here that has a lot of great and then very interesting, volatile characters in and of itself in general, which makes for a good storytelling. Of course, I like to do music docs but I’m developing two more things, none of which have anything to do with music. I don’t want to keep labels that way, because that’s actually a very small part of my job. But I don’t love it.

You are not a woman of the gorge. You’re in L.A. এবং নিউ ইয়র্ক ছেড়েছেন এবং আপনি ম্যাসাচুসেটস-এর একটি ঘোড়ার ফার্মে বাস করেন। সিনেমা নির্মাণের জন্য কি সমান আগ্রহের ঘোড়াগুলি?

ভাল, আমি নিজেকে এখন একজন চলচ্চিত্র নির্মাতা-কৃষক বলি। আমি শহরে বসবাস করে ক্লান্ত হয়ে পড়েছি এবং আমি প্রায় 10 বছর ধরে দূর থেকে কাজ করছি। স্পষ্টতই যখন আমি ভ্রমণের জন্য বের হই – আশা করি এটি একদিন আবার ঘটতে সক্ষম হবে – তবে আমি যা করি তার বেশিরভাগটি বাড়ি থেকে করা যেতে পারে। আমার এখানে একটি আভিড সিস্টেম রয়েছে যাতে আমি প্রকল্পগুলির সম্পাদনাগুলির সাথে কী চলছে তা ট্র্যাক রাখতে পারি। … প্রায় ছয় বছর আগে আমার জীবনে ঘোড়াগুলি এসেছিল। এটি এমন কিছু নয় যা আমি কখনও জড়িত হওয়ার কল্পনাও করেছিলাম। আমি আমার কয়েকজন বন্ধুর সাথে উদ্ধার শুরু করেছি, এবং তারপরে আমরা যে জায়গাটি তাদের রেখেছিলাম তা বিক্রি করে দেওয়া হয়েছিল, এবং আমার সৈকত বাড়িটি বিক্রি করা হয়েছিল, তাই আমি একটি ফার্ম কিনে শেষ করেছি। এবং আমরা বাচ্চাদের সাথে চলচ্চিত্র নির্মাণ করি। তারা প্রাণীদের সাথে বন্ধন রাখে এবং আমরা তাদের চলচ্চিত্র নির্মাণের বিষয়ে শিক্ষা দিই। একে ফিল্ম ফার্ম বলা হয়।

আপনার গো-গো’র ডকুমেন্টারিটি, যা জানুয়ারীর সানড্যান্সে প্রিমিয়ার হয়েছিল, আগস্ট 1 এ শোটাইম আসছে you আপনি কি একই সাথে “লরেল ক্যানিয়ন” তে কাজ করছেন, বা কিছুক্ষণের জন্য একটি বা অন্যটি করা হয়েছে?

এটি বেশ একসাথে ছিল, কিন্তু শুটিং পুরোপুরি ভেঙে গেছে। এর যে কোনওটি শ্যুট করার আগে আমরা আসলে বেশিরভাগ গো-গো-র গুলি করেছি, সুতরাং আমরা বড় প্রযোজনায় যাওয়া শুরু করার পরে গো-গো’র পোস্টটি ভারীভাবে পোস্ট হয়েছিল was [on “Laurel Canyon”]. আমি অবশ্যই এই দুটি ছবিতে বেশ কয়েকটি সম্পাদনা জাগ্রত করেছিলাম, তবে আমি আগে এটি করেছি। এবং এটা ঠিক ছিল। তাদের দু’জনের মধ্যে, মূলত, ’65 থেকে ’85 অবধি 20 বছর ধরে এল.এ. দৃশ্যে বসবাস করা ভাল ছিল।