Is this documentary separate from the concert film, or is all the same thing?
Is this documentary separate from the concert film, or is all the same thing?
Do u know which night it will be screened?
James, Aziz, & David Chang........great picture hahaha
Yes. Yes. Yes.Coffee was just one of a seemingly encyclopedic collection of Murphy's obsessions and areas of expertise. He was wearing a gray suit he'd had custom made in Shanghai. He showed off the breast pocket, which had overlapping pockets for an iPhone and regular cell phone.
It was his own design.
At Hard x Mouth Taped Shut in LA:
10/29 Hot Chip @ The Fox Theatre
11/07 Rufus Du Sol @ The Mezzanine (?)
11/13 Mr Little Jeans @ The Rickshaw Stop
11/20 Keep Shelly in Athens @ Awaken
1) Jame's Espresso Line..I wonder which ONE shop he's talking about
In watching the Sundance screening of Shut Up and Play the Hits, the documentary of LCD Soundsystem's final show ever at Madison Square Garden, it is clear that James Murphy loves three things: music, his French bulldog, and coffee. He loves coffee with a passion unmatched by pretty much any somewhat famous person besides David Lynch, who has his own coffee line and has been known for putting rants about the virtues of coffee versus tea in movies like Inland Empire. In fact, when Stephen Colbert asked Murphy what he wanted to do now that he was retiring from rock stardom, he said, "I like to make coffee."
Much of the documentary's footage of Murphy at home has him crouched by an espresso machine, and the film's British directors, Dylan Southern and Will Lovelace, insist the portrayal is pretty accurate. "I make a lot of coffee," Murphy told us in an interview after the movie's premiere. "For my birthday, my girlfriend got me a training course with the world champion. That's what I'm going to do when I get back to London." Not only that, Murphy is working on his own espresso blend. He plans to "just go to a roaster who lives near me and start tweaking beans and temperatures." Why? "I thought it would be fun. I have beans that I like. I like this sometimes and that sometimes. Sometimes in the middle."
Murphy will only distribute this special blend at a single shop, but as for what shop and what particular beans, Murphy can't say. "I can't talk about that because I'm still in negotiations," he said, laughing. "I love that we're here and talking about a film, but I'm like, 'I can't really talk about the coffee.'"
2) I really hope Us v Them is one of the half dozen or so songs that made the cut!
When LCD Soundsystem front man James Murphy announced he was closing up shop on the band he founded, filmmakers Will Lovelace and Dylan Southern had to know why. They approached Murphy with the idea of making a movie about his journey and his decision to go out on top. Then LCD announced they would play one final show in New York's Madison Square Garden and Lovelace and Southern's epic concert docu took form. Call it The Last Waltz for the electro-DJ-generation. Lovelace and Southern's creation is a complex, yet beautifully constructed exploration of legacy, set to some of the most attractive concert footage in recent memory. LCD and music fans rejoice; this is one of the best concert documentaries in years.
At the heart of Lovelace and Southern's film is an innovative structure that follows events on four separate chronologies. While this threatens to be overly complicated and confusing, the directors and editor Mark Burnett handle it with grace, gliding seamlessly between the threads. The stunning camera work from Reed Morano and her team (that includes Spike Jonze) keeps the stories linked by a consistently gorgeous visual experience.
The backbone of the film is the Madison Square Garden show. The majority of the half-dozen or so songs are shown without interruption, allowing LCD fans to soak in the glory of such hits as All of My Friends, North American Scum, and Losing My Edge. An interview of Murphy by pop culture guru Chuck Klosterman pilots us through much of the visual experience. Klosterman stands in for the director's voice, goading honest answers from Murphy with his meticulously crafted questions.
Klosterman's and Murphy's often disembodied voices float over the third chronology which follows Murphy as he travels through the first day of his post-LCD life. From waking in the previous night's tuxedo shirt to the sad realization he needs to sell the band's touring gear, these moments provide an intimate glimpse into the heart of a man at a remarkably transitory moment.
The fourth thread takes us back stage before and during the MSG show. For all the melancholia we feel throughout the day-after segments, the intellectualism of the Klosterman interview, and the pure musical catharsis of the concert components, these backstage segments provide the perfect counterpoint in their raw emotion; the accedence to the high of the performance.
It's easy to see what drew Lovelace and Southern to this undertaking. Murphy's decision to end his project at the pinnacle of its artistic output, just before crossing into mainstream culture, is a fascinating one. While the film hints at these reasons (Murphy's desire to have children, and enjoyment of his relative anonymity are two of them), in the end it seems Murphy is just as uncertain of his decision as anyone. What is certain is that the emotion of his quest for meaning, and the explosive musical form those emotions take, provide one of the most interesting and enjoyable musical documentary experiences in a long, long time.
I'm working on bringing "Shut Up and Play the Hits" to our theaters in LA (and other parts of the country where Landmark has a theater). Most likely the Nuart for LA. Will keep you LA peeps updated on possible midnight screening in the works.
Just don't do it during coachella weekends.
This film was incredible. The expository stuff about the band, etc. will be lots of fun to fans (everyone else's opinion will largely depend on how they feel about the "character" James Murphy is), but man oh man is the concert footage incredible. Just impeccably shot; I would put it up there with anything from Maysles and Pennebaker to Scorsese. The sound is loud and clear and amazing. I honestly can't say enough good things about how excellent this film looked and sounded.
From memory, the songs that get whole or significant portions of their run-time in the film are: "Dance Yrself Clean" (from the synth drop), "Movement," "Us v. Them", "All My Friends," "44:33" (Reggie Watts part and "Sound of Silver" snippet), "Losing My Edge" (starts in one of the verses and cuts at "Gil! Scott! Heron!"), "North American Scum," "Someone Great," "Jump Into the Fire," and "New York I Love You." It jumped around chronologically a little. And rest assured, everyone's busy working on a full concert film for home release. So This Is Happening fans will have to wait for that.
Oh excellent. I need me some pro shot, HD goodness of YEAH. Good to know that there still is the separate full concert film coming.
And I really loved Reggie Watts singing on 43:33. It's the one I listen to most from that audio recording from the stream.
why do you people keep trimming minutes off of 45:33?
You get second billing to the crying kid a few times, Gribble. I imagine you'll be able to catch quite a bit though, almost assuredly more than I could. They do an excellent job of filming the crowd, often from unique angles. The pit during "Movement" is seen bird's-eye, for example. Really looking forward to seeing the entire concert.
just some more stuff about stuff.....
James Murphy & 'Shut Up And Play The Hits' Filmmakers Say Full 4 Hour Madison Square Concert Will See The Light Of Day
We can't remember the last time a concert movie caused quite as much excitement as "Shut Up And Play The Hits." But given that the film is a document of the final gig of James Murphy's LCD Soundsystem, one of the most acclaimed bands of the last decade, it's easy to understand. Despite the dance-punk-glam-rock group reaching a point where they were more successful than ever before, Murphy decided to call it a day while still on top, breaking up the band after two sold-out gigs at Madison Square Garden last April.
And there to document it were British filmmakers Will Lovelace and Dylan Southern ("Blur: No Distance Left To Run"), who filmed not only the gig itself, but also the preparation and the aftermath, as Murphy begins to get ready for a life without his most famous alias. The film premiered at Sundance this week, and we managed to sit down not only with Lovelace & Southern, but also Murphy himself, to discuss the genesis of the film, whether the full concert will see the light of day (answer: yes), and what they plan on moving on to now that the film's in the can.
Were there any initial titles before [Arcade Fire frontman] Win Butler shouted out "Shut Up and Play The Hits?"
WILL: We were trying to put it to the back of our minds.
DYLAN: I think we had things in there, but no one was buying them, so when we screened it, it was "All My Friends," but it just...that was never a contender for the title. It was just a holding place. I think "What It's Like to Make Things" was a title at one point. But that was a kind of slightly different incarnation of the movie. Then, when Butler said "shut up and play the hits" onstage it seemed to fit. You know it was a cool title anyway. It kind of sticks in your head, but it also kind of in a way speaks to James' predicament as the central character. Being in a band, and what people expect of you, is one of the themes in the film, so it spoke to that, and also tied in to the concert element of the film.
How did this compare to your Blur project?
DYLAN: It was a very, very different kind of project. In that the Blur project is more of a traditional kind of biographical documentary, over a longer period of time. It spans twenty years of the band's history, and when we approach these music films we're always looking for what the story is beyond the music, and for us the Blur film was a story about a friendship. It's how these guys came together as young men, did this incredible thing together that ultimately pushed them apart, and it was all about that kind of reconnecting. This one we were kind of attracted by the nature of James' decision. It's almost the opposite of Blur that having got the band in an incredible position where they're at their most popular, where they're still friends, they're still making great music, they just decide to quit. It's the opposite of the rock and roll cliché, it's like there's no falling out over drugs or plotting out and playing shitty tours and stuff. They went out on a high.
WILL: I guess it's as unusual an ending as you could ever have.
DYLAN: It was fascinating to us, the idea of why you would do that and what it would feel like to do that. Sort of counter-intuitive? What's it like the day after you stopped this thing, was it the right decision to make? What are the possible reasons for that, and it was always our intention rather then make a biography film, which we did with Blur, to make a film that came from a very particular position or a very particular moment in time. And I just dealt with that moment and all the things connected to it.
How early on did you determine that structure or was it something you found in the editing room?
WILL: We talked to James about making a film for about six months or so before the Madison Square Garden show. We had it in a few different incarnations, as we were trying to work out what to do, but we always knew that it was going to be a film exploring why quit, why stop, and when they decided to play Madison Square Garden, that was the point that it worked.
How many hours of footage did you guys shoot in total?
JAMES: 48 just in concert, it's 13 cameras...
WILL: Like 100 hours I guess.
And you've been whittling it down to 100 minutes.
WILL: That's a good ratio.
You come here and you watch a movie about the end of this portion of your career. Is anything surreal anymore or is it just kind of taking it in stride?
JAMES: Anything surreal? Is anything not surreal about being here? It's a sea of weird looking sunglasses and gift bags and a movie about your band that everyone's staring at. I don't go to any music industry festival. Music festivals are just fans and bands, so I don't know how it compares. This is a super weird thing, so it's all surreal. So like the movie part, since I've been in a sound editing room seeing scenes, it wasn't like I did the concert and said see you guys next year, so a lot of the surrealness was hammered home quickly.
WILL: We actually spent Christmas together making it sound good.
JAMES: Exactly. We were pulling Christmas crackers.
Are there any plans for a release of the full concert?
WILL: Definitely. This film stands on its own but the concert on its own is a big deal.
JAMES: This film isn't the concert film. It's a story, it's like if it was a war movie it wouldn't just be the battles. You'd have battle scenes and the camp, and the show is like the battle scenes but there's a full concert that had to be separate, because it would be shitty to jam it into the movie. Who wants to watch a four hour movie of a concert plus the narrative part? But a fan would want to just see the concert, and I want to just for myself.
WILL: And we're discussing how that exists.
You have this very frequent juxtaposition between the loud moments on stage and the quiet moments of your life. How early on did you decide to do that? That great moment where everybody's clapping along to "Sound of Silver" and then abruptly you're going into the office.
DYLAN: That was a big part of what type of film we wanted to make. It contrasted James in the band, and the final show, this huge show, and then what happens the day after you finish. And you're probably on your own, as quiet a moment as you can get.
JAMES: It's not a debauched rock and roll morning.
DYLAN: You and your dog.
WILL: I think that's an important scene in the film, that kind of dissection of the perception that people have of musicians and bands. It was important to really have those bigger moments juxtaposed with those smaller moments. It's part of what the story's about.
Do you feel so far that calling it quits was the right call or is it always just kind of an open decision?
JAMES: I don't think it's the kind of call that can be without a certain type of sadness or regret. That's part of the deal but I'll stand behind it. If we didn't, I couldn't be here. And I wouldn't be able to do much else, that was the problem. Now that you ask me right now, that was the problem. If you asked me later, it would be a different reason to quit.
Are you working on any other projects or soundtracks?
JAMES: Right now, no, but I might. This is the exciting thing is I don't know.
Is there anything else you're into non-musically that you can do now that you couldn't do before?
JAMES: Yeah, this. This took a lot of time.
WILL: You get to retire, and then you get to work really hard.
DYLAN: We still have to do, I mean I still have a lot of mixing to do for the concert, like a lot to do. Production stuff and doing some fun non music stuff as well.
What do the other band members think of the film?
JAMES: They seem to like it. Nancy [Whang] saw it for the first time last night, she was really excited. Pat [Mahoney] said he was excited, but you know Pat. Gavin [Russom] loved it, Matt [Thornley] loved it, uh, Tyler [Pope] hasn't seen it, Al [Doyle] hasn't seen it, so don't know yet.
Do you guys have any sort of leads yet on distribution?
WILL: That's the plan but I don't have any leads.
JAMES: We luckily don't have to deal with that.
It's out of your hands. What do you guys have next after this?
DYLAN: The concert. Once that's done. I think the next project is going to be a move away from music films and we're trying to look at scripts, developing our own ideas, and bring something else to Sundance.
Coachella 07 (the introduction), 08 (the bands), 09 (the documentary), 10 (the people i came with), 11 (the relationship test... we passed), 12 (whatever the weather, Dirty Epic forever), 13 (the year of the troll)
- PEARL JAM WHY YOU HATE COACHELLA? -
There's a James Murphy DJ set happening at Mountain Jam this summer. As the name indicates, it's a pretty jam-oriented festival. For the most part the lineup isn't really to my liking, though I always think I might give it a shot in the hopes the crowds wouldn't be too thick for the artists I'd actually want to see.
GOV’T MULE (2 NIGHTS)
MICHAEL FRANTI & SPEARHEAD
TEDESCHI TRUCKS BAND
BEN FOLDS FIVE
THE WORD (FT. ROBERT RANDOLPH, JOHN MEDESKI, & NORTH MISSISSIPPI ALLSTARS)
JAMES MURPHY (DFA / LCD SOUNDSYSTEM) DJ SET
LOTUS TROMBONE SHORTY & ORLEANS AVENUE
THE TRAVELIN’ MCCOURY’S (FT. KELLER WILLIAMS)
KARL DENSON’S TINY UNIVERSE
GARY CLARK JR.
CAROLINA CHOCOLATE DROPS
CHARLES BRADLEY AND HIS EXTRAORDINAIRES
MARIACHI EL BRONX
BUSTLE IN YOUR HEDGEROW (FT. JOE RUSSO, MARCO BENEVENTO, DAVE DREIWITZ & SCOTT METZGER)
EOTO ANDERS OSBORNE
NIGEL HALL BAND
PLANET OF THE ABTS
THE LEE BOYS
SISTER SPARROW & THE DIRTY BIRDS
LUKAS NELSON & PROMISE OF THE REAL
CARAVAN OF THIEVES
THE PEDRITO MARTINEZ GROUP
KOPECKY FAMILY BAND
CONNOR KENNEDY BAND
I just learned that nancy whang did the vocals on soulwax's e calling and n y excuse.
Did you finally get around to watching ''Part Of The Weekend Never dies?''
I guess I wasn't paying attention during that part.
actually I wasnt an LCD sounsystem fan at the time and would have had no idea who nancy whang was.
and still we have no dvd.
For LA peeps expect a one night showing at Nuart in May. Although after it plays so well I'll guarantee it will be extended the whole weekend if not the whole week. Stay Tuned.
[SIZE=2]April 9th - The Residents at the Regent Theater
April 23rd - Parov Stelar at Club Nokia
May 2nd - Tortoise at the Teragram Ballroom
May 6th -*Sunn O)))*at the Regent Theater
May 7th - Melvins, Melt Banana at the Troubadour
May 16th - Brötzmann/Adasiewicz/Edwards/Noble at Zebulon
ATP Iceland, July 1-3, 2016*
FYF Fest, August 27-28, 2016*/SIZE]