The Love We Make, a feature-length documentary concerning the immediate aftermath of 9/11 in New York City, will debut on Showtime on September 10, one day before the ten-year anniversary of the attacks. Paul McCartney will play the focal role in the film. The events documented will include his personal experiences of being in New York City on September 11, as well as the benefit concert with which McCartney was involved in planning and performing.
A list of big name celebrities will appear alongside McCartney in the documentary, including musicians David Bowie, Eric Clapton, Sheryl Crowe, Mick Jagger, Jay Z, Billy Joel, Elton John and Keith Richards, actors such as Steve Buscemi, Leonardo DiCaprio and Harrison Ford, and political figures such as Governor George Pataki and President Bill Clinton. Directing The Love We Make are Albert Maysles and Bradley Kaplan.
Showtime will air the documentary at 9 p.m. on September 10.
Source: Hollywood Reporter
The Stones previously employed such esteemed directors as Hal Ashby and Jean-Luc Godard to capture their raucous studio and onstage exploits on film. Martin Scorsese edited Woodstock directed The Band’s landmark concert film The Last Waltz and used Stones classics in Goodfellas and The Departed. So it was inevitable that Scorsese and the Stones would eventually collaborate. Why they choose to name their concert film--shot in 2006 over two nights at the Beacon Theater in New York--after the Exile on Main St. track remains a mystery. There’s little attempt to reveal anything new about how the Stones have laughed off “Steel Wheelchairs” jokes and accusations of irrelevancy to prevail for 46 years as “The Greatest Rock and Roll Band in the World.” Shine a Light is just your typical concert film--albeit one shot for a five-story movie theater. Only it’s not in 3D like recent concert films by Miley Cyrus and U2. And so we're denied the opportunity of having the tongue from the Stones' iconic logo being wagged inches from our faces.
Still as Scorsese effortlessly reaffirms old age hasn’t slowed down Mick Jagger Keith Richards Charlie Watts and Ronnie Wood. They work a stage harder than any of the current pop idols who weren’t even born before At the Max began its run in 1991 (yes you Ms. Cyrus).
The lines that were very much evident on Jagger’s face in At the Max now appear to be as deep as ravines in Shine a Light. But the lanky sexagenarian still possesses the vim and vigor to strut like a peacock during mating season. And his voice is as potent today as it was when he first requested “Sympathy for the Devil.” As for the other Glimmer Twin Richards looks like he’s just staggered off the set of the last Pirates of the Caribbean what with his black eyeliner and headscarf. Still it’s entertaining to watch Richards play up--and poke fun at--his “living corpse” persona. Oh and if you find yourself in need of a bathroom break wait until the guitarist croaks his way through “Connection” and “You Got the Silver.” As usual Watts and Wood leave the spotlight to Jagger and Richards. There are some special guests: President Bill Clinton introduces the Stones. A tinny Jack White ruins “Loving Cup.” Bluesman Buddy Guy steals a cover of Muddy Waters’ “Champagne and Reefer” from Jagger. But pity Christina Aguilera who holds her own against a lecherous Jagger on “Live With Me.” X-tina’s no prude but that doesn’t make it any less creepy watching Sir Mick bump and grind with a pop tart young enough to be his granddaughter. In the days and hours leading up to the concert an agitated Scorsese begs for the set list. He gets it seconds before the Stones take the stage. The opening song “Jumpin’ Jack Flash ” isn’t a sign of things to come. The Stones seem uninterested in satisfying those who bought Forty Licks for “Satisfaction”--at least until they start to wrap things up. Expect a dusting off of such lesser-known oldies as “All Down the Line ” “Connection” and “Far Away Eyes.” Scorsese pieces together the performances in a clear-cut and polished manner with his attention firmly fixed on the energetic Jagger and the lumbering Richards. The Beacon Theater which seats 2 880 provides a stark contrast to the stadium setting of At the Max. While its predecessor was all about pure spectacle Shine a Light is a welcomed attempt to show what the larger-than-life Stones can do when squeezed into such an intimate setting. The interviews and archival footage are good for a laugh but their inclusion proves to be superfluous. We know the age-defying Stones will roll on until they die. Scorsese would have been better served replacing them with more songs (like “Shine a Light ” which is only heard over the end credits!). Then again as Jagger’s reminded us for years we can’t always get what we want.
Besides the elbow-rubbing and power mongering, let's not forget that the Sundance Film Festival is also about the films.
With that in mind, the annual indie film fest announced today its partial list of films for the 2001 powwow.
The lineup for three categories -- dramas, documentaries and the American Spectrum -- have thus far been announced, and other areas such as premiere, international films and short films will be announced Wednesday.
Films at the festival only compete in the dramatic and documentary categories. Top films coming out of Sundance in previous years include Ed Burns' "The Brothers McMullen" and last year's "Girlfight" from director Karyn Kusama.
The Sundance Film Festival takes place Jan. 18-28 in Park City, Utah.
In the meantime, here's the complete list of Sundance films in competition and in the American Spectrum.
"30 Years to Life," directed by Vanessa Middleton "American Astronaut," directed by Cory McAbee "The Believer," directed by Henry Bean "The Business of Strangers," directed by Patrick Stettner "The Deep End," directed by Scott McGehee & David Siegel "Donnie Darko," directed by Richard Kelly "Green Dragon," directed by Timothy Linh Bui "Hedwig and the Angry Inch," directed by John Cameron Mitchell "In the Bedroom," directed by Todd Field "L.I.E.," directed by Michael Cuesta "Lift," directed by DeMane Davis & Khari Streeter "MacArthur Park," directed by Billy Wirth "Memento," directed by Christopher Nolan "Scotland, PA," directed by Billy Morrissette "The Sleepy Time Gal," directed by Christopher Munch "Some Body," directed by Henry Barrial
"Chain Camera," directed by Kirby Dick "Children Underground," directed by Edet Belzberg "Dogtown and the Z-Boys," directed by Stacy Peralta "The Endurance: Shackleton's Legendary Antarctic," directed by George Butler "Go Tigers!" directed by Kenneth A. Carlson "Home Movie," directed by Chris Smith "Lalee's Kin: The Legacy of Cotton," directed by Susan Froemke, Deborah Dickson with "Albert Maysles Marcus Garvey: Look for Me in the Whirlwind," directed by Stanley Nelson "The Natural History of the Chicken," directed by Mark Lewis "Ralph Bunche: An American Odyssey," directed by William Greaves "Scout's Honor," directed by Tom Shepard "Scratch," directed by Doug Pray "Southern Comfort," directed by Kate Davis "Startup.com," directed by Chris Hegedus & Jehane Noujaim "Trembling Before G-D," directed by Sandi Simcha Dubowski "An Unfinished Symphony," directed by Bestor Cram & Mike Majoro
"Acts of Worship," directed by Rosemary Rodriguez "After Image," directed by Robert Manganelli "Dancing in September," directed by Reggie Rock Bythewood "Diary of a City Priest," directed by Eugene Martin "The Doe Boy," directed by Randy Redroad "Haiku Tunnel," directed by Jacob Kornbluth & Josh Kornbluth "Invisible Revolution," directed by Beverly Peterson "Jump Tomorrow," directed by Joel Hopkins "Manic," directed by Jordan Melamed "Margarita Happy Hour," directed by Ilya Chaiken "Miss Wonton," directed by Meng Ong "Raw Deal: A Question of Consent," directed by Billy Corben "Roof to Roof," directed by Ara Corbett "Women in Film," directed by Bruce Wagner "Tape," directed by Richard Linklater "Wet Hot American Summer," directed by David Wain.