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Jerry Maguire 20th Anniversary Blu-ray is Coming!

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To celebrate the 20th anniversary, Sony will be releasing a brand new edition of Jerry Maguire on blu-ray on January 3rd. It will feature a beautiful new transfer (from 4K), a new collection of extras from the Vinyl Films vault, plus all the legacy extras from previous blu-ray and 2 DVD special edition (inlcuding the video commentary with Cameron, Tom, Cuba and Renee). The newly created extras include a 40 minute retrospective documentary, Jerry Maguire: We Meet Again. The documentary features unseen behind the scenes footage, rehearsals, dailies and vintage interviews with the cast and crew. This doc is complimented by a new audio interview with Cameron and Tom discussing the film. It will be a Best Buy exclusive and also include a copy of the soundtrack on CD. We think you will really enjoy this look back at the film.

The disc is also packed with nearly an hour of newly uncovered Deleted/Alternate/Extended Scenes, a booklet with the Mission Statement (plus an intro by Cameron), a new photo gallery and the theatrical trailer.

Release Date: January 3, 2017
BD Disc Size: 50 GB Disc
Region Code: Region A
Video Codec: MPEG-4 AVC
Video Resolution: 1080p
Aspect Ratio: 1.85:1
Subtitles: English, French, Spanish, Portuguese

Sound:

  •  5.1 (English)
  •  5.1 (French), (Spanish),(Portuguese)

Extra Features:

  • Jerry Maguire: We Meet Again Documentary
  • Nearly one hour of never before seen deleted and extended scenes
  • Photo Gallery
  • Theatrical Trailer
  • Legacy Bonus Features
    • Picture in Picture (PIP) commentary by Cameron Crowe, Tom Cruise, Cuba Gooding, Jr. & Renée Zellweger
    • Deleted Scenes
    • Rehearsal Footage
    • My First Commercial with Rod Tidwell
    • Drew Rosenhaus: How to be a Sports Agent
    • Secret Garden Music Video by Bruce Springsteen
    • Making of Featurette

EW has a first look at the documentary.


Finally, here’s a look at the entire package with the Mission Statement Booklet, etc.

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Nov 22, 2016

Marvin Gaye: Trouble Man

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Four years ago, Cameron wrote the liner notes for the 40th Anniversary Expanded Edition of Marvin Gaye’s Trouble Man soundtrack. Enjoy!

A quick snapshot of Marvin Gaye, May 1971: Sylmar, California. It’s a rarely documented time in the artist’s life. He’d just finished What’s Going On, and hopped a flight from Detroit to Los Angeles to begin a co-starring role in an earnest film about a young Green Beret. He’s 32, newly shorn of the iconic beard that would characterize his creative gestation. In the summer of ’71, Marvin Gaye is an actor.

The film was not going swimmingly, the director uncommunicative with him, and Marvin was adrift in a world he’d known only as a fan, unaccustomed to set-politics, but ready to learn. It’s no surprise where Gaye found a homeon the camera truck, helping with the film operators, being close to the artistic creation of the film’s feel and look. Most of the camera crew was unaware of Gaye’s recorded work.

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Nov 21, 2016

Leon Russell: 1942 – 2016

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The Master of Space and Time

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Nov 13, 2016

Happy Birthday Joni

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Mitchell on Lake Mendota. 1976. ©Joel Bernstein

Today is Joni Mitchell’s birthday. Let’s celebrate this Monday with a few Cameron penned items.

Joni Mitchell Interview – Rolling Stone – July 26, 1979

Joni Mitchell Dreamland Liner Notes – September 14, 2004

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Nov 7, 2016

Capricorn Records – 5 Year Anniversary

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Cameron celebrated Capricorn Records 5 year anniversary for Circular magazine back in 1974. Capricorn was riding high with the success of the Allman Brothers Band at the time. The label would fold back in 1979 and then relaunch again in the 90’s before folding again. Viva Capricorn!

Capricorn: Five Years Later – The Sound of the South Sounds Fine

Macon has rapidly moved into the forefront as the new musical capital of the South due to the highly professional and dedicated efforts of Phil Walden and Capricorn Records. Georgians are proud of this emerging image and of the quality of musical production from Capricorn.

I have proclaimed the month of August as “Music Recording Month” throughout the State of Georgia, and the Third Annual Capricorn Barbecue is a fitting way to initiate the month. – Georgia Governor Jimmy Carter

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It’s a long way Capricorn Records has come in the five years since their quietly, auspicious emergence in 1969. Casually named after President Phil Walden’s astrological sign, the company began as a small Atlantic custom label with a one-artist roster. That single artist, a little-known session guitarist named Duane Allman, went on to assemble what was to become Capricorn’s blues-rocking focal point: The Allman Brothers band. The group’s hypnotic first effort, The Allman Brothers Band, served as a stunning debut release.

The road ahead proved a prosperous one, but not without turmoil. Duane Allman’s death in a 1971 motorcycle crash came just as The Brothers were beginning to experience mass acceptance with At Fillmore East. Suddenly the band’s personal life was thrown into mourning and their career into jeopardy. “We stuck together to survive,” says Greg Allman in retrospect. “It was probably at that point that I realized what an invaluable friend we all had in the Capricorn organization.” Only a year later, the closeness of that relationship would be tested once again with the death of bassist Berry Oakley. “By that time,” reflects Allman, “there wasn’t nothing gonna bust up the Family.”

More Than A Label

Phil Walden emphasizes the importance of record company involvement. “It’s crucial to become involved, to have a sincere interest. Most of the artists here eventually become tight personal friends. I think you’ve got to have that… I know you’ve got to have that.”Throughout their existence, Capricorn Records has wisely and tastefully built from, rather than around, their highly successful Southern blues-rock base. Signing such diverse artists as Livingston Taylor, Alex Taylor, Martin Mull, The James Montgomery Band, Eddie Henderson and, later, even Kitty Wells, Percy Sledge and Elvin Bishop, the company seemed determined not to see Capricorn Records become a euphemism for “The Allman’s Label.”

“It was our objective from the very beginning,” explains co-founder and executive vice-president Frank Fenter, “to have jazz, country, comedy and blues artists as well as rock. You can be a record label and produce one type of music, but you can’t be a record company. We’ve always anticipated being a thoroughly involved company.”

As we talk in the main Capricorn offices is located in the sleepy heart of downtown Macon, Fenter proves a flamboyant conversationist with more than a few theories on The Business. An Englishman who worked for Atlantic overseas in his pre-Capricorn days, the full-throttle passion Fenter exhibits in discussing his game plan has been more than justified by his track record. Toy Caldwell of The Marshall Tucker Band remembers walking into Frank’s lunch-hour-emptied office and leaving the group’s demo tape on the desk.  “We went back home to Spartanburg and the next day Frank was calling us up telling us to get our ass back down to Macon.” Within a week, The Marshall Tucker Band were signed to Capricorn.

“We’ll continue to sign artists,” Fenter assures, “but without losing sight of our original objectives. Phil and I may have been cocky at the time, but, although I never expected the success so soon, we were convinced that we would do something new in this business. Our way. We’ve always agreed on how to run a record company and how you should treat artists. You see, I believe that a record company should make money along with the artists. It’s not a one-way street. I don’t think the artist should screw the record company once he gets big, and I don’t think the record company should shaft the artist once it gets big.”

Rolling Dice

According to Fenter, most of the artists signed are brought to the label’s attention by other Capricorn musicians. “We never have gone out and actively pursued anybody in anyway. Capricorn is not into buying big names. We never have been and I hope we never will be. That’s not to say that if a major act became available we wouldn’t talk to them, but you won’t catch us stealing acts away from other labels by offering them more money than anybody else. That’s yesterday’s record business. We don’t believe in bidding. We don’t want to be viewed as another great rip-off company.

“If a guy comes in to us, gets an offer and then says ‘I could get $20,000 more from Columbia,’ we say ‘Good luck on Columbia man. I think we could do a better job and in the long run sell more records for you, but if the quick buck is where you’re at… have a good time on Columbia.’

“After all, it’s the record company that takes the first gamble. Somebody comes in off the street, sends a tape or gets discovered in some bar… it’s just like rolling dice in Las Vegas. But you don’t stand anywhere near the same odds. This time, they’re all against you. You finally click with somebody and who looks back to say ‘That record company sure took a big chance’? Nobody. It’s only ‘Look at all the money they’re making.'”Fenter pulls a hand through his curly black hair and pauses to re-evaluate. “I don’t mean to sound too hard-line,” he says.  “I’m proud of everything we’ve got. I couldn’t be prouder. We’ve known some fine people who’ve turned us onto some fine bands. At the same time, we been open-minded, careful, tasteful and choosy.”

The Finest Guitar

Perhaps a perfect illustration of that tasteful care is the manner in which Capricorn has posthumously treated Duane Allman. The excellent An Anthology was released two years ago to overwhelming critical and commercial acclaim. While a follow-up wasn’t originally planned, a superbly selected second album has been prepared for August release.

“Right at the beginning,” says Fenter, “when we put out the first anthology, we tried not to make it an Allman Brothers album. You know, for all the publicity Duane got in whatever way he got it, he never really got the attention that Clapton gets or that Hendrix got. His work with The Allman Brothers Band is known, but the earlier work was just totally obscure. We thought that, historically, those works should be made available. You can’t ask people to buy fifty albums. And who would know Duane was on them anyway, because on most albums he isn’t even credited. On this new album there’s even a song he sings, called ‘Happily Married Man.’

“We were left with a whole lot of tracks after we’d finished the initial double-set. There was a live version of ‘Midnight Rider’ where he plays licks that would put a lot of guitarists to shame today. That’s on the new one, too. If you’re into guitar-playing, these albums will show you every side to what I personally think was the finest guitar player to have ever lived. And don’t forget I’m from England.”

The desk phone rings. Fenter snaps it up. The several-minute-long conversation concerns a single of some sort. “Boy,” he sighs, hanging up, “that’s one tight band up there in Philadelphia. Duke Williams and the Extremes. You see, we’re putting out a new single ‘I Don’t Want To Smile.’ And we did an edit on the track that, well… the group doesn’t like to much. But it’s the only edit we could have done to give them a crack at the Top 40 listeners. I’ve given them several shots at singles before, now it’s my turn. And if I’m wrong, I’ll be the first one to fly to Philadelphia and say I’m wrong.'”

Capricorn Records, it seems, like Frank Fenter, just may have found the perfect balance between love, respect, and Billboard.

Courtesy of Circular – Cameron Crowe – August 12, 1974

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Oct 31, 2016

Elizabethtown 11 Years Ago Today…

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Wow, time really flies, huh? E-town was released on this date in 2005. Cameron shared some thoughts for the 10th anniversary last year. This year I thought we’d share a few behind the scenes pics and remind folks that some of the Deleted Scenes are available for your perusal. Dig in!

A collection of scene extensions or deleted scenes from the Elizabethtown script. This draft was dated March, 2003.

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Oct 14, 2016

Why Jack Ford Lives at Home

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Since election season is in full swing, we thought you might enjoy Cameron’s 1976 Rolling Stone cover story with Jack Ford. Gerald Ford’s son was a hot commodity back at the time. Young, handsome and campaigning for his dad, Gerald Ford. We hope you like it!

Why Jack Ford Lives at Home

A White House Portrait

“I’m Jack Ford and I’m here to reelect my father. I’m not just saying that because I want to stay in the White House. Quite frankly, I would gladly change places with you.’

Five days before the Michigan primary, on a sunny Saturday afternoon in May, the sprawling Fairlane shopping center, an indoor mall in Dearborn, is so thick with campaign workers of both parties that it’s hard to take a step without being accosted by zealous volunteers brandishing buttons and bumperstickers.

Today, the shopping center is being visited by a major campaign figure — once removed. A young Republican worker rushes up to a knot of people, breaking the news with breathless reverence: “Did you hear? The president’s son Jack is here! Just around the corner!” There’s a commotion around the corner, all right, and a strange, nervous chuckle is rising above the hubbub; sort of an emphatic ah-ha, followed by three slightly forced heh-heh-hehs.

Then around the corner comes the owner of The Laugh, surrounded by swooning teenage girls. Jack Ford’s three-piece suit — its color an exact match for his tousled sandy blond hair—hangs perfectly on his sleek, athletic, 24-year-old body. He loosens his tie and proceeds to sign the crinkled slips of paper thrust in front of him. He poses for dozens of Instamatic flash pictures and pumps every hand in sight.

“I’m Jack Ford and I’m here working to reelect my father. Can we count on your support?” That’s the stock line he recites to almost everybody. Everybody, that is, except the prettiest girls, who get a slightly bolder variation. The steely blue-green eyes linger a little longer on theirs and, at the beginning of the handshake, Jack will simply say, “Your hand feels a little cold.” On occasion he’ll turn to one of his Secret Service agents and remark wistfully, “I wish there was something we could do about that.” The effect is devastating, and instantaneous. One melted girl.

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Sep 23, 2016

The Last Load-Out

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Thanks to Showtime and J.J. Abrams for the opportunity to make the one and only season of “Roadies.” My mind is still spinning from the giddy highs of working with this epic cast and crew. Though we could tell a thousand more stories, this run ends with a complete ten-hour tale of music and love. Like a song that slips under your skin, or a lyric that keeps speaking to you, we hope the spell of “Roadies” lingers. It was life-changing experience for all of us.

So much appreciation goes out to the sensational actors and crew who lived and breathed these stories and characters with their whole hearts. We became a family, our own music-loving troupe. Thanks also to the musicians who lived so comfortably in the world of acting. And thanks to all at Bad Robot, and Winnie Holzman, great collaborators all. Big thanks to our fans for watching and cheering us on. We’ll see you soon with a new project… and many of the same actors, I’m sure. Here’s a little glimpse of the last night of filming. This is what every day felt like.

Love,

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Special Thanks to our directors and magic-makers like (get ready for some names!)… Irving Azoff, David Nevins, Robin Gurney, Gary Levine, Gail Levin, Thomas Yatzko, Kathy Lingg, “Mighty” Clay Griffith, Kelly Curtis, Ben “Socks” Stephenson, Peter Roth, Joel Schwartz, Tom Schnaidt, Mike DeGrazzio, Tamara Isaac, David Bilow, Elliott Eisman, Neal Preston, Jon Kasdan, Sam Jones, Allison Liddi-Brown,  Jeffrey Reiner, Julie Anne Robinson, Gavin “Hai” Kleintop, Janell Sammelman, Greg Mariotti, Andy Fischer, Cara McKeown, Joel Sinensky, Nicola Marsh, David Spade(!), Rainn Wilson, Marc Maron, Peter Schindler, Len Goldstein, Katie McGrath, Tom “100%” Mackay, Michele Anthony, Eric “We Gave Up European Dates with Neil Young!” Johnson, and of course huge thanks to the real bright-light Roadie who loaned us her name and her indominable spirit – Kellianne Murphy.

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Sep 16, 2016

Mike Finger’s The Blue and the Black