In celebration of a recent screening of Almost Famous at the Alamo Drafthouse, Cameron spoke to Todd Gilchrist of Bad Ass Digest about the film. Here’s the interview:
We’ve got a brand new Journalism addition to the site today as Cameron profiles the rock group Boston in this lengthy interview for Rolling Stone. Boston was on top of the world and dominating the charts and sales, but feeling the sting of being a critical after thought. Topics include the bands history and the pressure on founder/leader/perfectionist Tom Scholtz to deliver their sophomore album…
Boston: The Band From the Platinum Basement
THE PHONE RANG AT SIX IN THE morning, early in 1975.
Twenty-eight-year-old recordman Paul Ahern grumbled into the receiver: “Who the fuck is this? This better be good!’ “It’s McKenzie. You gotta hear this, PA….”
As employees in Warner-Elektra-Atlantic’s regional office several years earlier, Charlie McKenzie and Paul Ahern were the young lions of Boston-area promotion. McKenzie had the ear, Ahern the rap. They became buddies with all the jocks and, one golden month in 1972, broke Yes and the J. Geils Band and placed thirteen company singles and album cuts on the Top Thirty playlist of Bostons WRKO. They had dreamed of finding the band that would take them off the street and make them “the idle rich,” but their era passed. Ahern moved to L.A. for a better job with Asylum Records. McKenzie left WEA but continued to work for other record companies in Boston. And he hung on to the dream…. You gotta hear this,” he was saying that early morning” in ’75. “Local guy, Tom Scholz … the group has no name. The whole tape is like this!”
Can you believe it’s been two years since Pearl Jam Twenty debuted at the Toronto International Film Festival? You can check out some goodies over on the PJ20 page, but I thought we would share this “Inside Pearl Jam Twenty” Interview with Cameron from Pearl Jam Radio on Sirius. This is the full length 1 hour and 12 minute interview. Enjoy!
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. Here’s the last part, enjoy!
What did you think about the film? Despite it being a fictional account, did it still hit home in a variety of ways?
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. Here’s Part 2:
I’m sure you don’t have a ton of time to watch films, but do you get a chance to take your children Milo and Ella to the theaters from time to time? If so, what are your favorite films or favorite type of films?
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. We will share a different question and answer over the next few days…
What was your reaction when you found out Cameron would be directing the film? Had you seen any of his previous films?
As part of the release of Mark Kozelek’s documentary Tour DVD, Cameron sat down for a chat with Mark. Topics include the new DVD, writing songs, interacting with fans on stage, Red House Painters, Almost Famous and much more. You can read the entire interview over at the Sun Kil Moon official site, but here’s a few choice snippets:
Cameron: Kris Kristofferson once said, “I write a sad song when I’m happy, because generally when I’m sad, I’m too sad to write a good song.” Where do you stand on the subject?
Mark: I’m the opposite. When I’m happy, the last thing that I want to do is shut myself away in a room and write. I generally write when I’m feeling down in an attempt to find some peace and contentment.
Cameron: You chose to film in black-and-white — what was the attraction to that?
Mark: That was Josh’s idea. We are both fans of black and white, and it helped a lot on the technical end of things.
Cameron: Are you finding that your older material feels fresh to you again when playing it in a classical style?
Mark: Yes. Nylon strings feel good on my fingers and sound better to my ears, so it makes me want to play the guitar longer and better. But yeah, something like ‘Katy Song’ or ‘Like The River’, I love playing them in the more formal, nylon string style.
Cameron: How do you go about selecting set lists for your shows? Does it depend on the city? The venue? How certain songs are feeling for you that day? Do the set lists change much from show to show, or do you have a similar set for most of a tour?
Mark: What usually happens is that I get on stage with a list of maybe thirty songs to choose from. But as the tour goes along, I add or subtract songs, depending on what I feel is working or not. Some songs are easy to remember, like ‘Carry Me Ohio’, but others, I have to sit down at sound check or in my hotel and re-learn. On one of those tours with Josh, that’s how we got the ‘Lucky Man’ hotel performance. I had completely forgotten it and was re-learning it in my hotel room one day. But seated and standing rooms are different. Sometimes I gauge my sets a little differently depending on the vibe of the crowd, and sometimes I tune my guitar a little lower if my voice is tired.
Cameron: Okay, last last question . . . are you ever going to act in another one of our movies? All our work was in the last century. Can we do some modern dramatic acting sometime soon?
Mark: Yes! I would love to. Give me a role and I’ll knock it out of the park. I promise.