WRITER’S NOTE: As the opening paragraph indicates, this article was originally written ten years ago.
On June 27, 2012, singer and songwriter Paul Williams along with filmmaker Stephen Kessler appeared at the Nuart Theatre in support of their documentary “Paul Williams Still Alive.” After its conclusion, both men were greeted by a packed audience that had been deeply moved by what they just witnessed. The documentary follows up with Williams years after his enormous success back in the 1970s, and it finds him experiencing happiness and fulfillment in life he didn’t have back then.
Kessler has described making this documentary as “a labor of love,” but Williams quickly pointed out that it didn’t start that way. Their relationship when filming began was an uncomfortable one, but Williams eventually warmed up to Kessler, and their strong friendship proved to be very authentic as they talked with the audience at the Nuart. Kessler even went out of his way to say the following:
“I’ve never said this in front of people before, but you (Williams) were brave to do this movie.”
No one in the audience disagreed with this assessment. Williams described this as a “warts and all documentary” that shows him at his best and worst. One particular sequence, when he was co-hosting Merv Griffin’s talk show while on drugs, was one he originally wanted to be cut out as he was terribly afraid of what his kids would think about him. His son Cole, however, was in the audience, and when asked about what he thought of the documentary, he said, “It’s great dad!”
Kessler made it clear he had no intention of putting himself in this documentary, and he even said he “can’t stand movies that do that;” directors becoming the subject of their own films. His increased participation in “Paul Williams Still Alive,” however, helped to illuminate the songwriter much more than it would have without him. While Kessler keeps going back to the past, Williams looks to the future instead.
When Williams was asked when he reached his bottom as an alcoholic, he responded it happened when he started looking out the window for what he called the “tree police.” He even joked and said, “You know you’re an alcoholic when you’ve misplaced an entire decade.” What made him say this was the embarrassing truth that he forgot for a time that Ronald Reagan was once President of the United States.
Since becoming sober, Williams says he now knows what it feels like to be around people he feels safe with. He has also entered into what he calls his “Paulie Lama” period of life as he goes out of his way to pull people off of bar stools, and that he would be thrilled to work at the Betty Ford Center if asked.
1992’s “A Muppet Christmas Carol” marked the first project Williams ever did sober, and he remembered going into it feeling very scared. But after he finished working on it, he found he was able to approach his work in a more productive way:
“Success for me has to be about authenticity and honesty. Today I have to trust that I am enough. Never again will I ever let tension and my ego keep me from writing songs.” The emcee of the Nuart told us not to ask either of the two how much “Paul Williams Still Alive” cost to make or when it will come out on DVD. This is because he wants to see it again with as a big an audience in the midst of all these summer blockbusters being thrust at us. It is certainly one of the sweetest documentaries you will ever see, and to see Williams today is to see a man very comfortable with who he is and who does not need another cup of fame to feel better about himself.
I have never been to a Rolling Stones concert before. Shame on me for constantly missing out on the opportunity to see them live. Every tour they go on always feel like it will be their last. Even if no one gets all that excited about their recent albums, no one would dare miss seeing them perform onstage. Years after they formed, they still sell out seats like crazy in concert, and some are willing to pay hundreds of dollars to get a decent seat. Heck, as long I have my binoculars with me, I am confident I can get a good view for less than what most people pay. But then again, I still have to spend a lot of money for even a crappy seat at a concert. Come to think of it, I haven’t been to a concert in a long time. Maybe I am saving up too much money!
Anyway, I caught the Rolling Stones documentary entitled “Shine A Light” which was directed by Martin Scorsese. Not only that, but I saw it in IMAX where movie screens don’t get much larger, visuals are never more visually extraordinary, and sound systems capture every single sound no matter how small. At I write this, this may be the closest I ever come to seeing a Rolling Stones concert, but it was still quite the experience. Even after being around for 40 or 50 years, they still put on one hell of a show like few others can. The band members have been beset in the last few years with legal and medical problems. Drummer Charlie Watts had a cancer scare, Mick Jagger continues to father too many children, and Keith Richards continues to astound medical experts everywhere who expected him to be dead by now. But here they are, and they are rocking as hard and with as much love as ever.
Oscar winner Martin Scorsese (it is so nice to finally say this) is a master of musical documentaries, having directed one of the greatest ever with “The Last Waltz” which was about The Band at their very last concert ever and of how they (or Robbie Robertson anyway) wanted to get off the road before the road claimed their lives. “Shine A Light,” however, is not at a film about a band on its last legs. Instead, it is about a band which continues to play with the same love, passion and excitement they had when they started making music so many years ago. It is not an in-depth documentary about the band, but instead a celebration of one of the greatest rock bands ever and their music which even I cannot ever get sick of.
We see the band and Scorsese going over the details and where the cameras are going to be at this documentary’s start. There is even a moment where Scorsese is talking with Jagger via speakerphone and of how Jagger is worried all the cameras will be distracting not just to him but to the audience as well. Scorsese and cinematographer Robert Richardson don’t even get the set list of songs until just seconds before the show begins. Jagger and the band keep going over what songs to play, having so many to choose from. The one thing I have to give them credit for is how they don’t start off the show with one of their most well-known hits like “Start Me Up” or “Sympathy for The Devil.” I guess you could say it makes this more unique than hundreds of other concerts they have performed.
This particular concert was filmed at the Beacon Theater in Manhattan, New York over a two-night period. When “Shine a Light” starts, it only appears as a small square on the enormous IMAX screen. I thought to myself, why did I spend $16 dollars to see this in IMAX? I could have seen it on a regular movie screen and saved myself a couple of bucks, you know? We see the band meeting with Bill and Hillary Clinton and also with Hillary’s mom. Hillary looks very happy here, so this all happened before her current presidential election. This turns out to be quite the star-studded event as Bill Clinton introduces the band himself, as this concert is actually a benefit for the awareness of climate change (which is very real everybody). If you look closely enough, you can see Bruce Willis out in the audience wearing a yellow hat.
But then the concert starts, and the picture goes from a simple box on the IMAX screen to encompassing 100% of it. From then on, we are instantly taken in at how the Rolling Stones is one of the greatest rock bands of all time. They may be eligible for senior benefits, but you wouldn’t know it from the way they perform. During this documentary or concert movie if you want to call it that, we get to see footage of the band from the past. Between songs, we see Jagger in a black and white interview in which he admits how he is surprised the band has lasted as long as it has. And that’s after the band has been together for two years, and he thinks that they will remain together for another year at best.
Seeing the band come onstage and perform their hearts out is inspiring. Age has not affected their love and passion for music, and I think it’s what makes this documentary especially good. No, it doesn’t get deep into the personalities of the band members and what makes them tick. Still, it does show how, even in their old age, they play rock and roll brilliantly. Even Keith Richards, who always looks like he might just keel over any second, still plays the guitar like a master. One too many cigarettes has not taken away from this man or his singing, and he gets his on solo and sings to us like a well-seasoned blues man.
This concert also features some well-known guests performing with the Stones. Among them are Jack White of The White Stripes who sings along with Jagger on “The Loving Cup.” White is no slouch on the guitar or on vocals, but we should have known this after the albums “Elephant” and “Get Behind Me Satan.” But the big treat was when Buddy Guy, one of the great bluesmen guitarists, came out to jam with the band. Richards was clearly a big fan because, at the end of the song, he ends up giving Buddy the guitar he was playing on. You can even hear Richards telling Guy, “It’s yours!”
Even Christina Aguilera is here singing with Jagger to a song which was first written and performed before she was even born. I haven’t bought any of her albums, but there is no doubt she has one hell of a voice. Does she even need a microphone? Her voice alone probably powered the extremely bright lights at the Beacon. That’s how good she was when she sang with Jagger and the others.
Kudos also goes out to the Rolling Stones for being backed up by an array of fantastic musicians. Among them are Darryl Jones of Living Color fame who has been the bass player for the band for over a decade now. There is also the great piano player Chuck Levell, and you may remember him brilliantly stealing the spotlight from Eric Clapton on his Unplugged session on MTV. Granted, the Rolling Stones don’t need all these people to sell out shows, but it certainly adds to this cinematic experience.
Scorsese and Richardson do a great job lighting the band and keeping up with them as they do their thing. The other thing which really added to this experience was the sound system in the IMAX theater I watched this film in. On top of the pristine visuals, the surround sound stereo system sucked you into the experience and made you feel like you were part of the crowd. You felt like people were clapping to the left and to right of you, and even behind you. There were points where I started looking around me to see if the people in the audience were applauding, or if it was just the sound from the film.
This all reminded me of when I saw “U2 3D” a couple of months earlier on the same IMAX screen. The 3D effects made you feel like you were in the middle of the concert. When people put their hands up onscreen, I almost told them to put them down so I could see. Then I realized it was all onscreen and not in the audience. Even though “Shine A Light” was not filmed in 3D, it didn’t need to be. I got sucked into this experience to where you can say you really felt like you were at this concert. It was also a loud film too, and this made me wonder why I didn’t bring any earplugs with me.
In the end, I’m glad “Shine a Light” was not a simple documentary which delved into the psychology of the band members and how they survived the record industry and drugs. The movie is about the fact of after so many years, the Rolling Stones continue to rock harder than ever. This is as certain as Johnny Depp’s character of Jack Sparrow from the “Pirates of The Caribbean” movies was based largely on Richards. It does not, nor should it, matter how old these guys are, but that they rock on with the same love they always have had for rock and roll. You can hear it in their music and see it in their eyes. Jagger continues strutting across the stage as though he was still in his 30’s, Richards still plays the guitar without missing a beat, Wood plays a mean slide guitar, and Watts beats away at the drum as if nothing ever serios ever happened to him. Why does age matter when you have passion for what you do?
I hope I have the same love and passion in what I do as they do in music at their age. I’m pretty sure I won’t need a boatload of drugs to get there, and even Richards would agree with me on this. Or maybe not. I guess it doesn’t matter. Or maybe I should just shut up for now…
With Andy Summers having released his latest book, a collection of his many short stories entitled “Fretted and Moaning,” I am quickly reminded of when I met him back in 2015. The documentary “Can’t Stand Losing You: Surviving The Police” had just been released, and I got to attend its press day in Los Angeles, California. Based on Summers’ memoir “One Train Later,” it follows him from his early days as a musician where he performed with The Animals during the 1960’s to meeting Stewart Copeland and Sting which led to the formation of The Police, one of the most infinitely popular bands of the 1980’s. We also get to look at Summers’ personal life and his photography, another art form he is quite gifted at, and we get reminded of how important a guitarist is to a band even when the bassist gets the most attention.
It was a real honor and privilege to meet Summers, talk to him, and have him autograph my personal Police box set of “Message in a Box: The Complete Recordings.” During our time together, we talked about how the internal conflicts and strong egos helped make the band more creative even as those same things eventually tore this trio apart. I also asked him about his song “Mother,” his solo contribution to The Police’s album, “Synchronicity.”
Joining him in this interview is one of the documentary’s producers, Norman Golightly, who has several decades of experience in movies, television and social media. Moreover, he remains committed to promoting positive social change. Golightly talked about the obstacles in getting this documentary made, and they seem surprising as a this one is about a band which had Sting as its most unforgettable member.
“Can’t Stand Losing You: Surviving The Police” is available to own and rent on DVD, Blu-ray and Digital. For fans of The Police, I could not recommend this documentary more highly.
Below is my exclusive interview with Summers and Golightly, the press conference with them, and the documentary’s trailer.
After a year and three months, I finally got the opportunity to sit in a movie theater, in this case the Nuart in West Los Angeles. While many seats were taped off as social distancing rules are still in effect, it was nice to sit down in one of my favorite places to be as I have been away from it for far too long. Furthermore, being able to take my mask off to enjoy buttered popcorn along with a Barqs Root Beer made the experience even more special as I had ever reason not to indulge myself in these things as I am trying to lose a few pounds to say the least.
The movie which finally brought me back into a movie theater was “Moby Doc,” a documentary about, and I quote IMDB’s description here, the “trailblazing electronic musician and animal rights activist” whose music we hear on the radio, in TV commercials and in movies, several of them directed by Michael Maan, every day, Moby. But while I went into this documentary thinking it would be the average kind of its genre, both Moby and director Rob Gordon Bralver have given us one which is intentionally defiant of normal documentary rules, and what results is something which goes far deeper than the average episode of VH1’s “Behind the Music.”
“Moby Doc” starts off with Moby in the present day talking directly to the camera about how we think if we have “the right amount of money, the right amount of recognition, you will find perfect human happiness. But I tried, and it didn’t work.” Not many artists who have been through what he has experienced in terms of finding fame and then suffering a precipitous drop from it can say this as their lives often get cut short at such a young age. Moby, however, has come out on the other side a humbled human being who has found a peacefulness and happiness in life which, as we learn, has often eluded him.
Through the use of animation, crude stick puppets and a troupe of actors Moby has cast to portray his parents, we learn about traumatic his upbringing was as his father ended up committing suicide by driving his car straight into a brick wall, and the relationship he had with his mother was dysfunctional at best as he could not always reach out to her the way he wanted to. What’s even worse is how years later Moby missed her funeral because he slept in after an evening filled with drugs and alcohol. Judging from the animated images shown to us in the aftermath, lord knows if he has yet forgiven himself for this transgression. Heck, I still am haunted by a memorial service I wanted to attend but didn’t as the dates got mixed up in my head. As a result, I still have yet to find any closure on it.
One thing I really liked about “Moby Doc” is how it shows the importance of the arts in a person’s life. Moby freely admits how the act of making music was like a “form of self-healing” to where I believe how it saved him. When it comes to things like music, acting and writing, they really do lift the spirits of those who feel out of place in a society which does not automatically welcome them. I hope those school districts which are considering cutting art classes from their curriculum will watch this documentary and think second thoughts about doing so.
Seeing Moby discover music and how to mix music together is done through the use of home movies which feature him during a time when he had hair. The time when he lived in an abandoned factory seems frightening as he recounts all the horrible things which happened there including people getting murdered, but we also see how he evolved as an artist and a musician in this space to where it makes sense how it provided him with some of his happiest memories in life. This is especially the case when he compares these memories to the times when his ever so famous, and those times cannot compare despite all the wealth and attention fame brought him.
When it comes to “Play,” which is still Moby’s best-known album, its success remains astounding as it came after one of his biggest failures, “Animal Rights.” He was on the verge of quitting the music business and getting a real job, something many artists would be quick to consider as a permanent defeat to their ambitions. But while “Play” started off as a slow seller, it emerged as the equivalent of the Energizer bunny as, while that one kept going and going, the album kept selling and selling and selling…
As Moby delves into the amazing success “Play” gave him, he also is quick to describe how his follow ups did not sell anywhere as well, and this led to an increased desperation in him which many of his friends came to see as a case of complete narcissism. There’s even a scene where we see Moby getting tortured as if he were like Bruce Campbell at the beginning of “Army of Darkness,” and a lyric from Eminem’s “Without Me” song keeps getting said over and over; “Nobody listens to techno!”
Throughout this documentary, Moby and Bralver keep pulling the rug right out from under us as they want to keep the audience off-balance, and it is like John Cleese whenever he is on “Monty Python’s Flying Circus” and saying at any given moment, “And now for something completely different.” Things move from one scene where Moby discusses his problems with a female therapist to another visual of him standing in a desert or some other isolated place to where we are reminded of how lonely fame can be.
Some may find the use of the various visual motifs and the non-linear style distracting or perhaps too artsy fartsy, but I found it to be extremely effective in digging deeper into Moby’s life as his work as a musician takes him out of his depressive depths to extreme success and then to devastating lows which made him consider suicide even at the height of fame. Thank goodness for us and him that windows in certain upscale hotels are not big enough for a human being to fit through.
But what really hit me hard about “Moby Doc” is when he talks about how he felt much happier creating music in the abandoned factory than he was when “Play” was selling millions upon millions of records. His point of how we strive for certain things like fame and fortune, thinking it will bring us the happiness which we believe is constantly eluding us, proves to be fruitless is something we cannot deny as he has seen it all and has come out of everything as a relatively sane human being, or as sane as anyone can hope to be in this day and age. It is this state of mind which not everyone gets to as many would be, as Paul Williams once put it, asking for a second cup of fame.
These days, Moby fights for vegans and has recently released the album “Reprise” which, as Peter Gabriel did with “New Blood,” contains orchestral and acoustic arrangements of songs from his long career. Some of those arrangements are featured here in this documentary, and they force you to look at his songs in a different way as not everything about them could have been seen on the surface.
It is nice to see an artist like Moby get a second chance in life. Some get so caught up in the realm of fame and fortune to where they cannot connect with any other human being in life, and this constitutes a tragedy which I hope people in general avoid. But while some artists like Amy Winehouse met a tragic end, he still lives on doing what makes him feel happiest and most fulfilled. Here is hoping others like him can see through the clouds and not get caught up in the shallowest of things.