Love and Mercy - News and Reviews - First clip is out.

[Robbie Mac]

I am shocked that no one has mentioned anything about Darian's involvement.

Well, I for one wasn't aware of the nature or depth of that involvement. And many thanks, therefore, for highlighting it here. But why "shocked"? Were these facts already out there, or do you have insider knowledge? I assume the latter, given the fact that you don't attribute the information to anyone/anything else?

Well, I would have thought that this would have been leaked out. And I am a bit surprised the main principals never mentioned more. But then again the movie has not been released yet.

And yes, that info came "from the horse's mouth" as it were.

[leftybass77]

The early reviews have been very positive yet the Cusack stills from the movie look odd to me. He's wearing a wise-guy leather jacket while in character. I don't get it. 

The last movie(TV movie) was from Mike Love's perspective and this one seems shaped by Brian's wife --def. an interesting point of view.

Their story is so juicy you can make 10 films. I can envision another Dennis take(different from the Bruce Greenwood movie) that focuses on his later years in a style of The Wrestler.  You could focus on his last days and open with that Steve Gaines scene of him stealing his own child from a rent by week hotel. 

I'm curious if Love & Mercy acknowledges the musical talent of Brian's Mom. She could sing and play piano great as heard on the early demo of "Barbie".

[John Manning]

I am shocked that no one has mentioned anything about Darian's involvement.

Well, I for one wasn't aware of the nature or depth of that involvement. And many thanks, therefore, for highlighting it here. But why "shocked"? Were these facts already out there, or do you have insider knowledge? I assume the latter, given the fact that you don't attribute the information to anyone/anything else?

Well, I would have thought that this would have been leaked out. And I am a bit surprised the main principals never mentioned more. But then again the movie has not been released yet.

And yes, that info came "from the horse's mouth" as it were.

Any clues as to which "horse"?   

[drbeachboy]

Meh. There's a lot of folk in the movie who don't look anything like the person being portrayed.

I don't think the beef is that Dano and Cusack don't look like Brian, it's that they don't look like each other, so it is a jar for you to see them playing the same character.  It takes you away from the story and makes you think about the fact that the two Brian actors don't look much alike.

Not saying I agree with that, having not seen the film, of course.

Well, Brian didn't look a lot like his young self by the late 80s and 90s. To me,  the closest he looked like his young self was around Live Aid, when he lost weight and had a similar haircut to what he had in 1966.

[Andrew G. Doe]

I'm curious if Love & Mercy acknowledges the musical talent of Brian's Mom. She could sing and play piano great as heard on the early demo of "Barbie".

Ummm... what "early demo" of "Barbie" ?  All I'm aware of  are two (very slightly) differing vocal takes of the Randy 422 release... and anyway, seeing as Brian didn't have anything to do with the Kenny & The Cadets tracks beyond singing on them, I most seriously doubt it's Audree playing the piano. Care to point me towards this "early demo" ?

[surferlicious]

I am surprised no one has mentioned Darian's credit in the film.


He played a role in the look and the accuracy in the 1960's musical scenes, going so far as to suggest that real musicians be cast whenever possible. He spent a great deal of time on the set going over details such as the period studio technology in places like Western and Gold Star as well as vintage instrumentation. He was also the musical coach for Paul Dano and the cast members who would be playing music in the film teaching them the songs from the BB oeuvre. And yes, all but one of the Wrecking Crew roles were played by musicians (with the exception of the actor playing Hal Blaine). From what Darian has said, the attention to period detail is similar to what you would see in Mad Men.

You can't get all points of view in a two hour movie, especially with complex people like the BB family. But what you can do is create a portrait of Brian and try and convey the truth as he saw it.


 

I heard that Darian chose and rehearsed the musicians, but was not on the set for the filming and that Mark Linnet was the one responsible for duplicating the period look of the studios. According to IMB Mark also portrays engineer Chuck Britz  in the movie .

[Ray Lawlor]

I am surprised no one has mentioned Darian's credit in the film.


He played a role in the look and the accuracy in the 1960's musical scenes, going so far as to suggest that real musicians be cast whenever possible. He spent a great deal of time on the set going over details such as the period studio technology in places like Western and Gold Star as well as vintage instrumentation. He was also the musical coach for Paul Dano and the cast members who would be playing music in the film teaching them the songs from the BB oeuvre. And yes, all but one of the Wrecking Crew roles were played by musicians (with the exception of the actor playing Hal Blaine). From what Darian has said, the attention to period detail is similar to what you would see in Mad Men.

You can't get all points of view in a two hour movie, especially with complex people like the BB family. But what you can do is create a portrait of Brian and try and convey the truth as he saw it.


 

I heard that Darian chose and rehearsed the musicians, but was not on the set for the filming and that Mark Linnet was the one responsible for duplicating the period look of the studios. According to IMB Mark also portrays engineer Chuck Britz  in the movie .

Well Andy Botwin is right on the mark; Darian not only chose and rehearsed the musicians, but he also taught Paul Dano how to play several songs on the piano ; most notably "God Only Knows" and "Surf's Up". I do know that Darian most certainly was involved in duplicating the look and details of Western 3 and went as far as trying to find/duplicate the weird guitar that Barney Kessel used on the intro to Wouldn't it Be Nice. Unfortunately; the day of the shoot, Darian had to be in Atlantic City playing with Brian at The Golden Nugget ; which I am sure probably keeps him up nights.  I know Mark not only plays Chuck Britz , but is also a technical consultant on the film; he would be an expert on the vintage gear utilized in the studio circa 1966/67.


 

[John Manning]

Strikes me that Darian's been one of the most important sidesmen Broan's had throughout his recent career - possibly his full career - and has hidden his light under a bushel.

I know you're reading this Darian and are simply too modest to comment but thank you, from one fan to another.

[Ray Lawlor]

I am surprised no one has mentioned Darian's credit in the film.


He played a role in the look and the accuracy in the 1960's musical scenes, going so far as to suggest that real musicians be cast whenever possible. He spent a great deal of time on the set going over details such as the period studio technology in places like Western and Gold Star as well as vintage instrumentation. He was also the musical coach for Paul Dano and the cast members who would be playing music in the film teaching them the songs from the BB oeuvre. And yes, all but one of the Wrecking Crew roles were played by musicians (with the exception of the actor playing Hal Blaine). From what Darian has said, the attention to period detail is similar to what you would see in Mad Men.

You can't get all points of view in a two hour movie, especially with complex people like the BB family. But what you can do is create a portrait of Brian and try and convey the truth as he saw it.


 

I heard that Darian chose and rehearsed the musicians, but was not on the set for the filming and that Mark Linnet was the one responsible for duplicating the period look of the studios. According to IMB Mark also portrays engineer Chuck Britz  in the movie .

Well Andy Botwin is right on the mark; Darian not only chose and rehearsed the musicians, but he also taught Paul Dano how to play several songs on the piano ; most notably "God Only Knows" and "Surf's Up". I do know that Darian most certainly was involved in duplicating the look and details of Western 3 and went as far as trying to find/duplicate the weird guitar that Barney Kessel used on the intro to Wouldn't it Be Nice. Unfortunately; the day of the shoot, Darian had to be in Atlantic City playing with Brian at The Golden Nugget ; which I am sure probably keeps him up nights.  I know Mark not only plays Chuck Britz , but is also a technical consultant on the film; he would be an expert on the vintage gear utilized in the studio circa 1966/67.


 

Quoting myself here; I have to ensure that I am very clear in what I post ; I certainly do not want to denigrate Mark's role and participation in this film. Mark was hired to effectively recreate the look of the studio with the set designers , as well as provide the original BB tracks that are in the film.....and he plays Chuck Britz......the BW/BB fan base is well covered with their expertise for this film.

[ontor pertawst]

Great to hear! Looking forward to his dissecting Pet Sounds tracks at the AES thing next month.

 I say we keep going coughBEDROOMTAPEScough in the background. Ray, I hope Brian Wilson doesn't feel too mortified and embarrassed that lots of his fans would love to listen to that stuff. Do you think we'll get a chance to listen to a lot of the tracks written about in those teasing "Bedroom Tapes" articles sometime soonish, maybe in the wake of the film/album/soundtrack/book and hopefully relentless snowballing of interest?

[Ray Lawlor]

Great to hear! Looking forward to his dissecting Pet Sounds tracks at the AES thing next month.

 I say we keep going coughBEDROOMTAPEScough in the background. Ray, I hope Brian Wilson doesn't feel too mortified and embarrassed that lots of his fans would love to listen to that stuff. Do you think we'll get a chance to listen to a lot of the tracks written about in those teasing "Bedroom Tapes" articles sometime soonish, maybe in the wake of the film/album/soundtrack/book and hopefully relentless snowballing of interest?

Ontor    I wish I knew something about those bedroom tapes but I don't; anything I would say would be a complete hipshoot.  I would personally like to see a box set of live stuff...all the Carnagie Hall stuff that's in the vaults, the stuff that didnt make the 73 concert album, the Lei'd in Hawaii stuff and the unfiltered C50 stuff ....like Royal Albert Hall.....oh yeah ; Dennis' POB tour rehersals ...now we are talking.

[John Manning]

Great to hear! Looking forward to his dissecting Pet Sounds tracks at the AES thing next month.

 I say we keep going coughBEDROOMTAPEScough in the background. Ray, I hope Brian Wilson doesn't feel too mortified and embarrassed that lots of his fans would love to listen to that stuff. Do you think we'll get a chance to listen to a lot of the tracks written about in those teasing "Bedroom Tapes" articles sometime soonish, maybe in the wake of the film/album/soundtrack/book and hopefully relentless snowballing of interest?

Ontor    I wish I knew something about those bedroom tapes but I don't; anything I would say would be a complete hipshoot.  I would personally like to see a box set of live stuff...all the Carnagie Hall stuff that's in the vaults, the stuff that didnt make the 73 concert album, the Lei'd in Hawaii stuff and the unfiltered C50 stuff ....like Royal Albert Hall.....oh yeah ; Dennis' POB tour rehersals ...now we are talking.

Amen…

[guitarfool2002]

In Mark and Darian you have perhaps the two most qualified professionals in the music business working to ensure the accuracy of the 1966-67 studio details as they related to Brian's work at that time. You also have, again, perhaps the two most qualified men on the job who have not only pored over but also love and know down to the most minute detail all of the music and the studio sessions that were to be "recreated" in the film. And they have been working in and around these various facets of the BW-BB's saga for decades.

Consider at this point what a challenging task it could be to essentially rebuild and recreate with a high degree of authenticity a studio room from 50 years ago. First, the original rooms in many cases do not look anything like they did even 20 years ago, in some cases like Gold Star the original room has been gone for 30 years. Second, we do have some pretty detailed still photos and film clips from 1966 showing what it looked like, but most of those little details and trimmings were scrapped and replaced several times over by new designs.

Third, and perhaps most difficult of them all, studios did and do constantly upgrade and replace their existing equipment to modernize the place and market their rooms to potential clients with the latest gear...meaning a large majority of the original gear we now consider classic was at one time considered "obsolete" and out-dated, and therefore either sold off to the highest bidders or in many cases, simply scrapped for pennies on the dollar.

So when you have Mark Linett operating his studio which among rack-fulls of vintage gear has one of the few remaining Bill Putnam modular boards in existence, "rescued" from Western Studio 2, and when you have Darian who was for decades playing perhaps the only custom-built replica of Paul Tanner's original "Electro-Theremin" which itself was a one-of-a-kind custom build, you can pretty much feel comfortable that the details like these would have been placed in the perfect hands for the job.

There were hints and clues given before in this thread and others, but when there is word that anything close to this level of detail and care in presenting the right look and period-correct visuals was the case for the studio scenes, not to mention the use of live musicians - not just actors - playing the session players in the film, the doubts and the nay-saying about certain details if not the "look" of the whole film are soon erased if not laughed off entirely. 

[The Heartical Don]

Slightly related: not that long ago there was a link here to Youtube, to a movie called: The BBs History In 4 Minutes. Has it taken off by someone from the BBs inner circle? I found it hilarious.

[♩♬🐸 Billy C ♯♫♩🐇]

Great to hear! Looking forward to his dissecting Pet Sounds tracks at the AES thing next month.

 I say we keep going coughBEDROOMTAPEScough in the background. Ray, I hope Brian Wilson doesn't feel too mortified and embarrassed that lots of his fans would love to listen to that stuff. Do you think we'll get a chance to listen to a lot of the tracks written about in those teasing "Bedroom Tapes" articles sometime soonish, maybe in the wake of the film/album/soundtrack/book and hopefully relentless snowballing of interest?

I'm with you. I'd want to hear that material so badly that I can't explain it in words. Yes, I am a completist, true, but more to the point...I love Brian's writing more than anybody else's work in the history of recorded music,. and that's no hyperbole, and I love his voice just as much, even during the 'rough' years (sometimes, especially, depending on my mood).

[surferlicious]

In Mark and Darian you have perhaps the two most qualified professionals in the music business working to ensure the accuracy of the 1966-67 studio details as they related to Brian's work at that time. You also have, again, perhaps the two most qualified men on the job who have not only pored over but also love and know down to the most minute detail all of the music and the studio sessions that were to be "recreated" in the film. And they have been working in and around these various facets of the BW-BB's saga for decades.

Consider at this point what a challenging task it could be to essentially rebuild and recreate with a high degree of authenticity a studio room from 50 years ago. First, the original rooms in many cases do not look anything like they did even 20 years ago, in some cases like Gold Star the original room has been gone for 30 years. Second, we do have some pretty detailed still photos and film clips from 1966 showing what it looked like, but most of those little details and trimmings were scrapped and replaced several times over by new designs.

Third, and perhaps most difficult of them all, studios did and do constantly upgrade and replace their existing equipment to modernize the place and market their rooms to potential clients with the latest gear...meaning a large majority of the original gear we now consider classic was at one time considered "obsolete" and out-dated, and therefore either sold off to the highest bidders or in many cases, simply scrapped for pennies on the dollar.

So when you have Mark Linett operating his studio which among rack-fulls of vintage gear has one of the few remaining Bill Putnam modular boards in existence, "rescued" from Western Studio 2, and when you have Darian who was for decades playing perhaps the only custom-built replica of Paul Tanner's original "Electro-Theremin" which itself was a one-of-a-kind custom build, you can pretty much feel comfortable that the details like these would have been placed in the perfect hands for the job.

There were hints and clues given before in this thread and others, but when there is word that anything close to this level of detail and care in presenting the right look and period-correct visuals was the case for the studio scenes, not to mention the use of live musicians - not just actors - playing the session players in the film, the doubts and the nay-saying about certain details if not the "look" of the whole film are soon erased if not laughed off entirely. 

Darian plays a large part in Brian's band and apparently booked ,and  rehearsed the musicians playing the wrecking crew in the film, but I doubt he would have had anything to do with the recreation of the studios past the selection of the correct period instruments for the musicians.

[guitarfool2002]

In Mark and Darian you have perhaps the two most qualified professionals in the music business working to ensure the accuracy of the 1966-67 studio details as they related to Brian's work at that time. You also have, again, perhaps the two most qualified men on the job who have not only pored over but also love and know down to the most minute detail all of the music and the studio sessions that were to be "recreated" in the film. And they have been working in and around these various facets of the BW-BB's saga for decades.

Consider at this point what a challenging task it could be to essentially rebuild and recreate with a high degree of authenticity a studio room from 50 years ago. First, the original rooms in many cases do not look anything like they did even 20 years ago, in some cases like Gold Star the original room has been gone for 30 years. Second, we do have some pretty detailed still photos and film clips from 1966 showing what it looked like, but most of those little details and trimmings were scrapped and replaced several times over by new designs.

Third, and perhaps most difficult of them all, studios did and do constantly upgrade and replace their existing equipment to modernize the place and market their rooms to potential clients with the latest gear...meaning a large majority of the original gear we now consider classic was at one time considered "obsolete" and out-dated, and therefore either sold off to the highest bidders or in many cases, simply scrapped for pennies on the dollar.

So when you have Mark Linett operating his studio which among rack-fulls of vintage gear has one of the few remaining Bill Putnam modular boards in existence, "rescued" from Western Studio 2, and when you have Darian who was for decades playing perhaps the only custom-built replica of Paul Tanner's original "Electro-Theremin" which itself was a one-of-a-kind custom build, you can pretty much feel comfortable that the details like these would have been placed in the perfect hands for the job.

There were hints and clues given before in this thread and others, but when there is word that anything close to this level of detail and care in presenting the right look and period-correct visuals was the case for the studio scenes, not to mention the use of live musicians - not just actors - playing the session players in the film, the doubts and the nay-saying about certain details if not the "look" of the whole film are soon erased if not laughed off entirely. 

Darian plays a large part in Brian's band and apparently booked ,and  rehearsed the musicians playing the wrecking crew in the film, but I doubt he would have had anything to do with the recreation of the studios past the selection of the correct period instruments for the musicians.

Consider you're writing this on the same page where it was just confirmed a few hours ago that he did exactly what you're doubting he did for the film. 

Reconsider that doubt in light of what was just confirmed?

[PS]

Some have been speculating about the music cues in the film. I quickly compiled a list of cues that I noted in the script for anyone who might be interested (Spoiler Alert?) - although many of these have been mentioned in Toronto reviews I've seen and word of mouth I've heard). Some are ambiguous (diegetic v non-diegetic), and some I've heard didn't make it to the final cut (Norwegian Wood, for obvious reasons I'm guessing):

Don’t Worry Baby (studio session)

Surfin’ USA (live)

Surfer Girl (live)

Fun Fun Fun (live)

Songbird (Kenny G) - Muzak

I Get Around (studio session)

Norwegian Wood (The Beatles) - (outdoor playback of Rubber Soul album)

Be My Baby (45 rpm playing in Brian's bedroom)

Pet Sounds (studio session)

Wouldn't It Be Nice (studio session)

God Only Knows (Brian plays demo on piano for Murry)

You Still Believe in Me (Brian plays chords and sings in studio as he works it out)

You Still Believe in Me (tracking session)

God Only Knows (tracking session)

Banana and Louie (studio session)

Brian plays “Achingly Beautiful Melody” (for Melinda in Malibu)

Pet Sounds Vocal Montage:

You Still Believe in Me (vocal session)

Sloop John B (vocal session)

Hang Onto Your Ego (vocal session)

Here Today (vocal session)

Caroline No (vocal session)

I Live for the Sun (Murry plays acetate)

Mack the Knife (Brian's mind)

The Magic Flute (Brian's mind)

Don't Talk (Put Your Head On My Shoulder) - non-diegetic (?) instrumental track plays during Brian's first LSD trip

Stoked (Beach Boys instrumental) – non-diegetic soundtrack (60's) turns into a diegetic track from emanating from a boom box on a sailboat (80's)

Good Vibrations (Brian plays chords at the dinner party, working it out at the piano)

Good Vibrations montage - various studios and sessions:

Western 3 - Instrumental tracking

Gold star - Vocal session

Un-named Recording Studio

Western 3 - alternative vocal session

Control Room playback of final mixed version of song

Dinner party guests silverware and glass music "session", with Brian chanting over the "cacaphony"

Surf’s Up (Inside Pop) with Bernstein VO

Heroes and Villains (Brian and VDP work composing session)

“Fire” sessions (Gold Star)

Smile montage (Columbia):
a. Heroes and Villains (Brian demonstrates to group on piano)
b. Beach Boys harmonize on “Prelude”
c. Session musicians playing kazoos, toy whistles, bells and various childhood instruments
d. Brian piano theme, which “deteriorates as the take comes to an end and the notes played become random and jumbled.”

Brian sings Plymouth Rock chant in swimming pool

The final chord of Day in the Life (Beatles) and phonograph needle lifts

Two Step Side Step (Brian sings briefly to Hal)

Wonderful (version 3) plays, “a heartbreaking piano” as Brian stares into the Bellagio swimming pool

Rhapsody in Blue playing in Brian’s bedroom

Rhapsody in Blue turns into A Day in the Life a Tree as Brian takes Landy’s pills

“The Beach Boys Sunflower plays” over 1950s Wilson Hawthorne house in Brian’s mind montage

Day by Day (The Four Freshmen) over ocean/beach house in Malibu day (non-diegetic?)

Till I Die (non-diegetic scene with Landy)

Do it Again (non-diegetic over Cadillac dealership 1986)

In My Room (non-diegetic, Brian’s bedroom) – becomes "UNBEARABLY LOUD"

A “Cheesy Pop song” (Melinda’s car cassette)

Wouldn’t It Be Nice (non-diegetic as the car drives away, but Pet Sounds is seen in Melinda’s car prior)

WIBN continues over final SUPERTITLES

Love and Mercy from Live at the Roxy plays over final credits (with the live video, I’m told, playing in a corner of the frame as credits roll)

[sea of tunes]

Some have been speculating about the music cues in the film. I quickly compiled a list of cues that I noted in the script for anyone who might be interested (Spoiler Alert?) - although many of these have been mentioned in Toronto reviews I've seen and word of mouth I've heard). Some are ambiguous (diegetic v non-diegetic), and some I've heard didn't make it to the final cut (Norwegian Wood, for obvious reasons I'm guessing):

WOOOOW!  PS that is FREAKING AWESOME of you to post that.  Thank you SO MUCH.

Danke!

[beacharg]

Rhapsody in Blue turns into A Day in the Life a Tree as Brian takes Landy’s pills

OH... MY... GOD... 

[pixletwin]

Rhapsody in Blue turns into A Day in the Life a Tree as Brian takes Landy’s pills

OH... MY... GOD... 

Yeah that one grabbed my attention too. 

Thanks for the great post PS.

[RangeRoverA1]

Some have been speculating about the music cues in the film. I quickly compiled a list of cues that I noted in the script for anyone who might be interested (Spoiler Alert?) - although many of these have been mentioned in Toronto reviews I've seen and word of mouth I've heard). Some are ambiguous (diegetic v non-diegetic), and some I've heard didn't make it to the final cut (Norwegian Wood, for obvious reasons I'm guessing):

That's a great spoiler, thanks, PS! I'm esp. curious about the highlighted bit, how much of each.

[Seaside Woman]

I'll take that list any day of the week! Nice drop, PS...

[MugginsXO]

I have a good feeling about this movie. I loved I'm Not There and this seems to have that same sense of exploring an artist through less restricted/boring means. John Cusack is a very good actor when he shows up, and he seems to really love the music which always helps. Paul Dano is frequently excellent and even while naturally suited to play slimy jerks he brings a depth that makes you care. I did watch Ruby Sparks last night as it was mentioned in the LA Times article. I do worry if it truly represents Dano as a person -- he plays an immensely unlikeable person -- but it is well worth a go for a look at for his jab at tortured genius. Quite funny too, and has a few things of substance to say even when it occasionally tumbles into unearned schmaltz. A talented guy.    

[beacharg]

4th "bad" review drops the movie to 64% aproval on RT. But... if you click to see the entire review on the actual source, the critic gave it 3 stars out of 5... is that rotten?! 

http://www.rottentomatoes.com/m/love_and_mercy/

http://wegotthiscovered.com/movies/love-mercy-review/