"Love & Mercy" - Board member reviews and discussion

[sea of tunes]

On that note, in the Huffington Post interview with Brian, Cusack and Pohlad...when asked what he hoped people would take away from watching LOVE & MERCY Brian answered 'My message is don't take drugs.  Drugs aren't good for you'.

Of course, Brian has been on record in the last 3-4 years saying "Marijuana helped me write PET SOUNDS".  

I think the fact that his story isn't so linear and single threaded, there are many layers to the Brian Wilson story; that makes it a very interesting subject in the hands of the right filmmaker and writer.  That obviously has nothing to do with the pain that went into living that life.  As just someone observing though, it is endlessly fascinating.

[37!ws]

On that note, in the Huffington Post interview with Brian, Cusack and Pohlad...when asked what he hoped people would take away from watching LOVE & MERCY Brian answered 'My message is don't take drugs.  Drugs aren't good for you'.

Of course, Brian has been on record in the last 3-4 years saying "Marijuana helped me write PET SOUNDS". 

At the Q&A in Chicago a couple of weeks ago, Brian specified "hard drugs."

[37!ws]

I do find myself remaining curious as to why the script had Mike confronting Parks about the lyrics to Heroes and Villains, when it's well known among Beach Boys' Cognoscenti

Congrats, that may perhaps be the reason. It is a well known factoid. However, a lesser-acknowledged factoid is that Mike confronted Van Dyke on more than one occasion, and at a different time, it was documented that he was not a fan of the 'sunny down snuff' line. They simply chose to combine those two small historical nuggets together to make something that was an even heavier nod to the hardcore fans who did their research, rather than hitting a note that even neophytes would have expected would have been hit.

My thought is that the writers were considering people who aren't die-hard fans. It's more likely that people NOT like us would have heard "Heroes And Villains" (you'd be surprised) and not "Cabinessence."

By the way, there is not nearly enough talk about the potential discovery of a certain holy grail of 49-years-lost tape stems that inexplicably found its way into this film...

I know exactly what you mean, but deep in my heart I'm sure it has to do with those digitally phase-cancelled mixes that that Irish guy did...

[HeyJude]

Apologies if this has already been reported, but the “numbers” are in from this weekend’s “limited” run. The film made approx.. $2,222,000 on 483 screens, for a “per screen” average of $4,600, which I believe is quite good. http://www.boxofficemojo.com/weekend/chart/

For a comparison, the biggest blockbuster film played on about 3,800 screens.

This puts it at something around #11 for the weekend in terms of total gross, but #5 in terms of dollars per screen. I believe this is considered a pretty good performance for what the mainstream media is characterizing as an “indie”, “Oscar bait” film.

The film will apparently add screens in the coming week(s).

Saw it this weekend. Will have a review soon…

[WonderfulLittlePad]

Went to it yesterday at 1:30. Theater was about 90% full with a lot of people in their 60s and up.  I loved the movie and can't wait to see it again.  I loved the date scene where Melinda and Brian are getting to know each other and Brian is talking about his rough childhood and you can see his reflection in the mirror of the booth behind Melinda.  After he tells her that heavy, heavy story, she just says, "Well sh*t."  Thought that was awesome.

[the professor]

Stunning post and historical commentary. They were played as vacuous in the the movie but, as you say, by no means exaggerated.
VDP was a thoughtful young gentleman and musical scholar, and all the conflicts were depicted justly, true to the core of the issues. Ultimately the BB (VDP and BW and then the voices of the BB themselves) absorbed the best of that movement of hipsters and turned it into something sacred--Smile.

I am glad of two things in this movie.

1.) Bill did not go out of his way to portray Mike Love as an asshole. He came off like a man who was worried as to what was happening to his group, and yes his livelihood. There were changes going on with Brian that I am sure Mike at the time chalked up to drugs etc and thought that his cousin needed a verbal ass kicking to get it together. We know now that drugs took an already delicately balanced Brian and pushed him over the edge.

2.) I liked the way the SMiLE crew was portrayed. (So glad Bob Hanes isn't here to rip me a new one for what I am about to say. We argued ALOT over this). I have always felt that with 3 exceptions, the people that were around Brian during Pet Sounds and SMiLE were absolutely the most self absorbed people who could have invaded his world. Starting with Tom Nolan and carried on by David Leaf and others, these people (Lauren Daro, Mike Vosse, etc etc), these people were said to be hip and the Beach Boys were said to be non-hip and that was the ONLY thing wrong is that the boys couldn't or didn't want to go where the hip people were leading. Well, to put it mildly, these hip people were going NOWHERE. They were the kind of people I knew growing up that would get high and just ramble on about things and think of themselves as enlightened. And the 60's people had a way of thinking they saved the world. They didn't. They were too self-absorbed to save anyone. I always found it funny when they use to show these communes on shows like 60 minutes etc., and the men would spend the day meeting and discussing issues of the day etc, while the women did all of the work and child-rearing. So much for enlightenment. Those people added nothing. And look at them all. Except for Van, David, and Danny, they all went on to do......nothing. Some were homeless and addicted, Lauren worked as a fact checker for a publisher (so much for Mr. Brain Trust). These were evil people. Glad they didn't show them as heroes. Leaf tried to show them that way in the Beatuiful Dreamer video. They weren't. After watching Lauren speak, I told Bob Hanes I felt like I needed a shower.

[Jon Stebbins]

Copying my post from the other L&M film thread here...as I want to emphasize that I think the film is great!

I saw the movie yesterday and was thoroughly impressed by it. It had a lasting effect on me, I was a bit shell-shocked all day yesterday due to the emotional impact the film had on me. It's a heavy experience. I was so pleased that it was done in an artful, sensitive, and real way. The film made room for nuance, subtlety, and found a way to reveal and inform without having to be overly direct and predictable. IMO it is the best case scenario. It hit all the right points in a beautiful way. The performances and characterizations were fantastic. Paul Dano was perfect. It didn't matter that John Cusack didn't look like Brian, because he FELT like Brian. I was really impressed with his portrayal. Having been around BW many times, there is a specific vibe he gives off, and Cusack nailed it. This is not a happily ever after movie. It is dark, and leaves you feeling drained but hopeful. Knowing Brian had been dealing with his issues for so long, when it is revealed he's heard voices in his head since 1963, the audience around me gasped. The scenes where there is the Dano-Brian, the Cusack-Brian and the child Brian all interchanging into the bedroom scene, that said to me, you know what? He's always been troubled, he'll always be troubled, and he's still created so much beauty, given so much happiness to the world. The sensitivity that crushes him also makes him a genius. The two things are definitely connected, and the film does an amazing job of illustrating that connection. I am blown away that a film with such depth and rawness made it through the system and has been released in this form. It's a gift to those of us who love Brian, but more so, it will have an impact on his legacy in a responsible way. Thanks to everyone who had a hand in creating this amazing work. You have my respect. And thank you Brian, for all the joy and tears, we're so lucky for the beauty you shared with us.

[job]

Took my 7 year old with me to a 10:15am showing in Long Beach, CA at a Regal Theater.  The theater was half full.  Sounds was fantastic.

All I can say is that the film was incredibly well done and riveting.  I was left feeling mildly disturbed for the rest of the day.  Wonderful stuff.  Will probably see 25 more times.

[the professor]

John, as I have said in my posts, I could not agree more.

It is not a great matter, but I did wonder, as the cover of Surfer Girl and Surfin Safari were depicted, whether they showed David in the movie or not. It was going by too fast, but I wondered if they took the effort to depict him and not Al in those scenes.

Back to the aesthetics, this film enhances a listening to NPP, which is so good that I fear we underestimate its quality. It's as good as any music produced today, and is, for example, 1000 times better than the album of the year last year by Beck (un-listenable).

I do wish that the BB together (meaning adding BJ and MK to the album and Al and Dave to all tracks) had done this album and thus could celebrate the movie together....well. . . . .

Copying my post from the other L&M film thread here...as I want to emphasize that I think the film is great!

I saw the movie yesterday and was thoroughly impressed by it. It had a lasting effect on me, I was a bit shell-shocked all day yesterday due to the emotional impact the film had on me. It's a heavy experience. I was so pleased that it was done in an artful, sensitive, and real way. The film made room for nuance, subtlety, and found a way to reveal and inform without having to be overly direct and predictable. IMO it is the best case scenario. It hit all the right points in a beautiful way. The performances and characterizations were fantastic. Paul Dano was perfect. It didn't matter that John Cusack didn't look like Brian, because he FELT like Brian. I was really impressed with his portrayal. Having been around BW many times, there is a specific vibe he gives off, and Cusack nailed it. This is not a happily ever after movie. It is dark, and leaves you feeling drained but hopeful. Knowing Brian had been dealing with his issues for so long, when it is revealed he's heard voices in his head since 1963, the audience around me gasped. The scenes where there is the Dano-Brian, the Cusack-Brian and the child Brian all interchanging into the bedroom scene, that said to me, you know what? He's always been troubled, he'll always be troubled, and he's still created so much beauty, given so much happiness to the world. The sensitivity that crushes him also makes him a genius. The two things are definitely connected, and the film does an amazing job of illustrating that connection. I am blown away that a film with such depth and rawness made it through the system and has been released in this form. It's a gift to those of us who love Brian, but more so, it will have an impact on his legacy in a responsible way. Thanks to everyone who had a hand in creating this amazing work. You have my respect. And thank you Brian, for all the joy and tears, we're so lucky for the beauty you shared with us.

[HeyJude]

Still working on a review of the film. But I’m shocked at myself that I was so engrossed with the film that I noticed but then nearly semi-forgot that they used what certainly appeared to be isolated vocal elements for “Good Vibrations.” This was discussed, I believe, in the other movie thread (can we perhaps move all discussion to this newer thread now?).

I can’t say for sure based on memory if they could have possibly been *really good* re-creations (Dano does do some vocal work in the movie, and at one point while “recording” a vocal on another song it sounds like Dano singing on top of Brian’s original vocal, essentially doing the second part of a double-tracked vocal). As someone else mentioned, the isolated vocals sounded way too clean to be digital extractions (and if they *are* digital extractions, then it’s effing good enough to give us a “vocals only” mix of the song even if they can’t pan the vocals enough to do a vocal stereo mix).

[petsite]

You know, I had to wonder what was wrong with me. Everyone is talking about how the film hit them in the gut and Jon Stebbins said he was reeling from it. And yet it didn't hit me like that at all. I found it harrowing, but it didn't kick my ass like it has others.

Then it hit me as to why.

When the long trailer was released, the one that starts with Brian in the car and Melinda walking up to speak to him, THAT KICKED MY ASS. I must have watched that 20 times the first couple of days. It just floored me. Left me a little depressed, it was so visceral. So that kind of let me know what to expect when I saw the movie. It still hit me hard, but I knew what to expect. Had I not had that introduction, I might still be in bed (LOL).

[OllieBop]

Does anyone know anything about UK release?

[37!ws]

Olllie -- I think it's 20 June.

[OllieBop]

Thankyou, cannot find any confirmation online and don't want to have to wait another 6-12 months for DVD/Blu-Ray.

[wantsomecorn]

In the theater right now - only two other people here but its 2pm on a Monday, so I wasn't expecting much.

I'll have a review coming soon!

[puni puni]

My thought is that the writers were considering people who aren't die-hard fans. It's more likely that people NOT like us would have heard "Heroes And Villains" (you'd be surprised) and not "Cabinessence."

It could have just been that but I doubt it. The script was too smart for it to be that simple. I really think Moverman was just trying to paint something less predictable for people like us. The fact that so many people here were surprised by this decision -- which some have called a historical inaccuracy, but really isn't -- proves that he did his job exceptionally well.

[Zesterz]

 was notified that it will be 10 JULY.

[Summertime Blooz]

I loved the movie and plan on seeing it again soon. The recreation of the 60s was like a dream come true. I was thinking "Wow! I'm actually seeing the creation of my favorite album staged and directed brilliantly in a movie. How many music fans get that kind of a gift?"  I was just so joyful to see and hear this personally transcendent movie experience. Dano and Cusack were both very good, although I think they made a mistake in not at least giving Cusack a hairpiece to make him a better physical match to Brian. Pohlad did a fine job of avoiding most biopic cliches, but was a shade too vague in connecting the dots between the two stories.

[Radfahrer]

Last sunday I had the chance to see a preview of the movie in Germany. It was the english version with german subtitles. Although I was already impressed when I left the cinema, the movie really grew on me in the last days. So many details, so many great scenes! I really hope I can see it again on the big screen!

Cleary, there went a lot of love into the production of the film. Even the minor roles in the movie had a lot of depth. For example I loved how Dennis was portrayed and although Mike obviously won't win a lot of fans, I've got the impression that many viewers get a chance to better understand his behaviour.

Let alone the convincing acting of Dano and Cusack!

I couldn't ask for more! Great movie! 

[petsoundsnola]

From my post on Brian's FB page:

There aren't enough superlatives to adequately describe this movie. What I appreciated most was the attention to detail and accuracy on so many levels. Particularly, the costume and set designers should all take a bow. It is obvious you studied Brian and the Beach Boys meticulously.

For example, was Brian's actual house used for the Sloop John B sequence? It looked exactly like the original promo film. Also, the Surf's Up sequence at the piano was an impeccable re-creation.

The studio sequences were the most enjoyable for me. Thank you for the 360-degree shot around the studio. It's as if the filmmakers consciously had audiophiles and Beach Boys geeks like myself in mind when these scenes were shot. This is so much appreciated.

The care taken and reverence given to Brian and his music was quite evident throughout. Thank you to all involved in the making of this film.

[37!ws]

The studio sequences were the most enjoyable for me. Thank you for the 360-degree shot around the studio. It's as if the filmmakers consciously had audiophiles and Beach Boys geeks like myself in mind when these scenes were shot. This is so much appreciated.

Dennis mugging for the camera after being scolded by Brian: absolutely PRICELESS.

[petsoundsnola]

The studio sequences were the most enjoyable for me. Thank you for the 360-degree shot around the studio. It's as if the filmmakers consciously had audiophiles and Beach Boys geeks like myself in mind when these scenes were shot. This is so much appreciated.

Dennis mugging for the camera after being scolded by Brian: absolutely PRICELESS.

Definitely.  I like to think of this as a reference to Dennis' latent songwriting talent that was anxious to spring forth, but was self-suppressed out of respect to his brother's vision at the time.

[drbeachboy]

The studio sequences were the most enjoyable for me. Thank you for the 360-degree shot around the studio. It's as if the filmmakers consciously had audiophiles and Beach Boys geeks like myself in mind when these scenes were shot. This is so much appreciated.

Dennis mugging for the camera after being scolded by Brian: absolutely PRICELESS.

Definitely something that we would have done and did quite often.

[JakeH]

Saw this Sunday at the West L.A. Q&A screening-

I was amazed at how much information was conveyed in the film, and how artfully that was accomplished. Some difficult personal/family issues are handled skillfully and with subtlety -  through visuals and implication.  Whoever it was who framed the story/narrative either understood the nature and roots of the Beach Boys’ dysfunction, or had access to someone who did.  I don't think Brian or his wife Melinda are credited as producers on this movie, but it is obviously their "project" or "baby," with B. Pohlad, et al.  as the artists helping them execute it and convey that which Brian and Melinda want to communicate. 

In my opinion, Landy, as embodied by Paul Giamatti, was not nearly as frightening or as dangerous as the doctor had to have been in real life.  I think (speculate) that this is so because the horror and peril of the Landy situation came into focus like a cancer – slowly, and over time. This gradual process is hard to convey in a 2 hr. movie in which half of that time is devoted to the 60s.  (At the Q&A, by the way, the question was asked of Brian whether Landy was a "hero," or "villain" (strange question, but it was asked). Brian replied with something to the effect of, "both, but mostly villain.")

A few visuals jumped out during the movie. One was the way the members of the Beach Boys are symbolically represented in the swimming pool scene in which they argue over the Smile lyrics: Brian is at one end of the pool, and in deep – up to his neck – in the water. Mike is opposite Brian, sitting on the patio outside the water and dry as a bone (until the end of the scene when you see that his feet are in the water).  Dennis  – fully in the water like Brian, but off by himself at another side of the pool. Carl – next to Mike, standing, half in the water, half out, and in the shallow [i.e., safe] end of the pool. Al in the distant background, standing on the patio, behind Mike and Carl.  Van Dyke, off to the side with his feet dangling in the water, then he gets up and leaves in a huff. At least this is how I remembered that scene; if anyone remembers it differently, please post. I thought that was an incredible visual moment in the film, a truthful one, and one that fans would appreciate. 

And it’s sort of funny I guess that in the scene where Brian gets Murry’s smackdown over “God Only Knows,” Murry is wearing a bathrobe that has vertical red and white stripes, like a “Kingston Trio” bathrobe. Don’t know if this was intentional costume design or a just serendipitous thing, but that really worked for me.

Fans of trivia and minutiae might be interested to know that the scene between the characters of Melinda and Landy that takes place in the alley behind Landy's office was filmed at a building near the corner of Westwood Blvd. and Ohio Ave. in West L.A. This, if I am not mistaken, was indeed the real life location of Landy's office/Brains & Genius.

[sea of tunes]

Saw this Sunday at the West L.A. Q&A screening-

I was amazed at how much information was conveyed in the film, and how artfully that was accomplished. Some difficult personal/family issues are handled skillfully and with subtlety -  through visuals and implication.  Whoever it was who framed the story/narrative either understood the nature and roots of the Beach Boys’ dysfunction, or had access to someone who did.  I don't think Brian or his wife Melinda are credited as producers on this movie, but it is obviously their "project" or "baby," with B. Pohlad, et al.  as the artists helping them execute it and convey that which Brian and Melinda want to communicate. 

Those were my impressions as well.  There were many moments, way too many to list, where I smiled in appreciation.  One of the first that really gave me goosebumps was the 2nd shot of the movie.  As the soundtrack swirls with Atticus Ross' mashup you hear bits of "California Girls", "Help Me Rhonda", "Wendy" and others and slowly the darkened screen reveals an ear.  Then we see 4-5 seconds of Brian in bed at the Bel Air house circa 1970s.

I knew, going in, that there little to no focus given to the 1970s or early 1980s and the troubles Brian went through.  Specifically, the "bed years".  But that one small little sequence conveys so much heaviness and weight.  Especially for Beach Boys fanatics.  Essentially, that one shot says so much about the years in between without really saying anything.  It's just an image of Brian in bed, face obscured by blue robe and girth.  I knew right then that Pohlad "got it".  In Oren Moverman's screenplay, the opening shot is basically what I described above.  It's very powerful as written.  But even more so as documented in the actual film.

Regarding the lineage of LOVE & MERCY, I believe originally John Wells had commissioned a screenplay, in the late 2000's.  Michael Lerner wrote a screenplay called HEROES & VILLAINS and they took it to River Road (Bill Pohlad's company) and he balked initially because the screenplay was more straightforward.  Somewhere in the process Claire Rudnick Polstein was involved (maybe prior to this) and she along with John Wells came back with the idea of a Brian Wilson film and Pohlad then commissioned Oren Moverman.  IIRC that was 2011.  There was a story in the NY Times around that time regarding the film going into pre-production.  There was no script at that point. 

Oren Moverman has mentioned in an interview posted in either this thread or the other that he worked with Brian but more so Melinda on getting fine details of their story.  And I suppose Moverman just relied on the various books and interviews in the telling of the 1960s portion.  I did find it interesting that in the same interview, he mentioned the original screenplay he gave Pohlad was some 170 pages and did include a section for the 1970s.  There were 3 Brian's. 

Obviously there were many revisions along the way.  At the end of the day, they really did Brian justice and gave us (and future generations) a film that uniquely tells the story in a way that is re-watchable and dazzling to behold.