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Author Topic: Love and Mercy - News and Reviews - First clip is out.  (Read 508173 times)
guitarfool2002
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« Reply #500 on: September 12, 2014, 09:14:57 AM »

Guitarfool, I vote initially for a "same moderation, but more self-policing" policy. If that fails, then...the spanking begins!

That sounds good! I'm all for the moderation aspect only coming in when absolutely necessary, of course depending on the issues at hand. But self-policing is one of the better ways to keep things on an even flow, for sure.

I'm being redundant, but I think self-policing can also involve letting us know if there are issues or problems that need to be addressed, and the only way to do that is to contact any of the moderators with suggestions or to inform of issues that may be happening so they can be addressed.

I will try to get this sub-topic onto another thread, like a "suggestion box" or something, so the film can be the focus.
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
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« Reply #501 on: September 12, 2014, 10:03:21 AM »

Update: Individual posts cannot be moved into another topic. There is no function in the board's design which allows this. Posts can be merged, but it's like taking ten steps to the side to move one forward. Still working on this, bear with me.  Sad
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
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« Reply #502 on: September 12, 2014, 10:23:30 AM »

Ray likes Stella Artois. Upon his recommendation, I brought a 6-er home a few weekends ago and tried one. I'll save the rest for when I show up on his doorstep with it. Ray, are you still accepting visitors?

Careful with that stuff Mikie. In the UK we call it "Stella-act-a-twat", 'cos 5 pints and you'll be acting like one. Regular wife beating juice.

I'll be sure to look out for that! Over here in the U.S., we don't call it "wife beating". We call it "domestic violence" or "spousal abuse". We stop short of calling it "assault & battery" especially when a celebrity is involved because those terms have less impact and don't sound as bad in court.
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I, I love the colorful clothes she wears, and she's already working on my brain. I only looked in her eyes, but I picked up something I just can't explain. I, I bet I know what she’s like, and I can feel how right she’d be for me. It’s weird how she comes in so strong, and I wonder what she’s picking up from me. I hope it’s good, good, good, good vibrations, yeah!!
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« Reply #503 on: September 12, 2014, 11:31:37 AM »


GREAT new interview to the cast and director, from Variety.
They talk A LOT about Brian and his music.  3D

http://www.youtube.com/watch?v=QBbHzjkQZzY

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« Reply #504 on: September 12, 2014, 11:34:15 AM »


Oh, and the movie has now a score in Rotten Tomatoes, 88% of aproval (8 reviews so far), wich is really great.  Smiley
Let's hope it stands that up.

http://www.rottentomatoes.com/m/love_and_mercy/
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« Reply #505 on: September 12, 2014, 12:59:03 PM »

Thanks for the link to the Variety interview............the cast seemed genuinely sincere in their admiration and appreciation of Brian and his story.   
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« Reply #506 on: September 12, 2014, 04:47:13 PM »


Quote
BBC Worldwide (International Site)
We're sorry but this site is not accessible from the UK as it is part of our international service and is not funded by the licence fee. It is run commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the profits made from it go back to BBC programme-makers to help fund great new BBC programmes. You can find out more about BBC Worldwide and its digital activities at www.bbcworldwide.com.

Well, gosh darn…

Allow me....

The allure of a big-screen biographical drama is simple and almost childlike: in our dream scenario, we're not just watching a movie – we're stepping into a time machine until we're in the presence of Abe Lincoln, Jim Morrison or Mozart. Yet the reason biopics have always fought for respectability – when they so often seem corny – is that few of them truly transport us into the past. The actors rarely look exactly like the people they're playing; the storylines waver between the specific and the generic. Overall, they're just not that authentic.

Once in a while, though, you see a biopic that brings off something miraculous, that recreates a famous person's life with so much care that the immersion we seek is achieved. When you watch Love & Mercy, a drama about Brian Wilson, the angelic yet haunted genius of The Beach Boys, you feel like you're right there in the studio with him as he creates Pet Sounds. And it's a little like sitting next to Beethoven: the film is tender and moving, but also awe-inspiring. Paul Dano, the audacious young actor from There Will Be Blood and Little Miss Sunshine, plays Wilson in the mid-1960s, when he was becoming the greatest creative force in American pop music. The moment we see Dano in the film's daringly off-kilter opening shot, which is just Brian noodling around at the piano and talking to himself, the actor seems to transform into Wilson's very being. The pale, cute moon face, the smile with a hint of a grimace, the disarming spaciness – this isn't just acting, it's channeling of a very high order.

It gets around

Love & Mercy was co-written by Oren Moverman (along with Michael A Lerner), the co-writer of Todd Haynes' Bob Dylan fantasia I'm Not There; and it was directed by Bill Pohlad, who has mostly been a producer (of films like 12 Years a Slave, Into the Wild and Brokeback Mountain). Together, these two have come up with an innovative structure that takes on a haunting resonance. Dano plays Brian at the pivotal moment when he’d climbed to his artistic peak but, through a combination of drug use and commercial pressures began to break down. The film cuts back and forth between this inspiring and tragic saga and scenes set 20 years later, when Brian is played by John Cusack as the wreck he had become. He has placed himself under the constant care of Dr Eugene Landy (Paul Giamatti), a hustler and psychological guru who has succeeded in drawing Brian out of the depths of his depression (he'd spent three years in bed). But Landy has also, in effect, made Brian his meal ticket and prisoner, doping him up on pharmaceutical drugs. This latter-day Brian has been ‘rescued’, but only as a zombie – that is, until the day he goes shopping for a Cadillac and meets Melinda (Elizabeth Banks), who sells cars in the showroom. The two begin to date, because she sees the loving soul beneath Brian’s sadness.

It's jarring, at first, to have Wilson played by two actors. You could argue that it doesn't entirely work, since Dano, who has always been an inspired space cadet, inhabits the role as if born to it, while Cusack, dialing down his usual verbal precocity, simply doesn't look – or feel – like Brian Wilson in quite the same way: when Cusack is on screen, we're out of the time machine, back on more conventional biopic ground. Yet as staged, the story of what happened to Wilson in the '80s is still a marvel of tenderness, discovery and even suspense. Can Melinda pry Brian out of the clutches of Landy, played by Giamatti as a dictator in healer's clothing who will destroy Brian in order to save him? Cusack gives a richly subtle and moving performance, showing us an incomparable artist who's been shattered to pieces. And we want to know: how, exactly, did that happen?

Tuned in

Love & Mercy offers up the answer with delicate fascination and insight. Early on, Dano's Brian tells the other Beach Boys that he wants to stop touring with them and retreat into the recording studio.

It's a surprisingly squashed and narrow space, and as Brian records all the backing tracks, Dano is almost goofy with eagerness, his eyes popping wide, his face split by a crooked grin of joy. His performance shows that Brian was in fact a mere boy when he created his masterpiece. He was only 23, but psychologically he was younger, a kid playing with the ultimate train set.

It's when the Beach Boys return from touring, and get ready to lay down the album's vocal tracks, that conflict sets in. Mike Love, portrayed with likable vigour by Jake Abel, leads the charge against Brian: he doesn't get this dreamy slow music dipped in gorgeous LA twilight. "Even his happy songs are sad!" rails Love. And, of course, he's right: on Pet Sounds, Brian combined happiness with sadness and transformed them into the sublime. But when the album turns out to be a commercial disappointment, superficially vindicating Love's hostility toward it, Brian becomes unhinged.

The film offers a complex view of what derailed him. It follows Wilson through his piano-in-the-sandbox phase, shows how he pulled himself together to record Good Vibrations and finally, after that song's extraordinary success, it tracks his heartbreaking descent into the insanity of the Smile sessions. Each time the film cuts from Dano to Cusack, the double casting feels more right: it reveals that Brian Wilson, once he'd lost his music, lost himself. He was a different person. Love & Mercy captures how a great American artist created the musical equivalent of grace, then fell from it, yet somehow found himself – and grace – again.

★★★★★

You're all so caught up in the fucking bickering that this beauty of a review got buried.  Thanks for posting Pretty Funky!
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Mikie
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« Reply #507 on: September 12, 2014, 06:01:24 PM »


Quote
BBC Worldwide (International Site)
We're sorry but this site is not accessible from the UK as it is part of our international service and is not funded by the licence fee. It is run commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the profits made from it go back to BBC programme-makers to help fund great new BBC programmes. You can find out more about BBC Worldwide and its digital activities at www.bbcworldwide.com.

Well, gosh darn…

Allow me....

The allure of a big-screen biographical drama is simple and almost childlike: in our dream scenario, we're not just watching a movie – we're stepping into a time machine until we're in the presence of Abe Lincoln, Jim Morrison or Mozart. Yet the reason biopics have always fought for respectability – when they so often seem corny – is that few of them truly transport us into the past. The actors rarely look exactly like the people they're playing; the storylines waver between the specific and the generic. Overall, they're just not that authentic.

Once in a while, though, you see a biopic that brings off something miraculous, that recreates a famous person's life with so much care that the immersion we seek is achieved. When you watch Love & Mercy, a drama about Brian Wilson, the angelic yet haunted genius of The Beach Boys, you feel like you're right there in the studio with him as he creates Pet Sounds. And it's a little like sitting next to Beethoven: the film is tender and moving, but also awe-inspiring. Paul Dano, the audacious young actor from There Will Be Blood and Little Miss Sunshine, plays Wilson in the mid-1960s, when he was becoming the greatest creative force in American pop music. The moment we see Dano in the film's daringly off-kilter opening shot, which is just Brian noodling around at the piano and talking to himself, the actor seems to transform into Wilson's very being. The pale, cute moon face, the smile with a hint of a grimace, the disarming spaciness – this isn't just acting, it's channeling of a very high order.

It gets around

Love & Mercy was co-written by Oren Moverman (along with Michael A Lerner), the co-writer of Todd Haynes' Bob Dylan fantasia I'm Not There; and it was directed by Bill Pohlad, who has mostly been a producer (of films like 12 Years a Slave, Into the Wild and Brokeback Mountain). Together, these two have come up with an innovative structure that takes on a haunting resonance. Dano plays Brian at the pivotal moment when he’d climbed to his artistic peak but, through a combination of drug use and commercial pressures began to break down. The film cuts back and forth between this inspiring and tragic saga and scenes set 20 years later, when Brian is played by John Cusack as the wreck he had become. He has placed himself under the constant care of Dr Eugene Landy (Paul Giamatti), a hustler and psychological guru who has succeeded in drawing Brian out of the depths of his depression (he'd spent three years in bed). But Landy has also, in effect, made Brian his meal ticket and prisoner, doping him up on pharmaceutical drugs. This latter-day Brian has been ‘rescued’, but only as a zombie – that is, until the day he goes shopping for a Cadillac and meets Melinda (Elizabeth Banks), who sells cars in the showroom. The two begin to date, because she sees the loving soul beneath Brian’s sadness.

It's jarring, at first, to have Wilson played by two actors. You could argue that it doesn't entirely work, since Dano, who has always been an inspired space cadet, inhabits the role as if born to it, while Cusack, dialing down his usual verbal precocity, simply doesn't look – or feel – like Brian Wilson in quite the same way: when Cusack is on screen, we're out of the time machine, back on more conventional biopic ground. Yet as staged, the story of what happened to Wilson in the '80s is still a marvel of tenderness, discovery and even suspense. Can Melinda pry Brian out of the clutches of Landy, played by Giamatti as a dictator in healer's clothing who will destroy Brian in order to save him? Cusack gives a richly subtle and moving performance, showing us an incomparable artist who's been shattered to pieces. And we want to know: how, exactly, did that happen?

Tuned in

Love & Mercy offers up the answer with delicate fascination and insight. Early on, Dano's Brian tells the other Beach Boys that he wants to stop touring with them and retreat into the recording studio.

It's a surprisingly squashed and narrow space, and as Brian records all the backing tracks, Dano is almost goofy with eagerness, his eyes popping wide, his face split by a crooked grin of joy. His performance shows that Brian was in fact a mere boy when he created his masterpiece. He was only 23, but psychologically he was younger, a kid playing with the ultimate train set.

It's when the Beach Boys return from touring, and get ready to lay down the album's vocal tracks, that conflict sets in. Mike Love, portrayed with likable vigour by Jake Abel, leads the charge against Brian: he doesn't get this dreamy slow music dipped in gorgeous LA twilight. "Even his happy songs are sad!" rails Love. And, of course, he's right: on Pet Sounds, Brian combined happiness with sadness and transformed them into the sublime. But when the album turns out to be a commercial disappointment, superficially vindicating Love's hostility toward it, Brian becomes unhinged.

The film offers a complex view of what derailed him. It follows Wilson through his piano-in-the-sandbox phase, shows how he pulled himself together to record Good Vibrations and finally, after that song's extraordinary success, it tracks his heartbreaking descent into the insanity of the Smile sessions. Each time the film cuts from Dano to Cusack, the double casting feels more right: it reveals that Brian Wilson, once he'd lost his music, lost himself. He was a different person. Love & Mercy captures how a great American artist created the musical equivalent of grace, then fell from it, yet somehow found himself – and grace – again.

★★★★★

You're all so caught up in the fucking bickering that this beauty of a review got buried.  Thanks for posting Pretty Funky!

We saw this already.  Pretty Funky posted it yesterday.  It's old news.

Back to bickering.
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I, I love the colorful clothes she wears, and she's already working on my brain. I only looked in her eyes, but I picked up something I just can't explain. I, I bet I know what she’s like, and I can feel how right she’d be for me. It’s weird how she comes in so strong, and I wonder what she’s picking up from me. I hope it’s good, good, good, good vibrations, yeah!!
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« Reply #508 on: September 12, 2014, 06:02:51 PM »

A fantastic review.  BBC takes its reviews seriously, and if it's anything like Dylan's I'm Not There, it's going to be mind-blowing.  

My Dad is a Beach Boys/Brian Wilson fan.  I've been bickering him about how so much is going on in the world of Brian Wilson.  I think he ignored this upcoming biopic expecting it to be like those bummers from the 80s and 90s, but after reading the review I can see his face light up at the point of me mentioning the movie.  
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« Reply #509 on: September 12, 2014, 11:24:43 PM »

Once this film has done the rounds at cinemas (he said, optimistically), I'd like to propose a deluxe box set:

Love & Mercy on Blu-Ray
Brian's new autobiography in hardback
Movie soundtrack on CD or Blu-Ray audio
No Pier Pressure on CD or Blu-Ray audio

Bonus features accompanying the film have to include commentaries by the director, the stars, Brian and Melinda, and of course Ray Lawler.
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« Reply #510 on: September 13, 2014, 05:36:34 AM »

Once this film has done the rounds at cinemas (he said, optimistically), I'd like to propose a deluxe box set:

Love & Mercy on Blu-Ray
Brian's new autobiography in hardback
Movie soundtrack on CD or Blu-Ray audio
No Pier Pressure on CD or Blu-Ray audio

Bonus features accompanying the film have to include commentaries by the director, the stars, Brian and Melinda, and of course Ray Lawler.


...and 4 only specific and targeted quotes from Debbie Keil
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« Reply #511 on: September 13, 2014, 10:29:07 AM »

OK - so I have a reason to post again in case this isn't up from IMDB Pro...I just don't go where the BBs legal or financial issues are concerned...I've had one subpoena in my hand by just being "nearby" for a period of time.  I don't want another.  You guys have at it if you want, but I post under my real name.  I know NOTHING about the BBs business inner-workings, just as I like it, and just as Brian told me many years ago that he wanted it.  BTW - I do look at this Board occasionally and some of you guys are so funny you've had me doubled over laughing with tears rolling down my cheeks, more than once.  Keep that stuff up, please!  It often makes my day and who knows?...maybe other people who matter a hell of a lot more.

Full Credits:

https://pro-labs.imdb.com/title/tt0903657/filmmakers

I pay for the Pro version because I'm obsessive about details (as clearly many of you are).  Very, very impressive.  With the dignity the man's story deserves.
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« Reply #512 on: September 13, 2014, 11:57:21 AM »

http://www.rollingstone.com/movies/features/love-and-mercy-paul-dano-on-brian-wilson-20140913

Interview with Paul Dano from Rolling Stone.
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« Reply #513 on: September 13, 2014, 12:48:44 PM »

OK - so I have a reason to post again in case this isn't up from IMDB Pro...I just don't go where the BBs legal or financial issues are concerned...I've had one subpoena in my hand by just being "nearby" for a period of time.  I don't want another.  You guys have at it if you want, but I post under my real name.  I know NOTHING about the BBs business inner-workings, just as I like it, and just as Brian told me many years ago that he wanted it.  BTW - I do look at this Board occasionally and some of you guys are so funny you've had me doubled over laughing with tears rolling down my cheeks, more than once.  Keep that stuff up, please!  It often makes my day and who knows?...maybe other people who matter a hell of a lot more.

Full Credits:

https://pro-labs.imdb.com/title/tt0903657/filmmakers

I pay for the Pro version because I'm obsessive about details (as clearly many of you are).  Very, very impressive.  With the dignity the man's story deserves.

Debbie, I have to say that I think it is awesome you decided to post on our board. I hope at least once in a while you get the urge to post, especially when you feel you might be able to add something, especially when it comes to us talking about the actual music, and what you remember from your days with Brian.

I honestly think a lot of people on this board don't realize that you actually have quite a place in Brian's story. And I think that's why a few people here didn't give you the respect and attention that someone who was actually there deserves.
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« Reply #514 on: September 13, 2014, 01:29:02 PM »


Yeah, I was enjoying the read, until I got to this line:  >>  Roadside Attractions will release the film in the U.S. in 2015  <<

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« Reply #515 on: September 13, 2014, 01:50:19 PM »


Yeah, I was enjoying the read, until I got to this line:  >>  Roadside Attractions will release the film in the U.S. in 2015  <<



It became pretty clear over the last couple of months that there was no way the film would come out this year. Not with the film fest debut so late in the year already. It may be another year before it opens in theaters.
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« Reply #516 on: September 13, 2014, 01:53:21 PM »


Yeah, I was enjoying the read, until I got to this line:  >>  Roadside Attractions will release the film in the U.S. in 2015  <<



It became pretty clear over the last couple of months that there was no way the film would come out this year. Not with the film fest debut so late in the year already. It may be another year before it opens in theaters.

which is what I expected when I read the line...
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« Reply #517 on: September 13, 2014, 02:03:39 PM »

I wonder when they will put it out then...I personally don't think they'd wait an entire year before putting this out. That's a long shelf life for a movie that has already had a premiere. That must mean that they don't necessarily see much Oscar potential for the movie, which doesn't surprise me too much to be honest. Perhaps they see it as a summer movie, given the subject matter though summer is a difficult time for non Blockbuster type movies.
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« Reply #518 on: September 13, 2014, 02:05:01 PM »

I'm expecting April...
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« Reply #519 on: September 13, 2014, 02:10:16 PM »

Can't be too long. The movie is finished. Apart from strategic purposes, there is no reason the movie couldn't be released in theatres any time.
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« Reply #520 on: September 13, 2014, 03:11:42 PM »

Have to admit that if any of my personal friends were really famous I would feel very wary about posting anything about them on a message board, though obviously I would want to be supportive, so I think it is great that people who actually know Brian are prepared to share information with us. It is to their credit that they are circumspect about what they choose to share and they deserve our respect for that.
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« Reply #521 on: September 13, 2014, 03:53:50 PM »

I wonder when they will put it out then...I personally don't think they'd wait an entire year before putting this out. That's a long shelf life for a movie that has already had a premiere. That must mean that they don't necessarily see much Oscar potential for the movie, which doesn't surprise me too much to be honest. Perhaps they see it as a summer movie, given the subject matter though summer is a difficult time for non Blockbuster type movies.

I don't think that's necessarily true. If they felt like it was an Oscar contender, they would just release it next fall. In that case, later would be better.
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« Reply #522 on: September 13, 2014, 03:58:35 PM »

Very cool article

http://www.rollingstone.com/movies/features/love-and-mercy-paul-dano-on-brian-wilson-20140913

Also

Roadside Attractions will release the film in the U.S. in 2015

« Last Edit: September 13, 2014, 04:00:36 PM by Shady » Logged

According to someone who would know.

Seriously, there was a Beach Boys Love You condom?!  Amazing.
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« Reply #523 on: September 13, 2014, 04:12:35 PM »

Very cool article

http://www.rollingstone.com/movies/features/love-and-mercy-paul-dano-on-brian-wilson-20140913

Also

Roadside Attractions will release the film in the U.S. in 2015



Yup, but both things were discussed a few posts up.  Wink
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« Reply #524 on: September 13, 2014, 04:22:21 PM »


Second bad review added in Rotten Tomatoes  Sad

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

I really don't get the point of this critic...

http://moviemezzanine.com/tiff-dispatch-2-love-mercy-eden-and-tokyo-tribe/
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