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Author Topic: Brian Wilson: Long Promised Road (2019 Brent Wilson Documentary)  (Read 61275 times)
rab2591
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« Reply #225 on: June 30, 2021, 04:29:17 AM »

Also, putting the new song from the film on your album first literally killed Brianís shot at an Oscar nom.

While NPP was released before the full release of Love and Mercy, one could argue that ĎOne Kind Of Loveí was recorded for Love and Mercy as the movie was debuted in 2014 at TIFF. That being said I donít know the details of the rules so you may be correct.

I thought it was due to how low the song was in the mix of the film, and how short of a time it was played on screen (Oscar rules state that at least 60% of the song must be present in the film)...I havenít seen the film in a while so Iím not sure exactly how long itís present on screen - but I think itís a lot less than 60% of the songís length. And you have to strain to even hear the song. The way they edited the song in it seems like the filmmaker didnít even want the song in the film - which is a shame because itís one of Brianís most beautiful solo songs.
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« Reply #226 on: June 30, 2021, 09:22:32 AM »

Pretty sure One Kind of Love is in the credits, which is all it should have taken. It was the pre-release on No Pier Pressure that sank it.
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« Reply #227 on: June 30, 2021, 11:20:34 AM »

I could be mistaken, it's been over 5 years, but I don't think the song's inclusion on Brian's NPP album had anything to do with why it didn't qualify for an Oscar that year. It has to do with how it was placed in the film too, and in this case it's playing in a scene toward the end of the film when Brian and Melinda are driving in a car, and is also used as the second song played over the end credits. There was some other factor involved in the Oscar guidelines that I don't remember which disqualified it, but it wasn't that it appeared on the album. Corrections welcome!
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« Reply #228 on: June 30, 2021, 01:55:55 PM »

I could be mistaken, it's been over 5 years, but I don't think the song's inclusion on Brian's NPP album had anything to do with why it didn't qualify for an Oscar that year. It has to do with how it was placed in the film too, and in this case it's playing in a scene toward the end of the film when Brian and Melinda are driving in a car, and is also used as the second song played over the end credits. There was some other factor involved in the Oscar guidelines that I don't remember which disqualified it, but it wasn't that it appeared on the album. Corrections welcome!

You are correct, sir.

From a write-up 5 years ago:

BEST SONG FROM GOLDEN GLOBE NOMINEES NOT ON THE SHORTLIST: ďOne Kind of LoveĒ from Love and Mercy
Why did this song from the Brian Wilson biopic not even make it to the shortlist? Because of an Academy rule that states that eligible songs need to be ďused in the body of the motion picture or as the first music cue in the end credits.Ē Wilsonís ďOne Kind of LoveĒ was the second song played during the credits.

http://thecomeback.com/theapparty/pop-culture/music-for-the-unhip-looking-at-oscars-best-original-song-shortlist-and-nominees.html


As to the brief use of 'One Kind of Love' in the body of the film, I'm guessing that it was deemed to not meet the Oscar requirement of  "a clearly audible, intelligible, substantive rendition."

Let's face it.  There's often some measure of arbitrariness on these things.  One of the most famous Oscar music disqualifications was on Nino Rota's legendary Godfather score, which was deemed ineligible because Rota recycled some of his own melodies from an earlier film, "Fortunella."  It was very much a gray area because the renditions, tempos and instrumentation were completely new and while the melodies were identical in some places they were different in others.
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« Reply #229 on: July 26, 2021, 03:25:32 PM »

Does anyone know if any progress has been made in getting a distribution deal?

Maybe the producers want to absolutely explore every chance of a cinematic release before going down the streaming service route?

I'm not sure what the situation is regarding cinemas in the US at the moment - here in Australia half our population are still subject to random lockdowns and cinemas are operating at the lowest possible levels to support their staff, and that's when the authorities don't have them shuttered completely.
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« Reply #230 on: July 26, 2021, 08:33:58 PM »

If and when a deal is struck, I'd expect to see something on Brent's Instagram page:
https://www.instagram.com/brent310/?hl=en

I certainly wish Brent and his team luck if they're still holding out for the elusive theatrical distribution deal, but I'm not sure how realistic that is in the current residual-pandemic era. Two years ago, you could get a documentary like "Echo in the Canyon" on 150 screens nationwide.  That was a different world.  I'm repeating myself, but at some point if no deal is forthcoming, just get it over with and release the darned thing on HBOMax, Showtime, Netflix, Amazon Prime etc.
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« Reply #231 on: August 20, 2021, 09:56:33 AM »

New Brent interview up on Brian's website.


"We will have some very exciting news to report soon on all fronts Ė international and domestic distribution and the soundtrack!"

https://www.brianwilson.com/brent-wilson
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« Reply #232 on: August 20, 2021, 01:51:49 PM »

Very excited about this film! Glad to still be around for this and the Feel Flows set!  Thanks to all involved.
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« Reply #233 on: August 20, 2021, 02:35:04 PM »

"My second attempt was to have Brian sit at a piano at Capitol Records with friends and bandmates around him asking questions as they played tracks. "


I had to think of this. Do you think this is a coincidence or was it somehow connected to the "Long promised Road" project?


https://www.youtube.com/watch?v=x0BMgIH493s
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« Reply #234 on: August 20, 2021, 02:51:33 PM »

New Brent interview up on Brian's website.


"We will have some very exciting news to report soon on all fronts Ė international and domestic distribution and the soundtrack!"

https://www.brianwilson.com/brent-wilson

Woo hoo!!  3D   Cheesy
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« Reply #235 on: August 23, 2021, 07:21:14 AM »

I could be mistaken, it's been over 5 years, but I don't think the song's inclusion on Brian's NPP album had anything to do with why it didn't qualify for an Oscar that year. It has to do with how it was placed in the film too, and in this case it's playing in a scene toward the end of the film when Brian and Melinda are driving in a car, and is also used as the second song played over the end credits. There was some other factor involved in the Oscar guidelines that I don't remember which disqualified it, but it wasn't that it appeared on the album. Corrections welcome!

You are correct, sir.

From a write-up 5 years ago:

BEST SONG FROM GOLDEN GLOBE NOMINEES NOT ON THE SHORTLIST: ďOne Kind of LoveĒ from Love and Mercy
Why did this song from the Brian Wilson biopic not even make it to the shortlist? Because of an Academy rule that states that eligible songs need to be ďused in the body of the motion picture or as the first music cue in the end credits.Ē Wilsonís ďOne Kind of LoveĒ was the second song played during the credits.

http://thecomeback.com/theapparty/pop-culture/music-for-the-unhip-looking-at-oscars-best-original-song-shortlist-and-nominees.html


As to the brief use of 'One Kind of Love' in the body of the film, I'm guessing that it was deemed to not meet the Oscar requirement of  "a clearly audible, intelligible, substantive rendition."

Let's face it.  There's often some measure of arbitrariness on these things.  One of the most famous Oscar music disqualifications was on Nino Rota's legendary Godfather score, which was deemed ineligible because Rota recycled some of his own melodies from an earlier film, "Fortunella."  It was very much a gray area because the renditions, tempos and instrumentation were completely new and while the melodies were identical in some places they were different in others.

I believe this happened to Rufus Wainwright, who wrote the beautiful song "The Maker Makes" for Brokeback Mountain many years ago. It didn't quality for an Oscar nom because it played over the closing credits, IIRC. Really weird rules.
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« Reply #236 on: September 01, 2021, 10:15:04 AM »

If anyone is (or will be) near Nashville on Sept. 30:
https://nashfilmfest.eventive.org/schedule/611adc23244de5008270b3aa
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thetojo
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« Reply #237 on: September 03, 2021, 12:31:16 AM »

If anyone is (or will be) near Nashville on Sept. 30:
https://nashfilmfest.eventive.org/schedule/611adc23244de5008270b3aa

And here I am locked down, confined to a 5 kilometre (~3 miles) radius of my house!!  Angry
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« Reply #238 on: September 27, 2021, 03:43:03 PM »


"... acquired for distribution by Screen Media for release in theaters and video on demand in November."
https://deadline.com/2021/09/brian-wilson-long-promised-road-screen-media-november-oscar-campaign-1234845106/
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« Reply #239 on: October 13, 2021, 06:16:30 AM »

Will any UK cinemas be showing it?
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« Reply #240 on: October 13, 2021, 07:34:03 AM »

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« Reply #241 on: October 13, 2021, 08:03:24 AM »

Dannng that's a beautiful poster. May have to get that to accompany my Love and Mercy movie poster in the office.
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« Reply #242 on: October 13, 2021, 10:30:26 AM »

Mark London's design work? It looks like his style.
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« Reply #243 on: October 13, 2021, 04:35:03 PM »

Great Poster - but what about the shirt - that's trippy!!  Roll Eyes
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« Reply #244 on: October 13, 2021, 05:34:24 PM »

Whoa. What a brilliant design with the "road" recalling the stripe pattern of the board on the "Surfer Girl" album cover.
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« Reply #245 on: October 13, 2021, 07:22:02 PM »

Also, putting the new song from the film on your album first literally killed Brianís shot at an Oscar nom.

While NPP was released before the full release of Love and Mercy, one could argue that ĎOne Kind Of Loveí was recorded for Love and Mercy as the movie was debuted in 2014 at TIFF. That being said I donít know the details of the rules so you may be correct.

I thought it was due to how low the song was in the mix of the film, and how short of a time it was played on screen (Oscar rules state that at least 60% of the song must be present in the film)...I havenít seen the film in a while so Iím not sure exactly how long itís present on screen - but I think itís a lot less than 60% of the songís length. And you have to strain to even hear the song. The way they edited the song in it seems like the filmmaker didnít even want the song in the film - which is a shame because itís one of Brianís most beautiful solo songs.

Just to clarify -- "One Kind of Love" was NOT in the version of Love & Mercy that played at TIFF in 2014. Trust me, I was there. The TIFF version had "Good Vibrations" session tapes playing over the end credits. The version that played at TIFF was a slightly rougher edit overall.

The song might have been written for the movie but it was definitely released on NPP first, in advance of the June 2015 general release of the movie.
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« Reply #246 on: October 13, 2021, 09:29:11 PM »

Great Poster - but what about the shirt - that's trippy!!  Roll Eyes

https://www.undergroundgarage.com/shows-949-940/show-944-quarantine-qoolness-brian-wilson
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« Reply #247 on: October 14, 2021, 08:10:15 AM »

Regarding "One Kind of Love", I have to imagine the filmmakers knew what they were doing and knew what was or wasn't eligible for various awards.

I gotta be honest; I think the song is fine, and seeing Brian get award noms is cool, but I can't really say that "One Kind of Love" is like A-game material. I was never bummed the song didn't get more noms.

I was far more disappointed by things like Atticus Ross's score not being eligible for Best Score; his work on the score definitely deserved some noms. It's too bad they didn't have something like "Best Adapted Score." And I would also say, at the very least, that Paul Dano deserved a nom (maybe not the win, but at least a nom) for his work on the film.
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« Reply #248 on: October 14, 2021, 09:21:47 AM »

I'm probably the only person in the world who thinks this, but in my opinion Love & Mercy should have received awards for costumes and set design. I'm well aware that those sorts of awards typically go to big-budget sci-fi/fantasy/comic-book extravaganzas or period war movies or period dramas based on Victoria-era literature. But darn it, Hollywood is usually really bad at getting "recent period" (30, 40, 50 years ago) right. It's really hard to do, and I'm a stickler for details (e.g., "I remember 1978, and no one had door knobs like that!").  But I'm not sure I've ever seen a film like Love & Mercy where they went to such lengths to recreate the studio scenes and costumes based an obsessive-compulsive level of attention to detail.  Brian himself noted the realism of the studio scenes and how the film had so amazingly got it right.  And let's face it, to an extent, they were even more accurate than the memories of a few of the principals.  For example, I remember when Carol Kaye, God bless her, was griping that she never wore outfits like the actress who portrayed her, there was photographic evidence that those costumes were dead-on reproductions of her actual in-studio outfits circa 1966.
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« Reply #249 on: October 14, 2021, 09:40:02 AM »

I agree, costume and set design were award-worthy as well.

"Love & Mercy" was a small miracle; a truly great film above all else. I don't have really any major gripe about the film. I think plenty of elements were awards-worthy, and certainly nomination-worthy. It's not a knock on Brian, but "One Kind of Love" was pretty far down on the list of things that seemed award-worthy, to me anyway.

If Brian wanted an Oscar nom for a song, I think a good model would be to shop something like "Sail Away" (from NPP) to like a Disney animated movie or something.
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