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Author Topic: Pictures from "Love and Mercy" biopic  (Read 115122 times)
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« Reply #475 on: August 11, 2014, 07:22:14 PM »

Hi all,

I like the way everyone is talking abut how they feel.  Yet it isn't who looks like the person it is who has that best agent that gets the person the part in a movie. 

That's one way to look at it; no matter how head in the sand it is....
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« Reply #476 on: August 12, 2014, 01:51:33 AM »

Hi all,

I like the way everyone is talking abut how they feel.  Yet it isn't who looks like the person it is who has that best agent that gets the person the part in a movie. 
Grin
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« Reply #477 on: August 19, 2014, 08:57:14 PM »

http://www.tiff.net/festivals/thefestival/programmes/specialpresentations/love-mercy

Times now posted
« Last Edit: August 19, 2014, 08:59:20 PM by Cyncie » Logged
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« Reply #478 on: August 19, 2014, 10:13:26 PM »

Hi all,

I like the way everyone is talking abut how they feel.  Yet it isn't who looks like the person it is who has that best agent that gets the person the part in a movie. 
One of the most bizarre things I read on this board.
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« Reply #479 on: August 19, 2014, 11:11:14 PM »

"Dispensing with staid biopic conventions, director Bill Pohlad nimbly intercuts between two key periods in Wilson's life, shining a double spotlight on his rise to stardom with the Beach Boys in the sixties and his remarkable eighties solo resurgence. As the younger Wilson, Paul Dano gives a superb performance that conveys the artist's prodigious gifts as well as his increasingly precarious mental state; the scenes of creative exploration during the Pet Sounds sessions are exhilarating. John Cusack is equally compelling, burrowing into himself as Dano's middle-aged counterpart. The actors are joined by the ever-excellent Paul Giamatti, very much in his element as Wilson's Svengali-like therapist, and by Elizabeth Banks as Melinda Ledbetter, the Cadillac saleswoman who would become Wilson's second wife and spiritual saviour, as well as a chief catalyst in his late-career revitalization."

i like the sound of this. all we need now is the trailer
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« Reply #480 on: August 20, 2014, 01:33:47 AM »

Dispensing with staid biopic conventions, director Bill Pohlad nimbly intercuts between two key periods in Wilson's life, shining a double spotlight on his rise to stardom with the Beach Boys in the sixties and his remarkable eighties solo resurgence.

Thanks for sharing Cyncie.

If they were intercutting between the 60s and present day the film could end with scenes of Brian losing control of Smile in the 60s and revisiting the material in 2004, the whole movie culminating with young and old Brian simultaneously performing Surf's Up alone at the piano. Man if the writer's are stuck for a Hollywood style ending dripping with overblown pathos, they can have that idea for free.
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« Reply #481 on: August 20, 2014, 01:41:13 AM »

"Dispensing with staid biopic conventions, director Bill Pohlad nimbly intercuts between two key periods in Wilson's life, shining a double spotlight on his rise to stardom with the Beach Boys in the sixties and his remarkable eighties solo resurgence. As the younger Wilson, Paul Dano gives a superb performance that conveys the artist's prodigious gifts as well as his increasingly precarious mental state; the scenes of creative exploration during the Pet Sounds sessions are exhilarating. John Cusack is equally compelling, burrowing into himself as Dano's middle-aged counterpart. The actors are joined by the ever-excellent Paul Giamatti, very much in his element as Wilson's Svengali-like therapist, and by Elizabeth Banks as Melinda Ledbetter, the Cadillac saleswoman who would become Wilson's second wife and spiritual saviour, as well as a chief catalyst in his late-career revitalization."

i like the sound of this. all we need now is the trailer
Sounds fantastic.. Man, I cannot wait for this.






EDIT:

Another - quite unsettling - promo image from the film:

« Last Edit: August 20, 2014, 02:18:46 AM by Lowbacca » Logged
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« Reply #482 on: August 20, 2014, 04:06:50 AM »

I'm really looking forward to the movie
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« Reply #483 on: August 20, 2014, 09:21:41 AM »

Apparently I'm waiting for the check from BRI before I decide which way I'm going to go on the movie. Grin
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« Reply #484 on: August 21, 2014, 04:33:26 PM »

Well, just finished reading the script. Hesitant to say much else, except that it reads like a very condensed version of many of the musical/biographical hit points we have all come to know so well (that biopic thing), including many that were previously covered in the TV films (but here seems much less cringeworthy, depending, of course, on the direction and deliveries, and this is a pretty good cast of actors). I'm especially excited for Dano to wipe clean our bad memories of the TV Looney Bri's. As stated above, it essentially focuses on intercutting between the Bri/Mel intro (and then enter Landy) and the 64-67 recording sessions (where almost all of the BB's dialogue takes place) ranging from I Get Around (with Murry being Murry) to Pet Sounds to GV to Smile (including the inevitable Mike/Van Dyke confrontation, this time over "snuff" rather than "crows"). The transitions between the two eras is where we get inside Brian's psychoacoustic interiority, with mashups of voices and music in his head, so that could be very either artful or very problematic (or both), but I like the way it reads in description and I think Dano can pull this off without too many histrionics. The structure is simple and focused and the back and forth 'tween 60's and 80's seems a much better choice than a straightforward biographical timeline from Hawthorne to End titles approach. Very few extraneous scenes or padded dialogue - there's a bit of Mike, some of Carl, less of Dennis (and Al and Bruce each have only a line or two). This is really about Brian, not "America's Band."

Audree gets a brief scene.
Spector gets a brief scene.
Marilyn gets a brief scene or two (listening to PS)
Hal and Brian have a nice, supportive moment together, as do all three Wilson brothers.
Inside Pop (LB's voice over) makes an appearance and there are some notes in the script that call for montages of other archival footage (Beatles, etc).
Definitely musically informed, if not overly fetishized (name check Western, Gold Star, Carol, Hal, Chuck, Banana and Louie, Wonderful, etc.)
If all the music cues cited in the script are actually in the soundtrack, it could make for an interesting album (Sunrays, Ronettes, Beatles)
And best of all, nary a beard is mentioned....

Looking forward to this. Should be fun and it will help set some of the previous biopic records straight (at least from the Bri/Mel perspective). My main concern remains the curious casting of Cusack, but he is an excellent actor, so I'll try to remain
 open-minded.
« Last Edit: August 21, 2014, 07:04:21 PM by PS » Logged
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« Reply #485 on: August 21, 2014, 05:19:02 PM »

Wow, thanks for that PS. Do you know how his '88 solo album is portrayed (like, is he in the studio recording Love and Mercy, etc)?

And thanks for posting that description Tony P.

I'm really hoping we get a trailer in the very near future.
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« Reply #486 on: August 21, 2014, 05:25:31 PM »

"Dispensing with staid biopic conventions, director Bill Pohlad nimbly intercuts between two key periods in Wilson's life, shining a double spotlight on his rise to stardom with the Beach Boys in the sixties and his remarkable eighties solo resurgence. As the younger Wilson, Paul Dano gives a superb performance that conveys the artist's prodigious gifts as well as his increasingly precarious mental state; the scenes of creative exploration during the Pet Sounds sessions are exhilarating. John Cusack is equally compelling, burrowing into himself as Dano's middle-aged counterpart. The actors are joined by the ever-excellent Paul Giamatti, very much in his element as Wilson's Svengali-like therapist, and by Elizabeth Banks as Melinda Ledbetter, the Cadillac saleswoman who would become Wilson's second wife and spiritual saviour, as well as a chief catalyst in his late-career revitalization."

i like the sound of this. all we need now is the trailer
Sounds fantastic.. Man, I cannot wait for this.






EDIT:

Another - quite unsettling - promo image from the film:



 LOL
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« Reply #487 on: August 21, 2014, 06:12:17 PM »

Well, just finished reading the script. Hesitant to say much else, except that it reads like a very condensed version of many of the musical/biographical hit points we have all come to know so well (that biopic thing), including many that were previously covered in the TV films (but here seem much less cringeworthy, depending, of course, on the direction and deliveries, and this is a pretty good cast of actors). I'm especially excited for Dano to wipe clean our bad memories of the TV Looney Bri's. As stated above, it essentially focuses on intercutting between the Bri/Mel intro (and then enter Landy) and the 64-67 recording sessions (where almost all of the BB's dialogue takes place) ranging from I Get Around (with Murray being Murray) to Pet Sounds to GV to Smile (including the inevitable Mike/Van Dyke confrontation, this time over "snuff" rather than "crows"). The transitions between the two eras is where we get inside Brian's psychoacoustic interiority, with mashups of voices and music in his head, so that could be very either artful or very problematic (or both), but I like the way it reads in description and I think Dano can pull this off without too many histrionics. The structure is simple and focused and the back and forth 'tween 60's and 80's seems a much better choice than a straightforward biographical timeline from Hawthorne to End titles approach. Very few extraneous scenes or padded dialogue - there's a bit of Mike, some of Carl, less of Dennis (and Al and Bruce each have only a line or two). This is really about Brian, not "America's Band."

Audree gets a brief scene.
Spector gets a brief scene.
Marilyn gets a brief scene or two (listening to PS)
Hal and Brian have a nice, supportive moment together, as do all three Wilson brothers.
Inside Pop (LB's voice over) makes an appearance and there are some notes in the script that call for montages of other archival footage (Beatles, etc).
Definitely musically informed, if not overly fetishized (name check Western, Gold Star, Carol, Hal, Chuck, Banana and Louie, Wonderful, etc.)
If all the music cues cited in the script are actually in the soundtrack, it could make for an interesting album (Sunrays, Ronettes, Beatles)
And best of all, nary a beard is mentioned....

Looking forward to this. Should be fun and it will help set some of the previous biopic records straight (at least from the Bri/Mel perspective). My main concern remains the curious casting of Cusack, but he is an excellent actor, so I'll try to remain
 open-minded.


cheers PS for that.

But where did you get a copy of the script?
Any chance....... Wink

am looking forward to this even more now. Also cant wait to hear Atticus Ross's score of the film aswell

surely a trailer will be made available in the coming days
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« Reply #488 on: August 21, 2014, 06:26:50 PM »

I think my preview was general enough not to spoil the fun for anyone, so I'll refrain from any further comment. The rest is best left up to "your imagination"
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« Reply #489 on: September 03, 2014, 01:11:22 PM »

Not sure if this was Dennis being filmed for the later scenes?
« Last Edit: September 03, 2014, 01:32:34 PM by joe_blow » Logged
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« Reply #490 on: September 03, 2014, 02:29:35 PM »

Not sure if this was Dennis being filmed for the later scenes?
Looks like the psychiatrist from Twin Peaks.
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« Reply #491 on: September 04, 2014, 10:28:20 AM »

Not really related but that street photo reminds me of something:

I just caught part of the film "Harry And Tonto" shown on TV last night, and there is a scene where Harry's son played by Larry Hagman meets him in Hollywood on the walk of fame in a Caddy convertible. If you look in the background, the whole scene was filmed across the street from Pickwick Books, which loomed large in the Brian Wilson mythology at least according to the story told of the flashback he had while browsing books there in the 60's.

The film was shot in 73-74 I believe, so it was neat to see the storefront of the Pickwick pretty much as it was in the 60's.

Harry And Tonto is a great film, BTW...if you haven't seen it, I'd recommend it! And keep an eye open for the Pickwick making a cameo appearance.
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« Reply #492 on: September 05, 2014, 10:35:08 AM »

Not sure if this was Dennis being filmed for the later scenes?
Looks like the psychiatrist from Twin Peaks.

This was shot in  Canada. I'm not sure if he was an extra or Dennis' character off set who kept his look off set.
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« Reply #493 on: September 05, 2014, 11:32:13 AM »

Looks more like this guy to me. -------->
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« Reply #494 on: September 05, 2014, 01:20:14 PM »

Not sure if this was Dennis being filmed for the later scenes?
Looks like the psychiatrist from Twin Peaks.

Dr Jacoby?

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« Reply #495 on: November 29, 2014, 08:52:18 AM »

Hi guys!

I'm new here. I am a big fan of the Beach Boys from Russia (not as big as most of all you, but I love this music since my childhood) and also in the big wait of Love & Mercy biopic. I just found some pics from the filming. Sorry if they are already here:



« Last Edit: November 30, 2014, 06:20:25 PM by Stanislav » Logged
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« Reply #496 on: November 29, 2014, 11:42:16 AM »

The excellent Teresa Cowles on bass there.
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« Reply #497 on: November 29, 2014, 07:40:43 PM »

Not sure Carol Kaye had the same bass... But looking great!
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« Reply #498 on: November 30, 2014, 03:43:00 PM »

The excellent Teresa Cowles on bass there.

I thought Carol Kaye was playing Carol Kaye in the movie? At least that's what she told meÖ Smiley
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« Reply #499 on: December 01, 2014, 08:13:47 AM »

Not sure Carol Kaye had the same bass... But looking great!

She had the same bass, sunburst Fender Precision, and if we're talking accuracy note that they also have masking tape stuck to the bridge, which is something Carol did specifically for recording bass when playing with a pick. It's a great "trick" in general, I've recorded nearly every bass track I've ever done with a pick with a similar piece of foam or tape at the bridge to cut down on various pings and overtones you'd get when picking a certain way.





« Last Edit: December 01, 2014, 08:19:10 AM by guitarfool2002 » Logged

"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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