The film, 'Searching For Sugar Man,' has excited my music career.
There are people who think the film 'This Is Spinal Tap' is simply a very funny 'mockumentary.' Well, with Yes, we lived it. Take the hilarious scene in the film in which the bass player is trapped in a giant pod - that actually happened to Alan one night.
I kind of liked the idea of filming musicians. I could like a musician and know, at the same time, maybe nobody else maybe liked them much or appreciated them.
To have the opportunity to bring 'Tallica Parking Lot' to life through images was really special. And also to have a lot of my heroes and my friends in the film was really, really special. People like Lemmy from Motorhead.
Now is a good time, 10 years ago would have been a good time, and 10 years from now it will still be a good time to see a dynamic, entertaining movie that's wall-to-wall Miles Davis where the music will hopefully spark some desire to know more about the man.
I've been promoting the idea of a Jimmie Rodgers documentary for years.
I would like to do a music person's story, a bio. I've wanted to do Aaliyah forever. But I don't want it to always be like, 'I'm singing again in a movie.'
I really was kind of like a musical nerd. I would watch VH1's 'Behind The Music.' That was heavy when I was a kid. I would sit up and want to watch that all day instead of going outside sometimes.
My first job in the film business was working as a production assistant, and then a production manager on a documentary about Townes Van Zandt.
I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.
I'm not a fan of the Eagles, but I've watched their documentary numerous times and everyone who's watched it with me has sung along to the songs, much to my dismay.
I've always loved Tom Petty and the Heartbreakers, and I watched the Petty documentary 'Running Down A Dream'. I was directly influenced, it made me want to go write.
I think that with the success of, like, VH1's 'Behind The Music' and stuff like that, the fact that it's so successful, it's clear that people are interested in rock lives.
Mick Jagger has produced some great films and brought us stories about the music industry that have changed the way we think about how music is made. I never thought I would actually call him my boss, let alone meet Mick Jagger or have any reason to say my name in the same sentence as his.
I'll let the record [Who You Selling For] speak for itself. I don't want to get too in-depth with my personal opinions of it and where the songs came from because I think it messes with the listener to know the inside mindset of the writer. For example, I watched a Pink Floyd documentary the other day, and I learned that "Shine on You Crazy Diamond" was about [frontman] Syd Barrett. I didn't want to know that!
I sat through Ladies and Gentlemen, the Rolling Stones like three times at the Skyway when it came out.
I've done a few celebrity-related things, and I think on the first one - about Mick Jagger - I got stung and was not able to make the film I wanted to make.
In England, I'm already labeled a rock photographer, which is a little insulting, because I'm not a rock photographer at all.
Working on 'The Last Waltz' introduced me to Martin Scorsese, and I had been a movie bug since I was a young kid.
I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.
Now, it's almost impossible to go out and do a film about a new form of music.
There are a handful of music docs I'd love to do, including David Bowie.
I haven't watched it [the film 'Pink Floyd at Pompeii'] in years. I find it excruciating.
I think Behind the Music is good for people like Leif Garrett and Motley Crue.
Albert Grossman called my office and spoke with my partner Richard Leacock and asked if we'd be interested in making a film with his client, Bob Dylan.
