О Rolling Stones замолвим слово

от Скорцеззе

два

три

четыре (в белую полосочку)

"Shine A Light" откроет Берлинский кинофестиваль 7 февраля.

LONDON (Reuters) - Martin Scorsese's documentary on veteran British rock band the Rolling Stones will open the Berlin Film Festival this year, organizers said on Tuesday, with the Oscar-winning director and the band making an appearance.

"Shine A Light" draws on footage from two Stones concerts at the Beacon Theatre in New York in late 2006, which include guest appearances by Jack White of the White Stripes, Christina Aguilera, and Buddy Guy.

The movie also features rare archival scenes and more recent behind-the-scenes footage and interviews.

"With this extensive camera coverage and the intimacy of the setting, Scorsese has created an extraordinary musical film event and given audiences unprecedented access to the Rolling Stones both on stage and off," the festival said in a statement.

The film crew includes Oscar-winning cinematographer Robert Richardson, who worked on Scorsese's "The Aviator," and fellow Oscar winners John Toll ("Braveheart") and Andrew Lesnie ("The Lord of the Rings").

"We are extremely excited to have the world premiere of this magnificent film as our opening gala," said festival director Dieter Kosslick. "Martin Scorsese has captured the pure essence of an iconic band on the big screen."

The Rolling Stones, one of the biggest bands in rock'n'roll history with album sales estimated at more than 200 million, embarked on a two-year world tour in 2005 which wound up in London last August.

The Berlin Film Festival opens on February 7 and ends on February 17.
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Берлинский кинофестиваль откроется премьерой фильма о Rolling Stones

Берлинский кинофестиваль 2008 года откроется документальной лентой Мартина Скорсезе о группе Rolling Stones, сообщает Reuters. Показ на фестивале также станет мировой премьерой фильма.

Снятый Скорсезе фильм о Rolling Stones носит название Shine a Light. Предполагалось, что фильм выйдет в прокат еще в сентябре 2007 года, однако затем эту дату перенесли.

В фильм Shine a Light входят материалы, записанные на двух концертах, которые Rolling Stones дали в Beacon Theater в Нью-Йорке в ноябре 2006 года. В выступлениях группы приняли участие Джек Вайт (из группы White Stripes), Кристина Агилера и Бадди Гай.

Также фильм включает документальные съемки и интервью с участниками группы.

58-ой Берлинский кинофестиваль будет проходить с 7 по 17 февраля 2007 года. Жюри в этом году возглавит франко-греческий режиссер Константин Коста-Гаврас (Constantin Costa-Gavras).

http://lenta.ru/news/2008/01/16/scorsese/

https://www.beatles.ru/news/news.asp?news_id=3535

Статья из "Таймс"

January 17, 2008

Rolling Stones get no satisfaction from EMI

Dan Sabbagh: Media Editor
Sir Mick Jagger and The Rolling Stones are preparing to follow Sir Paul McCartney and Radiohead and abandon EMI, the crisis-stricken British record label.

The likely defection of the world’s most commercially savvy rock band is a further blow to the credibility of EMI’s new owner, the venture capitalist Guy Hands, who is striving to cut costs amid an artists’ revolt. Sir Mick met Mr Hands during the negotiations over a renewal of the band’s existing EMI contract, but the financier whose best man was William Hague, did not make enough on an impression to persuade him to commit to a new deal.

Mr Hands’s venture capital group Terra Firma bought EMI last year for £2.1 billion. Since then, Radiohead have quit after a row over money and creative control, with singer Thom Yorke saying that the band was forced to make “the sign of the cross and walked away”. Sir Paul McCartney left after describing the company as “really very boring”.

The manager of Robbie Williams, one of EMI’s top selling acts, said last week that the singer was refusing to hand over his next album and accused Mr Hands of behaving like “a plantation owner” who had stumbled into the record industry via “a vanity purchase”. Coldplay, one of the label’s few US chart-toppers. are also considering their position.

The Rolling Stones have a five-year deal worth an estimated £14 million that expires in May. The band are aggressively canvassing alternatives, but The Times has learnt that EMI’s rival, Universal Music, moved into pole position after winning the rights on Tuesday to distribute a one-off live album. In March, The Stones will release a CD to accompany the Martin Scorsese film Shine a Light, in which they are filmed playing two live gigs at New York’s Beacon Theatre, with cameo apperances from Christine Aguilera and Jack White. It will be released by Universal’s Polydor label.

Sir Mick, Keith Richards, Charlie Watts and Ronnie Wood are understood to be “considering their options” over EMI. However, many believe that they will sign up to Universal – unless EMI or another music group is willing to make an aggressive last ditch counter-offer. One industry source said: “You’d expect the Stones to sign up with Universal if everything goes to plan with Shine A Light.”

Sir Mick is widely regarded as being one of the most financially sharp operators in the business. He licensed Start Me Up for Microsoft’s Windows 95 campaign, earning the band an estimated £6 million, but the vast bulk of income is made from touring. The most recent, Bigger Bangtour generated a record $437 million in ticket sales.

Those close to the negotiations said that the band did not feel comfortable with EMI – which is preparing to sack up to 2,000 staff in a restructuring operation. The label is hoping that it can persuade the band into a last-minute change of heart. “We have no indication that The Rolling Stones have any intention to sign to any other record label,” a spokesman said.

The band’s anticipated defection is all the more painful because despite the age of the band members – they are all in their 60s – they remain money spinners, generating an estimated £3 million a year for EMI, making them one of its leading acts.

Unsually, the Stones also control the rights to their catalogue of albums from 1971’s Sticky Fingers, and their intention is to take the catalogue with them. The albums still sell well, with the most recent, A Bigger Bang selling over 2.4 million copies worldwide.

Should the Stones sign to Universal it would reunite their catalogue. Their 1960s albums were controlled by Decca, now part of Universal.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article3200821.ece

О, в марте на Universal/Polydor выйдет CD в поддержку фильма Скорсезе.

Michael Hogan: Martin Scorsese and the Rolling Stones—These Bad-Ass Boomers Won’t Quit!
http://www.vanityfair.com/ontheweb/blogs/daily/2008/01/michael-hogan-m.html

+ еще о фильме (2-й абзац)
http://www.vanityfair.com/politics/blogs/wolcott/2008/01/the-cat-is-out.html

Soul Survivors
By Mitch Glazer

Nobody does rock 'n' roll like the Rolling Stones. Nobody uses it like Martin Scorsese. MITCH GLAZER joined the team as the legendary band and director filmed Shine a Light

Producer Steve Bing has an idea: Martin Scorsese and the Rolling Stones. It's February 2006, 36 years since the last, best Stones film, the Maysles brothers' masterful Gimme Shelter, and the Rolling Stones are in the middle of a record-shattering world tour, playing with more daring and heart than ever. It's time, way past time, for the world's greatest director to capture the world's greatest rock 'n' roll band in concert. Bing's just co-financed Jonathan Demme's soulful Neil Young-concert film, Heart of Gold, but to a lifelong music fan, a Stones-Scorsese movie is the holy grail. Steve Bing is in.

Nobody uses rock 'n' roll like Martin Scorsese. Nobody gets rock 'n' roll like Martin Scorsese: Robert De Niro's slow-motion, "Jumpin' Jack Flash" descent into a hellish Little Italy bar in Mean Streets or Ray Liotta's coke-fueled implosion in GoodFellas (a 10-minute rocket sled: Nilsson, Stones, the Who, Muddy Waters, George Harrison) or Jack Nicholson in The Departed, humiliating a pedophile priest to the Beach Boys' breezy "Sail On, Sailor." Scorsese has a great musician's feel. He finds the groove, weds the ideal song to a scene like a bluesman bending a note. It's instinct and immersion.

He heard doo-wop (and Verdi) on the stoops of Little Italy, rocked in the Brooklyn Paramount Theatre in '57 to Buddy Holly, Little Richard, and Jerry Lee Lewis, and then found himself onstage at Woodstock with N.Y.U. buddy director Michael Wadleigh and (future Scorsese editor-for-life) Thelma Schoonmaker. Scorsese actually edited Sly Stone's delirious, defining "I Want to Take You Higher" sequence from Woodstock. A couple of years later Scorsese cut The King, receiving "montage supervisor" credit on the 1972 film Elvis on Tour. And all of this a prelude to his grand re-invention of the concert film, the Band's rocking elegy, The Last Waltz. Toss in Michael Jackson's "Bad" video; producing an encyclopedic blues tribute, Lightning in a Bottle; and a peek behind the mask in the revelatory Bob Dylan documentary No Direction Home, and you have the greatest practitioner, interpreter, and champion of rock 'n' roll in film.

The Rolling Stones are special for Scorsese as well. They are a constant in some of his finest work; "Gimme Shelter" alone floats ominously through GoodFellas, Casino, and The Departed. As Scorsese says, "No matter what, we always thought of the Rolling Stones as our band. New York's band. The conviction, the soul, the attitude ... there's something New York in their music, you know? They may be from London, but they're a New York band."

Scorsese is in.

Mick Jagger has an idea. Actually two ideas: Scorsese should multi-camera-shoot a huge stadium show in Amsterdam. (Jagger sees the size and spectacle, the theater, of the Rolling Stones' stadium show as inherently cinematic.) He also has a notion for a scripted narrative, a written intro and coda that will frame the concert, give shape and drama to the movie.

Steve Bing has another idea ... me. After the Heart of Gold premiere, on February 7, 2006, he calls and asks me, "Would you be interested in writing the scripted intro to ... " Yes. I'm in.

The next night, Scorsese calls. I don't remember too many details of our first chat–it's like Randy Newman fantasizing about hanging with Bruce Springsteen in "My Life Is Good": "Oh, we talked about some kind of woodblock or something. And this new guitar we like ... " Me and Marty (that's how he introduced himself), you know, two movie guys talking about everything from Robert Graves and the ancient Greek philosophy of performance to the Rolling Stones. I do remember he's inspired (inspiring), funny, fast, and collaborative. He recommends one of his favorite concert films, Bert Stern's documentary about the 1958 Newport Jazz Festival, Jazz on a Summer's Day. Scorsese and Jagger have spoken about using it as a template–it's Jagger's favorite as well. Scorsese is neck-deep in editing his new movie, The Departed, and eager for ideas. This can't just be another concert film. The Rolling Stones have shot and sold virtually every world tour they've ever done. There has to be a reason: the bittersweet finality of The Last Waltz, murder and the death of the hippie dream in Gimme Shelter, Newport's class-color war in Jazz on a Summer's Day. A context, a story.

A few weeks later, I fly to New York for the first of several meetings with Scorsese. They take place in his office, on 57th Street, and in his Upper East Side town house. He invariably strides in from editing The Departed, shaking his head, laughing about the insanity, the chaos of the movie: "Is it shit? Is it great? I don't know. I have no idea. What the hell is it? We've got some great things. I know that. Some great scenes, but it's crazy, a crazy puzzle. This one could go any way. It's happening right now. Right next door." Sitting down on the other side of the coffee table. "So ... the Rolling Stones." And off we'd go. Our meetings, prefaced by Emma Tillinger (Scorsese's Sikelia Productions head) with "Marty's only got an hour today," always wonderfully stretch all afternoon. Somewhere in the middle of these marathons, we find the heart of the beast, the reason for his concert movie–the Stones, the city, and, at my insistence, Scorsese. Create the dream Rolling Stones concert in a small, sweaty venue in New York City and let Martin Scorsese's passion loose in front of and behind the camera. Simple. Bliss.

Keith Richards says he'll do whatever Martin Scorsese wants.

Steve Bing gets Mick Jagger to agree to a meeting in New York where he and Scorsese can present their notion of a more intimate venue, officially pitch the idea of a Stones-Scorsese-New-York-City concert film, face-to-face. I'm invited, I assume, as a human sacrifice.

We meet in the Carlyle lobby around three in the afternoon, March 14, 2006. Everybody seems slightly ... jangly, Scorsese more caffeinated than usual. Bing calls up to Jagger's room; we pile into the elevator and head to the penthouse. Somebody ushers us into the suite's living room. A love seat and a single chair face an overstuffed armchair positioned in front of the picture window. Michael Cohl, the Stones' longtime tour director, greets us and gestures to our seats. Cohl is bearded, intense, and seems to be glowering. Fortunately, Victoria Pearman, president of Jagged Films and an ally, steps into the suite behind him.

Bing takes the offered chair, and Scorsese and I sit side by side in the love seat. As Mick Jagger glides in, smiling, subdued, regal, and sits in the armchair facing us, I can't help but notice that Scorsese and I are staring into a blinding sunset. The sun is setting in the picture window directly behind Jagger. His face is completely in shadow: a total eclipse of the Mick. After a few moments of casual industry chitchat, Bing says something like, "Well, I think Mitch has some ideas for the movie." I swallow, fix my gaze at what I assume are Jagger's eyes, and launch into the Stones-Scorsese-and-the-city pitch about an intimate, roots, rock 'n' roll venue, the band sharing the stage, he and Richards sharing a mike ... Fairly quickly we're in the elevator heading down to the lobby. Silence. Bing clears his throat: "Hey, I think that went pretty well." Scorsese jerks a look at me and says, "Could you see his face? I couldn't see his face. Was he happy? Sad? Did he hate us? Could you tell? I don't know. I couldn't tell. I have no idea."

Six months later, on Sunday, October 29, and Wednesday, November 1, 2006, in New York's elegantly wasted Beacon Theatre, the Rolling Stones give two heart- stopping performances (the second show is already considered legendary by Stones aficionados). Martin Scorsese and his hall-of-fame cinematographers (Albert "Gimme Shelter" Maysles, Bob "The Aviator" Richardson, John "The Thin Red Line" Toll, Emmanuel "Children of Men" Lubezki, Ellen "Eternal Sunshine of the Spotless Mind" Kuras, Stuart "Once Were Warriors" Dryburgh, etc.), with their 17 cameras, shoot the shows to death, while Scorsese hunches over a bank of monitors in the dark director's booth in the rear of the theater. The band roars, the hall shudders, all 17 camera shots flicker before him, total rock 'n' roll chaos. "I'm gonna vomit," Scorsese says to no one in particular. Months later he'll reflect, "It's pure adrenaline. It's like a car race. I mean, you're just going. And it felt to me the concert was over in 20 minutes. I have no idea what happened. That's the fun of it. The fun of it is the anxiety. The fun is not knowing what you're going to get."

The concert film, Shine a Light, is everything the shows were: raw, soulful, furious, ageless rock 'n' roll ... and more. The cameras are where we've never been before: a shot from behind Charlie Watts's drum kit catches Jagger as he spins his crazy, teenage body away from the audience, smiling and rolling his eyes at his exertion; Richards' hands, permanently gnarled around his guitar neck; Ronnie Wood, all Popeye grin and rooster cut, delighted at his own newly sober skills; Mick and Keith, brothers for 50 years, touching foreheads, sharing a mike and a wink during "Far Away Eyes."

The context, the reason for Scorsese's Rolling Stones film, in the end, transcends the venue or the city or Marty Scorsese himself; it's the fragility and triumph of this wonderful moment. Last year Keith Richards underwent brain surgery, Ronnie Wood fought his addictions in rehab, and Charlie Watts battled throat cancer. This will not go on forever, and they know it. And the Rolling Stones are still younger, tougher, cooler, and play better than you. This show, this film, is the Stones' gift. Their joy and virtuosity, their casual rock 'n' roll heroism, is caught and celebrated by perhaps our finest director. Rip this joint, indeed.

Ранним утром Ронни и Джо покидают вечеринку по случаю 34-го ДР Кейт Мосс.

А говорили, что он поправляется после удаления грыжи...

ожидаю получить эти двд говорят что просто улетные записи.

еще один

еще

вроде тоже ничего должно быть интересным