Todd Haynes Doc Seeks Velvet Underground Debut

CANNES, France – The thing that comes up regularly about the Velvet Underground is Brian Eno’s joke that the band didn’t sell many records, but everyone who made one created a band.

You won’t hear that line in Todd Haynes’ tale “The Velvet Underground,” nor will you see a montage of popular faces discussing their immense impact. You won’t even genuinely hear a truly complete track of Velvet Underground for almost an hour after the two-hour movie begins.

All other things being equal, Haynes, the capricious and reliable film producer of “Hymn,” “I’m Not There” and “A long way From Heaven,” rejects conventional treatment of Velvets, a proper methodology in mind. company, spearheading material. His film, which debuted this week at the Cannes Film Festival, is, like the Velvets, intensely cunning, endless and exhilarating. You can tell even Lou Reed would be pleased with the way “The Velvet Underground” denies the obvious.

“I didn’t have to make a movie to tell you how amazing the band is,” Haynes said in a reunion. “There were a ton of things I would have looked like: OK, we know that. How about how it happened, this music, where these individuals came from and how this wonder of this gathering of individuals came together.

“The Velvet Underground,” which Apple will air in theaters and on its streaming stage on October 15, features a little-seen film and highlights a slew of unusual reunions, including the premiere of the John Cale part (which describes the group as taking a stab at “how to be exquisite and how to be ruthless”), Modern Lovers’ Jonathan Richman and one of the early devotees, and Jonas Mekas, the late film producer who recorded the first live performance of the Velvet Underground in 1964 and to whom the film is committed.

“The Velvet Underground” is generally distinctive in its way of reviving the craft scene of downtown New York from the 1960s that gave birth to and ages the gathering. Haynes calmly follows the rich downtown scene of Warhol’s Factory, the explosion of eccentric New York City, and how Lou Reed and the Velvets were turned on by behaviors like the Ramones or the exploratory robotic music of La Monte Young. Manufacturing, avant-garde film and musical impact. The narrative, more than anything, is a brilliant picture of imaginative cross-pollination.

“You really felt that conjunction and the inventive motivation that was being exchanged from one medium to another,” says Haynes, who notes that such limited homes currently seem to be wiped out, a victim of a computerized world. “I need it today. I have no idea where it is.

“The Velvet Underground” is Haynes’ first story. Already, he has voluntarily gone to rig the fictions of extraordinary artists. His “Velvet Goldmine” was a glitzy rock whim by David Bowie. In “I’m Not There”, instead of taking on the inconceivable mission of finding an artist for Bob Dylan, he chose seven.

“As I explored the Bowie from ‘Velvet Goldmine’ or each of the Dylans from ‘I’m Not Here’ you are browsing the genuine article,” says Haynes. “I generally felt like if I reproduced this in a fictional structure, I’d better accomplish something else with it. So you don’t compare it to the genuine, consistent article. You are in another language, placing it is anything but another setting and the edge is noticeable.

Haynes has never met Reed, who died in 2013. In any case, he has seen him several times on occasions like the Whitney Biennial (“I was exceedingly terrified,” he says). Additionally, Reed allowed him to use “Satellite of Love” in “Velvet Goldmine”. Laurie Anderson, Reed’s widow and film producer, adopted Haynes to coordinate the film, and different fields, like Warhol Andy, were stable.

Warhol’s film, the main one to have genuinely brought in the Velvets before, is linked throughout the film. In split screen, the musicians’ screen tests for the Factory (normally seen as still photos) finally play out, with Reed or Cale looking at you provocatively.

“The lonely film about them is perhaps the best craftsman of the twentieth century. It’s so rare and abnormal. There is no conventional inclusion of the band performing live. There are just Warhol films, ”says Haynes. “We just include the know-how in the job in the know-how to tell a story about amazing work. “

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