The film features interviews with musicians from Phil Collins to The Beastie Boys to chronicle how a seemingly simple piece of equipment used by church organists, DJs, and rappers helped usher in an age of electronic music.Ĩ08 also doubles as a primer on the differences between the sounds and styles coming from New York, London, Chicago, Miami, Italy, and even India. Why “almost”?Ī slightly more successful film for music fans is 808, a profile of-wait for it-the Roland TR-808 drum machine. What does that mean? If there is nobody to be angry with when he is dying, why is a slightly longer life something he must be “worthy” of? “I’m almost glad this happened,” he concludes. “If you are not afraid of death, you can achieve anything.” That’s inspiring, but is it true? However, while Johnson is in a singular position to reflect on living in the shadow of death, his analysis never quite extends beyond that of aphorism. And yet, though the portrait of a man facing his own mortality with stoic acceptance is moving enough, Johnson’s story takes yet another turn when a long-shot surgery actually works and he receives a reprieve from his death sentence. Remaining “absolutely” an atheist, Johnson claims to have passed directly over the anger stage of grief: “Who’s there to get angry with?” The film doesn’t try to make a theological argument, but that character’s atheism made it harder for me to relate to Johnson or connect with him on an emotional level. (Cusack said he and Dano did not collaborate to try to create consistent mannerisms but trusted that the script, based on Wilson’s memories, would paint a unified portrait of the character.) Carl Landy and Paul Dano playing the musician as a young man. Owen Moverman’s script focuses on two distinct periods in Wilson’s life, with Cusack playing the older, reclusive Wilson under the care and influence of Dr. Wilson said that when he was watching the film’s production, it felt as though Cusack and co-star Elizabeth Banks genuinely loved each other when they played him and his wife. It was impossible to spend any amount of time with Wilson and Melinda Ledbetter-Cusack “greedily” accepted all the time he could as a guest in their home-without being impressed by how fiercely they love one another. Cusack said twice that no film could capture the entirety of a person’s life, and that this one was meant to convey only particular parts of Wilson’s. Wilson also vouched for the accuracy of the film, though Pohlad emphasized that Love & Mercy is intended as an intimate portrait of Wilson from the singer’s point of view. The former Beach Boy admitted that there are parts of the film that are still too hard for him to watch, but he made himself available to the filmmakers to help them craft a personal film. Pohlad and Cusack fell into the role of guardian angels as well when they met press, including CT, at this year’s SXSW alongside Wilson himself. That’s what John Cusack said about Brian Wilson, whom he plays in Bill Pohlad’s Love & Mercy.
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