![]() But I know that we did the best and tried to make the most emotionally out of what we had with him not here. ![]() This would have been a different film if Lou were alive and I don't know how different a film it would have been. So when you find him at the end of the movie in that interview from 73', with Warhol right there, and then again in the bodycon footage from Paris in 72' performing live with John Cale and Nico - those clips land with a real poignance and heartbreak because he is absent. I would say his absence in some ways maintains this incredible desire for Lou, because he's just a little out of reach. So kind of you can't take your eye off him. So we used his voice, and he's so present in the photo archives and central in the films that exist from Andy Warhol, of the band. It was sort of out of the aesthetic, and the immersiveness is partly due to us sticking to our aesthetic and really honouring it. Because I didn't wanna see hodge-podge clips from all the different videos. Although John Cale had, and still has an amazing solo career and has produced so many extraordinary records, it was very important to have Lou's voice, I would say. ![]() Although, having John Cale's perspective is also in some ways, the perspective that we know less than we might presume to know Lou reed's, given Lou's strenuous and amazing, original solo career that followed the Velveteers. He was the structuring absence around which my creative decisions had to be made and had to contend with. It's a question and that comes up a lot because he's so central to the band and the story. In taking this collage-esque approach to telling this origin story, how much of this version was hindered or dictated by the fact that you couldn't speak to Lou Reed? It was a completely immersive experience and something we don't often get with all the documentaries we're bombarded with. With your movie and Edgar Wright's film about The Sparks, it felt there was a real authorial and artistic voice. But really the three of us would say to each other we wish we could keep cutting this forever, because it was so gratifying. And this world got us through the world we were trying to survive through Covid, and the end of the Trump era, and became a creative resource and nourishment that I couldn't have expected. So I said I think all three of us should be cutting (and editing) - and we just entered this world. ![]() Fonzi and I were in Los Angeles when Covid hit so we were basically in quarantine together. Led by a lavish supply of archival footage from the likes of Andy Warhol's filmed collections, cascading experimental artistry, and comprehensive interviews with chief characters around the group themselves, the director opens up on the piecing-it-all-together process, the Velvet's resplendent company that allowed for the film's sheen, what their influence means to him, and an insight into the aesthetics employed.Īfter we saw the first rough cut, the first act of the film, I knew this was all I wanted to do so Fonzi (Affonso), Adam, and I all hunkered down. And as so many after them are beholden to the Velvet's, Haynes' documentary debut made for the legacy rock band is a mesmerising matrimony and a visual feast that unearths more of the brilliance from the former and latter. While his 1998 Bowie biopic was somewhat bogged by tape, in 2007's I'm Not There, that unsettling Karen Carpenter short, and almost every other body of his work, the American's dizzying filmography and love affair for a glitz-defining era, as well as a hot siren for provocative cultural explorations meant this was always on the cards. Prior to directing and producing one of Apple TV's newest documentaries in The Velvet Underground, Todd Haynes had bountifully amassed a repertoire that seemed almost inexorable the filmmaker would be tied to the seminal band's chronicles.
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