Stuck In Rewind Catalog by hamda alnaimi

Pausing failure, rewinding the past,

SECTION NAME

and moving forward.

MUSICAL JOURNEY

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

Pausing failure, rewinding the past, and moving for ward, in the films of Cameron Crowe.

SECTION NAME

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

and moving forward.

BETWEEN

THE PAGES

CONTENTS

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

GET READY 0 9 I nt roduction

BETWEEN

THE IDEALIST 14 Fi l mog raphy 16 Biog raphy

WORDS OF ART 28 Say A ny thing 60 Singles 52 A l most Fa mous 64 Jerry Maguire 76 El iza bethtow n

KEEP TRACK 92 The Route 94 Schedule 11 0 M u s i c 11 2 C r e d i t s & C o l o p h o n

THE PAGES

S E C TCI O ON N TNEANM TE S

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

INTRODUCTION

and moving forward.

GET READY

The Festival Stuck in Rewind is a festival celebrating Cameron Crowe’s memorable films. It’s a festival for those who want to discover themselves by taking their own journey. Crowe’s characters are put into positions that force them to rewind back and take new steps, in hopes to move forward in life. But, in the end, they all find themselves in the most unexpected places. So, buckle up and drive through different locations to watch a movie, listen to good music, meet new people and maybe even get lost along the way, but eventually discover a new path that will lead you to your destination.

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

THE

IDEALIST

C ro w eâ&#x20AC;&#x2122;s i d e a l i s t ic mind set comes from his ow n up bringing.

THE IDEALIST

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A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

THE

IDEALIST

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Pausing failure, rewinding the past,

Almost Famous

Jerry Maguire

1978

The Wild Life

1982

1984

1989

1992

Elizabethtown

We Bought A Zoo

Singles

American Hot Wax

THE IDEALIST

and moving forward.

Say Anything

Fast Times at Ridgemont High

A Cameron Crowe Film Festival

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1996

1997

1998

2000

Vanilla Sky

Pearl Jam Twenty

2001

2005

Jerry Maguire Empire Award for Best Director.

Jerry Maguire Hochi Film Award for Best Foreign Language Film.

Roadies

Aloha

2011

2015

Almost Famous Oscar for Best Writing, Screenplay Written Directly for the Screen

Jerry Maguire PEN Center, USA West Literary Awards Screenplay.

Almost Famous Academy Award for Best Original Screenplay. Golden Globe Award for Best Motion Picture–Musical. Grammy Award for Best Compilation Soundtrack. Dream Director Award for Visual Media Young Hollywood.

Pearl Jam Twenty Toronto International Film Festival 3rd place, People’s Choice Award.

2016

A Cameron Crowe Film Festival

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THE IDEALIST

Biography Hitting the big screen

Cameron Bruce Crowe is an American director, producer, screenwriter, journalist, author, and actor.

With the screenplay for 1982’s now legendary teen comedy Fast Times at Ridgemont High, Crowe tapped into an ability to portray both the humorous and poignant aspects of teenage life; about two years later he wrote the script for The Wild Life, a Fast Times sequel of sorts starring Chris Penn, the brother of Fast Times’ star Sean Penn. Crowe bounced back with 1989’s romantic comedy Say Anything, a film that would mark Crowe’s directorial debut. In 1992 Crowe was back in the director’s chair with Singles, featuring Matt Dillon and Bridget Fonda. Blockbusters

Early life Born in July 13, 1957, in Palm Springs, California, Cameron Crowe is the son of a teacher and a real estate agent. Crowe graduated high school at age 15 and began writing articles for Rolling Stone magazine when he was 16. He briefly attended San Diego City College but Crowe dropped out to pursue his screen writing career. How Camer o n Cr o we tur ned from a jo ur nalist to a dir ec t or.

Cameron Crowe’s first cover story was on the Allman Brothers Band. He went on the road with them at the age of 16 and interviewed not only the whole band, but also the entire road crew. Because Crowe was a fan of the 1970s hard rock bands that the older writers disliked, he landed many major interviews. Cameron wrote predominantly about Yes and the band members. Including, Led Zeppelin, Eagles, King Crimson, Linda Ronstadt, and more. In an interview with Joel Selvin of the San Francisco Chronicle, Fong Torres remarked, “He was the guy we sent out after some difficult customers. He covered the bands that hated the Rolling Stone.”

Crowe’s films resonated deeply with Gen X audiences, he achieved his greatest commercial success with the movie Jerry Maguire, starring Tom Cruise and newcomer Renée Zellwege; he earned an Academy Award nomination for Best Original Screenplay for the film. His next undertaking, 2000’s Almost Famous, was a semiautobiographical story of an aspiring teenage rock journalist hired by the Rolling Stone to go on tour with a band; the film was a success at the box office and with critics, winning a Golden Globe for Best Film Comedy and an Academy Award for Crowe for Best Original Screenplay. Personal Life In 1986, Crowe married musician Nancy Wilson, a member of rock group Heart. Their twin boys William and Curtis were born in 2000. The couple separated in 2008 and divorced in 2010. Crowe is the author of two books: Fast Times at Ridgemont High: A True Story (1981) and Conversations With Wilder (1999).

STUCK IN REWIND

A Cameron Crowe Film Festival

BECAUSE MUSIC MATTERS!

Is the band really playing? The band is half-playing. The drummer (John Fedevich) is a great real drummer, who used to play with Mark Kozelek, the bass player, and he’s the leader of the Red House Painters. And they’re playing live to a track that has Billy (Crudup). Billy’s playing a little bit—and Jason is lip-syncing. Really well, too, because we had all those rehearsals. Every night we’d do their set a couple of times and they got very comfortable with it, to the point where they could play it live.

A Conversation with Cameron Crowe about how important music is in his movies, a bonus EP of b-sides and unreleased tracks.

Is it really Jason Lee’s voice? No, it’s actually a guy named Marty. We auditioned a few of voices for that 1973 era voice. The odd thing is, in the era of Whitney Houston, everybody sings now so we had to work really hard to find somebody who just sang the melody.

What was it about Jerry Maguire that clicked with people in ways your previous films hadn’t?

A n a ll enco mpassing di scu ssio n abo ut music, by Mar k Olsen.

The love story was more adult and had some moments of pain that people related to, like, “We could spend the next ten years being polite.” I think there were little spikes in the love story which most people took to heart, which was a surprise and wonderful; and of course Tom Cruise playing a loser made it fun to watch, all the actors were on fire, everybody was really happy to be there and competing with each other for the scene, so there was an energy there. And also, somebody who’s been betrayed by others, but mostly themselves, who ultimately finds some road back, is more universal then I realized. In Almost Famous, Did you prepare the concert sequences by watching a lot of the rock films of that period, or is that stuff ingrained in your system by now? We had these rehearsals every night. We’d work on the movie in the day, and the band would practice at night and then we’d watch rock movies. Jason Lee is doing Paul Rodgers, of Free and Bad Company; The album covers, which you don’t see a lot of unfortunately, were based on the Allman Brothers Band’s albums.

So Peter Frampton and your wife wrote the songs? Frampton and a collaborator wrote two of the songs, and my wife and I wrote the others. How many songs did you write? Yo u n g C a m e r o n C r o w e With Eddie, Pearl Jam

We wrote most of them on our honeymoon, as an exercise, knowing sort of one day we might do a movie where we could use the stuff, but mostly just in a cabin on the beach on the coast of Oregon, having fun on our honeymoon. And we had this idea that this was a band from 1973 with a little bit of a father fixation in the lyrics, every song has some not so vague reference in the lyrics to a father or daddy. And none of the production values could be post 1973, and it couldn’t be a parody. “Cheese and Onions” [by Beatles parody band the Rutles], you couldn’t top that, so the other thing you can do is just try and be real. The songs all exist, and the full “Fever Dog” will be on the soundtrack album, sorry to tell you. And then Frampton came in and decided there needed to be a rave up show closer, even more superficial than the other songs. It’s always like that.

THE IDEALIST

I’m gonna ask you one small set of fan questions that have to do with Gram Parsons. In the movie, there’s sort of a Gram and Emmylou Harris in the Riot House sequence, but it’s kind of oblique, no one really says his name. Man, you caught it. Well, in the long version, the movie that we filmed, Gram Parsons dies halfway through the tour and they say “That guy, we were just with that guy,” they sing his “A Song For You” on the bus. It’s really great, I really wish it could have been in the movie. At the hotel, I wanted it to be just a stolen moment where William’s getting pulled down the hallway and Gram is just a couple rooms down. Gram Parsons was actually one of the very first guys I interviewed. Did you write a Rolling Stone piece on Gram? I wrote a Rolling Stone piece about Emmylou later, and I wrote a story on Gram Parsons for a paper called Music World, and I did his bio for Warner Brothers. What are some of the things you do to get something extra out of someone, because in your interviews, you always get more than you imagine someone planned to give up. Thanks. It’s sort of the same way I direct, which is to stay there until you get something that feels a little different or a little more, the kind of thing that you do when the pressure of the situation is over. It’s actually the kind of thing where once you shut off the tape recorder and somebody is relaxed, then they tell you the really great shit. That’s sort of the way I direct and it was always the way I interviewed. To spend enough time where it became more of a conversation and less of an interview. You really can’t even really do that now because of junkets and there are many publications, they can’t really let someone on the road as long as they used to, you know.

C r o w e ’s f i r s t p u b l i s h e d a r t i c l e .

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

BECAUSE MUSIC MATTERS!

A Conversation with Cameron Crowe about how important music is in his movies, a bonus EP of b-sides and unreleased tracks.

What was it about Jerry Maguire that clicked with people in ways your previous films hadn’t?

A n a ll enco mpassing di scu ssio n abo ut music, by Mar k Olsen.

ST EH CE T IIODNE A N LAIM ST E

and moving forward.

C r o w e ’s f i r s t p u b l i s h e d a r t i c l e .

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

BECAUSE MUSIC MATTERS!

A Conversation with Cameron Crowe about how important music is in his movies, a bonus EP of b-sides and unreleased tracks.

What was it about Jerry Maguire that clicked with people in ways your previous films hadn’t?

A n a ll enco mpassing di scu ssio n abo ut music, by Mar k Olsen.

ST EH CE T IIODNE A N LAIM ST E

and moving forward.

C r o w e ’s f i r s t p u b l i s h e d a r t i c l e .

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

BECAUSE MUSIC MATTERS!

A Conversation with Cameron Crowe about how important music is in his movies, a bonus EP of b-sides and unreleased tracks.

What was it about Jerry Maguire that clicked with people in ways your previous films hadn’t?

A n a ll enco mpassing di scu ssio n abo ut music, by Mar k Olsen.

SECTION NAME

and moving forward.

C r o w e ’s f i r s t p u b l i s h e d a r t i c l e .

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

WORDS

OF ART

C ro w eâ&#x20AC;&#x2122;s m o v i e s a re a l l a bout memora ble sentences.

WORDS OF ART

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past, and moving forward.

WORDS

OF ART

SWEOCRTDI O S NO F NA AM RT E

A Cameron Crowe Film Festival

STUCK IN REWIND

Pausing failure, rewinding the past,

WORDS OF ART

and moving forward.

DAY 01, J U LY / 13 T H 10:00–12:30 P.M. GUILD 45T H T H EAT RE, SEAT T L E

Overview

YEAR: 1989 R AT IN G: PG .13 D UR AT IO N : 01:40:00

Aspiring kick boxer Lloyd Dobler falls for valedictorian Diane Court at their high school graduation ceremony. Lloyd lives with his sister Constance, a single mother, and has no plans for his future. Diane has had a sheltered academic upbringing and lives with her doting divorced father, who owns the retirement home where she works. She is due to attend a fellowship in England at the end of the summer. Diane accompanies Lloyd to a party, surprising their classmates. During a dinner at the Court household, where he really fails to impress Diane’s family, Diane’s father is informed that he is under investigation. Later, Diane takes Lloyd to meet the residents of the retirement home and he teaches her to drive and that’s when their relationship grows intimate and serious.

“ She broke my heart and gave me a pen.” —Lloyd Dobler, The Dreamer.

A Cameron Crowe Film Festival

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SOUNDTRACK

John Cusack

All for Love Nancy Wilson

Ione Skye — Diane Court

John Mahoney — James Court

Lili Taylor — Corey Flood

Pamela Adlon — Rebecca

Jason Gould — Mike Cameron

Pausing failure, rewinding the past, and moving forward.

CAST

— Lloyd Dobler

Cult of Personality Living Colour One Big Rush Joe Satriani You Want It Cheap Trick Taste the Pain Red Hot Chili Peppers In Your Eyes Peter Gabriel Stripped Depeche Mode Skankin’ to the Beat Fishbone Within Your Reach The Replacements Keeping the Dream Alive Münchener Freiheit

WORDS OF ART

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A Cameron Crowe Film Festival

BOOMBOX SCENE YEARS LATER. For pretty much everyone, this is the defining moment of the film, a proud and unapologetic symbol of young love and old school movie romance.

How did the scene come about? It’s something that could have gone terribly awry, but instead is incredibly iconic and lasting. Did you just write “lifts boom box overhead”?

Crowe’s cr azy sto r y beh ind ‘In You r E y e s’ and Lloyd Do bler ’s boom box by Jaso n Adasm.

Yeah, and the music wafts down the hillside, I think was what it was. I was supposed to, not that it’s such an epic event, but I just remember the day that I was waiting to go somewhere; we were in Seattle and Nancy Wilson, Heart guitarist and Crowe’s wife of 23 years and I were late to go someplace and I was ready to go and she needed some more time. I had been writing, and it’s that great thing of like, “Thank goodness I don’t have to work on this any longer and try and solve this problem because I’ve got to go.” So,Nancy wasn’t ready, so there’s like 20 more minutes and I went back to the typewriter and just had an idea for that scene and wrote it out, because there was this song that I was loving at the time and I just thought, “Wow, what if the song is what he uses to try and wrench his way back into her life, and it’s the song that kind of taps on her shoulder a little bit. He’s out there with the boom box.” And it felt really good. The next time I met with Jim Brooks and then I told him about the scene. First thing, I walked in, I was like, “I have this scene, here, read it.” And he read it and he said, “That’s big, buddy, that’s big.”

Pausing failure, rewinding the past,

WORDS OF ART

and moving forward.

The story, and I’m sure you’ve told this a million times, but the story of how you got the song from Peter Gabriel is pretty funny because he thought it was a different movie. If you could just walk me through that a little bit… I was driving to work and on my way to the editing room, and I just found this tape again the other day, there was a tape that I had in the car that was the mix from our wedding and it was called “The Legendary ‘I Do’ Tape,” and I put it on and I was just listening to it on the way. I’m not that much of a wimp, but for some weird reason I just felt like listening to my wedding tape. [Laughs] And “In Your Eyes” comes on. And I got this chill because all the words linked up to what we’d filmed and what we were struggling to find a score to or a song but we did, and thats how the story goes. It was like about following instincts. I drive off in my car. We had a car in the shot. It was like a sweet sounding but underneath the surface tough love song. A loving song, but there was a toughness to the wistful quality. It was just like I got a chill. And then I just raced to the editing room,we put it on, it was perfect, and it was unbelievable that we’d found something that actually worked with the shot, which we loved because, like, look at Cusack’s face. It’s all there except the song that’s on the boom box. So I went racing into Jim Brooks’ office and said, “We got to get ‘In Your Eyes.’” the overdose?” He said, “Yeah, you’re making the John Belushi story, right?” I said, “No, no, no. It’s a movie about the guy in high school with the trench coat.” He’s like, “Oh, the high school movie. We haven’t watched that yet.” Hallelujah! “Please watch the high school movie and let me know if it works in the high school movie.” And he said, “Oh yeah yeah yeah, okay, great.” Then we got the word back that he said yes, sure.

That’s really funny. That’s a great story. I know, and I’m obsessed with trying to find out where it was used in the John Belushi film. I guess it’s the Michael Chiklis, Wired. So it was going to be in Wired. Anyway, that was my only conversation with Peter Gabriel until I went to see him in Seattle, years later and thanked him for the song. I don’t know what would have ever happened to the sequence. It just wouldn’t have been the same without “In Your Eyes.” Switching gears: Is there anything playing on your iPod right now that an Entertainment Weekly reader would be interested to hear about? Marvin Gaye. I love all the kind of deluxe editions of all his albums that they’ve been putting out with the original versions of songs. Stuff from Let’s Get It On and stuff. Do you have a favorite Marvin Gaye song? I’ve been loving this track “Head Title,” which is the original version of “Distant Lover.” It’s hilarious because it’s him saying, “Ladies and gentlemen, I know I’m supposed to have a record done right about now, but I don’t have all the lyrics done, so I’m just going to do this song and sing whatever comes, ladies and gentlemen, off the top of my head.” It’s the song that became later one of his greats. It’s that glory of the expanded editions kind of song.

A reenactment of the boom box s c e n e a t P e t e r G a b r i e l ’s c o n c e r t .

STUCK IN REWIND

A Cameron Crowe Film Festival

BOOMBOX SCENE YEARS LATER. For pretty much everyone, this is the defining moment of the film, a proud and unapologetic symbol of young love and old school movie romance.

How did the scene come about? It’s something that could have gone terribly awry, but instead is incredibly iconic and lasting. Did you just write “lifts boom box overhead”?

Crowe’s cr azy sto r y beh ind ‘In You r E y e s’ and Lloyd Do bler ’s boom box by Jaso n Adasm.

Pausing failure, rewinding the past,

SWEOCRTDI O S NO F NA AM RT E

and moving forward.

A reenactment of the boom box s c e n e a t P e t e r G a b r i e l ’s c o n c e r t .

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

SECTION NAME

and moving forward.

“A time capsule of the nintey’s, the story is heartfelt, the characters development is great. Crow makes a great ensemble.” —Fernando, RT Reviewer.

To me,“Say Anything is without a shadow of a doubt the most rewarding, funny, and likable romance of the last twenty years.”

“The soundtrack in particularly is instantly nostalgic.” —Meredith , RT Reviewer. Fun facts.

—Brad Laidman, Film Threat.

Lloyd character was based on Crowe’s neighbor

“It all comes down to one scene: John Cusack, standing at dusk, boom box aloft, blaring Peter Gabriel’s “In Your Eyes’’outside of Ione Skye’s window.” —John Welsh, Entertainment Weekly

Crowe was having issues writing the leading man, but he became inspired when he met his neighbor, Lowell Marchant. “He was this friendly guy with a crew cut who just wanted to meet everybody he could,” Crowe told Entertainment Weekly.

“This is my all Before Peter Gabriel sang “In Your Eyes” at his 2012 time Hollywood favorite movie.” Cusack almost recreated the boombox scene at a Peter Gabriel Concert.

Bowl show, he invited a special guest onstage. John Cusack walked onstage carrying a boom box, handed it to Gabriel, and bowed down in deference. Gabriel briefly lifted the boom box over his head, and then sang the song while fans cheered loudly. Ione Skye was the opposite of Diane Court The actress had trouble identifying with the smart student Diane Court because she wasn’t like that. “I wasn’t a good student,” she told the Los Angeles Times. “I grew up with my mother, not my father. I kind of had a wild childhood.

—John, RT Reviewer.

“A time capsule of the nintey’s, the story is heartfelt, the characters development is great. Crow makes a great ensemble.” —Fernando, RT Reviewer.

To me,“Say Anything is without a shadow of a doubt the most rewarding, funny, and likable romance of the last twenty years.”

“The soundtrack in particularly is instantly nostalgic.” —Meredith , RT Reviewer.

Blast from the past.

—Brad Laidman, Film Threat.

45th street in Seattle. When Lloyd drives along 45th street in Seattle, he passes the “It all comes down to one scene: Guild 45th Theatre, which is showing Tapeheads (1988), in which Cusack also appeared. John Cusack, standing at dusk, boom A Rock band. box aloft, blaring Peter Gabriel’s An American rock band Say Anything is named in reference to “In Your this Eyes’’outside of Ione Skye’s film, with frontman Max Bemis stating it was a favorite of his growing up. window.” Stone Gossard. —John Welsh, Entertainment Weekly The cabby at the beginning of the film that Dianne flirts with, appeared in another Cameron Crowe movie, Singles, as a member of a band called Citizen Dick.

“This is my all time favorite movie.” —John, RT Reviewer.

A Cameron Crowe Film Festival

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Pausing failure, rewinding the past,

WORDS OF ART

and moving forward.

DAY 01, JU LY / 13 T H 4:00–6:00 P.M. RE-BAR, SEAT T L E

Overview

YEAR: 1992 R AT IN G: PG .13 D UR AT IO N : 01:39:00

Against the backdrop of the grunge music scene in Seattle, the search for love among a group of twenty something friends living in the same two-story apartment building is presented; among them are the aspiring architect Janet (Bridget Fonda), who finds herself obsessed with a musician Cliff (Matt Dillon) who treats her badly, Linda (Kyra Sedgwick), the emotionally fragile environmentalist on the look out for love; and Steve (Campbell Scott), known as the quintessential nice guy who studies traffic patterns. Janet Livermore has been dating Cliff Poncier, who lives in the building. Cliff, the front man for the grunge rock band Citizen Dick, is up front with Janet that he does not consider their relationship to be exclusive, something that she refuses to comprehend in her love for him. Janet decides to go to extreme lengths to keep Cliff as her man while Steve and Linda explore the seriousness of their relationship further.

“…Bless you.” —Cliff Poncier, The Musician.

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SOUNDTRACK

Bridget Fond

Breathe Pearl Jam

Campbell Scott — Steve Dunne

Kyra Sedgwick — Linda Powell

Sheila Kelley — Debbie Hunt

Jim True-Frost — David Bailey

Matt Dillon — Cliff Poncier

Bill Pullman — Dr. Jeffrey Jamison

James Le Gros — Andy

Pausing failure, rewinding the past, and moving forward.

CAST

— Janet Livermore

Seasons Chris Cornell Dyslexic Heart Paul Westerberg Battle of Evermore The Lovemongers Chloe Dancer Mother Love Birth Ritual Soundgarden State of Love and Trust Pearl Jam Overblown Mudhoney Waiting for Somebody Paul Westerberg May This Be Love Jimi Hendrix Nearly Lost You Screaming Trees Drown Smashing Pumpkins

WORDS OF ART

A Cameron Crowe Film Festival

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A FILM MAKER’S DAIRY Printed journals often have a self-serving sheen over them. Like bad date talk, they’re often a laundered version of reality.

Some of my earliest reading pleasures were Pete Townshend’s 1970 essays in Rolling Stone about his work with the Who. His writing gave me the feeling that he was sending a letter to a friend, and in drat spirit, I wanted to really keep a running account of the movie Singles.

A shor t passage fr o m Cr o we’s a r t i cl e i n T h e Ro lling Sto ne, tr a c i ng t h e ma king o f h is mov ie ‘Singles ’.

Some nights making the movie, I’d write for an hour, other times only a few minutes. (One entry reads only: “Aaaaaaaaagh!”) These raw, nocturnal entries were more like a cleansing ritual really than a guide to intelligent filmmaking. To anyone offended, please know that I intend to offend myself as well. So honestly for whatever reasons, perhaps in the spirit of preventing you at home from developing a need to write and direct a collage like movie with eighty seven speaking parts,time to present this to you right now.

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3 –1– 91: Campbell’s hair is shaped. It’s like shortening the legs of a table. In the process, more is mistakenly cut.

10 –15 – 90: Campbell Scott will play the part of Steve Dunne, the traffic engineer at the center of Singles. Sadly, Everything is exploding at once for Campbell. Today he got the part opposite Julia Roberts in Dying Young. He’s playing a leukemia victim who falls in love with his nurse. Many nervous calls are traded between our movie and Dying Young. Toward the end of the day, it’s resolved. Dying Young will not actually cut his hair; he’ll wear a bald cap with a wig over it.

3 – 9 – 91: Campbell’s hair is becoming a flash point. I sense he’s picking up on it. Rehearsals fall apart.

2 – 24 – 91: Campbell has arrived in Seattle. We meet for dinner. His hair is very, very short. He is pale. Sitting in a dark restaurant, my early fears slip away. We’ll do something about his hair.

3 –11– 91: Kyra is in the first scene, and she’s like clockwork; she’s excellent. We have a celebratory lunch with the castexcept for Campbell, who has disappeared.

2 – 25 – 91: First day of rehearsal goes smoothly. We blast through the scenes. Kyra Sedgwick and Campbell Scott have a nice chemistry together. Around lunch time, we step out into the daylight I see problems. Steve Campbell still looks like a leukemia victim.

3 –12 – 91: Campbell shows up this morning to report that he married his longtime girlfriend Anne over the weekend. What a way to start a movie called Singles.

Today, Bridget Fonda and Matt Dillon arrive in town; Matt, who will play a Seattle musician named Cliff Poncier, has already spent time in New York with Mother Love Bone’s Jeff Ament, Stone Gossard and their shy new lead singer, Eddie. Their new band is called Mookie Blaylock, after the New Jersey Nets basketball player. [Later they’re renamed Pearl Jam] In the movie, they will play Cliff’s fictional band, Citizen Dick. Matt has already got a lead singer’s walk downall attitude. I really wanted rehearsals to begin weeks early so the cast could really soak up that local atmosphere and the music.

3 –10 – 91: Nancy [my wife] tells me I talked continuously in my sleep. “Sick hair,” I said, over and over.

3 –13 – 91: No sleep. Warner Bros. sees the dailies. “Campbell Scott looks sick,” they say.

Tonight we will go see Mookie Blaylock and Alice in Chains performing at the Off Ramp. The cast meets for the first rime in the lobby of our hotel. For a few minutes, nobody says much. (“I hope this isn’t a yuppie movie,” Matt announces, picking an odd conversation opener.) We go to the club. It’s sweaty and packed, and the cast slowly makes friends as we sit in a corner booth. 2 – 27– 91: We read through the script today, and it sounds really good. Afterward, the cast hangs around in my office, with downtown Seattle as a backdrop. They’ve become friends. Six months of casting is paying off. It’s still mind bending, though, to see the characters you’ve written sitting around and talking in character.

Cameron Crowe with Matt Dillon on the set.

With Pearl Jam

A Cameron Crowe Film Festival

STUCK IN REWIND

A FILM MAKER’S DAIRY Printed journals often have a self-serving sheen over them. Like bad date talk, they’re often a laundered version of reality.

A shor t passage fr o m Cr o we’s a r t i cl e i n T h e Ro lling Sto ne, tr a c i ng t h e ma king o f h is mov ie ‘Singles ’.

Pausing failure, rewinding the past,

SECTION NAME

and moving forward.

3 –1– 91: Campbell’s hair is shaped. It’s like shortening the legs of a table. In the process, more is mistakenly cut.

3 – 9 – 91: Campbell’s hair is becoming a flash point. I sense he’s picking up on it. Rehearsals fall apart.

3 –11– 91: Kyra is in the first scene, and she’s like clockwork; she’s excellent. We have a celebratory lunch with the castexcept for Campbell, who has disappeared.

3 –12 – 91: Campbell shows up this morning to report that he married his longtime girlfriend Anne over the weekend. What a way to start a movie called Singles.

3 –10 – 91: Nancy [my wife] tells me I talked continuously in my sleep. “Sick hair,” I said, over and over.

3 –13 – 91: No sleep. Warner Bros. sees the dailies. “Campbell Scott looks sick,” they say.

Cameron Crowe with Matt Dillon on the set.

With Pearl Jam

STUCK IN REWIND

A Cameron Crowe Film Festival

Pausing failure, rewinding the past,

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and moving forward.

“A time capsule of the ninteies, the story is heartfelt, the characters development is great. Crow makes a great ensemble.” —Tim, RT Reviewer.

“Crowe has created a smart, rumpled world where real people relate to each other about real feelings, using real words.”

“This movie is like a step back in time to the ‘90s Seattle era of grunge and coffee shops.” Fun facts.

—Ayesha, RT RT Reviewer.

—Rob Gonsalves, E-film Crtitic

The movie was originally going to be set in Arizona

“Audiences will be sorry to see it end.”

“This is my all time favorite movie.”

“Singles” was in the works as early as 1984 and was originally going to be set in Phoenix, Arizona. Singles TV Series —Janet Maslin, NY Times.

At one point, Warner Bros. wanted to do a “Singles” TV series, but Crowe turned them down. Seattle Super Train came true Steve’s dream project, the Seattle Super Train, finally came true, in a way. Sound Transit’s light rail system debuted in 2003 and expanded in 2009. Instead of the 900,000 to a million passengers Steve pitched to the mayor, its daily ridership is around 26,200.

—John b, RT Reviewer.

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“A time capsule of the ninteies, the story is heartfelt, the characters development is great. Crow makes a great ensemble.” —Tim, RT Reviewer.

“Crowe has created a smart, rumpled world where real people relate to each other about real feelings, using real words.” Blast from the past.

“This movie is like a step back in time to the ‘90s Seattle era of grunge and coffee shops.” —Ayesha, RT RT Reviewer.

—Rob Gonsalves, E-film Crtitic

Steve is buying pregnancy tests.

“Audiences will be sorry to see it end.”

In the scene where and comes across the grocery cashier, the cashier mentions that he knows him from “Mr. Deegan’s class”. Mr. Deegan is a teacher mentioned in Fast Times at Ridgemont High (1982), which Cameron Crowe wrote. Where Campbell Scott having a depression state.NY Times. —Janet Maslin, Lying on his back on the floor, listen to the Jazz music in the background. It’s the same music where Tom Cruise and Reene Zellweger having sex in Jerry Maguire. Apparently Cameron Crowe loves this song.

In an early scene at the coffee shop. Janet Livermore looks over a somewhat bizarre-looking customer’s shoulder at a book that she is reading. The title is obscured, the book is “Psychotic Reactions and Carburetor Dung,” a collection of pieces by the rock journalist Lester Bangs. Bangs was an inspiration and mentor for Cameron, as depicted Almost Famous, which Bangs is played by Philip Seymour Hoffman and advises the fictionalized version of the young Crowe.

“This is my all time favorite movie.” —John b, RT Reviewer.

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D AY 0 3 , J U LY / 1 5 TH 1 0 : 0 0 – 1 2 : 3 0 P. M . S P O R T S A R E N A B LV D , S A N D I E G O

Overview

YEAR: 2000 R AT IN G: R D UR AT IO N : 02:02:00

In 1969, child prodigy William Miller struggles to fit in with the world. His widowed mother Elaine who has led him to believe he is 12 years old, until William’s older sister, Anita, tells their mother to tell the truth. His age is actually 11; his mother had him start first grade at 5 years old and then he skipped 5th grade. Their mother strictly controls and protects him and his older sister Anita, forbidding rock music and other unwelcome influences, driving Anita to leave home and become a stewardess. In 1973, 15 year old William, influenced by the rock albums left by his sister, aspires to be a rock journalist, writing freelance articles for underground papers in San Diego. Rock journalist Lester Bangs, impressed with his writing, and gives him around $35 assignment to review a Black Sabbath concert. He can’t get backstage, but opening band Still water arrives, and after he flatters them with critical praise they bring him along. The Lead guitarist Hammond takes a liking to him, partly because of William’s new friendship with the groupie Penny Lane, even though she prefers the term Band Aid. Feigning retirement from her glory days, she takes William under her wing and he starts to fall in love with her

“You are home.” —Penny Lane, The Groupie.

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SOUNDTRACK

Billy Crudup

America Simon & Garfunkel

Frances McDormand

Sparks The Who

—Elaine Miller

It Wouldn’t Have Made Any Difference Todd Rundgren

Kate Hudson

I’ve Seen All Good People: Your Move Yes

—Penny Lane

Jason Lee —Jeff Bebe

Patrick Fugit

Feel Flows The Beach Boys Fever Dog Stillwater

—William Miller

Every Picture Tells a Story Rod Stewart

Zooey Deschanel

Mr. Farmer The Seeds

—Anita Miller

Michael Angarano —Young William

Philip Seymour Hoffman —Lester BangsFedevich

Jimmy Fallon —Dennis Hope

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CAST

—Russell Hammond

One Way Out The Allman Brothers Band Simple Man Lynyrd Skynyrd That’s the Way Led Zeppelin Tiny Dancer Elton John Lucky Trumble Nancy Wilson I’m Waiting for the Man David Bowie The Wind Cat Stevens Slip Away Clarence Carter Something in the Air Thunderclap Newman

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HONEST AND UNMERCIFUL There is no film that can capture the experience of being a journalist better than Almost Famous.

The film is obviously a loving tribute to your experiences one which every journalist wishes he or she could have gone through. When was that moment for you when you went from being a fan to being a journalist? Was there a moment, even in retrospect, where you felt you really made that transition? Tod d Gilch r ist talks with Cr owe a bou t th e film’s inspir atio n.

There are a couple. One was the first cover story assignment on the Allman Brothers Band, which became the basis for much of Almost Famous. On the eve of leaving the tour with a ton of interview tapes and research, Allman actually asked for my tapes back, believing that I was actually an undercover cop sent to spy on the band. The band had been burned by a Rolling Stone reporter before, and he had become worried that this too would be a doomed endeavor. I was incredibly disillusioned, and expected to be banned from writing for Rolling Stone over the incident, which’s hard.

C a m e r o n C r o w e ’s i n i t i a l t i t l e s f o r the movie.

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Luckily, Gregg returned the tapes a couple days later, and blamed it on exhaustion and personal confusion. I was grateful, but the lesson was learned each assignment would be different, you know with a different mix of personalities and a duty to deliver the story. And with the help of Ben Fong Torres, we put the article in shape, developed a clear eyed perspective on the band, and I’ve never looked back. Also, at 19, I wrote a story called “How I Learned About Sex”, which was hampered by writer’s block until I just gave up and wrote it as if I was writing a letter to a friend. And really that was another breakthrough. It felt like I had found a writing voice that might stretch beyond rock journalism. The real tone of that article is the same tone as the movies I’ve made for this one.

The internet has become a great democratizing force for journalism and writing about art. And how do you feel about the divide between journalism and fandom today? Are people closer than ever to the bands that they like? I think Lennon said it best, paraphrasing, that music is a big rushing river and there are many tributaries that lead into that river. But the river is a constant, it never changes... music will always be a single essential language shared by everybody, and it continues to be, regardless of format, price, and the social networking, sex, nationality, concert tickets or even technology. That’s pretty much the inner theme of Almost Famous; and thanks to the time and the era in which we made it, we had the money to make the movie correctly. I’ll always be so proud of it.

The “Tiny Dancer” sequence is one of the truly wonderful sequences in cinema of the last few decades. Was there any experience that inspired it? Did you ever experience a moment where a song sort of brought a band together in the way that Elton John’s song did in that movie scene?

What ultimately was, is or would be the threshold for you telling a warts-and-all story about your experience with a band? What value do you see in reporting the peccadilloes of a band “struggling with success,” and all of their problems in a more diplomatic way?

Many times. Sometimes it was a jam session, sometimes a song on the radio, and sometimes music that a band traveled with Led Zeppelin were very enamored of Joni Mitchell, Bob Marley and the Guess Who. Much more than drugs or sex, music was always the baseline passion of the groups I covered. Which is not to say that there weren’t wild days and nights of debauchery, there were, some of which I witnessed and some of which I saw the effects of the next day but in the years of covering and touring with artists for RS and other publications, I never ran across a single musician who wasn’t transported while talking about or playing music they loved. It wasn’t a job to me really, It was more like a miracle of serendipity. You know, doing what you love every day.

I think you have to step back and look at the big picture, what is the mood, the feeling, the truth about the atmosphere and intention of the people you’re profiling? Of course, a twenty minute session at a hotel ballroom junket won’t get you far; you are blur to the person you’re interviewing, and they are a blur to you. You are not seeing a person, or even having a conversation, you’re essentially creating content with a mutual understanding that neither of you will ever remember from the encounter later that day.

What to you was perhaps the most painfully honest thing you included in the film about your own experiences? Probably the relationship with Anita, a character based on my sister. Music was a really big common thread in our family, and sometimes our best way of expressing passion and love to each other.

Crowe With the Cast of Almost Famou

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HONEST AND UNMERCIFUL There is no film that can capture the experience of being a journalist better than Almost Famous.

C a m e r o n C r o w e ’s i n i t i a l t i t l e s f o r the movie.

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Crowe With the Cast of Almost Famou

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HONEST AND UNMERCIFUL There is no film that can capture the experience of being a journalist better than Almost Famous.

C a m e r o n C r o w e ’s i n i t i a l t i t l e s f o r the movie.

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Crowe With the Cast of Almost Famou

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“If you haven’t already sold your soul to rock & roll, Almost Famous should seal the deal. It’s pure pleasure.” —Peter T., Rolling Stone.

“A blissfully sweet coming of age movie in which everyone, young and less young, comes of age.”

Fun facts.

“The power of popular music, its ability to give shape, and intensity to the inexpressible emotions of daily life.” —A. Scott, New York Times.

—Peter Rainer, NY Magazine.

It wasn’t going to be called Almost Famous.

“Singing along with Elton John’s Tiny Dancer; a rock god turning up on a young writer’s doorstep. Cameron Crowe catches every detail perfectly.” —David Hepworth, Empireonline.

The original title for Almost Famous was actually Untitled, however Dreamworks would not allow this, so Cameron Crowe called the DVD bootleg edition Untitled instead. Cameron’s mom does not like the barefoot part. McDormand’s character, Elaine Miller, is based on Crowe’s own mother, Alice, who has appeared in most of his movies (including Almost Famous). Before production began, Alice read the script and liked that the mother wasn’t too “shrill.” But it bothered her that Elaine walked around the house without shoes and socks.

“The best films about music ever made, with a very “She’s troubled by the fact that people will think she went barefoot,” standout performances.” Crowe told Amazon UK. “Which is kind of like saying, ‘Well, the murder is fine, but you had me commit the murder in a red dress, and I never wear red.’”

—Dan S., RT Reviewer

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“If you haven’t already sold your soul to rock & roll, Almost Famous should seal the deal. It’s pure pleasure.” —Peter T., Rolling Stone.

“The power of popular music, its ability to give shape, and intensity to the inexpressible emotions of daily life.”

“A blissfully sweet coming of age movie in which everyone, young and less young, comes of age.” Blast from the past.

—A. Scott, New York Times.

—Peter Rainer, NY Magazine.

A real reunion. movie reuinited Crow’e mother and sister, Crowe revealed to “SingingThe along with Elton John’s Rolling Stone that he and his sister, Cindy (Zooey Deschanel’s Anita in the movie), had a falling out turning after their dad died in 1989 Tiny Dancer; a rock god and that his sister and mom had been estranged since then. up on a young writer’s doorstep. “After my dad died, the chemistry of my family got fucked up, and Cameron catches in myCrowe wildest dreams, I hope the movieevery helps my mom and sister communicate. They talk through me now, but three weeks ago our detail perfectly.” family got together. The one fake scene in the movie—the reconciliation at the end—actually happened in its own weird way.”

—David Hepworth, Empireonline.

“Does anybody remember laughter?”

Fairuza Balk’s exclamation, is a reference to an additional lyric Robert Plant of Led Zeppelin would often insert in live performances of “Stairway to Heaven”.

“The best films about music ever made, with a very standout performances.” —Dan S., RT Reviewer

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DAY 04, JU LY / 16 T H 10:00–12:30 P.M. SUN DEVIL STAD I U M, T EMPE

Overview

YEAR: 1996 R AT IN G: R D UR AT IO N : 02:03:00

Jerry Maguire is a successful sports agent, has the biggest clients, the respect, a beautiful fiancée, he has it all. Until one night he questions his purpose. His place in the world, and finally comes to terms with what’s wrong with his career and life, recording all his thoughts in a mission statement Jerry feels he really has a new lease on life. Unfortunately Maguire’s opinions aren’t met with his enthusiasm from all of his superiors and after that he was dishonorably being stripped of his high earning clients and the only person with belief in his abilities with the impossible task of rebuilding what he once had. Along the way he faces the harsh truths but eventually finds himself and becomes a better person.

“ Fish have more manners.” — Jerry Maguire, The Attorney.

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SOUNDTRACK

Tom Cruise

The Magic Bus The Who

Cuba Gooding Jr. — Rod Tidwell

Renée Zellweger — Dorothy Boyd

Kelly Preston — Avery Bishop

Jerry O’Connell — Frank Cushman

Jay Mohr — Bob Sugar

Bonnie Hunt — Laurel Boyd

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CAST

— Jerry Maguire

Sitting Still Moving Still Staring Outlooking His Name Is Alive Gettin’ in Tune The Who Pocketful of Rainbows Elvis Presley World on a String Neil Young We Meet Again Nancy Wilson The Horses Rickie Lee Jones Secret Garden Bruce Springsteen Singalong Junk Paul McCartney Wise Up Aimee Mann Momma Miss America Paul McCartney Sandy Nancy Wilson Shelter From the Storm Bob Dyla Square One Tom Petty Same in Any Language I Nine

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JERRY’S TOWERING NARCISSISM Tom Cruise in the Cameron Crowe movie of the same name, became a kind of white-collar superhero when he stood in front of his entire office.

This week, a few months ahead of the twentieth anniversary of the film’s release, Cameron Crowe, for the first time, posted the full, twenty-five-page mission statement that he wrote as he was working on the screenplay.

I a n Cr o uch studying J er r y M a guir e’s ch ar acter.

Titled “The Things We Think and Do Not Say: The Future of Our Business,” it’s only marginally about the specifics of the sports management. Its central idea is that the large company Maguire helped build has taken on too many clients and really needs to scale back in order to really better serve the athletes; and like the memo declares “Less dancing. More truth.” “We must crack open the tightly clenched fist of commerce and give a little back for the greater good. Eventually revenues will be the same, and that goodness will be infectious.” The document promises to spell out how this plan might work, but never actually gets around to it. Instead, it is a collection of odd aphorisms

N o t e s f r o m To m C r u i s e o n t h e Jerry Maguire script

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“Coffee tastes different at night. It tastes like college.” and vague demands that people listen to the voices inside their heads and follow their hearts. Jerry sounds like a man who’s come unhinged after listening to too many motivational speeches. As a window into the film making process, the letter is a useful example of the kinds of character and narrative building that take place off screen. The movie asks us, on the strength of the unseen document that marks a turning point in his moral world view, to see Jerry as a bold and innovative corporate visionary whose ideas are too far ahead of their time for his shallow and cowardly fellow agents to grasp and as an alluring romantic able to make Dorothy swoon (“I think, in this age, optimism like that is a revolutionary act,” she tells him). But once you’ve actually read his late night musings, the fact that he thought they should be very professionally bound and promptly read by everyone at his company looks more like evidence of a towering narcissism that is neither heroic nor endearing.

Like the brown suits and aggressively patterned ties worn by many of its characters, it hasn’t aged well. Cuba Gooding, Jr., playing the wide receiver Rod Tidwell, who was notably tiny for a football player back then, looks even less convincing as one today (whether in this movie or on TV, for that matter). Its famous lines, such as “You complete me” and “You had me at hello”—which were mixed into the Bruce Springsteen single “Secret Garden” and played endlessly on the radio that winter— seemed destined, at the time, to enter into the pantheon of great movie phrases, but they never quite made it. Instead, the line that has lasted is the one first issued by Gooding, Jr.’s, character and later maniacally shouted by Jerry Maguire in the movie, “Show me the money!”

A man who felt compelled to tell his colleagues such things as, “The relationship between a phone call and a letter is the difference between a magazine and a phone book. One you leave on a plane, the other you save,” would have reasonably had trouble convincing anyone to follow him out the door. (I think I’d believe this even if I didn’t work for a magazine.) It truely is, in short, a preposterous document and too bizarre and banal to have realistically moved anyone to applause, but also unlikely, in its real substance, to have cost Jerry his job. Probably the leaders of his company fired him because they thought he would really lose his mind. It’s worth noting that Maguire’s manifesto was based on a real-life document. In 1991, Jeffrey Katzenberg, who was then the head of Walt Disney Studios, wrote a twenty-eight-page internal memo titled “The World Is Changing: Some Thoughts on Our Business,” which laid out some of the dangers he saw facing the company. The memo was peppered with semi meaningless corporate koans, including “In good times, drift can be tolerable. In bad times, it can prove fatal,” and “We must not fool with the public’s expectations and we must deliver on them.” Cinematographer Janusz Kaminski on the set.

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JERRY’S TOWERING NARCISSISM Tom Cruise in the Cameron Crowe movie of the same name, became a kind of white-collar superhero when he stood in front of his entire office.

I a n Cr o uch studying J er r y M a guir e’s ch ar acter.

N o t e s f r o m To m C r u i s e o n t h e Jerry Maguire script

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“It’s Cameron Crowe’s finest hour.”

— Stephen Carty, Eye for Film.

“Cruise’s most appealing performance since Risky Business.” Fun facts.

— Tom Gliatto, People Time.

“We have been down this path of self discovery with Cruise before, but Crowe’s movie is a lot less predictable than you’d expect.”

—David Ansen, News Week. Renée was broke in real life.

“Tom Cruise gives perhaps his most appealing performance ever in what is arguably his best movie ever.”

Renée Zellweger admitted that the day she was cast in this film, it had been so long since she had worked that when she went to an ATM, she did not have enough of a balance to make a withdrawal. Robin Williams as Jeryy Maguire? When Cuba Gooding Jr. first read for his part for the studio, he did so with Robin Williams, assuming that Williams was going to be playing the title role. However, Tom Cruise had already been hired .

— Jay Boyar, Orlando Sentinel.

“Smartly written and boasting a sensational cast, Cameron Crowe’s shrewdly observed third feature also gives Tom Cruise one of his very best roles.”

—Todd McCarthy, Variety.

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“It’s Cameron Crowe’s finest hour.”

— Stephen Carty, Eye for Film.

“Cruise’s most appealing performance since Risky Business.” Blast from the past.

— Tom Gliatto, People Time.

“We have been down this path of self discovery with Cruise before, but Crowe’s movie is a lot less predictable than you’d expect.”

—David Ansen, News Week. Cameron Crowe’s mother.

“Tom Cruise gives perhaps his most appealing performance ever in what The Mission is arguably his Statment. best movie ever.”

Cameron Crowe’s mother appears among those attending the divorced women’s group. She is the one who says, “I finally got in touch with my anger.”

Cameron Crowe has stated that Jerry’s mission statement was directly influenced by Jeffrey Katzenberg’s tirade after leaving Disney. “Help me, Help you”

— Jay Boyar, Orlando Sentinel.

The “Help me help you” line was a line first delivered by Kathy Bates in Misery (1990) when addressing James Caan’s character. It’s poignant in that fact that Jerry Maguire uses it when he is struggling to understand Rod Tidwell, hence going through some misery himself.

“Smartly written and boasting a sensational cast, Cameron Crowe’s shrewdly observed third feature also gives Tom Cruise one of his very best roles.”

—Todd McCarthy, Variety.

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DAY 07, JU LY / 19 T H 10:00–12:30 P.M. OTTER CREEK PARK, L O U I SVI L L E

Overview

YEAR: 2005 R AT IN G: PG .13 D UR AT IO N : 02:03:00

After causing a loss of almost one billion dollars in his company, the shoe designer Drew Baylor then decides to commit suicide. However, in the exact moment of his act of despair, he receives a phone call from his sister telling him that his beloved father had just died in Elizabethtown, and he should bring him back since his mother had problem with the relatives of his father. He travels in an empty red eye flight and meets Claire Colburn, the attendant who changes his view and perspective of life.

“ We peaked on the phone.” —Claire Colburn, The Stewardess.

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SOUNDTRACK

Orlando Bloom

Etown Theme Nancy Wilson

Kirsten Dunst —Claire Colburn

Susan Sarandon —Hollie Baylor

Alec Baldwin —Phil Devoss

Bruce McGill —Bill Banyon

Judy Greer —Heather Baylor

Jessica Biel —Ellen Kishmore

Paul Schneider —Jessie Baylor

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CAST

—Drew Baylor

It’ll All Work Out Tom Petty and the Heartbreakers My Father’s Gun Elton John This Time Around Helen Stellar Come Pick Me Up Ryan Adams Where to Begin My Morning Jacket Long Ride Home Patty Griffin Sugar Blue Jeff Finlin Don’t I Hold You Wheat Shut Us Down Lindsey Buckingham Let It All Hang Out The Hombres Hard Times Eastmountainsouth Jesus Was a Crossmaker The Hollies Square One Tom Petty Same in Any Language I Nine

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ORLANDO BLOOM AND HIS ROLE Orlando Bloom’s character, speaking in an american accent and working with Cameron Crowe.

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How do you describe Elizabethtown? It’s more than just a romantic comedy. It’s got this whole thing of success and failure, life and death. The movie really ends with a beginning and begins with an ending, as Cameron has said. We can all relate to that thing of going out to make enough money to buy a house, to buy the new car, to buy the new watch. You are bombarded with the idea that these things are going to bring you happiness. The truth is that you can’t take those things with you when you go, and life isn’t about just what you accumulate. And for [my character] Drew, that’s his lesson. He goes on this journey to realize that, and when Drew goes down to Kentucky he meets his family, he meets this girl on the plane, and it’s a sort of wake up call for life. It’s an awakening and he learns to appreciate himself in order to appreciate the family that he has, to come to terms with the loss of his father and to fall in love with a girl who’s offering him this great life. It’s all sort of woven in this rich tapestry of America and the South.

This film is built around the idea of second chances in life. Do you feel you’ve ever been given a second chance, like Drew? For me it was falling out of a window. I was 21 in London, and I was at drama school in my second year. I was at a friend’s house and I was trying to help them out with a roof terrace. I was really trying to get on the roof terrace from the window. I tried to get on a drain pipe and shimmy across to the roof terrace from the window. And I fell back. Everything was going great and everything has gone great since then, but it was a really scary time in my life when I was looking at not walking again, not being able to do what I love, and potentially just not having any of the opportunities that I’ve had. My back is a constant reminder of how lucky I am to be doing what I’m doing. It does claim me every now and again. I have to constantly stretch and workout and keep on top of it and eat well, because if I don’t it really affects my body. It’s a good reminder for me. It’s a constant reminder. I take it as a blessing that I’m getting to do what I’m doing today.

How did you like your time filming in Kentucky?

So you’ve finally gotten down of your horse for a film.

A n i nter v iew fr o m th e H o lly wood bl og with Blo o m.

Yeah, I really got off of my horse and put down my sword, I wanted to do a contemporary piece, and I think that it is a kind of right of passage for a British actor to try and get that American accent and have a good crack at doing that, and thankfully had someone like Cameron Crowe, who really understands the American culture and Americana–the real kind of sense of family and community that you find in places like Kentucky, where he’s from. So I had a good time going there and I had a great dialect coach helping me. I’d like to say that it was easy, but it was pretty hard work; it’s something else to think about when you’re doing it, when you are making the performance real. I tried to stay in the accent as much as possible, even after work and stuff, so that it was comfortable in my mouth and I’d eventually get used to the sounds.

I never had been to the heartland of America and I never understood what Southern hospitality meant until I was there and people were baking cakes and cookies and bringing ice cream to the set. It was like this is America. It’s a whole different world than the cool, hip cities of New York and L.A. that as a Brit I know. I kind of fell in love with it a little bit. When you stand outside the Lorraine Motel in Memphis, or you’re just standing on a bridge across a river in Arkansas–which is amazingly beautiful–you just can’t help, but be awakened to this America that is sort of in the shadows in terms of the world’s opinion of it for some reason. Cameron Crowe has this amazing way of saying, ‘Look, this is my view of America.’ Having had such success at a young age, do you see his story as a potential cautionary tale for yourself? Oh, definitely. But I always feel like I’m the edge of a fiasco, the truth is that I’ve found myself doing all these huge action adventure movies, which are cool and I really love doing them. This is the first movie where I’ve been given more intelligent acting and drama and human interaction, and there is a subtlety and finesse to it that’s very different from what I’m used to doing, which is just reacting. I’m learning as I’m going. I’m hoping to be able to do more of that stuff, because I really enjoyed it and it was fun not to have to get on a horse and risk my neck and it was fun not to have to learn a sword routine, it’s the same thing to be honest.

On Set with Cameron Crowe and the Cast of Elizabethtown.

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ORLANDO BLOOM AND HIS ROLE Orlando Bloom’s character, speaking in an american accent and working with Cameron Crowe.

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How did you like your time filming in Kentucky?

So you’ve finally gotten down of your horse for a film.

A n i nter v iew fr o m th e H o lly wood bl og with Blo o m.

On Set with Cameron Crowe and the Cast of Elizabethtown.

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“The performances are solid, and Kentucky steals the show.” —Lisa Ann, RT Reviewer.

“Crowe is still a master navigator of swampy territory, and any movie that can warm the heart and tickle the funny bone without selling its soul is to be cherished.”

“Elizabethtown a sweet, melancholy paean to that sad truth.” —Jim White, RT Reviewer. Fun facts.

—Simon Braund , Empire Online.

Driving backwards.

“All of these are rich because of Crowe’s script, his direction.”

When Drew was driving in Kentucky, through Louisville on his way to Elizabethtown from the airport, he’s actually going in the wrong direction. Cameron Crowe did this to give the scene more character. The actual route is pretty remote without much scenery. Unexpected rain created a beautiful scene.

“Greatness is defined by the willingness to fail, fail big and still stick around afterwards.” —Todd Gilchrist, IGN Movies.

While shooting a scene in a cemetery with actors Orlando Bloom and Kirsten Dunst, filming was interrupted due to an unexpected rain storm. Cameron Crowe suggested they shoot the scene anyway because it looked more beautiful and natural.

—Steven Snyder, RT Reviewer.

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“The performances are solid, and Kentucky steals the show.” —Lisa Ann, RT Reviewer.

“Crowe is still a master navigator of swampy territory, and any movie that can warm the heart and tickle the funny bone without selling its soul is to be cherished.”

“Elizabethtown a sweet, melancholy paean to that sad truth.” —Jim White, RT Reviewer.

Blast from the past.

—Simon Braund , Empire Online.

The Road Map. On Claire’s road map for Drew, there is a quote by R. Hammond and J. Bebe. Russell Hammond and Jeff Bebe were two of Still Water’s members in Cameron Crowe’s film Almost Famous (2000). Jane Fonda, Again? Jane Fonda, who starred in the movie Singles, was originally set to play Hollie Baylor but dropped out when filming was delayed.

“Greatness is defined by the Stone Gossard. The cabbyto at the beginning of the big film thatand Dianne flirts with, willingness fail, fail appeared in another Cameron Crowe movie, Singles, as a member still stick around afterwards.” of a band called Citizen Dick.

—Todd Gilchrist, IGN Movies.

“All of these are rich because of Crowe’s script, his direction.” —Steven Snyder, RT Reviewer.

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R e m e m b e r, I t â&#x20AC;&#x2122;s a b o u t t h e journey not the destination.

SEC KT E IEOPNTN RA AM CK E

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Say Anything

SEATTLE, WA

Singles 02

On the Road

Almost Famous

SAN DIEGO, CA

Jerry Maguire

TEMPE, AZ

On the Road

Elizabethtown

LOUISVILLE, KY

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SEATTLE

July/ 13th

Schedule

R AT IN G: PG .13 D UR AT IO N : 12O :0O :00

MOVIE:

Say Anything

Singles

LOCATION:

Guild 45th Theater

Rebar

JULY13–19 T H TIM ING VARI ES

SCENE:

Near the street that Llyod drove

The site of Linda & David’s initial

4 CITIES.

around after the breakup.

meeting during a concert.

TIME:

10:00 A.M.–12:30 P.M.

4:00–6:00 P.M.

PAUSE AND EAT.

CONCERT:

It’s your turn to be a part of Crowe’s movies. So, hop into your car, listen to the soundtrack and drive to multiple locations connected to the movies so you can experience the true spirit of Crowe’s characters. And remember to fill the ‘on-the-road’ pages in this book with your journey notes and memories. YEAR: 2016

DAY O1.

Like someone once said, in a society where you can have almost anything, it’s nice to know what you really need sometimes. The piece that fits in the space that’s empty. the feeling of rolling down you car window while driving, watching the open road. Most of us would rather take shortcuts rather than the path itself. When planning a road trip, the first question you might ask yourself is “should I drive or fly?“. If you want to take a road trip for fun, the question might not be relevant, but take this opportunity to discover a new thing and remember, you can decide how far out of your way you want to go

CONCERT: In your eyes, Peter Gabriel TIME: 3:00–3:10 P.M. SCENE: When Lloyed held the boom box over his head outside of Diane’s bedroom.

Breathe, Pearl Jam TIME: 6:00–6:10 P.M.

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Eat, Sleep

& Sightsee

Quality Food Center

OK Hotel

The Coryell Court

Waiting for the Interurban

4500 Wallingford Ave N,

212 Alaskan Way S,

1820 E Thomas St,

Fremont Avenue North &

Seattle, WA 98103

Seattle, WA 98104

Seattle, WA 98112

North 34th Street, Seattle, WA

The Grove, West Seattle Inn

Occidental Park

Dick’s Drive In 111 NE 45th St, Seattle, WA 98105

Chandler’s Seafood Restaurant & Crabhouse 901 Fairview Ave N, Seattle, WA 98105

Virginia Inn Restaurant 1937 1st Ave, Seattle, WA 98105

212 Alaskan Way S, Seattle, WA 98104

Homewood Suites by Hilton 1011 Pike St, Seattle, WA 98101

150 Occidental Ave. Seattle, WA 98104

Old Man On Bench 901 Fairview Ave N, Seattle, WA

Lakeview Boulevard Bridge Lakeview Boulevard East & Belmont Avenue East, Seattle, WA

Bob’s Java Jive 2102 S Tacoma Way, Tacoma, WA 98409

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July/

SAN DIEGO

14th

DAY O2.

July/ 15th

DAY O3. MOVIE: Almost Famous LOCATION: Sports Arena Boulevard SCENE: Where William Miller meets Stillwater for the first time. TIME: 10:00 A.M.–12:30 P.M. PAUSE AND EAT. CONCERT: Tiny Dancer, Elton John TIME: 3:00–3:10 P.M. SCENE: The sing-along on the tour bus.

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Eat, Sleep

& Sightsee

San Diego Chicken Pie Shop

‘Riot House’ Continental Hyatt

Balboa Park

Rocky’s Surf Shop

2 6 3 3 E l Ca jo n Blv d ,

8 4 0 1 S u n se t Blv d ,

1549 El Prado

2175 Abbott St,

S a n Di e g o , C A 9 2 1 0 4

We st Ho lly wo o d , C A 9 0 0 6 9

San Diego, CA 92104

San Diego, CA 92107

The Pier

Tom Ham’s Lighthouse

Ocean Beach Hotel

University of San Diego High school

1 5 0 H a r bo r I sla n d D r,

5 0 8 0 Ne wp o r t Av e ,

5998 Alcala Park,

Near Niagara Avenue

S a n Di e go , C A 9 2 1 0 1

S a n D ie g o , C A 9 2 1 0 7

San Diego, CA 92110

CA 92107

Quality Inn

Newport Avenue

1 8 4 0 4 th Av e ,

2102 Newpor t Ave,

S a n D ie g o , C A, 9 2 1 0 1

San Diego, CA 921071

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TEMPE

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July/ 16th

DAY O4.

Eat, Sleep

MOVIE: Jerry Maguire LOCATION: Sun Devil Stadium SCENE: Where Tidwell catches a touchdown. TIME: 10:00 A.M.–12:30 P.M. Gordon Biersch Brewery Restaurant

PAUSE AND EAT.

Residence Inn

420 S Mill Ave Ste 201,

510 S Forest Ave,

Tempe, AZ 85281

Tempe, AZ

Blasted Barley

Tempe Mission Palms

CONCERT: Secret Garden, Bruce Springsteen TIME:

404 S. Mill Ave. Ste 101,

60 E 5th St,

Tempe, AZ 85281

Tempe, AZ

Salut Kitchen Bar

Courtyard Tempe Downtown

3:00–3:10 P.M. SCENE:

1435 E University Dr.

When Dorothy decided to break

Suite 12, Tempe, AZ

up with Jerry.

601 S Ash Ave, Tem pe, A Z

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ON THE ROAD

July/ 17th

& Sightsee

Lost Dutchman State Park

Charles Trumbull Hayden Memorial

6 1 0 9 N . A p a ch e Tra il,

1 4 0 E 5 th S t,

A p a c h e Ju n ctio n , AZ

Te mp e , AZ

Mill Avenue District 3 1 0 S M i l l Av e , Te m p e , A Z 8 5 2 8 1

Hayden Butte Preserve E. Rio S a la d o P k wy, Te mp e , AZ

Tempe Beach Park 6 2 0 No r th Mill Av e n u e , Te mp e , AZ

ASU Karsten Golf Course 1 1 2 5 E Rio S a la d o P k wy, Te mp e , AZ

DAY O5.

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July/

LOUISVILLE

18th

DAY O6.

July/ 19th

DAY O7. MOVIE: Elizabethtown LOCATION: Otter Creek Park SCENE: The place where Drew and Claire go to see the sun rise. TIME: 10:00 A.M.–12:30 P.M. PAUSE AND EAT. CONCERT: My father’s gun, Elton John TIME: 3:00.–3:10 P.M. SCENE: When Drew sees his father inside the coffin for the first time and he sees him smiling.

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Eat, Sleep

& Sightsee

The Brown Hotel

T J Rockwell’s

Louisville Slugger Field

Louisville waterfront park

3 3 5 W B r o a d wa y,

8 0 0 Mo u n t Gre tn a Rd ,

401 E Main St,

231 Witherspoon,

L o u i s v i l l e , KY

Eliza b e th to wn , KY

Louisville, KY

Ramada Elizabethtown

Barbara Lee’s Kitchen

Muhammad Ali Center

The Big Four Bridge

2 0 5 Co mme rce D riv e , I - 6 5

2 4 1 0 Bro wn sb o ro Rd

144 N. Sixth Street,

River Drive,

a t e x i t 9 4 , Eliza b e th to wn , KY

L o u isv ille , KY 4 0 2 0 6

Louisville, KY

Kentucky Lake Resort And RV Park 5 9 K e n t uck y L a k e Re so r t Rd , G i l b e r t s v ille , KY

Burger Boy Diner 1 4 5 0 S Bro o k S t L o u isv ille , KY

Christi’s Cafe 1 2 8 1 0 D ix ie Hwy L o u isv ille , KY

Louisville Slugger Field 401 E Main St, Louisville, KY 40202-1110

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Music PETER GABRIEL I N YO U R E Y E S

Peter Brian Gabriel) is an English singer, songwriter, musician and humanitarian activist who rose to fame as the original lead singer and flautist of the progressive rock band Genesis. After leaving Genesis in 1975, Gabriel launched a solo career, with “Solsbury Hill” his first single.

PE ARL JAM B R E AT H E

The song by the American rock band Pearl Jam. “Just Breathe” was released on October 31, 2009 as the second single from the band’s ninth studio album, Backspacer; the single was released as a double A-side along with the song “Got Some”. Just Breathe” was certified platinum in digital sales by the RIAA.

E LTON J OH N TI NY DANC ER

B RUC E S P RI NG S TE E N S EC R ET GAR DEN

Sir Elton Hercules John, is an English singer songwriter, musician and composer; the song was written about Maxine Feibelmann, was indeed a “seamstress for the band.”; and after all, the credits for the song on the Madman Across The Water album end with the phrase “With love to Maxine.”

Bruce Springsteen is an American singer songwriter. Nicknamed “The Boss”, the song is a 1995 single by Bruce Springsteen; it was originally released February 27, 1995. It gained much of its popularity after being featured on the soundtrack for the movie Jerry Maguire peaking at No. 12 and No.

E LT O N J O H N M Y F AT H E R ’S G U N

“My Father’s Gun” is a song by Elton John with lyrics by Bernie Taupin. It is the on his third studio album, Tumbleweed Connection; the song tells the story of a young Confederate, his father has just been killed during the American Civil War. After burying his father in the South.

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CREDITS

CO N T E N T S The Rolling Stone T h e Un c o o l R o t t e n To m a t o e s T h e D i sso l v e In t e r n e t M ov i e D a t a b a se

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& C OL OPHON

DES I G N ER H am da A L N ai m i ham da. al nai m i @ yahoo. c om DI G I TAL T YPEFAC ES Ser i f a I T C Fr ank l i n G ot hi c HAN DW R I T T EN Shar pi e, U l t r a F i ne t i p PAPER M ohaw k , W hi t e, 2 4 W r i t i ng

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