![]() ![]() ![]() We’re not really concentrated in the same ways.” “Our internet life, our digital life, disperses us. ![]() “We needed every bit of creative nourishment and a sense of vitality from what had happened in the past,” he said. With the finished product screening to a boisterous reception at Cannes ahead of an anticipated fall season launch, Haynes said he looks back on the final stage of post-production as a lifeline. NEW THE VELVET UNDERGROUND MOVIE MOVIE“How lucky were we?”Ĭinetic and Submarine sold the movie to Apple from footage presented to buyers at Cannes in 2019, after the director had completed 19 of the 20 interviews, all with people who were around for the band’s legacy and witnessed the explosion of underground art in the late ‘60s. “It’s just really hard to imagine getting through that crazy fucking time without this movie,” Haynes said. “I would probably have picked a bucolic tiny place to be where you can create your own reality, but I had this.”ĭay after day, the story of “The Velvet Underground” kept him sane. “When things shut down in a big city, it’s almost more chilling,” he said. NEW THE VELVET UNDERGROUND MOVIE TVOscars 2023: Best International Feature Film PredictionsĬannes 2022 Deals: Sideshow and Janus Buy 'The Eight Mountains' in Latest Festival AcquisitionĮmmy Predictions: Outstanding Animated Program - 'Rick and Morty' Warp Speed Toward Another WinĢ0 Controversial Film and TV Book Adaptations That Rankled Their Audiences and Authors Instead, he spent weeks at a facility in Venice, with short breaks to watch sunsets from the beach. (Their other editor, Adam Kurnitz, collaborated remotely from New York.) Haynes couldn’t retreat to his home in Oregon (where his neighbor, Kelly Reichardt, hunkered down) because it was undergoing renovations. Haynes had been developing a nonfiction look at the history of Lou Reed’s seminal New York band for several years by early 2020, and wound up quarantined with co-editor Affonso Gonçalves in Los Angeles for several months. That sentiment has been on his mind a lot over the past year. For people who work collaboratively, it’s hard not to be around each other.” “I hadn’t been separated from Christine Vachon this long in our entire lives together,” Haynes said in an interview from the festival a few days later. During a stopover in Amsterdam, he met up with Christine Vachon, his longtime producer who had worked with him ever since his early days of “Superstar: The Karen Carpenter Story” and “Poison.” Forced to different sides of the country when the pandemic set in, they were finally reunited to launch another film. Todd Haynes wasn’t even in Cannes yet for the premiere of his new documentary, “ The Velvet Underground,” when things got emotional. ![]()
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