By Ray Pride Pride@moviecitynews.com

GRATEFUL DEAD ANNOUNCE OFFICIAL DOCUMENTARY IN CELEBRATION OF 50TH ANNIVERSARY

Executive Producer Martin Scorsese And Director Amir Bar-Lev To Offer A Never Before Seen Look At One Of Rock ‘N’ Roll’s Most Fascinating And Enduring Bands 

LOS ANGELES – The Grateful Dead are proud to announce their first official career-spanning documentary to coincide with the band’s 50th anniversary celebration. Award-winning documentary filmmaker Amir Bar-Lev (“Happy Valley,” “The Tillman Story”) will direct the as yet untitled documentary. Alex Blavatnik is financing through his AOMA Sunshine Films. Eric Eisner (“Hamlet 2”), Nicholas Koskoff, and Justin Kreutzmann will serve as producers.  Executive Producers are Martin Scorsese, Emma Tillinger Koskoff, Andrew Heller, Sanford Heller, and Rick Yorn. Longtime Grateful Dead archivist David Lemieux will serve as the film’s music supervisor.

This monumental documentary will meld a cornucopia of never-before-seen performance footage, vintage interviews, and other candid moments unearthed from the Grateful Dead’s vast vaults along with newly captured conversations with surviving members Mickey Hart, Bill Kreutzmann, Phil Lesh, and Bob Weir, as well as many other characters and pranksters from the Dead universe.

“Millions of stories have been told about the Grateful Dead over the years. With our 50th Anniversary coming up, we thought it might just be time to tell one ourselves and Amir is the perfect guy to help us do it. Needless to say, we are humbled to be collaborating with Martin Scorsese. From The Last Waltz to George Harrison: Living In The Material World, from Bob Dylan to the Rolling Stones, he has made some of the greatest music documentaries ever with some of our favorite artists and we are honored to have him involved. The 50th will be another monumental milestone to celebrate with our fans and we cannot wait to share this film with them,” said surviving members Hart, Kreutzmann, Lesh, and Weir in a joint statement.

“The Grateful Dead were more than just a band.  They were their own planet, populated by millions of devoted fans.  I’m very happy that this picture is being made and proud to be involved,” says Scorsese.

 

“It’s been ten years since I first set out to make a film about the Grateful Dead and I’m thrilled that it’s finally happening,” says Bar-Lev.

 

“I am ecstatic that this project was able to come together and look forward to finding the perfect distribution home for the film,” says Eisner.

 

 

Production entities partnering on the project are Double E Pictures, Axis Films, and Sikelia Productions, Inc.

 

 

 

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon