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  #16  
Old 07-12-2017, 05:26 PM
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Originally Posted by Danielle View Post
I uploaded the main part here
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Originally Posted by bombaysaffires View Post
awesome, thanks so much for posting!!
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Originally Posted by SisterNightroad View Post
Thank you very much Danielle, you're precious as always.
Thank u Danielle. Everything you post here and on FB turns to gold.
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Old 07-12-2017, 07:18 PM
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He was a real sob to Patty Griffin, whose music I adore, so I"m not a big fan.
Kevin
Was Jimmy Iovine disrespectful to Patty Griffin? Do tell. If so, that's a crime. Patty Griffin is, arguably, one of the greatest American songwriters who ever lived. I'm sorry, but there are very few people who can come close to Patty Griffin's songwriting ability. She's in the same class as Dylan, Lennon, McCartney, Mitchell and Wonder.
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Old 07-12-2017, 10:16 PM
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when do subsequent episodes of the documentary series air?
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  #19  
Old 07-13-2017, 02:59 PM
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when do subsequent episodes of the documentary series air?
If you have HBO you should be able to watch it on demand.
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Old 07-16-2017, 01:33 PM
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Imagining Stevie trying to listen from the basement is absolutely hilarious.
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  #21  
Old 07-27-2017, 07:56 AM
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Stevie Nicks Recording 'Edge of Seventeen' Is Some of the Best Studio Footage I've Ever Seen

One of the highlights of The Defiant Ones—HBO’s four-part documentary about music magnate Jimmy Iovine, Dr. Dre, and the music and culture that launched their careers—is the trove of studio footage the filmmakers were able to access.

In retrospect, it’s astonishing that someone had the wherewithal, in 1980, to film Stevie Nicks in the studio recording her first solo album, or to capture J.J. Fad cutting their first one with Dr. Dre in 1998. Of course documentation for posterity’s sake was important, but some of this stuff was caught in the Beta era, when cell phones were still just a funny idea somebody put on The Jetsons. You wonder, watching Eazy E record his vocals for “Boyz In Da Hood,” did these groups intuit they were destined for greatness? It’s all very astonishing, and while I normally find studio footage somewhat boring and extraneous, I have been utterly glued to every clip from The Defiant Ones as both a time capsule and a tangible, thrilling bit of pop music history.

That’s where this clip comes in. “Edge of Seventeen,” from Stevie Nicks’s first post-Fleetwood album Bella Donna, is one of the greatest documents of her voice that exists, an iconic example of her range and emotion. And so watching her actually cut the vocal part, as her then-boyfriend Jimmy Iovine bopped around alongside her, is totally illuminating: the sheer force with which she delivered her vocal made her entire body quiver, and the feeling beneath it seems to tremble too, manifested fully in her vibrato rasp.

Perhaps it’s the lifelong witch mythology around Nicks—I just rewatched American Horror Story: Coven, so please forgive—but visually it could be interpreted as a conjuring, and I have newfound admiration for a song that is already burned into the cultural fabric as one of the greatest rock singles ever cut. Watch it above, and blessed be.



http://themuse.jezebel.com/stevie-ni...the-1796921774
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  #22  
Old 08-03-2017, 07:33 AM
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WHEN DR. DRE AND JIMMY IOVINE COLLIDE, THE END RESULT FEELS … UNSETTLING

The Defiant Ones is the weirdest thing I’ve seen on TV in some time. A four-part HBO docuseries about the fruitful business union of Jimmy Iovine and Dr. Dre, it starts out like typical showbiz puffery (let’s hire a bunch of people to say how great we are!), then it gets really good (as does most anything involving SoCal rock and hip-hop in the ’80s), before finishing off with a boring final hour in which Dre and Iovine all but fellate each other. Hardly essential viewing, it’s also not a waste of your time. In fact, if you need a place to vent all your summertime anger, The Defiant Ones is highly therapeutic.

I almost didn’t make it through the first 15 minutes. Unless you consider Apple’s multibillion-dollar deal with Beats Electronics, the headphones company co-founded by Dre and Iovine, to be a significant development in 21st-century history, The Defiant Ones doesn’t exactly kick off with a bang. There’s lots of hot air blowing from the likes of Bono and Will.i.am and Eminem, the latter of whom spouts crap like, “Jimmy Iovine is the levitator, Dr. Dre is the innovator.” Director Allen Hughes aims for profundity with slick editing and Ennio Morricone’s theme from The Untouchables. But nothing can ease the fact that Iovine is one of those senior-aged billionaires who still wears a baseball cap backwards—i.e. a profoundly annoying presence.

Things get interesting once the focus turns to Dre. Whether he’s fiddling with the tracks for Marvin Gaye’s “I Want You” inside his home studio or blasting Nirvana and Kraftwerk while lounging in his tropical compound, Dre comes off as utterly likeable—a music lover who just happened to get stinking rich doing what he loves. The section about his early DJ days is a trip. Recalling the moment when Dre seamlessly mixed the Motown classic “Please Mr. Postman” with a new beat (“Jive Rhythm Trax 122”), club owner Alonzo Williams says, “It was like some musical, magical sh*t. People were still groovin’. They were groovin’ confused, though!” Dre also apologizes for assaulting TV host Dee Barnes in 1991: “Any man who puts his hands on a female is out of his f*cking mind. And I was out of my f*cking mind at the time.”

It’s tough being a woman in Iovine’s world, too. As a budding engineer/producer, he puts up with Springsteen spending three weeks just to get a drum sound right. But when Stevie Nicks dares to express a thought, he jumps down her throat and says she’s acting like “group of lawyers.” Then he fills Nicks’ debut, Bella Donna, with platinum males (Tom Petty, Don Henley), convinced she’s going to come out with “this beautiful record with lace and veils and candles all over it, and one one’s gonna hear it.” (She was only the star of the biggest-selling band in the world, Jimmy.) Much worse, due to their secret romance, he makes her hide in the basement when Tom Petty comes over! Isn’t Iovine due for an apology of his own? Nope, all the women in his life—Patti Smith, Gwen Stefani, the wives—just wax about his genius and how it needs room to flower.

The last hour of The Defiant Ones loads up on blowhard malarkey—Dre is “the best that ever was,” he and Iovine built Beats “from nothing”— so much that your mind inevitably wanders onto other topics. Like, what is it that makes Dre so endearing and Iovine so grating? By show’s end, Dre is a changed man. Iovine, meanwhile, remains an eternal douche.



https://lasvegasweekly.com/ae/2017/a...ls-unsettling/
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  #23  
Old 08-03-2017, 12:30 PM
bombaysaffires bombaysaffires is offline
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Originally Posted by SisterNightroad View Post
WHEN DR. DRE AND JIMMY IOVINE COLLIDE, THE END RESULT FEELS … UNSETTLING

The Defiant Ones is the weirdest thing I’ve seen on TV in some time. A four-part HBO docuseries about the fruitful business union of Jimmy Iovine and Dr. Dre, it starts out like typical showbiz puffery (let’s hire a bunch of people to say how great we are!), then it gets really good (as does most anything involving SoCal rock and hip-hop in the ’80s), before finishing off with a boring final hour in which Dre and Iovine all but fellate each other. Hardly essential viewing, it’s also not a waste of your time. In fact, if you need a place to vent all your summertime anger, The Defiant Ones is highly therapeutic.

I almost didn’t make it through the first 15 minutes. Unless you consider Apple’s multibillion-dollar deal with Beats Electronics, the headphones company co-founded by Dre and Iovine, to be a significant development in 21st-century history, The Defiant Ones doesn’t exactly kick off with a bang. There’s lots of hot air blowing from the likes of Bono and Will.i.am and Eminem, the latter of whom spouts crap like, “Jimmy Iovine is the levitator, Dr. Dre is the innovator.” Director Allen Hughes aims for profundity with slick editing and Ennio Morricone’s theme from The Untouchables. But nothing can ease the fact that Iovine is one of those senior-aged billionaires who still wears a baseball cap backwards—i.e. a profoundly annoying presence.

Things get interesting once the focus turns to Dre. Whether he’s fiddling with the tracks for Marvin Gaye’s “I Want You” inside his home studio or blasting Nirvana and Kraftwerk while lounging in his tropical compound, Dre comes off as utterly likeable—a music lover who just happened to get stinking rich doing what he loves. The section about his early DJ days is a trip. Recalling the moment when Dre seamlessly mixed the Motown classic “Please Mr. Postman” with a new beat (“Jive Rhythm Trax 122”), club owner Alonzo Williams says, “It was like some musical, magical sh*t. People were still groovin’. They were groovin’ confused, though!” Dre also apologizes for assaulting TV host Dee Barnes in 1991: “Any man who puts his hands on a female is out of his f*cking mind. And I was out of my f*cking mind at the time.”

It’s tough being a woman in Iovine’s world, too. As a budding engineer/producer, he puts up with Springsteen spending three weeks just to get a drum sound right. But when Stevie Nicks dares to express a thought, he jumps down her throat and says she’s acting like “group of lawyers.” Then he fills Nicks’ debut, Bella Donna, with platinum males (Tom Petty, Don Henley), convinced she’s going to come out with “this beautiful record with lace and veils and candles all over it, and one one’s gonna hear it.” (She was only the star of the biggest-selling band in the world, Jimmy.) Much worse, due to their secret romance, he makes her hide in the basement when Tom Petty comes over! Isn’t Iovine due for an apology of his own? Nope, all the women in his life—Patti Smith, Gwen Stefani, the wives—just wax about his genius and how it needs room to flower.

The last hour of The Defiant Ones loads up on blowhard malarkey—Dre is “the best that ever was,” he and Iovine built Beats “from nothing”— so much that your mind inevitably wanders onto other topics. Like, what is it that makes Dre so endearing and Iovine so grating? By show’s end, Dre is a changed man. Iovine, meanwhile, remains an eternal douche.



https://lasvegasweekly.com/ae/2017/a...ls-unsettling/
sooooooooo this !!!

Why she continually tolerated this kind of sh&t from her producers over her career amazes me.

i get why she tolerated sh&t from Lindsey in early days because she needed him to help get her music across.

I get why she tolerated it to SOME extent with Jimmy [on Bella Donna anyway] because it was her first foray outside the band and everyone had that dumb f*ck notion that no one would listen to more than 3 songs from her.....

But really, over time, I wish she'd kicked more producers' asses.

She has grown in this regard if you watch her on the IYD doc.... but let's be honest, Dave isn't as douchey as some of her other producers and isn't going to snark back at her. I guess her pushing back on Lindsey "you wouldn't say that to Bob Dylan" is a form of growth too.... but she still referred to a famous man, instead of "dude, I'm STEVIE NICKS and I've sold multi platinum solo records writing just like this so I hear you, I don't plan to change it, move on" (which I guess she feels she did, just in her own way)
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  #24  
Old 08-05-2017, 01:59 PM
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Originally Posted by bombaysaffires View Post
sooooooooo this !!!

Why she continually tolerated this kind of sh&t from her producers over her career amazes me.

i get why she tolerated sh&t from Lindsey in early days because she needed him to help get her music across.

I get why she tolerated it to SOME extent with Jimmy [on Bella Donna anyway] because it was her first foray outside the band and everyone had that dumb f*ck notion that no one would listen to more than 3 songs from her.....

But really, over time, I wish she'd kicked more producers' asses.

She has grown in this regard if you watch her on the IYD doc.... but let's be honest, Dave isn't as douchey as some of her other producers and isn't going to snark back at her. I guess her pushing back on Lindsey "you wouldn't say that to Bob Dylan" is a form of growth too.... but she still referred to a famous man, instead of "dude, I'm STEVIE NICKS and I've sold multi platinum solo records writing just like this so I hear you, I don't plan to change it, move on" (which I guess she feels she did, just in her own way)
I think she still listens to stuffy men way too much. I wish she would pull a Beyonce and create something amazing just because she feels like it, drawing on all of her creative prowess and viable music connections to do it! Instead she goes on about money and the music business. Record labels no longer own the music business and she needs to stop listening to them IMHO.

And speaking of Beyonce, did they feature her husband Jay-Z in this series? He called out Jimmy Iovine in the track "Smile" on his new album. Apparently he had this to say about him in 2015 (regarding Apple vs. streaming service, Tidal):

You have a long-standing relationship with Jimmy Iovine. Have you been in contact with him since the news has started trickling out?

Yeah, of course. My thing with Jimmy is, “Listen, Jimmy; you’re Jimmy Iovine, and you’re Apple, and truthfully, you're great. You guys are going to do great things with Beats, but … you know, I don’t have to lose in order for you guys to win, and let’s just remember that.” Again, I’m not angry. I actually told him, “Yo, you should be helping me. This is for the artist. These are people that you supported your whole life. You know, this is good.”


Source: http://www.billboard.com/articles/ne...vine-interview

Unfortunate that someone who has been known to help artists his entire career has become a stuffy billionaire as referenced in an article in a previous post.
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  #25  
Old 10-12-2017, 07:26 AM
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From Universal Pictures Home Entertainment: The Defiant Ones

UNIVERSAL CITY, Calif: Bring home the highly anticipated four part documentary, The Defiant Ones, available on Digital on November 20, 2017 and on Blu-ray and DVD on November 28, 2017 from UPHE Content Group.

Director Allen Hughes (Menace II Society, Dead Presidents) has made an unquestionably bold film about the unlikely but unbreakable bond of trust and friendship between Dr. Dre and Jimmy Iovine, two street-smart men from different worlds who have shaped many of the most exciting and extreme moments in recent pop culture.

Hughes filmed Jimmy Iovine and Dr. Dre with unfettered access over a three-year period in making The Defiant Ones. The series includes extensive interviews with Dre and Iovine, who speak frankly about their highs and lows as well as interviews with major music icons including: Snoop Dogg, Bruce Springsteen, Gwen Stefani, Bono, David Geffen, Eminem, Nas, Stevie Nicks, Kendrick Lamar, Ice Cube, Jon Landau, Patti Smith, Lady Gaga, Doug Morris, Tom Petty, Trent Reznor, Diddy, Alonzo Williams and will.i.am. The series also features never-before-seen footage from a multitude of recording and writing sessions with Eazy-E, JJ Fad, Stevie Nicks, N.W.A., Tom Petty, The D.O.C., Bruce Springsteen and U2, among others.

Set amid many of the defining societal and cultural events of the past four decades, The Defiant Ones tells the stories of two men from different tough neighborhoods and their improbable partnership and surprising leading roles in a series of transformative events in contemporary culture. This revealing, compelling and often-gritty story takes place in recording studios, in humble homes, in criminal courts and in the highest corridors of corporate power.

Defiance is defined as "daring or bold resistance to authority or to any opposing force." This unique and inspiring tale shows how decades of defiance and determination helped Jimmy Iovine and Dr. Dre build a few empires, make a series of American Dreams come true and transform two street kids into global forces to be reckoned with, here and now. The result is a master class in how to work your way up from the bottom to beyond your wildest dreams.

FILMMAKERS:
Directed By: Allen Hughes
Executive Producers: Allen Hughes, Doug Pray, Andrew Kosove, Broderick Johnson, Laura Lancaster, Jerry Longarzo, Michael Lombardo, Gene Kirkwood
Writer: Allen Hughes, Lasse Jarvi, Doug Pray
Editors: Lasse Jarvi, Doug Pray
Music Producers: Atticus Ross, Leopold Ross, Claudia Sarne, Sarah Anthony, Steven Williams, Fritzi Horstman

TECHNICAL INFORMATION BLU-RAY:
Street Date: November 28, 2017
Copyright: 2017 Universal Pictures Home Entertainment
Selection Number: 61194025 / 61194060 (CDN)
Layers: BD-50
Aspect Ratio: 1.78:1
Languages/Subtitles: English SDH, French Spanish subtitles
Sound: English DTS-HD Master Audio 5.1
Disc 1 Run Time: 2 Hours, 0 Minutes
Disc 2 Run Time: 2 Hours, 20 Minutes

TECHNICAL INFORMATION DVD:
Street Date: November 28, 2017
Copyright: 2017 Universal Pictures Home Entertainment
Selection Number: 61194023 / 61194024 (CDN)
Layers: DVD 9
Aspect Ratio: 1.78:1
Languages/Subtitles: English SDH, French and Spanish subtitles
Sound: English Dolby Digital 5.1
Disc 1 Run Time: 2 Hours, 0 Minutes
Disc 2 Run Time: 2 Hours, 20 Minutes



http://www.newkerala.com/news/fullnews-279667.html
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  #26  
Old 11-19-2017, 04:40 PM
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The Defiant Ones director Allen Hughes reflects on making the HBO film

When The Defiant Ones aired on HBO in July, music moguls and fans alike watched in droves to learn more (or for the first time) about the rise of Dr. Dre and Jimmy Iovine and their eventual partnership, which later led to the massive success of Interscope Records, the founding of Beats Electronics, and a historic $3 billion dollar deal with Apple. The roughly eight-minute clip depicting their discovery of Eminem went viral shortly after the final part of the documentary film premiered on July 12. The home footage shown throughout the series offered a new perspective and revealed backstories that had never been previously public.

Despite its widespread success and critical-acclaim, the three-and-a-half year project directed and executive produced by Allen Hughes (Menace II Society, The Book of Eli) was missing one key viewer during its four-night, four-part stint over the summer: director and executive producer Allen Hughes. Though he attended a party with it playing in the background, he says he really didn’t sit down and watch it until just before Halloween. “Quite frankly, the last three weeks is the first time I’ve been actually able to appreciate any of this,” he tells EW. “It took a while to get that cloud off of me. You’re not processing it because your head is just crazy.”

Struggling to watch his own creative works isn’t anything new for Hughes, either. Even at the forefront of many major motion pictures, the director doesn’t enjoy showing off his feature films — but for some reason, documentaries are a whole different ballgame for him. “One thing about documentaries that is different than feature films for me, is when I watch a Book of Eli or From Hell, I just cringe. I can’t watch it. I can’t show people. Something about the documentaries is that it’s personal, but there’s a disconnect where I can watch it. It’s not a problem because it’s about other people. I don’t know what it is. They’re just real.”

Whatever the explanation, it’s comforting to know that Hughes can finally appreciate the documentary film that took several years of his life to complete. It comes just in time, too – The Defiant Ones will be available digitally on Monday, Nov. 2o and on Blu-ray and DVD on Tuesday, Nov. 28. Ahead of its release, EW can reveal three deleted scenes from the film. Above and directly below, you’ll find scenes further discussing Bruce Springsteen’s Born to Run. The third is a quick clip of Alonzo Williams talking about Dr. Dre and headphones. Further, Hughes discusses the clips as well as his current relationship with Iovine and Dr. Dre, his feelings about the reactions to the documentary, and more.

ENTERTAINMENT WEEKLY: Why didn’t these scenes make the final cut?
ALLEN HUGHES: One thing from working on this film I’ve learned is when we figure out what the greater narrative is, I don’t have any regrets. There’s actually some great quotes, stories, and scenes we just didn’t even get around to — some of them are even better than [those] in the movie, but they weren’t better for the narrative, if that makes sense. Usually when you do films, there are a handful of scenes where you’re like, “Damn, I wish I could’ve got that in there.” I don’t feel that way. Working with HBO, they really supported me. It wasn’t like, “Oh man, they made me cut this s–t out?”

One of these deleted scenes depicts Bruce Springsteen throwing Born to Run in the pool. Were there any other stories of conflict that you uncovered during your filming that didn’t make the final cut?
Yeah, sure. The Bruce Springsteen story is one I regret we couldn’t find a way to put that in. It really is a pretty powerful statement on an artist’s journey and what they go through and where their head is. That’s actually one I totally forgot about. By the time we got to that story in the film, the audience was already so beat down by the process of making this record with Bruce. It was definitely a flow thing more than anything.

How did you get all of home footage used in the film? How did it add another element to the final product?
All these artists and people participating in the film either had a private collection, or we had to research and find stuff that was just out there. The fact that we went from a one-year production to three-and-a-half-years gave us time to find all that stuff. With Stevie Nicks in particular, all that footage of her and Tom Petty in the studio, and her in the studio making Bella Donna, was stuff she filmed back then and just sat on. She gave us a bunch of personal polaroids and personal footage, and a lot of the subjects in the film were just as giving.

How important was it to get more controversial figures in the story (i.e., Dee Barnes, Steve Gottlieb, Michael Fuchs) telling their experiences firsthand?
I don’t think you have a film if you don’t have adversarial voices or perceived nemesis, good or bad. It occurred to me during the making that I wouldn’t release if we didn’t have that vantage point. Those perspectives were fully realized too, not just a quote or two. You watch most of these documentaries, and someone gets a quote or two. You look at that Steve Gottlieb story, and you look at the way it’s buttoned and the last thing he says, and literally, he is the longest shot of a subject we have in the movie where he’s talking about empathy. With Dee Barnes in particular, she just wasn’t like a quote about the incident. She was in the fabric of the narrative, even in the part of celebrating the culture, which she was a part of. That was most meaningful to me.

How difficult was it to get all of them to agree to partake in the film?
I won’t be specific here, but I will say that it did take time for some of them as far as sitting down for lunch or whatever it may be. It wasn’t about talking them into it – it was about getting them into the nature of the film of what I was trying to do. Then they got it, and they were completely with it. It wasn’t like they were saying, “I don’t want to do this.” It was like, “What is this? What are you trying to do? Why?” That type of thing.

You seem to be similar with Dr. Dre and Jimmy Iovine in that you won’t release your work unless you feel like it’s perfect, no matter how long it takes. Did you ever draw comparisons between yourself and those two in that sense?
There was – and I hate this word – a “meta” aspect to making the film because I’m quite obsessive. My partner Doug Pray, who also cut the film with another gentleman named Lasse Järvi, they’re crazy obsessive. And then you’ve got Jimmy and Dre, too. It felt like we were making Born to Run. It literally felt like that. It was painful and it was joyful, but it was the layers of details. I knew going in that I love the documentary medium. I prefer to watch documentaries over film, but I know not everyone has that feeling. I know a lot of people look at documentaries like it’s eating their vegetables. For me, I was like, “How do I serve a full-course, festive Italian meal? How do I push this medium?” and that was the thinking going in. You have all these masterpieces that were made. All this great music, some of the greatest stories of all-time, the greatest rock stars of all-time – what are we going to do, just sit here and shoot it? Like we have to step up. The nature of it has to meet these great stories and great artists. That was torturous.

How have you felt about the reactions to the project?
I was shocked at how overwhelmingly positive it was, whether it’s the critics, op-ed pieces, or just fans on social media. I was blown away by it. The thing that was unbelievable to me, because I did not do this on purpose, is how many people used the word “inspired” or “motivated.” I was like, “Really?” I still get it daily, whether it’s emails or people running up to me. I was blindsided by that. It gets stronger every week and every month with that one. I had no idea it was that inspiring. The other thing that really touched me is how personally people take the film. They feel like it’s their journey. Whether they’re 60 or 16, there’s something very interesting happening that people feel a serious personal connection to. So many people see their journey in that film, and I’ve never experienced that before.”

Is there anything you would change with the film now?
I’ve never been more proud of something I’ve done. Ever. In particular, part three is the one where I just go “wow.” That is something interesting happening there. Throughout the whole film there is, but it all just kind of erupts in part three. All the hard work really paid off as far as the technique, approach, and storytelling. It just explodes. If anyone can sit down and actually process and tell me what the thesis is in one sitting to part three, God bless you.

You had already known Jimmy Iovine and Dr. Dre for a long time before this. How has your relationship changed since The Defiant Ones aired?
[Laughs] I’ve known Jimmy and Dre for over 25 years, independent of one another and before they both met each other. The relationship over that 25 years plus is always evolving. At the end of the day, Dre has always been like a bit of a big brother to me, and Jimmy has always been a godfather. That’s what was so difficult about making that movie because the tables have to turn when you’re making the film. You’re not necessarily the little brother or the godson.

They changed through this process as I did. My editor told me one day, “These documentaries, if you do them right, they change you as a person.” And I went, “Wow,” because fiction films don’t change you as a person. I definitely was changing big-time during the process of making this movie, and Jimmy and Dre were changing as well. There’s a lot in that film that they didn’t know about each other, or they didn’t know about themselves because they’re not nostalgic. Our relationship now is deeper than it’s ever been because there’s a tremendous amount of trust. Those guys are still active. They haven’t retired. That’s what is unusual about the film. You make these films when people are dead or done, and those guys are far from that. In the end, when they see the results, there’s kind of a twinkle we all have in our eyes because it worked out and it could’ve been a disaster.

The Defiant Ones will be available for digital download on Nov. 20 and on Blu-ray and DVD on Nov. 28.



http://ew.com/tv/2017/11/19/the-defi...eleted-scenes/
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Star Trek TNG Mick Fleetwood autograph card Rare WoW Mac John McVie Stevie Nicks picture



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