Probably the most well-known factor ever mentioned about The Velvet Underground—a quote attributed to Brian Eno—is that although their first album offered poorly, everybody who purchased it began a band. However you received’t hear anybody repeat that outdated noticed in Todd Haynes’s invigorating documentary in regards to the group. This film is means too cool for something like that.
When watching The Velvet Underground, out on Apple TV+ on October 15, it turns into clear that Haynes was born to inform the story of how Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker (and, for a part of the time, German chanteuse Nico) blew up fashionable music from 1965 to 1970. Haynes’s love of rock and pop has at all times been part of his profession, from Famous person: The Karen Carpenter Story via Velvet Goldmine and I’m Not There. (It even discovered its means into kid-friendly movie Wonderstruck with a Robert Fripp needle-drop), Of their means, his movies are additionally all about charging in opposition to the mainstream.
Each he and the band have been on the tip of the spear throughout essential actions as nicely. The Velvet Underground was an integral a part of Andy Warhol’s Manufacturing unit and the delivery of multimedia rock extravaganzas, whereas Haynes was important to New Queer Cinema within the late Nineteen Eighties and early Nineties. From Haynes’s opening photographs, which mirror Warhol–Paul Morrissey Chelsea Ladies–model split-screens, to his swirling use of disorienting sound, to the doc’s deep dive into Sixties imagery each mainstream and avant-garde, The Velvet Underground shouldn’t be merely a rote document of what some musicians achieved. In contrast to a whole lot of rock documentaries, it’s an precise movie.
Todd Haynes and I spoke after the film’s bow on the New York Movie Pageant, discussing what made the band so transgressive, chasing the joys of creative astonishment, and the altering methods through which younger folks now expertise cool stuff.
Vainness Honest: I first turned conscious of this movie when Cannes introduced its slate. I noticed “documentary in regards to the Velvet Underground,” after which I noticed your identify—and mentioned, “Oh, shit, this can be a actual film!”
Todd Haynes: [Laughs] Yeah.
Did you’ve got a listing of what not to do to ensure this wasn’t simply one other rock doc?
For positive, and people limitations have been actually useful inventive engines. I wished the movie to be in regards to the time and the place, which instantly decided I’d not interview numerous folks—albeit incredible and gifted folks—about how the Velvets influenced them, what they imply to society, all that stuff. I really feel like I’ve heard that; it’s what you anticipate.
So it meant I needed to see who continues to be round and get them. In some circumstances, it meant get them rapidly—like [avant-garde filmmaker and cofounder of New York’s Anthology Film Archives] Jonas Mekas, who had simply turned 96 years outdated.
A few of the different stuff that isn’t there was much less my very own choice, and simply what comes of the Velvet Underground. There’s little or no live performance footage of the band. Definitely not the live performance footage you affiliate with a rock doc; no promotional stuff or interviews.
Not a whole lot of backstage chatter, however there’s loads of the Manufacturing unit footage.
Proper. As a substitute, there’s the wonderful stuff that no different band within the universe has of their supplies. This directed me proper into the avant-garde world in New York Metropolis.
Everybody’s heard of the Velvet Underground, however not everybody’s heard their music. The place would you direct a noob to go for his or her first track?
That’s so laborious for me. Every album is so intensely distinct. The primary document [The Velvet Underground & Nico, 1967]—one of the best recognized and most influential—it has laborious rock songs on it, then ballads that Nico sings, then experimental type songs like “European Son” and “Black Angel’s Demise Tune,” then the centerpiece magnum opus “Heroin.” It’s a coherent piece of labor, so I believe that’s the factor to take heed to.
It’s additionally received “Venus in Furs,” which is such an unprecedented factor in pop music, when you can name the Velvets that. To document one thing so sinister, so darkish—“horror” in music previous to this was goofy stuff like “Monster Mash.”
It’s a exceptional track. I had learn Leopold von Sacher-Masoch’s e book Venus in Furs in faculty as I used to be changing into conscious of the Velvets, so I knew what [Lou Reed] was riffing on for its subtext. However sonically, it’s actually the place the place the band discovered its sound, possibly greater than another track. The idea of the drone, the R&B chord progressions, the darkish content material and the performative aspect that Lou brings to that, the trancelike African-influenced drumming. All of it fused and have become inextricable. It’s the place they’d been making an attempt to get to since 1965, the place the substances all labored.
https://www.vanityfair.com/hollywood/2021/10/todd-haynes-velvet-underground-documentary-interview | Todd Haynes Explains Why No person Did It Just like the Velvet Underground