" November 9, 2011 -- Wall Street Journal
Getting Back With a Beatle
Albert Maysles Talks About His McCartney-Led 9/11 Film
By STEVE DOLLAR
When The Beatles landed at Kennedy Airport for the first time in February 1964, filmmakers Albert and David Maysles were there to follow the band across America at the start of what became a cultural revolution. This week, Albert Maysles (David passed away in 1987) comes full circle as Film Forum presents the premiere of his documentary "The Love We Make," an intimate and off-the-cuff look at former Beatle Paul McCartney as he prepares for the 2001 "Concert for New York City" a month after the 9/11 terrorist attacks.
Mr. Maysles, 84 years old, let the footage sit for several years, returning to it at Mr. McCartney's encouragement and with the assistance of his co-director, Bradley Kaplan. Both men spoke recently about the experience, and its place in a Maysles legacy that includes such groundbreaking documentaries as "Gimme Shelter" and "Grey Gardens."
So whose idea was this-and to make it in black and white, no less?
Albert Maysles: Of course, in '64, I shot documentaries in 16mm, and in the case of the Beatles we shot it in black and white. Many years later, when Paul was about to do his concert at Madison Square Garden, he called me up a couple of weeks ahead of time and said, "Let's make another film and let's do it in black and white." How could I resist? Working with him has always been a pleasure.
Bradley Kaplan: Albert has this wonderful way about him where he makes lifelong friends when he meets strangers. I can't think of a single person, Albert, that you filmed that you didn't become lifelong friends with, whether they were famous or someone completely unknown.
Mr. Maysles: It was certainly true of the Rolling Stones, and with the two women in "Grey Gardens," also. When Scorsese made his [Rolling Stones concert] film, he called me up. He said, "I've got 18 35mm cameras at the Beacon Theatre and I'd love to have you come along and bring your video camera. And besides, both Mick and Keith have asked you to come."
The scenes of Mr. McCartney in the backseat of a car, with fans running up to press their faces against the windows, was very reminiscent of all those 1960s documentaries. Did you experience déjà vu, Albert?
Mr. Maysles: I guess it's just continuing the original story. When we had the film pretty well finished, we showed it to him and he had nothing to add to it. Except, what did he say? Something about "the edges."
Mr. Kaplan: He had told us, "I want you guys to make your film. And it's got to be a Maysles film." We left in what I call "the edges." I appreciate the fact that Albert shoots before the beginning and beyond the end of things. Our editor, Ian Markiewicz, and I worked really hard to keep those shots in. And Paul picked up on that. He said, "Wow, you made a film and you left all the edges in. Don't change a thing."
It's more than 40 years since you shot your first rock concert. How has it changed-or not changed?
Mr. Maysles: Well, the thing that was so much the same was always getting behind the scenes and humanizing the subjects, so that you feel that whatever their experience is becomes yours, as a viewer. It's a wonderful opportunity to use those moments as a way of becoming friends. And for millions of people to become that much closer to Paul, and to those people who come to the green room. It's more than a concert, much more.
Speaking of access, there's a funny story in the film about working around a situation when you followed the Beatles in 1964.
Mr. Maysles: We were with them in a car, going to "The Ed Sullivan Show," and when we got to the door, we let them go in. We knew that once we got in there we wouldn't be able to film until we got clearance from the union and by that time the show would be long over. So instead we walked into a tenement building and as we walked along one of the corridors we heard some Beatles music coming out of one of the doorways. We knocked on the door and the woman of the house answered it. We explained very briefly we were making a film about the Beatles. We filmed the whole family watching it on television. Which was really "closer up," much more interesting than watching the formal "Ed Sullivan Show." I'm always trying to get closer to people, and in that process also letting things happen so it's a very observational approach. But not-what's that awful expression? A fly on the wall. They think it's a compliment. But a fly has no intelligence, and being on the wall it can't move around.
Albert, you recently directed a video for R.E.M. Do you remain a fan of pop music? Are there contemporary performers who excite you?
Mr. Maysles: Most of what we've done is other people coming to us, and saying, "We represent Ozawa, Leonard Bernstein," and on and on in all fields of music and we have the financing for it. And we jump into it.
Mr. Kaplan: Who's the one you want to make the film of now though, Al? I'm baiting you, because you know her name. You've read a lot about her, you've heard music. We've talked about it a lot.
Mr. Maysles: The Lady? Lady Gaga. [Laughs]
Is she familiar with the Maysles?
Mr. Kaplan: We don't know yet for sure. I would imagine so. I think she would be very hip to that stuff. I would be really surprised if she didn't know "Gimme Shelter" and "Grey Gardens" intimately.
Mr. Maysles: Especially, "Grey Gardens," I would guess. It's funny when we showed "Grey Gardens" for the first time in New York City at the Paris theater. There I am with my brother and we're sitting there with Edie [Beale, one of the film's subjects], and not very far away is Greta Garbo. We noticed she was sitting on the edge of her seat all the way through. "
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