In a waterfront celebration a stone’s throw from where the World Trade Center towers stood, the 10th annual Tribeca Film Festival opened with music and a movie Wednesday.
Tribeca has made flashy, populist festivities a central component over the years, so Elton John was a good fit. First, Cameron Crowe’s documentary on the collaboration between John and Leon Russell, “The Union,” screened. It was followed by a short performance by John.
“I’m honored. I’m frightened,” said John, introducing the film he had yet to see himself.
The event was held outdoors and for free at the World Financial Plaza downtown, where the hole in the skyline is still deeply felt and the rebuilding construction is prominent. The locale was fitting, since it was the attacks of Sept. 11, 2001, that initially drove Robert De Niro, producer Jane Rosenthal and her husband, the entrepreneur Craig Hatkoff, to found the festival with the aim of revitalizing its namesake neighborhood and downtown Manhattan.
“The Tribeca Film Festival started nine years ago with a flash of inspiration and a surge of passion,” said Rosenthal. “I could have never have imagined that we would find ourselves here today nearly a decade later.”
The festival trotted out other attractions too, including a performance of “Walk Like an Egyptian” by the Bangles with the PS22 elementary school choir, remarks from comedian Denis Leary and an introduction from Martin Scorsese.
“For me, movies and music have been inseparable. They always have been and they always will be,” said Scorsese. “And I know that the same holds true for Cameron Crowe.”
“The Union” documents the studio sessions between John and his idol, Russell, a famed singer, songwriter and piano player who was a ubiquitous session player early in his career and has been a sometimes-forgotten legend from the earlier days of rock ‘n’ roll.
Crowe, whose films include “Almost Famous” and “Say Anything,” captures the two musicians working with producer T Bone Burnett and John’s longtime lyricist, Bernie Taupin, as well as numerous guest musicians. Though Russell is apprehensive at the start of the collaboration — which would result in the album “The Union” — the 69-year-old is gradually stirred (subtly since he hides behind a cloud of white hair and beard) and enlivened by the work.
Russell, who underwent serious brain surgery during the film, wasn’t in attendance Wednesday but instead sent a video to thank Tribeca. Crowe, on location for another film, also sent a video message. (Crowe is represented for commercials and branded content by Moxie Pictures.)
Opening with “The Union” sets the table for a Tribeca littered with music-related films. Among those in the lineup are documentaries on Kings of Leon (“Talihina Sky”), Ozzy Osbourne (“God Bless Ozzy Osbourne”), the Swell Season (“The Swell Season”) and Carol Channing (“Carol Channing: Larger Than Life”).
As the cool air floated off the Hudson River on Wednesday night, the conditions weren’t ideal for music playing. Between “Tiny Dancer” and “Rocket Man,” John confessed his hands were “ice.”
The coming music documentaries — and many other films — should be cozier in movie theaters throughout the festival’s run, through May 1.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More