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Thread: Pete Townshend discusses filming 'Tommy'

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    Pete Townshend discusses filming 'Tommy'

    The 1975 movie will have a 35th-anniversary screening Friday at the Samuel Goldwyn Theater.


    With an electrifying score by Pete Townshend including "Pinball Wizard," "I'm Free" and "See Me, Feel Me" and transcendent performances, the Who's seminal 1969 rock opera "Tommy" shook the foundations of the music industry.

    Oscar-winning documentary filmmaker Murray Lerner ("From Mao to Mozart: Isaac Stern in China") recalls that "Tommy" was a "mesmerizing" experience for those who saw it and felt it four decades ago.

    "In those days, we said 'This is like a religious experience' when you listened to it and saw it," says Lerner. "I think I was the first one to film the whole of 'Tommy' at the Isle of Wight in 1970 for my feature 'Listening to You: The Who at the Isle of Wight Festival.'"

    Five years later, iconoclastic British director Ken Russell, who was known for pushing the envelope with such controversial films as "Women in Love," "The Music Lovers" and the X-rated "The Devils," brought "Tommy" to the big screen. All four members of the Who appeared in the film, including lead singer Roger Daltrey as Tommy, the "deaf, dumb and blind kid" who plays a mean pinball and becomes a religious icon. Russell favorite Oliver Reed played Tommy's sleazy stepfather and Ann-Margret — in a performance that earned her a lead actress Oscar nomination — was Tommy's troubled mother. Tina Turner was on hand as the Acid Queen, with Jack Nicholson as the Specialist and Elton John as the Pinball Wizard.



    Friday evening, Lerner will be hosting the Academy of Motion Picture Arts and Sciences' 35th anniversary screening at the Samuel Goldwyn Theater, which features a new digital cinema presentation with the original Quintaphonic soundtrack. "Tommy" was the only film ever produced in that stereophonic sound system.

    Russell, who is now 82, may be known for his excessive hand on screen, but he's a man of few words when reached over the phone in England about the event. Lerner will be discussing the film with the veteran filmmaker.

    When asked to explain Quintaphonic, Russell simply replied, "It was a new kind of stereo. It was rather unique."

    On how he came up with the way to shoot a rock opera: "I discovered how to shoot it. It was fairly easy."

    The Who's Townshend, who received an Oscar nomination for scoring and adapting the music for the film, was much more reflective in an e-mail interview:

    Was it your decision to bring "Tommy" to the screen? How did you select Ken Russell?

    For years I was against doing "Tommy" as a film. I felt a film would reduce the impact of the music and make demands of the story to which it could never rise. During the composition and recording of [the Who's album] "Quadrophenia" that took place during a very busy 1973, there were a number of meetings about a possible film of "Tommy" attended by Chris Stamp and myself. Chris was with Kit Lambert, our first manager. Kit Lambert had sketched out a film treatment even while we were recording the original album, which he produced, and he was hoping to direct.

    But by 1973, he was in very bad shape physically and emotionally. To begin with, our talks were with Michael Carreras of the Hammer film family. Then Robert Stigwood entered the fray. I was relieved because I knew he adored and respected Kit Lambert and would treat his dismissal as director as tenderly as possible. The first I knew that Ken Russell was on board was meeting him in Wardour Street while recording sound effects for "Quadrophenia" and his directorial role on "Tommy" seemed a done deal.

    What was your and the rest of the cast's relationship with Russell?

    Ken was bombastic, energetic, funny, tireless and inspiring. He had an obsessive eye for detail and planning that I now realize every great film director needs, or in its place the absolute certainty that they can accept what happens when it happens and adapt to it. I never had a bad moment with Ken. During the "Tommy" film, he only ever slept for about four hours. I survived on cognac. I have no idea how he stayed awake. When we filmed our own sequences as the Who band, I simply behaved like the arrogant half-drunk rock star I was at the time and entirely got my way.

    People, including Murray Lerner who is hosting the "Tommy" event, said watching the rock opera live was akin to a religious experience. Do you feel the film captured that feeling?

    The original "Tommy" album was intended by me — from a composer's standpoint — to provide the Who with a powerful live piece that would extend what I had done for the band with "A Quick One While He's Away" — my first mini-opera. My interest in the Indian master Avatar Meher Baba and a fair bit of reading by Sufi authors and mystics at the time of the writing inspired me to try to create a musical piece that provided a spiritual travelogue through the so-called "planes" of consciousness. My deaf-dumb-and-blind hero was a cipher for those of us who are unaware of our spiritual life, either by choice or ignorance. Not much of this spiritual substance found its way into the Who's finished album. However, enough landed to ensure when we performed it live, songs or sequences like "I'm Free" and "See Me, Feel Me" and "Listening to You" jacked into the trend of the time for young people to see themselves as seekers.

    The film dealt with the notion of a young man's search for truth and meaning in a more sociological way than the Who's album .… The film illustrated the times very literally and with great affection. The Who performed "Tommy" so many times after its release as an album that we became conditioned to its power to inspire spiritual feeling. Ken simply let the music deal with the spiritual task.

    Would you discuss the casting of the film, which includes such Russell veterans as Oliver Reed but such Hollywood types as Ann-Margret and Jack Nicholson?

    There is where I hang my head in shame. I initially disagreed with all three of these choices. My arguments were with both Ken and Robert Stigwood. Robert was the most persuasive, explaining the Hollywood star system to me in words of one syllable: "We have to have them." In the end, Oliver Reed did his comedic thing and it worked out extraordinarily well, with me coaching him line by torturous line in the studio, knocking back mugs of Remy Martin cognac. I was a little frightened of him at first but quickly realized he was a really wonderful man.

    Jack sang beautifully …. Ann-Margret I knew nothing about and thought her voice was too old-school, too music-theater for "Tommy." But she too convinced me immediately as soon as we started to record.

    Elton John, Tina Turner and Eric Clapton were of course easier for me to work with. Elton was already stupidly rich, arriving in a massive Rolls Royce like the queen's and with his own number plate. He is always a joy to work with. Eric was fresh from heroin addiction, just drinking beer and chasing after Ann-Margret even though her husband and manager was always by her side.

    Roger worked really hard. I was deeply impressed by his professionalism as an actor. He seemed to be a natural. It was through performing in the role of Tommy with the Who that Roger discovered his ability to be a true frontman in a rock band. He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant.

    susan.king@latimes.com
    Copyright 2010, The Los Angeles Times

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    I might have to drop some acid and watch that sometime soon.

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    I saw this many times on HBO when I was a kid.
    I might have beat off once to the scene with Ann Margret and the white pillows and the baked beans.
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    Ooooh!



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    That's really kinda gross Mr. Walker.


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    This image scared the bejezus out of me as a kid!

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    Quote Originally Posted by Jagermeister View Post
    I might have to drop some acid and watch that sometime soon.
    Call Tina Turner and maybe she'll hook you up?
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    Quote Originally Posted by MAX View Post
    Call Tina Turner and maybe she'll hook you up?

    I was just joking. If I took any acid today it would kill me.

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    Quote Originally Posted by Jagermeister View Post
    That's really kinda gross Mr. Walker.

    That's hot... I'm getting a boner!

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    Quote Originally Posted by Jagermeister View Post
    I was just joking. If I took any acid today it would kill me.
    I hear you man. Been there and done that. You can tell.

    Thankfully not for over twenty years.

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    Quote Originally Posted by Mr Walker View Post
    That's hot... I'm getting a boner!
    Remember her humping the fuck outta that big boner pillow during that scene? Fuck yeah, she was hotttt!!!

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    Quote Originally Posted by MAX View Post
    Remember her humping the fuck outta that big boner pillow during that scene? Fuck yeah, she was hotttt!!!
    When that movie came out in 1975, I was a 14 year old kid. Everyone from school went to see the film when it opened, some to see the Who but most to see Elton John, who at the time was at the top of his game. Needless to say, the "baked beans" segment had a profound effect on not only the unsuspecting kids in the audience that day, but also arguably on an entire generation as well. It sure as hell had an effect on me!
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    Quote Originally Posted by chefcraig View Post
    When that movie came out in 1975, I was a 14 year old kid. Everyone from school went to see the film when it opened, some to see the Who but most to see Elton John, who at the time was at the top of his game. Needless to say, the "baked beans" segment had a profound effect on not only the unsuspecting kids in the audience that day, but also arguably on an entire generation as well. It sure as hell had an effect on me!
    First off, I must say... Dayuuuum, you're one old fossil!!! LMAO!!! I gotta remember that cos I was always taught to be kind to my elders.

    Yup, that'll keep me in check from now on ya old timer.

    Anyhoo, my dad's a huge Who fan (he saw 'em at Monterrey Pop in '67, the bastiid!!! Also saw Hendrix' imfamous lighter fluid vs. the strat) so he dragged me to the flick when I was just a youngun and it made ZERO sense. Loved the tunes tho.

    To this day, I love the film's version of "I'm Free" much better than the one on the original LP.

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    <object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/k8T1ZR98aEA&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/k8T1ZR98aEA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>

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    Claption all hooked on smack...

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    Quote Originally Posted by MAX View Post
    To this day, I love the film's version of "I'm Free" much better than the one on the original LP.
    Me too! I bought the soundtrack as soon as it came out. (Initially, Elton's "Pinball Wizard" was held back for a while before being released as a single, forcing people to buy the soundtrack album.) When checking out the credits for "I'm Free", I was astounded to find that Ron Wood (one of my heroes on guitar) had played on the song. His take is much more clunky and chunky, with a warts and all style of chording that found it's way into my own playing over the years.

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    Quote Originally Posted by Jagermeister View Post
    I might have to drop some acid and watch that sometime soon.
    It's the only way that goddamn movie makes any sense.

    They showed it at my junior high school in 1979. Not very consistent with the "Don't Use Drugs" propaganda they were preaching there.
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    Quote Originally Posted by chefcraig View Post
    Me too! I bought the soundtrack as soon as it came out. (Initially, Elton's "Pinball Wizard" was held back for a while before being released as a single, forcing people to buy the soundtrack album.) When checking out the credits for "I'm Free", I was astounded to find that Ron Wood (one of my heroes on guitar) had played on the song. His take is much more clunky and chunky, with a warts and all style of chording that found it's way into my own playing over the years.
    So it's Pete on the rhythm guitar, and Woody playing the slide?

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    Quote Originally Posted by FORD View Post
    It's the only way that goddamn movie makes any sense.

    They showed it at my junior high school in 1979. Not very consistent with the "Don't Use Drugs" propaganda they were preaching there.

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    Quote Originally Posted by FORD View Post
    So it's Pete on the rhythm guitar, and Woody playing the slide?
    It's been years since I looked at the credits, yet I'm tempted to say that Wood plays all of the guitars on that track. The chording does sound like Woody though, listen to how sloppy it is in the opening.

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    Just wow and I did not know any of that.

    The old man just stumped me yet again.

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    Your old man is one lucky motherfucker! Has he ever gotten the DVD set "The Complete Monterey Pop Festival" and watched it to see if he could see himself?
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    Damn, I love those songs. When I first saw the film as a kid, it scared the shit out of me - truly, an odd and unnerving experience. Quadrophenia is probably seen as the cooler project because of the med revivial, but I always prefered Tommy.....
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