Julien Temple talks Strummer, festivals and films
April 27th, 2007 by rui
Julien Temple put punk on celluloid in the seventies, captured some of the eighties most important moments on video, made a fantastic film about the festival phenomenon that is Glastonbury in 2006. Most recently, he has turned his attention to Joe Strummer, the sorely-missed force at the heart of The Clash, in the film The Future is Unwritten: Joe Strummer, which comes out on May 18th.
We were lucky enough to chat to Julien about films and festivals…
How do you describe yourself?
I’m a punk rock film maker.
What is The Future is Unwritten: Joe Strummer about? What story were you telling?
It’s Joe’s story, the story of a wonderful human being.
There’s a star-studded cast of contributors. Who did you think gave the most interesting insight into Joe Strummer?
Not necessarily the celebrities! Everyone had interesting insights.
Tell us about Joe Strummer – how do feel about him now, having completed the film? Did making the film change your perception of him?
I first met Joe in the seventies, but then didn’t see him again for about 25 years! Then one day he appeared in my garden. It turned out that his wife was an old school friend of my wife, so we spent quite a lot of time together after that. I liked Joe a lot – he was thinker and a listener. He listened to anyone and everyone – was deeply interested in people. One of my favourite quotes of his is ‘The only reason I get out of bed is to think’. Whenever he knocked on the door I knew I’d be in for a good time – he was great company.
What are your favourite moments in the film and on the soundtrack?
I’m particularly fond of the opening sequence – it was the first bit of the film I put together and it came together very quickly. Little did I realise how much effort would have to into the rest of it! I also love the footage of Joe having a riot by himself in his garden. It made me realise that the lyrics of White Riot are about the riots in Notting Hill on one level, but on another level they were about his experience of school. That footage worked really well juxtaposed with ‘White Riot’.
I think my favourite moment on the soundtrack is "Black Sheep Boy" by Tim Hardin – a very moving song.
How did you feel about the Sundance nomination?
It was nice. I think the people who run the festival are fantastic, and it provides a platform for films – especially documentary and international films – that otherwise wouldn’t get attention in the US. The event itself has become a bit of circus – lots of LA agents and starlets collecting free stuff. You see them trying to stuff their free washing machine into limos…The nomination does provide profile, which is helpful.
You immortalised punk on celluloid, captured some of the biggest stars of the 80s on video, documented the Glastonbury – both an institution, and a flagship for the explosion in festivals in the UK. What’s next? Any musical films you’d love to make?
Not many. I love The Kinks. When I was a kid, I used to bunk off school to watch them drinking down the pub! They have a great story, and it’s one that hasn’t really been told yet. I’ve also been approached to make a film about African music – desert blues and the music of Mali and surrounding countries, so I might do that.
Do you ever go to music festivals?
It all about finding the time, but when I can, yes. I’m really looking forward to going to Glastonbury without a bloody camera!
Favourite festival moment?
Glastonbury 1971. Strangers woke me up, there was a beautiful mist, and the dawn chorus was piping up. We wandered over to see David Bowie play. He wasn’t taken too seriously at the time – he’d only had one hit, Space Oddity, which was perceived as a bit of a novelty. Bowie’s performance – just him and an acoustic guitar – was spellbinding. He blew everyone away.
Have you ever been to the Big Chill festival?
Not yet! I can’t make it this year – I’ll be in Australia – but maybe next year.
Questions from The Big Chill Forum…
The Svelte One asks…
Did you make a conscious decision to focus on the punters in the ‘Glastonbury’ film? I found it a refreshing change from all the focus on celebrity.
Yes, that was very deliberate. We deliberately used footage that festivalgoers had filmed themselves. When you’re going around with a camera, lights and crew, it can create a barrier – with the festival-goer’s own films you get right in the moment.
Plurker asks…
Video clearly didn’t kill the radio star, you’ve made a career of filming musicians. Who was your favourite person to work with?
So many! I like Neil Young, The Rolling Stones, The Kinks, Bowie… Working with The Kinks was especially nice – it’s great when you get to work with people you really respect.
Marky asks…
Have you ever been to a temple? What’s your favourite temple?
The body is a temple – i think that’s my favourite.
Mixmaster Morris asks…
How come Simon Jeffes of Penguin Cafe Orchestra ended up backing Sid Vicious in the Swindle movie?
That was down the Pistols’ roadie. That whole sequence was very hard work – Sid didn’t want to do it. We were originally going to do ‘Je Ne Regrette Rien’, but the company owned the rights to ‘My Way’ so they suggested that instead. Sid seemed much more interested in learning how to play the bass at the time…
Thank-you!
The Future is Unwritten: Joe Strummer opens nationwide on May 18th.
Trailer
