We also had a million concerts that had been filmed, and the guys hadn’t put a lot of it out. The fact that it was on film is amazing, and it’s so poignant. They were really in a blender of media explosiveness, at that time, and here was this moment below the stage, while Eric Clapton was playing “Tears in Heaven,” where Kurt and Eddie got to be alone and express themselves as people. It’s just such a human moment, and it is what happens outside the glare of the spotlight. So, with the help of the people that had the footage and that really wanted to help us get everything, we did find that footage and it’s so powerful. Other people swore there was somebody there with a camera. Some people didn’t quite remember it even happening. In combing through all this footage, were there finds that were particularly great, or anything that was the Holy Grail?ĬROWE: The Holy Grail really was the piece of footage of Kurt Cobain and Eddie, slow dancing at the VMAs. Loving their music came from knowing and loving them as guys, first. I play at night and sleep all day.” These guys were like, “We pull espresso, we do this, we do that, and then we earn the experience to pay for our love, which is playing music, buying instruments and doing it.” So, I met them and thought they were a great example of people who love music and chose to make music their purpose in life, really responsibly and passionately. experience where guys are like, “Yeah, I live with my girlfriend. I met Stone and Jeff, and loved so much that they were guys that had jobs and also played in bands. I was researching the idea of doing a movie based in Seattle, about people, some of whom were musicians. When Cameron showed up on the Seattle scene in the mid-‘80s, you guys let him in right away?ĬROWE: I met Stone and Jeff first. That was an added bonus to this whole process. He’s one of the great people to be in the corner of the room with and talk music, movies and art with. JEFF AMENT: We don’t get to hang out with Cameron that often, so it was an excuse to hang out with Cameron a little bit. Without Kelly and Cameron having a vision for it, we probably wouldn’t have made it for another 20 years. Once we knew he was involved, then we just trusted that it was going to be okay. It was about Cameron just being open to the task of looking through all this footage and seeing if there’s a story to be told, or what the right story to be told was, or how it could make a great movie and represent the feeling that he has for the band. I don’t think we would have taken this thing on, had all the pieces not fit together. STONE GOSSARD: I just think that Cameron’s interest in doing it was the biggest inspiration. Stone and Jeff, since you were there at the beginning, what did it take to get you to open up to Cameron Crowe to do a movie? Since Pearl Jam is a band that has always basically let the music do the talking, and the movie makes it clear that that is for protective reasons, among other things. Emotionally, I feel like it’s a ride that’s fantastic. I felt like I’d just been through a concert a little bit, without sweating. That’s what you want out of a concert, anyways. MIKE McCREADY: I feel like the songs were diverse enough to show what our set list is like every night.
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