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It’s Taylor Swift’s Era and we’re just living in it (but do concert films work?)
Manage episode 380260662 series 3374193
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To any Swifties listening - hello, welcome. To any non-Swifties, please forgive us. We couldn’t resist discussing the music-movie partnership of an era. So this week we take the opportunity to ask the question: do concert films work?
We, of course, dive into Taylor Swift’s Eras Tour but also compare it with another concert movie that is currently in cinemas: Stop Making Sense, A24’s re-release of the 1984 Talking Heads documentary. We also watched Amazing Grace, the long-lost Sydney Pollack film capturing the recording of Aretha Franklin’s gospel album of the same name.
References
Patrick Willems on Taylor Swift as a director - a must for anyone in the middle of the venn diagram of film and Swift lovers
The origin story of Stop Making Sense by Jonathan Gould for The New Yorker
‘Is the worldwide release of ‘Taylor Swift: The Eras Tour’ a game-changer for distribution?’ by Jeremy Kay for Screen Daily
Q&A with Alan Elliott, the producer who got Amazing Grace finally made
The Story behind Amazing Grace by Jim Farber for The Guardian
Film Pharmacy
Lock, Stock and Two Smoking Barrels (1998) dir. by Guy Ritchie
Bridget Jones Diary (2001) dir. by Sharon Maguire
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Edited and produced by Lily Austin and James Brailsford
Original music by James Brailsford
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1. [Ad] Gimme Three - A Series For Cinephiles (00:10:02)
2. (Cont.) It’s Taylor Swift’s Era and we’re just living in it (but do concert films work?) (00:10:03)
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4. (Cont.) It’s Taylor Swift’s Era and we’re just living in it (but do concert films work?) (00:32:01)
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