In it, Haynes thanks the fansites for helping him compile the notes for the commentary.[20]. Der neue Manager Jerry Devine baut Slade zu einem internationalen Popstar auf und vermittelt ihm den Kontakt mit Curt Wild. Soziale Depression und kultureller Verfall werden mit gedeckten, braun-grauen Farben, schlechtem Wetter, einer kruden Beton-Architektur und engen Innenräumen dargestellt. While the milquetoast and ultimately ineffectual depiction of Brian Slade’s first manager Cecil isn’t really fair, the character is still unquestionably inspired by Bowie’s original manager, Ken Pitt. Despite the devilish charisma with which Izzard plays the part of Brian’s fast-talking second manager, the part was based on a real guy, the founder of MainMan management company, Tony Defries. Schwab even personally made sure Angie Bowie didn’t have access to the star when they were going through their messy divorce, just as Shannon does to Mandy in the film. As he gets closer to the truth of where Slade is now, Stuart is suddenly told by his editor that the story is no longer of public interest, and Stuart has now been assigned to the Tommy Stone tour, which coincidentally is Brian Slade's new identity. The film utilizes n… Bowie initially disapproved of the film and its many similarities with his life story, and threatened to sue, resulting in substantial rewrites to create more distance between the character and the real man. Remember that whole, crazy, semi-abstract sequence in the movie where Jerry assembles Brian an entourage full of fabulous actors and models, and then announces his new publicity strategy? Brian Slade's gradually overwhelming on-stage persona of "Maxwell Demon" and his backing band, "Venus in Furs", likewise bear a resemblance to Bowie's persona and backing band. In the beginning, Brian Slade is married to a woman named Mandy. The film centers on Brian Slade, a sexually fluid and androgynous glam rock icon who was patterned after David Bowie, Jobriath and, to a lesser extent, Marc Bolan. Mandy and Brian’s relationship mirrors David and Angie Bowie’s ten year marriage from 1970 to 1980 rather uncannily, from the oh-so-shocking way they publicly flouted the conventions of traditional partnership at the beginning, to the concentric circles of resentment, litigiousness, and drug addiction at the end. He’s so beautiful, he must be Brian Eno! Haynes said in a 2007 interview, "A film that had the hardest time, at least initially, was Velvet Goldmine, and it's the film that seems to mean the most to a lot of teenagers and young people, who are just obsessed with that movie. But the name, he must be Bryan Ferry! Little Richard is mentioned in Brian’s origin story as one of the first major icons that he and the other mods took to, but Haynes had the idea to work Richard’s legacy even further into the story through the symbolic presence of Jack Fairy. He’s the “real” thing, of which, of course, isn’t real.”. Velvet Goldmine ist ein Film mit Märchen- und Musical-Clips, aus dem Jahr 1998, bei dem Todd Haynes die Regie führte und am Drehbuch mitarbeitete. Der Film lief im Wettbewerb der Internationalen Filmfestspiele von Cannes 1998 und Todd Haynes wurde hier mit einem Preis für einen besonders wertvollen künstlerischen Beitrag ausgezeichnet. "[18] Auch Beiträge der Filmbands The Venus In Furs (mit Thom Yorke und Jonny Greenwood von Radiohead) und Wylde Ratttz (mit Thurston Moore von Sonic Youth und Ron Asheton von The Stooges) sind vertreten. They had to learn to spend money, and spend it in the right way.”. Haynes has said that the story is also about the love affair between America and Britain, New York City and London, in the way each music scene feeds off and influences each other. Maxwell Demon war außerdem der Name der ersten Band von Brian Eno, der in den späten 1970er Jahren mit David Bowie zusammengearbeitet hatte. Ein Song von Reeds Band aus dem Jahr 1967 heißt zudem Venus in Furs. Velvet Goldmine. Of course, he spun right into the mainstream of society, and forced the mainstream to adapt to his new excesses. Rock shows, fashion, and rock journalism all play a role in showing the youth culture of 1970s Britain, as well as the gay culture of the time. Don’t feel embarrassed if you’re secretly disappointed that Eddie Izzard didn’t just show up on the set of Velvet Goldmine and invent the character of Jerry Devine by sheer virtue of his own inner magnanimous bastard. Set in 1984, British journalist Arthur Stuart is writing an article about the withdrawal from public life of 1970s glam rock star Brian Slade following a death hoax ten years earlier, and is interviewing those who had a part in the entertainer's career. While Mandy and Brian don’t have a child together in Velvet Goldmine the way their real-life counterparts did, the wry, worn down version of Mandy we see when she’s interviewed a decade after the heady events of the 1970s is, in the parlance of the time, bang on. That’s a nod to a story Angie Bowie included in one of those above-mentioned tell-alls about allegedly finding her husband enjoying a post-coital nap with Mick Jagger. Iggy Pop is the one who was raised in a trailer-park in bumfuck, Michigan (I’m allowed to say that because I am coincidentally also from bumfuck, Michigan). Incidentally, she could also probably only be played by one person, and that’s acting powerhouse Toni Collette. And there you have it, straight from the auteur’s mouth. Shannon is the girl who knocks on the door of Brian’s estate in a dowdy mix of ’70s plaids to answer a classified ad looking for a low-level secretary. Die Parallelen zu und Spielereien mit realen Größen (David Bowie/Ziggy Stardust, Iggy Popp) die ‘stilecht’ nachgebildeten Plattencover, Schriftzüge oder die sprechenden Namen (Jack Fairy, Jerry Divine, etc.)

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