Songs for Judy es Neil Young, en acústico y en la cima de sus superpoderes. Una colección de 23 canciones distribuidas a lo largo de una gira en solitario durante 1976, documentada por el todavía reportero de Rolling Stone, Cameron Crowe, y el fotógrafo — fuente del material, además, al grabar los directos — Joel Bernstein.
Siempre un placer volver a escuchar Journey Through the Past. Paul Thomas Anderson empleó este tema en mi momento favorito de Puro Vicio.
Anderson, sobre la influencia de Young en la película, para Indiewire.
There’s obviously some references to Neil Young and the way it looks and feels throughout the whole movie,” Anderson said. “But this scene in particular feels like my idea of heaven on a Saturday afternoon. Like cruising around with your girl, parking your jalopy with a babbling brook nearby, taking a joint out, eating some strawberries. I don’t know how it can get any better.”
Durante los pases iniciales de Puro Vicio, Anderson tuvo la oportunidad de presentar clips de la ópera prima de Young como cineasta — una carrera que el artista ha mantenido en relativo silencio durante 30 años — bajo el seudónimo de Bernard Shakey.
La canadiense Le Cinematheque nos cuenta un poco sobre la obra.
Neil Young confounded fans with his now-rarely-seen filmmaking debut, a combination of documentary, fantasy, and art-house experiment. Paul Thomas Anderson recently cited the film’s look as an influence on his Inherent Vice. Self-financed to the tune of $350,000, and credited, like all subsequent Young films, to Bernard Shakey, Journey Through the Past includes performances by Buffalo Springfield, CSNY, and Young solo; footage of Young doing an awkward radio interview, hanging with then-girlfriend Carrie Snodgrass, and philosophizing in a junkyard; and non-sequitur sequences inspired by 1960s European and counterculture cinema. Asked once what people should know before seeing the film, Young replied, “Jeez, I dunno, Just how to get to the theatre, I guess»
Y, por terminar, un reportaje de Noel Murray sobre la carrera cinematográfica de Young, para la ya inactiva — que no desaparecida, afortunadamente — The Dissolve.
His Journey Through The Past had no script, and little in the way of structure. Young just took some of the documentary footage he’d been accumulating in the early 1970s, and added strange pieces of heavily metaphorical visual poetry: a longhair in a graduation gown roaming down the Vegas strip; a hollowed-out Bible with a syringe inside; black-robed cross-bearers on horseback; and more along those lines. “I didn’t make the film to teach anybody anything or to preach to anybody,” Young says in Jimmy McDonough’s biography Shakey. “I did it to express myself.”
Más Humanos que los Humanos 