The Last Musician

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Billie Eilish, Metallica and Coldplay to play hour charity show in Third man arrested in connection with Mac Miller's death. The stage and lighting were designed by Boris Leven , who had been the production designer on such musical films as West Side Story and The Sound of Music. With Bill Graham 's assistance, the set from the San Francisco Opera 's production of La traviata was rented as a backdrop for the stage. Crystal chandeliers were also hung over the stage. John Simon, who ran the rehearsals for the show, would give Scorsese details as to who sang what and who soloed when for each song.

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Scorsese meticulously storyboarded the songs, setting up lighting and camera cues to fit the lyrics of the songs. But despite his planning, in the rigors of the live concert setting, with the loud rock music and the hours spent filming the show, there were unscripted film reloads and camera malfunctions.

It was not possible for all songs to be covered. Notably omitted from the film is Stephen Stills , who only performed in a jam session. Both jam sessions were omitted from the film entirely.

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While Bob Dylan had agreed to perform in concert, he did not want his appearance filmed because he feared it would detract from his own film project Renaldo and Clara. Backstage negotiations took place during an intermission. Robertson assured Dylan that the concert film's release would be delayed until after his film, and with that Dylan relented and agreed to be filmed. Promoter Bill Graham was also involved in the talks.

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Scorsese has said that during this period, he was using cocaine heavily. The Band's performance of " The Weight " with the Staple Singers was included in the film instead of the concert version. The Band and Harris performed "Evangeline", which was also included in the film. Finally, according to musical director John Simon, during post-production the live recording was altered to clean up "playing mistakes, out-of tune singing, bad horn-balance in the remote truck.


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The film has been hailed critically, listed among the greatest concert films. Chicago Tribune film critic Michael Wilmington calls it "the greatest rock concert movie ever made — and maybe the best rock movie, period". Levon Helm , in his autobiography This Wheel's on Fire , expresses serious reservations about Scorsese's handling of the film, claiming that Scorsese and Robbie Robertson who produced the film conspired to make The Band look like Robbie Robertson's sidemen.

He states that Robertson, who is depicted singing powerful backing vocals, was actually singing into a microphone that was turned off throughout most of the concert a typical practice during their live performances. Helm also discusses Manuel's and Hudson's minimal screen time, such as when Manuel sings during the closing number " I Shall Be Released ", but Manuel is hidden behind the phalanx of guest performers.

There are several shots catching Ronnie Hawkins looking around but not singing, yet Manuel remains invisible. However, during the same segment, in the background, it appears that a cameraman is attempting to get a shot of Manuel at the piano but gives up due to technical problems or the impossibility of the shot.

Helm went so far as to say that Last Waltz was "the biggest fuckin' rip-off that ever happened to the Band", citing that he, Manuel, Danko and Hudson never received any money for the various home videos, DVDs and soundtracks released by Warner Bros. For the concert's 25th anniversary in , the film was remastered and a new theatrical print was made for a limited release to promote the release of the DVD and four-CD box set of the film soundtrack. It opened in San Francisco's Castro Theatre , [13] with the release later expanded to 15 theaters.

The DVD features a commentary track by Robertson and Scorsese, a featurette , Revisiting The Last Waltz , and a gallery of images from the concert, the studio filming and the film premiere.

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A bonus scene is footage of "Jam 2", which is cut short because they had run out of replacement sound synchronizers for the cameras after ten hours of continuous filming. The original DVD release was packaged as a "special edition". In addition to the extra features on the disc, the Amaray case came in a foil-embossed cardboard sleeve, and inside was an eight-page booklet, featuring a five-page essay by Robertson entitled "The End of a Musical Journey". In , the DVD was re-issued with different artwork and stripped of the outer foil packaging, inner booklet and coupon; the disc's contents remained unchanged.

In , The Last Waltz was among the first eight titles released in Sony 's high definition Blu-ray format.

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The original soundtrack album was a three-LP album released on April 16, later as a two-disc CD. John Casado designed the packaging and logotype trademark. Robbie Robertson produced the album, remastering all the songs. The set includes 16 previously unreleased songs from the concert, as well as takes from rehearsals. The soundtrack recordings underwent post-concert production featuring heavy use of overdubbing and re-sequencing.

Bootleg collectors have circulated an original line recording of the concert as a more accurate and complete document of the event. From Wikipedia, the free encyclopedia. This article is about the rock concert and film. For other uses, see The Last Waltz disambiguation.

Original theatrical release poster. Robbie Robertson Jonathan Taplin. British Board of Film Classification. May 9, Retrieved November 25, Chicago Tribune.

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Archived from the original on October 13, They did not say where he died or give other details. He had not been seen in public much since late , when he canceled several gigs. He had been resting at his New Orleans area home, publicist Karen Beninato said last year in an interview. Memorial arrangements were being planned. A white man who found a home among black New Orleans musicians, he first entered the music scene alongside his father, who ran a record shop and also fixed the PA systems at New Orleans bars.

As a teenager in the s, he played guitar and keyboards in a string of bands and made the legendary studio of Cosimo Matassa his second home, Rebennack said in his memoir, Under a Hoodoo Moon.


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