- Scene it movie 2nd edition dvd download disney twilight archive#
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Focus on the drums, so you’ve got a solid foundation that everyone can draw upon.” “Leave space, don’t fill it up,” Wyman says of his approach. Clapton calls Wyman’s bass lines “fantastic, unique. He modeled his work on that of Donald “Duck” Dunn of Booker T and the MGs. There is, however, some nice testimony about his unfussy, but highly effective, approach to the bass from informed observers like Eric Clapton and the producer Glyn Johns.
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Photograph: Peter Brooker/ Rex Features/Five TV In terms of his instrument, there’s a brief allusion to how Wyman wound up inadvertently creating the world’s first fretless bass, an important enough innovation to have merited more discussion.īill Wyman and Mandy Smith in 1989.
Wyman also tends to stand stick-stiff on-stage, holding his bass like a soldier with his weapon at rest. Newspaper clippings amplify his reputation as “stone face” based on his affect, which is so deadpan, it could make a corpse look like the life of the party. Perhaps that set-up is meant to underscore the enigmatic nature of his character, something the film provides ample evidence of.
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The film positions this fact as a central part of Wyman’s character and even features many scenes of him in his archive where, puzzlingly, he’s shot from behind and in voiceover rather than while speaking directly to the camera.
He has filmed, saved or collected more about the band than anyone else on Earth. There’s real reason to have expected more fresh material given Wyman’s well-known role as the Stones’ most dedicated, and informed, archivist. Other than one extraordinary scene at the movie’s end, and a few choice bits along the way, The Quiet One skims the surface of the band’s history, alighting mainly on the dramatic highlights – the early riots the band inspired, their contrary image in the press, the 60s drug bust, Altamont. But, in return, it would have been nice if he got meatier, or rarer, material from Wyman regarding what the film’s potential audience cares about most – the story of the Stones. Such oversights demonstrate the depth of the director’s deference to his subject. There’s no mention that, in 1993 – the same year Wyman divorced Smith – his 30-year-old son Stephen married Smith’s mother, who was then 46. The film is even more circumspect about the most improbable aspect of this story. “Everyone accepted her as an adult without question.” In Wyman’s 1991 autobiography, A Stone Alone, he was more forthcoming. I felt she had to go out and see life for a bit.”
Of the marriage – which resulted in a separation three years later, and a divorce two years after that – he says, “I was really stupid to ever think it could possibly work. It wasn’t lust, which people were seeing it as.” Notably, he does not talk about how old she was when they first had sex. Fleetingly, Wyman defends his relationship with Smith by saying “it was from the heart. In fact, the documentary, which is being shown as part of this year’s Tribeca film festival, does allude to part of the controversy.
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