Director's Cut

>> SEEING THEM PLAY, LIKE, THEY PLAYED BEFORE US, AND BEING LIKE, WHOA, THESE GUYS ARE ON IT, AND I REMEMBER THINKING, LIKE, "GOD, HOW ARE WE GONNA FOLLOW THIS?" >> I WANT Y'ALL TO JOIN THE FISHBONE FAMILYHOOD. YA'LL WANT TO JOIN THE FAMILYHOOD, SAY YEAH! >> YEAH! >> ONE, TWO, THREE. HIT IT! LA, LA, LA LA, LA, LA >> THERE'S JUST NOTHING LIKE IT, AND THERE WAS NO DOUBT IN ANYONE'S MIND AND CERTAINLY NOT IN MY MIND, THAT THIS IS GONNA BE THE BIGGEST BAND IN THE WORLD. >> Hi, welcome to Director's Cut. I'm Pete Schwaba, and that was a clip from Everyday Sunshine, a documentary that tells the story of the influential, volatile, cutting edge, genre-free, and completely original LA punk band Fishbone. We're joined today by the film's co-director and producer, Lev Anderson. Lev, thanks for being here. >> Thanks for having me. >> That is a crazy clip, that stage diving-- And he's still doing it. >> Oh, he still does it. >> That's Angelo, the lead singer. >> Angelo Moore, the lead singer of Fishbone. Yeah, he's still stage diving. That's why, I think part of the reason why Fishbone has had the longevity, the fact that they've been able to keep going, because they're always known for their live performances, and they still do it. >> What led you to this story? I mean, were you a fan of them growing up? How did you find out about them. >> Yeah, you know, I was lucky. My father was an eclectic music lover. You know, he brought home the first Beastie Boys records, and the first Fishbone records, and Suicidal Tendencies, growing up in Portland, Oregon. He took me to see Fishbone, I think when I was like 10 years old, and we saw this high energy wild band. So I was a fan of them growing up. I lost track of them a little bit. Then I found out that they were still around. >> What did you think of them as a ten year old? >> It was like high energy, you know. And I was even developing my own eclectic music taste. I'd play a little bit of ska, a little bit of reggae, a little bit of punk rock, a little metal. They kind of mixed it all up. I could tell they were good musicians, too. So, I was just drawn to them. They were one of many bands that I would listen to, but they were, you know, high energy and just fun. >> Do you have to, like you and your partner, Chris Metzler, do you have to, how did they decide to let you guys, this huge influential band, and all these other things, did you have to convince them to let you guys be the storytellers? Did they like your track record? >> Yeah, it took a couple months to kind of convince them that we were the right people. It seemed like maybe there were a couple other people that had like started to make that film about them, but never really did. So I think they were also a little leery of you know, people trying to start projects and not, you know, seeing them all the way through. But it took a couple months to kind of convince them that we were the people to tell their story. I think the way we pitched the story to them kind of, you know, as within the context of this larger social history of rock and roll. And then, also, they really liked my co-director's previous film, which was called Plagues and Pleasures on the Salton Sea. >> With John Waters. >> With John Waters narrating it. So, they just liked that it was kind of freaky. They're like, oh, you can do freaky, and you know, it's about all the kind of strange people that live around the Salton Sea, and their stories. So, they kind of dug that, so that definitely helped. It was a process for sure though. >> I would think that they just seem like they don't care. >> Right. >> There at a point, they've always done what they've wanted to do. Sure, they'd like to be more famous, but that was probably quite a victory for you guys, getting them to sign on and build that trust with them. >> Yeah, I mean, it took a couple years to actually get them to sign anything.

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>> Okay. >> But once, after we started shooting, like, we were in San Francisco, and they were down in LA, and we'd make road trips, you know, once or twice a month to start with. Then we followed them to Europe. They do pretty well in Europe. They do a lot of the big summer festivals. You know, then they're like, oh, you're in Europe, you guys are really serious about this. Then I think that's when they finally started opening up and trusting us a little more. >> Awesome. Let's see another clip from Everyday Sunshine. >> BEGINNING WITH THE WARTIME ECONOMY OF THE 1940s, THE LURE OF JOBS, BEACHES, AND 330 DAYS OF SUNSHINE, MANY AFRICAN AMERICANS FLED THE HISTORIC RACISM OF THE SOUTH AND CAME TO L.A. BUT AS THE CITY STRETCHED INTO SPRAWLING SUBURBS, AFRICAN AMERICANS REMAINED CONFINED TO THE FLAT, HOT ASPHALT GRID OF SOUTH CENTRAL, WATTS, AND COMPTON. THIS LEGACY OF SEGREGATION WAS MAINTAINED BY THE LAPD. >> THE LOS ANGELES POLICE DEPARTMENT IS STACKED AGAINST NEGROES. >> DESPITE RACISM, POVERTY, AND THE LINGERING EFFECTS OF THE WATTS UPRISING, THIS PROUD COMMUNITY GOT THEIR FUNK ON. BLACK RADIO THRIVED, CULTURE FLOURISHED, AND MUSIC FROM THE CHURCHES TO THE HOUSE PARTIES LIFTED THE SPIRIT. WITH THE BLACK COMMUNITY WALLED OFF BY A GROWING NETWORK OF CONCRETE FREEWAYS, AND EDUCATIONAL OPPORTUNITIES WORSENING FOR INNER-CITY YOUTH, A GROWING MOVEMENT CALLED FOR THE INTEGRATION OF THE LOS ANGELES SCHOOL SYSTEM. AFTER A RULING BY THE CALIFORNIA SUPREME COURT, BLACK KIDS FROM SOUTH CENTRAL WERE BUSED TO THE WHITE SUBURBAN VALLEY. AMID THIS COLLISION OF CULTURES AND MUSICAL INFLUENCES EMERGED A BAND THAT WOULD CHANGE THE FACE OF ROCK AND ROLL. >> So you got Laurence Fishburne to narrate, which is pretty cool. You got Flea, You got guys from No Doubt, Ice-T. I noticed Tim Robbins is in it for like two seconds. Did he not say anything significant other than that, or what? >> No, it's just hard when you've got to turn the film into like an hour and a half. >> It's kind of cool you got him, so you've got to throw him in there. >> Yeah, there were a lot of people. We interviewed Chuck D from Public Enemy. We interviewed the guys from Bad Brains. There were a lot of people we wanted to include, but when you're trying to fit this story. >> How hard was it to get to these guys? Did they willingly want to do it, because they admired Fishbone? Or was that a chore? >> I think for the most part, you know, and then with somebody like Gwen Sefani, I mean, it took two years to actually shoot the interview, but that was mainly more because of scheduling and she had a baby. So it was you had to wait for the right time to do it. Somebody like Flea, you know, he was friends with the guys. He wasn't responding to our emails at first, but after we interviewed Bob Forrest, he called Flea right after the interview and left him a voicemail and said, hey, I just did this interview. You should do it. Then we heard from Flea a couple days after that. Ice-T, I love telling the Ice-T story. We just sent him a message on his MySpace page. >> MySpace page? >> Yeah, this was like 2006, or something, or 2007, when people were still doing MySpace. He responded. He called us back, which I thought-- 'Cause he knew the Fishbone guys like way back in the day, like before he had even put out a record. He would emcee parties in LA, and Fishbone would sometimes play at them. >> He was fun to listen to how he talked about those guys. >> Yeah. >> Are music documentaries more challenging? >> I think, you know, I feel like a lot of music documentaries fall into this trap of like, you know, there's this kind of cliche of the rock story, you know, they get into abuse of drugs or alcohol, and they come out of it. Or it's this hard luck scramble of these artists, and they make it big, and then they fall from fame, or something. So, there's these kind of narrative traps, that I find are kind of hard, and I try to avoid. You know, we wanted to tell a larger story of, you know, artists struggling to just do what they want to do, and this kind of social history of blacks in LA. The other trick is yeah, just kind of dealing with rock stars that are used to flaking out and you know, we'd have like two or three interviews scheduled in LA, drive down, and two of them would cancel, you know, at the last minute, and then you've got to keep doing it. Because that's just, you know, of course, we're not offering them any money in return or anything, so you know, we're pretty low on the totem pole when it comes to them actually having the time to sit down with us. But for the most part, they were game for it. You know, the challenges of doing, it can be difficult, or raising money around it, too, especially for a band like Fishbone. Not everybody's heard of Fishbone before, so you say, oh, we're doing this movie about this band, and they're like, Who? What? Why? Why are you doing this? >> That was so bizarre, because you're right, now that you say that, I realize you don't have a lot of conventional, he got into drugs and then he did this. I'm sure they had their highs and lows, but for the most part, they just seemed like really quirky artists, you know. >> Right. The idea was, I kind of told the history of the band within this like, larger context of like, you know, this first post-Civil Rights generation of Black Americans in LA. But then also, you know, kind of what they go through. There is kind of the rise-fall-resurrection, you know, archetypal, you know, story. >> There are just some creative differences though. >> Right, and you can just follow these guys around. Angelo, the lead singer could have his own documentary about him. I mean, he's that charismatic, and that interesting. >> I do want to ask you more about Angelo, and what we'll see in another clip. I hear he's quite the character. So, let's see another clip from Everyday Sunshine. >> THE ONLY THING THAT STOPPED GUYS FROM BEATING ANGELO'S

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WAS NOBODY WANTED TO

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WITH NORWOOD, AND NORWOOD LIKED ANGELO FOR WHATEVER REASON. HE THOUGHT HE WAS NICE. HE'S LIKE, "HE'S JUST NICE AND GOOFY. WHY DOES EVERYBODY WANT TO KICK HIS

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?" ANGELO WAS REALLY SHELTERED. HE WAS JUST THIS BALL OF SPASTIC "FRESH OUT OF THE JEHOVAH'S WITNESS HALL" ANGELO. >> WE'RE NOT ACCUSTOMED TO, FOR AN EXAMPLE, ECLECTIC MUSIC. I HAD TO GET USED TO THIS. I THOUGHT WHAT, YOU KNOW, WHAT'S GOING ON? AND PUNK...? I THINK THE MUSIC REALLY FRIGHTENED US, BUT MY DREAM WAS NOT FOR HIM TO BE IN A BAND. I WANTED HIM TO GO TO COLLEGE. >> HE'S DEVOID OF HOOD-SENSE, SO EVERY TIME HE WOULD COME TO THE HOOD, THEY WOULD MESS WITH HIM. YOU KNOW, THE LITTLE GANGSTERS WERE SMOKING CIGARETTES. THEY'D DROP A CIGARETTE IN HIS BOOT, 'CAUSE THEY THOUGHT HE WAS, YOU KNOW, A LITTLE FUNNY, OR THEY'D CALL HIM "PRINCE," 'CAUSE HE HAD THE LITTLE DO AND ALL OF THAT. YOU KNOW, HE'D BE SMILING ALL THE DAMNED TIME. YOU JUST CAN'T COME TO THE HOOD SMILING ALL THE DAMNED TIME. >> MY POPLOCKING SKILLS SAVED ME. I'D BE DOING ALL OF THAT

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ALL THEM WAVES AND TUTS. THEY'RE LIKE, OH, WHAT'S THIS PUNK SMILING ABOUT? THEN HE'D BE LIKE, OH, HE CAN POP. OKAY, THEN HE'S ALL RIGHT.

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>> So, okay, so tell us more about Angelo. The lead singer of Fishbone, who, that's a great story about how the band found him, too, by the way, or how he wanted to be in the band. You must have some great stories about him. >> Yeah, he kind of grew up as, he calls it the fly in the buttermilk, you know, the black kid out in the suburban valley. You know, his mother turned to Jehovah Witness religion, so he was kind of raised around this like, religion, that kind of forbades like, music and dancing, and things. >> Right. >> But he just kind of managed to find what he wanted to do, finally connecting with these black kids being bused into his school. You know, able to kind of freed him up and allowed him to really do that. He's, you know, he creates his own clothes. He's just a full-on character in every sort of way you can imagine. >> So, does Fishbone happen if these guys aren't bused to the valley from southcentral? I mean, they're still gonna do music, but if they didn't have that introduction to punk, and maybe they would've found it at some point, but what do you think would've happened with them if that-- It seems like a pivotal thing for them. >> Yeah, I think it definitely-- Yeah, it's kind of an interesting story. This band almost formed from social engineering, or something. >> Yeah. >> They might have found their way. They were definitely into music. And I always remember Norwood telling me once, Norwood's the bass player, he was saying that there was that certain time in the early '80s, where you know, Divo would be playing in the hood, you know, because it was good dance music. So like, they were getting a little bit of that influence, especially that new wave kind of stuff, I think. But yeah, I think, you know, it shaped their perspectives and I think it just kind of freed them up to say it's okay to embrace this punk music, and stuff. I think there are some of those, sometimes, unfortunately, like racial social issues, you know. We sometimes say like they made it okay for black kids to slam dance, you know they stretched out of their imaginary boundaries and kind embraced individuality, and love of all kinds of music. I think that was liberating for their fans, too. >> How do you figure out who to focus-- I mean, Angelo is obvious because he's such a character. I mean, I thought Norwood was a great character, too. There's so many flamboyant personalities. How do you do you, as a co-director, figure out, do you disperse it evenly, or do you just say the heck with it, this is the guy, we're gonna follow him? >> Well, I mean, at the time when we were working on the film, Angelo and Norwood were the two original members left in the band. Dirty Walt, who you see being interviewed in the car, he was the trumpet player. He's since rejoined the band. So he's back in the band. So it's three of the original six. But so, we were really focused on Norwood and Angelo, and they were kind of like almost opposites. Angelo is kind of frenetic and wild, and Norwood is kind of, you know, he's the bass player. He's low key, kind of the anchor, in a way. He's kind of crazy in his own sense. So they kind of, you know, they just had this kind of insane chemistry together. But that's where we focused on the story, in terms of the characters. But yeah, Dirty Walt, I mean, he told some amazing stories. >> Great nickname. >> Yeah, and a great nickname. And Chris, too, you know, he seemed to have like the survivor perspective. He was kind of a little bit removed from the music scene. He could look back a little bit more. He wasn't still in the mielleux of trying to make music and make a living. So he was helpful to provide this kind of more maybe adult perspective. >> Yeah. >> Unlike these guys who are still like punk rock kids. >> Let's see another clip from Everyday Sunshine. PARTY AT GROUND ZERO A "B" MOVIE STARRING YOU AND THE WORLD WILL TURN TO FLOWING PINK VAPOR STEW RAHHHH!

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>> JUMPING AROUND AND GOING CRAZY, AND IT WAS ALMOST LIKE THEY WEREN'T EVEN PAYING ATTENTION TO PLAYING THEIR INSTRUMENTS. JOHNNY, GO GET YOUR GUN FOR THE COMMIES ARE IN OUR HEMISPHERE TODAY TO-TODAY, TO-TODAY, TO-TODAY IVAN, GO FLY YOUR MIG FOR THE YANKEE IMPERIALISTS HAVE COME TO PLAY WHAA-OW >> COMPLETELY DISORGANIZED. NO SPECIFIC LEAD SINGER. LOVE TILL THE EARLY MORNING LIGHT FOR TOMORROW JOHNNY GOES TO FIGHT YEAH, YEAH >> THEM FLYING ALL OVER THE STAGE TO THE POINT THAT ALL THE MIC STANDS HAD BEEN KNOCKED DOWN WITHIN THE FIRST, LIKE, TWO SONGS. PARTY AT GROUND ZERO A "B" MOVIE STARRING YOU AND THE WORLD WILL TURN TO FLOWING PINK VAPOR STEW >> IT WAS AMAZING, AND IT WAS ALL OVER IN, LIKE, 22 MINUTES. IT WAS LIKE, WHAT JUST HAPPENED? >> THEY JUST TORE ME UP. THEY WERE JUST THE MOST FUN I HAD SEEN IN A BAND IN A LONG TIME, AND I SIGNED THEM FOR MANAGEMENT BASICALLY ON THE SPOT. >> FISHBONE WAS A BAND, WHEN COMING UP, WE TOOK EVERY SHOW. SO WE PLAYED WITH EVERY KIND OF BAND THAT YOU COULD IMAGINE, AND TO US WE FIT. BOY, YOU'VE GOT NO REASON AND YOU'VE GOT NO SENSE YOUR STUPID LIES IT JUST MAKES ME WINCE YOUR FACE IS TWISTED AND YOUR MIND IS WARPED YOU SCARE ME SICK 'CAUSE I JUST WANT TO GET OUT

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ALL THE CHILDREN'S SUFFERING LIES IN YOUR HANDS UNLESS THE COMMIES ARE GONNA HEED YOUR DEMANDS >> I THINK THEY KIND OF JUST CAUGHT L.A. OFF GUARD. LIKE, THE GANGBANGERS WOULD BE THERE, JUST LIKE, LOOKING AT THEM LIKE, WHO ARE THESE CRAZY MOTHER

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? YEAH, WHY, I BET YOU NEVER WONDER WHY >> So, talk a little bit about finding a balance. You've got this great animation, cool graphics, awesome concert footage, these characters. When you're directing this, how do you find a balance there for all that. >> Yeah, right. We kind of were a little bit worried that it was just mishmash of different kinds of footage. But you know, with the animation, we tried to have it fit, like at least like with the time period, or something. So, like the first kind of collage animation we see is kind of inspired by Black Panther art, so it's like late '60s, early '70s kind of stuff. Then you have your like your Fat Albert type animation. >> That was really funny. >> You know, of them going to like junior high school, because they're kind of creating their own junkyard band. That's like late '70s, early '80s. So, we tried to maybe fit it, and that maybe helped structuring the look of things. And like, you know, I would've loved to have included so much more concert footage, because there's just such good stuff out there of them, or stuff that we had shot too, but you know, there's this human story, too. It's definitely a balance. It takes a lot of work. We had a great editor that we worked with, Jeff Springer, and you know, it was just a process. We had to figure out, where is the story going, what's going to feed into that, what's gonna, you know, enhance these story elements. You've got to choose things, but we were lucky, because there's a wealth of material, just because I find their story so rich with different things. >> Okay, so that leads me to my next question. You've got these guys who are so charismatic. Their music is charismatic, everything. Is that intimidating for you as a director, for you and Chris, to go our film has to match this somehow. >> Yeah, I kind of felt like, can we capture how electric the shows are, or like, you know, are we going to mess this up, 'cause I kind of felt like the Fishbone story was just there to be filmed. Like, we didn't have to add a lot of elements to their story. It was going to be hard to craft a compelling narrative around these guys. Are we going to mess it up, you know, are we going to fail? You know, I think we did okay. >> I think you did, too. I would be, you know, if you finally convinced them, we're the guys that are gonna tell your story. >> Right. >> Then that's all the pressure is on you to not, you know. It's like On the Road, I loved the book. I saw the movie, and it's like it didn't match the boldness, you know. >> Right. And you want to make the whole story that shows, you know, kind of the emotional side of these guys, too, and then you become like any documentary filmmaker, you've got to kind of worry about your relationship with your subjects. You don't want to make a film that will like tick them off, and not have them appear at any of your screenings, or something, you know, like, there were some issues with The Tribe Called Quest documentary, I remember, where the guys came out after the film was released and were like almost trying to disown it, you know. So, you know, there's all those kinds of considerations. But the Fishbone guys were really down to earth and they were easy to talk to, and you know, they kind of became friends in a way. I think they trusted us with the story, and so we just tried not to mess it up. >> What did they think about the film? Were they happy with the final result? Did they go to any film festivals? >> Yeah, I think they were okay with it. You know, they would go to some of the film festivals, some of the film festivals would actually have them perform, like, you know, pay to have the band out there. Then you know, when we did our own theatrical run, where we booked the film in like 70 cities, just independent theaters; we were doing our own distribution. We didn't have a distributor or anything, but you know, we would try to link it up with some of their touring, so they might be playing that night somewhere. Angelo and Norwood would come and do some Q&As, even Kendall came and showed up at a film festival, unexpectedly, and talked about the film. He was probably the one that liked the film the least. But you know, he wasn't mad at us. >> Well, let's see another clip from Everyday Sunshine. TAKE ME TO ANOTHER PLACE IN MY MIND OH, YEAH >> MUSICALLY THEY WERE SO DIVERSE, LIKE, VOCAL HARMONIES AND NOT ONLY ANGELO SINGING LEADS, BUT WALT SINGING LEADS, AND CHRIS SINGING LEADS. EVERYDAY SUNSHINE >> IT WAS LIKE AN ONSLAUGHT TO YOUR SENSES, YOU KNOW, ON EVERY LEVEL. >> THE WHITE IMAGINATION OF AMERICA IS JUST MORE BLAND AND DOESN'T HAVE THE ROOTS-- DOESN'T HAVE THE LONGEVITY AND THE HISTORY. THEY DREW ON SOURCES THAT WERE TOO VAST FOR A COMMON MIND. >> IF IT'S NOT SIMPLE ENOUGH FOR THE MASSES TO GRAB ONTO, IT'S TOO MUCH FOR PEOPLE TO HANDLE MUSICALLY. BUT WHEN YOU START HEARING PEOPLE TELLING YOU YOU NEED TO SIMPLIFY, IT'S HARD TO DO WHEN YOU HAVE A LOT TO SAY AND A LOT TO PLAY. >> FROM A GUY WHO'S SEEN THAT BAND SO MANY TIMES OVER THE YEARS, THERE JUST ISN'T A STUDIO RECORDING THAT'S REPRESENTATIVE OF WHAT THAT BAND WAS. >> THERE'S SOMETHING IN A WAY THAT'S HARD TO ASSIMILATE WITH FISHBONE BECAUSE FISHBONE WAS SUCH AN INCREDIBLE LIVE EXPERIENCE. I MEAN, AS GOOD AS THE RECORDS ARE, NOTHING COMES CLOSE TO SEEING FISHBONE LIVE. TO THE BOTTOM THEN LIFT HIGHER SHOUT OUT LIKE A BURNING FIRE AIN'T TALKING ABOUT LIES Y'ALL TALKING ABOUT GOD BURNING UP >> I MEAN, IN A WAY THAT, I THINK, IS A REAL ISSUE FOR THEM. >> YOU KNOW, IT'S THE BIGGEST DISAPPOINTMENT OF MY CAREER, I THINK, IS THEM NOT HAVING A BIG HIT. I WANTED THEM TO REALIZE THAT THE SYSTEM WORKED FOR THEM, AND IT WORKED TO A DEGREE, BUT IT DIDN'T WORK LIKE IT DID FOR SOME OTHER BANDS. >> So, at the beginning of the film, Laurence Fishburne narrates that they would change the face of rock. You're a music guy. Did they change the face of rock? >> I don't know. There was, I think at the time, you know, if you're thinking about the mid-'80s, when they came out, when some of the bands you might consider more like black rock bands, Funakdelic, some of those other funk bands, once they kind of faded out, there was, you know, when you listen to the radio or Watchdog TV, it was just all white rock bands. And then Fishbone kind of came along, and brought in this black punk rock aesthetic. You know, I think they influenced a lot of people, black, white, Asian. I mean, they're huge in Japan, you know. So, I think in a way, they did change the face of rock and roll, at least for that time period. >> And from an influential standpoint, certainly, it seems like with all the people that claim they were influencing. >> Yeah, they have the Chili Peppers and No Doubt, which, you know, they're kind of doing their own genre bending as well. They kind of felt more okay with that because Fishbone had done it. >> Biggest challenge making this movie, what was it? >> I think, you know, trimming down the story, because there was so much we could have included, was a big challenge. And just kind of the stamina of making a film about a band like this. You know, they're a working band, so they were touring at the time, at least like six months out of the year. We followed them to Europe twice, and just having to drive to the venues, and wanting to interview them and get good footage of that, and getting good footage of the shows, it was very little sleep. I mean, the life of a touring rock star is not to be, you know, anything to be that jealous of, I don't think. A lot of gas stations and hotels and clubs. And that's kind of their life, and that kind of became our life for a while following them around. Exhausting. I couldn't live like that myself. >> Well, we loved the movie. It was great. Thanks for being here, Lev. It was great talking to you. >> Thank you. >> You're welcome. Thank you for watching Director's Cut. For more information on Everyday Sunshine, please go to wpt.org and click on Director's Cut. I'm Pete Schwaba, and just to balance the universe, I'm off to start a cardigan-wearing rap group. We'll see you next time on Director's Cut. IN YOUR DARKEST HOUR SHINE IN YOUR TIME OF NEED SHINE PERSECUTION AND PAIN WILL RAIN BUT YOU GOT TO MAKE IT RAIN SUNSHINE WHEN YOU LOST YOUR WAY AND LOVE AND HOPE HAVE FADED AWAY WHEN IT LOOKIN' LIKE THERE'S NO TOMORROW I SAID YOU GOT TO PRAY I SAID YOU GOT TO SAY EVERYDAY, EVERYDAY EVERYDAY, EVERYDAY EVERYDAY SUNSHINE...