![]() If it doesn’t ever quite work out how to negotiate the interface between those two moods, it still has the warmth to capture audiences. Dreamin’ Wild wants to be an edgier ride, while at the same time delivering a heartwarming tale of rock redemption. His latest directorial outing looks on the surface to be a very different beast, promising a happy tale of a deferred dream that finally came true one of those ‘late recognition’ music world stories we associate with Sixto Rodriguez, the subject of Malik Bendjelloul’s Oscar-winning 2012 documentary Waiting for Sugar Man. Then came that Brian Wilson biopic – a loose-limbed journey into the dark side of pop stardom. Until 2014, when he directed Love & Mercy, Bill Pohlad was best known for the films he had produced (among them Into the Wild, The Tree of Life and 12 Years a Slave). The film’s meander through this touching true-life story has a quiet charm ![]() In 2012, the record is re-released, its standout track, ‘Baby’, starts getting serious airplay, and the New York Times sends a reporter out to the village of Fruitland to cover the story. He’s blown away, and begins to put out the word. Fast forward to 2008, when a record collector takes a gamble on an LP he finds in a junk shop. The father was forced to sell most of his land to cover the loan he had taken out. ![]() It was a flop they couldn’t even give away most of the copies they’d had pressed. ![]() In 1979, two teenage brothers from a rural village in Washington State recorded an album called ’Dreamin’ Wild’ in a studio their father had built for them on their family farm. It’s one of those true stories that just screams out ‘film rights!’. Source: Venice International Film Festival ![]()
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