SIFF: I met Paul Williams last night
For many of us who grew up in the 1970s, Paul Williams was a constant presence, whether he was on TV or on the radio. He wrote the themes for "Love Boat" and "The Muppet Show," among others. At the time, I think everyone identified with one or another of his songs. For my mom, it was "You and Me Against the World." For me, it was "Rainbow Connection," which I learned to play on my guitar and which I suspect I still can if I fiddle about with it first. He was one of the people in the media who defined the era for me. When I saw the trailer for the documentary about him, Paul Williams Still Alive, I went back and forth about seeing it, and then I decided that my awareness of his presence in that era had been too important for me to miss this film. I felt compelled by that experience, so I went. shelly_rae joined me for the movie.
Stephen Kessler, the director, approaches the story as a fan would: I thought Williams was dead; turns out he's very much alive and well; what's he up to? Williams is not an especially willing or cooperative subject for a documentary. He comes across as baffled by Kessler's interest and a little cantankerous about the project. But once he proposes that Kessler step in front of the camera with him, that they just talk about stuff, things begin to change as does the nature of the project. The film goes from being a documentary about Williams' rise, fall, and recovery to a sort of road movie/buddy flick about the filmmaker and the musician getting to know each other, with Kessler's almost Woody Allen-esque voice-over telling the story. The film, of course, is rich with archival footage of Williams in movies and on television, live performances, and contemporary footage of him, his wife, his longtime music director, and Kessler on the road traveling from gig to gig and talking about Williams' life and career. The movie doesn't dwell overmuch on Williams' addiction and recovery, though pretty revealing moments in the interviews show just how much that experience has colored and changed Williams as a person (he's now a certified recovery counselor and speaks on the subject). But he's also still very much active as a composer and performer, and is the current president of ASCAP about which he is quite passionate. Overall, the documentary isn't anything usual--it's funny and poignant and, in embracing the serendipity of Williams' proposal to step into the frame, Kessler has created a very personal story about two guys--who just happen to be idol and fan--getting to know each other in a unique way. I definitely recommend it.
Kessler and Williams were at the theater for Q&A after the movie, and I stayed to listen. Williams talked with conviction about his work as the president of ASCAP defending the rights of artists. He talked about how "Rainbow Connection," "Evergreeen," and "With One More Look at You" (from A Star is Born) were all written. He talked about working with Brian de Palma on Phantom of the Paradise. He was funny and generous with the audience. Kessler pretty much ceded the stage to Williams though he'd had his moment before the film began, and was very sweet about the whole project.
After they finished their Q&A, Williams and Kessler came down to the side of the theater and talked to audience members. And that's when I realized why I was really there. Sure, I'd been a fan of Williams' work, but I was also there for my mom, to whom "You and Me Against the World" had meant so much. So I went up to him, and I told him I didn't want an autograph or a picture, just to thank him for that song and told him why. He asked me my name, and told me that that's the sort of feedback that meant the most to him, that the song touched someone or made a difference to them. He said that, having been mostly a weekend dad, the song meant a lot to him too. He asked if my mom was still with us; I told him no, but that I was there for her. He was gracious and kind, and held my hand the whole time we talked. I thanked him for his time and then took off, since others were waiting to speak with him. I was really very impressed with him, and I'm glad we got to talk.
Stephen Kessler, the director, approaches the story as a fan would: I thought Williams was dead; turns out he's very much alive and well; what's he up to? Williams is not an especially willing or cooperative subject for a documentary. He comes across as baffled by Kessler's interest and a little cantankerous about the project. But once he proposes that Kessler step in front of the camera with him, that they just talk about stuff, things begin to change as does the nature of the project. The film goes from being a documentary about Williams' rise, fall, and recovery to a sort of road movie/buddy flick about the filmmaker and the musician getting to know each other, with Kessler's almost Woody Allen-esque voice-over telling the story. The film, of course, is rich with archival footage of Williams in movies and on television, live performances, and contemporary footage of him, his wife, his longtime music director, and Kessler on the road traveling from gig to gig and talking about Williams' life and career. The movie doesn't dwell overmuch on Williams' addiction and recovery, though pretty revealing moments in the interviews show just how much that experience has colored and changed Williams as a person (he's now a certified recovery counselor and speaks on the subject). But he's also still very much active as a composer and performer, and is the current president of ASCAP about which he is quite passionate. Overall, the documentary isn't anything usual--it's funny and poignant and, in embracing the serendipity of Williams' proposal to step into the frame, Kessler has created a very personal story about two guys--who just happen to be idol and fan--getting to know each other in a unique way. I definitely recommend it.
Kessler and Williams were at the theater for Q&A after the movie, and I stayed to listen. Williams talked with conviction about his work as the president of ASCAP defending the rights of artists. He talked about how "Rainbow Connection," "Evergreeen," and "With One More Look at You" (from A Star is Born) were all written. He talked about working with Brian de Palma on Phantom of the Paradise. He was funny and generous with the audience. Kessler pretty much ceded the stage to Williams though he'd had his moment before the film began, and was very sweet about the whole project.
After they finished their Q&A, Williams and Kessler came down to the side of the theater and talked to audience members. And that's when I realized why I was really there. Sure, I'd been a fan of Williams' work, but I was also there for my mom, to whom "You and Me Against the World" had meant so much. So I went up to him, and I told him I didn't want an autograph or a picture, just to thank him for that song and told him why. He asked me my name, and told me that that's the sort of feedback that meant the most to him, that the song touched someone or made a difference to them. He said that, having been mostly a weekend dad, the song meant a lot to him too. He asked if my mom was still with us; I told him no, but that I was there for her. He was gracious and kind, and held my hand the whole time we talked. I thanked him for his time and then took off, since others were waiting to speak with him. I was really very impressed with him, and I'm glad we got to talk.