Excellent documentary, ostensibly about the friendship and subsequent rivalry between two West Coast retro rock'n'roll bands: The Dandy Warhols and the Brian Jonestown Massacre. What it actually turns out to be is a portrait of a borderline psychopath - Anton Newcomb - and his tortured relationship with the rest of the world. Interestingly, for a music documentary, there is hardly any music. What there is - snatches of songs, more often than not aborted by the performers - is incidental rather than central. Although the protagonists are musicians, the story is not about music but rather about a particularly American version of a British myth of a cartoon lifestyle, ie, one where nobody has to take responsibility for behaving like spoiled adolescents on a full-time basis. Tantrums, drugs, violence, grossly dysfunctional attitudes, egomania on a truly epic scale - all of this is excused or positively encouraged because it conforms to some collectively held idea about what rock'n'roll is about. As a film this is a first-class documentary but it raises more questions than it answers. For example, why is Anton's music so conservative? For someone so wild and outrageous (and he IS wild and outrageous) his music never seems to have progressed beyond the most obvious derivations of his 60s idols (The Stones, Velvets etc.) For someone who claims to be able to play 80 instruments he has never bothered to learn to play any one of them beyond the most rudimentary level. Similarly, the Dandy Warhols burning ambition is based on a vision of rock'n'roll which is astonishingly fossilised in 1969. Nothing wrong with pastiches, of course, but surely there's more to musical life than perpetually acting out a cartoon from the late 60s. Why don't they take some risks with their music - in the way that their role models did? Because, one suspects, this is not about music. Music is just an accessory, a prop, or an excuse, to lead completely dysfunctional and irresponsible lives. But why? In the Dandy Warhols case, the answer is obvious: to make lots of money and be famous. Big deal. Anton Newcomb's case is more interesting. He is obviously very talented, but every time he is given an opportunity to reach a wider audience he sabotages it, usually in the most dramatic way possible. He is terrified of success, and at the same time, deeply resents anyone else who has it - especially his former friends the Dandy Warhols. Fascinating movie. Highly recommended.
37 Reviews
If you'd never heard of Brian Jonestown Massacre you won't forget them after seeing this film
Chris_Docker1 July 2005
A documentary about two rocks bands, spanning a number of years. Brian Jonestown Massacre and the Dandy Warhols. What makes it special is the examination of the complex contrasting personalities and the ironies of success and failure.
Anton Newcombe, the main man of Brian Jonestown Massacre, is widely recognised as a musical genius not only by his colleagues, his friends and rivals the Dandy Warhols, but also by record producers and most people who have worked with him. Sadly he and his band members are also incapable of integrating with the real world. Newcombe picks fights with band members on stage or with members of the audience (getting arrested at one point for literally kicking in the head of a fan). Newcombe knows no limits he plays between 40 and 100 different instruments, writes and produces all BJM's music, can produce enough songs to fill a whole album in a single day, has a prophet-like obsessiveness with his own musical genius, but is also a heavy drugs user, flies into rages at the slightest compromise of his own artistic integrity, orders his band members about as if they are lower forms of life, and can blow deals as fast as he makes them. BJM go through a large number of record labels in fast succession they sign them up as soon as they realise Newcombe's talents and let them go as soon as they realise he is totally uncontrollable.
The Warhols acknowledge their debt to Newcombe's creativity and don't even put themselves in the same exalted sphere of greatness but the Warhols have something that BJM don't the ability to integrate their talents with common sense, the real world, and their market as a mixing pot of talent (even if much of it is distilled from guru Newcombe) and accessibility, they are the very definition of 'cool.' DiG! follows the parallel careers of the two bands with increasing poignancy. At one point, Newcombe pulls stunts designed to generate publicity by sending apparent death threats and hate messages to the Warhols (in a box containing live ammunition and insults like a bar of soap 'to clean up their act') only he forgets to tell them it's a stunt and they get so paranoid they take out a restraining order against Newcombe. By the time the Dandy Warhols take off in Europe with hits like 'Every Day Should Be A Holiday' and 'Bohemian Like You', Newcombe is becoming increasingly isolated. BJM are stopped and the band breaks up when they are arrested for possession of marijuana the Warhols get busted for drugs around the same time, let off with a warning, and even allowed to keep the grass.
The wider appeal of DiG! is that the lessons of genius versus accessibility go way beyond two bands or even rock music. The downside is that it is still a documentary, however intimate, and it will mostly only appeal to dedicated film fans or people who are already interested in the music of one or both of the featured bands. Newcombe may well be a largely unrecognised genius, and there are feint glimpses of this in the film, but to the unattuned ear there is little more than the assertions of the people interviewed to attest to this. In the words of one of the band members: "In every spiritual tradition, you burn in hell for pretending to be God and not being able to back it up." Newcombe isn't pretending but numerically there are maybe still insufficient people to appreciate him in his own lifetime, and DiG! has an uphill struggle to rectify the balance in favour of a tortured but largely unrecognised genius.
Anton Newcombe, the main man of Brian Jonestown Massacre, is widely recognised as a musical genius not only by his colleagues, his friends and rivals the Dandy Warhols, but also by record producers and most people who have worked with him. Sadly he and his band members are also incapable of integrating with the real world. Newcombe picks fights with band members on stage or with members of the audience (getting arrested at one point for literally kicking in the head of a fan). Newcombe knows no limits he plays between 40 and 100 different instruments, writes and produces all BJM's music, can produce enough songs to fill a whole album in a single day, has a prophet-like obsessiveness with his own musical genius, but is also a heavy drugs user, flies into rages at the slightest compromise of his own artistic integrity, orders his band members about as if they are lower forms of life, and can blow deals as fast as he makes them. BJM go through a large number of record labels in fast succession they sign them up as soon as they realise Newcombe's talents and let them go as soon as they realise he is totally uncontrollable.
The Warhols acknowledge their debt to Newcombe's creativity and don't even put themselves in the same exalted sphere of greatness but the Warhols have something that BJM don't the ability to integrate their talents with common sense, the real world, and their market as a mixing pot of talent (even if much of it is distilled from guru Newcombe) and accessibility, they are the very definition of 'cool.' DiG! follows the parallel careers of the two bands with increasing poignancy. At one point, Newcombe pulls stunts designed to generate publicity by sending apparent death threats and hate messages to the Warhols (in a box containing live ammunition and insults like a bar of soap 'to clean up their act') only he forgets to tell them it's a stunt and they get so paranoid they take out a restraining order against Newcombe. By the time the Dandy Warhols take off in Europe with hits like 'Every Day Should Be A Holiday' and 'Bohemian Like You', Newcombe is becoming increasingly isolated. BJM are stopped and the band breaks up when they are arrested for possession of marijuana the Warhols get busted for drugs around the same time, let off with a warning, and even allowed to keep the grass.
The wider appeal of DiG! is that the lessons of genius versus accessibility go way beyond two bands or even rock music. The downside is that it is still a documentary, however intimate, and it will mostly only appeal to dedicated film fans or people who are already interested in the music of one or both of the featured bands. Newcombe may well be a largely unrecognised genius, and there are feint glimpses of this in the film, but to the unattuned ear there is little more than the assertions of the people interviewed to attest to this. In the words of one of the band members: "In every spiritual tradition, you burn in hell for pretending to be God and not being able to back it up." Newcombe isn't pretending but numerically there are maybe still insufficient people to appreciate him in his own lifetime, and DiG! has an uphill struggle to rectify the balance in favour of a tortured but largely unrecognised genius.
Worth it regardless if you're a fan of the bands
linze2620 May 2005
I couldn't find anyone to watch DiG! with me because no one I knew was a fan of either of the bands. Naturally everyone assumed you can only enjoy this film if you like the music of either The Dandy Warhols or the Brian Jonestown Massacre, but this is so far from the truth. The only requirement is that you have an interest in music and/or pop culture in general. The way in which the careers of the two groups are paralleled is a perfect representation of the paths a band can take, and watching the public eat up and spit out the Dandy Warhols is fascinating. I agree with other reviews that mention it would be nice to get a final word from Anton himself, since he's clearly depicted as his own worst enemy and the bulwark to the band's ability to just remain.
Most interesting to me is the Dandys' respect for the BJM (despite their lack or reciprocation) and for Anton (despite his erratic behavior). The Dandy Warhols respect the art the group produces even if the group hates everything the Dandy Warhols now stand for (although that's disputable). The best line is when the drummer for the Dandy's says "I won't have them anywhere new me again" and the guitarist unconsciously blurts out "I'll still buy their records though." To me, this just shows how powerful good music can be.
Definitely see this movie, even if you know nothing of either band. It's more about the themes of rock music and how they develop that makes this film so interesting. It's rare to follow a group so closely for so long.
Most interesting to me is the Dandys' respect for the BJM (despite their lack or reciprocation) and for Anton (despite his erratic behavior). The Dandy Warhols respect the art the group produces even if the group hates everything the Dandy Warhols now stand for (although that's disputable). The best line is when the drummer for the Dandy's says "I won't have them anywhere new me again" and the guitarist unconsciously blurts out "I'll still buy their records though." To me, this just shows how powerful good music can be.
Definitely see this movie, even if you know nothing of either band. It's more about the themes of rock music and how they develop that makes this film so interesting. It's rare to follow a group so closely for so long.
Fun and interesting
Wrightsfd4 October 2004
DIG! is funny, fun, amusing, interesting, stylish, and very well done. Knowing that it was made on such a shoestring budget over 7 years it is amazing that such a story can be told, especially with such style and substance. If you are a music fan or documentary fan this is a must see.
Focusing on The Brian Jonestown Masssacre and The Dandy Warhols over the years is a brilliant way to show the contrast between a decent band who meets with moderate success through perseverance and the ability to compromise and a genius megalomaniacal lead singer backed up by a varied cast of characters who sabotage their own success through drugs, alcohol, and insanity. If I did not know that this is footage of real people, I would swear it was an incredibly well written and imaginative scripted piece. The story is compelling, concise, and simply amazing.
Focusing on The Brian Jonestown Masssacre and The Dandy Warhols over the years is a brilliant way to show the contrast between a decent band who meets with moderate success through perseverance and the ability to compromise and a genius megalomaniacal lead singer backed up by a varied cast of characters who sabotage their own success through drugs, alcohol, and insanity. If I did not know that this is footage of real people, I would swear it was an incredibly well written and imaginative scripted piece. The story is compelling, concise, and simply amazing.
What a music doc should be
Jeffrey-Williams18 April 2005
A really cool flick. A must for any music snob. You don't really have to know about the bands to enjoy the movie. Before the movie, I only heard only two songs from the Dandy Warhols. The only thing is required is an open mind.
The movie centers around the Brian Jonestown Massacre. The Dandy Warhols have a role in the film, as the 'rival band,' but they are second fiddle to the BJM. The Dandy Warhols don't play as big of a role in the film as I originally guessed, but then again, they didn't have the element of excitement and unpredictability of the BJM.You can't help but be fascinated by the band and its very charismatic front man, Anton Newcombe. By itself, it's an insightful film and study on the music industry. Just watch this film and enjoy.
The movie centers around the Brian Jonestown Massacre. The Dandy Warhols have a role in the film, as the 'rival band,' but they are second fiddle to the BJM. The Dandy Warhols don't play as big of a role in the film as I originally guessed, but then again, they didn't have the element of excitement and unpredictability of the BJM.You can't help but be fascinated by the band and its very charismatic front man, Anton Newcombe. By itself, it's an insightful film and study on the music industry. Just watch this film and enjoy.
i'm diggin' too
dragonpenchant17 October 2004
Rock n' roll is a messy business and DiG! demonstrates this masterfully. A project of serious ambition, and perhaps foolhardiness, the filmmaker is able to mend together seven tumultuous years of following around two unwieldy rock groups. With that said, the abundance of quality material ensures the film's ability to captivate the audience. If you've ever been interested in any realm of the music industry, this movie will undoubtedly be an arresting viewing. the music in the film, although it suffers minimally from requisite cutting and pasting, is worth the price of admission alone. the morning after i saw DiG! i went straight to the record store to pick up a Brian Jonestown Massacre album (i was already initiated to the Dandy Warhols' sounds). Primarily defined by its exploration of rock music, the film succeeds at other profound levels. DiG! is a sincere, and sufficiently objective, glance into the destructive and volatile nature of the creative process and the people that try to wrangle those forces.
A few words mostly about the DVD commentaries
UncleBobMartin19 November 2005
The movie is about Anton Newcombe. The music and careers of the two bands are simply backdrop. It's only fair that Newcombe have the last word about the film, which at this writing you can find in the "news" section at the brianjonestownmassacre website. I'd link it here but IMDb won't permit it.
Documentarians are limited by what the camera captures, as well as by the need to assemble a cohesive narrative from the somewhat-random occasions when chance has put the camera lens on a sight-line with relevant happenstance. In Dig!, fortune smiled on the Dandy Warhols, capturing their rise to the status of pop-idol candidates, as they formed slickly-produced pop confections for mass consumption, most notably "Bohemian Like You," a song that made them global darlings thanks to a Euro cell phone ad.
No such luck for Brian Jonestown Massacre. The film captures little of what made the original BJM lineup great, with the sole exception of a single montage, lasting a minute or so, showing Newcombe creating/recording a number of brief instrumental parts, unremarkable in themselves, and concluding the sequence with a playback of the lush, shimmering sounds that had to have been in Newcombe's mind and soul before they could enter the world.
Three commentaries accompany the film; one by the filmmakers, and two by the members of the bands (the BJM track is solely former members, and without Newcombe). Both the Warhols and BJM alumni point up this montage sequence as the "best" bit in the film, and I'd agree that, given the film's focus on Anton Newcombe, it is the only part of the film that sheds proper light on his gift, and seems too brief to lend proper balance to this attempted portrait of the "tortured artist."
Interesting thing about commentaries is that, unlike film, they are recorded in real time -- one long take -- which can be more honestly revelatory than a documentary that takes shape primarily through editing.
The Dandies do not come off well in their comments. If the rock and roll world extends the experience of high school life for its denizens -- as I believe it does -- the Dandies are the popularity-obsessed preppy types, the ones who listen to rock because it's what their peers do, while the BJM crew come off as the half-rejected, half-self-exiled outsiders (to insiders like the Dandies, "losers") that are the real rock spirit. BJM's Joel Gion, who talks a LOT, nails the film's message for me when he says (paraphrasing): "You can't forget that Anton has been able to do the only thing he ever said he wanted to do. Make a lot of great music."
The Dandies, meanwhile, laugh too easily at every outrageous display in the course of Newcombe's meltdown (all the BJM footage here ends at 1997, before Newcombe quit heroin). Courtney Taylor-Taylor's discounting of Newcombe's commitment to his vision is summed up as follows: "He's 37 and still living in his car. You can download all his work at his website. He was so tired of being ripped off by everyone else, he's giving it all away. He could be making a mint." You can practically hear him shaking his head in disbelief.
The film's shortcomings can't be blamed on the filmmakers; rather it's the difficulties of the documentary form, and the loss of cooperation by the film's subject, that makes this portrait of Newcombe so fragmentary. But it's likely the best we will get, outside of his music.
I only rented disc one, which has the feature. Most of the extras are on disc two. Not renting that, as I've put in my order to buy the set.
Documentarians are limited by what the camera captures, as well as by the need to assemble a cohesive narrative from the somewhat-random occasions when chance has put the camera lens on a sight-line with relevant happenstance. In Dig!, fortune smiled on the Dandy Warhols, capturing their rise to the status of pop-idol candidates, as they formed slickly-produced pop confections for mass consumption, most notably "Bohemian Like You," a song that made them global darlings thanks to a Euro cell phone ad.
No such luck for Brian Jonestown Massacre. The film captures little of what made the original BJM lineup great, with the sole exception of a single montage, lasting a minute or so, showing Newcombe creating/recording a number of brief instrumental parts, unremarkable in themselves, and concluding the sequence with a playback of the lush, shimmering sounds that had to have been in Newcombe's mind and soul before they could enter the world.
Three commentaries accompany the film; one by the filmmakers, and two by the members of the bands (the BJM track is solely former members, and without Newcombe). Both the Warhols and BJM alumni point up this montage sequence as the "best" bit in the film, and I'd agree that, given the film's focus on Anton Newcombe, it is the only part of the film that sheds proper light on his gift, and seems too brief to lend proper balance to this attempted portrait of the "tortured artist."
Interesting thing about commentaries is that, unlike film, they are recorded in real time -- one long take -- which can be more honestly revelatory than a documentary that takes shape primarily through editing.
The Dandies do not come off well in their comments. If the rock and roll world extends the experience of high school life for its denizens -- as I believe it does -- the Dandies are the popularity-obsessed preppy types, the ones who listen to rock because it's what their peers do, while the BJM crew come off as the half-rejected, half-self-exiled outsiders (to insiders like the Dandies, "losers") that are the real rock spirit. BJM's Joel Gion, who talks a LOT, nails the film's message for me when he says (paraphrasing): "You can't forget that Anton has been able to do the only thing he ever said he wanted to do. Make a lot of great music."
The Dandies, meanwhile, laugh too easily at every outrageous display in the course of Newcombe's meltdown (all the BJM footage here ends at 1997, before Newcombe quit heroin). Courtney Taylor-Taylor's discounting of Newcombe's commitment to his vision is summed up as follows: "He's 37 and still living in his car. You can download all his work at his website. He was so tired of being ripped off by everyone else, he's giving it all away. He could be making a mint." You can practically hear him shaking his head in disbelief.
The film's shortcomings can't be blamed on the filmmakers; rather it's the difficulties of the documentary form, and the loss of cooperation by the film's subject, that makes this portrait of Newcombe so fragmentary. But it's likely the best we will get, outside of his music.
I only rented disc one, which has the feature. Most of the extras are on disc two. Not renting that, as I've put in my order to buy the set.
A film about ego
fathersonholygore7 May 2013
Warning: Spoilers
I enjoyed this documentary, but only because it was a fairly thorough look at how the music industry often works by parallelling two bands' journeys: The Dandy Warhols & The Brian Jonestown Massacre. I did not enjoy watching Anton Newcombe being praised as a genius and some sort of musical god by people who are clearly too spineless to be honest with someone about how big of a maniac they are, or witnessing unfortunate audiences who paid money to see a show only to see a regression of the BJM band into ego-filled, hysterical fights. The documentary succeeds by taking a scathing look at both bands, but most certainly focusing on the volatile nature of Anton's personality. It does not succeed in making you like Anton, or Courtney for that matter; the latter is not nearly as egotistical, but often falls into diva-ish behaviour while condemning others for acting the same way.
My only opinion on Anton is this: BJM makes good music, but for people to drool over him, and say he is a musical genius, or one of the best musicians ever is foolish. Sure, maybe he had a hand in starting the whole 60s revival that is so fully in swing now in all its hipster glory, but the fact remains his music is completely derivative of the 1960s and 1970s. Yes, Bob Dylan was building on what musicians like Woody Guthrie and Robert Johnson had done before, but he made something new out of it, and fashioned it into a way to 'fight the system', or at least wake people up to TRY and fight it. Anton doesn't come with a message other than "I AM ABSOLUTELY CRAZY". I don't care if he plays 80 instruments, I don't care if he puts out three albums in 1996, I don't care how many recording sessions in various places across the world he does- nothing changes the fact that he acts like a spoiled brat who didn't get what he wanted, and throws tantrums, or belittles those around him. I am a musician- when somebody fools up on stage, you don't stop and freak out or hit somebody, you just keep playing because most times NOBODY notices. Yet Anton claims he is a musician, and trashes a show just because someone didn't hit the right chord. All the while everyone around him simply puts up with it, and claims he can't get a deal because "he won't conform". I'm sorry, but beating up your band or throwing a 12-year old girl tantrum on stage because of something so minor is not non-conformism.. it's simply a boy who has never grown into a man. Finally, what I find hilarious is that Anton continually wonders how he stacks up against The Dandy Warhols (even though he makes it clear he thinks they and Courtney are a joke compared to his band), and even at shows he claims they'll get "the biggest record deal of all time", yet he says it's not about being for sale (like he says the Beatles were). Then later on he invokes The White Stripes' name, basically laying claim to how he paved the way for them to come on the scene, which I found to be in highly poor taste; he slams new bands for not telling people who influenced them, and yet through the entire documentary I never once hear him talk positively about an influence of his from the 1960s (a decade he so shamelessly riffs on and copies).
All in all, I give this documentary a 6 out of 10. It's fairly well made, but even though I have a lot of opinions on Anton, I feel there was a heavy degree of negative tone when showing the BJM on screen; I can't imagine there weren't at least SOME good times for the band to enjoy. I also find having Courtney Taylor do the voice-over narration for this documentary was a little strange, and it sort of put things in an immediate perspective of "Okay- we're going to see more of the plight on The Dandy Warhols side", which kicks things off assuming most of the drama will come from Anton and the BJM (which of course it did, but that isn't the point). The best thing about this documentary is how it portrays the bands; we can clearly see The Dandy Warhols changed themselves a little from where they started, and this is possibly why they've received more mainstream attention, as opposed to BJM. Although I don't agree with the conformity stance many have on Anton, the BJM definitely hasn't tailored themselves towards being marketable, as even the rest of the band seems perfectly happy with letting their 'leader' terrorize them for the chance at enjoying some moderate level of success; this is probably why they will never reach the mainstream in the way Courtney did with his band. I recommend watching this film, and I dare you to still like Anton at the end. I have never disliked somebody more while watching a documentary, and I have watched a ton of them on serial killers, so.. you be the judge.
My only opinion on Anton is this: BJM makes good music, but for people to drool over him, and say he is a musical genius, or one of the best musicians ever is foolish. Sure, maybe he had a hand in starting the whole 60s revival that is so fully in swing now in all its hipster glory, but the fact remains his music is completely derivative of the 1960s and 1970s. Yes, Bob Dylan was building on what musicians like Woody Guthrie and Robert Johnson had done before, but he made something new out of it, and fashioned it into a way to 'fight the system', or at least wake people up to TRY and fight it. Anton doesn't come with a message other than "I AM ABSOLUTELY CRAZY". I don't care if he plays 80 instruments, I don't care if he puts out three albums in 1996, I don't care how many recording sessions in various places across the world he does- nothing changes the fact that he acts like a spoiled brat who didn't get what he wanted, and throws tantrums, or belittles those around him. I am a musician- when somebody fools up on stage, you don't stop and freak out or hit somebody, you just keep playing because most times NOBODY notices. Yet Anton claims he is a musician, and trashes a show just because someone didn't hit the right chord. All the while everyone around him simply puts up with it, and claims he can't get a deal because "he won't conform". I'm sorry, but beating up your band or throwing a 12-year old girl tantrum on stage because of something so minor is not non-conformism.. it's simply a boy who has never grown into a man. Finally, what I find hilarious is that Anton continually wonders how he stacks up against The Dandy Warhols (even though he makes it clear he thinks they and Courtney are a joke compared to his band), and even at shows he claims they'll get "the biggest record deal of all time", yet he says it's not about being for sale (like he says the Beatles were). Then later on he invokes The White Stripes' name, basically laying claim to how he paved the way for them to come on the scene, which I found to be in highly poor taste; he slams new bands for not telling people who influenced them, and yet through the entire documentary I never once hear him talk positively about an influence of his from the 1960s (a decade he so shamelessly riffs on and copies).
All in all, I give this documentary a 6 out of 10. It's fairly well made, but even though I have a lot of opinions on Anton, I feel there was a heavy degree of negative tone when showing the BJM on screen; I can't imagine there weren't at least SOME good times for the band to enjoy. I also find having Courtney Taylor do the voice-over narration for this documentary was a little strange, and it sort of put things in an immediate perspective of "Okay- we're going to see more of the plight on The Dandy Warhols side", which kicks things off assuming most of the drama will come from Anton and the BJM (which of course it did, but that isn't the point). The best thing about this documentary is how it portrays the bands; we can clearly see The Dandy Warhols changed themselves a little from where they started, and this is possibly why they've received more mainstream attention, as opposed to BJM. Although I don't agree with the conformity stance many have on Anton, the BJM definitely hasn't tailored themselves towards being marketable, as even the rest of the band seems perfectly happy with letting their 'leader' terrorize them for the chance at enjoying some moderate level of success; this is probably why they will never reach the mainstream in the way Courtney did with his band. I recommend watching this film, and I dare you to still like Anton at the end. I have never disliked somebody more while watching a documentary, and I have watched a ton of them on serial killers, so.. you be the judge.
A Very Engaging Documentary
SeveredAreolas8 September 2005
I recently rented this doc, having remembered hearing about it from IMDb.com and being intrigued by the premise. I knew very little about either of these bands, but I do remember hearing "Not If You Were The Last Junkie On Earth" by The Dandy Warhols ages ago and enjoying it. That being said, this is my perspective on the doc:
One thing I found incredible about this film is there is no need to have any prior knowledge of either of these bands. The director (Ondi Timoner) wastes no time in engaging the audience and familiarizing them with the people in this film. I quickly became grooved to the lives both Anton and Courtney as well as their respective bands, The Brian Jonestown Massacre and The Dandy Warhols. I think that is part of what makes this doc so good, and what makes Ondi Timoner such a master documentarian.
I also loved how the "story" of these bands was told. Most of what you see is of the bands on tour. Both bands start out playing small venues and struggling to make it in the recording industry. Throughout the film, each band strives to remain unique and uncontrolled by the norm. However it is this that makes the two bands similar, and thus the brilliant perspective on how two bands of a feather can go in such different directions.
I would basically recommend this for ANYONE who likes film in general. You do not need to have a particular love for documentaries, or either of the bands. An appreciation for music helps, but the music itself takes a backseat to the love/hate relationship between The Brian Jonestown Massacre and The Dandy Warhols.
One thing I found incredible about this film is there is no need to have any prior knowledge of either of these bands. The director (Ondi Timoner) wastes no time in engaging the audience and familiarizing them with the people in this film. I quickly became grooved to the lives both Anton and Courtney as well as their respective bands, The Brian Jonestown Massacre and The Dandy Warhols. I think that is part of what makes this doc so good, and what makes Ondi Timoner such a master documentarian.
I also loved how the "story" of these bands was told. Most of what you see is of the bands on tour. Both bands start out playing small venues and struggling to make it in the recording industry. Throughout the film, each band strives to remain unique and uncontrolled by the norm. However it is this that makes the two bands similar, and thus the brilliant perspective on how two bands of a feather can go in such different directions.
I would basically recommend this for ANYONE who likes film in general. You do not need to have a particular love for documentaries, or either of the bands. An appreciation for music helps, but the music itself takes a backseat to the love/hate relationship between The Brian Jonestown Massacre and The Dandy Warhols.
http://tinymixtapes.com/articles/05.05.27-dig.htm
newagephilosopher26 August 2005
Warning: Spoilers
Do opposites really attract? After watching 20 minutes of the 2004 documentary DiG!, the story of two burgeoning west coast rock bands, Brian Jonestown Massacre and The Dandy Warhols, devolves into a tale of polar opposites trying to exist on the same plane. There's BJM's lead singer Anton Newcombe and his combustible attitude leading a pack of drug-happy musicians, all of who are Anton's worst enemies. And then there's the Dandys' front man Courtney Taylor, whose laid back nature is a driving force behind The Dandy Warhols' tight-knit community of sonic revolution. Their paths cross many times, but never travel down the same course.
The film revolves around Brian Jonestown Massacre, the greatest band to never make it. Why they've never made it is debatable, and much of the movie explores this dynamic through the voice-over quandaries of Courtney Taylor. Anton is dissected throughout the movie, whether the focus is his yo-yo attitude, his descent into heavy drug use, or his role as the root cause of the band's in fighting. What's never in question is Anton's penchant for writing and playing some of the best rock/pop songs this side of Brian Jonestown Massacre's namesake. He clearly is a musical genius, but his destructible personality is his professional downfall. It holds the band down and buries the egos of the contributing forces behind the band, the most notable being Matt Hollywood. Matt isn't looking for the limelight or the credit he rightfully deserves; rather, he just wants acknowledgment and acceptance from Anton. When it never comes, the band and Anton take a turn for the worse.
Conversely, the Dandy Warhols' story acts as the counterbalance to the shenanigans of Brian Jonestown Massacre. The band earns the much sought after major label contract, only to discover the true nastiness of recording albums, making videos and having little label support. Whereas the strains of everyday band business weighs down on Anton, Courtney Taylor and company are able to persevere and push ahead. The Dandys learn to adapt without compromising their spirit or their sound, even if it means being at odds with Capitol and fashion photographer-turned-video director Dave LaChapelle.
The wonder of DiG! is discovered within each band's interaction with the other. Anton is turned onto the Dandys from a tape he receives from a friend, and soon the bands meet and become quick party buddies. Performances throughout the west coast solidify this friendship until the Dandy Warhols get the call to big leagues, leaving Brian Jonestown Massacre to wallow in minor obscurity. Their paths continue to cross again in the wildest of places: at a guerrilla photo shoot for the Dandys at Brian Jonestown Massacre's home, when Courtney Taylor flies across the country to hang out with Anton and company on their first major American tour, or when Anton passes out Brian Jonestown Massacre albums to anyone and everyone outside of a Dandy Warhols performance in NYC as the Dandys question Anton's sanity.
The sad truth behind DiG! is discovering that Anton, no matter how capable he is behind a musical instrument, is nothing more than a fallible human. His constant fights with audience members, band members and his past leave him angry at everything but himself. He may want to live in the '60s, but he can't give in to peace, love and happiness. No matter the success and failures he and Brian Jonestown Massacre face, they're doomed to live in musical hell -- obscurity. Meanwhile, the Dandy Warhols rise above to discover that they're a band on the rise when left to their own devices. Whether it's rekindling a love of music in the basking glow of European admiration, or pushing the envelope of sound, the band seems to have it all -- or at least, everything Anton Newcombe wants but will never let himself have.
The film revolves around Brian Jonestown Massacre, the greatest band to never make it. Why they've never made it is debatable, and much of the movie explores this dynamic through the voice-over quandaries of Courtney Taylor. Anton is dissected throughout the movie, whether the focus is his yo-yo attitude, his descent into heavy drug use, or his role as the root cause of the band's in fighting. What's never in question is Anton's penchant for writing and playing some of the best rock/pop songs this side of Brian Jonestown Massacre's namesake. He clearly is a musical genius, but his destructible personality is his professional downfall. It holds the band down and buries the egos of the contributing forces behind the band, the most notable being Matt Hollywood. Matt isn't looking for the limelight or the credit he rightfully deserves; rather, he just wants acknowledgment and acceptance from Anton. When it never comes, the band and Anton take a turn for the worse.
Conversely, the Dandy Warhols' story acts as the counterbalance to the shenanigans of Brian Jonestown Massacre. The band earns the much sought after major label contract, only to discover the true nastiness of recording albums, making videos and having little label support. Whereas the strains of everyday band business weighs down on Anton, Courtney Taylor and company are able to persevere and push ahead. The Dandys learn to adapt without compromising their spirit or their sound, even if it means being at odds with Capitol and fashion photographer-turned-video director Dave LaChapelle.
The wonder of DiG! is discovered within each band's interaction with the other. Anton is turned onto the Dandys from a tape he receives from a friend, and soon the bands meet and become quick party buddies. Performances throughout the west coast solidify this friendship until the Dandy Warhols get the call to big leagues, leaving Brian Jonestown Massacre to wallow in minor obscurity. Their paths continue to cross again in the wildest of places: at a guerrilla photo shoot for the Dandys at Brian Jonestown Massacre's home, when Courtney Taylor flies across the country to hang out with Anton and company on their first major American tour, or when Anton passes out Brian Jonestown Massacre albums to anyone and everyone outside of a Dandy Warhols performance in NYC as the Dandys question Anton's sanity.
The sad truth behind DiG! is discovering that Anton, no matter how capable he is behind a musical instrument, is nothing more than a fallible human. His constant fights with audience members, band members and his past leave him angry at everything but himself. He may want to live in the '60s, but he can't give in to peace, love and happiness. No matter the success and failures he and Brian Jonestown Massacre face, they're doomed to live in musical hell -- obscurity. Meanwhile, the Dandy Warhols rise above to discover that they're a band on the rise when left to their own devices. Whether it's rekindling a love of music in the basking glow of European admiration, or pushing the envelope of sound, the band seems to have it all -- or at least, everything Anton Newcombe wants but will never let himself have.
friends reunited?
come2whereimfrom2 October 2005
Dig! I would say to anyone even if you don't like Metallica to see 'some kind of monster' it is a spinal tap type documentary about one of the biggest bands in the world acting like mental kids during a breakdown of sorts. It's fun and fascinating. Along the same lines comes dig! A film about 'the Dandy Warhol's' and 'the Brian Jonestown massacre' two Portland bands who start off a kind of music scene in there home town only for one of the bands to become huge and one to fall by the wayside into the musical history books. Right from the start the two bands pull in opposite directions just on their ability to make decisions whether good or bad. Filmed over seven years and at times painful to watch we see the dandy's meteoric rise to fame (thanks to that vodaphone ad!) and the Jonestown seminal fall from scene instigators to bickering wannabes. As the bands become more disjointed the friendships are stretched tension tight and at several points snap into arguments and even on stage fights. All of this is half funny and half tragic and believe it or not is perversely watch able. Like I said at the beginning you can watch the Metallica film even if you have no interest in the band. Dig! on the other hand is slightly different and is more enjoyable and a whole lot easier to watch if you have a passing interest in either band. Still a good film and more a testament to not be in a band than encouraging that as a career path. Dig! Is a mad ride on rock and roll's coat tails and a fine example of the pitfalls and pleasures of being or wanting to be famous.
never boring
nobbytatoes22 October 2005
Anton Newcombe and Courtney Taylor are friends, they both are the leads in their own respective bands; Anton with The Brian Jonestown Massacre and Courtney with The Dandy Warhols. What's interesting about their friendship is that they are rivals; its a love hate relationship. At times you both hear them praising one another, but the next second they are complaining at how stupid and self absorbed they are. While the Dandy Warhols went on the reach commercial success, BJM still was stuck in the underground scene; and for good reason why.
The focus of Dig! is more towards Anton and the BJM, as they have a lot more substance. They are the most dysfunctional band. During gigs they will fight and bash each other. Anton will hit other members if he feels they aren't performing correctly. With the amount of drugs an alcohol they consume, fight was always waiting to happen. You know how people go to car races just to see if a huge car crash happens; that's why people would go to their gigs, for the fights.
Anton is very unstable. Always thinking himself as a music messiah, he wants to change music and create a revolution, but he could never get out of the underground. He is a very talented musician, its amazing how many instruments he can play and with such skill. But his draw back is he cant escape the world he created; a prolific musician stuck in a black hole drugs, alcohol and depression. On the other side, the Dandy Warhols were having their own troubles. They didn't find much success with their first album and were constantly fighting with their record label. But they found huge success in Europe. But Courtney keeps being sucked back into the world of Anton. Its interesting that both Anton and Courtney both had what the other needed. Courtney always wanted to be musically talented as Anton, though Anton wouldn't say it, he needed the commercial success that the Dandy's had, to make his revolution.
Over the seven year course the film crew followed these two bands, there is a lot of footage. There is never a dull moment in Dig!. It is constantly moving along as it doesn't have time to slow down as it has to much to say, seven years of story telling in the 1h 45mins is a hard job. Ondi Timoner has done a great job of piecing together one of the best music documentaries that makes you always wanting more. Even if you don't like the bands it still deserves viewing; it transcends the music to reveal a great story of a successful failure.
You wont be disappointed.
The focus of Dig! is more towards Anton and the BJM, as they have a lot more substance. They are the most dysfunctional band. During gigs they will fight and bash each other. Anton will hit other members if he feels they aren't performing correctly. With the amount of drugs an alcohol they consume, fight was always waiting to happen. You know how people go to car races just to see if a huge car crash happens; that's why people would go to their gigs, for the fights.
Anton is very unstable. Always thinking himself as a music messiah, he wants to change music and create a revolution, but he could never get out of the underground. He is a very talented musician, its amazing how many instruments he can play and with such skill. But his draw back is he cant escape the world he created; a prolific musician stuck in a black hole drugs, alcohol and depression. On the other side, the Dandy Warhols were having their own troubles. They didn't find much success with their first album and were constantly fighting with their record label. But they found huge success in Europe. But Courtney keeps being sucked back into the world of Anton. Its interesting that both Anton and Courtney both had what the other needed. Courtney always wanted to be musically talented as Anton, though Anton wouldn't say it, he needed the commercial success that the Dandy's had, to make his revolution.
Over the seven year course the film crew followed these two bands, there is a lot of footage. There is never a dull moment in Dig!. It is constantly moving along as it doesn't have time to slow down as it has to much to say, seven years of story telling in the 1h 45mins is a hard job. Ondi Timoner has done a great job of piecing together one of the best music documentaries that makes you always wanting more. Even if you don't like the bands it still deserves viewing; it transcends the music to reveal a great story of a successful failure.
You wont be disappointed.
Funny, and then SAAAAAAD...
rob-ankrom12 November 2013
At first I thought someone had pulled a "I'm Still Here"/"This Is Spinal Tap" on me, laughing at the amazingly over-the-top pretense of the Brian Jonestown Massacre's front flame-out Anton Newcombe (not to mention the antics of the rest of the band), and the dead-pan enthusiastically reverent BJ that all of their hipster critics gave the BJM throughout the film (yeah, that means you too, Courtney-Courtney)... Then it got sad with poor Anton's family BIOGRAPHY, and then got a little better with the revelation that Anton is STILL (as of '04) kicking ass-- despite his history of treating his band mates like fertilizer; and yet the ever wonderful Portland, Oregon's Indie darlings The Dandy Warhols just keep chugging along, charming the world. Overall review? Meh. Brian Jonestown Massacre are/were a retro piece of merde, wanna-be psyche band (newsflash-- THE GAL-DERN SIXTIES ARE O-VER)... meanwhile, I still kinda dig the Dandys (hey, I'm from Portland-- and have gotta support the home team even tho' they do not decimate PDX venues).
Best left underground
Polaris_DiB15 July 2006
Warning: Spoilers
Whoa boy.
Ever wanted to watch a documentary about a megalomaniacal jerk ruining his own life and alienating everyone around him? Well they exist, in many forms. But have you ever wanted to watch said documentary about one who didn't ultimately succeed in doing anything despite everyone's praises about how much of an artistic "genius" he is? Well you could probably just grab a camera and find someone like that in any local scene (I know they're everywhere and I don't even follow the local scene), or you could save yourself the trouble by spending money watching this tripe.
The premise is good and, honestly, it's not as if the filmmakers knew precisely where it was going considering that's one of the difficulties of doing a documentary. We are made to follow two bands, The Brian Jamestown Massacre, lead by Anton, and The Dandy Warhols, lead by Courtney. I've heard of The Dandy Warhols before watching this movie... not so the Brian Jamestown Massacre. Why? Well from this documentary's perspective, because The Brian Jamestown Massacre's intergroup dysfunction refused them the ability to really make it in the music industry. However, instead of this becoming an analysis of the two separate bands and how one was able to succeed, the focus becomes much more on Anton and his insanity.
Because, see, Anton is a "genius." Because he plays rock music. He really "understands the evolution of music"... because he plays rock music with a lot of different instruments. His music is considered "post-modern retro but the future"... because it's rock music. He wants to bring out a "revolution"... through rock music. Okay so let's face it... twenty minutes in and this is one of the stupidest kids I'd care to watch a documentary about.
The documentary itself doesn't really lend itself to showcasing any of Anton's talent, because in the nature of editing down 2000 hours of material into a quarter short of two hours we don't really have the time to focus on that. So instead we watch Anton, "the genius", the socio-maniacal loser, be a jerk for the two hours and are just told to understand that he made really great music. Whether he did or not I won't know, because its not like the documentary had enough time to prove it. What I do know is that then we're left with a story about some self-centered obnoxious twerp running around the country calling himself a God of music and doing nothing to back it up. Why even bother watching that? People like Anton don't deserve the attention they seek, the hope and admiration of all those different people, and especially a post-failure paean to lost potential. This movie plays like a two-hour rough-cut VH1 special for a reason: he goes on and on about the music, but it's all about the image and the attention. Look at the guy, look at how he dresses, look at how he acts, look at how he tries to create controversy because he can't afford marketing.
Honestly the only interesting character in this film is Joel, and that's because of anyone in this documentary, Joel is the only person who seems to have any fun. Maybe it's because he's the tambourine man. The rest of them are all "rock stars"! They deserve our attention, and admiration, and interest, and engagements! They are out there to "save rock and roll." Do you remember when The White Stripes were supposed to "save rock and roll"? Yeah, that was because of Anton, and it's "selfish of them not to mention me (Anton) as an inspiration." What a load. People like Anton are best left forgotten. This documentary explains why mainstream music is so dull--because music execs have to deal with people like Anton for a living and ultimately can only really throw their support behind someone safe and passionless. Thanks a lot, Anton. Your antics ruined music for EVERYONE you touched, whatever the opinion to the contrary is. And if people "in the know" about Anton disagree and he really was a genius, it still shows how bad this documentary is that it cuts it down that way.
--PolarisDiB
Ever wanted to watch a documentary about a megalomaniacal jerk ruining his own life and alienating everyone around him? Well they exist, in many forms. But have you ever wanted to watch said documentary about one who didn't ultimately succeed in doing anything despite everyone's praises about how much of an artistic "genius" he is? Well you could probably just grab a camera and find someone like that in any local scene (I know they're everywhere and I don't even follow the local scene), or you could save yourself the trouble by spending money watching this tripe.
The premise is good and, honestly, it's not as if the filmmakers knew precisely where it was going considering that's one of the difficulties of doing a documentary. We are made to follow two bands, The Brian Jamestown Massacre, lead by Anton, and The Dandy Warhols, lead by Courtney. I've heard of The Dandy Warhols before watching this movie... not so the Brian Jamestown Massacre. Why? Well from this documentary's perspective, because The Brian Jamestown Massacre's intergroup dysfunction refused them the ability to really make it in the music industry. However, instead of this becoming an analysis of the two separate bands and how one was able to succeed, the focus becomes much more on Anton and his insanity.
Because, see, Anton is a "genius." Because he plays rock music. He really "understands the evolution of music"... because he plays rock music with a lot of different instruments. His music is considered "post-modern retro but the future"... because it's rock music. He wants to bring out a "revolution"... through rock music. Okay so let's face it... twenty minutes in and this is one of the stupidest kids I'd care to watch a documentary about.
The documentary itself doesn't really lend itself to showcasing any of Anton's talent, because in the nature of editing down 2000 hours of material into a quarter short of two hours we don't really have the time to focus on that. So instead we watch Anton, "the genius", the socio-maniacal loser, be a jerk for the two hours and are just told to understand that he made really great music. Whether he did or not I won't know, because its not like the documentary had enough time to prove it. What I do know is that then we're left with a story about some self-centered obnoxious twerp running around the country calling himself a God of music and doing nothing to back it up. Why even bother watching that? People like Anton don't deserve the attention they seek, the hope and admiration of all those different people, and especially a post-failure paean to lost potential. This movie plays like a two-hour rough-cut VH1 special for a reason: he goes on and on about the music, but it's all about the image and the attention. Look at the guy, look at how he dresses, look at how he acts, look at how he tries to create controversy because he can't afford marketing.
Honestly the only interesting character in this film is Joel, and that's because of anyone in this documentary, Joel is the only person who seems to have any fun. Maybe it's because he's the tambourine man. The rest of them are all "rock stars"! They deserve our attention, and admiration, and interest, and engagements! They are out there to "save rock and roll." Do you remember when The White Stripes were supposed to "save rock and roll"? Yeah, that was because of Anton, and it's "selfish of them not to mention me (Anton) as an inspiration." What a load. People like Anton are best left forgotten. This documentary explains why mainstream music is so dull--because music execs have to deal with people like Anton for a living and ultimately can only really throw their support behind someone safe and passionless. Thanks a lot, Anton. Your antics ruined music for EVERYONE you touched, whatever the opinion to the contrary is. And if people "in the know" about Anton disagree and he really was a genius, it still shows how bad this documentary is that it cuts it down that way.
--PolarisDiB
The Brian Jonestown Massacre and The Dandy Warhols
SnoopyStyle2 January 2023
Back in the 2000's, The Dandy Warhols were one of my favorite bands. I may or may not have heard of The Brian Jonestown Massacre. I'm not that cool or plugged in. The Dandy Warhols formed in Portland. They befriend another unknown band called The Brian Jonestown Massacre. For them, the BJM are a bunch of fun guys from the big city who are way cooler than them. BJM's leader Anton Newcombe is a musical genius. He and Courtney Taylor-Taylor become the best of friends. They find comradery in their common leadership and as main creators in their bands. As the Dandys take off, BJM remains stuck in band infighting, and Anton's volatile self-destruction. The bands' friendship descends into Anton's unwanted rivalry and his desperate love-hate relationship with the Dandys.
Most music band biography deals with a famous band's rise and fall. It's a very familiar formula and one that can be stale. This one is different since it's about a band that never made it. The juxtaposition of the Dandys and BJM's different paths is really compelling. It is the world of 90's A&R, the arrogance of genius, the drug haze, and the obsession for fame. It never convinces me of Anton's genius. It only give glimpses of their songs. Their live sets are never that long before a fight breaks out. The difference between the two bands is actually quite informative. More than any other band biography, this shows the pitfalls. If nine tenths of bands fail, this is a more realistic story of an up and comer.
Most music band biography deals with a famous band's rise and fall. It's a very familiar formula and one that can be stale. This one is different since it's about a band that never made it. The juxtaposition of the Dandys and BJM's different paths is really compelling. It is the world of 90's A&R, the arrogance of genius, the drug haze, and the obsession for fame. It never convinces me of Anton's genius. It only give glimpses of their songs. Their live sets are never that long before a fight breaks out. The difference between the two bands is actually quite informative. More than any other band biography, this shows the pitfalls. If nine tenths of bands fail, this is a more realistic story of an up and comer.
A cautionary tale for anyone looking to start a band
tomgillespie200227 March 2018
The fickle nature of the music industry is well known. Most bands will try and flounder with a whimper; true visionaries will fail to find an audience or be deemed as too great a risk by the corporate machine; and the pretty but talent-free will strike it rich with one instantly forgettable tune after another. It's been documented in film before, but never in such brutal, in-your-face detail as Ondi Timoner's documentary Dig!. The cameras followed bands The Dandy Warhols and The Brian Jonestown Massacre for seven years, covering their friendship during the bright-eyed, let's-change-the-world beginnings to the bitter rivalry that formed between them as one made it big and the other struggled in infamy.
Both bands wanted to start a music revolution - one that would see artists take back control from the industry heads who ultimately lacked vision - by refusing to sell out. The Dandy Warhols' professionalism and willingness to bend as long as it avoided breaking meant that their star rose with increasing speed, before Bohemian Like You was snapped up by a mobile phone company and they became an overnight sensation, particularly here in the UK. This savviness is mistaken for bending over by BJM frontman Anton Newcombe, and soon Dandy lead singer Courtney Taylor-Taylor is receiving strange packages containing shotgun cartridges. Meanwhile, Newcombe's increasingly threatening behaviour towards everyone around him sees his band often struggle to make it through a set without brawling on stage. BJM were descending quickly from the next big thing to a circus sideshow.
Despite the chaos on screen, Timoner never loses sight of Newcombe's raw talent. His actions can be blamed on mental illness, egomania or copious amount of heroin, but he is the real deal, pouring everything into his work and banging out records at a miraculous rate (they released three albums in 1996 alone). The genius and madness meld together to create an image of a man worn down by his philosophy, someone who preached love but only ever gave any to himself. His descent is both tragic and funny, and every fight, argument and storm-out is captured by Timoner's ever-present camera. For a film ultimately echoing Newcombe's views on a corporate mechanism more interested in money than artistry, Dig! somehow forgets the music itself. The odd bar or snippet can be heard here and there, but it's usually interrupted by some act of self-destruction or other. Ultimately however, Dig! is a fascinating study of the idea of selling-out and a must-see for music fans, serving as a cautionary tale for anyone considering starting a band.
Both bands wanted to start a music revolution - one that would see artists take back control from the industry heads who ultimately lacked vision - by refusing to sell out. The Dandy Warhols' professionalism and willingness to bend as long as it avoided breaking meant that their star rose with increasing speed, before Bohemian Like You was snapped up by a mobile phone company and they became an overnight sensation, particularly here in the UK. This savviness is mistaken for bending over by BJM frontman Anton Newcombe, and soon Dandy lead singer Courtney Taylor-Taylor is receiving strange packages containing shotgun cartridges. Meanwhile, Newcombe's increasingly threatening behaviour towards everyone around him sees his band often struggle to make it through a set without brawling on stage. BJM were descending quickly from the next big thing to a circus sideshow.
Despite the chaos on screen, Timoner never loses sight of Newcombe's raw talent. His actions can be blamed on mental illness, egomania or copious amount of heroin, but he is the real deal, pouring everything into his work and banging out records at a miraculous rate (they released three albums in 1996 alone). The genius and madness meld together to create an image of a man worn down by his philosophy, someone who preached love but only ever gave any to himself. His descent is both tragic and funny, and every fight, argument and storm-out is captured by Timoner's ever-present camera. For a film ultimately echoing Newcombe's views on a corporate mechanism more interested in money than artistry, Dig! somehow forgets the music itself. The odd bar or snippet can be heard here and there, but it's usually interrupted by some act of self-destruction or other. Ultimately however, Dig! is a fascinating study of the idea of selling-out and a must-see for music fans, serving as a cautionary tale for anyone considering starting a band.
The Most Compelling Look At The Void You May Ever See
cheesecrop24 August 2013
Warning: Spoilers
Dig! is a very interesting look at a love/hate relationship between two bands, the Brian Jonestown Massacre, and the Dandy Warhols. It begins around 1995, and ends around 2002/2003. The documentary is narrated by Courtney Taylor, who happens to be the singer for the Dandy's. He gives a picture of his own group as not being up to the standards of the other, while openly praising the BJM leader, Anton Newcombe.
The footage shows Newcombe as being a control freak. At the same time, it is clear he has some talent. Despite this, he tends to sabotage his own chances through some ill-timed decisions. My personal take on the situation is that Newcombe is simply frightened of what pressures success might hold. At some level, he lacks the confidence to take the next step.
At the same time, he is clearly jealous of the success that the Dandy Warhols manage to have. The Warhols are slightly more conventional, which makes them appear as the lesser talent. That being said, both bands state that they are attempting to make some sort of musical "revolution", at the beginning. Later in the documentary, one of the Dandy's hits the nail on the head regarding the BJM, noting that revolutions don't work when they stay underground. It's a telling line, as both bands started near the end of a true period of musical upheaval, in the early-to-mid 90's.
In the end, neither group ever quite reached the stage of provoking any sort of musical "revolution". Being bands of that particular period, they both made solid, credible rock music, something that we could use a lot more of. That alone makes the film worth a look. It is a truly odd piece, with the more commercially "successful" (if that's what you can call it) group desperately making concessions to the other. The Dandy's are denigrated for their success, while the BJM are given praise, despite the fact that little gets through to back this up. I guess this is supposed to be an "art vs. commerce"-styled logic, but neither art nor commerce is really served here. At the same time, it's incredibly interesting...
The footage shows Newcombe as being a control freak. At the same time, it is clear he has some talent. Despite this, he tends to sabotage his own chances through some ill-timed decisions. My personal take on the situation is that Newcombe is simply frightened of what pressures success might hold. At some level, he lacks the confidence to take the next step.
At the same time, he is clearly jealous of the success that the Dandy Warhols manage to have. The Warhols are slightly more conventional, which makes them appear as the lesser talent. That being said, both bands state that they are attempting to make some sort of musical "revolution", at the beginning. Later in the documentary, one of the Dandy's hits the nail on the head regarding the BJM, noting that revolutions don't work when they stay underground. It's a telling line, as both bands started near the end of a true period of musical upheaval, in the early-to-mid 90's.
In the end, neither group ever quite reached the stage of provoking any sort of musical "revolution". Being bands of that particular period, they both made solid, credible rock music, something that we could use a lot more of. That alone makes the film worth a look. It is a truly odd piece, with the more commercially "successful" (if that's what you can call it) group desperately making concessions to the other. The Dandy's are denigrated for their success, while the BJM are given praise, despite the fact that little gets through to back this up. I guess this is supposed to be an "art vs. commerce"-styled logic, but neither art nor commerce is really served here. At the same time, it's incredibly interesting...
"You f****** broke my sitar, motherf*****!"
Ali_John_Catterall4 November 2009
Warning: Spoilers
To suggest Anton Newcombe of the Brian Jonestown Massacre could also use some therapy is putting it mildly. In Dig! which won the Grand Jury Prize at Sundance, we watch him and his band self-sabotage over seven years, while ex-friends and contemporaries The Dandy Warhols rise to comparative greatness (a mobile phone advert, anyway).
What elevates Dig! above its contemporaries is the immense, near-biblical comic-tragedy being played out: a depressingly honest treatise on art versus commerce and compromise. For all his "look at me, I'm a bloody genius" posturing, Newcombe is in fact revealed to be a singularly gifted, if immensely troubled, musician - far more talented than his rival, the Dandy's Courtney Taylor who narrates the picture. If Newcombe is Dennis Hopper, Taylor's Peter Fonda.
Even sadder, Taylor appears to realise this, evinced by his weary, self-loathing voice-over: he knows his band won the battle - but at what cost? In truth, they sold out, made Indie-Lite records, kept their teeth nice and clean, and probably brushed their hair twice before bedtime - thus winning record contracts and a large tour bus. And jettisoning all credibility in the process. Newcombe, on the other hand, lives in filth, is continually busted, beats up fellow band members on stage, kicks hecklers in the head - and is last glimpsed in Dig! being ferried away by police, having lost the right to see his child.
Two of the best films about rock's subculture have been directed by women: Penelope Spheeris's The Decline Of Western Civilization and this one – an instant classic the moment it was released.
What elevates Dig! above its contemporaries is the immense, near-biblical comic-tragedy being played out: a depressingly honest treatise on art versus commerce and compromise. For all his "look at me, I'm a bloody genius" posturing, Newcombe is in fact revealed to be a singularly gifted, if immensely troubled, musician - far more talented than his rival, the Dandy's Courtney Taylor who narrates the picture. If Newcombe is Dennis Hopper, Taylor's Peter Fonda.
Even sadder, Taylor appears to realise this, evinced by his weary, self-loathing voice-over: he knows his band won the battle - but at what cost? In truth, they sold out, made Indie-Lite records, kept their teeth nice and clean, and probably brushed their hair twice before bedtime - thus winning record contracts and a large tour bus. And jettisoning all credibility in the process. Newcombe, on the other hand, lives in filth, is continually busted, beats up fellow band members on stage, kicks hecklers in the head - and is last glimpsed in Dig! being ferried away by police, having lost the right to see his child.
Two of the best films about rock's subculture have been directed by women: Penelope Spheeris's The Decline Of Western Civilization and this one – an instant classic the moment it was released.
The Brian Warhols not-so-Dandy Massacre
Rogue-329 November 2004
I used to think the Dandy Warhols were a tad on the pretentious side, but then I saw this film. Courtney Taylor-Taylor and Co. are majorly and properly down to earth compared to Anton Newcombe, the tortured soul behind the Brian Jonestown Massacre, who is so damaged by his twisted childhood that he can't have a single thought that isn't ego-driven, onstage or off.
The film is just as tortured, from beginning to end, as we are subjected to one sabotaged opportunity after the other, serving as a blueprint for any potential rock star who sees the movie for what NOT to do.
There is a fine line between genius and self-indulgence, and that line is crossed to the max in this movie, over and over and over again. Professionalism be damned is basically the message here, and it is not a good one. As a musician myself, I feel obligated to state the obvious - not every band is like this, you actually can combine discipline with rock music without sacrificing your 'vision', and that's where TRUE genius comes into play.
The film is just as tortured, from beginning to end, as we are subjected to one sabotaged opportunity after the other, serving as a blueprint for any potential rock star who sees the movie for what NOT to do.
There is a fine line between genius and self-indulgence, and that line is crossed to the max in this movie, over and over and over again. Professionalism be damned is basically the message here, and it is not a good one. As a musician myself, I feel obligated to state the obvious - not every band is like this, you actually can combine discipline with rock music without sacrificing your 'vision', and that's where TRUE genius comes into play.
Hilarious, though controversial
aatotok27 March 2004
I should admit first I am a huge fan of The Dandy Warhols, and that is the reason I came watching this film.
The uniqueness of this film, compared to other modern rockumentaries, is that it's not just about one page of a band's history (like "I Am Trying To Break Your Heart", about Wilco), but rather covers long period of the band's history. In this movie, director/producer Ondi Timoner closely followed friends/rivals The Brian Jonestown Massacre (BJM) and The Dandy Warhols (DW) for more than 8 years (1995 - 2003) and shoot tremendous 1500 hours of raw video, cut than to 1:45 hours (the future DVD release will contain much more material than the original film). The result is astonishing - there are no fillers - the film is 100% pure and genuine archive footage, which gives you feeling as film progresses that you live with the bands, through all these years.
Both bands in the start of their careers promised to "make a revolution" in the music making, and not to sell their souls to the devil of "record industry". However, their paths quickly diverged - The Dandy Warhols signed a contract with Capitol Records and became relatively popular (especially in Europe) after only one album, while The Brian Jonestown Massacre (with its self-destruction-bound leader Anton Newcombe) dissolved into oblivion (at least how it is portrayed in the film). And the movie follows the descent of The Brian Jonestown Massacre, contrasted by the ascent of The Dandy Warhols.
First, I was delighted by the movie and its approach of telling the story of Anton Newcombe (for example, Courtney Taylor - the leader of The Dandy Warhols - narrates), but after some thinking I realized that something is wrong with this film.
First, it treats Anton Newcombe as a disappeared person. The project started in 1995 as a documentary about several promising emerging groups, in which Anton Newcombe and Ondi Timoner were equal partners (that was the reason why all these years Ondi Timoner had unmediated access to the both bands). It was Anton Newcombe who brought The Dandy Warhols into the project. In the end he was ignored completely, as if he was kicked out of the project. Everybody talk about BJM, but he does not take part in the discussion. I guess he wasn't even informed when the group started the final editing process. There are always both sides of the story, and here we have only one... Of course, as one would expect, Anton does not approve the final result and sees this movie as a betrayal of his former friends.
Second, the film is very Dandy Warhols-biased. Sure, the winner takes it all, but the fact that Courtney Taylor (leader of DW) narrates (even though it seems a good choice - it provides a feeling of seemingly closer involvement) and that bands' late history is represented nonproportionally (BJM is covered till 1997, and DW - till 2003), does not add objectivity to the film.
Third, the movie is (somewhat) shallow. What does it want to teach us? As one critic said: "... movie examines old questions: where does genius fit into a commodified world? Can it thrive and get its due, or does it need to self-destruct to preserve its integrity?" No, IT DOES NOT EXAMINE these questions! It just depicts a story of a brilliant, but unsuccessful musician, narrated by a less brilliant, but successful one, who indulges in self-assurance and eternal coolness of an ego greater than mountain.
Anyway, the movie was fun - it's raw, it's fresh, it's stylish, it's ... just god damn interesting, at least for the DW or BJM fans. For the rest of the crowd - I don't know...
The uniqueness of this film, compared to other modern rockumentaries, is that it's not just about one page of a band's history (like "I Am Trying To Break Your Heart", about Wilco), but rather covers long period of the band's history. In this movie, director/producer Ondi Timoner closely followed friends/rivals The Brian Jonestown Massacre (BJM) and The Dandy Warhols (DW) for more than 8 years (1995 - 2003) and shoot tremendous 1500 hours of raw video, cut than to 1:45 hours (the future DVD release will contain much more material than the original film). The result is astonishing - there are no fillers - the film is 100% pure and genuine archive footage, which gives you feeling as film progresses that you live with the bands, through all these years.
Both bands in the start of their careers promised to "make a revolution" in the music making, and not to sell their souls to the devil of "record industry". However, their paths quickly diverged - The Dandy Warhols signed a contract with Capitol Records and became relatively popular (especially in Europe) after only one album, while The Brian Jonestown Massacre (with its self-destruction-bound leader Anton Newcombe) dissolved into oblivion (at least how it is portrayed in the film). And the movie follows the descent of The Brian Jonestown Massacre, contrasted by the ascent of The Dandy Warhols.
First, I was delighted by the movie and its approach of telling the story of Anton Newcombe (for example, Courtney Taylor - the leader of The Dandy Warhols - narrates), but after some thinking I realized that something is wrong with this film.
First, it treats Anton Newcombe as a disappeared person. The project started in 1995 as a documentary about several promising emerging groups, in which Anton Newcombe and Ondi Timoner were equal partners (that was the reason why all these years Ondi Timoner had unmediated access to the both bands). It was Anton Newcombe who brought The Dandy Warhols into the project. In the end he was ignored completely, as if he was kicked out of the project. Everybody talk about BJM, but he does not take part in the discussion. I guess he wasn't even informed when the group started the final editing process. There are always both sides of the story, and here we have only one... Of course, as one would expect, Anton does not approve the final result and sees this movie as a betrayal of his former friends.
Second, the film is very Dandy Warhols-biased. Sure, the winner takes it all, but the fact that Courtney Taylor (leader of DW) narrates (even though it seems a good choice - it provides a feeling of seemingly closer involvement) and that bands' late history is represented nonproportionally (BJM is covered till 1997, and DW - till 2003), does not add objectivity to the film.
Third, the movie is (somewhat) shallow. What does it want to teach us? As one critic said: "... movie examines old questions: where does genius fit into a commodified world? Can it thrive and get its due, or does it need to self-destruct to preserve its integrity?" No, IT DOES NOT EXAMINE these questions! It just depicts a story of a brilliant, but unsuccessful musician, narrated by a less brilliant, but successful one, who indulges in self-assurance and eternal coolness of an ego greater than mountain.
Anyway, the movie was fun - it's raw, it's fresh, it's stylish, it's ... just god damn interesting, at least for the DW or BJM fans. For the rest of the crowd - I don't know...
Dandy ***holes!
pandabat14 July 2005
Don't believe the hype. Everything that I'd seen and read about this movie foretold that it would be a great experience. What I got when I went to the cinema was a regression to the wasted years of youth. The Dandy Warhols and The Brian Jonestown Massacre both seem to make interesting and enjoyable enough music but it was hard to pick out individual tunes or really say for certain because of a lot of chopping and changing of the music being played (surely to try and inject some much-needed pace) or because it was from a poorly record live set or impromptu back-garden performance. There's no production quality here and no acting here, at least not acting as we know it although all the band members here are acting in some way - play acting, acting the fool, acting mature, acting superior, acting as if none of it matters. It all stank of teenage wannabes and people who've just discovered the 60s and think that they can somehow bring all that forward to the present in one form or other. I found the supercillious nature of the Dandys, once they had found success, to be immodest and forgetful of what it nearly came to. Meanwhile, the willful self-destruction of Anton (of the Brian Jonestown Massacre) was self-centred to the point of being psychotic, autistic, schizophrenic or maybe a combination of all three. While a good insight to many things is given in this movie, and while footage was shot over many years, there is still not enough content here to really fill a feature length documentary. A one hour special would have easily done the job and with a better punch but that might have been "too commercial" or too much in "with the suits" for those involved. It was all hanging around people who thought they were changing the world by taking drugs. Good fun if you were there, mostly boring as a straight and sober bystander. Full of wannabes but having said that, without wannabes there's be few superstars. Watch it on TV - you'll lose nothing!
killer!
avavoogt7 August 2005
Damn, was that a lot to take in. I was pretty much mesmerised throughout. It was pretty perfect, though I would say the editing had a lot to do with that. I can't believe this guy stayed on good terms with the lot of them (Anton especially) to get all of this footage without any serious... beef. The Dandy's did come off well-together, middle-class kids who took advantage of their situation (and rightly so!). I felt bad for Jonestown and especially for Anton, which maybe wasn't what a lot of other people felt. Great piece of film-making and great choice of subject(s). I recommend this to any music/film fan. You'll probably learn something about film-making.
Wow, and to think this crap is considered talent???
nycfunfunguy1 December 2006
I just stumbled onto this guy who plays in the NYC subways and I tell you, he has more fire, talent, balls, anger, aggression, you name it, than any of this hyped self loving crap.
He goes by Shakerleg and he has REINVENTED a damn instrument. Playing so completely wild and charging people up in a way NONE of these losers in this movie can. Anton??? Please... give me a break... play something slightly different from song to song, not the same two chord bull@#&%^ 4/4 time you are passing off for musical talent...
Jeeeezus... Radiohead would wipe the floor with the oiled up hair of that pompous no talent hack.
But seriously check out this Shakerleg guy. He had my head spinning I couldn't believe what I was seeing. Bashing away on this bizarre drumset with his bare hands. Something totally new that needs to be recognized... I couldn't believe I stood there that long listening to what I thought sounded like a full out song when it was just this guy drumming in this unbelievable way... I feel like quitting my job (accounting!) and becoming this guys manager. http://www.shakerleg.com http://myspace.com/shakerleg.
Truly one of the most inspiring musicians I have ever witnessed... totally raw... and totally taking an instrument to a place it's never been. I'm done.
He goes by Shakerleg and he has REINVENTED a damn instrument. Playing so completely wild and charging people up in a way NONE of these losers in this movie can. Anton??? Please... give me a break... play something slightly different from song to song, not the same two chord bull@#&%^ 4/4 time you are passing off for musical talent...
Jeeeezus... Radiohead would wipe the floor with the oiled up hair of that pompous no talent hack.
But seriously check out this Shakerleg guy. He had my head spinning I couldn't believe what I was seeing. Bashing away on this bizarre drumset with his bare hands. Something totally new that needs to be recognized... I couldn't believe I stood there that long listening to what I thought sounded like a full out song when it was just this guy drumming in this unbelievable way... I feel like quitting my job (accounting!) and becoming this guys manager. http://www.shakerleg.com http://myspace.com/shakerleg.
Truly one of the most inspiring musicians I have ever witnessed... totally raw... and totally taking an instrument to a place it's never been. I'm done.
Well made if disjointed documentary
boedicia5023 November 2023
Warning: Spoilers
I watched this documentary after seeing it mentioned in a discussion
on The Brian Jonestown Massacre's gig in Melbourne the other day.
It ended after 6 songs, a fight on the stage and the safety curtain coming down. Watch this film people said and it will explain everything.
It seems that this is typical behaviour at a BJM gig - not always, but seemingly dependent on how much booze/drugs the lead singer Anton Newcombe has ingested beforehand.
After watching this documentary you wonder how any of the band stuck around for as long as they did - most didn't, there have been many changes to their line up over the years.
I had heard of both the bands in this film BJM and the Dandy Warhols, but I recognised none of the BJM songs and 3 or 4 of the Dandy Warhols ones.
The simple explanation for the success of the Dandy Warhols and the lack of it for BJM is summed up at the end by Peter Holstrom of the Dandy Warhols in that Anton Newcombe just didn't want a career in music. The Warhols grew up and were disciplined.
It ended after 6 songs, a fight on the stage and the safety curtain coming down. Watch this film people said and it will explain everything.
It seems that this is typical behaviour at a BJM gig - not always, but seemingly dependent on how much booze/drugs the lead singer Anton Newcombe has ingested beforehand.
After watching this documentary you wonder how any of the band stuck around for as long as they did - most didn't, there have been many changes to their line up over the years.
I had heard of both the bands in this film BJM and the Dandy Warhols, but I recognised none of the BJM songs and 3 or 4 of the Dandy Warhols ones.
The simple explanation for the success of the Dandy Warhols and the lack of it for BJM is summed up at the end by Peter Holstrom of the Dandy Warhols in that Anton Newcombe just didn't want a career in music. The Warhols grew up and were disciplined.
Misrepresentative
forestar448 September 2006
I see too many people proclaiming this documentary as some kind of insight into the music business. Unfortunately it is a complete misrepresentation of underground music and the term 'genius'. The film offers two dubiously talented bands and the diverging paths they take. There's no mention of the many truly great independent bands that choose neither of these paths and become relatively successful in their own right.(see: Built To Spill, Yo La Tengo, Red House Painters, Belle and Sebastian) BJM and Dandy Warhols are too firmly set in rock-and-roll clichés for me to care about them. I'm still waiting for a great documentary that takes an intelligent look at the current state of the rock music industry. This film was only useful as a documentary of the egotistical, delusional and mediocre artist who is so prevalent today.
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