TIME Music

The Rolling Stones May Be Playing the Whole of Sticky Fingers On Tour

The Rolling Stones Perform Live In Auckland
Fiona Goodall — Getty Images Mick Jagger sings as The Rolling Stones perform live at Mt Smart Stadium on November 22, 2014 in Auckland, New Zealand.

The 15-city outing coincides with the release of a deluxe version of their classic 1971 album

British rock legends the Rolling Stones are getting ready to hit 15 stadiums across North America this summer.

The Zip Code Tour — named after the actual zip that graced the Warhol-designed cover of the original 1971 vinyl release of Sticky Fingers — will kick off in San Diego’s Petco Park on May 24 and wrap in Quebec on July 15.

The Rolling Stone’s return to the road coincides with the release of a deluxe edition of the classic Sticky Fingers album on May 26. Stones’ front man Mick Jagger says the band is wrestling with the idea of performing the album in its entirety during the tour.

Sticky Fingers has about five slow songs. I’m just worried that it might be problematic in stadiums,” Jagger told Rolling Stone magazine. “Maybe we’d play it and everyone would say, ‘Great,’ but maybe they’ll get restless and start going to get drinks.”

TIME Television

HBO Orders Martin Scorsese-Mick Jagger 1970s Rock Show to Series

"Revenge Of The Green Dragons" Premiere - 2014 Toronto International Film Festival
Sarjoun Faour Photography—WireImage/Getty Images Director Martin Scorsese attends the 'Revenge Of The Green Dragons' premiere during the 2014 Toronto International Film Festival at Ryerson Theatre on September 10, 2014 in Toronto, Canada.

Bobby Canavale, Olivia Wilde and Ray Romano will star in the still-untitled show

Boardwalk Empire may have closed up shop, but Martin Scorsese and Terence Winter are sticking around HBO for awhile longer. The network just ordered to series the still-untitled rock show that the duo is developing with Rolling Stones legend Mick Jagger and Breaking Bad producer George Mastras.

Jagger, who first conceived the show as a feature film and has been developing a television version of the story since 2010, will be lending his real-world rock credibility to the series, which is set in the sex-and-drugs fueled music scene of 1970s New York.

The show stars Bobby Cannavale as Richie Finestra, a record company executive with an uncanny knack for figuring out what’s the next big thing in music, trying to make his way in the brave new world of disco and punk and hoping to revive his record label with some new blood. A life-altering decision rocks his world and the aftermath sends ripples through his relationship with his business partner, played by Parenthood‘s Ray Romano, and his ex-model wife, played by Olivia Wilde in her biggest return to television since she rose to fame on House. As to what that “life-altering decision” might be, you’ll just have to tune in.

Rounding out the cast is Juno Temple, Andrew “Dice” Clay, Ato Essandoh, Max Casella, James Jagger, Jack Quaid, Birgitte Sorenson, P.J. Byrne, J.C.MacKenzie, Bo Dietel, Armen Gary, Robert Funaro and Joe Caniano.

The hour-long drama will help HBO fill out its schedule as some of the channel’s mainstay shows like Boardwalk Empire, The Newsroom and True Blood will all be gone by the end of the year. In addition to the Scorsese-Winter project, HBO also recently announced WestWorld, which will mark Sir Anthony Hopkins’ first regular role on a television show.

A premiere date has not yet been set.

TIME Music

Mick Jagger on James Brown: “I Copied All His Moves”

Mick Jagger and James Brown
Redferns/Getty Images (2) Mick Jagger, left, and James Brown

The legendary rocker talks about the soul king's impact on his life and career

Mick Jagger first met James Brown backstage at the famed Apollo Theater in Harlem fifty years ago, when the now-legendary British superstar was a 20-year-old music industry rookie. Singer Ronnie Spector, who introduced them, has said that Jagger was so excited to meet the funk icon that she thought he was going to have a heart attack.

With his involvement in bringing the new biopic Get On Up to the screen, Jagger is now helping to introduce Brown’s unique musical brilliance to a new generation. Jagger spoke with TIME about his relationship with the funk/soul superstar, and shared some additional information regarding his work on the film.

TIME: What’s your first memory of hearing or seeing James Brown do his thing?

Mick Jagger: We all had the Live at the Apollo album. That was the big album before [the Rolling Stones] had come to America. He was a big favorite, and a different kind of music than I played at that time, which was mostly Chicago-style blues and rock. In those days, he did a lot of ballads, and also did super-fast stuff like “Night Train.” All these songs were on this huge-selling album, where you kind of lived the James Brown show without actually seeing it, so I was very familiar with it. When I first went to America, I met James at the Apollo, and he let me hang out with him. I was just a kid, really. He was, like, ten years older than me or something, but he’d been doing it for so long, and he had it down so much. He was kind to let me hang out, and I watched the shows. They did, like, four or five shows a day. Not all with the same intensity, obviously. It’s not possible. So I watched him there at the Apollo, we hung out some, and then I met him various times, we crossed paths on tours and so forth. I went on stage with him at the Apollo in the seventies. He called me up on stage with him. It was kind of a cringy moment for me, because English people don’t really…(laughs)…I just wanted to watch the show. I wasn’t there to be called up to dance with James Brown. But of course, you had to. That was the first time I was on stage at the Apollo, funny enough. James was always very nice to me, always giving me advice.

Can you share some of that advice with us?

James talked a lot about business. It’s in the film. The whole thing about the Apollo was, it’s about renting [it], making your own money, doing your own promotion. He wanted to be his own man. He didn’t want to be bossed around. He didn’t want to be put on a salary. In those days, people got very low record royalties, or never got paid royalties at all. James was very aware of all that. He tried to be his own man, and make sure he wasn’t just used.

Were there any of his stage moves that you, either intentionally or unintentionally, made part of your own persona?

Of course. I copied all his moves. I copied everybody’s moves. I used to do [James’] slide across the stage. I couldn’t do the splits, so I didn’t even bother. Everyone did the microphone trick, where you pushed the microphone, then you put your foot on it and it comes back, and then you catch it. James probably did it best. [Soul singer] Joe Tex did it brilliantly. Prince does it really well. I used to try to do it, but in the end, it hit me in the face too many times and I gave it up. So of course I copied his moves. There was one particular one I used to do a lot, but then I gave up and moved on. You just incorporate everything into your act.

Which was the one you used to do a lot?

When you move laterally from one side of the stage to the other, twisting your foot on one leg. I could do that one. But it’s a kind of attitude, too, not just a body move. It’s a kind of an attitude that he had on stage. You copy it. Little Richard was another contemporaneous performer who appears in this movie, because they’re from the same town. Little Richard also taught me a lot of things. It wasn’t so much moves. It’s about presence on stage in relationship to the audience.

In addition to James’ renown as a performer, he had a huge impact behind the scenes as well, in the construction of his music. Talk about his role in crafting his legendary songs.

James wasn’t a trained musician. He didn’t write music and he didn’t do arrangements. But he did initiate lots of grooves. He had a style. When he reinvented his music from the Apollo-live-period stuff into the funk period, where he did “Cold Sweat,” which was mostly known as the first groove/funk record, he kind of reinvented this. A lot of credit goes to musicians, but a lot goes to him, because he did something that no one else had done. He was into repeating these riffs which were normally used for the outro of a song, and decided to just use that as the whole song. He stripped away a lot of the melodic themes, and just made it into percussive themes for the vocal and the horn lines. His influence on that is massive, because he and the musicians invented this whole new funk genre of music.

His influence has been felt, though, in all areas of music, including hip-hop and the music of superstars like Michael Jackson and Prince. Would any of it be the same without James’ influence?

He’s been a huge influence on all the people you mentioned. Nearly all hip-hop artists acknowledge his influence on their music. Bruno Mars does a lot of his stage act – he does sections which are very influenced by [James]. And also, on artists like myself. I didn’t do much of that kind of music, really, but it’s influenced all the rock bands I know. [Even if] you don’t sound like James Brown, you know that’s in your repertoire. Not on this last tour, but the tour before, we did a James Brown number. We did “Think.” Even though The Rolling Stones is mainly a rock band, if we wanna do that, we can, because we know it. We learned it so long ago.

How big an influence was he on the Stones’ music?

It’s hard to discern. My point is, it’s all there in the background. Particularly that Live at the Apollo album, and all those early funk records. All these bands, the Stones included, could all play [some of that].

James’ music is generally referred to as funk, soul or R&B, and rarely mentioned as an influence in the classic rock realm. But for bands like yours, or even Led Zeppelin, that influence is in there.

Definitely, it’s there. Dave Grohl will be able to do those songs too. The influence is major.

Brian Grazer says you were instrumental in giving feedback on the script for Get On Up. What was the script like when you first read it, and what changes did you feel needed to be made?

First of all, when you find these scripts that are in turnaround, often the reason they aren’t made is because they’re awful or unworkable or something. I found that the Butterworths (English screenwriting brothers Jez and John-Henry Butterworth, who wrote Get On Up) are very talented, and to them, it was a labor of love. I liked the script very much. I thought it had an incredible amount to offer. It was unlike other biopics, which go in for an extremely small snapshot of a person’s life. But this is more extensive. So I thought it was a very good script, but every script needs [some work]. We did change accentuations of character. We amalgamated some characters, because there were just too many. It was slightly confusing. We made it funnier, we took out a lot of early stuff – we just shaved it around and got it into a workable state. It took a while, but the Butterworths did a rewrite, and also, as we got [the film’s director Tate Taylor] on board, we did dialogue changes, and Tate did a polish.

Were there any specific aspects of James’ life you felt needed to be corrected, or portrayed in a different light?

For myself and for Brian, [this film] is about James Brown wanting to be master of his own fate, against the odds – to be in control of his destiny, coming from a place of extreme poverty where he’s in complete disarray and not in control of his destiny. He wants to be master of his own fate, but while doing this, of course, he often alienates people and becomes a loner, and that’s the price that he pays for wanting this success – for being so extreme in his work ethic. That was one of the things we wanted to show. We wanted to show in this movie how it happened, and how he was ultimately a lonely person.

Why was Chadwick Boseman the right choice to play James?

It was a tough ask, and everyone I spoke to said, “You’ll never get anyone to do it well enough.” And, [there was the question of], were we going for a dancer that could act, or an actor that could dance? And so on. You just have to look at everybody that comes your way. Chad had come off this movie, 42, which was successful in the United States, and he was very confident about his ability to play this part. I was very confident, and so were Brian and Tate, about his acting ability, but he knew he had to work – as anyone would have to work – really hard on the performing part, because he wasn’t a stage performer. Apart from immersing himself totally into the character, that was a load of work. The hours that Chad put into this with the choreographer, he really put in the extra hours to make it work, and it paid off.

So there wasn’t significant apprehension on your part knowing that he wasn’t that sort of performer?

Well, yes. Everyone had apprehension, or whatever word you wanna use. (laughs) You never know ‘til you do the first dance scene how it’s gonna work. That’s the nature of any of these things. I think everyone, including Chad, was a little nervy at the beginning. I’m sure they were. But as it went on, you could see how Chad had really taken on the character and made it his own.

TIME Soccer

Mick Jagger Is Being Blamed for Brazil’s World Cup Thrashing

Brazil v Germany: Semi Final - 2014 FIFA World Cup Brazil
Chris Brunskill Ltd/Getty Brazil fans hold up a poster of Mick Jagger during the World Cup semifinal match between Brazil and Germany in Belo Horizonte, Brazil, on July 8, 2014

To paraphrase the song, Brazil was "removed by Jagger, removed by Jagger..."

Mick Jagger has an abysmal record at the World Cup. Not simply because the Rolling Stones singer supports his national side — the perennially disappointing England — but because he has developed a reputation for jinxing any team he supports. And after the 7-1 thrashing Germany unleashed on Brazil, he has ensured that his legendary curse will go down in history — at least in the eyes of Brazilians.

The legend of Jagger’s Jinx began in South Africa during the 2010 World Cup, where he attended matches to support England, the U.S. and Brazil in separate games — and saw all of them defeated. Brazilians supposedly blamed Jagger for their 2010 loss to the Netherlands on a Brazilian shirt he wore.

When the World Cup kicked off in Brazil, locals were understandably anxious to ward off Jagger’s bad mojo. He was nicknamed Pé Frio — literally “cold foot,” which is used to describe a person who brings bad luck.

With the Rolling Stones on tour during the group stages of the World Cup, soccer fans hoped he would be too distracted to do any harm. But, as AP noted in a report dated June 25, this was not to be realized:

At a concert in Rome on Saturday night, Jagger predicted to 70,000 fans that four-time World Cup champion Italy would pull off a clutch victory over Uruguay to advance to the knockout phase. The Italians lost 1-0 Tuesday and were headed home after the tournament’s first round.

At a show in Lisbon in May, the singer predicted that Portugal, led by Cristiano Ronaldo, the game’s top player heading into the World Cup, would win it all at the monthlong tournament in Brazil. Portugal is on the brink of elimination after failing to win in its first two group matches.

Earlier in the World Cup, Jagger suffered some good-hearted ridicule after taking to Twitter on June 19 to urge on his native England in a game, also with Uruguay. ‘Let’s go England! This is the one to win!!,’ he wrote. England lost.

Brazil v Germany: Semi Final - 2014 FIFA World Cup Brazil

Finally, Jagger turned up in Belo Horizonte for the semifinal to cheer on the host nation with his Brazilian son Lucas. Despite wearing an England cap, Pé Frio sat down to witness, along with thousands of dismayed fans of the yellow and green, reportedly the worst home loss ever in Brazilian soccer as well as the most one-sided defeat in a semifinal game in World Cup history. When it comes to soccer, Jagger just can’t get, or give, no satisfaction.

[Dirty Tackle]

TIME celebrity

Watch Mick Jagger Prove He Can Take a Joke in Hilarious Monty Python Video

Rolling Stone frontman can't believe the "wrinkly old men" from the legendary comedy troupe are back

What better wrinkly old man to introduce a show made up of wrinkly old men than the iconic British frontman Mick Jagger?

As a way of promoting the Monty Python tour, which begin July 20, Jagger starred in a video where he sends up septuagenarians who can’t stop doing reunion tours. (Cough, cough.)

The deliciously self-aware sketch stars Jagger, 70, and practically comatose— save some eye rolls—bandmate Charlie Watts when they “find out” that Monty Python is doing a 10-show comeback tour in London. (Jagger is actually making an appearance in the show.) “Monty Python, are they still going?” Jagger says. “That’s pretty amazing. They must be coining it. I bet it’s expensive. Who wants to see that again, really? It was really funny in the Sixties.”

After all, they’re just “a bunch of wrinkly old men trying to relive their youth and make a load of money,” he says.

He then goes on to make a set list for the next Rolling Stone tour. Satisfaction. Under My Thumb. “Dead parrot sketch?” suggests an assistant. “Yeah, Dead parrot sketch,” says Jagger.

The Monty Python Live (Mostly) Tour — “mostly” being a reference to the deceased Graham Chapman — will premiere in London July 20 and be broadcast in movie theaters internationally. The group’s last tour was in 1980.

TIME Music

WATCH: David Bowie’s and Mick Jagger’s “Dancing In The Street” Video Without The Music

Looks like a silly workout video

Back in 1985, Rolling Stones frontman Mick Jagger and David Bowie did a campy cover of the Motown classic “Dancing In The Street.” In 2014, for the latest installment of his music-less music video series, Mario Wienerroither decided to strip out the duo’s dulcet tones and just leave the jumpsuit-and-shoulder-pad-heavy video intact but soundtracked solely by the pitter patter of two sets of very famous feet, the occasional grunt, a train whistle and even a burp.

The result is something that looks like a very energetic exercise video with Mick Jagger playing the enthusiastic aerobics instructor until David Bowie swoops down from the sky like he’s back in Labyrinth and woos Jagger outside. Once they are dancing in the street, the extremely dynamic duo engage in some synchronized dance moves, nearly silent Tai Chi-like arm maneuvers and bold sweeping arm gestures surely directing the silent orchestra. Not since Charlie Chaplin (or, fine, The Artist) has a silent film been so engaging.

[h/t Gothamist]

MORE: Michael Jackson’s “The Way You Make Me Feel” Video Without Music Is Completely Creepy

MORE: Head to Rio With Janelle Monáe’s Cover of David Bowie’s “Heroes”

TIME celebrities

L’Wren Scott Leaves Entire $9 Million Estate to Mick Jagger

L'Wren Scott in New York in 2012.
Evan Sung—The New York Times/Redux L'Wren Scott in New York in 2012.

The will of the late fashion designer, whose death on March 17 was ruled a suicide, says all of her belongings valued around $9 million should become the property of longtime partner Mick Jagger of the Rolling Stones

The late fashion designer L’Wren Scott left her entire estate to her longtime boyfriend Mick Jagger of the Rolling Stones. Her estate is estimated to be valued at $9 million. Scott died in an apparent suicide on March 17.

“I give all my jewelry, clothing, household furniture and furnishings, personal automobiles, and other tangible articles of a personal nature…to Michael Philip Jagger,” Scott’s will reads, according to CNN.

Scott’s New York apartment, worth about $8 million, is her largest asset. Scott’s two siblings Randy Bambrough and Jan Shane are absent from the will, CNN reports. Reports that Scott’s clothing company LS Fashions was $6 million in debt circulated shortly after her death, yet a representative for Scott said those figures are “misleading and inaccurate.”

The 49-year-old designer’s death was a shock to many in the fashion world. The New York Medical Examiner ruled the death a suicide. Scott reportedly died by hanging herself. Jagger recently wrote about Scott’s death on his website. “I am still struggling to understand how my lover and best friend could end her life in this tragic way,” he wrote. “We spent many wonderful years together and had made a great life for ourselves. She had great presence and her talent was much admired, not least by me.”


TIME mick jagger

L’Wren Scott Leaves Her Entire Fortune to Mick Jagger

Vincent Kessler—Reuters Rolling Stones lead singer Mick Jagger and fashion stylist L'Wren Scott arrive at the "Quinzaine des Realisateurs" at the 63rd Cannes Film Festival May 19, 2010.

The 49-year-old’s principal asset was the $8 million Manhattan condo where she was found hanged

Fashion designer L’Wren Scott, who took her own life on March 17, has bequeathed her entire estate to Rolling Stones star Mick Jagger, her longtime boyfriend.

According to the New York Daily News, court papers filed in Manhattan on Wednesday estimated the 49-year-old’s personal wealth at $9 million, $8 million of which derives from her New York City apartment.

A private funeral service was held for Scott in Los Angeles on Tuesday. Her ashes have reportedly been divided between Jagger and Scott’s brother, Randall Bambrough.

[New York Daily News]


Fashion Designer L’Wren Scott Is Cremated at Private Funeral

The front gate to the Hollywood Forever cemetery, where a memorial service for fashion designer L'Wren Scott, was held, is seen in Los Angeles
© David McNew – Reuters The Hollywood Forever cemetery, where the funeral ceremony for fashion designer L'Wren Scott was held Tuesday

The fashion designer and former model committed suicide a week ago

Friends and family bid farewell to the prominent fashion designer and former model L’Wren Scott Tuesday, when she was cremated at a private funeral in Los Angeles, AFP reports.

The 49-year old L’Wren Scott committed suicide in her New York apartment a week ago. At the ceremony, friends and family shared memories and read poems and words of tribute.

Among the attendees were L’Wren Scott’s longtime partner Mick Jagger of the Rolling Stones, former Eurythmics star Dave Stewart, who played a song at the funeral, and actress Nicole Kidman, who often wore the designer’s dresses on the red carpet.


TIME movies

REVIEW: Jodorowsky’s Dune: A Great Dream of Movie Madness

Jodorowsky's Dune
Frank Pavich

The El Topo director came this close to realizing his ambitions to make a thrilling film of Frank Herbert's classic science-fiction novel. Maybe this doc is it

For the year’s most powerful and impassioned movie performance, you must see Jodorowsky’s Dune, a documentary feature that traces the attempt in 1974 of the shaman filmmaker Alejandro Jodorowsky to follow his cult hits El Topo and The Holy Mountain with an adaptation of a book he had not read: Frank Herbert’s science-fiction saga Dune.

“What if the first film of that nature had been Dune and not Star Wars?” asks Drive director Nicolas Winding Refn. “Would the whole megabucks-blockbuster structure have been altered?” Having been shown the book of storyboards that put the whole project on paper, Refn says, “I saw Dune, and it was awesome.”

Jodorowsky’s dream movie remained only a dream: producer Michel Seydoux, after getting rejections from every Hollywood studio, came up $5 million short on the $15 million budget. (A pity that a rich entrepreneur like Megan Ellison, who backed Zero Dark Thirty, The Master, American Hustle and Her, wasn’t born yet.) And nearly four decades later, Jodorowsky acutely feels the pain — not just of the crushing of his project but also of a business model that needs financing for a brilliant madman’s artistry. Still vital and charismatic at 84, the Chilean-born director opens old wounds as if they were fresh cuts and speaks in urgent broken English:

“This system make us of slaves. Without dignity, without depth. With a devil in our pocket. The incredible money are in our pocket. [Pulls some bills from his trousers.] This money, this shit, this nothing. This paper who have nothing inside. Movies have heart — boom, boom, boom! Have mind [mimes lightning bolts from his brain]. Have power [points to his genitals]. Have ambition! I want to do something like that. Why not?” He looks anguished, spent. He might just have relived the yearlong fever of preparing Dune and the desolation of receiving the news that his beautiful child was stillborn.

Today’s moviegoers and film moguls, recalling the expensive flop that David Lynch made of Dune in 1984, might think the story unfilmable (though the Sci-Fi Channel had a hit with a nine-hour version of the Herbert trilogy in 2000 and 2003). Skeptics might also shrug at the ravings of a man like Jodorowsky demanding cold cash to pay for his cinematic delirium. That sounds like common sense, but it only underlines how timid and conservative the producers and consumers of movies have become.

(MORE: Richard Corliss’s mixed review of David Lynch’s Dune)

They should be reminded of two things. First, that several studios turned down George Lucas’ proposal for Star Wars. And second, that in the decade from the late 1960s through the mid-’70s, filmmakers often hatched extreme, unique, original visions — among them Stanley Kubrick’s 2001: A Space Odyssey, Jean-Luc Godard’s Weekend, Haskell Wexler’s Medium Cool, Dennis Hopper’s The Last Movie, Dusan Makavejev’s W.R.: Mysteries of the Organism, Bernardo Bertolucci’s Last Tango in Paris, Werner Herzog’s Aguirre the Wrath of God and, we might say, Gerard Damiano’s art-porno Devil in Miss Jones. (Not to mention Jodorowsky’s own hallucinogenic features.) Directors dared to make those movies; audiences flocked to see them.

For his Dune doc, Frank Pavich reconvened the director, the producer and some of the movie’s “spiritual warriors” — concept artists H.R. Giger and Chris Foss, comic-book artist Jean (Moebius) Giraud and screenwriter-designer Dan O’Bannon, who died in 2009 and is represented by voice tapes and his widow Diane — plus Internet movie critics Drew (Moriarty) McWeeny and Devin (Badass) Farici. All sing psalms and dirges over a brief, glorious age when the medium attained artistic maturity — before it sank quickly, and perhaps permanently, into focus-group entertainment for the lowest common denominator. The message to take from Jodorowsky’s Dune: movies once had brains and balls, and lost them.

(MORE: When Gerard Damiano turned porn into art)

“You can’t have a masterpiece without madness,” says Seydoux, and Jodorowsky’s temperament qualified on both counts. Spawned in Mexico City’s experimental theater, where he had directed plays by Beckett and Ionesco as well as weird adaptations of Shakespeare and Strindberg, he came to movies with the 1968 Fando and Lys, based on Fernando Arrabal’s work; check out the scene in which a woman gives birth to pigs. He then exploded on the midnight-movie scene in 1971 with El Topo (The Mole), a loopy extension of Sergio Leone westerns into a metaphysic of a child (Jodorowsky’s 7-year-old son Brontis) burying all memories of his family to become a man. El Topo was downright linear compared with the 1973 The Holy Mountain, in which a Christlike “alchemist” played by Jodorowsky acquires apostles, one from each planet in the solar system, to renounce greed and find a new Ararat. A hit in Europe, The Holy Mountain made a convert of Seydoux, who offered to finance Jodorowsky’s next project.

On a friend’s recommendation, he picked Dune, which he soon envisioned as a mind-expanding movie. “I wanted to make a film that would give people who took LSD the hallucination without taking the drug,” he says here. “I wanted to change the young minds of all the world.” The film’s first shot, inspired by the three-minute opening of Orson Welles’ Touch of Evil, would send the camera “traversing the whole universe” until it landed on the Dune planet. Having finally read the Herbert novel, he used some parts, ignored others and created a new ending. “I was raping Frank Herbert,” the director says in one of his many inflammatory metaphors, “but with love.”

(MORE: Why Dune is Lev Grossman’s 101st choice for the all-TIME 100 Books list)

A spellbinding salesman whose giant ego could convince other great eccentrics, Jodorowsky persuaded Salvador Dalí to take a role by agreeing to his price of $100,000 for every minute Dalí appeared on screen. He claims he convinced Welles to play the immense Baron Harkkonen by promising that the chef of Welles’ favorite Paris restaurant would cater the shoot. He ran into Mick Jagger at a nightclub and told him he wanted the Stones singer to play the Baron’s son Feyd. “And he said only one word: Yes.” (The Lynch movie made do with Kenneth McMillan as the Baron and Sting, in gold-leaf bathing suit, as Feyd.)

These tales — as well as the stories about casting David Carradine and signing Pink Floyd and the French band Magma to compose music for Dune — may be accurate or may be more Jodorowsky fantasy. One may also question the assertions by McWeeny and Farici that elements from later sci-fi films, including Star Wars, Blade Runner, The Terminator and RoboCop, were somehow directly inspired by Jodorowsky’s unmade movie. The director’s son Brontis, who was to play the main character Paul, insists, “You can hear in some films, ‘I am Dune,’ ‘I am Dune.'” Yet the makers of those later films may not have seen Jodorowsky’s storyboards; it’s the old post hoc ergo propter hoc fallacy. (One movie that does bear Dune’s fingerprints is the Ridley Scott Alien, for which O’Bannon wrote the script, Foss contributed some designs, never used, and Giger created the alien in its various metamorphoses.)

(MORE: Frank Rich’s 1979 review of Alien)

What rings true is the director’s sacred if not entirely sane commitment to his art. “If I need to cut my arms [off] to make a picture,” he avers, “I will cut my arms.” Told by Hollywood that his Dune movie should be just 90 minutes long, he shouts, “Why one hour and a half? I will make a film of 12 hours! Or 20 hours!” and ends with a plaintive plea, “It’s a dream. Don’t ruin my dream.”

A beautiful dream, ruined, is the theme of Pavich’s film and of two other movies about unfinished movies: the 1965 The Epic That Never Was, detailing Josef von Sternberg’s attempt to film Robert Grave’s I, Claudius with Charles Laughton as the Roman emperor, and the 2002 Lost in La Mancha, outlining Terry Gilliam’s troubles with filming Don Quixote, which was to star Jean Rochefort as Quixote and Johnny Depp as Sancho Panza. Maybe the movies, if completed, wouldn’t have been so great. But in their makers’ memories and their fans’ fantasies, every dream comes true, every mad ambition achieved.

Like the Sternberg and Gilliam films, Jodorowsky’s version of Dune is a prime exhibit in the alternate history of film masterpieces — the Museum of What If. Given the energy and talent poured into the project, and Jodorowsky’s undiminished passion for it, we can almost accept, on faith if not in fact, the estimation of Hardware director Richard Stanley: “Dune is probably the greatest movie never made.”

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