Rolling Stone - Safe As Milk
Genre: Drama
Director: Oliver Stone
Writer: D.R. Cobb
Based on the Rolling Stone magazine
Cast: Josh Hartnett, Karl Glusman, Aimee Teegarden, James Urbaniak, Ross Butler, Alicia Witt, Stephan Jenkins
Plot: April 1970. Brady Conroy (Josh Hartnett) lays in his bed with Celeste (Aimee Teegarden) curled up next to him. She wants to dicuss their relationship, but he just wants them to just keep doing what they've been doing since it has been working so far. She gets frustrated with him and gets out of bed. He tells her he doesn't understand what she wants, which only frustrates her more. She throws her clothes on and storms out of the apartment. Brady gets up lights a cigarette and starts looking for a record to play. He gets angry and throws several records against the wall.
In the morning, Brady heads down to the Rolling Stone offices to see about any assignments. He talks to Kyle Hargrove (Alicia Witt) while he waits for Jann Wenner (Karl Glusman) to get out of an editors meeting with Ben Fong-Torres (Ross Butler) and Ralph J. Gleason (James Urbaniak). When the meeting is over, Kylee tells Brady to head on into the conference room. He sits down, and they ask him if he's familiar with Captain Beefheart. Brady says he's heard of him, but admits that he isn't super familiar with his music. Wenner says that's good. Most of the magazine's other writers are too biased in one way or the other for him to comfortably give them the assignment of a feature on the musician. Brady nods in agreement. Gleason mentions that there are some ready materials and copies of Beefheart's records up front with Kylee. Wenner mentions that he has arranged for a sit down with Beefheart as well at the musician's house outside of Los Angeles.
That night, Brady sits in his apartment and plays Captain Beefheart's most recent album, Trout Mask Replica. He is thrown by the combination of styles found in the music. He can tell the talent is clearly there in the music, but that it is too unrestrained. His phone starts ringing, and Brady stops the music to answer it. It's Celeste asking what he's up to. He tells her that he's reviewing material for an article. She says that she's sorry about the night before. He tells her he's sorry as well. They make plans to grab some lunch when he comes back from his interview with Captain Beefheart.
The next day, Brady drives down to Los Angeles and finds Captain Beefheart's house in the San Fernando Valley. The house is tiny and run-down. Brady knocks on the door, but there's no answer. Just incoherent yelling coming from inside. Brady opens the door and calls out that he's from Rolling Stone Magazine and he's there to interview Captain Beefheart. A man comes out of the kitchen holding a large knife and introduces himself as Don Van Vliet (Stephan Jenkins), but the few who listen to his music generally just call him Captain Beefheart, Captain or simply Beefheart. The inside of the house is very bare bones. Clearly Captain Beefheart is living in squalor. There's only one chair in the living room, which Beefheart sits in himself without drawing any attention to the lack of other chairs. Brady uncomfortably sits down on a wooden crate that nearly buckles under the weight of a human being.
Brady takes vigorous notes as Captain Beefheart goes on various nonsensical rants about the record companies. He finally starts talking about how the record companies have never understood his music. They call it noncommercial or weird. They asked him to sing more clearly or switch to a poppier sound. They said his records don't sell. Captain Beefheart tells Brady that none of that bothers him much. People will catch up. His music is just ahead of the times, it comes from the future.
After the interview, Brady drives back up to San Franciso. He's not really sure what to think of Captain Beefheart. Once he's in the city he picks up Celeste and they go to a very late lunch. She says he's late, and he tells her that he just had a very confusing interview and lost track of time. They eat a burger place and Brady tells her that Captain Beefheart is clearly a genius, but he is also a complete nutjob who clearly needs psychiatric attention.
Plot: April 1970. Brady Conroy (Josh Hartnett) lays in his bed with Celeste (Aimee Teegarden) curled up next to him. She wants to dicuss their relationship, but he just wants them to just keep doing what they've been doing since it has been working so far. She gets frustrated with him and gets out of bed. He tells her he doesn't understand what she wants, which only frustrates her more. She throws her clothes on and storms out of the apartment. Brady gets up lights a cigarette and starts looking for a record to play. He gets angry and throws several records against the wall.
In the morning, Brady heads down to the Rolling Stone offices to see about any assignments. He talks to Kyle Hargrove (Alicia Witt) while he waits for Jann Wenner (Karl Glusman) to get out of an editors meeting with Ben Fong-Torres (Ross Butler) and Ralph J. Gleason (James Urbaniak). When the meeting is over, Kylee tells Brady to head on into the conference room. He sits down, and they ask him if he's familiar with Captain Beefheart. Brady says he's heard of him, but admits that he isn't super familiar with his music. Wenner says that's good. Most of the magazine's other writers are too biased in one way or the other for him to comfortably give them the assignment of a feature on the musician. Brady nods in agreement. Gleason mentions that there are some ready materials and copies of Beefheart's records up front with Kylee. Wenner mentions that he has arranged for a sit down with Beefheart as well at the musician's house outside of Los Angeles.
That night, Brady sits in his apartment and plays Captain Beefheart's most recent album, Trout Mask Replica. He is thrown by the combination of styles found in the music. He can tell the talent is clearly there in the music, but that it is too unrestrained. His phone starts ringing, and Brady stops the music to answer it. It's Celeste asking what he's up to. He tells her that he's reviewing material for an article. She says that she's sorry about the night before. He tells her he's sorry as well. They make plans to grab some lunch when he comes back from his interview with Captain Beefheart.
The next day, Brady drives down to Los Angeles and finds Captain Beefheart's house in the San Fernando Valley. The house is tiny and run-down. Brady knocks on the door, but there's no answer. Just incoherent yelling coming from inside. Brady opens the door and calls out that he's from Rolling Stone Magazine and he's there to interview Captain Beefheart. A man comes out of the kitchen holding a large knife and introduces himself as Don Van Vliet (Stephan Jenkins), but the few who listen to his music generally just call him Captain Beefheart, Captain or simply Beefheart. The inside of the house is very bare bones. Clearly Captain Beefheart is living in squalor. There's only one chair in the living room, which Beefheart sits in himself without drawing any attention to the lack of other chairs. Brady uncomfortably sits down on a wooden crate that nearly buckles under the weight of a human being.
Brady takes vigorous notes as Captain Beefheart goes on various nonsensical rants about the record companies. He finally starts talking about how the record companies have never understood his music. They call it noncommercial or weird. They asked him to sing more clearly or switch to a poppier sound. They said his records don't sell. Captain Beefheart tells Brady that none of that bothers him much. People will catch up. His music is just ahead of the times, it comes from the future.
After the interview, Brady drives back up to San Franciso. He's not really sure what to think of Captain Beefheart. Once he's in the city he picks up Celeste and they go to a very late lunch. She says he's late, and he tells her that he just had a very confusing interview and lost track of time. They eat a burger place and Brady tells her that Captain Beefheart is clearly a genius, but he is also a complete nutjob who clearly needs psychiatric attention.
Brady heads to the Rolling Stone offices to get some work done. Wenner is the only one in the building, polishing up the next issue's editorial. Wenner asks Brady how the interview with Captain Beefheart went, and Brady laughs. He then tells him that it was a struggle to get any concrete information out of him, but he'll do his best to write it all up. Wenner asks Brady if he can do him a favor. Brady says sure. Wenner asks Brady to go a little easy on Beefheart, to stick to the facts and the music, and leave the rest out of it. Brady agrees.
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