Reply #24: moore and townshend [View All]

[onenote]

The facts are that Moore started things off by giving an interview in which he claimed that Townshend wouldn't authorize the use of Won't Get Fooled Again because Townshend "supports the war and supports Tony Blair and doesn't want the song used in any way that would make Blair look bad." He went on to state that Townshend subsequently changed his mind and offered the song's use but that it was after Moore had already decided to use Rockin' in the Free World, which he felt fit the ending of the movie more than WGFA anyway.

Pete responded with his side of the story, which included an acknowledgement that he had initially supported the war but now,like millions of others, doubted it was the right thing. He explained that the initial request to use the song was turned down on financial grounds without his being involved at all. When asked to reconsider, he expressed a desire to see a rough cut of the movie, but apparently it was too late. In any event, Townshend and Moore actually agree on the more substantive point that WGFA isn't the best song for Moore's purposes since its basically a condemnation of all politicians.

From my perspective, Townshend had every right to feel like he was being slurred by the suggestion that he was withholding the song because of his position on the war or Tony Blair. But each person is free to reach their own judgment. I just suggest you read the actual statements (which are reposted below). And for those of you who want to attack Townshend because he was accused -- wrongly it turns out -- of being a pedophile -- well, you're living up to the best freeper model of speaking without bothering to know the facts and, at the same time, sadly demonstrating the truth of "meet the new boss, same as the old boss". I would hope those of us on the left would (a) recognize that, just maybe, the police and authorities don't always get it right and (b) try to differentiate ourselves, rather than emulate, the jerks who we're trying to defeat.

onenote

MOORE ON TOWNSHEND:

"At the end of the film Bush says "Fool me once, shame on... me. I won't get fooled again." Clearly that moment demands that we hear Roger Daltrey scream, "Won't get fooled again!" That's how I had it cut. Pete Townsend blocked it, would not allow the song to be used. Word came to us that he is not a fan of Michael Moore's and in fact supports the war and supports Tony Blair and doesn't want the song used in any way that would make Blair look bad. Harvey personally made an appeal to him to reconsider. And he wouldn't. At that point, we're about a week away from going to Cannes. So, I remembered while I was driving in Michigan "Rockin' in the Free World" came on the radio and I thought this would be a cool song to have in the movie. So we said, "Let's see how this works," and it worked perfectly. Called up Neil Young and he said, "Whatever you need. Absolutely. It's yours." Once we started playing it in the movie, we quickly forgot about The Who. In fact, after Cannes, we got a call from their manager who said they might be willing to reconsider. And I said, "No, uh uh. That's bad karma. This is Neil Young's moment." People leave the theaters, that's what I want them hearing. In fact I don't want them hearing a song that has the line, "Meet the new boss, same as the old boss." Because the new boss I sincerely hope won't be the same as the old boss. I don't want that song. It gave me a chance to have a line at the end too, cause you can't go right into "Rockin' in the Free World." So I get to say "For once I agree with Bush...we won't get fooled again."


TOWNSHEND ON MOORE:

"Michael Moore has been making some claims - mentioning me by name -
which I believe distort the truth.

He says - among other things - that I refused to allow him to use my
song WON'T GET FOOLED AGAIN in his latest film, because I support the
war, and that at the last minute I recanted, but he turned me down. I
have never hidden the fact that at the beginning of the war in Iraq I
was a supporter. But now, like millions of others, I am less sure we
did the right thing.

When first approached I knew nothing about the content of his film
FARENHEIT 911. My publisher informed me they had already refused the
use of my song in principle because MIRAMAX the producers offered
well below what the song normally commands for use in a movie. They
asked me if I wanted to ask for more money, I told them no.

Nevertheless, as a result of my refusal to consider the use, Harvey
Weinstein - a good friend of mine, and my manager Bill Curbishley -
interceded personally, explained in more detail to Bill what the
movie was about, and offered to raise the bid very substantially
indeed. This brought the issue directly to me for the first time.
Bill emailed me and told me how keen Harvey and Michael Moore were to
use my song.

At this point I emailed Bill (and he may have passed the essence of
what I said to Harvey Weinstein) that I had not really been convinced
by BOWLING FOR COLUMBINE, and had been worried about its accuracy; it
felt to me like a bullying film. Out of courtesy to Harvey I
suggested that if he and Moore were determined to have me reconsider,
I should at least get a chance to see a copy of the new film. I knew
that with Cannes on the horizon, time was running short for them, and
this might not be possible. I never received a copy of the film to
view. At no time did I ask Moore or Miramax to reconsider anything.
Once I had an idea what the film was about I was 90% certain my song
was not right for them.

I believe that in the same email to my publisher and manager that
contained this request to see the film I pointed out that WGFA is not
an unconditionally anti-war song, or a song for or against
revolution. It actually questions the heart of democracy: we vote
heartily for leaders who we subsequently always seem to find wanting.
(WGFA is a song sung by a fictional character from my 1971 script
called LIFEHOUSE. The character is someone who is frightened by the
slick way in which truth can be twisted by clever politicians and
revolutionaries alike). I suggested in the email that they might use
something by Neil Young, who I knew had written several songs of a
more precise political nature, and is as accessible as I am. Moore
himself takes credit for this idea, and I have no idea whether my
suggestion reached him, but it was the right thing to do.

I have nothing against Michael Moore personally, and I know Roger
Daltrey is a friend and fan of his, but I greatly resent being
bullied and slurred by him in interviews just because he didn't get
what he wanted from me. It seems to me that this aspect of his nature
is not unlike that of the powerful and wilful man at the centre of
his new documentary. I wish him all the best with the movie, which I
know is popular, and which I still haven't seen. But he'll have to
work very, very hard to convince me that a man with a camera is going
to change the world more effectively than a man with a guitar."