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I knew him a little bit, Gus Van Sant says of former Nirvana front man Kurt Cobain, who put a shotgun to his chin and ended his life in 1994, at the age of 27. I never had what you could call a conversation with him. But I met him at his managers house, and one time he called me to ask whether a friend could work on Even Cowgirls Get the Blues. Then came the final curtain, which was so dramatic he died, and it kind of put the candle out, at least in my concept of what grunge was.
Van Sant and I have met to discuss Last Days, a movie loosely inspired by the final hours in Cobains life and set almost entirely within a seen-better-days 19th-century stone mansion somewhere in the Pacific Northwest. The wallpaper is peeling, the chimney pipes wail an atonal dirge, and a despondent rock star named Blake moves about in a zombified trance, surrounded by bandmates, fair-weather friends and assorted hangers-on. Other things happen in Last Days a Yellow Pages representative turns up to deliver his sales pitch, and a detective tells a long, rambling story about a sham Chinese magician but mostly the movie is about how King Blake, like his castle, is beginning to crumble.
Like Van Sants two other recent films Gerry (2002) and Elephant (2003) Last Days, which premiered at Cannes and opens locally next week, is the product of a rigorous stylistic formalism that sees time elongated, dialogue and plot employed sparingly, and actors used less to inhabit characters than as representative figures in some vast, untenable landscape. With the type of movies Id made up until Gerry, Van Sant says, youre constantly leaning over the editing bench going, Gotta cut away from that or youre gonna lose the audience. And you say stuff like that all day long. Its all about getting the next scene up there and moving things along. You dont want to lose the beat, you dont want to let the audience stray, you want to grab them and hold them all the way through for an hour and a half. Whereas these last three movies are about trying to forget that kind of hyperconcept and hoping that people dont need to be grabbed and held or strapped in their seats.
While these high-wire experiments rooted in the work of such European directors as Miklós Janscó, Chantal Akerman and Béla Tarr havent always been to my own liking, Last Days is the one part of Van Sants minimalist trilogy in which the movies formal daring seems symbiotic with (rather than at the expense of) its content. To my mind, its Van Sants strongest work in years an immaculate study in death and decay, and maybe the most creepily atmospheric depiction of bottomed-out rock & roll living since Alex Coxs Sid and Nancy. But despite having Cobain as its starting point, Last Days development process was no more conventional than is the end result. It was something that I collected notes on and thought about making something about, Van Sant elaborates, though I wasnt sure what. I had been involved in biopics on Warhol and Harvey Milk, and Id realized that you can show parts of lives more successfully than you can show the whole thing. Even Lawrence of Arabia its a portrait of this one area of his life; you dont see him growing up or going through the military, and still they needed four hours.
When I started thinking about Last Days, originally it wasnt even about Kurt, but about somebody who stood in for him. I cast this one guy from a Thomas Vinterberg short called The Boy Who Walked Backwards he was 14 years old and from Denmark and I was going to shoot at my house with my 16mm camera and it was just going to be about a boy walking around the house. Last Days still is about a boy who walks around the house, but as it turns out, he looks quite a bit like Kurt.
That boy, Blake, is played by the 24-year-old actor Michael Pitt, best known for his central role in a music-industry melodrama of an entirely different color: John Cameron Mitchells Hedwig and the Angry Inch, where his Tommy Gnosis is erstwhile lover and muse to the eponymous transsexual rocker. In Last Days, Pitt almost never speaks, and spends many scenes with his mass of straggly blond locks so completely covering his face that he resembles the Addams Familys cousin Itt. But if what Pitt does fails to match up with most peoples definition of a dramatic performance, its nevertheless a tour de force of movement and gesture, capped by one long scene where Blake slowly contorts his body into a strange crouching position all while Boyz II Mens On Bended Knee video plays on a nearby television in an echoey, mostly empty room.
The scene is based on several different things, says Van Sant. One is that I heard that Kurt Cobain watched a lot of MTV and, during that same time, I watched a lot of MTV. I would be writing and would have the volume turned down low and, whenever something came on that I wanted to see, I would turn it up and watch. When someone said Kurt liked to watch MTV, I assumed it was probably in a similar fashion. So I thought we should have a scene where he watches MTV, and then I thought it could also be the scene where he seems to be under the influence of something.
In particular, the thing hes doing sort of falling over slowly is something you can see drug addicts do in the Bowery. Then theres the whole discrepancy between Boyz II Men and the music that Blake would be playing. Theyre both in the rock & roll world, but theyre opposites. And then the shooting style of the video is really big theyre using every trick in the book and theres a lot of information they are trying to impart, because they have like six band members and each one has a love story and so theres a lotta stuff going on. Its going really fast, which isnt like our movie, which is going really slow.
To put it mildly. Like Gerry and Elephant, Last Days is assembled in a sequence shot style: Each scene unfolds as a single unbroken camera take. And in Last Days, the cumulative effect is a distending of actions and events that might otherwise be compressed the Boyz II Men video, to cite just one example, plays out in its entirety until we, not unlike Blake, feel trapped in a single, unending moment. For Van Sant, whose 1998 remake of Psycho lives on in contemporary movie infamy, its another of Hitchcocks films, Rope, that now seems a guiding influence. The close-up/medium shot/wide shot model is a certain process where youre on the set gathering shots to use later in editing, Van Sant says. Youre not choosing the palette. Youre just getting all the colors together so you can choose the palette later. Youre also combining different time frames youre using a shot that was shot at 10:30 on a Tuesday morning intercut with one shot on Thursday at 4 in the afternoon.
Even though it works Orson Welles would combine a shot taken in Greece in 1952 with one from Rome in 1958 our minds, I think, recognize that as a particular type of cinema. And with this type of cinema, theres just another vibe to me organic, almost unseen, almost like the medium itself is different.