D A Pennebaker
D A Pennebaker
D.A. Pennebaker
Keith Beattie
D.A. Pennebaker
Keith Beattie
Universit y
of
Illin o i s
Pr e s s
U r ba n a
C h icago
a nd
S pr ing fiel d
Acknowledgments | xi
Filmography | 143
Bibliography | 163
Index | 171
I remember it well. It was early spring, and I was sitting in the Elec-
tric Shadows Cinema in Canberra. On the screen, people shouted and
gesticulated at each other, laughed, and delivered planned and ad hoc
speeches in which they analyzed aspects of contemporary women’s
experiences while a heavy-set man, looking alternatively serious, be-
mused, bewildered, angry, and jovial, attempted to introduce speakers
and respond to arguments contained in the speeches. Watching D.A.
Pennebaker’s Town Bloody Hall (1979) I too was confronted by vary-
ing emotions provoked by a film, shot in grainy black and white, at
times poorly lit, and with varying sound levels, that eschewed the dull
informationalism and distanced perspective on a topic often associated
with the documentary form and replaced it with a willingness to involve
the viewer in the raucous atmosphere of the event it represented. The
actions on-screen resembled certain prototypical late 1960s cultural
events: a “happening” or a rock concert with its participatory audience.
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Technological Determinism,
“Collective Text,” Performance
Although he was with Drew Associates for only two and a half years,
accounts of Pennebaker’s career not only invariably highlight his as-
sociation during the early 1960s with Robert Drew but also stress Pen-
nebaker’s practice of direct cinema, a form of filmmaking commonly
associated with Drew. According to various interpretations, direct cin-
ema is a documentary form that emphasizes observation of actions and
events in ways that reveal otherwise unrepresentable aspects of hu-
man experience. Frequently cast as a form uniquely associated with the
United States, it is contrasted to cinema verité, a form associated with
developments in French documentary filmmaking. The film historian
Erik Barnouw summarized the approaches by describing what he saw
as their essential differences. For Barnouw, “The direct cinema artist
aspired to invisibility; the . . . cinéma vérité artist was often an avowed
participant [in profilmic action]. The direct cinema artist played the
role of the involved bystander; the cinéma vérité artist espoused that of
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Concert Film
The Red Shoes, made by Michael Powell and Emeric Pressburger in
1948, is a film about performance. The narrative revolves around the
ways in which the bodies of performers respond to and are manipulated
and transported by the desire to perform. In the ballet “The Red Shoes”
performed within the framing story of the film, a woman sees a pair of
crimson slippers in a shoemaker’s shop and imagines herself dancing in
them. The irresistible attraction of the shoes builds until, in a dramatic
departure from her other preoccupations, she leaps dramatically and
joyously from the ground, landing with the slippers on her feet—which
immediately propel her into new, spirited bouts of dancing. The power-
ful, magical quality of the slippers gives her dancing a new expressive-
ness, though the shoes have a darker effect—driving her dancing into an
uncontrollable frenzy that leads her into hysteria. Unable to remove the
slippers and overwhelmed by uncontrollable emotions, she must dance
until she dies. The narrative of the ballet is a portent. The powerful pas-
sions symbolized in the ballet cannot be confined to the stage. Offstage,
the unleashed passions drive the ballerina, Vicky (Moira Shearer), to
the point where she runs desperately through her apartment and, in a
final leap, jumps from her balcony onto the railroad tracks below. The
leap of joy and the leap to death are parallel—both actions constitute
the outcome of the undeniable need to perform.
The scene changes: the ballet becomes a rock concert, ballerinas
are replaced by musicians, Vicky morphs into Janis . . . In Monterey
Pop Pennebaker’s cameras document Janis Joplin onstage at the 1967
Monterey International Pop Festival with her band Big Brother and
the Holding Company as she delivers a memorable performance of the
song “Ball and Chain.” The sequence commences with a shot in which
the camera pans across the audience, followed by a series of quick shots
of members of the band, and ends with a tight close-up of Joplin’s face
in half profile. At times, the camera unsteadily zooms in on Joplin; at
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Questions of Seeing
The viewer of Monterey Pop, as with a number of concert films that
have adopted it as a representational model, is positioned as a privileged
member of the concert audience, provided unfettered and intimate ac-
cess to a performer within a process that implicates questions of affect.
Watching Otis Redding swaying in and out of the beam of a backlight
produces a certain response in the viewer, and seeing Jimi Hendrix
smashing his guitars produces another, equally visceral response. If the
images in Monterey Pop conform to what Jane Gaines calls a “body
genre,” and as such the film’s visceral representations “make us want to
dance,” Hendrix’s performance in the film, though remarkable, qualifies
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Bootleg Aesthetics
The relationship of onstage performer and audience members estab-
lished as a central structural feature of Monterey Pop and Sweet Toronto
is extended in Ziggy Stardust and the Spiders from Mars through a
specific set of textual characteristics. Ziggy Stardust, a record of David
Bowie’s concert at London’s Hammersmith Odeon during which he
bid farewell to his stage persona “Ziggy Stardust,” is a poorly lit, hastily
shot, haphazard, and grainy film. Pennebaker seemed to recognize the
film’s limitations when he invited avant-garde filmmaker Robert Breer
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Collaborative Filmmaking
Documentary filmmaking has, since its inception, dominantly been a
collaborative enterprise. Joris Ivens reinforced this point in his seminal
account of documentary practice, The Camera and I: “‘The day of the
one-man documentary is over.’ . . . Any film, including any documentary,
has so many sides to its content and its expression that its ideal author
is a team, a collective of people who understand each other” (226, em-
phasis in original). Collaboration in documentary filmmaking marks the
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Figure 6.
John F. Kennedy
in Crisis: Behind
a Presidential
Commitment (1963).
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It must be terrifying to work with Bob Dylan: In the first volume of his
Chronicles . . ., Dylan presents an unapologetic portrait of himself as a
creature of mood: the songs, as recorded, never quite have the sound
he had in his head; determinations to leave this or that track (like the
classic “Blind Willie McTell” recorded in 1983) off the official version
of an album are reached purely via the whimsical sense that it “didn’t
fit” or “didn’t feel right” . . . ; certain key life decisions are made accord-
ing to sudden but absolute hunches, inexplicable changes of feeling or
intuition. (53)
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Speaking Positions
Pennebaker’s longest collaborative exchange has been with Chris He-
gedus. Having studied photography and film at the Hartford Art School
and the Nova Scotia School of Art and Design, Hegedus’s first job after
graduation was with the University of Michigan Hospital, filming the
74 | D.A. Pennebaker
run onto the stage and begin to grope and kiss Johnston. Mailer asks
Johnston to retake her seat so that Trilling can speak, but a petulant
Johnston leaves the stage, accompanied by her friends. Trilling was the
only speaker on the panel to directly address Mailer’s essay, which she
critiques in a formal literary way. Trilling’s presentation is followed by
questions and comments from the floor. Susan Sontag, Cynthia Ozick,
Betty Friedan, Elizabeth Hardwick, John Hollander, and Anatole Bro-
yard are among those who take the microphone, while throughout the
raucous proceedings, members of the audience shout comments and
invective, mainly at Mailer.
The team recording the event comprised a camera crew of Penne-
baker, Jim Desmond, and Mark Woodcock, with Robert Van Dyke on
sound. Pennebaker, in a comment that clearly recognized the need for
editorial attention to the footage, referred to his camerawork on this
occasion as “pretty ratty, probably as badly shot as anything I’ve ever
done” (qtd. in Gordon). Various restrictions and conditions had an effect
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Portraiture
The art historian E. H. Gombrich, describing the effect on the viewer of
a portrait painted by Rembrandt, wrote: “We feel face to face with real
people, we sense their warmth, their need for sympathy and also their
loneliness and suffering” (332). In Gombrich’s estimation, the portrait
provides an immediate and transparent relation to the subject, one that
evokes in the viewer identification with the emotions and feelings of a
“real person.” In these terms, Gombrich praises what he sees as the
ability of a portrait to reveal an essential and unified identity.
Such a position can be revised through reference to Pennebaker’s
portraiture, a central focus within his work. Specifically, the performing
subjects within Pennebaker’s portraits complicate the easy assurance
inherent in Gombrich’s claim that a portrait provides access to an es-
sential and immutable identity. Pennebaker’s portraits simultaneously
reflect on, and contribute to, an emergent 1960s culture of celebrity.
Whereas another set of filmic portraits (those produced by Andy Warhol
in the form of “screen tests,” static long shots of the rich and famous who
came to the Factory) reveled in celebrity by presenting subjects as icons
of the age, Pennebaker’s more elaborate portraits represent subjects as
complex, performing personas. Pennebaker’s portrait subjects include,
among others, John Kennedy and Hubert Humphrey (Primary), Paul
Crump (The Chair [1962]), Eddie Sachs (On the Pole [1960] and Eddie
[1961]), Susan Starr (Susan Starr [1962]), John DeLorean (DeLorean),
Bessie Schonberg (Bessie: A Portrait of Bessie Schonberg [1998]), and
Elaine Stritch (Elaine Stritch at Liberty). In each film, elements of per-
formance inform the portrait, while in the films examined here—Jane
(1962), You’re Nobody till Somebody Loves You (1964), and Dont Look
Back—performance by a subject, together with Pennebaker’s perfor-
mance within and through the act of filmmaking, constitute central
characteristics of the portrait.
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I got my first flush of enthusiasm when the guy says, “How did it all
begin?” And I stopped. . . . And then I saw [the Emshiler footage] sitting
on a shelf, so I decided I might as well look at it. Now when you use a
viewer to edit, you have the viewer and you have a synchronizer sitting
here with a reader . . . and they’re roughly 22 frames apart. . . . So I
had these pieces of film from the last scene still sticking out—“How did
it all begin, Bob?”—and I just spliced the Greenwood film on, just to
look at it, not as part of the film. . . . And when I looked at it, I thought,
“Holy shit!” And I never took it out of the film. (Qtd. in Bauldrie 49)
Rehearsal
Anything acted is, to varying degrees, rehearsed. Rehearsals provide
a broad set of guidelines within which actors consider actions and re-
sponses relevant to the particular parameters of a specific production.
Rehearsal implies repetition of known or recognizable actions, behav-
iors, and gests. Repetition as the basis of rehearsal may be a plodding
reiteration of established dialogue and responses or repeated opportu-
nities to improvise on and around a specific idea or theme. The irony
Interview | 131
Interview | 133
Interview | 135
Interview | 137
Interview | 139
Interview | 141
1954
Baby
Filmmaker: D.A. Pennebaker
6 minutes
black and white
1958
Gas Stop (aka Brussels Film Loop)
Producer: US State Department
Filmmaker: D.A. Pennebaker
2.5 minutes
color
Balloon (aka Balloon Ascension)
Producer: Robert Drew
Filmmakers: D.A. Pennebaker, Richard Leacock, Derek Washburn
Sponsor: Time, Inc.
28 minutes
black and white
1960
Yanki No!
Producer: Robert Drew
Coproduced by: Time, Inc., and Drew Associates
Filmmakers: D.A. Pennebaker, Richard Leacock, Albert Maysles
Reporters: William Worthy, Quinera King
Narrator: Joseph Julian
55 minutes
black and white
Primary
Producer: Robert Drew, for Time-Life Broadcasting
Filmmakers: D.A. Pennebaker, Richard Leacock, Terrence McCartney-
Filgate, Albert Maysles, Bill Knoll
Writer: Robert Drew
52 minutes
black and white
On the Pole
Executive Producer: Robert Drew
Coproduced by: Time, Inc., and Drew Associates
Filmmakers: D.A. Pennebaker, Richard Leacock, William Ray, Abbott Mills,
Albert Maysles
Correspondents: James Lipscomb, Gregory Shuker
52 minutes
black and white
1961
Adventures on the New Frontier
Executive Producer: Robert Drew
Coproduced by: Time, Inc., and Drew Associates
Filmmakers: D.A. Pennebaker, Richard Leacock, Albert Maysles, Kenneth
Snelson
Correspondents: Lee Hall, Gregory Shuker, David Maysles
51 minutes
black and white
144 | Filmography
1962
Blackie (aka Airline Pilot)
Executive Producer: Robert Drew
Coproduced by: Time-Life Broadcasting and Drew Associates
Filmmakers: D.A. Pennebaker, William Ray
Correspondents: Gregory Shuker, Peter Powell
53 minutes
black and white
Susan Starr
Executive Producer: Robert Drew
Producers: Hope Ryden, Gregory Shuker
Coproduced by: Time-Life Broadcasting and Drew Associates
Filmmakers: D.A. Pennebaker, Hope Ryden, Claude Fournier, Peter Eco,
James Lipscomb, Abbott Mills, Richard Leacock
Correspondents: Hope Ryden, Patricia Isaacs, James Lencina, Sam Adams
53 minutes
black and white
Filmography | 145
1963
Crisis: Behind a Presidential Commitment
Executive Producer: Robert Drew
Producer: Gregory Shuker
Produced by: ABC News in association with Drew Associates
Filmmakers: D.A. Pennebaker, Richard Leacock, James Lipscomb
52 minutes
black and white
146 | Filmography
1965
Elizabeth and Mary
Producer: Leacock Pennebaker, Inc.
Filmmaker: D.A. Pennebaker
60 minutes
black and white
1966
Herr Strauss
Producer: Leacock Pennebaker, Inc.
Filmmaker: D.A. Pennebaker
30 minutes
black and white
Filmography | 147
1967
Dont Look Back
Producers: Albert Grossman, John Court, Leacock Pennebaker, Inc.
Filmmaker: D.A. Pennebaker
Photography: D.A. Pennebaker
Assistant Photography: Howard Alk
Sound: Jones Alk
Concert Sound: Robert Van Dyke
Editor: D.A. Pennebaker
Footage of Dylan in Greenwood, Mississippi, shot by: Ed Emshiler
96 minutes
black and white
1968
Monterey Pop
Producer: Leacock Pennebaker, Inc.
Filmmaker: D.A. Pennebaker
Photography: D.A. Pennebaker, Barry Feinstein, Richard Leacock, Jim
Desmond, Albert Maysles, Roger Murphy, Nick Proferes
Music Director: Bob Neuwirth
Editor: Nina Schulman
Stage Sound: John Cooke
Local Sound: Tim Cunningham, Baird Hersey, Robert Leacock, John
Maddox, Nina Schulman
Concert Recording: Wally Heider, Robert Van Dyke
Production Assistants: Pauline Baez, Peyton Fong, Brice Marden
Unit Manager: Peter Hansen
98 minutes
color
Rainforest (aka Merce Cunningham’s Rainforest)
Producer: David Oppenheim
Filmmakers: D.A. Pennebaker, Richard Leacock
Photography: D.A. Pennebaker, Richard Leacock, Roger Murphy
Editor: Patricia Jaffe
Sound: Robert Leacock, Nina Schulman, Robert Van Dyke
27 minutes
color
148 | Filmography
1972
One P.M. (aka 1 p.m.; One Parallel Movie; One Perfect Movie)
Producers: D.A. Pennebaker and Richard Leacock for Leacock Pennebaker,
Inc.
Filmmakers: D.A. Pennebaker (with Richard Leacock and Jean-Luc Godard)
95 minutes
color
Filmography | 149
1973
Ziggy Stardust and the Spiders from Mars
Executive Producer: Tony Defries
Associate Producer: Edith Van Slyck
Filmmaker: D.A. Pennebaker
Photography: D.A. Pennebaker, Nick Doob, Jim Desmond, Mike Davis,
Randy Franken
Editor: Larry Whitehead
Unit Manager: Stacy Pennebaker
Concert Sound: Ground Control
Concert Recording: Trident Studios
100 minutes
color
1978
The Energy War
Executive Producer: Edith Van Slyck
Producer: Pat Lowell
Filmmakers: D.A. Pennebaker, Chris Hegedus, Pat Lowell
292 minutes (3 parts: part 1, 88 minutes; part 2, 87 minutes; part 3, 118
minutes)
color
150 | Filmography
1980
Elliott Carter at Buffalo
Producers: Pennebaker Hegedus Films, New York University
Filmmakers: D.A. Pennebaker, Chris Hegedus
45 minutes
color
1981
DeLorean
Producer: D.A. Pennebaker
Associate Producers: Shirley Broughton, Gayle Austin, Bernice Sherry, Judy
Freed
Filmmakers: D.A. Pennebaker, Chris Hegedus
53 minutes
color
Rockaby (aka Billie Whitelaw in Rockaby; The Making of Rockaby)
Executive Producers: Daniel Labeille, Patricia Kerr Ross
Associate Producer: Saul Elkin
Produced by: BBC
Filmmakers: D.A. Pennebaker, Chris Hegedus
Editors: D.A. Pennebaker, Chris Hegedus, David Dawkins
60 minutes
color
Dance Black America
Producer: Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus
Commentary: D.A. Pennebaker
90 minutes
color
Filmography | 151
1987
Shake! Otis at Monterey
Executive Producer: Frazer Pennebaker
Producer: Alan Douglas
Filmmakers: D.A. Pennebaker, Chris Hegedus, David Dawkins
Photography: D.A. Pennebaker, Jim Desmond, Barry Feinstein, Richard
Leacock, Albert Maysles, Nick Proferes
Editor: Nina Schulman
30 minutes
color
Suzanne Vega (aka Open Hand)
Filmmakers: D.A. Pennebaker, Chris Hegedus
30 minutes
color
1989
Depeche Mode 101 (aka 101)
Executive Producer: Bruce Kirkland, Daniel Miller
Producer: Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus, David Dawkins
120 minutes
color
1990
Jerry Lee Lewis: The Story of Rock and Roll (aka Jerry Lee Lewis)
Filmmakers: D.A. Pennebaker, Chris Hegedus
52 minutes
color
152 | Filmography
1992
Branford Marsalis: The Music Tells You
Producer: Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus
Photography: D.A. Pennebaker, Chris Hegedus, Nick Doob, Ronald Gray,
Crystal Griffiths
60 minutes
color
1993
The War Room
Executive Producers: Wendy Ettinger, Frazer Pennebaker
Producers: R. J. Cutler, Wendy Ettinger, Frazer Pennebaker
Associate Producer: Cyclone Films
Filmmakers: D.A. Pennebaker, Chris Hegedus
Photography: D.A. Pennebaker, Nick Doob
Sound: Chris Hegedus, David Dawkins
Assistant Editor: Rebecca Baron
Associate Editor: Erez Laufer
96 minutes
color
1994
Woodstock Diary (aka Woodstock Diaries)
Filmmakers: D.A. Pennebaker, Chris Hegedus, Erez Laufer
Editor: Erez Laufer
180 minutes
color
Filmography | 153
1997
Victoria Williams: Happy Come Home
Filmmakers: D.A. Pennebaker, Chris Hegedus
28 minutes
color
Moon over Broadway
Producers: Wendy Ettinger, Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus
Photography: D.A. Pennebaker, Jim Desmond, Nick Doob
Sound: Chris Hegedus, John McCormick
Associate Editors: David Dawkins, Erez Laufer, John Paul Pennebaker
97 minutes
color
1998
Bessie: A Portrait of Bessie Schonberg
Filmmakers: D.A. Pennebaker, Chris Hegedus
58 minutes
color
1999
Searching for Jimi Hendrix
Producers: Alan Douglas, Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus
60 minutes
color
2001
Down from the Mountain
Executive Producers: T Bone Burnett, Ethan Coen, Joel Coen
Producers: Bob Neuwirth, Frazer Pennebaker
Associate Producer: Rebecca Marshall
Filmmakers: D.A. Pennebaker, Chris Hegedus, Nick Doob, Jim Desmond,
Joan Churchill, Bob Neuwirth, Jehane Noujaim, John Paul Pennebaker
154 | Filmography
2002
Only the Strong Survive
Executive Producers: Bob Weinstein, Harvey Weinstein
Producers: Roger Friedman, Frazer Pennebaker
Associate Producer: Rebecca Marshall
Filmmakers: D.A. Pennebaker, Chris Hegedus
Photography: D.A. Pennebaker, Chris Hegedus, Nick Doob, Jim Desmond,
Erez Laufer, Jehane Noujaim
Editors: D.A. Pennebaker, Chris Hegedus, Erez Laufer
Sound: Chris Hegedus, John Paul Pennebaker, Kit Pennebaker
98 minutes
color
2004
National Anthem: Inside the Vote for Change Concert Tour
Producers: Frazer Pennebaker, Joel Gallen, Maureen Ryan
Associate Producers: Walker Lamond, Rebecca Marshall
Filmmakers: D.A. Pennebaker, Albert Maysles, Chris Hegedus, Antonio
Ferrera, Nick Doob
Photography: D.A. Pennebaker, Albert Maysles
Editor: David Dawkins
Assistant Editor: Sabine Kertscher
Associate Editor: Christine Park
Production Assistants: Rod McDonald, Aronya Waller
315 minutes
color
Elaine Stritch at Liberty
Producer: Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus, Nick Doob
94 minutes
color
2006
Assume the Position with Mr. Wuhl
Executive Producer: Robert Wuhl
Producer: Frazer Pennebaker
Filmmakers: D.A. Pennebaker, Chris Hegedus, Nick Doob
Filmography | 155
2007
Monterey Pop: The Summer of Love (aka Monterey 40)
Produced by: Pennebaker Hegedus Films
Executive Producers: Brad Abramson, Shelley Tatro, Michael Hirschorn
Producer: Erik Himmelsbach
Supervising Producer: Mark Anstendig
Associate Producers: Ken Shapiro, Abigail Parsons
Filmmakers: D.A. Pennebaker, Erik Himmelsbach
60 minutes
color
Addiction: The Supplementary Series: Opiate Addiction: Understanding
Replacement Therapy
Produced by: Home Box Office
Executive Producer: Sheila Nevins
Producers: Frazer Pennebaker, John Hoffman, Susan Froemke
Coproducer: Micah Cormier
Filmmakers: D.A. Pennebaker, Chris Hegedus
19 minutes
color
2008
The Return of the War Room
Producers: Pennebaker Hegedus Films, McEttinger Films
Filmmakers: D.A. Pennebaker, Chris Hegedus
82 minutes
color
2009
Kings of Pastry (aka The Collar)
Executive Producer: Frazer Pennebaker
Producers: Flora Lazar, Frazer Pennebaker
156 | Filmography
2010
The National
Produced by: Vevo
Filmmakers: Chris Hegedus, D.A. Pennebaker
67 minutes
color
Other projects
1956
Widening Circle
Writer: D.A. Pennebaker
Sponsor: YWCA
Wider World
Writer: D.A. Pennebaker
Sponsor: Girl Scouts of America
Suez
Producer, Writer: D.A. Pennebaker
Sponsor: Julien Bryan
14 minutes
color
1957
Your Share in Tomorrow
Assistant Director, Camera: D.A. Pennebaker
Sponsor: New York Stock Exchange
1958
Highlander
Editor: D.A. Pennebaker
Sponsor: Highlander School
Filmography | 157
1960
Christopher and Me
Writer (song for titles): D.A. Pennebaker
Sponsor: Edward Foote
Mardi Gras
Photography: D.A. Pennebaker
Sponsor: Walt Disney
1962
Mr. Pearson
Photography: D.A. Pennebaker
Sponsor: Canadian Broadcasting Corporation
1964
Timmons
Photography, Editor: D.A. Pennebaker
Sponsor: Granada Television
Casals at 88 (aka Casals at Eighty-Eight)
Photography and Sound for Budapest Sequences: D.A. Pennebaker, Richard
Leacock
Sponsor: CBS
1966
Van Cliburn
Photography: D.A. Pennebaker
Sponsor: AT&T
1967
Wild 90
Producers: Norman Mailer, Supreme Mix
Director: Norman Mailer
Photography: D.A. Pennebaker
158 | Filmography
1968
Two American Audiences
Filmmaker: Mark Woodcock
Photography: D.A. Pennebaker, Mark Woodcock
40 minutes
black and white
Beyond the Law
Producers: Buzz Farber, Norman Mailer
Director: Norman Mailer
Photography: D.A. Pennebaker, Nick Proferes, Jan Pieter Welt
110 minutes
black and white
McCarthy
Photography, Editor: D.A. Pennebaker
Sponsor: McCarthy Headquarters
1970
Maidstone
Producers: Buzz Farber, Norman Mailer
Director: Norman Mailer
Photography: D.A. Pennebaker, Richard Leacock, Jim Desmond, Nick
Proferes, Sheldon Rochlin, Diane Rochlin, Jan Pieter Welt
Editors: Jan Pieter Welt, Lana Jokel, Norman Mailer
Associate Editors: Harvey Greenstein, Lucille Rhodes, Marilyn Frauenglass
Sound: Nell Cox, Robert Leacock, Nina Schulman, Kate Taylor, Mark
Woodcock
110 minutes
color
John Glenn
Photography: D.A. Pennebaker
Sponsor: Glenn for Senator Campaign
Robert Casey
Photography: D.A. Pennebaker
Sponsor: Casey for Governor Campaign
Filmography | 159
1972
Eat the Document
Director: Bob Dylan
Photography: D.A. Pennebaker
Sound: Jones Alk, Bob Neuwirth, Bob Alderman
Editors: Bob Dylan, Howard Alk, Robbie Robertson
44 minutes
black and white
1987
Dal polo all’equatore (aka From Pole to Equator; From the Pole to the
Equator)
Filmmakers: Yervant Gianikian, Angela Ricci Lucchi
Editor: D.A. Pennebaker
1997
Sessions at West 54th (series)
Executive Producer: Jeb Brien
Produced by: Automatic Productions for American Program Service for PBS
Photography (interview segments): D.A. Pennebaker and Chris Hegedus
10 episodes; 10-minute interviews (approx.)
color
Producer
2001
Startup.com
Executive Producer: Jehane Noujaim, Frazer Pennebaker, Chris Hegedus
Producer: D.A. Pennebaker
Associate Producers: Rebecca Marshall, Ed Rogoff
Produced by: Pennebaker Hegedus Films/Noujaim Films
Filmmakers: Chris Hegedus, Jehane Noujaim
Photography: Jehane Noujaim
160 | Filmography
2003
The Cutman
Executive Producer: D.A. Pennebaker
Producers: Yon Motskin, Michael Shemesh
Associate Producer: Christina De Haven
Director: Yon Motskin
Writer: Yon Motskin
27 minutes
color
2004
Fox vs. Franken (episode in The First Amendment Project series)
Filmmakers: Chris Hegedus, Nick Doob
30 minutes
color
2006
Al Franken: God Spoke
Filmmakers: Chris Hegedus, Nick Doob
90 minutes
color
2008
Saint Misbehavin’: The Wavy Gravy Movie
Executive Producer: D.A. Pennebaker
Producer: Michelle Esrick, David Becker
Director: Michelle Esrick
Photography: Daniel Gold
Editor: Karen Sim
Consulting Editor: Emma Joan Morris
86 minutes
color
Thank-yous
1976
Harlan County, U.S.A.
Filmmaker: Barbara Kopple
Filmography | 161
2004
Control Room
Filmmaker: Jehane Noujaim
2005
No Direction Home
Filmmaker: Martin Scorsese
1982
Charles Musser, Before the Nickelodeon: The Cinema of Edwin S. Porter
As voice for “Film as a visual newspaper” segment
1999
Peter Wintonick, Cinema Verite: Defining the Moment
As interview subject
2000
Aiyann Elliott, The Ballad of Ramblin’ Jack
As interview subject
2002
Gerold Hofmann, See What Happens: The Story of D.A. Pennebaker and
Chris Hegedus
Edith Becker and Kevin Burns, Hollywood Rocks the Movies: The Early
Years (1955–1970)
As interview subject, uncredited
162 | Filmography
164 | Bibliography
Bibliography | 165
166 | Bibliography
Bibliography | 167
168 | Bibliography
Bibliography | 169
172 | Index
Index | 173
174 | Index
Index | 175
176 | Index