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When 24 Hour Party People was released in 2002, it finally felt like a film where I wouldn't be feeling that envy. To radically paraphrase a chap who Wilson regretted not signing, it was a film that could say something to me about my life. And it did.
Along the way, he helped bring rave culture to Britain under the aegis of the legendary Hacienda nightclub. 24 Hour Party People follows Wilson from his conversion to punk at a seminal Sex Pistols concert through the suicide of Joy Division singer Ian Curtis, the overwhelming success of New Order and the eventual dissolution of the Factory empire thanks to bad business decisions, underworld ...
9 de ago. de 2002 · 24 Hour Party People is one heck of a film. Off-the-wall and truly odd, 24 Hour Party People is both a compelling biopic of Tony Wilson, the man behind Factory Records, a film about the bands who he worked with, and a film about the Manchester music scene. Told in a news broadcast fashion thanks to Wilson's background as a reporter, the film ...
28 de sept. de 2017 · Taken from Happy Mondays "Greatest Hits", available on all platforms: https://happymondays.lnk.to/GreatestHitsSubscribe to the channel: https://londonrecords...
Manchester 1976: Cambridge educated Tony Wilson, a Granada TV presenter, is at a Sex Pistols gig. Totally inspired by this pivotal moment in music history, he and his friends set up a record label, Factory Records, and proceed to sign a number of bands destined to be some of the most influential artists of their time. First, Joy Division, who go on to become New Order; then come the Happy ...
Smartly blending archival footage with fictional characters, 24 Hour Party People dances to the beat of its own drum. A vibrant portrait of the Manchester music scene during the mid-to-late 1970s, through the eyes of TV presenter Tony Wilson, founder of Factory Records, as he introduces the world to such notable musical acts as Joy Division, New Order, and The Happy Mondays.
Robby Müller: Director of Photography Michael Winterbottom Steve Coogan, Paddy Considine, Sean Harris, Lennie James, Shirley Henderson Michael Winterbottom’s film is one of Müller's last films as a director of photography. Again Müller shot this film with digital cameras and yet again with a shaky hand-held esthetic which adds to the film’s documentary feel and plunges the viewer into ...
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