Mit "LEMMY" liefern die Regisseure Greg Olliver und Wes Orshoski den schonungslosen Einblick in das unglaubliche Leben des legendären Heavy Metal-Pioniers Lemmy Kilmister, Frontmann der mitunter einflussreichsten Kult-Band aller Zeiten: MOTÖRHEAD.
Seit mehr als vier Jahrzehnten kreuzt Lemmy's von Drogen und rauer Stimme gekennzeichnete Karriere einschlägige Momente der Rock-Geschichte: Er sah die Beatles im Cavern Club, arbeitete als Roadie für Jimi Hendrix, unterrichtete Sid Vicious und spielte sowohl in Merseybeat und Psychedelic Rock Bands, bevor er begann Punk und Metal zu vereinen und schließlich MOTÖRHEAD ins Leben rief.
Währenddessen inspirierte er weitere Showgrößen des Rock'n'Roll wie z.B. Dave Grohl, Slash und Metallica - alle sind in "LEMMY" vertreten, neben Ozzy Osbourne, Alice Cooper und vielen weiteren... Dieser Film zeigt den Godfather of Heavy Metal hautnah, unverfälscht und auf eine enorm humorvolle Art und Weise!
GREG OLLIVER (Co-Director/Producer & Cinematographer/Editor)
Als Regisseur hat Greg Olliver bereits mit Joan Jett, Snoop Dogg, Carmen Electra, Dale Earnhardt Jr., The New York Rangers und vielen anderen gearbeitet. Zusammen mit Burning Spear schuf er seine biographische Dokumentation. Darüber hinaus entwickelte er Shows für MTV sowie Fuel TV und führte dabei ebenfalls Regie und verantwortete die Produktion. Derzeit beendet Olliver seine Arbeit an seiner Dokumentation über den 97-jährigen Briten Michael Burn MC.
WES ORSHOSKI BIO (Co-Director/Producer)
LEMMY ist Wes Orshoski's Regie Debüt. In den letzten zwanzig Jahren war er vorrangig als Musik Fotograf und Journalist aktiv und interviewte beispielsweise Johnny Cash und Joe Strummer. Seine Texte und Bilder wurde in verschiedenen Magazinen wie Rolling Stone, NME, The Wall Street Journal und The Source veröffentlicht. Außerdem arbeitete Orshoski mit Olliver an der Burning Spear Dokumentation und entwickelt aktuell die Dokumentation über den Keyboarder Ian McLagan der Band Small Faces.
WES ORSHOSKI notes:
„November 2006. Greg and I go to a pub in Dublin to come up with ideas for the first film we will direct and produce together. We order two Smithwick's. Bam! An idea comes to my head-let's do a doc on the immortal Lemmy Kilmister. We're a couple of no-name directors, we don't stand a chance. We order two more Smithwick's and fantasize about how cool it would be, like two pathetic lottery players dreaming about how they'll spend their lump sums. Two months later, Motörhead management agrees to a trial run. It's a small victory, celebrated with beers on the Lower East Side. Pabst maybe? Four months later, we meet Lemmy for the first time. He shows up wearing what initially seems to be a Nazi uniform, but is actually a fusion of military styles, mostly Russian. Whatever it is, it's intimidating as hell-by design, I presume. I smile to myself-here we go, the ride is about to begin... Curiously, Lem gives us the most emotionally open interview he ever will as we sit across from him, total strangers. We get two hours of camera time that trip. It's enough. We celebrate with Coronas at the Rainbow in Hollywood. We temper our excitement. That was cool, but I'm sure it'll end there. Like all the other assholes in this business, they'll take our shit, thank us for our time and pass the project on to a name director. We return home to New York and cut what will be our audition tape. We wait-months-for a verdict from Lem. It finally comes one evening at the Rainbow: We speak two minutes of business-if that-but drink (Stella on draft) and laugh. It's the longest "business" meeting Lemmy's manager has ever seen him attend. Four hours later, he excuses himself to go meet a chick. Did that just happen? Did he just say yes? Fuck! Holy shit! We're really doing this.
Two months later we're in Sheffield on tour with Motörhead (and Alice Cooper and Joan Jett). We travel to places we've only read about, have experiences people only dream about, we make lifelong friends with the crew, who introduce us to a new obsession: Strongbow. We steal many out of their coolers, they bitch about it (but secretly love it). Over the next three years, a lot of shit goes wrong. We run out of money; we max out credit cards; we overdraw accounts; we travel thousands of miles in vain-repeatedly; Greg and I fight-a lot; we announce the film with a teaser online-prematurely; people start to freak; word spreads; our web traffic is the kind start-ups dream of; we beg for money from various schmucks; no one produces a cent; our friends and family are the only ones to believe in the project, and lend us the money; hard drives crash; tapes are reloaded; fans wonder "when the fuck is the movie coming out?"; we dream about how cool it would be to open the film at South by Southwest; it happens-and is completely overwhelming, emotionally; more shit goes wrong; it takes forever to close deals; we travel to more film fests, while fans get more and more impatient; we finally, impossibly, improbably reach the finish line. Like Lem has done all his life, professionally, we struggled and I think he liked that we did. There's something in our struggle that I think Lemmy related to. In the film he says, "I had a dream as a kid, and my dream came true." We had a dream, and the chips were SO stacked against us. Call it divine intervention, call it a just reward for hard work and true skill, call it dumb luck, but we did it. I-can't-fucking-believe-we-did-it. Time for another drink.
GREG OLLIVER notes:
For me, shooting Lemmy was like filming wildlife - dangerous wildlife. You never knew what to expect, or if you were going to get hurt in the process. From NYC to London to Oulu to Paris to Moscow to Austin, TX, we had an adventure of a lifetime following Lemmy and Motörhead. Almost four years of labor, hundreds of hours of tape and thousands of feet of film made an epic tale of rock & roll about the most epic rock star of all time. It's a film that I, Wes and Lemmy are proud to finally debut in the UK, France and Scandinavia - home of Motörhead's biggest fans.
Some of my favorite memories include filming on stage next to Lemmy during the song "Overkill" which is a pummel of double-bass drums and strobe lights... enough to make anyone dizzy. It's already a stressful, complicated affair to load a 16mm film camera in a crowded casino where the manager has given you only 5 minutes to get your shot. Add to that Lemmy leaning over saying "C'mon Greg, it can't be that hard!!"... and you've got yourself one heck of a time staying focused. After this film I feel like I am now a battle-ready filmmaker.
"Damage Case" is a Motörhead song that became the unofficial theme song of the film, as we use it in the opening of the film and Metallica plays it with Lemmy as a special guest. Wes and I have embraced that and have formed a production company appropriately called Damage Case Films that will be dedicated to creating more over-the-top music driven films and television content that rocks harder than the norm. We pride ourselves in having created a visually stimulating film that is as informative as it is entertaining, and we plan to continue that trend in our upcoming projects.
LEMMY - THE MOVIE
Label: WVG Medien
LAUFZEIT: 107 MIN. &
ÜBER 200 MIN. EXTRAS
FSK: 16 (BEANTRAGT)
GENRE: MUSIK / ROCK'N'ROLLDOKUMENTATION
TONFORMAT: DOLBY DIGITAL 5.1
(DVD) / DTS (BLU-RAY)
DEUTSCH (FEATURE FILM)
2 PAL (DVD) / B (BLU-RAY)
LIVEAUFNAHMEN, MAKING OF,
ARTIST FEATURES, MEET THE
FANS, IN THE STUDIO,
"WE ARE THE ROAD CREW"
PRODUKTION: USA 2010