Awesome: I Fuckin’ Shot That!
Directed by: Nathaniel Hornblower aka Adam Yauch
Starring: The Beastie Boys

There have been a lot of concert films but few are like this one. It’s extremely hard to convey the actual feeling of being at a show on film and it’s rare to find a film that does it successfully. Films that come to mind may be Woodstock, Gimme Shelter and Pantera – Free (remember when they toss keg cups of beer into the crowd?). While Awesome: I Fuckin’ Shot That! may be no live Pantera experience, it certainly takes the viewer directly into the crowd of a live Beastie Boys concert at Madison Square Gardens.

The idea was to give 50 DV cameras to 50 audience members and allow them to capture the show how they saw it. At a filming tutorial before the concert began the filmmakers were given simple instructions to never stop shooting no matter what, to do whatever they wanted but just keep the camera on in front of them. This led to fantastic audience shots, people yelling into the camera and even a trip to the bathroom.

The idea of having 50 fans shoot the film is a great idea but the logistics of making it work are another reality. An idea like this it seems almost like predicting the future, you would have to know what end result you wanted to have. The core of the film seems more pre-constructed than its guerrilla image would have you believe. You would have to infer what kind of footage amateur filmmakers would produce and the Beasties probably knew what the end result would be. Considering the experience of the filmmakers, they showed an appropriate amount of respect but it was the Blair Witch Project of concert films. It worked for the most part because of rapid fire editing and Photoshop, and because the film was not only about the group on stage but also about shooting from the audience perspective and capturing the energy and excitement of being at a Beastie Boys concert.

When the Beasties take the stage they open the set with the core of the Beasties repertoire “Sure Shot”, “Root Down” and “Shake Your Rump” along with new tracks like “Triple Trouble” and “Hello Brooklyn”. They blast through every song with enthusiasm as though they’re playing it for the first time. They may have slowed down a bit but they still have energy that most guys their age do not. (Probably because they’re rich and relaxed.)

The reason the Beasties put on such a good show is because they haven’t gotten tired and jaded about playing their songs like others have. They only tour once every 5 years so they have an appreciation for their songs and their energy to play the music is fresh. When you see the film you realize what seasoned performers they are and the longevity of their career. This tour was perfect to film because the Beasties have now been making music together for close to 25 years and are able to play an incredible set of all of their hits. With the amount of material they have today and how many hits and fan favourites they have, it’s easy to construct a mixed set of great songs from every album. The show roared on non-stop and when it came time to play the bass heavy “Open Letter To NYC”, the bass was so loud and powerful that the entire arena was vibrating. All the footage was pulsating like a heartbeat in hands of the cameramen from the front of the stage right up to the action in the back section.

Incredible shots span the whole arena from the floor seats to the nosebleeds. Some people have fantastic footage from right beside the stage while others have the footage you usually get at the back with your cell phone camera. The footage isn’t dressed up either (except for some novelty Photoshop overlap) so some of the far shots will give you an almost intimate feeling of barely seeing the band from the back row where you and your friends have cheap seats.

The boys leave the stage after eight songs leaving Mix Master Mike doing a wicked, crowd howling interlude on the scratch tables. After 5 minutes of technical genius on the decks Mike’s entire podium spins 180 degrees to reveal a sort of 1960’s outdoor wedding band tent with deck lights and the Beasties clad in your parents’ prom outfits. With the help of keyboardist Money Mark, MCA and the boys jam out the instrumental tracks from Check Your Head and Ill Communication: “Sabrosa”, “Ricky’s Theme” and “Something’s Got To Give”. Ad Rock always looks like a dick when he plays guitar for some reason but it’s always great to see a serious MCA working the stand up bass. And Mike D just looks like how drummers always look. And by the way even though the Beasties still have energy and talent I hope they don’t kid themselves into thinking that this will work in 10 more years. I don’t want to see their already aging faces joking around like teenagers singing “Brass Monkey” when they’re 50, it will just ruin their image. Sonic Youth can do it but they can’t — that’s just the way it is.

“Check It Out” is the last song of the show (or so the audience believes), only to have the boys appear into an ecstatic audience to play “Intergalactic”. The boys walk through the aisles working the crowd with their mics, rapping and giving high-fives. They then make a quick run onto an elevator and back to the stage for another surprise as the three grab their instruments one last time to rip out “Gratitude” as well as the most anticipated song of the show. The tune that got your house wrecked at an already out of control high school kegger.

The good idea was actually made possible on film and it must have been an astronomical job to review 50 cameras’ worth of footage of a 90 minute show. However the perfect shots were always found to compliment the stellar live music and the emotion of the audience. I’m sure the DVD will be loaded with features and material but if you can, see this film on the big screen. It adds so much more to the live concert experience especially when the screen makes the Beastie Boys as big as their music. — Jackson

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