![]() ![]() That couldn’t be helped, though, because (she only) let us shoot for an hour. “When I met Robert’s mother, she was more together than she is now, and unfortunately, she comes across in the film as more spun-out than she is in real life. I’d met his mother (Beatrice) and his brother Charles when I spent a night at their house in Philadelphia in the early ‘70s and thought they were both funny and brilliant. ![]() “When I started the film I told Robert I wasn’t interested in doing a straight biography and that I wanted his family to be involved, but I didn’t expect the family to figure as prominently in the film as it does. The film quickly got off that track, however. So, my original intention was to help people gain a deeper understanding of his work. “Whenever I paged through his sketchbook I was always knocked out by the scope of his art, and I thought it was appalling that the only work of his most people know are inconsequential things he did in the ‘60s like ‘Keep on Truckin’ ’ and Fritz the Cat. “We’re happy for Terry and hope he gets to make more films, and for people who don’t know us I’m sure it will be very interesting, but we’d both prefer the film didn’t exist.”īegun in 1985 and completed for less than $200,000, “Crumb” took root “simply because Robert’s a great artist,” says Zwigoff, whose previous films include “Louie Bluie,” a portrait of obscure blues musician Howard Armstrong, and “A Family Named Moe,” a documentary on the history of Hawaiian music. If we were left in peace to reflect on the film it would probably be easier to handle, but there’s a media frenzy descending on us that’s made this a nightmare. “It’s very anxiety-producing to have this kind of information about you and your family out for anyone to see, and having people hounding you to talk about it only adds to the anxiety. ![]()
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