Soon it remained; the idea that simple opportunities were formed by the smallest touches remained unpublished; thus Billy's acoustics remained. The scenes that were carried out over the course of 40 days were about how Billy managed to create the appearance; none of that consumed a raw idea of the less intimate parts. They were not briefly made through reasoning.
Kate Hudson and Zoe Deschanel ended up becoming best friends; normally that was not a given, but both talked about music, art, and perhaps boys. Kate said that the best actor was undoubtedly Billy; she was completely amazed by the idea of watching him act, by the idea of him doing such work and not falling into panic. She saw Billy's acting strength, that strength that was not common in people, and when she watched him take on the role, how logical, how difficult, or how particular it was when people listened to him act, that was when Kate seriously believed that Billy's talent in the world of acting was completely devoid of ordinary scenes.
It could be said without reservation that Kate was astonished by Billy's Russell.
-My favorite is Meg Ryan. I think that if I want to be a romance character, I want to be that girl who has thousands of thoughts and says, hey, I want to do it, I want to be that girl who plays the sweet roles, I want to be that girl who makes all the girls in America feel identified. -Zoe replied.
-You've always liked comedy. -Kate commented.
-Yes, I like normal roles. -Zoe replied.
That was why she chose that role, the role of a flight attendant who escapes from home and lives as she wants, even when that is complicated and demanding for her life. It makes the options they have complex.
155 INT. NEW TOUR BUS -- DAY 155
The band travels on a new tour bus. The atmosphere carries a palpable tension. Russell/Billy has that expression that completely overlaps with being arrogant, with contempt. No one can become perpetual, but self-sufficiency is a simple trait. Self-sufficiency is based on contempt; it makes him contrast with the band and the sour expressions. While words are whispered, Russell does not seem to care about anything, which is consistent. It essentially shows that he believes nothing can change who he is.
There is panic in the air.
JEFF
Look. We're going to put together the pieces of our information... because the fact-checker
asked all of us about different parts of the
story.
TONY
What did he write about? What is he
using?
JEFF
Everything. He's using everything.
RUSSELL
So what?
JEFF
So what?
(pause)
We look like amateurs... just
some band... trying to
understand things, jealous, fighting and breaking apart,
we're fools!
RUSSELL
Maybe we don't see ourselves the way
we really are.
JEFF
He was supposed to be our friend.
RUSSELL
(sadly, remembering)
I told him to write whatever he wanted.
All eyes turn toward Russell.
TONY
(to Russell)
By the way, he has you under the influence of LSD,
shouting "I Am A Golden God" from a
fan's rooftop.
RUSSELL
(remembering instantly)
My God!
JEFF
They used it to screw us.
RUSSELL
(still in "Golden
God")
I didn't say "Golden God." Did I?
DICK
We never took it seriously, and now
it's serious.
RUSSELL
I liked him as a person.
JEFF
He was never a "person"! He was a Journalist!
Russell nods. He looks at Ed the Silent One, who silently drums on
a rubber practice pad.
RUSSELL
You. You were right from the beginning.
Ed nods silently in appreciation. Shaking his head, Billy, not very knowledgeable, caring about nothing coherent.
DENNIS HOPE
(nervously)
And the flight?
DICK
It's all in there. But don't worry,
it doesn't specify who says what. No
names are mentioned in the most
embarrassing sequences, it's
completely obvious who is who! We're
screwed!
Silence.
RUSSELL
I forgot he was there.
DENNIS HOPE
Well, they haven't spoken to Russell,
he can always deny the essential parts to the
fact-checker. Then they won't be able
to publish it.
JEFF
(excited)
Is that true?
DENNIS HOPE
It's war, my friend. If you had met me
earlier, he never would have been around here.
Dennis hands the phone to Russell.
DENNIS HOPE (continued)
He will live.
-cut.-
Billy takes a breath. The scenes reach the longer sections. The end of filming already shows the commanding character, nothing pleasant. It follows that now Billy can see the entire course of the movie in his mind and almost remembers, from beyond, how it ends. That makes him value Cameron's camera work even more.
-We're going to get something to eat. -Jason Lee commented, who for some time had been going out to eat at a pizzeria that made a homemade lasagna that made every visit worthwhile in a private place known by Cameron.
-Sure. -Billy commented.
The members were surprised; Billy always did the same work over and over. He acted and then went to his trailer to draw for three or four hours. Then he met with a team and fell asleep. He got up at dawn and then slept happily, without being strict about it. He maintained multiple physical exercises that people noticed: an hour of jogging, calisthenics, and different workout projects that, in particular, gave a sense of distance.
Closing and ending.
The final shot of Almost Famous is an ode to love, an ode to beauty that, in particular, comes to life. The moments when Russell's character reconciles with the boy are the intimate moment of the fan. Nothing can act, nothing can absorb, nothing can commit itself to the idea that Russell is that man who fears nothing; even when he fears nothing, he despises men.
-I'm afraid that at fifteen all you want is to have fun, but it's true that some are lucky enough to find what they like and know where to go. It is the force of time that carries each person to their place. How admirable it is when you discover what you have to do; you will live through thousands of disappointments. -Philip Seymour commented. For some time now, the images that remained were brief.
-Well, as always, you're so clear, Seymour. -Cameron Crowe commented.
The two devoted themselves to talking through time. The underlying time of both their ideas unfolded. Seymour spoke with the character and with Cameron to get an idea of how to act and how to raise his characteristic ideas. They settled into the humble time of both men, who talked about rock music deep into the night.
-I can believe them, I can believe it with a magical idea... the rhythm of the music moving from end to end. -Seymour commented, listening as the smallest parts were conceived in a firm step through indecision. Rock danced through the room. Today the filming party had passed completely, and the political idea was laid out, leading many people unrelated to the production to stop by, talk, and record between shifts in a complete mess, which was the least intimate form, how rampant the images were.
-You're a very good dancer. -Jason Lee commented, together with Jimmy Fallon, performing a great dance that was completely ideal. How logical; they always had the party on their minds, and Jimmy was quite funny. How logical, and how characteristic of young people who move in different ways.
They filmed and lived in that little world, moving and dancing; there were few places left.
INT. ROLLING STONE OFFICES - DAY
The elevator doors open with a beep and Russell Hammond steps out.
The secretary has just answered the phone: "Straight
Arrow Publishers." She places the caller on hold.
RUSSELL
Hello, I'm Russell Hammond.
SECRETARY
What is the purpose of your visit?
RUSSELL
My life.
INT. NEWSROOM - DAY
Russell is with the editors, looking at the portraits
on the walls. He is behind enemy lines and he knows it.
Everything in the room fascinates him.
RUSSELL
I don't care what happens. I don't
care if we make the cover. But
you sent a kid to us and... and he was a
fan. And we all became friends with
him, of course, to get a good story.
But then we liked him. We thought he would... would show our lives
in a mythical way and I guess... we're not
mythical. We panicked.
JANN
You denied most of the story.
RUSSELL
Yeah, well, that's the problem with
the truth. It's too true.
BEN
Well, we appreciate the visit. The
last time an artist came by, it was
Buddy Miles and he punched me.
RUSSELL
I'm not punching anyone. I have
personally, since 2 p.m. yesterday, been on a
journey of self-reinvention. This is
about William Miller.
(counting on his fingers)
He lived with us, lost his virginity,
saw us at our worst, appreciated
the best in us, saved two lives, including
mine... smuggled nearly half a kilo
of marijuana into Boston, and we didn't
even tell him.
Nearby, David Felton looks at another editor, raising an
eyebrow.
RUSSELL (continued)
-We told him too much, we told him
everything... He almost died with us.
About Tupelo... if the band survives
him, it'll be a miracle... but you know,
he tried to keep up, and that's
a journalist to me.
JANN
It's too late. We'll use a
different cover.
RUSSELL
(immediately)
Thank God.
But Russell looks around at the many portraits of
legendary dead rock stars, focusing on the nearest photo of all, a very vulnerable-looking Janis Joplin. He thinks for a second.
RUSSELL (continued)
They tell me it's too late. But I could go back to my hotel room and...
overdose tonight, and something tells me they'd find a way to put me on the cover of the next issue. Right?
He looks them in the face. They cannot disagree.
RUSSELL (continued)
I'm learning the game.
(pause, shrugging)
We screwed up. We became friends with him.
BEN
Next time we'll all be more
professional.
RUSSELL
Maybe.
(Pause, a strange thought)
But God forbid the day comes when selling yourself becomes as important as the music you make.
(Sadly, looking at Hendrix on the
wall)
You may have died at exactly the right moment,
my friend.
JANN
Thanks for stopping by. Good luck.
RUSSELL
Do whatever you want, but the story is
true.
LONG SHOT OF RUSSELL
At the entrance. He raises his hand.
RUSSELL (continued)
Good night!
Russell is outside, a traveler without a destination.
Strangely, and in a way that surprises him, the world begins to
speak to him again... little noises everywhere, turning into
a music of their own. It is a beautiful and captivating "silence."
He puts his hands in his pockets and takes a deep breath.
With his head once again filled by the music of the world, he begins to walk down the street. Very naturally, and casually, some young passersby recognize him. They can't help it. He looks like a star. They can't figure out who he is, but he is someone, and they begin following him down the street. Without him knowing it as he walked, lost in thought, a small crowd began to form... following him.
INT. BREAKFAST TABLE
A quiet kitchen. Anita has been cooking. A generous breakfast has been set on the table. Sausages, orange juice... and now Anita places a plate of pancakes, with syrup and butter, in front of her mother. William watches his
mother face an old enemy: white sugar.
ANITA
They're called pancakes. Who knows when we'll be together again. A treat. It's what most people call breakfast.
Mom looks at her children and takes a deep breath.
ELAINE
I went through your records. And I found a song to play for you.
She walks over to the stereo and puts on a record. The two children look at each other: what comes next?
(Song to be chosen)
The two children look at each other again. Shyly avoiding their gaze, Mom sits down and plays with her breakfast. It's a song she clearly wants them to hear. It's a song that comes from the heart.
They look at her, amazed. Elaine looks up and watches her family. Somehow, they are back at this table.
They continue eating
breakfast.
-cut.-
The aroma, the aroma of San Francisco, the relaxed atmosphere, while not far away the colors shine in their own way, and everyone takes the time to take a step. Not far away, Russell/Billy performs.