From Pete Townshend's Diary on his web site:
http://www.petetownshend.co.uk/diary/display.cfm?id=89&zone=diary
Fahrenheit Moore or Less
From "Pete's Diary" July 7.
Michael Moore has been making some claims mentioning me by name -
which I believe distort the truth.
He says among other things that I refused to allow him to use my
song WON'T GET FOOLED AGAIN in his latest film, because I support
the war, and that at the last minute I recanted, but he turned me
down. I have never hidden the fact that at the beginning of the war
in Iraq I was a supporter. But now, like millions of others, I am
less sure we did the right thing.
When first approached I knew nothing about the content of his film
FAHRENHEIT 911. My publisher informed me they had already refused
the use of my song in principle because MIRAMAX the producers
offered well below what the song normally commands for use in a
movie. They asked me if I wanted to ask for more money, I told them
no.
Nevertheless, as a result of my refusal to consider the use, Harvey
Weinstein a good friend of mine, and my manager Bill Curbishley
interceded personally, explained in more detail to Bill what the
movie was about, and offered to raise the bid very substantially
indeed. This brought the issue directly to me for the first time.
Bill emailed me and told me how keen Harvey and Michael Moore were
to use my song.
At this point I emailed Bill (and he may have passed the essence of
what I said to Harvey Weinstein) that I had not really been
convinced by BOWLING FOR COLUMBINE, and had been worried about its
accuracy; it felt to me like a bullying film. Out of courtesy to
Harvey I suggested that if he and Moore were determined to have me
reconsider, I should at least get a chance to see a copy of the new
film. I knew that with Cannes on the horizon, time was running short
for them, and this might not be possible. I never received a copy of
the film to view. At no time did I ask Moore or Miramax to
reconsider anything. Once I had an idea what the film was about I
was 90% certain my song was not right for them.
I believe that in the same email to my publisher and manager that
contained this request to see the film I pointed out that WGFA is
not an unconditionally anti-war song, or a song for or against
revolution. It actually questions the heart of democracy: we vote
heartily for leaders who we subsequently always seem to find
wanting. (WGFA is a song sung by a fictional character from my 1971
script called LIFEHOUSE. The character is someone who is frightened
by the slick way in which truth can be twisted by clever politicians
and revolutionaries alike). I suggested in the email that they might
use something by Neil Young, who I knew had written several songs of
a more precise political nature, and is as accessible as I am. Moore
himself takes credit for this idea, and I have no idea whether my
suggestion reached him, but it was the right thing to do.
I have nothing against Michael Moore personally, and I know Roger
Daltrey is a friend and fan of his, but I greatly resent being
bullied and slurred by him in interviews just because he didn't get
what he wanted from me. It seems to me that this aspect of his
nature is not unlike that of the powerful and wilful man at the
centre of his new documentary. I wish him all the best with the
movie, which I know is popular, and which I still haven't seen. But
he'll have to work very, very hard to convince me that a man with a
camera is going to change the world more effectively than a man with
a guitar.
http://www.petetownshend.co.uk/diary/display.cfm?id=89&zone=diary
Fahrenheit Moore or Less
From "Pete's Diary" July 7.
Michael Moore has been making some claims mentioning me by name -
which I believe distort the truth.
He says among other things that I refused to allow him to use my
song WON'T GET FOOLED AGAIN in his latest film, because I support
the war, and that at the last minute I recanted, but he turned me
down. I have never hidden the fact that at the beginning of the war
in Iraq I was a supporter. But now, like millions of others, I am
less sure we did the right thing.
When first approached I knew nothing about the content of his film
FAHRENHEIT 911. My publisher informed me they had already refused
the use of my song in principle because MIRAMAX the producers
offered well below what the song normally commands for use in a
movie. They asked me if I wanted to ask for more money, I told them
no.
Nevertheless, as a result of my refusal to consider the use, Harvey
Weinstein a good friend of mine, and my manager Bill Curbishley
interceded personally, explained in more detail to Bill what the
movie was about, and offered to raise the bid very substantially
indeed. This brought the issue directly to me for the first time.
Bill emailed me and told me how keen Harvey and Michael Moore were
to use my song.
At this point I emailed Bill (and he may have passed the essence of
what I said to Harvey Weinstein) that I had not really been
convinced by BOWLING FOR COLUMBINE, and had been worried about its
accuracy; it felt to me like a bullying film. Out of courtesy to
Harvey I suggested that if he and Moore were determined to have me
reconsider, I should at least get a chance to see a copy of the new
film. I knew that with Cannes on the horizon, time was running short
for them, and this might not be possible. I never received a copy of
the film to view. At no time did I ask Moore or Miramax to
reconsider anything. Once I had an idea what the film was about I
was 90% certain my song was not right for them.
I believe that in the same email to my publisher and manager that
contained this request to see the film I pointed out that WGFA is
not an unconditionally anti-war song, or a song for or against
revolution. It actually questions the heart of democracy: we vote
heartily for leaders who we subsequently always seem to find
wanting. (WGFA is a song sung by a fictional character from my 1971
script called LIFEHOUSE. The character is someone who is frightened
by the slick way in which truth can be twisted by clever politicians
and revolutionaries alike). I suggested in the email that they might
use something by Neil Young, who I knew had written several songs of
a more precise political nature, and is as accessible as I am. Moore
himself takes credit for this idea, and I have no idea whether my
suggestion reached him, but it was the right thing to do.
I have nothing against Michael Moore personally, and I know Roger
Daltrey is a friend and fan of his, but I greatly resent being
bullied and slurred by him in interviews just because he didn't get
what he wanted from me. It seems to me that this aspect of his
nature is not unlike that of the powerful and wilful man at the
centre of his new documentary. I wish him all the best with the
movie, which I know is popular, and which I still haven't seen. But
he'll have to work very, very hard to convince me that a man with a
camera is going to change the world more effectively than a man with
a guitar.
