D. A. Pennebaker

The story of Tiny Tim’s improbable rise to stardom is the ultimate fairytale - and so is that of his downfall. For a brief time, the shy and truly unusual outsider artist was the biggest star in the world.

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In 1998, documentary filmmaker Robert Drew and his associates attend the Museum of Tolerance.

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A conversation between Jill Drew and D.A. Pennebaker.

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Janis Joplin is one of the most respected and iconic rock & roll singers of all time, a tragic and misunderstood figure who captivated millions of listeners and blazed new creative trails before her death in 1970 at age 27. Director Amy Berg explored Joplin's story in depth. A portrait of a complicated, driven and often beleaguered artist. Joplin's own words recount a series of letters she wrote to her family over the years. Janis was a vessel of energy when she sang. Her rapid rise and untimely death changed music forever.

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Haunted by uncanny similarities between Nazi stage techniques and the showmanship employed by modern entertainers, a filmmaker investigates the dangers of audience manipulation and leader worship.

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A 38-year journey that the director began in 1972 as a young filmmaker and, shooting off and throughout many years, the director filmed many and various encounters between Ricky, his friends and contemporaries including Henri Langlois, Jean Rouch, Jean-Luc Godard, DA Pennebaker, Robert Drew, and others. Mixing her own footage with film clips and rare images from Leacock's personal film archives, this film pays homage to the director's mentor and, most importantly, allows him to tell us the story of his long film making career in his own words.

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Colleagues, friends and specialists pay tribute to the filmmaker Mario Ruspoli in a portrait that mixes encounters, archive images and film excerpts. With testimonies from Richard Leacock, Albert Maysles, Edgar Morin, D.A. Pennebaker and others.

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Documentary by Luc Lagier exploring Godard's career as a filmmaker, the production of Breathless and his influence and his relationship with American cinema.

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Short documentary on the life and work of photographer and filmmaker Morris Engel

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A chronicle of Bob Dylan's strange evolution between 1961 and 1966 from folk singer to protest singer to "voice of a generation" to rock star.

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With a set of drums and an 8mm color home movie camera, Mickey Jones toured the world in 1966 with Bob Dylan and The Band. He captured on film what became known as "The tour that changed Rock and Roll forever." The booing crowds, the scathing reviews, the stomping feet, the infamous catcall of "Judas!" ... all of this in response to Dylan trading in his acoustic folk guitar for an electric sound. Now, for the first time, drummer-turned-actor Mickey Jones (Sling Blade, Home Improvement), with the help of Director Joel Gilbert, chronicles the legendary 1966 Bob Dylan World Tour through his recently discovered home movies. The updated release includes new, exclusive full-length interviews with Charlie Daniels, Johnny Rivers, 1966 World Tour and Gaslight tapes sound man Richard Alderson, and new insights and revelations by Mickey Jones.

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With the help of her mother, family, friends, and fellow musicians, Aiyana Elliott reaches for her father, legendary cowboy troubadour, Ramblin' Jack Elliott. She explores who he is and how he got there, working back and forth between archival and contemporary footage. Born in 1932 in Brooklyn, busking through the South and West in the early 50s, a year with Woody Guthrie, six years flatpicking in Europe, a triumphant return to Greenwich Village in the early 60s, mentoring Bob Dylan, then life on the road, from gig to gig, singing and telling stories. A Grammy and the National Medal of Arts await Jack near the end of a long trail. What will Aiyana find for herself?

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A documentary overview of the career of silent cinema pioneer Edwin S. Porter.

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The film consists of continuous panning shots up a series of 367 human legs.

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Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.

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Norman Mailer’s first feature filmmaking effort stars the director and his two longtime collaborators Buzz Farbar and Mickey Knox as a trio of gangsters holed up in a ramshackle New York apartment, drinking, braying, and fighting.

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John Lennon, Yoko Ono, Little Richard, The Doors, Chuck Berry, Alice Cooper, and other legendary musicians performed at the 1969 Toronto Rock and Roll Revival music festival. This behind-the-scenes look at “the second most important event in rock and roll history” culminates in John Lennon’s first public performance with The Plastic Ono Band, triggering his decision to leave the Beatles.

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Join filmmaking duo Chris Hegedus and Nick Doob as their cameras follow Franken to book signings, campaign rallies and the launch of Air America Radio, documenting his transformation from irreverent funnyman to political pundit.

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A cutman at the end of his career struggles to reclaim his true lifelong job.

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On May 24, 2000, the historic Ryman Auditorium was booked to offer Nashvillians an evening of sublime beauty. Label executives and soundtrack producers so loved the music of O Brother, Where Art Thou? that they brought it to life as a benefit concert for the Country Music Hall of Fame. Filmmakers Joel and Ethan Coen loved it so much that they hired famed documentary filmmaker D.A. Pennebaker to record the show for posterity. The concert that unfolded that night was one of the greatest musical moments in the annals of Music City. Performers: John Hartford, Alison Krauss, Emmylou Harris, Gillian Welch, Chris Thomas King, The Cox Family, Fairfield Four, Union Station, Colin Linden, The Nashville Bluegrass Band, The Peasall Sisters, Ralph Stanley, David Rawlings, The Whites.

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Friends since high school, 20-somethings Kaleil Isaza Tuzman and Tom Herman have an idea: a Web site for people to conduct business with municipal governments. This documentary tracks the rise and fall of govWorks.com from May of 1999 to December of 2000, and the trials the business brings to the relationship of these best friends. Kaleil raises the money, Tom's the technical chief. A third partner wants a buy out; girlfriends come and go; Tom's daughter needs attention. And always the need for cash and for improving the site. Venture capital comes in by the millions. Kaleil is on C-SPAN, CNN, and magazine covers. Will the business or the friendship crash first?

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A behind-the-scenes documentary about the Clinton for President campaign, focusing on the adventures of spin doctors James Carville and George Stephanopoulos.

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The filmmakers accompany Alan Schneider, director of the American premieres of most of Beckett's plays, and producer Daniel Labeille to the home of Billie Whitelaw, whom Schneider, ironically, had never met previously, and takes us through the rehearsal process of Beckett's newest play, including the recording of the dialogue, as almost all of it is voiceover. The final fifteen minutes of the film are the premiere performance in its entirety.

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On the evening of April 30, 1971, a standing room only audience of local literati and feminists packed New York City’s Town Hall to watch Norman Mailer, who had just written “The Prisoner of Sex,” grapple with a panel of passionate feminists. The subject was Women’s Liberation, an issue on which Mailer seemed like the devil’s own advocate.

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Surrounded by his children, his wife Ethel, and Sammy Davis, Jr., RFK visits schoolchildren around the city, and is every bit the good patriarch and dutiful public servant. But it’s the films’ fleeting, in-between, moments where Pennebaker most precisely hits the mark, offering reflection on the possibilities that Robert Kennedy’s all too brief life foreclosed. Set against the pageantry of a long ago Christmas, the film speaks to tragic contingencies of history lying far beyond the ken of politics that continue to circumscribe the tortured destiny of our country.

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Keep On Rockin', aka Little Richard: Keep On Rockin' (USA video title) is a film of a 1969 Little Richard concert at the Sweet Toronto Peace Festival, originally released in 1970. Richard performs a number of his greatest hits, including "Good Golly Miss Molly," "Long Tall Sally," and "Tutti Frutti." The film is in color.

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Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.

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Over a booze-fueled, increasingly hectic five-day shoot in East Hampton, Norman Mailer and his cast and crew spontaneously unloaded onto film the lurid and loony chronicle of U.S. presidential candidate and filmmaker Norman T. Kingsley debating and attacking his hangers-on and enemies. This gonzo narrative, “an inkblot test of Mailer’s own subconscious” (Time), becomes something like a documentary on its own making when costar Rip Torn breaks the fourth wall in one of cinema’s most alarming on-screen outbursts.

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In 1970, right after the triumphant premiere of Stephen Sondheim’s groundbreaking concept musical Company, the renowned composer and lyricist, his director Harold Prince, the show’s stars, and a large pit orchestra all went into a Manhattan recording studio as part of a time-honored Broadway tradition: the making of the original cast album. What ensued was a marathon session in which all involved pushed themselves to the limit.

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Norman Mailer’s first feature filmmaking effort stars the director and his two longtime collaborators Buzz Farbar and Mickey Knox as a trio of gangsters holed up in a ramshackle New York apartment, drinking, braying, and fighting.

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In this wildly entertaining vision of one of the twentieth century’s greatest artists, Bob Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price.

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Description by D.A Pennebaker: "This movie is something of a mystery. Timothy Leary was getting married to a model named Nena Von Schlebrugge up in Millbrook, New York at the Hitchcock house, where Leary had been carrying on his hallucinogenic revelries for the past year or so after leaving Harvard. It was rumored that this was going to be the wedding of the season, the wedding of Mr. And Mrs. Swing as Cab Calloway put it. Blackwood took me downtown to meet Monte Rock III who was singing at Trudy Heller’s but who was also a very pricey and off-the-wall hairdresser and was in fact going to be doing the bride’s hair. Nena’s brother, Bjorn, known as the “Baron” was a friend of the Hitchcock’s, as was I, and the idea of going along and filming the wedding seemed not unwarranted. I’ve always wanted to film someone getting married."

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A 1960 cinéma vérité documentary on anti-American sentiment in Latin America, combining observational footage from Caracas and political events, directed by Robert Drew and shot by Maysles, Leacock, and Pennebaker. (Note: Originally broadcast as a standalone documentary on ABC, "Yanki, No!" is widely cited and archived as a discrete direct-cinema film with its own title, production identity, and critical reception, rather than as an anonymous TV news magazine episode.)

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A short documentary in which twins Christopher and David describe how an unplanned sailing trip led them into the midst of a boat race. Told largely from the children’s point of view, the film reflects Richard Leacock’s observational approach and includes contributions from Shirley Clarke and D. A. Pennebaker.

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Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

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A coach’s whole career depends upon winning this football game, the U.S. Air Force Academy against the University of Colorado. The film was an early experiment by Drew and his Associates to capture real life happening in front of the cameras. They had not yet developed the new equipment that would allow portable sync-sound filming, so they improvised. Drew, who was still a correspondent for LIFE Magazine at the time, was trying to make films that would promote LIFE stories on television. This idea was how Drew had convinced Time-Life to bankroll his fledgling film unit. Although the football story never became a LIFE magazine cover story, it served as a kind of dry-run for a film about another football game covered by Drew and his Associates four years later. That film, “Mooney vs. Fowle,” led by filmmaker James Lipscomb, became an award-winning, groundbreaking documentary.

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