Journalist and author lizzydgoodman discusses adapting the documentary, its most poignant scenes, and more.
where a then-unknown Paul Banks of Interpol is seen roaming the streets of lower Manhattan, picking up papers in the immediate aftermath of 9/11. The air and ground around him are thick and gray with ash as he bends down to kick at the debris that’s swallowed the streets. It is a remarkable and harrowing shot, not only because of the fame that would eventually come for Banks, but because of its mind-boggling specificity. That person, that time, that place: it could never be replicated again.
We talked a lot in terms of check-ins and stuff. I saw rough cuts, and gave notes on rough cuts. I made a lot of introductions for them, but really I think what I see as my core role was just sort of helping when asked. Do a kind of gut check on whether the way the story was unfolding felt right as someone who wrote this book, but also as someone who lived through this time and who knows all the players in a different way than the filmmakers could.
Oh, man, I didn't have any cameras anywhere near anybody. That is all massive props to the incredible mind blowing archive research team on Pulse's side who, I mean, honestly that is the most gratifying part of this for me. Because when you, just on a selfish level, write this book, you interview all these people, all of that feels very much like something that I did, that I have a relationship with. What I couldn't ever do, I didn't even have a photo researcher for.
Yeah, there’s three things that come to mind. First of all, because of my own personal history with this world, which my entry point was The Strokes, that was the first band I met. I had known Nick from working restaurants in New York in the late '90s. We met in the summer of 1999 and we were both working at the same restaurant and he was just this New York boy in a band, and the band was called The Strokes.
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