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Rachman, a former music video director turned film fanatic, has distilled hours of fantastic live footage and interviews from some of the biggest names of the era--from Bad Brains to Henry Rollins--into a tight 100-minute-long documentary.  Sony Pictures Classics was so impressed with the documentary’s vibrant energy, the studio picked it up for theatrical release earlier this year at the prestigious Sundance festival.  Now, everyone gets a chance to experience what is was like to take in a hardcore show at CBGB’s 25 years ago, as American Hardcore hits theaters nationwide this month.  CraveOnline talked to Rachman recently about American Hardcore, his first documentary film.


CraveOnline: What band or artist was the most difficult interviewee to locate/interview?

Paul Rachman: No one was really difficult.  These were two-hour conversations for the most part.  Most of the people were happy to talk and revisit the era.


CO: Were there any interviews that did not make the film?

PR: We did about 104 interviews and there are 98 in the film.  The others will be on the DVD.  The DVD will be packed with deleted scenes. Full-length performance footage. Photos...and more.

CO: How difficult was it to track down live footage from that era?  It was certainly not considered "cool" to go to a hardcore show with a video camera I’m guessing.

PR: The early years 1980-1983 the footage is rare.  I was shooting in Boston.  Joe Reis in San Francisco. Dave Markey in L.A.  Then there were a few fans like Steven Eye who shot almost every show in Philadelphia. All in an hour mode so you would get these tapes with like 10 shows on them.  A few people and filmmakers across the country captured this stuff early.  That's the archive from the early years.  By 1984 there is tons of footage.  The video revolution had happened.  Everyone was shooting. 


CO: Do you think the energy of the hardcore scene in D.C. or NYC will ever come back to the American underground music scene?  Or has music been too commodified?

PR: The environment that surrounded the music then is what is different.  Today the environment is much different.  Teens vent their anger in video games not music.  The fans of music are no longer radical.  Radical is now a word used to sell cars.  So when the environment changes--like getting away from behind the screen, keyboard and ipod.  Then maybe we'll see another underground youth movement


CO: Have you screened the film for any young kids today who were not aware of the hardcore scene in the early 1980s?  If so, what did they think?

PR: Those kids are our biggest fans.  They love the opportunity to experience this era so intimately.  It’s the closest they can come to being there.

CO: Has the reaction to the film been different on the west coast than the east?

PR: Both coasts and all the people in the film have been incredibly supportive.  the ny and la premiere were both great.  Flipper played out premiere party in ny and circle jerks played the la premiere party.  Everyone had a blast and then the film proved itself on opening day on both coasts. 

CO: How was your experience at Sundance like screening/selling the film?  Did you always think the film would get a theatrical release?

PR: Sundance was great.  We had no idea what would happen. Nobody at all had seen the film before our Sundance premiere.  It was really a true world premiere.  We had offers right after that.  it was really like being in a dream.  Who would have known that hardcore punk rock could get the respect of Sony Pictures Classics.  They are a classy company!

CO: Who are your favorite bands from the era?

PR: Bad Brains and Gang Green.

CO: Do you think Henry Rollins has "sold out" in any way by participating so actively in his mainstream media projects?

PR: No.


CO: Are their any new bands out now you feel carry the spirit of American Hardcore or is it just too different a time to compare?

PR: It's a different era with different bands and sounds.  The ethic is still there and some new hardcore music does continue with that ethic so that's what's important.