Original artwork for the never-released 1967 SMiLE album. © Frank Holmes.

LP: How did you get the original Frank Holmes artwork?

DL: We asked him. My editor, Pete Lynch, deserves major praise for the way we were able to incorporate the artwork into the movie. Some of the images were from the original 1966 booklet and some were done in 1995 and 1996 in the same style. The artwork, like Brian's music, speaks for itself. As fans of the music, we delight in knowing whether a song was written in 1966 or half-written in 1966 and finished in 2003. But, you know something? I think several hundred years from now, the art will remain relevant and it is the only thing that will remain relevant. When we look at the history of art, what do we know about artists other than art? I really don't know much about George Gershwin or Michelangelo or Leonardo da Vinci. But I do know and treasure their work.

LP: That brings to mind the quotes you used throughout the film, they were so well placed and ultimately drove the points home. What inspired you to use them in that way?

DL: It was just an idea I had. I wanted to contextualize this movie as the story of a great artist. To me, one way to do that was to frame the story with quotes from other great artists.

LP: What are the sources for the vintage still photos and films that are used throughout?

DL: The SMiLE-era photos of Brian in the studio were taken by the late Jasper Daily. All of the SMiLE-era photos (like those in the tent that was built in Brian's living room) are from Guy Webster. They look so good because he did prints from the original negatives. There are home movies (Brian wearing a fire helmet in the studio) of the SMiLE sessions and the footage of Brian on the fire pole at the fire station is from the 1966 promotional video the band shot for "Good Vibrations."

LP: Can you shed some light on Brian's appearance on the Leonard Bernstein "Inside Pop Special." Such as when did that air?
DL: I think it was filmed in December of 1966 and it aired in April of 1967. For the actual special, Leonard Bernstein is on camera probably only during the first 20 minutes or so. Brian's performance doesn't come until near the end of the program. We used every second of Brian's performance in the documentary; I wish there was more.

LP: Do you think the documentary had any impact on the reality that Brian was actually going to go through with completing SMiLE?

DL: You would have to ask Brian, but I don't think so. I don't think the film has anything to do at all with how the music is being played or performed. That said, Brian may be the only person I know who is able to be "himself" with cameras constantly following his every move.

LP: You show Brian very candidly during the vocal rehearsals. He looks almost catatonic. Is this part of his illness catching up with him?

DL: Again, I think you'd have to ask him that, but Brian allowed us extraordinary access so that we are able to present a very intimate portrait of him during the rebirth of SMiLE. Clearly he was having a hard time early in the rehearsal process.

LP: Did it ever get to the point that you though this project might not come to fruition?

DL: I think Melinda is pretty clear about that in the film. I didn't ever feel that it wasn't gonna happen. I was only concerned as to whether it should, from the point of view that we wondered if this was too much for anyone to ask of him. But he's a very strong man. He was determined to get through this. In 1995, Brian said he needed "emotional security" in order to create. In the nine years since then, there have really been hundreds, thousands of people who have given him the love and support he needed. And in a certain way, a critical mass was achieved. I think SMiLE is the result of all of that.


* * * * *

On September 28, 2004 two days before the 2004 SMiLE Tour began its North American cross-country trek, the most infamous rock album to have never been released was finally issued — where it debuted as the top selling CD on Amazon.com as well as an equally respectable #13 on Billboard Magazine's Top 200 Album chart. Real art doesn't require — or usually achieve — that sort of immediate or tangible validation. However, it does stand as substantive proof of the music's timelessness. In fact, I dare say that in 50 years, very few will remember the chart and sales numbers from Nelly, George Strait, or Green Day — Brian's current competition. However, as long as there are appreciators of pop music, Brian Wilson and SMiLE will be lauded and revered for what David Anderle so aptly refers to as "the longest gestation in history: the guy gets pregnant in 1966 and doesn't have the baby until 2004. That alone is worth the price of admission."

But even if the world had to wait almost another four decades, the triumphant results would be equally satisfying. As for me and every other lover of Brian Wilson and his music, there is added satisfaction that Brian and Van Dyke were able to complete their collaboration together and absorb the praise that they have deserved for the last 37 years.