Michael Cumming: Nowadays you can find anything if you know the right torrent. Anyway, from Let It Be to Liberace, here are the highlights of our 57-minute conversation on Zoom. Yes, they’re not all obscure, and one isn’t actually a documentary, but this isn’t Desert Island Discs, so let it be. In keeping with the spirit of King Rocker and its underdog subject, we asked Lee and Cumming to recommend their 10 favourite cult documentaries. Lee explains, “We’re both BAFTA nominees, but you couldn’t get most broadcasters to even reply to your emails about it.” Cumming adds, “I think the BBC were probably sort of interested in it but not enough to actually do anything about it, in that way they seem to be very good at. The BBC, it turns out, aren’t so adventurous these days.
Instead, it’ll launch on Sky Arts, not long after Lee’s 2018 special Content Provider featured a routine about staying loyal to the BBC over “Rupert Murdoch’s evil Sky”.
Pre-COVID, King Rocker was supposed to premiere at last year’s Sheffield Doc/Fest and receive a theatrical run. That’s why it took so bloody long to do.” When you don’t have any finances, you work it out for yourself. “I don’t know how people make documentaries,” Cumming says. Meanwhile, Lee’s interviews are joyfully loose and often interrupted by eavesdropping strangers. So to stay afloat, Lloyd improvises a life outside of music, such as the time he replaced Nigel Slater as GQ’s food critic despite a lack of culinary knowledge and journalism experience. Despite John Peel naming The Nightingales as one of his three favourite acts, the band still remain relatively unknown. However, Lloyd repeatedly sabotaged any commercial success. The singer toured with The Clash when he fronted The Prefects in the late 70s, then seemed destined for fame when he formed The Nightingales in 1979. How Lloyd escaped his certain fate is, indeed, fascinating. It’s more about the process of making the film, as well as how this one man held his life together.” “And the man it’s about doesn’t seem to want to be in it.
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“We couldn’t afford archive footage and it’s not possible to prove what happened in a lot of Rob’s stories,” Lee tells me over Zoom. Like Brass Eye, which was also directed by Cumming, King Rocker is keen to deconstruct the non-fiction format. The hugely enjoyable, off-kilter film is presented by Lee, a subversive stand-up in a rare Louis Theroux role, and directed with mischief by Michael Cumming. Then again, King Rocker was never going to be a by-the-numbers rock-doc. “I’m a liar, and Stew’s a liar,” Lloyd later jokes, “so it’s hard to know who’s leading on who”. The film then immediately cuts to Beresford, in another room, insisting to camera, “I have no memory of this happening.” In other atypical moments, Lloyd asks Lee if they can reshoot conversations to seem more dramatic. The story is so detailed and outrageous, it sends the typically deadpan comedian Stewart Lee into hysterics. 15 minutes into King Rocker, the cult musician Robert Lloyd delivers a startling anecdote about Steve Beresford of The Slits. The highest praise that I can give this DVD is that when I was finished watching it, I actually felt like I might be able, at some point in the future, to duplicate some of the magic Rob was creating.It’s rare that a documentary is so proud of its unreliability. You can see more of Robert Liberace's work and purchase his DVD at. Liberace's techniques during a five day workshop, this DVD may be the next best thing to being there in person. Although it must be amazing to be able to study Mr. I watched the entire four hours of instruction in one sitting and was totally immersed the entire time. He explains this technique and his purpose for every brush stroke, value and colour change. He manages to merge art history, anatomy and painting technique together seamlessly. He has an articulate, easy-going conversational style of describing, at the same instant, exactly what he is painting(which must be no easy task). Rob Liberace has the rare knack of actually being able to teach what he is doing. That being said, I am most interested, this time around, in his teaching ability. And his painting is every bit as good as his draftsmanship. His drawings show the strong influences of the classical trinity of draftsmen: Michelangelo, Leonardo da Vinci and Raphael. Those of you following this blog, will know that I did a previous post on Rob Liberace, and that I think very highly of his work. I just finished watching Robert Liberace's newest DVD The Classic Portrait.
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