Interview: Sara Crow (“Never Get Tired”)


Zehn Jahre lang war Bomb The Music Industry! eine der wahrscheinlich wichtigsten Bands im DIY-Punkrock. Jeff Rosenstock und seine Band waren bekannt für außergewöhnliche Konzerte und großartige Alben wie „Get Warmer“, „Vacation“ oder „To Leave Or Die In Long Island“. Anfang des Jahres wurde die Band mit zwei Konzerten im Warsaw in Brooklyn zu Grabe getragen.

Die Dokumentation „Never Get Tired“ beschäftigt sich mit dem Phänomen einer Band, die ihren ganz eigenen Weg eingeschlagen hat um ihre Vision von Musik zu realisieren. Zur Zeit wird erfolgreich Geld für die Post-Production gesammelt. Wir haben die Regisseurin Sara Crow zu ihrem spannenden Projekt befragt.


What was the reason to start this project?

This project started as more of an exploration of open-source material and the culture surrounding this idea of “DIY music.” I was living in Brooklyn and going to lots of shows at a really great DIY space in Ridgewood called Silent Barn where BTMI played a lot. I had heard a few Bomb the Music Industry! songs, but didn’t really know anything about them. It was immediately apparent from the energy at their shows that they were different. People were really, really excited about this band. My first question was, “How can a band be donation-based and live in New York City?” I was still in college at the time, so I made a short film exploring that. After a few months BTMI really let me into their world and I realized the story had the potential to be way bigger than that question. Their community and reach was really changing the way a lot of people in the punk community make and consume music. I had lots of encouragement from people to turn the short film into a feature, so I raised enough money to buy a camera and started going on tour.

Right now you have a kickstarter campaign to finance the post-production of the movie. You’ve already reached your goal of $ 25,000 and there are still three weeks to go. Judging by your experiences so far, did you expect that so many people would be interested in this project?

No way! I’ve put a lot of work into this Kickstarter campaign, and I feel like I had prepared for every possible outcome except this one. I thought maybe we would reach our goal, but I would have to hustle all month. The week before it went up I talked to Jeff and John from BTMI and they were both pretty skeptical. Twenty-five thousand dollars is a lot of money, and I was prepared for a lot of fans to be really critical of me for trying to raise that much money for this story. It’s actually been really nice though, everyone has been so supportive. I think people who care about Jeff and BTMI want this story to be in the world. I kind of feel like a jerk for doubting it, because I spent the last four years documenting this scene that is so inclusive, kind, and supportive of independent artists. I should have known they’d have my back…but it’s been really moving. I can’t believe I raised enough money to get to make it the film I want it to be without making compromises. It’s crazy. I’m still processing it.

The kickstarter campaign will end on May 22nd. Can you tell us which steps will happen next in this project?

An editor and myself will be locked in a room all summer editing the movie. Editing, color correction, sound design, all that stuff will happen this summer. When that’s done we will probably start applying to film festivals.

Which of BMTI!s many song is your personal favourite?

“Campaign for a Better Next Weekend” and “Future 86”.