Within 12 days, he had taken the now-famous photograph of the band in a subway passage. It's impossible to capture every single facet of someone's personality in a film."Ĭorbijn, who makes his directorial debut with Control, was drawn from the Netherlands to England in 1979 by Joy Division's spectral music and Curtis's haunting voice. But human beings are complicated creatures. Ian had a very explosive side that only comes out once in the film his way of dealing with problems was to explode.
"The guy who plays Ian has done an amazing job. Overall, these aspects of the band are captured very accurately in Control. It's just that, when we got in the rehearsal room, that's the music that came out of us. But looking back, we were flippant and playful. I'd had to cope with a lot of death and illness in my family from a young age, and that maybe gave me a bleak outlook on the world. I'd had quite a tough life up to that point. We stamped our personalities on the music of Joy Division and it sounded heavy. We were more youthfully idiotic than that. Maybe the band's characters have been suppressed a little. "Ian is the central character, not Anton," says Sumner.
It was also crucial that "the story should be allowed to tell itself, before any kind of self-expression from Anton", he says of the Dutch director, whose photographs of Joy Division when he was an NME photographer set the austere, modernist tone for the post-punk era. To be honest, when Atmosphere came on, I thought I was going to throw up."Īccording to Bernard Sumner, Joy Division/New Order's guitarist (and unofficial musical director, making him one of the key figures in the development of electronic-based rock music of the last 30 years) it was only right that Curtis should provide the focus for Control. Towards the end, it felt like someone had ripped out my heart and was stamping on it. Control doesn't feel like the end of the story the documentary closes things off perfectly.
"It captures the Manchester of the 1970s so well. "I couldn't believe how well it goes with the film," he says. For bassist Peter Hook, the documentary, which will be premiered at the Toronto Film Festival in October, is the perfect companion piece to the movie.
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