Daryl Hannah wants to bring husband Neil Young's ‘vulnerability' to cinemas
A music documentary about singer-songwriter Neil Young to be shown in cinemas will highlight his 'authenticity, openness and vulnerability as a person, musician and performer', director and wife Daryl Hannah has said.
Titled Coastal, the film covers the touring life of Canada-born Young, 79, and is directed by Kill Bill actress Hannah.
The 64-year-old said: 'With Coastal I wanted to highlight Neil's authenticity, openness and vulnerability as a person, musician and performer.
'He is as pure and honest as they come. Deeply devoted to his musical muse, which at times presented a challenge in capturing the songs, as we never knew what he might play or what instruments he'd pick up next.
'But what we were able to capture has an unpretentious magic that reveals the truth, sentiment and emotions in these hidden gems as well as a close-up look at a performer who plays from the heart with a total lack of pretence.'
The movie promises a 'behind-the-curtain glimpse of this unguarded iconoclast as he navigates a return to the stage post-Covid', as the 'illuminating film also features songs rarely, if ever, played live, performed in breathtakingly beautiful theatres'.
Hannah has taken cameras inside Young's silver eagle tour bus while showcasing footage from his concerts and behind the scenes.
Young was on his Coastal tour in 2023 post-Covid and will head to Europe and perform at Glastonbury this year.
The documentary is produced by Gary Ward, edited by Rachel Simmer, with cinematography by Adam CK Vollick and Hannah.
Young was in rock band Buffalo Springfield and also had success with supergroup Crosby, Stills, Nash & Young.
He was inducted into the Rock And Roll Hall Of Fame with Buffalo Springfield in 1997, two years after he was inducted as a solo artist.
View this post on Instagram
A post shared by Neil Young Archives (@neilyoungarchives)
As well as his solo releases, the Heart Of Gold singer has made more than 20 live and studio albums billed as being by Neil Young and Crazy Horse.
Hannah's directing work with Young includes musical film Paradox as well as documentaries Mountaintop, which looks at Young making an album with Crazy Horse after a more than half a decade absence at the time, and the Grammy-nominated Barn, which follows the band recording the album of the same name.
He has been in a relationship with Hannah reportedly since 2014 and they tied the knot a few years later.
Young has been nominated for 28 Grammys, winning as art director for The Archives Vol. 1 (1963–1972), and for best rock song for Angry World.
He was named as 2010's MusiCares Person of the Year and founded the Bridge School Benefit Concert in 1986 to raise money for children with speech issues.
Coastal had its premiere at the Woodstock Film Festival in October 2024 and its west coast premiere in February at the Santa Barbara International Film Festival.
The film from Shakey Pictures, Trafalgar Releasing and Warner Records will be in cinemas on April 17 for a one-night only event.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
32 minutes ago
- Yahoo
Dakota Johnson Embraces Bouclé Pieces in Ferragamo for ‘Jimmy Fallon' Appearance, Talks ‘Materialists'
Dakota Johnson made her latest stop on her 'Materialists' promotional tour on Monday with an appearance on 'The Tonight Show Starring Jimmy Fallon' in New York City. The actress stars in the romantic comedy film directed by Oscar-nominated 'Past Lives' filmmaker Celine Song. For her late-night talk show appearance, Johnson opted for a look courtesy of Ferragamo. The actress wore a black single-breasted bouclé blazer with a bouclé miniskirt and black patent leather pumps. Johnson's blazer featured a plunging neckline with sinuous craftsmanship and buttons at the waist. More from WWD Amanda Seyfried Celebrates 'I Don't Understand You' Premiere in Fringe-forward Black Dress by Rabanne Rachel Brosnahan Gets Sculptural in Dior, Leslie Bibb Pops in Stella McCartney and More Looks From the 2025 Gotham TV Awards Ana de Armas Suits Up in Loewe for 'Kelly Clarkson' Appearance Johnson paired the look with sheer black tights, giving the ensemble a unified tonal element overall. As for accessories, Johnson chose simple pieces, including a few silver metallic rings. Her glam included makeup with bold brows, lined eyes and a natural visage. Johnson's hair was styled straight and worn down with fringe to frame her face. The actress' look was curated by stylist Kate Young, who has collaborated with such stars as Julianne Moore and Scarlett Johansson. In January, WWD honored Young with the Best Stylist award at the 2025 WWD Style Awards. 'Celebrities and designers form alliances in a way they didn't used to,' Young told WWD. 'They might have met and become friends in the past, but now people align themselves with brands and then also become brand ambassadors or faces of campaigns,' she said. 'Now, brands are so good at identifying talent they're interested in very early.' Johnson, who was recently announced as a global brand ambassador for Roberto Coin, was styled in another Ferragamo look by Young. Johnson wore a sleek strapless Ferragamo look on Thursday for an event celebrating her new role as a Roberto Coin global ambassador. Young, styled Johnson was also in Ferragamo heels. The actress also wore jewelry by Roberto Coin. 'Materialists' stars Johnson as Lucy, a professional matchmaker who finds herself at the center of a love triangle with former flame John and new love interest Harry. The film hits theaters June 13. View Gallery Launch Gallery: A Look Back at Venice Film Festival Best Dressed Red Carpet Stars: Amal Clooney, Dakota Johnson and More [PHOTOS] Best of WWD Mia Threapleton's Red Carpet Style Through the Years [PHOTOS] Princess Charlene of Monaco's Grand Prix Style Through the Years: Louis Vuitton, Akris and More, Photos Princess Charlene's Monaco Grand Prix Style Evolution at Full Speed: Shades of Blue in Louis Vuitton, Playful Patterning in Akris and More


San Francisco Chronicle
an hour ago
- San Francisco Chronicle
Kara Young, already on a Broadway streak, could make Tony history with her role in 'Purpose'
NEW YORK (AP) — Don't bother asking Kara Young which one of her roles is her favorite. They're all her favorite. 'Every single time I'm doing a show, I feel like it is the most important thing on the planet,' she says. 'I don't have a favorite. It's like this: Every, every single project has held its own weight.' Right now, the weighty project on her mind is Broadway's celebrated 'Purpose,' Branden Jacobs-Jenkins' drawing-room drama at the Helen Hayes Theater about an accomplished Black family revealing its hypocrisy and fault lines during a snowed-in gathering. 'There's so much in this play,' says Young, who plays an outsider who witnesses the implosion. 'Like a lot of the great writers, he creates these universes in a line or the space between the words.' A tense family gathering 'Purpose' is set in the Jasper family's living room in an upper-middle-class neighborhood in Chicago. The patriarch is Pastor Solomon Jasper, a Civil Rights legend, and his steely wife, Claudine. They are reuniting with their two sons — Junior, a disgraced former state senator, recently released after serving a prison sentence for embezzling funds, and Naz, who fled divinity school and is now a nature photographer. Young plays Aziza, a Harlem-bred social worker who has been close friends with Naz but didn't know anything about his family. 'This kind of thing never happens to me! I never meet famous people and you've been famous this whole time?' she screams. Her awe quickly fades as sibling jealousies, parental frustrations, past sins and the pressures of legacy come tumbling out over a fraught dinner. There is some slapping. 'We are so susceptible to get angry with the people we love the most,' says Young. 'What we're seeing in the less than 12 hours of them being together for the first time in two years, they're sitting down and having dinner, and all of these things come up, as they often do.' Young poised to make history Young's work has earned her a Tony Award nomination and a chance to make history. Already the first Black person to be nominated four times consecutively, if she wins, she'll be the first Black performer to win two Tonys in a row. Young made her Broadway debut in 2021 in 'Clyde's,' was in 'Cost of Living' the next year and co-starred opposite Leslie Odom Jr. in 2024's 'Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch,' winning a Tony. Jacobs-Jenkins calls Aziz in his script a 'deeply perceptive person and empathetic' and that could also apply to Young, She says she closely identifies with her character in 'Purpose,' — they're both Harlem-bred advocates for others, hoping to make the planet better. 'I feel connected to that core of her,' says Young. 'Every single play I've done since my 10-minute play festivals, I'm always like, 'Wow, this feels like this can change the world,' you know? And I feel like at the core of Aziza, that's how she feels. She wants to change the world.' 'Purpose,' directed by Phylicia Rashad, also stars LaTanya Richardson Jackson, Harry Lennix, Jon Michael Hill, Alana Arenas and Glenn Davis. 'Joy and curiosity and enthusiasm' Hill, who as Naz also earned a Tony nomination for best lead male actor in a play, calls Young 'the heart and joy of our little family over there at the Helen Hayes.' 'She enters the building and she just makes time for everyone and is genuinely excited to see people and hear about how they're doing,' he says. 'I've really never seen anyone have as much room in their consciousness and their being for everyone she encounters. She approaches every day with joy and curiosity and enthusiasm.' If there's one story that shows who Young is, it would be from the day of the Met Gala, which she and cast members of 'Purpose' were invited, along with its playwright. That same day, Jacobs-Jenkins won the Pulitzer Prize for drama. Young found out while getting her makeup done and began screaming. When she got to the gala — a look-at-me moment, if there ever was one — she was a walking advertisement for the play. 'I told everybody, 'You have to come and see this play. He just won a Pulitzer!'' Hill was right behind her and smiling as Young made connections and introductions. 'She was just going up to everyone and introducing us and talking about our show and trying to get folks in the door.' Young made her 2016 stage debut in Patricia Ione Lloyd's play 'Pretty Hunger' at the Public Theater, a play about a 7-year-old Black girl who didn't know she was Black. The playwright told her she wrote it with Young in mind. 'Ione Lloyd is one of the people who really made me see myself as an artist,' she says. 'She's the one that kind of set a path for me in a really beautiful way.' Next up for Young is the movie 'Is God Is,' which playwright Aleshea Harris is directing from her own 2018 stage play. Sterling K. Brown, Vivica A. Fox and Janelle Monáe are in the cast. Young calls it 'a spaghetti Western-meets-Tarantino-meets-the Greeks.' Next summer on Broadway, she'll star in a revival of 'The Whoopi Monologues' opposite Kerry Washington. After that, who knows? 'I don't know what's next, but I can't wait, whatever that is,' she says. 'If something comes along, it's about jumping into the next thing. If there's life in me, I got to live it.'

Hypebeast
3 hours ago
- Hypebeast
Kaytranada: Waves of Rhythm
This article originally appeared in Hypebeast Magazine Issue 35: The Wavelength Issue. Whether we inspect the behavioral mechanisms that propel the cosmological motions of the universe or the spiritual shifts within us, the wave is nature's most fundamental rhythm. One either learns the power of its force—or drowns beneath it. For the two-time Grammy-winning artist KAYTRANADA, success—as producer, DJ, and now singer—has been predicated on a profound understanding and manipulation of how the waves flow. This mastery has been both self-evident and continuously evolving throughout his career, as reflected through his production's maturation. Sonic alchemy appears on the track 'Feel a Way,' from 2024's TIMELESS , where his adroit ears transmute the quotidian into gold. It is a seemingly effortless feat in chopping samples to fit his swinging grooves. Here, he takes an innocuous sound, a drag-of-a-joint, from an obscure Jack Margolis record and transforms it into a slinking percussive loop. This is the kind of aural latticing that might be lost on casual listeners, but in perceiving its sonic nature, one realizes how each part of the whole is important—where, in this instance, the sample texturally accentuates the song's salient and hazy ambiance. Throughout KAYTRANADA's process, sounds are expertly flipped, stretched, and run through an effect bus, ultimately becoming his LPs or loosies. Those recordings are then tightly curated onto unassuming flash drives. Tracks are spun on CDJs from a sleek, lectern-like station; his DJ sets become gatherings where the 32-year-old, Port-au-Prince-born artist can commune with the energy his music stirs in the crowd. His sets unfold as an emotionally-pendulous journey. Bodies in the crowd ripple in waves and screams as his careful choreography guides every listener's pulse to his whim. That is craft at work. If it truly takes ten years to become a renowned household name, KAYTRANADA's fifteen-plus have turned him into a cultural fixture. Even a cursory search reveals how trusted he is in the industry, evidenced by an extensive list of credits: from Kali Uchis and PinkPantheress to Mach-Hommy, Aminé, and many other titans. But you don't even need to look; just listen. Whether you're a diehard fan or not, his influence on modern music is ubiquitous. That's not to say he has single-handedly created 'the sound.' He's undeniably a product of his upbringing on the internet, shaped by torchbearers like J Dilla and Madlib. But rest assured, if you hear a bouncy, staccato bass line accented by bright, jazzy synth chords, KAYTRANADA is likely the foundational driver behind those 'type beats.' Yet, even as he appears culturally buoyant, seemingly steady while the industry is engrossed with what's en vogue, his emotional buoyancy is another story. KAYTRANADA, or the public-facing persona many know, is informed by Louis Kevin Celestin, the person. And artistry is nothing without introspection. In conversation, KAYTRANADA describes TIMELESS as one of his most expressive and unencumbered projects to date, explaining that achieving solidity as an artist required an evaluation of his ongoing relationship with existentialism. And through this reflection, KAYTRANADA learned to embrace what we can't control—that we must surrender to the flow of uncertainty. HYPEBEAST: First off, congrats on the three latest Grammy nods. You've been nominated eight times now. How do you mentally process that? What's changed since your first nominations? KAYTRANADA: I feel good. I'm not putting all my attention on it, though, because it'll be disappointing if I lose. I'm nominated alongside some heavy hitters, and it's a toss-up. But they're all amazing peers. Whoever wins, it'll make sense. So yeah, I'm not trying to put my heart into it. Whatever happens, I'm not going to overreact. The core of that sounds like radical acceptance, which reminds me of a Creole proverb I learned: 'Dlo pa janbe trou.' To me, it feels like it's about resilience and understanding that we can't control all hardships, but we can control how we move through them. TIMELESS has that feeling. Yeah, I saw that when I was making this album—especially across the years since Bubba . The pandemic and moving to LA coincided with so many changes. Big life changes. I had to accept that when it comes to making music, it doesn't have to be so important that I feel a need to prove myself or stand out against other albums. I was overthinking a lot while making TIMELESS , wondering, 'How can I top my last one?' It got ridiculous. Eventually, I realized I really don't care. I'm just going to express how I felt in those times. That time of evolution and acceptance—giving up control and letting things be—translates into the album. I'm in an acceptance mood, taking things for how they are. That's connected to a quote from you about how it was hard to be yourself in your salad days while still innovating. What parts of your earlier self did you hold onto, and what did you let go of to embrace this evolution? Like I said, I had a lot of controlling thoughts—overthinking and comparing myself to my peers. That kind of thinking kills creativity: How can I be better than everybody else? That felt ridiculous, but you see how a generation was influenced by people like Kanye saying he and his music are better than everyone else. It led people to believe they needed to think the same. I realized that was a manipulation tactic: Why do I need to be better? Therapy showed me a lot: self-discovery, self-love. I always loved myself, but I never knew it was so important to care for yourself in that explicit way. That wasn't taught to me. After winning a Grammy in 2021, I went through things I didn't comprehend until therapy. I just had to go through a lot of old traumas. I get it, especially in a Black family. The idea is to be great first, then worry about trauma later—or not at all. Perfectionism creeps in. Eventually, we realize we can't keep measuring ourselves against everyone else. We need our own standard, our own lane. Yeah. Growing up Haitian, my mom was always like, 'You can do better than that. I was top of the class, so you can be too.' But I had trouble in school—bad grades, shy, found it boring. No matter how hard I tried, getting an A was tough. My mom would say, 'Why can't you get an A-plus? Why come back with a C-minus or B-plus?' It was always, You can do better. That bled into my music. I had to break myself from those chains. I feel that. My mom used to say, 'This is an A household.' I think sometimes our close collaborators can become a chosen family. That can bring 'family-like' clashes. TIMELESS has a lot of collaborators—a broad spectrum of voices. Despite that, it's cohesive. How did you maintain harmony while navigating creative disagreements? That definitely happened. Early on, I struggled to give feedback to artists. I wasn't great at saying, 'Hey, try this.' Sometimes I didn't trust my ideas, or I wasn't sure I had the idea. So I'd let them do their thing while I made the music. It still felt collaborative, but I got a bit more comfortable speaking up by the end of creating the album. I'm shy, and sometimes I feel my ideas aren't the best. Maybe I'm still healing from past trauma where collaborators told me my ideas sucked. That shattered me and made me not want to speak up. But sometimes their ideas are better—so it's about merging ideas. I never want it 100% me or them. I'd rather have a 50/50 approach to show it's truly collaborative. From a listener's perspective, it's hard to imagine you struggling with that, especially with the album's cohesive flow. And it also marks the return of your brother Lou Phelps as a featured artist. Family can be comforting but also tricky. How did that relationship influence you two musically this time around? It's been a journey. There were moments when we disagreed. As The Celestics, our second project was Supreme Laziness . Around that time, I was blowing up with my electronic stuff, but Lou was still trying to 'make it.' In a family, there can be entitlement. He assumed it would be easy— just drop an album, it'll go fine. But headlines made it seem like 'it was just KAYTRANADA and his brother.' That bothered him—and me. I wanted him to have his own shine. Early on, it was easy to give him my opinions, but he'd shut them down, wanting to prove himself. So I'd think, Never mind, do you. Even if I said, 'I'd change this idea,' he'd get defensive. That was something we had to go through. During the pandemic, he had an epiphany: 'Damn, man, all this time you were trying to help me be better.' Subconsciously, I agreed. He wasn't on my previous albums either, though he wanted to be, which was a scandal for my mom. She asked, 'Why not put your brother on?' But it didn't feel right until now. Lou was ready, and 'Call You Up' was just a demo of his that I grabbed for the album. This journey took understanding, communicating better, and maturity. We still collaborate. The Celestics haven't broken up. Lou's always been around. In both of your growth processes, you saw that family is family, and we just need to let them have space to be them. Exactly. Lots of patience and maturity. There's a vulnerability in that which extends to TIMELESS and its danceability. I told a homie some tracks feel like 'crying while dancing on the dance floor.' How'd you balance emotional weight while giving people something to move to? Life experiences, plus my favorite disco and boogie songs are often heartbreak anthems that are still upbeat. 'You broke my heart, but I'm going to be okay,' type songs. Think heavy instrumentation, bass, strings, drums — like seven or eight minutes, giving you a breakdown that feels so emotional. That's what inspired me. That was always my type of music. I've always loved danceable sad songs, with big chords and heavy drums but also a vulnerable message. Also, on TIMELESS , I explored more R&B, so some songs lean purely that way. That emotion also comes through on 'Stepped On,' where you follow in the footsteps of J Dilla and Madlib's Quasimoto by putting your voice on the track. What made you express yourself that way — where you're even more vulnerable than being behind the track? Pure self-expression. Nobody else has the melodies or ideas I have for my music, except maybe my brother. My beats are upbeat, but I don't always want house-style vocals. Sometimes I want it off-grid, like Raekwon or Q-Tip. In today's industry, people are often on the beat or even ahead of it, so I decided to do it myself. Also, as a Black gay man, I asked, What would I sing about? On 'Stepped On,' I wrote about a breakup and my personality as a yes-man—just feeling stepped on. The lyrics came easily. Being on tour with The Weeknd pushed me, too. I thought, I'm going to try to write a song for The Weeknd to challenge myself. During Bubba , I had demos singing with Thundercat playing bass; I wasn't confident, but everyone said, 'You sound good, Kevin.' I was like, really? Eventually, outside compliments—and compliments from somebody I was dating—pushed me to take it seriously. Now I have more demos stashed. 'Stepped On' was my test to see if people would like it, and it worked. In previous interviews, you've mentioned referencing punk, new wave, noise and genres known for being subversive and pushing sonic and cultural boundaries. How did they become tools for you to push your own or society's boundaries? In those genres, you don't need a perfect singer. It's purely self-expression, often dark, nighttime vibes. I found a link to some sub-genres of hip-hop—Dilla, Black Milk, Madlib—because they'd sample synthy new wave tracks, making them sound funky, electronic, but still hip-hop. When I started searching for those samples, I really listened and realized, They're just expressing themselves with synths and drum machines. They're not trying to stand out by doing something over-the-top or calling in extra producers. They're just being themselves. That was inspiring. I wanted that formula for my vocals: no rigid approach, just expression. Right, it's about letting go of those boundaries. In a way, you're paying homage to new wave/noise's ethos: Get on a track, say what you need to say, and move on. Exactly. TIMELESS is like a time capsule. Listening to those '80s and '90s artists, they'd just make an album—12 songs, here's how I feel. It could be their best album, their worst, or mid. Who cares? It's how they express themselves. I want my future albums to be that way, too. Not, 'Oh my God, gotta create the biggest album and do the biggest rollout.' No, just express yourself. Don't overthink it. Frankie Knuckles once quoted Robert Owens, saying, 'Give me roses while they're dead because I can't use them when I lay.' As an artist whose evolution has been visible, do you think you're getting the recognition you deserve, or is it too early to call? I'm still learning. I also feel not everyone hears what I'm doing—listeners can be lazy, skimming tracks too fast, creating quick judgments. So a part of me feels I have something to prove, but at the same time, I don't. Music is self-expression. I do it for myself and the people who are waiting for more—not for those who don't like it.