Joni Mitchell A Life Story: Woman of Heart and Mind

1 Childhood/Beginnings
2 Greenwich Village/Laurel Canyon (The 60's) (11:53)
3 First Record/Carnegie Hall/Woodstock (27:46)
4 Romance With Graham Nash/Creative Process (35:04)
5 Blue/Retreat/Transformation (42:00)
6 New Musical Languages/Painting (59:26)
7 Marriage And Divorce/Social Commentary/Honours (1:12:38)
8 Full Circle (1:23:05)

Joni Mitchell American Masters full DVD documentary is written and directed by Susan Lacy.
Joni Mitchell A Life Story: Woman of Heart and Mind review: One of the great talents of her or anyone else's generation gets the royal treatment with this superb documentary. It's all here (via interviews, including conversations past and present with Mitchell herself, photos, generous helpings of concert footage, and more): her Saskatchewan childhood, her lovers, her painting, her reunion with the daughter she had left behind at age 19... and, of course, her music, the songs, recordings, and performances, so intensely personal yet so universally accessible, that comprise one of the most extraordinarily original and significant (if not always wildly popular) bodies of work any artist has ever produced. Even true fanatics are likely to find revelations here; the rest of us can simply rejoice in the life and artistry of Joni Mitchell. --Sam Graham

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Los Angeles Times article: ‘Laurel Canyon,’ a two-part documentary premiering Sunday, May 31, 2020 on Epix, is the most comprehensive and musically satisfying document of L.A.’s 1966-72 folk-rock scene. JONI MITCHELL fills the hills with music in a vintage clip from Alison Ellwood’s sprawling doc “Laurel Canyon: A Place in Time.”
By Randall Roberts
One of the most sacred musical places in the baby boomer bible sits just above the Sunset Strip in the once-ramshackle Laurel Canyon neighborhood. The era’s own Garden of Eden, the labyrinthine neighborhood became a tangled nest of creativity that housed rising artists including Joni Mitchell , Carole King, Frank Zappa , James Taylor, Jackson Browne and members of Crosby, Stills, Nash & Young , the Doors , the Mamas & the Papas, the Monkees, Love, the Eagles and dozens of other soon-to-be-famous artists.
Virtually every plugged-in American 18 and older has been indoctrinated into understanding that musical history was made in the hills. Histories, memoirs, art books, a few documentaries and a fictional film — it would seem that the story of how a relatively isolated L.A. ZIP code helped connect artists with one another, who then connected with millions of fans, has been told.

From an aesthetic perspective, it’s hard to deny. Mitchell wrote all of her album “Blue” while living with Graham Nash in the canyon. Nash composed “Our House” about their place. Stephen Stills wrote “For What It’s Worth” about the scene down below on the Sunset Strip, and the foundations of his and bandmate Young’s band Buffalo Springfield were laid in that soil. Nash, Stills and Crosby figured out that they could do three-part harmonies here. While living in the Hills, Arthur Lee and his band Love crafted “Forever Changes.”
Guided by photographers Diltz and Wilde, whose presence at regular intervals across the series helps anchor the structure, Ellwood’s narrators include David Crosby, Linda Ronstadt, Alice Cooper, Michelle Phillips, the Monkees’ Mickey Dolenz and Mike Nesmith and the Doors’ Robbie Krieger. Woven in are archival recollections from dead musicians including Love’s Arthur Lee, Zappa, Cass Elliot and Jim Morrison. Though neither Mitchell nor Young agreed to be interviewed for the film, Ellwood’s research team found illuminating archival interviews with both.
‘Who I am?’
The first time Mitchell arrives in “Laurel Canyon,” she’s sitting on a stool preparing to be interviewed. Out of the frame, someone asks her to look into the camera and say who she is.
She looks a little surprised by the question. “Who I am?” Pondering for an uncomfortable moment, she says with a laugh, “That’s a hard departure point. A synopsis?” He means her name.
“She struggles with that for 35 seconds, and we let that run for that long,” Ellwood says. “To me, that’s who Joni Mitchell is. She always goes to the deepest possible place.”
“Laurel Canyon” lays it all out, combining narrative through-lines that in one way or another entangle Joni Mitchell, Crosby, Stills, Nash, Gram Parsons, Ronstadt, David Geffen and his business partner Elliot Roberts, John Phillips, Denny Doherty, Michelle Phillips and Elliot of the Mamas & the Papas, Gene Clark and various other members of the Byrds.
For example, Crosby used to lure friends to backyard concerts with what he calls “the best pot in town,” which would get them “stoned out of their gourds.” Crosby adds, “And then I’d say, ‘Hey Joni, why don’t you sing a song?’ They’d listen to her sing and their brains would run out their noses in a puddle, and that would be that.”

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