One Day Since Yesterday: Peter Bogdanovich & The Lost American Film is the story of maverick film director Peter Bogdanovich’s love for both the late Dorothy Stratten and his “lost” film They All Laughed. Murdered by her estranged husband as Bogdanovich was editing They All Laughed, One Day Since Yesterday summons up the romance, heartbreak and devotion present as Bogdanovich bought his film back from the studio when they studio threatened to shelve it, and his efforts to distribute it himself, almost to his own ruin. A real life love story of passion and belief in the power of art. One Day Since Yesterday is an homage to the lost era of the 70s American Auteur, staking a claim for They All Laughed as the last great film of that time.
Through the story of Peter’s journey with They All Laughed, One Day Since Yesterday explores all of Bogdanovich’s career (The Last Picture Show, Saint Jack, What’s Up Doc, Paper Moon), and his challenges to see his personal vision vindicated in an era unsympathetic to the bold and unique visions he risked it all on. It’s the story of a lost film, which played The Venice Film Festival in 1981, unavailable in any medium for years and it’s triumphant re-appreciation, championed by filmmakers like Quentin Tarantino, Wes Anderson and Noah Baumbach, and of the sweet, makeshift family that’s sprung up around They All Laughed’s tragedies — bonds still strong even 30 years later. One Day Since Yesterday is a wistful valentine to art, love, loss, redemption and the power of cinema.
DIRECTOR BILL TECK’S STATEMENT :
For me, the story of Peter Bogdanovich’s devotion to his film They All Laughed and to the late Dorothy Stratten is one of the most beautiful stories in all of cinema. Bogdanovich loves women and movies, and combined both perfectly in They All Laughed, only to have the woman he loved most stolen by a madman — and the film he loved most, lost to him — before a return to form and redemption for both his great film and his staggering talent.
I wanted to make a film about the way we remember things — and the transient nature of the past and how we remember it using slides, postcards, pieces of film and photos — as well an homage to the love of film itself. In a way, Peter is tied to his movie. And good directors are tied to their films, like an Aborigine is tied to the earth. So my mission was to make a film to remind an audience that even when things are thought to be forgotten — where there’s Art and True Love, things can’t be truly lost.