Fleeing the Malibu fires, she found a box of old ’90s videos and emerged with ‘The Best Summer’

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Tour films about musicians have lots of different ways they can go. Some highlight the excitement of playing shows, while others show the dull parts of touring – like waiting in anonymous backstage areas and constantly traveling by plane, bus, and between hotels. But what if a tour film could make even the less glamorous parts look enjoyable?

Tamra Davis’s new film, “The Best Summer,” premieres tonight at the Sundance Film Festival. The documentary began with a box of old videotapes Davis discovered while escaping the Malibu fires last year. She still lives on the same property as Michael Diamond—Mike D from the Beastie Boys—and the tapes contain footage she shot during the band’s 1995-1996 tour of Australia and Asia. The tour featured performances with other popular bands of the time, including Sonic Youth, Foo Fighters, Pavement, Beck, Rancid, the Amps, and Bikini Kill.

Davis, 64, explained that he’s always been a photographer. ‘Being a filmmaker is just part of who I am,’ he said. ‘Having a camera with me feels completely natural – people barely notice it.’

Just a few days before heading to Park City, Utah with her friend and neighbor, Shelby Meade – who was also co-producing the project – Davis was relaxing on the patio of her Malibu home. Luckily, the house had been undamaged by the recent fires. As they sat there, with a couple of dogs playing in the yard, Davis noticed a hawk circling above and asked one of her sons to gather the chickens that were wandering around.

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“The Best Summer” will transport festival-goers back to the 1990s. Kathleen Hanna from Bikini Kill and Kim Gordon from Sonic Youth are both scheduled to be at the film screening.

Throughout the film, Davis and Hanna interview band members, starting with lighthearted questions about things like their favorite color, current reads, and personal mottos. Then, Hanna delves into more complex ideas about performing and creating a stage persona, appearing to explore these concepts and her own understanding of them as she goes.

I shot a lot of footage with Mike and the Beastie Boys whenever we toured together,” Davis explains. “I had completely forgotten about a lot of it, though. I discovered I’d also filmed bands like Foo Fighters, Beck, and Pavement – I didn’t even realize I had that material! Looking back, I’m amazed at how thorough I was – I made sure to get footage of Pavement, for example. It’s all there, thankfully.

During the tour, Tamra Davis was a rising director, fresh off the success of “Billy Madison,” which helped launch Adam Sandler’s film career. Before that, she’d directed music videos for numerous bands – many of whom were on the tour – and had also directed Drew Barrymore in the 1992 film “Guncrazy” and Chris Rock in the comedy “CB4.” She later went on to direct Dave Chappelle in “Half Baked” and Britney Spears in “Crossroads,” and also worked extensively on documentaries, including “Jean-Michel Basquiat: The Radiant Child,” which screened at Sundance in 2010.

During the Australian leg of “The Best Summer” tour, Davis and Diamond were newlyweds, and that joyful, loving energy really comes through in the footage. The bands performed for huge audiences, but also spent a lot of time relaxing and having fun together.

Davis was able to begin securing music permissions and resolving complex rights issues thanks to manager John Silva, who works with many of the bands featured in the film. She personally screened the movie for each band to obtain their consent.

Davis explains he only wanted feedback directly from the musicians themselves. He regularly works with streaming services like Netflix and Paramount, but felt he couldn’t accurately convey their notes to the artists. He prioritized and valued direct input from musicians like Adam Horovitz and Kim Gordon, enjoying the process of implementing their ideas. This is why he chose to self-fund the project – to maintain that direct connection with the artists and control the creative process, essentially handling the final touches himself.

Davis collaborated with editor Jessica Hernandez to maintain the natural, unpolished quality of the original recordings. Hernandez frequently filmed entire songs in one continuous shot, smoothly moving the camera between musicians—mimicking how an audience member might naturally watch a performance. The sound is deliberately raw, captured using only the camera’s built-in microphone. While the interview audio required some editing, the concert footage remains largely untouched, according to Hernandez.

Watching the footage felt like revisiting a memory, Davis explained. He compared it to an episode of ‘Black Mirror’ where you get to see the past exactly as you experienced it, offering a unique perspective on what happened and how it felt at the time.

Davis says other band members have had a similar reaction after seeing the film. Adam, for example, told her it felt like she’d somehow read his mind and captured a specific memory he didn’t even realize was consciously accessible. He was surprised she knew about it, as he wasn’t aware anyone was even documenting the moment.

Davis and Hanna had worked together before – she appeared in a Sonic Youth music video in 1994 and a short film Davis directed. They reconnected on tour and began informally interviewing musicians, capturing honest and insightful moments with artists like Kim Gordon of Sonic Youth, Dave Grohl of Foo Fighters, Thurston Moore of Sonic Youth, Stephen Malkmus of Pavement, and more.

Davis describes their connection with Hanna as feeling like a summer camp friendship. They shared a similar playful energy, joking about how they’d casually wander into people’s dressing rooms just to have something to do and conduct interviews, mostly because they were bored and looking for fun.

Diamond proposed that the film’s credits should prominently feature “Starring Kathleen Hanna,” recognizing her significant contribution. A particularly charming scene in “The Best Summer” is the interview between Hanna and Horovitz. Their connection feels like something out of a romantic comedy, especially knowing they later married in 2006.

Davis described the woman as assertive and direct. He admitted he could be bossy himself, but she took charge in a way he appreciated, confidently outlining how things would be done. He also praised her insightful questions, which helped him refine his work. Before showing her the finished product, he warned her he’d featured her prominently. Her immediate concern was whether she’d be embarrassed, but Davis assured her she’d actually enjoy it.

Watching old concert footage, it’s striking how few cell phones there are. The constant glow of screens we see at concerts today simply didn’t exist back then.

Davis believes the film feels genuine. He particularly appreciates how the female performers present themselves and appear as equals to the men, creating a welcoming and inclusive atmosphere. He notes his children enjoy this positive portrayal. He also points out that the film’s long, uncut takes contribute to its authenticity, offering a rare glimpse of a true connection between the performers and the audience – a connection he wishes more people could experience.

Davis is working on a memoir, planned for release next year, while also developing a few potential films. The memoir includes stories from her youth, like when she observed Federico Fellini filming “City of Women” during a trip to Italy as a teenager, and how she managed to get a behind-the-scenes look at Francis Ford Coppola’s 1981 film, “One From the Heart.”

In 1990s Hollywood, Davis, as a female director, found opportunities were limited and often had to work with what she could get.

People often express surprise that I directed films like ‘Billy Madison,’ ‘CB4’ with Chris Rock, and ‘Half-Baked’ with Dave Chappelle. Those were the opportunities presented to me at the time. These comedians hadn’t starred in a full-length movie before, and as a young woman in the industry, those were the kinds of projects I was offered. I believed these guys were incredibly funny, so I approached directing them as a fan, letting their comedic talents shine.

This core belief has motivated Davis throughout her career, even while she’s juggled a wide range of television projects, including “P-Valley” and the “High School Musical” series.

When I really connect with a show, I try to become the ideal audience member. It’s not about me trying to change it or put my own spin on things, but genuinely appreciating what’s there and finding the best way to capture that feeling – to really show what I love about it.

Working on “The Best Summer” allowed Davis to fondly remember the 1990s, and she hopes the film will connect with audiences on a deeper level. It’s not just a nostalgic look back at a particular era, but a reminder that meaningful experiences can be found in small, personal, and authentic moments.

I think it’s really exciting to see a film at the festival made by just one person. It’s inspiring, and it makes me feel like you don’t need a huge crew or tons of equipment to create something. It proves that one person really can make a movie, and that’s a powerful message.

She also shared her excitement as a woman with experience, saying it’s encouraging to see that a career isn’t over with age. She’d often felt overlooked – too young at first, then too old – and it never seemed like the right moment for her work to be recognized. But this time, she felt ready, and that motivated her to keep going.

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2026-01-25 06:02