WITH this, we don't think Alex Winter intended to write, co-produce and direct an unconventional documentary film on the unconventional music persona of Frank Zappa, him knowing perhaps that to do so would produce a redundant. As David Byrne once said, a message about a revolution (a revolutionary in this instance) would best be put across through a country song, not via an unconventional song.
    That is not to say that Zappa's various unconventional music didn't have anything to put across apart from their seeming l'art pour l'art point. In fact, his 1960s-1990s compositions' swinging between socially accessible (e.g. doo-wop) and convention-rupturing (e.g. musique concrete) passages were deemed successful overall, for it would seem that Zappa understood that tenet that Byrne talked about in the '80s. This way, he got to communicate both his art's subject and aesthetic themes.
    Furthermore, early on Zappa understood that music and its performance were one, were part of a multimedia whole that the music industry would later label as "the complete package." The better for his interactions with an audience that would love even his most averse stage behavior.
    Zappa's persona was neither perfect nor nice, especially perhaps as a bandmate or lover. But neither was he a righteous hypocrite nor a racist; far from it. His almost-libertine liberalism might even be more American than the Americans of America he would perpetually critique.
    Winter need not be experimental to portray Zappa as the person who said this: “A lot of what we do is designed to annoy people to the point where they might, just for a second, question enough of their environment to do something about it. As long as they don’t feel their environment―they don’t worry about it―they’re not going to do anything to change it and something’s gotta be done before America scarfs up the world and shits on it.”