1 00:00:06,000 --> 00:00:12,074 Advertise your product or brand here contact www.OpenSubtitles.org today 2 00:00:44,086 --> 00:00:46,668 (BABY CRIES) 3 00:00:49,633 --> 00:00:51,248 (BABY CRIES) 4 00:00:53,387 --> 00:00:57,130 (CACOPHONY OF SOUNDS) 5 00:02:08,253 --> 00:02:10,539 (SILENCE) 6 00:02:11,798 --> 00:02:13,038 (CLOCK TICKING) 7 00:02:17,554 --> 00:02:19,135 (SEAGULLS CRYING OUTSIDE) 8 00:02:20,474 --> 00:02:22,465 (CLOCK TICKING) 9 00:02:28,440 --> 00:02:30,431 (ALARM RINGS) 10 00:02:38,116 --> 00:02:40,072 (RINGING STOPS) 11 00:02:54,800 --> 00:02:59,214 NICK: At the end of the 20th century, I ceased to be a human being. 12 00:03:03,642 --> 00:03:07,134 That's not necessarily a bad thing. It's just a thing. 13 00:03:08,814 --> 00:03:10,896 I awake, Iwrite, I eat. 14 00:03:10,982 --> 00:03:13,098 I write, I watch TV. 15 00:03:15,529 --> 00:03:18,362 This is my 20,000th day on earth. 16 00:03:29,000 --> 00:03:30,991 (WATER DRIPPING) 17 00:03:37,134 --> 00:03:39,375 Mostly I feel like a cannibal, 18 00:03:39,511 --> 00:03:42,674 you know, a cartoon one - with the big lips and the funny hair 19 00:03:42,806 --> 00:03:44,967 and the bone through its nose, 20 00:03:45,100 --> 00:03:48,012 always looking for someone to cook in a pot. 21 00:03:49,688 --> 00:03:52,020 You can ask my wife, Susie, she'll tell you... 22 00:03:53,608 --> 00:03:56,441 ...because she's usually the one that's getting cooked, 23 00:03:56,570 --> 00:03:59,403 cos there is an understanding between us... 24 00:04:00,907 --> 00:04:01,896 ...a pact... 25 00:04:03,243 --> 00:04:07,577 ...where every secret, sacred moment that exists between a husband and a wife 26 00:04:07,664 --> 00:04:09,575 is cannibalised 27 00:04:09,708 --> 00:04:14,327 and ground up and spat out the other side in the form of a song, 28 00:04:14,421 --> 00:04:17,379 inflated and distorted... 29 00:04:18,425 --> 00:04:20,131 ...and monstrous. 30 00:04:22,053 --> 00:04:24,044 (TYPEWRITER TAPPING) 31 00:04:25,807 --> 00:04:27,672 NICK: Mostly I write, 32 00:04:27,809 --> 00:04:31,393 tapping and scratching away, day and night sometimes. 33 00:04:32,439 --> 00:04:36,148 But if I ever stop for long enough to question what I'm actually doing, 34 00:04:36,276 --> 00:04:38,107 the why of it, 35 00:04:38,236 --> 00:04:40,477 well, I couldn't really tell you. 36 00:04:40,614 --> 00:04:42,570 I don't know. 37 00:04:48,455 --> 00:04:50,741 It's a world I'm creating... 38 00:04:52,000 --> 00:04:56,710 ...a world full of monsters and heroes, good guys and bad guys. 39 00:04:57,798 --> 00:05:02,041 It's an absurd, crazy, violent world... 40 00:05:02,177 --> 00:05:05,761 where people rage away and God actually exists. 41 00:05:06,807 --> 00:05:10,891 And the more I write, the more detailed and elaborate the world becomes 42 00:05:11,019 --> 00:05:14,637 and all the characters that live and die or just fade away, 43 00:05:14,773 --> 00:05:17,856 they're just crooked versions of myself. 44 00:05:18,902 --> 00:05:21,985 Anyway, for me, it all begins in here 45 00:05:22,113 --> 00:05:24,695 in the most tiniest of ways. 46 00:05:24,783 --> 00:05:27,695 (PIANO AND SYNTHESISER PLAYING) 47 00:05:35,252 --> 00:05:38,244 (PIANO AND SYNTHESISER PLAYING) 48 00:05:42,592 --> 00:05:44,878 NICK: Can you do a beat for that? 49 00:05:45,011 --> 00:05:47,093 - Huh? - NICK: Can you do a beat for... 50 00:05:47,180 --> 00:05:49,387 (PLAYS PIANO) 51 00:05:49,516 --> 00:05:51,507 WARREN: Yeah. 52 00:05:54,145 --> 00:05:56,136 (PLAYS SYNTHESISER) 53 00:06:01,403 --> 00:06:03,268 (PHONE RINGS) 54 00:06:05,532 --> 00:06:07,773 WOMAN: Hi, Nick. Just to remind you, 55 00:06:07,909 --> 00:06:10,366 your meeting with Darian's at midday today. 56 00:06:10,495 --> 00:06:14,408 Also, don't forget you need to drop in at the archive at some point this afternoon. 57 00:06:14,541 --> 00:06:16,827 They need to check a few things with you. 58 00:06:16,960 --> 00:06:20,248 I'll text Darian's address, but if you need anything else, let me know. 59 00:06:20,380 --> 00:06:21,836 (CLICK AND BEEP) 60 00:06:22,966 --> 00:06:24,456 Fuck. 61 00:06:29,222 --> 00:06:31,679 NICK: And when I come out of that world, 62 00:06:31,808 --> 00:06:35,096 I always feel startled by the so-called real world... 63 00:06:35,228 --> 00:06:36,968 (DOOR SHUTS) 64 00:06:37,063 --> 00:06:39,770 - (SEAGULLS CRY) - ...and I eat and I watch TV 65 00:06:39,900 --> 00:06:43,188 and I play with the kids and I torment my wife 66 00:06:43,320 --> 00:06:47,154 and I gather up experiences and then head back on in. 67 00:06:47,282 --> 00:06:48,738 (ENGINE STARTS) 68 00:06:48,867 --> 00:06:51,028 (# KYLIE MINOGUE: Can't Get You Outta My Head) 69 00:06:51,161 --> 00:06:53,777 — (MUSIC STOPS) — (PHONE RINGS) 70 00:06:53,914 --> 00:06:56,155 (BEEP AND CLICK) 71 00:06:56,291 --> 00:06:58,077 NICK: What were we doing on that yesterday? 72 00:06:58,209 --> 00:07:00,541 WARREN: Yeah, you had a... you...you played a thing on it. 73 00:07:00,670 --> 00:07:02,376 You sang it and it sounded really good. 74 00:07:02,505 --> 00:07:04,416 NICK: Yeah, we had something, didn't we? 75 00:07:04,549 --> 00:07:07,666 - WARREN: Yeah. - NICK: To go with. Hey, that's cool. 76 00:07:07,802 --> 00:07:09,667 NICK: I wonder what it was. 77 00:07:09,804 --> 00:07:11,795 I do this all the time these days. 78 00:07:12,933 --> 00:07:14,423 - WARREN: Ah... - NICK: Cool. 79 00:07:14,559 --> 00:07:16,424 (CLICK AND BEEP) 80 00:07:19,522 --> 00:07:21,353 NICK: Places choose you. 81 00:07:21,483 --> 00:07:25,601 They can take hold of you whether you wish them to or not. 82 00:07:26,947 --> 00:07:28,733 I used to come down to Brighton years ago, 83 00:07:28,823 --> 00:07:33,988 and what I remember most is that it was always cold and it was always raining... 84 00:07:35,038 --> 00:07:37,575 ...with a glacial wind that would blow through the streets 85 00:07:37,707 --> 00:07:39,618 and freeze you to your bones. 86 00:07:40,627 --> 00:07:44,836 But you gotta drop anchor somewhere and somehow here I am. 87 00:07:46,216 --> 00:07:48,582 Brighton, with all its weather, has become my home 88 00:07:48,718 --> 00:07:51,676 and, whatever hold this town has on me, 89 00:07:51,805 --> 00:07:55,673 well, it's been forcing its way violently into my songs. 90 00:07:58,186 --> 00:08:00,472 (SEAGULLS SQUAW K) 91 00:08:02,565 --> 00:08:04,430 (CLOCK TICKING) 92 00:08:04,567 --> 00:08:06,774 (SEAGULLS CRY OUTSIDE) 93 00:08:07,779 --> 00:08:09,895 NICK: Do you wanna know how to write a song? 94 00:08:11,992 --> 00:08:14,404 Songwriting is about counterpoint. 95 00:08:15,412 --> 00:08:17,403 Counterpoint is the key. 96 00:08:18,790 --> 00:08:23,910 Putting two disparate images beside each other and seeing which way the sparks fly. 97 00:08:24,921 --> 00:08:27,628 Like letting a small child in the same room 98 00:08:27,757 --> 00:08:32,171 as, I don't know, a Mongolian psychopath or something... 99 00:08:33,179 --> 00:08:37,172 ..and just sitting back and seeing what happens. 100 00:08:37,308 --> 00:08:38,889 WOMAN: Sorry, it shouldn't be long. 101 00:08:39,019 --> 00:08:42,511 NICK: Then you send in a clown, say, on a tricycle, 102 00:08:42,647 --> 00:08:45,730 and again you wait and you watch... 103 00:08:47,986 --> 00:08:50,102 ...and if that doesn't do it... 104 00:08:50,238 --> 00:08:51,648 you shoot the clown. 105 00:08:51,740 --> 00:08:53,947 (CRASHING IN HIS HEAD) 106 00:08:56,786 --> 00:08:59,072 WARREN: An Americano with a splash of milk in it. 107 00:08:59,205 --> 00:09:04,791 NICK: And I want a small, one-shot latte with one sugar. 108 00:09:06,046 --> 00:09:08,412 # I'm gonna go out 109 00:09:12,719 --> 00:09:15,085 # Today 110 00:09:18,183 --> 00:09:20,048 # Stray 111 00:09:20,143 --> 00:09:22,225 # By the river... # 112 00:09:25,231 --> 00:09:27,688 (HUMS TUNE) 113 00:09:30,111 --> 00:09:33,820 WARREN: There's something when you sing that that reminds me of something. 114 00:09:33,948 --> 00:09:37,440 - NICK: Er...Tim Buckley? - WARREN: No, it's, um...no. 115 00:09:37,577 --> 00:09:40,410 No, um...um...no. It's actually, um... 116 00:09:43,917 --> 00:09:45,782 All Night Long, Lionel Richie. 117 00:09:45,919 --> 00:09:48,376 Does that sound like that to you? Just sing what you were singing. 118 00:09:48,505 --> 00:09:49,585 (CHUCKLES) 119 00:09:49,714 --> 00:09:51,545 NICK: # One day I'm gonna go out... # 120 00:09:51,674 --> 00:09:54,040 Now I'm singing a Lionel Richie song. 121 00:09:54,177 --> 00:09:57,089 - # And baby - # Baby 122 00:09:57,180 --> 00:09:58,795 #Yeah...# 123 00:09:58,932 --> 00:10:01,298 WARREN: Is thatjust my Lionel Richie kind of... 124 00:10:01,434 --> 00:10:02,549 (NICK HUMMING TUNE) 125 00:10:02,685 --> 00:10:05,472 WARREN: Americano with a splash of cold milk. 126 00:10:06,689 --> 00:10:08,429 NICK: Maybe I'm singing it like Lionel Richie. 127 00:10:08,566 --> 00:10:11,603 - (WARREN LAUGHS) - # Oh, Lionel... # 128 00:10:11,736 --> 00:10:13,272 MAN: What's Nick having? A latte? 129 00:10:13,404 --> 00:10:17,272 WARREN: A latte with...a one-shot latte. What is it? One-shot latte and a... 130 00:10:17,408 --> 00:10:19,865 # One-shot latte... # 131 00:10:19,994 --> 00:10:21,734 WARREN: Half a cup, one-shot latte. 132 00:10:21,871 --> 00:10:26,240 # Lionel Richie... # 133 00:10:27,293 --> 00:10:30,376 - WARREN: Lionel latte. - # And a one-shot latte. # 134 00:10:35,426 --> 00:10:38,668 NICK: Oh, fuck it. He's totally blown my mojo over that one. 135 00:10:38,805 --> 00:10:41,091 (VOICE ECHOES IN HIS HEAD) 136 00:10:41,182 --> 00:10:43,138 WOMAN: Darian's ready to see you now. 137 00:10:43,268 --> 00:10:46,226 - (SEAGULLS CRYING) — (CLOCK TICKING) 138 00:10:54,696 --> 00:10:57,312 (TICKING) 139 00:10:59,367 --> 00:11:01,403 What's your earliest memory of a female body? 140 00:11:01,536 --> 00:11:02,696 Huh? 141 00:11:02,829 --> 00:11:05,115 What's your earliest memory of a female body? 142 00:11:05,248 --> 00:11:06,784 Um... 143 00:11:06,916 --> 00:11:11,706 um...the first major sexual experience that I had... 144 00:11:11,838 --> 00:11:13,829 Yes. 145 00:11:13,965 --> 00:11:17,173 ...was with, er...a girl, 146 00:11:17,260 --> 00:11:21,799 um...that |...who had black hair and a very white face. 147 00:11:21,931 --> 00:11:23,546 - Mm-hm. - She'd put on make-up, 148 00:11:23,683 --> 00:11:25,469 and she put make-up on over her lips as well 149 00:11:25,602 --> 00:11:28,844 so it was all just this...sort of almost this kabuki-like kind of thing, 150 00:11:28,980 --> 00:11:33,144 and I was...| don't know, 15 or something like that. 151 00:11:33,276 --> 00:11:35,312 I'd told my mother I was staying somewhere else, 152 00:11:35,445 --> 00:11:36,480 and I slept with this girl. 153 00:11:36,613 --> 00:11:40,731 - Hm. - But we didn't have sex. 154 00:11:40,867 --> 00:11:42,732 But there was something about the shifting of her... 155 00:11:42,869 --> 00:11:45,360 - She turned her back on me. - Hm. 156 00:11:45,496 --> 00:11:47,532 But I could see this face in... 157 00:11:47,665 --> 00:11:50,873 in the sort of half-light, this white face... 158 00:11:51,002 --> 00:11:54,494 and, um...that had quite a big effect on me, that. 159 00:11:54,631 --> 00:11:58,795 The thing about this girl 160 00:11:58,927 --> 00:12:00,417 and her friend Janine... 161 00:12:00,553 --> 00:12:02,339 - Julie, her name was. - Mm-hm. 162 00:12:02,472 --> 00:12:07,262 They used to like to dress me up in, er...in kind of... 163 00:12:07,393 --> 00:12:09,509 they liked to dress me up in women's clothing. 164 00:12:09,646 --> 00:12:11,978 - Hm. - At the time I'd do anything, you know, 165 00:12:12,106 --> 00:12:16,645 and...| remember sort of having to sort of toddle out of the family home 166 00:12:16,778 --> 00:12:19,440 in my high heels and hot pants when... 167 00:12:19,572 --> 00:12:20,482 (THEY CHUCKLE) 168 00:12:20,615 --> 00:12:23,106 Kind of, you know, "Off to..." "Where are you going, darling?" 169 00:12:23,243 --> 00:12:26,406 "Off to a fancy dress, Mum." And kind of going out the door, 170 00:12:26,537 --> 00:12:30,871 and...and eventually my father...| remember my father, er...coming upstairs 171 00:12:31,000 --> 00:12:34,208 and, obviously, my...my mother had... 172 00:12:34,337 --> 00:12:36,123 - had told him about this... - Mm. 173 00:12:36,256 --> 00:12:38,292 - ...cos it was so out of character... - Mm. 174 00:12:38,383 --> 00:12:41,841 ...and him sitting down, like you're sitting there, and saying, 175 00:12:41,970 --> 00:12:45,633 "Now, son, there's a time when we all become men," 176 00:12:45,765 --> 00:12:48,347 and giving me this talk about, um... 177 00:12:48,476 --> 00:12:50,888 (CHUCKLES) ...about, er... wearing women's clothing, 178 00:12:51,020 --> 00:12:54,729 cos they were... I think they were worried that I was a transvestite. 179 00:12:54,857 --> 00:12:55,767 Hm. 180 00:12:55,900 --> 00:12:59,484 Um...but I was just sort of in... really in the thrall of this... 181 00:12:59,612 --> 00:13:02,103 strange, wonderful girl. 182 00:13:02,240 --> 00:13:04,276 What are your earliest memories of him? 183 00:13:04,409 --> 00:13:05,819 - Of my father? - Mm. 184 00:13:05,952 --> 00:13:08,739 (SIGHS) Oh, I don't know. 185 00:13:11,791 --> 00:13:13,452 You know, there must be earlier ones, 186 00:13:13,543 --> 00:13:18,037 but he...he did actually take me aside one day 187 00:13:18,172 --> 00:13:20,879 and read me the first chapter of Lolita. 188 00:13:21,009 --> 00:13:22,545 Why that? 189 00:13:22,677 --> 00:13:24,884 Because he said that within that chapter, 190 00:13:25,013 --> 00:13:26,844 great writing kind of existed in there 191 00:13:26,973 --> 00:13:29,009 - ...on so many different levels... - Mm. 192 00:13:29,100 --> 00:13:31,136 ...and he kind of went through the alliteration 193 00:13:31,269 --> 00:13:35,387 and read it out loud and said, "See what happens here?" 194 00:13:35,523 --> 00:13:38,060 And...you know, and that was very powerful... 195 00:13:38,192 --> 00:13:39,807 - Mm. - ...thing for him to do for me, 196 00:13:39,902 --> 00:13:44,271 because the way that I saw him become around that kind of stuff... 197 00:13:44,407 --> 00:13:47,194 - Mm. - ...that was, um... 198 00:13:48,494 --> 00:13:50,735 ...you know, different, that he changed when he read that. 199 00:13:50,872 --> 00:13:52,203 What did he become? 200 00:13:52,332 --> 00:13:56,450 - You know, a...a greater thing. - And do you ever remember... 201 00:14:04,260 --> 00:14:06,216 Hey, this is great, having the piano in, er... 202 00:14:06,304 --> 00:14:08,215 - the control room. - WARREN: Yeah, yeah. 203 00:14:08,348 --> 00:14:10,714 HERVE: We can, er...tune every piano if you need. 204 00:14:10,850 --> 00:14:12,090 Yeah, and...and the one in the barn. 205 00:14:12,226 --> 00:14:13,932 - Yeah. - NICK: While Warren is doing something 206 00:14:14,020 --> 00:14:16,011 or Tommy's doing something, I could take this piece... 207 00:14:16,147 --> 00:14:18,604 — HERVE: Yeah. - ...bring it in here and just play it 208 00:14:18,733 --> 00:14:20,564 and work it, because a lot of the stuff's not... 209 00:14:20,693 --> 00:14:23,025 - you know, it's very free at the moment. - NICK LAUNAY: Yeah, yeah. 210 00:14:23,154 --> 00:14:24,644 NICK CAVE: That's gonna be really nice. That's See That Girl. 211 00:14:24,781 --> 00:14:27,739 I mean, it's difficult to tell from some of this stuff what we got. 212 00:14:27,867 --> 00:14:30,233 - You've gotta kind of relax and... - Mm. 213 00:14:30,370 --> 00:14:32,656 ...because we got a lot of ideas about these things, 214 00:14:32,789 --> 00:14:35,451 which arejust fucking nothing here, to be honest. 215 00:14:35,541 --> 00:14:38,283 (PLAYING PIANO) 216 00:14:41,631 --> 00:14:43,246 No, it's not gonna rain. 217 00:14:48,971 --> 00:14:50,711 Hey, he's got the camera rolling. 218 00:14:50,848 --> 00:14:53,089 NICK: I reckon we ought to put down a couple of basic tracks. 219 00:14:53,226 --> 00:14:55,808 (SYNTHESISER AND PIANO PLAYING) 220 00:15:02,819 --> 00:15:03,934 Here it comes. 221 00:15:04,070 --> 00:15:06,061 (SYNTHESISER AND PIANO PLAYING) 222 00:15:11,744 --> 00:15:14,451 # There was a girl called Animal X 223 00:15:15,623 --> 00:15:18,114 # She was not his type but she's all right 224 00:15:19,877 --> 00:15:21,617 # She's from the city where there is no... # 225 00:15:21,754 --> 00:15:23,290 Oh, no, I got that wrong. 226 00:15:24,465 --> 00:15:25,500 All right. 227 00:15:26,926 --> 00:15:29,087 # And there's no more air 228 00:15:29,220 --> 00:15:32,633 # Just the distant humming of a prejudicial prayer 229 00:15:34,225 --> 00:15:36,261 # And she arrives at the town 230 00:15:37,979 --> 00:15:40,391 # And at the gates she meets a boy 231 00:15:41,858 --> 00:15:44,474 # We'll call him Animal Y... # 232 00:15:53,786 --> 00:15:56,528 # She said there's nothing to fear 233 00:15:58,249 --> 00:16:01,741 # Ah, there's nothing to fear but a bad idea... # 234 00:16:02,962 --> 00:16:05,328 DARIAN: Did your father ever come to see you play? 235 00:16:05,756 --> 00:16:09,999 He came a couple of times. Both times, I didn't know that he was there. 236 00:16:10,136 --> 00:16:13,879 He came to the first New Year's Eve show that I did. 237 00:16:14,015 --> 00:16:17,849 It was a show on a street and I was kind of rolling around drunk and singing. 238 00:16:17,977 --> 00:16:20,218 The whole band were off their faces. 239 00:16:20,354 --> 00:16:22,436 He asked me how it had gone and I said, "Oh, it was good," 240 00:16:22,565 --> 00:16:24,101 and he went, "Yeah, I know, I was there." 241 00:16:24,233 --> 00:16:26,724 - Hm, hm. - But then he saw me before he died. 242 00:16:26,819 --> 00:16:31,279 It was a paid gig at a club, like a proper band, 243 00:16:31,407 --> 00:16:33,614 and, um...he was at that, too, 244 00:16:33,701 --> 00:16:37,410 and...and he, er...he saw that and he made this comment. 245 00:16:37,538 --> 00:16:40,120 - "You were like an angel," he said. - Hm. 246 00:16:40,249 --> 00:16:42,706 I can't imagine how he could have seen me in that way, quite frankly. 247 00:16:42,835 --> 00:16:44,166 DARIAN: Seen you as an angel? 248 00:16:44,295 --> 00:16:47,207 (LAUGHS) Yes, an angel. All things considered. 249 00:16:47,340 --> 00:16:51,879 In that way in which he'd be present, yet without declaring himself, 250 00:16:52,011 --> 00:16:54,468 did that ever happen at home? 251 00:16:54,597 --> 00:16:58,089 I remember one time my sister being very upset about something, 252 00:16:58,184 --> 00:17:01,096 and my father putting her to bed and then leaving the room 253 00:17:01,229 --> 00:17:05,893 and turning the light off, and my sister was sort of sobbing in the bed, you know, 254 00:17:05,983 --> 00:17:07,848 and then after a while... We were very young. 255 00:17:07,985 --> 00:17:11,227 I kind of went "Pooh", like that, and she started to giggle, you know, 256 00:17:11,364 --> 00:17:14,276 and then I went, "Shit", and she started to giggle more, 257 00:17:14,408 --> 00:17:16,774 and I went, "Fuck" and so on, and this, er... 258 00:17:16,911 --> 00:17:19,323 - Mm. - ...until she was kind of laughing 259 00:17:19,455 --> 00:17:23,448 and then I saw the door open and my father kind of move out... 260 00:17:23,543 --> 00:17:26,250 - Mm. - ...and I'm kind of like, "Oh!" you know. 261 00:17:26,379 --> 00:17:30,418 So, in all those examples, he's there like a kind of silent witness? 262 00:17:31,676 --> 00:17:34,133 Yeah. Yeah. 263 00:17:34,220 --> 00:17:38,179 Although he wasn't... To say that he wasn't present is not correct. 264 00:17:38,307 --> 00:17:40,093 - But in those instances. - Mm, mm. 265 00:17:40,184 --> 00:17:42,345 My memory of my childhood 266 00:17:42,478 --> 00:17:48,064 was really a kind of wonderful childhood for a...for a kid. 267 00:17:48,192 --> 00:17:50,979 Does it bring anything to mind, a memory or... 268 00:17:51,112 --> 00:17:54,570 Well, the Ovens River ran through Wangaratta 269 00:17:54,699 --> 00:17:57,156 and that's where I spent my childhood, 270 00:17:57,285 --> 00:17:58,991 - just down by that river. - Mm. 271 00:17:59,120 --> 00:18:01,657 All the kind of cool stuff that I got up to as a kid. 272 00:18:01,789 --> 00:18:05,122 - What kind of thing? - Kissing girls. 273 00:18:05,251 --> 00:18:09,460 Jumping off the, er...the railway bridge that went over this river. 274 00:18:09,589 --> 00:18:13,002 I mean, we would put our ear to the tracks and listen for the train 275 00:18:13,134 --> 00:18:14,544 and hear it vibrating on the tracks. 276 00:18:14,677 --> 00:18:19,387 Then we would run towards the train, along the tracks into the middle of a bridge 277 00:18:19,515 --> 00:18:21,130 and the train would come around like this 278 00:18:21,267 --> 00:18:23,474 and we would run and then we would leap off the, er... 279 00:18:23,603 --> 00:18:25,434 - Mm. - ...|eap off the bridge into the river. 280 00:18:25,563 --> 00:18:26,973 Mm. 281 00:18:27,106 --> 00:18:29,643 All of that kind of daredevil stuff of childhood, 282 00:18:29,775 --> 00:18:33,359 which...which was very much about what a lot of my childhood was about... 283 00:18:33,487 --> 00:18:36,069 - Mm. - ...um, and that I really miss, 284 00:18:36,198 --> 00:18:40,942 that my own children don't get to experience that sort of stuff. 285 00:18:41,078 --> 00:18:44,411 Mm. What do you fear the most? 286 00:18:44,540 --> 00:18:46,906 (SIGHS) Er... 287 00:18:50,504 --> 00:18:51,835 Hm... 288 00:18:53,341 --> 00:18:59,302 My...biggest fear, I guess, is losing my memory. 289 00:18:59,430 --> 00:19:01,011 It does worry me at times 290 00:19:01,140 --> 00:19:05,179 that I'm not gonna be able to continue to do what I do... 291 00:19:05,311 --> 00:19:08,974 um...and reach a place that I'm satisfied with. 292 00:19:09,106 --> 00:19:11,438 In the sense? 293 00:19:11,567 --> 00:19:14,400 Because memory is what we are, you know, and I think 294 00:19:14,528 --> 00:19:19,272 that your very soul and your very reason...to be alive 295 00:19:19,408 --> 00:19:20,693 is tied up in memory. 296 00:19:20,826 --> 00:19:23,818 I mean, I think for a very long time, 297 00:19:23,954 --> 00:19:28,243 I've been building up a kind of world through narrative songwriting. 298 00:19:28,376 --> 00:19:31,083 It is a kind of world that's created 299 00:19:31,212 --> 00:19:34,625 about those precious, um... 300 00:19:34,757 --> 00:19:38,045 original memories that define our lives 301 00:19:38,177 --> 00:19:42,420 and those memories that we spend for ever chasing after. 302 00:19:42,556 --> 00:19:44,797 Which memories do you think you're chasing after? 303 00:19:44,934 --> 00:19:47,391 I think exactly what we've been talking about. 304 00:19:47,520 --> 00:19:50,057 Those earlier childhood memories. 305 00:19:50,189 --> 00:19:55,024 Those moments when the gears of the heart really change 306 00:19:55,152 --> 00:20:00,692 and that's...that could be being, er...discovering some work of art. 307 00:20:00,783 --> 00:20:06,744 Um...it could be some massive traumatic experience that happens. 308 00:20:06,872 --> 00:20:12,083 Um...it could be some tiny moment, er...a fragment of a moment, 309 00:20:12,211 --> 00:20:16,329 and in some way that's really what the process of songwriting is for me. 310 00:20:16,424 --> 00:20:22,010 It's the retelling of these stories and the mythologising of these stories. 311 00:20:22,138 --> 00:20:26,256 To lose the faculty of memory is a massive trauma 312 00:20:26,392 --> 00:20:28,178 within that world, obviously. 313 00:20:28,310 --> 00:20:31,017 (PIANO PLAYING) 314 00:20:31,147 --> 00:20:33,229 NICK: Yes, is it worth pursuing? Will Ijust come back and... 315 00:20:33,733 --> 00:20:35,064 (PIANO PLAYING) 316 00:20:35,192 --> 00:20:37,683 OK, I'll do...|'|| do one more. 317 00:20:37,820 --> 00:20:40,482 (PIANO PLAYING) 318 00:20:42,908 --> 00:20:45,650 # Childhood days 319 00:20:45,786 --> 00:20:48,573 # Shimmer in a haze 320 00:20:52,209 --> 00:20:54,200 # Give us a kiss 321 00:20:58,132 --> 00:21:01,215 # In the blue room you whispered into the music 322 00:21:02,219 --> 00:21:05,336 # And the brown field under the thorn bush 323 00:21:07,266 --> 00:21:08,927 # Give us a kiss 324 00:21:13,439 --> 00:21:16,897 # And then across the overpass and down 325 00:21:17,026 --> 00:21:19,688 # By the blood factory and into town 326 00:21:22,364 --> 00:21:24,150 # Give us a kiss 327 00:21:28,454 --> 00:21:30,695 # Just one little sip, sip, sip 328 00:21:31,707 --> 00:21:34,665 # Before you slip, slip, slip away 329 00:21:37,129 --> 00:21:39,120 # Again 330 00:21:42,510 --> 00:21:48,255 # You are still hanging out in my dreams 331 00:21:48,390 --> 00:21:51,052 # In your sister's shoes 332 00:21:52,728 --> 00:21:56,312 # In your blue jeans 333 00:21:57,566 --> 00:21:59,807 #Ah, give us a kiss 334 00:22:02,196 --> 00:22:04,858 # One little sip, sip, sip 335 00:22:06,784 --> 00:22:10,527 # Before I catch, catch, catch on fire 336 00:22:12,414 --> 00:22:14,370 # Come on 337 00:22:15,709 --> 00:22:18,416 # And give us 338 00:22:19,463 --> 00:22:23,172 # A kiss 339 00:22:36,021 --> 00:22:39,138 # Want me to burn 340 00:22:40,776 --> 00:22:43,643 # I will 341 00:22:50,411 --> 00:22:54,529 # Want me to burn 342 00:22:54,623 --> 00:22:57,330 # I will 343 00:23:01,171 --> 00:23:04,584 #Yes, I will. # 344 00:23:17,897 --> 00:23:21,389 NICK: If you can enter into the song and enter into the heart of the song, 345 00:23:21,525 --> 00:23:24,232 into the present moment, forget everything else, 346 00:23:24,361 --> 00:23:27,228 you can be kind of taken away... 347 00:23:27,364 --> 00:23:30,197 and then you're sort of godlike for a moment, 348 00:23:30,326 --> 00:23:32,442 and sometimes it doesn't, by the way. 349 00:23:32,578 --> 00:23:35,741 It's not that the moment you walk on, you turn into an angel or something like that. 350 00:23:35,873 --> 00:23:37,283 Sometimes it doesn't happen. 351 00:23:37,416 --> 00:23:40,374 - An angel? - OK. Let's... Yeah, yeah, whatever. 352 00:23:40,461 --> 00:23:47,082 Is this a...a theme in your songs - of responsibility and accountability? 353 00:23:47,217 --> 00:23:51,460 Um...| have a kind of weird relationship with the idea of God, 354 00:23:51,597 --> 00:23:56,717 because within my songwriting world, some kind of being like that exists. 355 00:23:56,852 --> 00:23:58,934 - Someone watching? - Yeah. 356 00:23:59,021 --> 00:24:01,683 Someone taking score, let's say. 357 00:24:01,815 --> 00:24:04,352 In the real world, I don't believe in such a thing. 358 00:24:04,485 --> 00:24:08,694 You know, when I had a... a real interest in religion 359 00:24:08,781 --> 00:24:10,396 was when I was taking a lot of drugs. 360 00:24:10,532 --> 00:24:12,818 - Mm. - You know, I was a junkie. 361 00:24:12,952 --> 00:24:15,534 I would wake up and need to score 362 00:24:15,621 --> 00:24:18,533 and the first thing I would do is go to church... 363 00:24:18,666 --> 00:24:19,701 Mm. 364 00:24:19,833 --> 00:24:22,540 ...and I would sit through the entire service, 365 00:24:22,670 --> 00:24:27,209 listening to the priest rant on up there and shake his hand on the way out, 366 00:24:27,299 --> 00:24:31,212 and then head up, er... Portobello Road to Golborne Road. 367 00:24:31,303 --> 00:24:33,794 The dealers were just coming out you know, at that time, 368 00:24:33,931 --> 00:24:36,343 and I could score and then go back to my... 369 00:24:36,475 --> 00:24:38,932 - Mm. - ...f|at, take the drugs and sort of go, 370 00:24:39,019 --> 00:24:40,134 - "There," you know? - Mm. 371 00:24:40,270 --> 00:24:41,601 I'd do a |ittle...litt|e bit of good 372 00:24:41,730 --> 00:24:43,937 and a little... and, "What's the problem" type of thing, 373 00:24:44,024 --> 00:24:46,936 and I really felt on some level 374 00:24:47,069 --> 00:24:50,778 that I had a kind of workable balance in my life. 375 00:24:50,906 --> 00:24:53,943 - Mm. Mm. - I mean, it was mad. 376 00:24:54,076 --> 00:24:59,321 You know, I mean, when...when I met Susie, Susie was like, you know, 377 00:24:59,456 --> 00:25:03,199 "You're, er...you know, doing something really dangerous here 378 00:25:03,335 --> 00:25:07,169 "and...and...and life-threatening 379 00:25:07,297 --> 00:25:10,630 "and, um...you know, I want you to vow to me 380 00:25:10,759 --> 00:25:12,465 "that you'll never go to church again"... 381 00:25:12,594 --> 00:25:15,176 - (THEY CHUCKLE) - ...kind of thing. 382 00:25:15,305 --> 00:25:18,638 And when you're performing, do you ever have that sense 383 00:25:18,767 --> 00:25:20,382 of being an outsider or not? 384 00:25:20,519 --> 00:25:21,429 No, I don't. 385 00:25:21,562 --> 00:25:25,430 I find performing to be something much more, um...kind of communal 386 00:25:25,566 --> 00:25:28,729 and a much more sort of gathering together of people and... 387 00:25:28,861 --> 00:25:32,900 I mean you get...carried away, right? 388 00:25:33,032 --> 00:25:35,114 - You get taken away, anyway. - Mm. 389 00:25:35,242 --> 00:25:36,823 Something happens on stage. 390 00:25:36,952 --> 00:25:38,817 - Once you're on the stage? - Yeah. Not even before 391 00:25:38,954 --> 00:25:41,787 I get near the stage. In fact, before I'm on the stage, 392 00:25:41,915 --> 00:25:43,951 before, in the band room, it's horrendous, 393 00:25:44,084 --> 00:25:47,622 because you can't really understand how you can do the show. 394 00:25:47,755 --> 00:25:51,373 But something happens on stage, um... 395 00:25:51,508 --> 00:25:56,502 that takes you away from that and it's those kind of concerts, 396 00:25:56,638 --> 00:26:00,051 it's the concerts that we're trying to do that are so important, 397 00:26:00,142 --> 00:26:03,805 and they're so important for, um...the audience. 398 00:26:03,937 --> 00:26:05,347 To go beyond something? 399 00:26:05,481 --> 00:26:08,973 Well, not every gig you're gonna go to is gonna make you feel that way, 400 00:26:09,109 --> 00:26:11,725 but when...when they do... 401 00:26:11,820 --> 00:26:16,689 I mean, I put on a concert at the London Meltdown with Nina Simone, 402 00:26:16,825 --> 00:26:20,534 and before she went on, she called me to her room, 403 00:26:20,621 --> 00:26:25,160 and she was sitting there in this chair, and she was like the nastiest woman. 404 00:26:25,292 --> 00:26:29,331 She had this big, white, blousy thing on and this kind of Cleopatra make-up, 405 00:26:29,421 --> 00:26:31,252 and she said... 406 00:26:31,340 --> 00:26:33,331 (MIMICS NINA) ''I want you to introduce me!" like that, 407 00:26:33,467 --> 00:26:35,708 and I'm like "OK, how do you want me to introduce you?" 408 00:26:35,844 --> 00:26:40,804 (MIMICS NINA) ''I am Dr Nina Simone!" like this, and I'm like, "OK, OK." 409 00:26:40,933 --> 00:26:43,015 and, er...| went out and I introduced her, 410 00:26:43,102 --> 00:26:45,764 and she walked up to the... to the front of the stage. 411 00:26:45,896 --> 00:26:50,686 She...she was not well and it took her a long time to even get onto the stage 412 00:26:50,818 --> 00:26:52,729 and she walked up to the front of the stage 413 00:26:52,820 --> 00:26:54,811 and held her sort of fists by the sides 414 00:26:54,947 --> 00:26:59,532 and stared at the audience with this expression of loathing on her face, 415 00:26:59,660 --> 00:27:03,198 and everyone's just sitting in their seats like, "What is...what's gonna happen?" 416 00:27:03,330 --> 00:27:04,570 and she sat down at the piano 417 00:27:04,706 --> 00:27:08,244 and she took the gum out of her mouth and stuck it onto the piano 418 00:27:08,377 --> 00:27:11,494 and just kind of launched into this show, 419 00:27:11,630 --> 00:27:14,212 and through the process of this show, 420 00:27:14,299 --> 00:27:16,460 um...became this other thing, 421 00:27:16,593 --> 00:27:18,458 and you could see it within the audience, 422 00:27:18,595 --> 00:27:20,460 - how they responded to this... - Mm. 423 00:27:20,597 --> 00:27:24,966 ...until the end she was up the front and touching people and dancing on the stage, 424 00:27:25,060 --> 00:27:28,598 and it was an absolute transformative performance 425 00:27:28,730 --> 00:27:31,437 and it absolutely changed everybody in a... 426 00:27:31,567 --> 00:27:33,728 you know, that could pay witness to that... 427 00:27:33,861 --> 00:27:34,771 - Mm. - ...show. 428 00:27:34,862 --> 00:27:37,524 And to me, that's what we should... 429 00:27:37,656 --> 00:27:43,196 that's what we should be trying to... to do when...when you go on stage. 430 00:27:43,328 --> 00:27:45,535 You know, I don't know how it is for other people, 431 00:27:45,622 --> 00:27:48,864 but I think on some level we all want to be somebody else, 432 00:27:49,001 --> 00:27:54,997 and we all look for that transformative thing that can happen in...in our lives 433 00:27:55,132 --> 00:27:58,590 and I think most people find it in some way or another 434 00:27:58,719 --> 00:28:03,383 and that's a place that they can forget who they are and become somebody else. 435 00:28:03,515 --> 00:28:06,348 - By forgetting who they are? - Yeah. 436 00:28:06,476 --> 00:28:08,057 By forgetting who they are. 437 00:28:08,187 --> 00:28:09,176 Mm. 438 00:28:09,313 --> 00:28:13,181 And I think maybe that's what I'm talking about with my father reading Lolita. 439 00:28:13,317 --> 00:28:15,182 - I noticed that about him... - Mm. 440 00:28:15,319 --> 00:28:17,560 ...you know, that he was doing something. 441 00:28:17,696 --> 00:28:21,188 He was only reading this, but he was engaged in this on a different level 442 00:28:21,325 --> 00:28:25,910 and, er...and was thrilled to read this to...his child. 443 00:28:26,038 --> 00:28:27,528 Mm. 444 00:28:27,623 --> 00:28:30,035 How old were you when he died? 445 00:28:30,167 --> 00:28:32,704 Er...| was 446 00:28:32,836 --> 00:28:35,122 um...19. 447 00:28:35,255 --> 00:28:38,122 - Hm. - And, er...yeah. 448 00:28:39,259 --> 00:28:41,215 Um... 449 00:28:41,303 --> 00:28:44,170 and that...that really just came out of the blue. 450 00:28:44,264 --> 00:28:48,257 That was, um...something that kind of rocked the whole family and... 451 00:28:52,439 --> 00:28:53,849 Shall we stop there? 452 00:28:59,571 --> 00:29:01,152 (SEAGULLS CRY OUTSIDE) 453 00:29:01,657 --> 00:29:04,114 (SEAGU LLS CRY) 454 00:29:19,675 --> 00:29:22,633 - NICK: You turn it on. - (ENGINE STARTS) 455 00:29:22,761 --> 00:29:25,878 You turn it off. 456 00:29:26,014 --> 00:29:27,345 But then one day you find you can't, 457 00:29:27,474 --> 00:29:30,511 and you've become the thing you wished into existence... 458 00:29:31,728 --> 00:29:33,093 ...back when you were a kid up in your room 459 00:29:33,230 --> 00:29:36,768 and singing into a broom with the door locked. 460 00:29:36,900 --> 00:29:41,269 You've dreamed yourself to the outside, and nothing can bring you back in, 461 00:29:41,405 --> 00:29:44,818 and, anyway, you're not sure you ever wanted to be in there in the first place. 462 00:29:50,455 --> 00:29:53,322 You know...you know, I wasjust thinking, you know what I mean. 463 00:29:53,458 --> 00:29:54,789 Are you, er... 464 00:29:56,253 --> 00:29:58,744 Do you worry about getting old or anything like that? 465 00:29:59,840 --> 00:30:03,753 I think, you know, when you get to our age, you do worry about it. 466 00:30:03,885 --> 00:30:07,298 I think the goalposts change in a way. I mean... 467 00:30:07,431 --> 00:30:11,845 (SIGHS) Why is it always pissing down with rain when I come to Brighton? 468 00:30:13,645 --> 00:30:17,638 You know, I don't know about you, Nick, but, um... 469 00:30:19,443 --> 00:30:22,401 You know, I got to 50 and I was all right, I was pretty cool with it. 470 00:30:22,529 --> 00:30:25,441 But, you know, |'m...|'m 56. How old are you? 471 00:30:27,659 --> 00:30:32,323 I kind of had to think about... reinventing myself, I suppose, 472 00:30:32,456 --> 00:30:35,493 within the business that I'm in, you know, and it was... 473 00:30:35,584 --> 00:30:37,791 I can't reinvent myself. 474 00:30:37,919 --> 00:30:40,410 - Do you want to? - No. 475 00:30:40,547 --> 00:30:42,287 I don't...| don't want to, either, 476 00:30:42,382 --> 00:30:47,172 but I think that the rock star, you've gotta be able to see from a distance. 477 00:30:47,262 --> 00:30:49,218 It's something that you can draw in one line... 478 00:30:49,348 --> 00:30:50,884 - Mm. - ...and you can't have ‘em changing... 479 00:30:51,016 --> 00:30:53,052 every second week they're something different, 480 00:30:53,185 --> 00:30:54,721 because they've got to be godlike. 481 00:30:54,853 --> 00:30:57,060 But it's all an invention. 482 00:30:57,189 --> 00:30:59,726 But it happened early on for me. 483 00:30:59,858 --> 00:31:03,567 As a child, I think I had a desperate need to change myself into something else. 484 00:31:03,695 --> 00:31:04,605 Mm. 485 00:31:04,738 --> 00:31:07,605 I'd look in the mirror and... and not be... I wasn't happy. 486 00:31:07,699 --> 00:31:11,783 I used to look at these people on the record covers and aspire to that. 487 00:31:11,912 --> 00:31:13,652 (CAR HORN BLARES) 488 00:31:23,507 --> 00:31:25,919 RAY: What do you think of the Rolling Stones? 489 00:31:27,552 --> 00:31:30,339 Must be a time when they actually look at one another and think, you know, 490 00:31:30,472 --> 00:31:32,383 "Boys, haven't we got enough money now? Do we wanna retire? 491 00:31:32,516 --> 00:31:34,848 "We can always play a banjo on a porch somewhere 492 00:31:34,976 --> 00:31:36,967 "and sing a song for our own entertainment." 493 00:31:37,062 --> 00:31:38,893 I mean, do you love performing still? 494 00:31:40,315 --> 00:31:41,225 I hear actors say it. 495 00:31:41,358 --> 00:31:42,723 I live for it, I really do. 496 00:31:42,859 --> 00:31:45,020 - Really do, yeah? - And...and it's...it's the... 497 00:31:45,153 --> 00:31:48,737 it's really that moment I can get to be that person... 498 00:31:48,865 --> 00:31:51,197 - Yeah. - ...that I always wanted to be. 499 00:31:51,326 --> 00:31:57,117 There's something that happens on stage where you are transported and you are... 500 00:31:57,249 --> 00:32:01,458 Time has a different feel and you are just this thing 501 00:32:01,586 --> 00:32:04,248 - and you feel you can't do any wrong... - Yeah. 502 00:32:04,381 --> 00:32:07,544 ...and then you look down the front row and somebody yawns... 503 00:32:07,676 --> 00:32:09,416 - (LAUGHS) - ...something like that, 504 00:32:09,553 --> 00:32:12,761 and the whole thing falls away and you're just this... 505 00:32:12,889 --> 00:32:14,129 - schmuck. - Just crucifies you, yeah. 506 00:32:14,224 --> 00:32:17,057 I had it when...when I was...and I loved playing Henry VIII, you know, 507 00:32:17,185 --> 00:32:19,972 and, er...|...| actually become Henry VIII. 508 00:32:20,105 --> 00:32:23,848 I really believed I was the King of England and, er...you know, that I... 509 00:32:23,942 --> 00:32:25,307 - I could have women's heads... - And offstage? 510 00:32:25,444 --> 00:32:26,650 Yeah, I was going home at night 511 00:32:26,778 --> 00:32:29,736 and thinking, you know, I could actua||y...| could become Henry. 512 00:32:29,823 --> 00:32:31,063 I could do this, you know. 513 00:32:31,199 --> 00:32:33,690 My agent and his mum came down, 514 00:32:33,827 --> 00:32:35,783 and she watched the day's shoot, and I was, you know, 515 00:32:35,912 --> 00:32:39,154 pretty pleased with myself, what I was doing, and she said, er... 516 00:32:39,291 --> 00:32:40,872 "Are you gonna play him like that?" 517 00:32:41,001 --> 00:32:42,161 ‘ (LAUGHS) ‘ No? 518 00:32:42,294 --> 00:32:45,502 Yeah. And it abso|ute|y...itjust kettled me for a couple of days, you know. 519 00:32:45,630 --> 00:32:47,336 I'm thinking, "Oh, fuck it!" you know, 520 00:32:47,424 --> 00:32:49,335 because I think as an... as a performer, you... 521 00:32:49,468 --> 00:32:51,834 - you need that confidence of feeling. - You need to believe, don't you? 522 00:32:51,970 --> 00:32:53,551 You need someone saying you're doing good. 523 00:32:53,680 --> 00:32:55,011 I can't see a bloody thing here. 524 00:32:55,140 --> 00:32:58,553 Yeah, well, put your steamer on. I mean, you know, it's science, innit? 525 00:32:58,685 --> 00:33:01,927 I mean, if it's cold out there and hot in here, you're gonna get steamy windows. 526 00:33:02,022 --> 00:33:03,728 Yeah, I know, but... 527 00:33:12,282 --> 00:33:13,988 (MUSIC PLAYING) 528 00:33:28,840 --> 00:33:31,081 (HORN SOUNDS) 529 00:33:32,886 --> 00:33:35,298 (WINDCHIMES RING) 530 00:33:36,389 --> 00:33:37,629 - G'day, Nick. - G'day, Warren. 531 00:33:37,766 --> 00:33:40,178 - How are you, mate? - All right. You all right? 532 00:33:40,310 --> 00:33:42,050 Yeah, I'm good. How are you? 533 00:33:42,187 --> 00:33:45,099 - It's the birds. - Wonderful. Bring ‘em in. 534 00:33:45,232 --> 00:33:47,814 - I'll put ‘em straight in the bin. - (THEY LAUGH) 535 00:33:49,027 --> 00:33:50,642 NICK: So, how have you been, Warren? 536 00:33:50,779 --> 00:33:55,899 I've been all right. I've been good. Lining a few crows up, shooting ‘em down. 537 00:33:56,034 --> 00:33:58,867 It's good. Things are good. How you been? 538 00:33:58,995 --> 00:34:00,735 NICK: I've been OK. 539 00:34:00,872 --> 00:34:03,989 - Are you, er...hungry? - (NICK CHUCKLES) 540 00:34:04,125 --> 00:34:06,286 - I'm cooking eels. - You're cooking me eels? 541 00:34:06,419 --> 00:34:07,374 I'm cooking you eels. 542 00:34:07,462 --> 00:34:10,954 - Um...a cup. We need a cup. - Yeah. 543 00:34:11,091 --> 00:34:14,583 Half a cup, right? Wouldn't like you to have a full bladder on your trip back. 544 00:34:14,719 --> 00:34:17,836 Oh, speaking of trip back, look what I got here. 545 00:34:17,973 --> 00:34:20,635 Terrorise your kids with these. I got them in France when I was over there. 546 00:34:20,767 --> 00:34:22,473 - Some bangers. - Oh, thanks. 547 00:34:22,602 --> 00:34:24,763 Just don't scare any children, though, with them, or... 548 00:34:24,896 --> 00:34:27,137 - or dogs. But, er... - Very good. 549 00:34:27,274 --> 00:34:29,435 - Machine-gun ones, as well. - Thank you. My wife will be really... 550 00:34:29,568 --> 00:34:33,186 Tell 'em, you go in with ten fingers, you gotta come out with ten fingers. 551 00:34:33,321 --> 00:34:34,231 Got it. 552 00:34:34,364 --> 00:34:36,776 - Are you hungry? - Yeah. 553 00:34:36,908 --> 00:34:39,615 Do you remember that gig? 554 00:34:39,703 --> 00:34:41,239 - The Nina Simone gig? - Oh, yeah. 555 00:34:41,371 --> 00:34:43,828 - Fuck, that was good, wasn't it? - Yeah, it was up there. Like, 556 00:34:43,957 --> 00:34:45,697 I've seen a bunch of gigs 557 00:34:45,834 --> 00:34:48,826 that...that's one that was like one of the greatest things I've ever seen. 558 00:34:48,962 --> 00:34:52,329 Do you remember, before she started playing, 559 00:34:52,465 --> 00:34:54,581 she took the chewing gum out of her mouth? 560 00:34:54,718 --> 00:34:57,209 - Mm. - Like, sort of sat down, 561 00:34:57,345 --> 00:34:59,882 took the chewing gum out and just stuck it on to the piano, 562 00:35:00,015 --> 00:35:02,131 - and then just slammed... - I have that chewing gum at home. 563 00:35:02,267 --> 00:35:03,347 Yeah, I have that in my... 564 00:35:03,476 --> 00:35:05,137 - What, you got that? - I took it, yeah. 565 00:35:05,270 --> 00:35:07,477 (LAUGHS) |...| went up and took it off the stage after. 566 00:35:07,606 --> 00:35:09,187 - Did you really? - Yeah. 567 00:35:09,316 --> 00:35:13,275 I have it in a towel that she...the one she wiped her forehead and then went... 568 00:35:13,403 --> 00:35:16,236 - (BLOWS RASPBERRY) ...like that. - Oh, fuck, I'm reallyjealous. 569 00:35:16,364 --> 00:35:19,071 And, er...it... I remember, cos Matt mixed her. 570 00:35:19,200 --> 00:35:21,987 Matt apparently walked past her room, and she was sitting in there 571 00:35:22,120 --> 00:35:24,987 like, looking really pissed off and not wanting to be there. 572 00:35:26,124 --> 00:35:27,785 And...and he goes like, um... 573 00:35:27,917 --> 00:35:32,206 (TUTS) "|s everything OK, um... Mrs Simone?" or whatever, you know. 574 00:35:32,339 --> 00:35:33,795 - Dr Simone. - Dr Simone, I guess. 575 00:35:33,923 --> 00:35:35,914 He probably wouldn't have... Matt wouldn't have said that. 576 00:35:36,051 --> 00:35:37,837 And, "|s there anything I can get you?" 577 00:35:37,969 --> 00:35:39,584 and, er...she just said, 578 00:35:39,721 --> 00:35:43,760 ''I'd like some champagne, some cocaine and some sausages!" 579 00:35:43,892 --> 00:35:49,012 And, er...and, er...Matt...Matt goes, ''All right, I'll see what I can do." 580 00:35:49,147 --> 00:35:51,934 So, Matt went off and he got some coke, some champagne 581 00:35:52,067 --> 00:35:54,353 and some sausages for her and took ‘em back 582 00:35:54,486 --> 00:35:56,351 and he said she just had this big grin on her face 583 00:35:56,488 --> 00:35:57,694 and she goes, "Thank you!" and just... 584 00:35:57,781 --> 00:36:00,944 (SNORTS) ...hoovered up the coke and drank some champagne and ate her sausages. 585 00:36:01,076 --> 00:36:01,940 Yeah. 586 00:36:02,077 --> 00:36:04,068 I've never seen an audience like that, 587 00:36:04,204 --> 00:36:06,946 that felt like they were about to fall in on top of one another. 588 00:36:07,082 --> 00:36:09,198 - Nobody knew what to expect and... - Well, she...she was... 589 00:36:09,334 --> 00:36:11,416 she was genuinely frightening when she came on... 590 00:36:11,544 --> 00:36:13,205 - Terrifying. - ...up the front of the stage. 591 00:36:13,338 --> 00:36:17,502 She literally walked onto the lip of the stage and stared everyone down... 592 00:36:17,634 --> 00:36:19,170 - Yeah. - ...like it was... 593 00:36:19,260 --> 00:36:20,750 Well, I remember...| remember seeing... 594 00:36:20,887 --> 00:36:24,004 I had the same thing happen when I saw "The Killer" play in Paris 595 00:36:24,140 --> 00:36:26,256 and my mate was there and he's like...comes up to me, 596 00:36:26,393 --> 00:36:27,929 he goes, "Well, good news. 597 00:36:28,019 --> 00:36:31,011 "The...the T- shirt guy selling the T-shirts." 598 00:36:31,147 --> 00:36:32,853 And I'm like, "Ooh, what do you mean?" 599 00:36:32,941 --> 00:36:34,806 and he goes, "Oh, I saw him last week in the South of France 600 00:36:34,901 --> 00:36:36,812 "and the T-shirt seller did most of the set 601 00:36:36,903 --> 00:36:38,393 "and The Killer just sat on the side and came out... 602 00:36:38,530 --> 00:36:40,316 - Oh, really? - "and did Great Balls Of Fire 603 00:36:40,448 --> 00:36:42,313 "and then just, like, fucked off." 604 00:36:42,450 --> 00:36:44,315 And so the band came on and started playing 605 00:36:44,452 --> 00:36:46,113 and theyjust sounded like dog shit, you know. 606 00:36:46,246 --> 00:36:48,908 They were just like playing through the standard stuff 607 00:36:49,040 --> 00:36:51,281 and then...then it was like, "Jerry Lee's in the house," 608 00:36:51,418 --> 00:36:54,205 like, "Jerry Lee's in the house", and... and suddenly you'd look on the side 609 00:36:54,337 --> 00:36:55,952 and there's The Killerjust standing there 610 00:36:56,089 --> 00:37:00,082 looking like a kind of orang-utan, just sort of like this, Iurching, 611 00:37:00,218 --> 00:37:02,334 and it was like that Nina Simone show, 612 00:37:02,470 --> 00:37:04,006 and the guy walked up and hit the piano 613 00:37:04,139 --> 00:37:07,006 and had this sound like a jackhammer, and it was unbelievable, 614 00:37:07,100 --> 00:37:11,013 and it was just two microphones plugged into a Fender Twin wound out, 615 00:37:11,146 --> 00:37:15,185 like everything wound out, just this sound that's instantly Jerry Lee, 616 00:37:15,316 --> 00:37:18,274 and he walked onto the stage, and he got to the front of the lip like that, 617 00:37:18,403 --> 00:37:22,191 and just went, "Yeah!" like that, and everyone was like, "Whoa!" like this. 618 00:37:22,323 --> 00:37:24,234 And then he sat down and went, "Brrr!" like that, 619 00:37:24,367 --> 00:37:26,153 and then suddenly he started playing 620 00:37:26,286 --> 00:37:28,197 - and the band sounded unbelievable... - Yeah. 621 00:37:28,329 --> 00:37:31,742 ...cos they all got in underneath this amazing sound of his, 622 00:37:31,875 --> 00:37:34,912 and then he did like a bunch of ballads in the middle, Hank Williams and stuff, 623 00:37:35,044 --> 00:37:37,330 and then he did Great Balls Of Fire, 624 00:37:37,422 --> 00:37:39,003 and then he tried to get up on the piano and he couldn't, 625 00:37:39,132 --> 00:37:41,043 and it was one of the wildest things I'd ever seen. 626 00:37:41,176 --> 00:37:43,542 He was just trying to get up, and then they ran up behind him 627 00:37:43,678 --> 00:37:45,634 and they were trying to get him up there, and he's... 628 00:37:45,764 --> 00:37:47,595 going like this. 629 00:37:47,724 --> 00:37:52,013 It was phenomenal, and then he walked off. The power blew in the place. 630 00:37:52,145 --> 00:37:54,306 The guitar player, who was about 70 or something, 631 00:37:54,439 --> 00:37:56,896 picked up his amp, put it under his arm and walked off, 632 00:37:57,025 --> 00:37:59,937 like this old amp he must have had since day one, you know, 633 00:38:00,069 --> 00:38:03,186 and it was like, that's what it was like about, you know. 634 00:38:03,323 --> 00:38:05,735 You're seeing a show, you know. 635 00:38:07,327 --> 00:38:09,989 WARREN: Do you want salt and pepper with that? 636 00:38:10,121 --> 00:38:11,201 - No. - Is that enough? 637 00:38:11,331 --> 00:38:12,491 No, I'm all right. 638 00:38:12,582 --> 00:38:15,824 I mightjust put that there for a second. 639 00:38:22,050 --> 00:38:23,130 Mm. 640 00:38:23,259 --> 00:38:25,545 I don't know if they're gonna be able to... 641 00:38:25,678 --> 00:38:27,760 WOMAN: Vous Vous taisez, d'accord? 642 00:38:27,889 --> 00:38:31,131 Oh, il fait chaud, huh? 643 00:38:31,267 --> 00:38:32,677 (MUSIC PLAYS) 644 00:38:32,811 --> 00:38:37,726 # I've got a feeling thatjust won't go away 645 00:38:37,857 --> 00:38:43,068 # You've got to just keep on pushing 646 00:38:43,196 --> 00:38:46,233 # Keep on pushing 647 00:38:47,325 --> 00:38:50,943 # Push the sky away... # 648 00:38:51,079 --> 00:38:53,912 OK, let's... 649 00:38:54,040 --> 00:38:57,453 - (SYNTHESISER STOPS) - Yeah. Um...it sounded really good. 650 00:38:57,544 --> 00:39:00,786 - Just we need to join... - Push, push the sky away. 651 00:39:00,922 --> 00:39:03,755 ...the idea of bringing the sky later. 652 00:39:03,883 --> 00:39:06,124 The “away” later. Push. They're going... 653 00:39:06,261 --> 00:39:09,549 - # Push the sky away... # - You've got to just...you've got to... 654 00:39:09,681 --> 00:39:13,720 It's not good. It's gotta do it at the same...the way I'm doing it, yeah? 655 00:39:13,852 --> 00:39:17,344 - OK. It's actually like one word. - D'accord. 656 00:39:17,480 --> 00:39:20,972 - (WOMAN SPEAKS FRENCH) - # You've got to just... # 657 00:39:21,109 --> 00:39:23,395 - Te||...tel| them. - Oui, oui. 658 00:39:23,528 --> 00:39:26,361 Hey...hey, juste...juste un petit truc. 659 00:39:26,489 --> 00:39:29,606 Um...push the sky away. 660 00:39:29,701 --> 00:39:31,441 Ensemble. Sky away. 661 00:39:31,578 --> 00:39:34,115 - Pas sky...away. - Ah, oui, d'accord. 662 00:39:34,247 --> 00:39:35,157 Ensemble. 663 00:39:35,290 --> 00:39:38,453 # Push the sky away... 664 00:39:38,543 --> 00:39:44,755 # You've got to just keep on pushing 665 00:39:44,883 --> 00:39:47,670 # Keep on pushing 666 00:39:47,802 --> 00:39:53,013 # Push the sky away. # 667 00:39:53,141 --> 00:39:55,052 - Bravo! C'est fini. - OK. 668 00:39:55,184 --> 00:39:58,768 WARREN: C'est bon. Super. Bravo, tout le monde. 669 00:39:58,897 --> 00:40:01,559 KEVIN: Well done, mate, yeah. You've got a future career there. 670 00:40:01,691 --> 00:40:03,602 WARREN: Well, it was my original career, 671 00:40:03,735 --> 00:40:06,067 until I discovered heroin and alcohol and then... 672 00:40:06,195 --> 00:40:07,776 (LAUGHS) 673 00:40:07,906 --> 00:40:09,817 ...it kinda all went wrong after that. 674 00:40:09,949 --> 00:40:13,407 - Couldn'tjugg|e the three professions. - (LAUGHS) 675 00:40:13,536 --> 00:40:15,618 (HELICOPTER WHIRRING) 676 00:40:15,747 --> 00:40:17,408 There's a helicopter. 677 00:40:20,376 --> 00:40:23,743 I've probably had more meals with you than my wife, actually, when I... 678 00:40:23,880 --> 00:40:26,997 - We've had a lot. We've had a lot. - ...if I do the mathematics. 679 00:40:27,133 --> 00:40:30,876 - (PHONE RINGS) - We have had a |ot...a lot of bad ones. 680 00:40:31,012 --> 00:40:32,968 (WARREN LAUGHS) 681 00:40:34,641 --> 00:40:35,926 - Right, I've gotta go. - WARREN: Yeah. 682 00:40:36,392 --> 00:40:38,257 I've gotta go to the archive. 683 00:40:38,394 --> 00:40:40,350 (SEAGU LLS CRY) 684 00:40:47,320 --> 00:40:49,857 NICK: You've gotta understand your limitations. 685 00:40:51,658 --> 00:40:56,652 It's your limitations that make you the wonderful disaster you most probably are. 686 00:40:58,539 --> 00:41:01,997 For me, that's where collaboration comes in, 687 00:41:02,126 --> 00:41:05,664 to take an idea that is blind and unformed 688 00:41:05,797 --> 00:41:08,755 and that has been hatched largely in solitude 689 00:41:08,883 --> 00:41:12,501 and allow these strange collaborator creatures that I work with 690 00:41:12,637 --> 00:41:15,720 to morph it into something else, something better. 691 00:41:16,808 --> 00:41:18,173 Well, that's really something to see. 692 00:41:18,309 --> 00:41:21,346 BLIXA BARGELD: I mean, with the last record that I participated in, 693 00:41:21,479 --> 00:41:24,846 on Nocturama, it wasn't open like that any more. 694 00:41:24,941 --> 00:41:27,273 You came with basically fixed songs, 695 00:41:27,402 --> 00:41:30,940 in the sense of musically as well as lyrically, to the studio, and we were... 696 00:41:31,072 --> 00:41:33,779 I was just trying with that record to... 697 00:41:34,784 --> 00:41:37,947 ...you know, disrupt the process slightly and...maybe that... 698 00:41:38,079 --> 00:41:41,412 Yeah, I noticed that you wanted to... that you wanted to go somewhere different. 699 00:41:41,541 --> 00:41:43,031 - It wasn't much... - So, is that why you left? 700 00:41:43,167 --> 00:41:44,828 No, no, no, no, no. 701 00:41:44,961 --> 00:41:48,419 I left basically because of our management 702 00:41:48,548 --> 00:41:54,509 and because I felt that I can't keep up a marriage and two bands. 703 00:41:54,637 --> 00:41:57,299 - Right. - Time was becoming a problem. 704 00:41:57,432 --> 00:42:01,300 I had had no personal conflict with you or anyone else in the band. 705 00:42:01,436 --> 00:42:05,429 - No. No, |...| didn't think so. - I had no musical schisma either. 706 00:42:09,360 --> 00:42:11,351 (SIREN BLARING) 707 00:42:14,615 --> 00:42:16,651 (SIREN BLARING) 708 00:42:19,829 --> 00:42:22,741 |...| sometimes listen to the records we made... 709 00:42:22,874 --> 00:42:24,239 BLIXA: Yeah. 710 00:42:24,375 --> 00:42:27,412 ...and I really wish there was someone in the studio who had have... 711 00:42:27,503 --> 00:42:29,994 - Tell you that this is too much. - ...told me it's too long, 712 00:42:30,131 --> 00:42:32,998 "Edit," you know, and now I'm brutal with editing, 713 00:42:33,134 --> 00:42:35,591 and the lovely thing about editing, 714 00:42:35,720 --> 00:42:38,211 when you're actually sitting there and doing the take, 715 00:42:38,347 --> 00:42:41,180 and you ask, "How long is the song?" and they say, "Six minutes," 716 00:42:41,309 --> 00:42:42,924 and then you take out a couple of verses. 717 00:42:43,061 --> 00:42:44,426 And suddenly it's better than before. 718 00:42:44,562 --> 00:42:46,769 Sudden|y...we||, suddenly, it's a different song. 719 00:42:46,898 --> 00:42:48,980 In fact, you don't even know what the song really is until... 720 00:42:49,108 --> 00:42:51,269 - Yeah. - ...some time later when you kind of... 721 00:42:51,402 --> 00:42:52,767 BLIXA: Yeah, I know that feeling. 722 00:42:52,862 --> 00:42:54,818 ._because of the ramifications of the edit. 723 00:42:54,947 --> 00:42:59,657 Once you've understood the song, it's no longer of much interest, 724 00:42:59,744 --> 00:43:02,531 and some of those... some of those great songs that you do, 725 00:43:02,622 --> 00:43:07,161 that you kind of become aware of new things over the years, 726 00:43:07,293 --> 00:43:09,033 - with songs and... - Yes. 727 00:43:09,170 --> 00:43:11,786 ...the reason why you keep playing them, for me... 728 00:43:11,923 --> 00:43:13,663 - Yes.. - and some of those others... 729 00:43:13,800 --> 00:43:15,336 Others just alienate their selves 730 00:43:15,468 --> 00:43:17,459 - and go somewhere else and... - Yeah. 731 00:43:17,595 --> 00:43:19,176 ...you don't find the door any longer 732 00:43:19,263 --> 00:43:24,178 to be able to...to bring something out of it that's still true. 733 00:43:24,310 --> 00:43:26,346 - Yeah, exactly. - Yeah. 734 00:43:30,108 --> 00:43:33,566 NICK: I love the feeling of a song before you understand it. 735 00:43:33,694 --> 00:43:40,315 When we're all playing deep inside the moment, the song feels wild and unbroken. 736 00:43:40,451 --> 00:43:42,316 Soon it will become domesticated 737 00:43:42,453 --> 00:43:46,162 and we will drag it back to something familiar and compliant 738 00:43:46,290 --> 00:43:49,623 and we'll put it in the stable with all the other songs. 739 00:43:50,711 --> 00:43:53,953 But there is a moment when the song is still in charge 740 00:43:54,090 --> 00:43:56,502 and you'rejust clinging on for dear life 741 00:43:56,634 --> 00:44:00,252 and you're hoping you don't fall off and break your neck or something. 742 00:44:00,388 --> 00:44:02,925 It is that fleeting moment that we chase in the studio. 743 00:44:03,057 --> 00:44:06,424 NICK: How long was that? How long is it? 744 00:44:07,562 --> 00:44:09,553 (GUITAR PLAYING) 745 00:44:17,405 --> 00:44:20,147 # Can't remember anything at all 746 00:44:21,701 --> 00:44:25,785 # Flame trees line the streets 747 00:44:32,170 --> 00:44:35,628 # Can't remember anything at all 748 00:44:37,091 --> 00:44:42,256 # But I'm driving my car down to Geneva 749 00:44:47,351 --> 00:44:52,812 # I been sitting in my basement patio 750 00:44:52,940 --> 00:44:57,229 # Aye, it was hot 751 00:44:59,697 --> 00:45:05,784 # Up above, girls walk past 752 00:45:05,912 --> 00:45:11,498 # The roses all in bloom 753 00:45:13,669 --> 00:45:19,630 # Have you ever heard about the Higgs boson blues? 754 00:45:21,010 --> 00:45:24,594 # I'm going down to Geneva, baby 755 00:45:24,722 --> 00:45:28,385 # Gonna teach it to you 756 00:45:32,605 --> 00:45:34,721 # Who cares? 757 00:45:36,192 --> 00:45:41,778 # Who cares what the future brings? 758 00:45:45,534 --> 00:45:50,119 # Black road long And I drove and drove 759 00:45:50,248 --> 00:45:53,081 # I came upon a crossroad 760 00:45:53,209 --> 00:45:58,078 # The night was hot and black 761 00:45:59,799 --> 00:46:02,882 # I see Robert Johnson 762 00:46:03,010 --> 00:46:07,629 # With a ten-dollar guitar strapped to his back 763 00:46:07,765 --> 00:46:10,381 # Looking for a tune 764 00:46:13,020 --> 00:46:16,729 #Ah 765 00:46:16,857 --> 00:46:22,568 # Well, here comes Lucifer with his canon law 766 00:46:22,697 --> 00:46:30,695 # And a hundred black babies running from his genocidal jaw 767 00:46:32,748 --> 00:46:35,706 # He got the real killer groove 768 00:46:35,835 --> 00:46:39,077 # Robert Johnson and the devil, man 769 00:46:40,256 --> 00:46:45,546 # Dunno know who's gonna rip off who 770 00:46:47,305 --> 00:46:49,136 # Driving my car 771 00:46:49,223 --> 00:46:54,434 # Flame trees on fire 772 00:46:54,562 --> 00:46:56,393 # Sitting and singing 773 00:46:56,522 --> 00:47:00,731 # The Higgs boson blues 774 00:47:01,777 --> 00:47:04,359 # A shot rings out 775 00:47:04,488 --> 00:47:07,321 # To a spiritual groove 776 00:47:07,450 --> 00:47:11,443 # Everybody bleeding 777 00:47:11,579 --> 00:47:16,289 # To that Higgs boson blues 778 00:47:18,336 --> 00:47:20,247 # And if I die tonight 779 00:47:20,379 --> 00:47:27,751 # Bury me in my favourite patent yellow leather shoes 780 00:47:30,598 --> 00:47:33,260 # And with a mummified cat 781 00:47:34,310 --> 00:47:36,346 # And a cone-like hat 782 00:47:36,479 --> 00:47:44,227 # That the caliphate forced on the Jews 783 00:47:45,363 --> 00:47:47,604 # Can you feel my heartbeat? 784 00:47:48,741 --> 00:47:52,950 # Can you feel my heartbeat... # 785 00:47:55,498 --> 00:47:58,205 Ssh! 786 00:47:58,334 --> 00:48:00,700 (MUSIC QUIETENS) 787 00:48:00,836 --> 00:48:06,376 # Hannah Montana does the African savanna 788 00:48:06,509 --> 00:48:12,926 # As the simulated rainy season begins 789 00:48:14,850 --> 00:48:19,594 # She curses the queue at the Zulu 790 00:48:19,730 --> 00:48:28,320 # Moves on to Amazonia and cries with the dolphins 791 00:48:29,407 --> 00:48:31,693 # Can you feel my heartbeat? 792 00:48:33,077 --> 00:48:38,242 # Can you feel my heartbeat? 793 00:48:39,417 --> 00:48:42,284 # Can you feel my heartbeat? 794 00:48:43,337 --> 00:48:46,204 # Mama ate the pygmy 795 00:48:46,340 --> 00:48:48,956 # The pygmy ate the monkey 796 00:48:49,093 --> 00:48:52,301 # The monkey's got a gift, man 797 00:48:52,430 --> 00:48:55,888 # And he's sending it out to you 798 00:48:57,393 --> 00:49:00,100 # A little bit of smallpox 799 00:49:00,229 --> 00:49:04,063 # A little bit of flu Here come the missionary 800 00:49:04,191 --> 00:49:09,857 # He's saving them savages with the Higgs boson blues 801 00:49:09,989 --> 00:49:11,069 # Yeah 802 00:49:11,198 --> 00:49:13,439 # But can you feel my heartbeat? 803 00:49:13,576 --> 00:49:17,785 # Yeah, can you feel my heartbeat? 804 00:49:17,913 --> 00:49:20,325 # Can you feel my heartbeat? 805 00:49:21,459 --> 00:49:23,120 # Yeah, I'm driving my car 806 00:49:23,252 --> 00:49:25,413 # I wanna feel your heartbeat 807 00:49:25,546 --> 00:49:27,787 # I kiss your lips 808 00:49:29,008 --> 00:49:30,964 # I kiss your lips 809 00:49:31,093 --> 00:49:34,677 # Feel you deep inside 810 00:49:34,805 --> 00:49:38,138 # Waiting for me in Geneva... # 811 00:49:38,267 --> 00:49:40,132 Ssh! 812 00:49:40,269 --> 00:49:42,009 # Waiting in Geneva 813 00:49:43,772 --> 00:49:47,560 # Waiting for me in Geneva... # 814 00:49:47,693 --> 00:49:49,558 OK. 815 00:49:49,695 --> 00:49:52,061 Ssh! 816 00:49:53,532 --> 00:49:57,866 # Ah, let the damn day break 817 00:49:57,995 --> 00:50:03,991 # Rainy days always make me sad... # 818 00:50:06,253 --> 00:50:08,369 Ssh! 819 00:50:08,464 --> 00:50:14,801 # Miley Cyrus floats in a swimming pool in Toluca Lake 820 00:50:14,929 --> 00:50:19,389 # And you're the best girl I ever had 821 00:50:23,979 --> 00:50:27,688 # I can't remember anything at all. # 822 00:50:39,870 --> 00:50:42,282 NICK: Who knows their own story? 823 00:50:42,414 --> 00:50:45,952 Certainly, it makes no sense when we are living in the midst of it. 824 00:50:47,044 --> 00:50:48,955 It's all just Glamour and confusion. 825 00:50:50,130 --> 00:50:54,123 It only becomes a story when we tell it and retell it. 826 00:50:55,094 --> 00:50:57,176 Our small precious recollections 827 00:50:57,263 --> 00:51:01,632 that we speak again and again to ourselves or to others. 828 00:51:03,102 --> 00:51:05,935 First, creating the narrative of our lives 829 00:51:06,021 --> 00:51:09,809 and then keeping the story from dissolving into darkness. 830 00:51:11,777 --> 00:51:14,109 - Hello? - JANINE: We're over here. 831 00:51:15,197 --> 00:51:16,937 Hi. What are we doing? 832 00:51:17,074 --> 00:51:20,066 Do you mind if we go through some of the photos your mother just sent us? 833 00:51:21,120 --> 00:51:23,236 - Hey, are you in this picture? - Where are you? 834 00:51:23,372 --> 00:51:25,863 - We...we can't actually identify you. - Well... 835 00:51:26,000 --> 00:51:28,036 - Can you... - Yeah, I can see me. 836 00:51:28,168 --> 00:51:30,750 See that one with the ears, singing their little heart out? 837 00:51:30,879 --> 00:51:33,336 - JANINE: What, this kid? - NICK: Yeah. 838 00:51:33,424 --> 00:51:35,460 The one that's got "star" written all over him. 839 00:51:35,593 --> 00:51:38,005 (THEY LAUGH) 840 00:51:38,137 --> 00:51:39,547 JANINE: What else has Dawn sent over? 841 00:51:40,723 --> 00:51:44,011 I'm that guy with the beard and the dog collar. 842 00:51:44,101 --> 00:51:45,557 JANINE: Is that you there? 843 00:51:46,729 --> 00:51:48,435 NICK: Yeah. Gloomy, gloomy, gloomy. 844 00:51:48,564 --> 00:51:50,100 (JANINE LAUGHS) 845 00:51:51,775 --> 00:51:54,266 Yeah, I think that's from the high school 846 00:51:54,403 --> 00:51:56,234 - where I lived in the country town... - Right, so Wangaratta. 847 00:51:56,363 --> 00:51:58,445 - Wangaratta High School, yeah... - Northern Caulfield, yeah. 848 00:51:58,574 --> 00:52:03,068 ...and we had this barber that my mother used to fucking hate 849 00:52:03,203 --> 00:52:05,569 and, er...we all used to have this... get the same haircut. 850 00:52:05,664 --> 00:52:08,497 He used to out everyone in Wangaratta's hair the same. 851 00:52:08,626 --> 00:52:13,086 He used to cut an angled fringe like that, because he thought you'd flick it back. 852 00:52:13,213 --> 00:52:15,875 But everyone just walked around with these things, and my mother... 853 00:52:16,008 --> 00:52:20,217 we used to come back and my mother used to rage against this barber. 854 00:52:22,056 --> 00:52:25,139 That's me as a...| don't know, a teenager or something. 855 00:52:25,267 --> 00:52:27,258 I was not really into sport and stuff like that, 856 00:52:27,394 --> 00:52:30,886 and there was a bunch of us that did art, 857 00:52:30,981 --> 00:52:33,688 which basically became The Boys Next Door. 858 00:52:33,817 --> 00:52:35,808 Oh! 859 00:52:35,944 --> 00:52:38,401 That's, um...Mick Harvey. 860 00:52:38,530 --> 00:52:40,441 That's back when he had good hair, 861 00:52:40,574 --> 00:52:42,940 and that's, um... 862 00:52:43,077 --> 00:52:46,444 that's me in the middle there with them. 863 00:52:46,580 --> 00:52:48,536 That's Tracy Pew. 864 00:52:48,624 --> 00:52:52,867 Tracy was one of those kind of guys that come out fully formed, 865 00:52:53,003 --> 00:52:54,994 very much like Rowland Howard as well. 866 00:52:55,130 --> 00:52:58,167 You know, theyjust sort of appeared, complete. 867 00:52:58,300 --> 00:53:00,666 But he was an amazing bass player, that guy, 868 00:53:00,803 --> 00:53:04,091 and really the heart and soul of The Birthday Party. 869 00:53:06,016 --> 00:53:09,224 There he is there. That's Mick, Rowland. 870 00:53:09,353 --> 00:53:12,686 That's a beautiful photograph, that one. 871 00:53:14,608 --> 00:53:18,396 There's a great photograph of Tracy being urinated on. Do you have that? 872 00:53:18,529 --> 00:53:21,362 Yeah, we do have that somewhere, don't we? 873 00:53:22,658 --> 00:53:28,369 OK, now, that is a concert in Cologne in 1981 874 00:53:28,497 --> 00:53:32,740 and I don't know if you can see, but this guy here is a German person, 875 00:53:32,876 --> 00:53:37,415 and he... That is Mick Harvey, you can see that classic profile, 876 00:53:37,548 --> 00:53:39,413 and he's...actua|ly, we're playing King Ink 877 00:53:39,550 --> 00:53:42,417 - because he's playing, er...the drums. - Snare drum. 878 00:53:42,553 --> 00:53:45,090 He would play the snare drum in that song 879 00:53:45,180 --> 00:53:47,671 and this man here is urinating 880 00:53:47,808 --> 00:53:53,599 and you can see the stream of urine kind of arcing gracefully down 881 00:53:53,731 --> 00:53:55,938 into the, er...right-hand side of that picture. 882 00:53:56,066 --> 00:53:59,058 - Can you...can you show the next picture? - Sure. 883 00:54:00,654 --> 00:54:02,064 And there...there he is urinating. 884 00:54:02,197 --> 00:54:03,937 There is the stream of urine, 885 00:54:04,074 --> 00:54:08,033 and Tracy, noticing that the German person is urinating 886 00:54:08,162 --> 00:54:11,199 and moving towards the German person. 887 00:54:11,331 --> 00:54:12,946 Can you... 888 00:54:13,083 --> 00:54:18,373 Now Tracy is, er...deciding to push this person away. 889 00:54:18,464 --> 00:54:21,171 Mick is still playing away over here. 890 00:54:21,300 --> 00:54:22,631 Next. 891 00:54:22,760 --> 00:54:26,969 There you have Mick still playing away there. 892 00:54:27,097 --> 00:54:29,964 Rowland over there oblivious to what's going on. 893 00:54:30,100 --> 00:54:33,308 Tracy's stopped playing the bass altogether and is now punching the guy 894 00:54:33,437 --> 00:54:36,304 and the guy's flying backwards off the stage. 895 00:54:37,733 --> 00:54:40,395 Yeah, it says a lot about the kind of gigs 896 00:54:40,527 --> 00:54:43,439 that we were doing with The Birthday Party at that stage, 897 00:54:43,572 --> 00:54:47,360 because we were billed by some promoter as 898 00:54:47,493 --> 00:54:49,654 the most violent live band in the world. 899 00:54:49,787 --> 00:54:55,874 So, what that meant was that every skinhead and biker 900 00:54:56,001 --> 00:55:00,961 and general kind of lowlife and, er...psychopath 901 00:55:01,089 --> 00:55:02,829 came along to these concerts. 902 00:55:02,966 --> 00:55:05,457 It seemed to us, towards the end of The Birthday Party, 903 00:55:05,594 --> 00:55:08,210 that it had very little to do with the music any more, 904 00:55:08,347 --> 00:55:10,338 and just people coming along to see 905 00:55:10,474 --> 00:55:12,760 what would happen at that particular gig, and, er... 906 00:55:12,893 --> 00:55:18,604 we were kind of getting some sort ofjoy out of disappointing everybody 907 00:55:18,732 --> 00:55:22,020 byjust basically playing with our backs to the audience 908 00:55:22,152 --> 00:55:28,113 and hunker down together and do these shows towards...towards the very end. 909 00:55:31,203 --> 00:55:33,785 My last will and testament. 910 00:55:41,588 --> 00:55:44,671 OK, it seems like I wanted all my money, 911 00:55:44,800 --> 00:55:47,507 which was nothing, I would say, at that time... 912 00:55:47,636 --> 00:55:48,500 (JANINE CHUCKLES) 913 00:55:48,637 --> 00:55:52,425 ...to go to the Nick Cave Memorial Museum... 914 00:55:52,558 --> 00:55:54,344 (LAUGHTER) 915 00:55:55,394 --> 00:55:58,386 ...a small but adequate room or rooms 916 00:55:58,522 --> 00:56:02,185 that will serve as the Nick Cave Memorial Museum. 917 00:56:02,317 --> 00:56:06,401 Yeah, I was always a kind of... ostentatious bastard. 918 00:56:07,948 --> 00:56:10,530 - JANINE: Do you remember writing it? - No. 919 00:56:12,160 --> 00:56:18,577 It was...'87 was a, er... it was a difficult year to remember, '87. 920 00:56:18,709 --> 00:56:22,201 Eighty-anything was difficult to remember, to be honest. 921 00:56:23,881 --> 00:56:25,417 You know, I shifted around continuously. 922 00:56:25,549 --> 00:56:29,337 I never really had my own place till quite late in the picture 923 00:56:29,469 --> 00:56:32,632 and I would kind of wear out my welcome wherever I was staying. 924 00:56:32,764 --> 00:56:35,255 But I would always have a table or a desk 925 00:56:35,392 --> 00:56:37,883 and kind of sweep it off and stick it in a box. 926 00:56:38,020 --> 00:56:41,888 I guess that's why there is actually an archive. 927 00:56:49,031 --> 00:56:52,899 That is my bedroom in Berlin 928 00:56:53,035 --> 00:56:55,742 and this room is just a kind of crawl space, actually, 929 00:56:55,871 --> 00:56:58,408 cos you have to climb up a little ladder to get into this thing. 930 00:56:58,540 --> 00:57:00,826 You can't actually stand up in here. 931 00:57:00,959 --> 00:57:04,827 So, it was just this wonderful kind of womb-like space, 932 00:57:04,963 --> 00:57:06,578 which had a mattress where I could sleep, 933 00:57:06,715 --> 00:57:09,252 and this is where I was writing And The Ass Saw The Angel. 934 00:57:09,384 --> 00:57:13,297 I spent quite a lot of time at the Berlin flea market, 935 00:57:13,430 --> 00:57:15,591 which happened every Saturday morning, 936 00:57:15,724 --> 00:57:18,466 and I got an incredible kind of collection 937 00:57:18,602 --> 00:57:25,895 of, um...pornography and religious art and icons in general, 938 00:57:25,984 --> 00:57:29,067 and I came across this chocolate box... 939 00:57:30,405 --> 00:57:33,738 ...and opened it up, and inside the chocolate box, wrapped in tissue paper, 940 00:57:33,867 --> 00:57:39,078 were these three locks, very long, of hair, 941 00:57:39,206 --> 00:57:43,290 and they were, um... from different heads, I think, 942 00:57:43,418 --> 00:57:47,081 and that's actually it in the...hanging there in the photograph there, right? 943 00:57:47,214 --> 00:57:51,298 And hair like this has always been something that I come back to all the time 944 00:57:51,426 --> 00:57:53,462 in songwriting, actually. 945 00:57:53,595 --> 00:57:56,132 Do you know what this stuff here is? 946 00:57:56,223 --> 00:57:59,340 Are these torn-out pages or is this your handwriting? 947 00:57:59,476 --> 00:58:06,518 I think they're ripped out of a book and kind of written into. I don't know. 948 00:58:07,985 --> 00:58:10,852 Um...| don't know. It's just shit, isn't it? 949 00:58:11,947 --> 00:58:16,190 But important shit...for me, at the time. 950 00:58:18,412 --> 00:58:20,903 I'll tell you an amazing thing that happened with that room. 951 00:58:21,039 --> 00:58:24,156 I used to leave the door open and...and I was on the second floor, 952 00:58:24,292 --> 00:58:28,001 and there was this guy called Chris, he lived on the top floor, 953 00:58:28,130 --> 00:58:29,745 and one day I was writing away at the desk 954 00:58:29,881 --> 00:58:31,746 and...and sort of looked up and he's standing, 955 00:58:31,883 --> 00:58:36,752 and I could see he was kind of fascinated by what was on the walls 956 00:58:36,888 --> 00:58:39,220 and he said, "Do you wanna come up to my room 957 00:58:39,349 --> 00:58:42,841 "and have a look what I've got upstairs?" Right? And I said, "Yeah, all right." 958 00:58:42,978 --> 00:58:47,187 And so we went up to his, um... to this little flat he had up the top 959 00:58:47,315 --> 00:58:49,351 and he opened it up, we went into the living room, 960 00:58:49,484 --> 00:58:52,942 and everywhere there was, er...nativity stuff from Christmas. 961 00:58:53,071 --> 00:58:57,030 He would make a star and he would cut it out of fluorescent cardboard, 962 00:58:57,159 --> 00:59:00,071 and then he would cut another little tiny one out of that 963 00:59:00,203 --> 00:59:01,534 and then another tiny one out of that. 964 00:59:01,621 --> 00:59:02,827 It must have taken an hour or something 965 00:59:02,956 --> 00:59:05,413 to make one of these tiny little... these little stars, 966 00:59:05,500 --> 00:59:07,832 and there were fucking thousands of them all over the wall, 967 00:59:07,961 --> 00:59:10,168 and I'm like, "Fuck, man, this is unbelievable. 968 00:59:10,297 --> 00:59:14,916 "This is like the most beautiful thing, er...| can imagine." 969 00:59:15,052 --> 00:59:18,636 And he had all these sort of glass-topped tables 970 00:59:18,764 --> 00:59:21,551 and he kind of said, "Check this out," like that, and I'm like, "Mm." 971 00:59:21,683 --> 00:59:23,765 And he turns off the main lights 972 00:59:23,894 --> 00:59:26,476 and then shines these other ones that come up from the floor 973 00:59:26,605 --> 00:59:30,393 and they cast light all up through the tables, 974 00:59:30,525 --> 00:59:32,516 er...which have these pictures of Jesus 975 00:59:32,652 --> 00:59:33,767 - and baby Jesus and all that. - Yeah. 976 00:59:33,862 --> 00:59:36,444 So, suddenly these pictures of Jesus disappear 977 00:59:36,573 --> 00:59:39,110 and then it's all just these kind of page three girls all kind of going... 978 00:59:39,242 --> 00:59:41,528 - Wow, yeah. - Kind of soft porn, 979 00:59:41,620 --> 00:59:44,487 kind of Playboy stuff, which had obviously attracted him when he... 980 00:59:44,581 --> 00:59:46,196 - KIRK: Yeah. - ...looked in my room, 981 00:59:46,333 --> 00:59:48,665 and suddenly this whole room had changed into this thing, 982 00:59:48,794 --> 00:59:53,788 and it was the most incredible kind of moving sort of thing 983 00:59:53,924 --> 00:59:55,710 - that this lonely guy had... - Yeah. 984 00:59:55,842 --> 00:59:58,879 ...had been working on for... for years and years, you know... 985 00:59:59,012 --> 01:00:00,422 - Yeah. - ...it must have taken him to do this, 986 01:00:00,555 --> 01:00:02,511 and this sort of stuff that I have here 987 01:00:02,641 --> 01:00:04,097 - pales in significance... - Yeah. 988 01:00:04,184 --> 01:00:07,768 ...to the kind of monomania of this incredible room. 989 01:00:07,896 --> 01:00:12,606 It really stayed with me, that kind of power to transform yourself... 990 01:00:12,734 --> 01:00:14,144 Yeah. 991 01:00:14,277 --> 01:00:16,563 ...by what you can do with the imagination. 992 01:00:16,696 --> 01:00:17,811 Yeah. 993 01:00:17,948 --> 01:00:19,939 Anyway, I always remember that guy. 994 01:00:21,535 --> 01:00:22,650 (SYNTHESISER PLAYS) 995 01:00:24,204 --> 01:00:26,115 - NICK: Er...Woz? - WARREN: Yeah? 996 01:00:26,248 --> 01:00:28,955 You're starting it off with the, er...backward fourth, right? 997 01:00:29,084 --> 01:00:30,449 - Yeah. - Like am I doing that... 998 01:00:30,585 --> 01:00:33,292 - # I was wrong... # - Yeah, you are doing that. 999 01:00:39,511 --> 01:00:41,502 When...when do you come in? 1000 01:00:42,556 --> 01:00:44,467 When does Marty come in? 1001 01:00:45,517 --> 01:00:47,849 WARREN: After your little thing and it goes... 1002 01:00:47,978 --> 01:00:49,309 (SYNTHESISER PLAYS) 1003 01:00:49,437 --> 01:00:52,895 # I was riding, I was riding 1004 01:00:54,651 --> 01:00:56,858 # Over the hills 1005 01:00:59,739 --> 01:01:01,695 # Yeah 1006 01:01:03,618 --> 01:01:06,405 # The sun, the sun, the sun 1007 01:01:06,538 --> 01:01:10,872 # It was rising up over the hills 1008 01:01:11,877 --> 01:01:13,617 # Yeah 1009 01:01:44,201 --> 01:01:49,662 # I got a feeling I just can't shake 1010 01:01:51,082 --> 01:01:52,822 # I got a feeling 1011 01:01:52,959 --> 01:01:56,042 # Itjust won't go away 1012 01:01:56,171 --> 01:01:58,127 # You've gotta just 1013 01:01:58,256 --> 01:02:04,923 # Keep on pushing 1014 01:02:05,055 --> 01:02:10,095 # Push the sky away 1015 01:02:11,144 --> 01:02:15,763 # Some people say that it's just rock'n'ro|| 1016 01:02:17,484 --> 01:02:21,898 # Oh, but it gets you right down to your soul 1017 01:02:22,030 --> 01:02:28,367 # You've gotta just keep on pushing 1018 01:02:28,495 --> 01:02:32,079 # Keep on pushing 1019 01:02:32,207 --> 01:02:36,450 # Push the sky away 1020 01:02:48,556 --> 01:02:54,017 # You've gotta just keep on pushing 1021 01:02:54,104 --> 01:02:57,471 # Keep on pushing 1022 01:02:57,607 --> 01:03:01,771 # Push the sky away... # 1023 01:03:07,158 --> 01:03:08,648 (MUSIC STOPS) 1024 01:03:12,289 --> 01:03:16,407 KIRK: One of the things we wanted to find out more about was the weather diaries. 1025 01:03:16,501 --> 01:03:21,211 Well, basically, this is a daily inventory of the weather, 1026 01:03:21,339 --> 01:03:24,251 and what really happened was that I was an Australian living in England... 1027 01:03:24,342 --> 01:03:26,628 - KIRK: Yeah. - ...and was becoming increasingly upset 1028 01:03:26,761 --> 01:03:31,380 by the relentless miserable weather 1029 01:03:31,516 --> 01:03:36,761 that...that, you know... that...that England has. 1030 01:03:36,896 --> 01:03:40,935 As a way of kind of taking control of that in some way... 1031 01:03:42,193 --> 01:03:44,980 ...or turning it to my advantage, I decided to write about it, 1032 01:03:45,113 --> 01:03:47,900 and because bad weather is much more interesting to write about 1033 01:03:48,033 --> 01:03:49,398 - than good weather... - KIRK: Yeah. 1034 01:03:49,534 --> 01:03:52,947 ...l was quite happy when I would wake up and it was a miserable, stormy... 1035 01:03:53,079 --> 01:03:54,569 - KIRK: Yeah. - ...cold, windy day. 1036 01:03:54,664 --> 01:03:57,701 NICK: The entries sort of grew into other things as well, 1037 01:03:57,834 --> 01:04:02,328 and Susie was heavily pregnant at the time, with the twins. 1038 01:04:02,422 --> 01:04:04,959 So, she features in it a lot. 1039 01:04:05,091 --> 01:04:08,549 There's a sequence where you see two men in a van very briefly, 1040 01:04:08,678 --> 01:04:11,294 and you say you forgot to write about them until five days later. 1041 01:04:11,431 --> 01:04:14,764 But you think about them all the time and you question yourself in here 1042 01:04:14,893 --> 01:04:17,760 as to whether it's because you're thinking about twins. 1043 01:04:21,024 --> 01:04:24,266 NICK: Ah, well, you know, on one level, I'm a very practical kind of person 1044 01:04:24,402 --> 01:04:26,358 about the way I go about certain things. 1045 01:04:26,488 --> 01:04:30,902 But, er...there's another side that's very superstitious, and I can tend towards 1046 01:04:31,034 --> 01:04:32,990 seeing sort of things in things, 1047 01:04:33,119 --> 01:04:37,112 especially if the basic day, which...which this is, 1048 01:04:37,248 --> 01:04:40,615 is starting to be kind of churned in the mill of the imagination, 1049 01:04:40,752 --> 01:04:42,993 and that's what's happening with, er...the weather. 1050 01:04:43,129 --> 01:04:44,585 The weather is becoming not real, 1051 01:04:44,714 --> 01:04:47,547 it's becoming fictitious because I'm writing about it. 1052 01:04:47,675 --> 01:04:50,587 - The weather is becoming a lie... - KIRK: OK. 1053 01:04:50,720 --> 01:04:53,211 ...and what's going on is... 1054 01:04:53,348 --> 01:04:56,385 My day-to-day life is becoming a lie, 1055 01:04:56,518 --> 01:05:00,727 because it's...it's becoming an imaginative exercise, 1056 01:05:00,855 --> 01:05:06,600 and I think on some level I was very frightened about having the twins. 1057 01:05:06,736 --> 01:05:11,651 You know, I think that I was, er...scared out of my wits. 1058 01:05:11,741 --> 01:05:15,859 And then it stops in June 2000 and restarts in August 2001. 1059 01:05:15,995 --> 01:05:18,611 - NICK: Right. - Do you know why there's... 1060 01:05:18,748 --> 01:05:19,988 - NICK: No. - ...a gap? 1061 01:05:20,125 --> 01:05:22,616 I don't know. Maybe because we had the babies. 1062 01:05:22,752 --> 01:05:25,710 KIRK: It's a beautiful last line to end on. 1063 01:05:25,839 --> 01:05:29,457 "The sky out of my window has gone real blue now." 1064 01:05:31,469 --> 01:05:35,758 NICK: The sky in Brighton is unlike anything I've ever seen. 1065 01:05:35,890 --> 01:05:38,472 Living by the sea, looking out my windows, 1066 01:05:38,601 --> 01:05:41,684 I feel like I'm part of the weather itself. 1067 01:05:41,813 --> 01:05:44,555 Sometimes the sky is so blue 1068 01:05:44,691 --> 01:05:48,855 and the reflection of the sea so dazzling you can't even look at it, 1069 01:05:48,987 --> 01:05:54,357 and other times, great black thunderheads roll across the ocean 1070 01:05:54,492 --> 01:05:57,984 and you feel like you're inside the storm itself. 1071 01:05:59,539 --> 01:06:02,076 What I fear most is nature. 1072 01:06:02,208 --> 01:06:05,792 Now that it's sent its weather to exact revenge, 1073 01:06:05,920 --> 01:06:08,457 we're all in for it now. 1074 01:06:08,590 --> 01:06:11,423 Soon the weather is gonna put on a real show. 1075 01:06:12,677 --> 01:06:17,387 Funnily enough, the more I write about the weather, the worse it seems to get 1076 01:06:17,515 --> 01:06:19,676 and the more interesting it becomes 1077 01:06:19,809 --> 01:06:23,677 and the more it moulds itself to the narrative I have set for it. 1078 01:06:25,482 --> 01:06:28,724 You know, I can control the weather with my moods. 1079 01:06:28,860 --> 01:06:31,693 I just can't control my moods is all. 1080 01:06:37,869 --> 01:06:39,609 That's me and Kylie. 1081 01:06:39,746 --> 01:06:41,737 I'm wearing shorts there. 1082 01:06:41,873 --> 01:06:43,534 JANINE: What happened with Kylie, Nick? 1083 01:06:43,666 --> 01:06:45,827 I'd just written this song, Where The Wild Roses Grow, 1084 01:06:45,960 --> 01:06:47,245 and wanted her to sing on it 1085 01:06:47,378 --> 01:06:50,916 and we were just trying to find out how to get to Kylie 1086 01:06:51,049 --> 01:06:54,382 and she had management that was very protective of her 1087 01:06:54,511 --> 01:06:55,546 and protective of her image... 1088 01:06:55,678 --> 01:06:57,259 - JANINE: Yeah. - ...and all of that sort of thing. 1089 01:06:57,388 --> 01:07:00,380 But she happened to be going out with Michael Hutchence. 1090 01:07:00,517 --> 01:07:03,054 So...we managed to get hold of Michael 1091 01:07:03,186 --> 01:07:06,428 and she was sitting next to him when...when we rang. 1092 01:07:06,564 --> 01:07:09,806 We said, "Can you ask Kylie if she'll come in and sing a song for us? 1093 01:07:09,901 --> 01:07:10,856 "We have this song." 1094 01:07:10,985 --> 01:07:12,896 And we ended up on Top Of The Pops... 1095 01:07:13,029 --> 01:07:13,939 Mm. 1096 01:07:14,072 --> 01:07:17,189 ...and that whole event, around Kylie, 1097 01:07:17,325 --> 01:07:20,738 kind of lives in this sort of weird kind of bubble 1098 01:07:20,870 --> 01:07:24,033 where life for that brief time was kind of different, 1099 01:07:24,165 --> 01:07:27,828 because we were suddenly thrown into this weird situation 1100 01:07:27,961 --> 01:07:29,872 of having a hit record, 1101 01:07:30,004 --> 01:07:33,917 and then, obviously, people bought the album and listened to it, 1102 01:07:34,050 --> 01:07:37,042 and realised that, you know, that would be the last time they would... 1103 01:07:37,178 --> 01:07:40,887 they would, er...have anything to do with Nick Cave and The Bad Seeds again. 1104 01:07:41,015 --> 01:07:42,300 But for that moment, it was... 1105 01:07:42,433 --> 01:07:46,642 it was kind of a...for me, a very special moment in time, you know. 1106 01:07:46,771 --> 01:07:49,308 (MUSIC PLAYING) 1107 01:07:57,490 --> 01:08:00,027 NICK: Louis Wain. Look at that. 1108 01:08:00,159 --> 01:08:02,616 That's The Fire Of The Mind Agitates The Atmosphere, that. 1109 01:08:04,664 --> 01:08:07,121 Do you have my copy of Lolita? 1110 01:08:24,434 --> 01:08:26,390 That's Anita. Yeah. 1111 01:08:29,188 --> 01:08:31,304 That's Susie. 1112 01:08:31,441 --> 01:08:34,057 The word "muse" I often feel reluctant to use, 1113 01:08:34,193 --> 01:08:38,778 because it feels like the muse is something ethereal and out there. 1114 01:08:38,906 --> 01:08:40,316 It's not for me. 1115 01:08:40,450 --> 01:08:42,907 The songs are very much about people 1116 01:08:43,036 --> 01:08:46,199 and...and it's these people that kind of prop up the songs. 1117 01:08:46,331 --> 01:08:47,867 If I sing a song like Deanna, 1118 01:08:47,999 --> 01:08:52,993 it's very much three minutes or whatever with the memory of that person. 1119 01:08:53,129 --> 01:08:56,337 Not that I have any interest in the way that that person is now, 1120 01:08:56,466 --> 01:08:59,458 but I have a huge interest in the memory of that person. 1121 01:08:59,594 --> 01:09:05,134 The mythologised, edited kind of memory of that person. 1122 01:09:05,266 --> 01:09:09,100 There's a slide that I want to show you. If you just switch the lights off. 1123 01:09:20,740 --> 01:09:24,153 That's my absolute favourite photograph of Susie. 1124 01:09:24,285 --> 01:09:26,526 It staggers me that, um... 1125 01:09:26,621 --> 01:09:29,363 Susie, who has this kind of innate relationship with the camera... 1126 01:09:29,499 --> 01:09:30,409 KIRK: Yeah. 1127 01:09:30,500 --> 01:09:35,369 ...can be so fiercely, er... reluctant to be photographed, 1128 01:09:35,505 --> 01:09:40,090 and...it's really that framing of the face, 1129 01:09:40,218 --> 01:09:44,131 of the hair, the black hair, and the framing of the white face 1130 01:09:44,222 --> 01:09:47,259 that's really, er...interesting. 1131 01:09:49,018 --> 01:09:53,102 There's an audio clip that I wanted to play through to you as well. 1132 01:09:53,231 --> 01:09:55,222 If you just wanna listen to this one. 1133 01:09:55,358 --> 01:10:00,648 NICK: The first time I saw Susie was at the Victoria & Albert Museum in London 1134 01:10:00,780 --> 01:10:02,941 and when she came walking in, 1135 01:10:03,074 --> 01:10:07,738 all the things I had obsessed over for all the years - pictures of movie stars, 1136 01:10:07,870 --> 01:10:11,738 Jenny Agutter in the billabong, Anita Ekberg in the fountain, 1137 01:10:11,874 --> 01:10:13,956 Ali MacGraw in her black tights, 1138 01:10:14,085 --> 01:10:16,417 images from the TV when I was a kid, 1139 01:10:16,504 --> 01:10:19,746 Barbara Eden and Elizabeth Montgomery and Abigail, 1140 01:10:19,882 --> 01:10:24,546 Miss World competitions, Marilyn Monroe and Jennifer Jones and Bo Derek 1141 01:10:24,679 --> 01:10:26,419 and Angie Dickinson as Police Woman, 1142 01:10:26,556 --> 01:10:32,472 Maria Falconetti and Suzi Quatro, Bolshoi ballerinas and Russian gymnasts, 1143 01:10:32,603 --> 01:10:36,346 Wonder Woman and Barbarella and supermodels and Page 3 girls, 1144 01:10:36,482 --> 01:10:39,645 all the endless, impossible fantasies, 1145 01:10:39,777 --> 01:10:42,860 the young girls at the Wangaratta pool lying on the hot concrete, 1146 01:10:42,989 --> 01:10:45,696 Courbet's Origin Of The World, 1147 01:10:45,783 --> 01:10:49,321 Batai||e's bowl of milk, Jean Simmons’ nose ring, 1148 01:10:49,454 --> 01:10:52,070 all the stuff I had heard and seen and read. 1149 01:10:53,332 --> 01:10:55,414 Advertising and TV commercials, 1150 01:10:55,501 --> 01:10:59,289 billboards and fashion spreads and Playmate of the Month, 1151 01:10:59,380 --> 01:11:01,712 Caroline Jones dying in E|vis's arms, 1152 01:11:01,841 --> 01:11:05,129 Jackie O in mourning, Tinker Bell trapped in the drawer, 1153 01:11:05,219 --> 01:11:09,303 all the continuing, never-ending drip-feed of erotic data 1154 01:11:09,432 --> 01:11:14,267 came together at that moment in one great big crash-bang 1155 01:11:14,395 --> 01:11:16,932 and I was lost to her 1156 01:11:17,023 --> 01:11:19,309 and that was that. 1157 01:11:21,819 --> 01:11:23,059 (SEAGU LLS CRY) 1158 01:11:38,252 --> 01:11:42,211 Sometimes it feels like the ghosts of the past are all about and crowding in, 1159 01:11:42,340 --> 01:11:44,331 vying for space and recognition. 1160 01:11:46,344 --> 01:11:50,087 They are no longer content to be kept down there in the dark. 1161 01:11:50,181 --> 01:11:52,297 They have been there too long. 1162 01:11:52,433 --> 01:11:56,267 They are angry and gathering strength and calling for attention. 1163 01:11:58,272 --> 01:12:01,435 They're clawing their way into the future and will be waiting there. 1164 01:12:02,527 --> 01:12:03,983 Have I remembered them enough? 1165 01:12:05,613 --> 01:12:07,649 Have I honoured them sufficiently? 1166 01:12:07,740 --> 01:12:09,947 Have I done my best to keep them alive? 1167 01:12:11,035 --> 01:12:13,026 KYLIE: There's the pier. 1168 01:12:13,162 --> 01:12:15,494 You were so important in my life. 1169 01:12:18,960 --> 01:12:22,669 You were like this kind of mist that rolled in, 1170 01:12:22,797 --> 01:12:26,710 cos I knew about you and... and I'd heard about... 1171 01:12:26,843 --> 01:12:29,050 your desire to do this song, 1172 01:12:29,178 --> 01:12:33,421 and then I saw you perform live with The Bad Seeds and it was like, "Uh!" 1173 01:12:33,558 --> 01:12:36,641 You were walking up this ramp to go on stage. It was like a scene from a film. 1174 01:12:36,769 --> 01:12:39,806 You all just had this kind of swagger and the energy, 1175 01:12:39,939 --> 01:12:42,521 you know, when you're building up to go on stage, 1176 01:12:42,650 --> 01:12:45,266 and then the performance was just electrifying, 1177 01:12:45,403 --> 01:12:48,270 and your body language, you were like this... 1178 01:12:48,406 --> 01:12:50,738 like a...|ike a tree. 1179 01:12:51,868 --> 01:12:53,654 - (LAUGHS) - That probably doesn't sound... 1180 01:12:53,786 --> 01:12:55,117 - Like a big tree? - Like a... 1181 01:12:55,246 --> 01:13:00,366 you know, like from a Hitchcock film, a kind of tree in...in silhouette, 1182 01:13:00,459 --> 01:13:02,495 like really in a storm or something. 1183 01:13:02,628 --> 01:13:04,960 It was...it was amazing. 1184 01:13:05,089 --> 01:13:07,045 Cos you didn't know much about what I did, right? 1185 01:13:07,174 --> 01:13:10,166 No, I had to speed-read your biography. 1186 01:13:10,261 --> 01:13:12,923 - Oh, you read that thing? - Yeah. 1187 01:13:14,056 --> 01:13:16,092 - That wasn't the truth, though. - (LAUGHS) 1188 01:13:25,359 --> 01:13:27,224 NICK: Are you worried about being forgotten? 1189 01:13:27,361 --> 01:13:31,229 Yeah, I worry about being forgotten and about being lonely. 1190 01:13:32,283 --> 01:13:33,193 - Oh, really? - Yeah. 1191 01:13:33,326 --> 01:13:36,659 - You had waxworks made of you. - I had multiple waxworks. 1192 01:13:36,787 --> 01:13:38,118 How many? 1193 01:13:38,247 --> 01:13:40,488 I think I had five. 1194 01:13:40,583 --> 01:13:42,244 - Well, at a certain point... - I'm reallyjealous of you. 1195 01:13:42,376 --> 01:13:43,456 ...the story went that 1196 01:13:43,544 --> 01:13:46,251 the only person who had more waxworks than me was the Queen. 1197 01:13:46,380 --> 01:13:47,460 Is that right? 1198 01:13:47,590 --> 01:13:49,672 I don't know if that's still a fact, but it was at the time. 1199 01:13:51,385 --> 01:13:56,630 KYLIE: I remember Michael Hutchence telling me that he was short-sighted 1200 01:13:56,766 --> 01:14:01,385 and he tried wearing glasses or contacts to see the audience, 1201 01:14:01,520 --> 01:14:03,385 and it terrified him so much he never did again. 1202 01:14:03,522 --> 01:14:05,513 - Oh, is that right? - We spoke about that 1203 01:14:05,650 --> 01:14:10,895 because the first time I saw INXS play, I thought that he'd looked at me, 1204 01:14:11,030 --> 01:14:13,362 which an audience member is supposed to do. 1205 01:14:13,491 --> 01:14:15,982 Everyone in the audience should feel like you've looked at them, 1206 01:14:16,118 --> 01:14:20,361 and it became apparent that he probably never saw me, just a blur. 1207 01:14:20,498 --> 01:14:25,367 But he had a kind of way of projecting outwards. I'm envious of that. 1208 01:14:25,461 --> 01:14:27,372 I'm very much a front-row kind of guy. 1209 01:14:27,505 --> 01:14:31,839 I don't feel I'm that kind of performer that can... 1210 01:14:33,636 --> 01:14:34,967 reach out that far, you know. 1211 01:14:35,096 --> 01:14:37,303 For me, there's a kind of psychodrama 1212 01:14:37,431 --> 01:14:40,969 that goes on between singular people in the front row 1213 01:14:41,060 --> 01:14:43,221 that becomes very important in the... 1214 01:14:43,354 --> 01:14:46,642 in the telling of the... the narratives of the songs. 1215 01:14:46,774 --> 01:14:49,766 I get a huge amount of energy from... 1216 01:14:49,860 --> 01:14:52,021 From picking out singular... 1217 01:14:52,154 --> 01:14:53,860 People, and terrifying them. 1218 01:14:53,990 --> 01:14:55,901 Really? Do you make it your mission to terrify them? 1219 01:14:56,033 --> 01:14:59,070 Well, it's that kind of, um... mixture of awe and terror 1220 01:14:59,203 --> 01:15:02,115 that you can get from one person or a small group of people 1221 01:15:02,248 --> 01:15:04,580 - that is really, um... - Mm. 1222 01:15:04,709 --> 01:15:11,831 ...that gives a huge amount of, er... energy to...to kind of transform yourself. 1223 01:15:21,767 --> 01:15:23,723 # Ooh 1224 01:15:23,853 --> 01:15:26,936 # Ah, let the damn day break 1225 01:15:28,858 --> 01:15:30,223 # Ooh 1226 01:15:30,359 --> 01:15:32,771 # Rainy days 1227 01:15:34,196 --> 01:15:36,482 # Always make me sad 1228 01:15:36,615 --> 01:15:38,731 # Ooh 1229 01:15:38,868 --> 01:15:45,114 # Miley Cyrus floats in a swimming pool in Toluca Lake... # 1230 01:15:47,084 --> 01:15:49,120 (CROWD CHEER) 1231 01:15:49,253 --> 01:15:52,620 # You're the best girl I ever had... # 1232 01:15:52,757 --> 01:15:55,669 (CHEERING) 1233 01:15:57,219 --> 01:15:59,505 # Can you feel my heartbeat? 1234 01:16:00,848 --> 01:16:03,180 # Can you feel my heartbeat? 1235 01:16:04,226 --> 01:16:07,389 # I'm driving my car down to Geneva 1236 01:16:12,985 --> 01:16:15,192 # I'm driving 1237 01:16:17,907 --> 01:16:20,148 # Can you feel my heartbeat... # 1238 01:16:23,996 --> 01:16:26,362 (CROWD CHEERS AND CLAPS) 1239 01:16:29,877 --> 01:16:32,869 # I'm driving my car 1240 01:16:34,799 --> 01:16:37,461 # Can't remember anything at all... # 1241 01:16:40,471 --> 01:16:43,133 (AUDIENCE CHEER) 1242 01:16:47,269 --> 01:16:49,885 # Can't remember anything at all 1243 01:16:50,981 --> 01:16:52,642 # Sitting here 1244 01:16:52,775 --> 01:16:57,189 # In my basement patio. # 1245 01:16:58,531 --> 01:17:00,522 (AUDIENCE CHEER) 1246 01:17:13,379 --> 01:17:15,165 (DOOR CREAKS) 1247 01:17:31,981 --> 01:17:33,596 (FILM PLAYING) 1248 01:17:33,732 --> 01:17:36,223 (CHUCKLING) No. 1249 01:17:36,360 --> 01:17:37,941 No? You don't want any? 1250 01:17:39,155 --> 01:17:40,736 AL PACINO: You wanna fuck with me? 1251 01:17:40,823 --> 01:17:42,814 (FILM CHARACTER SHOUTS) 1252 01:17:44,201 --> 01:17:46,237 You fucking with the best! 1253 01:17:46,370 --> 01:17:48,361 You want some? 1254 01:17:49,957 --> 01:17:52,448 You wanna fuck with me? OK. 1255 01:17:56,046 --> 01:17:57,877 (THEY CHUCKLE) 1256 01:17:58,007 --> 01:18:00,293 You wanna play games? OK. 1257 01:18:01,552 --> 01:18:02,667 Come on. 1258 01:18:04,930 --> 01:18:07,091 OK. You wanna play rough? OK! 1259 01:18:08,100 --> 01:18:10,182 - Say hello to my little friend! - Say hello to my little friend! 1260 01:18:10,311 --> 01:18:12,472 (GUNFIRE) 1261 01:18:13,522 --> 01:18:18,232 # Ya, ya, ya, ya! 1262 01:18:19,278 --> 01:18:20,393 # Ya, ya, ya, ya! 1263 01:18:22,156 --> 01:18:23,737 # Ya, ya, ya, ya! 1264 01:18:24,950 --> 01:18:32,413 # Ya, ya, ya, ya! 1265 01:18:32,499 --> 01:18:35,866 # Ya, ya, ya, ya! # 1266 01:18:36,921 --> 01:18:38,377 (CROWD CHEERING) 1267 01:18:38,505 --> 01:18:40,370 # Yeah, yeah, yeah, yeah 1268 01:18:41,634 --> 01:18:43,374 # Oh, no, no, no... # 1269 01:18:44,553 --> 01:18:46,589 (GUITAR STARTS UP) 1270 01:18:55,940 --> 01:18:58,101 # Well, in come the Devil 1271 01:19:01,028 --> 01:19:06,022 # Said, "|'ve come to take you down Mr Stagger Lee" 1272 01:19:08,661 --> 01:19:12,074 # Well, those were the last words that the Devil said 1273 01:19:12,206 --> 01:19:14,492 # Cos Stag put four holes 1274 01:19:14,625 --> 01:19:17,207 # In his mother...fucking 1275 01:19:18,295 --> 01:19:20,957 # Head 1276 01:19:21,090 --> 01:19:31,261 # Ya, ya, ya, ya! 1277 01:19:37,481 --> 01:19:40,314 # Ya, ya, ya, ya! 1278 01:19:40,442 --> 01:19:43,400 # Ya, ya, ya, ya! # 1279 01:19:55,541 --> 01:19:57,452 (CROWD CHEER) 1280 01:20:03,215 --> 01:20:05,251 (CHEERING) 1281 01:20:10,014 --> 01:20:11,845 (CHEERING AND WHISTLING) 1282 01:20:14,435 --> 01:20:16,050 (CHEERING FADES) 1283 01:20:23,902 --> 01:20:25,767 (SEAGU LLS CRY) 1284 01:20:25,904 --> 01:20:30,273 NICK: The song is heroic, because the song confronts death. 1285 01:20:31,827 --> 01:20:36,366 The song is immortal and bravely stares down our own extinction. 1286 01:20:45,883 --> 01:20:50,547 The song emerges from the spirit world with a true message. 1287 01:20:51,722 --> 01:20:55,089 One day, I will tell you how to slay the dragon. 1288 01:21:00,481 --> 01:21:02,938 (CHEERING) 1289 01:21:11,825 --> 01:21:13,781 (CROWD CHEERS) 1290 01:21:16,872 --> 01:21:19,488 (soNG STARTS) 1291 01:21:41,980 --> 01:21:43,936 NICK: All of our days are numbered. 1292 01:21:44,942 --> 01:21:46,933 We cannot afford to be idle. 1293 01:21:48,028 --> 01:21:52,442 To act on a bad idea is better than to not act at all... 1294 01:21:53,450 --> 01:21:57,910 ...because the worth of the idea never becomes apparent until you do it. 1295 01:22:00,082 --> 01:22:04,246 Sometimes this idea can be the smallest thing in the world, 1296 01:22:04,378 --> 01:22:07,962 a little flame that you hunch over and cup with your hand 1297 01:22:08,090 --> 01:22:12,424 and pray will not be extinguished by all the storm that howls about it. 1298 01:22:13,762 --> 01:22:19,098 If you can hold on to that flame, great things can be constructed around it 1299 01:22:19,226 --> 01:22:23,310 that are massive and powerful and world-changing... 1300 01:22:25,315 --> 01:22:28,352 ...all held up by the tiniest of ideas. 1301 01:22:31,113 --> 01:22:33,946 - (MUSIC PLAYING) - (CROWD CHEERS) 1302 01:22:38,495 --> 01:22:41,111 # The problem was 1303 01:22:41,248 --> 01:22:44,581 # She had a little black book 1304 01:22:47,629 --> 01:22:50,291 # And my name 1305 01:22:50,382 --> 01:22:53,670 # It was written 1306 01:22:53,802 --> 01:22:56,669 # On every page 1307 01:23:00,100 --> 01:23:03,012 # Well, a girl's got to make ends meet 1308 01:23:03,145 --> 01:23:07,514 # Especially down on Jubilee Street 1309 01:23:14,573 --> 01:23:20,113 # I ought to practise what I preach 1310 01:23:23,832 --> 01:23:27,040 # These days I go down town 1311 01:23:29,129 --> 01:23:34,249 # In my tie and tails 1312 01:23:35,636 --> 01:23:38,378 # I got a foetus 1313 01:23:41,016 --> 01:23:43,052 # On a leash 1314 01:23:46,730 --> 01:23:49,813 # I am alone now 1315 01:23:49,900 --> 01:23:53,438 # I am beyond recriminations 1316 01:23:54,780 --> 01:23:57,647 # The curtains are shut 1317 01:23:57,741 --> 01:23:59,948 # The furniture has gone 1318 01:24:00,994 --> 01:24:03,701 # I am transforming 1319 01:24:03,830 --> 01:24:06,116 # I am vibrating 1320 01:24:06,250 --> 01:24:08,411 # I am glowing 1321 01:24:08,502 --> 01:24:11,209 # Yeah, look at me now 1322 01:24:11,338 --> 01:24:13,329 # I'm transforming 1323 01:24:13,465 --> 01:24:15,456 # I'm vibrating 1324 01:24:15,592 --> 01:24:17,753 # Look at me now 1325 01:24:21,890 --> 01:24:24,222 # Yes, I am flying 1326 01:24:24,351 --> 01:24:26,933 # I'm vibrating 1327 01:24:27,020 --> 01:24:28,885 # Look at me now 1328 01:24:33,026 --> 01:24:35,358 # Yeah 1329 01:25:30,083 --> 01:25:31,994 # Yeah 1330 01:25:50,145 --> 01:25:52,727 # I'm transforming 1331 01:25:52,856 --> 01:25:54,812 # I'm vibrating 1332 01:25:54,900 --> 01:25:56,390 # Look at me now 1333 01:25:59,946 --> 01:26:01,652 # I am flying 1334 01:26:01,740 --> 01:26:03,355 # I'm vibrating 1335 01:26:03,492 --> 01:26:05,653 # Look at me now 1336 01:26:08,872 --> 01:26:10,533 # I am flying 1337 01:26:10,624 --> 01:26:12,364 # I am glowing 1338 01:26:12,501 --> 01:26:13,957 # Look at me now 1339 01:26:16,963 --> 01:26:18,999 # I'm transforming 1340 01:26:19,132 --> 01:26:21,123 # I'm vibrating 1341 01:26:21,259 --> 01:26:23,124 # Look at me now. # 1342 01:26:50,539 --> 01:26:52,530 (CHEERING) 1343 01:27:04,219 --> 01:27:08,758 NICK: In the end, I'm not interested in that which I fully understand. 1344 01:27:10,100 --> 01:27:13,638 The words I have written over the years are just a veneer. 1345 01:27:14,938 --> 01:27:18,897 There are truths that lie beneath the surface of the words... 1346 01:27:18,984 --> 01:27:24,024 truths that rise up without warning, like the humps of a sea monster 1347 01:27:24,156 --> 01:27:26,067 and then disappear. 1348 01:27:26,199 --> 01:27:29,566 What performance and song is to me 1349 01:27:29,661 --> 01:27:33,119 is finding a way to tempt the monster to the surface, 1350 01:27:33,248 --> 01:27:34,988 to create a space, 1351 01:27:35,125 --> 01:27:39,209 where the creature can break through what is real and what is known to us. 1352 01:27:41,256 --> 01:27:46,467 This shimmering space, where imagination and reality intersect... 1353 01:27:47,596 --> 01:27:52,260 ...this is where all love and tears and joy exist. 1354 01:27:53,977 --> 01:27:55,387 This is the place. 1355 01:27:56,646 --> 01:27:58,637 This is where we live. 1356 01:28:29,888 --> 01:28:31,844 (SoNG ENDS) 1357 01:28:32,305 --> 01:28:38,753 Support us and become VIP member to remove all ads from www.OpenSubtitles.org