Original subtitles

Looks like a doll's house.

It is a bit like a doll's house.

This is loose, so you can get underneath this.

-This is 5'9". -JAGGER: Why?

So the back-line guys can get in and out of there.

Look at those balconies.

It might be nice to get them out there, from... One wide.

You know what I mean, Bob? Hand-held.

RICHARDSON: Well, that we can do.

I don't know.

I have no idea why the stage is designed in this way.

lf there's any really rhyme or reason to it.

-Which part? -All of it.

-You wanted it. -I never asked for those.

That's Marty that wanted all of those.

I thought he wanted those.

So we got them now. I hope he likes them.

(SINGING UNDER MY THUMB)

I don't know what's going on.

I did a hundred things overthere, but nothing that I needed to do.

I still got no answers.

They're all overthe place.

MAN: That's the set.

What are these?

The camera's arm.

They could come the next week together.

No, the set's gotta be built now.

They're building it.

If worse comes to worst, we change it.

We break it up and we cut it. We saw it in half.

We can glue it to different pieces...

Until they're all in the same place,

we're not gonna ever get a final decision.

Do it again.

(CHATTERING)

(PEOPLE CHATTERING)

JAGGER: (ON PHONE) My other worry about the cameras was,

Marty, that they whiz around all the time.

That's very annoying to the audience

and to everyone on the stage.

And it's dangerous.

lt would be good to have a camera that moves,

that swoops down, and in and out.

And tracks us, you know, along the side somehow.

ls that it?

I think so.

Okey-doke, you guys. Nice to chat.

(PHONE HANGS UP)

(DIAL TONE)

(PEOPLE CHATTERING)

SCORSESE: These are the songs that I've prepared,

that he said he really wanted to do.

These are the songs that are really strong possibilities

and these are the ones that they're going to rehearse.

But we got six days to go, and he still hasn't given me an idea

of what the set list was gonna be.

Loving Cup we already did.

Shine A Light, Some Girls, As Tears Go By.

Too Much Blood, he wants to do. She Was Hot.

JAGGER: This is my setlist for Austin and the Beacon.

It's been a bit of work, you know.

First Time I Met the Blues, possibly.

JAGGER: Getting a good mixture, and then things that everyone likes,

and things that are not so well-known,

and things that kind of work for a theater and things that don't.

Try and avoid those.

Factory Girl, he wants to do. I'm Free, he wants to do.

JAGGER: Categorizations and obsessions.

All be done, Marty.

On the night, you know, an hour before the show.

(CREW CHATTERING)

(EXCLAIMING)

That cleared my sinuses.

(ROCK MUSIC PLAYING)

After you guys rehearse, I'll do something with Bob.

You start creeping in.

We'll just warm up and get the feel of the room and the setup.

(DROP DOWN MAMA PLAYING)

RICHARDSON: So if you want to have a specific conversation with Marty

about a shot when he says "move" in a particular song,

because he is extremely precise.

Pat should have a wide of the whole place, if he can.

Even with the cranes in it.

Pat Capone, you should be wide of the whole place.

Can we know, if at all possible, what they're gonna play?

And if... It doesn't have to be in order.

If we know, and it would be nice to know...

lf Mick stands in front of the light for more than 18 seconds, he'll burn.

-What do you mean "burn"? -He'll burn up. He'll get too hot.

You mean, like flames?

-He might catch on fire. -We can't do that.

We cannot burn Mick Jagger. Very simple.

We want the effect, but we can't burn him.

-What is that for? -We're gonna do some lighting tests.

That's normal movie stuff, is it?

What do you think?

I love movies... Looking at them.

(CREW CHATTERING)

That's the best one.

I've got to show you one other thing.

lf you can get a camera in here.

Where is Charlie Watts? Or somebody else has got to kick.

This is my only view.

(DRUM BEATING)

Nobody else sees this shit except me.

It'll be good here when we get people in here,

when we get the live crowd.

And the set list. I can't wait to see what we finally end up with.

RICHARDSON: What's the matter, Joe?

We got a lot to do.

Communication, that's what I'm onto now, Bob.

Communication systems.

(SINGING) Give me champagne when I'm thirsty

Give me a reefer when I want to get high

Then we go into...

(PLAYING SHINE A LIGHT)

Whatever the set list is gonna be,

the first two are going to be really strong.

Okay, then the problem with...

I really would like to know what the first song's gonna be.

Because if the first song opens on a guitar riff, a guitar intro,

we have to make sure that we're covered which guitar.

It usually is Keith. We have to know that.

Or if the keyboard begins and then Mick starts singing,

the cameras have to be on Mick. I'm just asking, find out what it is.

SCORSESE: Clinton will be here.

MAYSLES: What is it? A benefit concert?

For his foundation?

Thank you.

It's great to see you.

My nephew's coming. He's 10 or 11.

And I've got some friends coming with all their kids.

And they're really excited.

I had all these people in their '60s, calling and begging me for tickets.

So how's the audience gonna be with all these cameras?

Your guys are gonna be in this first balcony.

(lNDISTINCT CHATTERING)

This is President Kwasniewski. He just left being President of Poland.

REIDY: This is rock and roll, okay?

Don't be nervous about anything.

So, their guests aren't scheduled to be here until around 6:00 or 6:05.

Whose guests?

The meet and greet guests. Mr. Clinton's.

-We just did it. -You met and greeted the President.

But he's got 30 guests coming.

So we're not gonna do that until 6:05.

Hey, Clinton, I'm bushed.

WOMAN: They said, "I'm waiting for Hillary's mother."

HILLARY: You're so nice to wait for her.

Hi, Mom.

The Rolling Stones have been waiting for you.

Hello. I'm Ronnie. Very pleased to meet you.

Hello. Nice to see you.

Hi, Dorothy.

-RONNIE: And there's Charlie. -Charlie keeps it all going.

REIDY: And some inserts of hands and faces.

Right. Yeah, yeah, yeah.

CLINTON: This is one of my birthday presents.

I get to open for The Rolling Stones.

I want to say a special word ofthanks

on behalf of Hillary and Chelsea and myself

to The Rolling Stones for doing this.

I actually did open for The Rolling Stones once before.

They did a concert in Los Angeles in 2001

to raise awareness of the threat of climate change.

They know as much about these issues as we do.

They care about them as much as we do.

And that's why they're giving us this wonderful night.

Thank you and God bless you all.

Let's get ready to go. Everyone, get ready to go.

(DRUM ROLLING)

COHL: And now, for their second and final appearance

at the Beacon Theatre, please welcome The Rolling Stones!

-Set list. -Okay, first song.

(PLAYING JUMPING JACK FLASH)

(AUDIENCE ROARING)

(AUDIENCE CHEERING)

Thank you.

How you doing? Okay?

(PLAYING SHATTERED)

(AUDIENCE CHEERING)

INTERVIEWER: You've been doing this for how many years?

JAGGER: Two years.

INTERVIEWER: And how much longer do you give yourself doing this,

-going round being a sort of... -I don't know.

I never thought I'd be doing it for two years even.

When we started off, I never thought we'd make it very big anyway.

And now we've been making records for two years

and everybody still calls us quite a new group.

I don't know, quite honestly.

I think we're pretty well set up for at least another year.

(PLAYING SHE WAS HOT)

(WHOOPS)

(PLAYING ALL DOWN THE LINE)

(AUDIENCE CHEERS)

(AUDIENCE CHEERING)

INTERVIEWER: Well, if you weren't a music maker,

what would you like to be?

-Design. -lNTERVIEWER: Design what?

A designer, 'cause I was one.

I'd call myself a designer because I couldn't be a painter.

Because I'm not versed well enough in the language of painting.

I'm not talented enough.

INTERVIEWER: You need talent, surely, and discipline.

No, you need a lot of talent, as well.

INTERVIEWER: What sort of talent?

The talent of knowing.

INTERVIEWER: But knowing comes from discipline.

Not necessarily.

INTERVIEWER: So the talent is to have an imagination?

Yeah.

INTERVIEWER: So do you think you're imaginative with your work?

Yeah.

Maybe it's just an inferiorify complex I got.

Maybe I'm great after all.

(lMlTATES BUZZING)

-Who do you think you are? -Mick Jagger.

(HAVE YOU SEEN YOUR MOTHER, BABY? PLAYING)

INTERVIEWER: You've been on your second tour

of the United States for two weeks.

-How was it? -lt was very enjoyable. Most enjoyable.

Very successful, too.

Well, that was not true of the first one, was it?

Oh, no. But we only came over here on the first one

so we could get ourselves known, so to speak.

And when we went back, things started happening for us.

Well, why did they start happening?

I don't really know. Some sort of chemical reaction

seemed to happen, somehow.

What would you say happened?

I really don't know quite honestly.

(AUDIENCE CHEERING)

(PLAYING THE LOVING CUP)

(AUDIENCE CHEERING)

Jack White.

JAGGER: We're gonna do a really old song for you now.

It's one ofthe first we ever written. In fact, we never did it.

We gave it to someone else 'cause we were slightly,

slightly embarrassed about it the first time we wrote it.

(PLAYING AS TEARS GO BY)

(HUMMING)

(AUDIENCE CHEERING)

Thank you.

Lovely, isn't it?

(PLAYING SOME GIRLS)

(AUDIENCE CHEERS)

(AUDIENCE CHEERING)

Thank you.

(l'M FREE PLAYING)

REPORTER: Mick Jagger, The Rolling Stones leader,

sentenced to jail a month ago, is free.

He has won his appeal against the prison sentence.

And tonight he flew by helicopter to a location 30 miles from London

to appear in World In Action.

Publicity on the case is split between the society

which resents the anarchy of people like The Stones

and that which favors greater individual freedom.

Tonight, World In Action examines the reasons for this split.

With Mick Jagger are

William Rees-Mogg, editor of The times newspaper,

Father Thomas Corbishley, a leading British Jesuit,

Lord Stow Hill, who has been Home Secretary and Attorney General,

and Dr. John Robinson, Bishop of Woolwich

and author of the controversial reassessment of Christianity,

Honest to God.

Mick Jagger has been silent for three months.

He's read of people saying he's got what's coming to him

and he read The Times asking "Who breaks a butterfly on a wheel?"

JAGGER: I try to keep out of discussions on religion

such as some pop stars try and get into.

Try to set a good example to teenagers by being religious.

We're trying to keep out of that.

PERRIN: Ladies and gentlemen, could I just ask you

to take your pictures as speedily as possible.

I don't think we're being unreasonable.

I don't propagate drug views such as some pop stars do.

This whole sort of thing was pushed upon me.

REPORTER: By whom?

By the mere fact that I've been prosecuted

and also with Keith being prosecuted.

We didn't make a public statement

on religion, on drugs, or anything like that.

PERRIN: Gentlemen, can I interrupt?

If it continues on that sphere, then I'll have to cut...

REPORTER: Rolling Stone guitarist Keith Richards

was arrested last night here in Toronto.

REPORTER: Keith Richards, how will this conviction affect you

and your music and The Rolling Stones?

RICHARDS: I just want to get on with it, now that it's over.

REPORTER: Do you think it will have any effect, then?

Might get a song out of it.

REPORTER: Yesterday, after you arrived,

somebody wrote that on this visit to Australia,

you're about as controversial as the local vicar.

Does that particular description offend you or please you?

-Who said that? -A journalist in Sydney. In a paper.

That's all right. I don't want to be offensive or controversial.

(SPEAKING lN GERMAN)

-Mick Jagger. -Hi.

(REPORTER SPEAKING lN SWEDISH)

This is noticeably different from Germany.

We're actually in Denmark, not Sweden.

Though you're Swedish, which is confusing for us.

INTERVIEWER: We'd all like to know what kind of joy

or what kind of thing does it bring you on a personal or professional level?

lt was very enjoyable.

FEMALE lNTERVIEWER: Could I ask you how old you are?

20.

(lNTERVIEWER LAUGHING)

Twenty-nine yesterday.

-You are the same age as me. -Oh, isn't that wonderful?

REPORTER: How long do you want to do it?

Do what? Be on the road?

REPORTER: Be The Rolling Stones.

"And what would you do, Mr. Jagger?

"Please tell us what you will do if you are not Mick Jagger?"

I say, "Well, I'll be somebody else."

INTERVIEWER: What do you feel just before you jump onstage

-in front of 100,000 people? -I wake up.

Well, I usually say to myself, "You better (BLEEP) do a good show."

That's what I do. That's my last thought. "This better be good."

INTERVIEWER: What is the question, Keith,

that you've been asked the more often?

That question you just asked me.

"How long do you think you're gonna carry on singing?"

(PLAYING JUST MY lMAGINATION)

My God, what's up next?

What are you doing with that strange instrument, Ronnie?

Can you drive that really?

We're gonna do a little bit of country for you now.

This one we do is called Far Away Eyes.

(AUDIENCE CHEERING)

(PLAYING FAR AWAY EYES)

Thank you.

Thanks, crackerheads.

JAGGER: Here's a song that was written...

I don't know if it was written by Muddy Waters,

but I first heard it done by Muddy Waters.

Champagne and Reefer.

And Buddy Guy is gonna help us out.

(PLAYING CHAMPAGNE AND REEFER)

Thank you. Buddy Guy!

Buddy...Guy.

It's yours.

(PLAYING TUMBLING DICE)

JAGGER: Thank you!

You're being wonderful.

You've been a...great audience, I tell you.

Lord have mercy.

You're sounding good, you're looking good,

you're doing everything you should.

I'm going to tell you who's up here tonight,

who's playing and singing and carrying on.

First I want to introduce you...

From Queens, a very beautiful lady, Miss Lisa Fischer!

(AUDIENCE CHEERING)

I fucked up.

She's not from Queens, she's from Brooklyn! I'm sorry.

(AUDIENCE CHEERING)

You're from Queens, right? You're from Queens.

I got this one.

Right behind her, from Queens, Mr. Bernard Fowler!

From South Africa, Mr. Blondie Chaplin.

Tim Ries. Michael Davis. Kent Smith.

On the tenor saxophone, Bobby Keys.

On the keyboards, Chuck Leavell.

(AUDIENCE CHEERING)

On the bass, Darryl Jones.

On the guitar, rocking Ronnie Wood!

(AUDIENCE CHEERING)

They love you, Ronnie. They really love you.

On the drums,

Mr. Wang dang doodle, Charlie Watts.

(AUDIENCE CHEERING)

-Want to say hello? -Hello.

He speaks.

On the guitar, and now the vocals, Keith Richards!

(AUDIENCE ROARING)

Good evening.

How did that come across? All right?

It's good to see you all, you know.

It's good to see anybody.

So if you're all all right...

Hey, baby in blue.

We're gonna go on and You Got The Silver.

(PLAYING YOU GOT THE SILVER)

(AUDIENCE CHEERING)

Thank you, Ronnie.

Cool, huh?

INTERVIEWER: Well, how are you physically?

Me? I'm fantastic, baby.

-Are you up for this tour? -Sure.

The other word on the street is that this is the proverbial last tour.

Yeah, so they said in '75, '72, '60, et cetera.

We didn't say it.

How have you survived? All the bad...

The answer is not to keep asking yourself

how you do it as long as you do it.

I don't try and analyze it.

My luck hasn't run out yet.

(PLAYING CONNECTION)

EVANS: Onstage, does your mind wander off

or are you always in the guitar?

I don't think onstage. I feel.

Up there, you're just who you are. You're not thinking.

When we get up there, we're in our own little zone.

We love what we do.

EVANS: As a man, what's Keith's best point?

Well, he's very moral and he's very caring, unlike his image.

EVANS: In the bad old days or the good old days

was he really as mad as all the books say?

-And were you? -Yeah. And Keith still is.

And so am l, really.

Ronnie says that the hardest thing is keeping up with you.

Generally in life.

And he thinks one of the reasons he got the gig is

'cause he could stay the pace.

-Is he pretty tough? -He's tough, but I wear him out.

EVANS: Is Ronnie your right hand, your left hand?

Is he your pal, your twin?

Good question. Ronnie and l, we're like that.

And also we're like that.

Who's the best guitarist? You or Keith?

Oh, well, he knows I am.

(EVANS LAUGHING)

EVANS: How would you answer that question?

Nobody is interested in being the best.

EVANS: He said he was definitely the best.

(RONNIE LAUGHING)

I know he'd say that. Yeah.

But I know the truth, which is like, we're both pretty lousy,

but together we're better than 10 others.

I guess you know the feeling. Gold rings on you all. Bless you.

(DRUMS PLAYING)

(AUDIENCE CHEERING)

(PLAYING SYMPATHY FOR THE DEVIL)

(CHORUS WHOOPING)

(JAGGER WHOOPING)

(AUDIENCE CHEERING)

(AUDIENCE CHEERING)

(JAGGER WHOOPING)

You're sounding good out there.

(PLAYING LIVE WITH ME)

Thank you, Christina Aguilera.

AGUILERA: Thank you very much.

All right! I loved it.

Are you feeling good?

(AUDIENCE WHOOPING)

Are you feeling good?

Come on and say, "Yeah."

(PLAYING START ME UP)

(AUDIENCE CHEERING)

(AUDIENCE CHEERING)

Thank you so much, everybody!

Good night, and thank you so much.

(AUDIENCE CHEERING)

CAVETT: August 4th, 1972.

Cavett meets The Rolling Stones.

Is there ever a temptation

when a whole audience is out there waiting for you to chuck it,

and to just say, "I can't go on, they're asking too much of me."

You earn every cent with that performance you give.

The exercise, the energy.

You lose probably 10 pounds a night.

-I can't remember the question. -CAVETT: I can't either.

I've completely lost sight of it.

Yeah, there is a temptation some nights.

When you have a real problem to get there.

Like the other night when we were in jail.

CAVETT: In jail?

Keith was on one side of this wall and I was on the other.

And I say, "We're not gonna make it, so let's forget about it

"and not try and make it."

So Keith says, "We got to make it." So I say, "Okay, we'll make it."

So we start yelling, "We got to make it, we got to make it".

We didn't have to. They did it all. They got us out.

Can you picture yourself at the age 60 doing what you do now?

-Yeah, easily, yeah. -Really?

(PLAYING BROWN SUGAR)

(AUDIENCE SINGING ALONG)

(AUDIENCE CHEERING)

Those lights are burning up my ass!

(PLAYING (l CAN'T GET NO) SATISFACTION)

Thank you so much. Thank you.

Thank you very much.

Put my robe on right.

Go, go, go, go, go.

Up! Up!

(SHINE A LIGHT PLAYING)

RICHARDS: Ripped into failure.

JAGGER: So how's the audience gonna be with all these cameras?