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[birds chirping]

[atmospheric guitar music]

[water splashing]

[coffee dripping]

- [Andy] The facts,

we have held the number one album spot

on the Billboard Charts for four months without a break.

We have had the number one single

in the United States for eight weeks.

We are a phenomenon.

We have countless number one records around the world.

We are three.

Happy New Year. - Happy New Year.

♪ Should old acquaintance be forgot ♪

♪ And never brought to mind

♪ Should old acquaintance be forgot ♪

♪ And sing for auld lang syne

- [Andy] All this, and yet it seems

like only five minutes ago,

that we were pushing a broken van

back through the streets of London

after a gig we'd played to no one.

Tonight, we play out the fantasy of millions.

♪ For auld lang syne, my dear

- [Interviewer] It seems incredible that a band

that is hailed as one of the great English bands,

and then you make the decide

at the sight of the pinnacle, I'd day,

to call it a day.

- Well, I think we should clear up this point

about calling it a day.

["I Can't Stand Losing You" by The Police]

♪ I guess this our last goodbye ♪

♪ And you don't care

♪ So I won't cry

♪ And you'll be sorry when I'm dead ♪

♪ And all this guilt will be on your head ♪

- [Andy] This is the Cinderella moment.

The hands are close to midnight.

♪ I'm to full to swallow my pride ♪

♪ I can't, I can't, I can't stand losing ♪

♪ I can't, I can't, I can't stand losing ♪

♪ I can't, I can't, I can't stand losing ♪

♪ I can't, I can't, I can't stand losing ♪

♪ I can't, I can't, I can't stand losing ♪

- [Interviewer] The last concert

for three years, they say.

Is it gonna be? - Well, two years,

three years, six months? - Yeah?

♪ I can't, I can't losing ♪ No, no

- [Interviewer] It's about the start of your show,

the final for two years.

Now, for both Stewart and Andy,

it seems hard to believe.

- What did they say?

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ Yo,

♪ Yo, oh

♪ Yo, oh, yo

Thank you, Happy New Year.

[audience cheering]

- [Andy] I knew that this was inevitable.

That it was always in the script.

The question was, when would it surface?

- [Sting] Well, it's been a great year.

- [Andy] The problem with the demise of our group

was that we didn't play out all our potential.

We were not washed up, finished, or in a downward spiral.

We never acknowledged our fans around the world

with a farewell tour.

[dishes smashing]

["Secret Journey" by The Police]

[melodic rock music]

[crowd cheering]

[audience cheering]

- I'd just like to introduce the band.

Andy this is Stewart.

- Hey, I remember you. - That's right.

[audience cheering]

- So, okay, we're gonna come clean,

we're actually, we're gonna go on tour.

[crowd cheering]

- [Interviewer] Why do you think that we have seen

so much affection, bands that after many years

do get together again?

- People like the fact that we're back together.

Oh, they've mended their arguments or whatever.

It's an old marriage that got back together again.

- Dysfunctional, - Reasonable

- but nonetheless. - Persons.

[Sting laughing] [audience laughing]

- [Andy] We're just very lovable.

- And we're looking forward to the tour, aren't we?

- Oh, yeah. [audience cheering]

For a long time, I dreamed about the band,

as if somehow trying to rebuild it,

or reclaim something stolen.

Somewhere on the subconscious level,

there was a need for closure.

[drums crashing]

- So just give it some tempo, Stewart,

and he's gonna count us in.

- [Stewart] One...

["Murder By Numbers by The Police]

- Hey, there's no, Andy, sorry.

You gotta hold that E.

- [Stewawrt] Hold your bloody E.

- And you could leave a gap there, too.

You know, if we all do it, it would nice, no?

- Oh. ♪ Ba, doo, da, deciding

♪ Do, da, do, ding

No, no, no. - Sorry, sorry.

- Every time it's... - No, I know, know.

- It's just [shrieking]. - I fucked up, I know.

I fucked it up.

I fucking made a mistake. - One and two

and three and four.

♪ Now you can reach the top of your profession ♪

- I got no room for mistakes.

♪ If you become the leader of the land ♪

- We have a mistake. [bomb exploding]

♪ For murder is the sport of the elected ♪

[bombs exploding]

♪ And you need not lift a finger of your hand ♪

♪ It's murder by numbers

♪ One, two, three

- [Andy] World War II.

My father is in the Royal Air Force

stationed in the North of England,

and my mother is packing bombs

to help out with the war effort.

Housing is in short supply,

and in desperation to give my pregnant mother

a roof over her head,

my dad makes the purchase of a gypsy caravan,

and this is the shelter in which I start life.

[atmospheric guitar music]

My dad's most important job,

was leading convoys of lorries across England at night

when no lights were permitted in the country.

On the side, he led a trick motorcycle team.

[cycle engine whirring]

[sirens wailing]

Times were tough for our family,

but we stayed together.

I started piano lessons at six,

but when I turned 11, my Uncle Jim gave me my first guitar.

It was love at first sight.

I cannot put it down.

I have found a soulmate.

And suddenly, I feel different.

It's as if I'm in possession of a secret power.

I spend every possible second with my guitar.

It lays on my bed at night,

and I begin breaking my head open

listening to every kind of music,

and finding a way to play those amazing sounds.

And by 16, I was playing the local clubs,

and I absolutely lived for these nights.

In fact, I dreamed about them.

And in the middle of all of this,

I met a guy called Zoot Money.

- [Announcer] Ladies and gentlemen, I present to you,

one of the foremost bands on the rhythm and blues scene

in Britain today, let's here it for these boys.

Zoot Money's Big Roll Band.

[audience cheering]

- [Andy] Zoot and I started playing together,

and we decided to leave home and go to London.

It was 1965,

and I knew that music was my future.

[upbeat blues music]

Within a few weeks of being in London,

we land one of the stellar gigs for a band at that time.

We become the house band at The Flamingo

in London's West End.

♪ I want to ride you

♪ All around town

♪ All around town

- [Andy] At this point, being in a band

is about having a good time,

rather than being moody, artistic and introspective.

♪ Big mama I just can't turn you down ♪

- [Andy] We're supposed to be entertainers.

The idea of calling ourselves artists

was not on the dial yet.

♪ I wanna ride

- [Andy] Most of the bands playing around London

eventually end up playing at The Flamingo.

It's such a vibrant scene.

You can hang out with other bands,

meet a willing girl, get stoned,

check out the action,

and every night we share the stages

around London with Pink Floyd, Cream, Jimi Hendrix.

♪ I don't wanna see those girls ♪

♪ I don't wanna ride those girls ♪

- [Andy] We're having a great time,

but its the late 60's, and everything is changing.

The culmination of the times, the drugs,

and the urge to write our own songs,

stretches the skin of our band to the breaking point.

The Big Roll Band comes to an end.

[audience cheering]

Zoot and I, caught up in the fever of psychedelics,

in other words, dropping acid,

start a new band, Dantalian's Chariot.

[psychedelic rock music]

To complete the full psychedelic truth

we were about to bring to the people,

we take a few more radical steps

as well as a few more drugs.

We paint all our equipment white

so that it will fully reveal every nuance

of the glorious color we're about to project on to it,

the stage, and ourselves.

Although we get gigs and travel around the country,

we're usually greeted by a stunned silence.

It seems as if we are too far ahead

of the audiences outside of London.

East Grinstead is not Haight-Ashbury.

We're lost, we're having no luck,

and finally, we decide to go our own separate ways.

[airplane engine whirring]

[psychedelic rock music]

In 1969, feeling disillusioned,

and just about ready to get a real job,

I got a call from Eric Burdon,

and asked me to get on the plane to L.A.,

and join the New Animals,

one of the biggest bands in the world.

And right then, it feels like, yeah, I've made it.

♪ Hurry up, 'cause I'm gettin' bored, yes, I am ♪

♪ And I get older, baby

♪ Day by day

- [Andy] Eric's house is a 24 hour riot.

Girls, bikers, actors, dope dealers.

All of L.A. passed through the open doors.

And the party never ends until

after one album, Eric decides to break up the band.

And here I am, thrown off the merry-go-round again,

but I decide to stay in L.A.,

and do whatever it takes to survive.

[upbeat rock music]

[sighing] So.

Good day, how are ya, Chuck?

Thanks for your help. - Yeah, absolutely.

- Everything sounding sympatico, yeah?

[atmospheric bass music]

Yeah, I've got sunblock on already.

[drums pounding] - Now I'm gonna change the key

of this song

'cause Stewart thinks I'm not singing high enough.

- [Andy] Who wants to change it?

What's wrong with it?

I think the key's fine.

- It's my vote. - Oh, for you.

Oh, yeah, I know, yeah, you were.

Yeah, okay, well, okay, if you wanna do it.

- No, I mean, he wants to put it up.

If we go, if you start at B-flat,

it means the first chorus is in A.

- B-flat, yeah, yeah. - Is that alright?

- [Andy] It's alright, yeah.

[atmospheric guitar music]

- [Sting] You've got an nose hair stickin' out.

- Huh?

- [Sting] Fucking three foot long nose hair.

- Oh, that's not good, is it?

- Well, it's not so in front of 35 million.

[Andy laughing]

[drums bashing]

["Driven To Tears" by The Police]

[hard rock guitar solo]

[atmospheric acoustic guitar music]

- [Andy] By the time Eric decides to break up the band,

I am at almost 25.

My life is without momentum.

I'm alone in L.A.,

and I'm not in a band.

Three years pass,

and I scrape by giving a few guitar lessons.

Money is something other people have.

I start counting change.

Figuring out how long I can make a bag of brown rice last,

and then just when I thought it couldn't get worse,

I'm arrested and thrown in jail for possession of marijuana.

This seems like a sign that I've finally hit bottom.

But I stay on in L.A.,

and gradually form a large circle of friends,

and in this scene, I meet a stunning girl

by the name of Kate, and for the fist time,

I experience the feeling of being

with someone I could spend the rest of my life with.

She is the one.

["Be My Girl Sally" by The Police]

We stay together and everything changes,

and then I know I'm done with this part of my life.

I pack up my stuff which takes all of three minutes,

and with a loan from my dad

I booked two seats on British Air.

I am 29.

We get to London,

and I know I've just gotta push all the way through now.

Kate gets a job in advertising.

I try desperately to get a gig.

[psychedelic guitar solo]

I'm almost 30.

A death sentence by rock'n roll standards.

And then one day I get a break,

when I get a call from someone called Kevin Coyne.

Playing with Kevin gives notice I'm in a band again.

And then it happens.

Front page of Melody Maker.

The Rolling Stones are looking for a new guitarist,

and I'm listed as a possibility

along with Peter Frampton, Jeff Beck, and Mick Ronson.

Could this be it?

Am I gonna make it?

No chance.

[guitar feedback]

["Tubular Bells" by Mike Oldfield]

Virgin Records hires me to play guitar

with the Newcastle Symphony Orchestra

on a performance of Tubular Bells.

The big hit of the moment.

The support act is a local group called Last Exit,

who have a bass player who calls himself Sting.

Two weeks later, I return to Newcastle for another gig,

and meet a drummer in a band called Curved Air.

His name is Stewart Copeland.

["Visions Of The Night' by The Police]

Two months after that,

I get asked to do a session as a practice run

for a one-off show in Paris.

By way of coincidence,

the other two musicians turn out to be Sting and Stewart.

The session really gets going

when Sting starts into a song called, Visions Of The Night.

♪ Gazed into the visions of the night ♪

♪ See the darkness fall

- [Andy] We take a break,

and Stewart tells me that he and Sting

have a guitarist named Henry Padovani,

and started a punk band called The Police.

♪ Creature of the night

- [Andy] I feel strange about a punk group.

That's not what I am.

But Stewart tells me that at this moment in London,

to survive in music you must be punk.

♪ How long will you keep it

♪ They sow a harvest but what's it worth ♪

♪ With no one left to reap it

- [Andy] We do the gig in Paris

and together, we're on fire.

♪ The darkness fall

- [Andy] Sting and I agree that I should be in The Police,

but I tell him not with another guitarist.

They have to make that decision.

Back in London, I get on the train

with thoughts about The Police,

and the conversation with Sting buzzing in my head.

It's a risk because this band is nowhere.

No record deal, no future, no money.

As I get off the train,

Stewart also gets out from the next carriage down.

We laugh at this weird coincidence,

and then have an intense conversation.

Within short order, The Police,

as the world knows the band is born.

[atmospheric electric guitar]

[crowd cheering]

[crowd cheering]

[crowd cheering]

[rolling drums]

- One, two, three.

["Next To You" by The Police]

[hard rock music]

♪ I can't stand it for another day ♪

♪ When you live so many miles away ♪

♪ And nothing here is gonna make me stay ♪

♪ You took me over, let me find a way ♪

♪ I sold my house, I sold my motor, too ♪

♪ All I want is to be next to you ♪

♪ I'd rob a bank

♪ Maybe steal a plane

♪ You took me over, think I'll go insane ♪

♪ What can I do

♪ All I want is to be next to you ♪

♪ What can I do

♪ All I want is to be next to you ♪

♪ I had a thousands girls or maybe more ♪

♪ Oh no, I've never felt like this before ♪

♪ But I don't know what's come over me ♪

♪ You took me over, take a look at me ♪

♪ What can I do

- [Andy] Now having to face the hardcore scene.

The moment of truth is upon us.

Stewart has knocked out some tunes

in a valiant but rapid attempt

to give the band a punk edge.

They weren't very original,

but we had a secret ingredient.

We really could play.

♪ All I want is to be next to you ♪

[aggressive guitar solo]

♪ I saw the doctor, he said give it time ♪

- [Andy] Despite our effort's to stand out,

we were still victims of the scene.

♪ Gonna lose my mind

- [Andy] Spitting or gobbing on the band

is becoming very fashionable,

and phlegm comes at us like rain from the mob below.

It lands on the neck of my Telecaster,

splatters on my face and hair,

and you know, I fucking hate this.

I wanna kill somebody.

I feel violent and sick.

I think, fuck it, it's just not worth it.

♪ All I want is to be next to you ♪

♪ What can I do

[crowd cheering]

[melodic acoustic guitar]

- [Andy] Somewhere in the middle

of our first few weeks as a trio,

Stewart turns up with a big grin on his face,

and his hair dyed a shocking platinum blonde.

Well in short order, Sting and I

also become blonde or blonder,

and it turns out that our three blonde heads

works like a charm.

It unifies us and gives us a strong identity.

The bleach boys.

During this intensive practice period,

Sting gets left on his own for a few days

when his wife Frances goes home to Ireland.

Kate and I offered to let him stay with us

and make sure he gets fed.

One night, as Kate and I

are finally disappearing off to bed,

we hear a softly strummed nylon string guitar,

and a song about a girl named Roxanne.

We roll over and drift off to sleep,

as the germinating seed

of you don't have to put on the red light

caressed the last embers of consciousness,

and makes a lullaby for the bay that grows in Kate's belly.

A few days later, Sting or I suggest

that maybe we try out his new song, Roxanne.

At the moment, it's a bossa nova,

and that could be a problem

in the intensity of the punk scene.

Going Brazilian would be suicidal.

We decided to try it with a reggae rhythm.

["Roxanne" by The Police]

[upbeat reggae/rock music]

[Sting laughing]

♪ Roxanne

♪ You don't have to put on the red light ♪

♪ Those days are over

♪ You don't have to sell your body to the night ♪

♪ Roxanne

♪ You don't have to wear that dress tonight ♪

♪ Walk the streets for money

♪ You don't care if it's wrong of if it's right ♪

♪ Roxanne

♪ You don't have to put on the red light ♪

- [Andy] We have long strategy discussions that now,

as if faintly glimpsing the possibility of a future,

extend past the music and into a group manifesto.

The way we look, what kinds of gigs we should do.

We dreamed together, tossing out anything

that sounds like the past or another band.

Unlike the Big Roll Band and Dantalian's Chariot,

we weren't chasing the moment, we were making it.

♪ So put on the red light

♪ You don't have to put on the red light ♪

♪ Roxanne

♪ Roxanne

[crowd cheering]

- [Andy] In January, 1978,

we started going to a small studio

on the outskirts of London,

and over a period of about six months,

we cobbled together an album.

Miles Copeland, Stewart's brother,

gets the record in front of the executives at A&M.

- [Stewart] We are the champions.

- [Andy] They are enthusiastic, and they agree

to release our first record, Outlandos d'Amour

in November, 1978,

- See you tomorrow, darling.

- [Man] Do you want to talk to her tomorrow?

- [Andy] Okay, yeah, we'll talk in L.A., yeah.

- [Man] Alright.

And give Kate a tele, tell her that it's Dodger Stadium.

0kay. - Alright, matey.

- [Andy] Thanks.

["I Can't Stand Losing You" by The Police]

On October the second, Sting's birthday,

we got on The Ole Grey Whistle Test

to play Can't Stand Losing You.

♪ I called you so many times today ♪

♪ I guess it's all true what your girlfriend say ♪

♪ That you don't ever wanna see me again ♪

♪ And your brother's gonna kill me ♪

♪ And he's 6'10"

♪ I guess you call it cowardice ♪

♪ But I'm not prepared to go on like this ♪

♪ I can't, I can't, I can't stand losing ♪

- [Andy] This TV show could be a big break for us,

but it's slighty marred by Sting's

having had a can of hairspray explode in his face

just before appearing on camera.

By incredible luck, there is an eye hospital

right around the corner from the studio,

and they manage to wash all the chemicals from his eyes,

but this takes time,

and by the skin of our teeth,

we just it made on the show

with Sting wearing a large pair of dark sunglasses.

♪ Whoa, oh

- [Andy] Two weeks after this,

we leave for a three week tour of the U.S.

Kate is now eight months pregnant,

and I'm going to disappear as the baby is about due.

This is difficult.

Almost a bad joke.

But we talk about it,

and agree that as long as we stay close,

we can deal with the situation.

[birds chirping]

["Truth Hits Everybody" by The Police]

♪ Whoa, oh, oh

- [Andy] Ian Copeland, the brother of Stewart,

was an agent working out of Macon, Georgia,

and he booked us into a series of clubs

on the East Coast, starting with CBGB's.

♪ Sleep lay behind me like a broken ocean ♪

♪ Strange waking dreams before my eyes unfold ♪

- [Andy] We play a hard and edgy set

that rivets the audience.

It feels like a raging success.

♪ Take a look at my new toy

- [Andy] This is very different than the London scene.

These people really seemed to like us

for the music we were making,

and don't seem bothered about punk credibility.

♪ Truth hits everyone

♪ Whoa, oh, oh, truth hits everybody ♪

♪ Whoa, oh, oh, truth hits everyone ♪

♪ Whoa, oh, oh, truth hits everybody ♪

♪ Whoa, oh, oh, truth hits everyone ♪

- [Andy] Roxanne is becoming a hit in Boston,

and there are many requests from A&M to do radio interviews.

Because of the Sex Pistols,

the US media are aware that there's something called punk

and new wave going on in Britain,

but found it difficult to embrace

in the form of the Sex Pistols themselves.

- They are punk rockers.

The new craze, they tell me.

Not the nice, clean Rolling Stones.

- You dirty fucker.

- What a clever boy. - We're gonna fuck him up.

- Well that's it for tonight.

- [Andy] We fill the slot perfectly.

We have a great song, they think we're a punk band,

and we don't destroy offices or insult people.

Well, not to their faces, anyway.

[aggressive rock music]

With three weeks of playing, we gel,

and we finish with an aggressive, in your face show.

After the gig, I get a yellow cab to Kennedy

for the flight home.

Three hours after I landed, Layla Zoe Summers was born.

♪ Truth hits everybody

♪ Whoa, oh, oh, truth hits everybody ♪

♪ Whoa, oh, oh, truth hits everyone ♪

♪ Whoa, oh, oh, truth hits everybody ♪

♪ Whoa, oh, oh, truth hits everyone ♪

[water pattering]

[razor scrapping against skin]

- [Man] We have two minutes.

[atmospheric guitar music]

- [Andy] Oh, what have I got this guitar for?

- [Man] I don't know, would you like to lose the guitar?

- [Andy] Will you take it after all?

[atmospheric jazz music]

The Sting Jazz Club.

- Let's do the double verse on Don't Stand.

- Okay, can I do different pattern

for the first go round,

and then backbeat for the second go round?

- Okay, and then it's the long coda at the end of that.

You know what I really wanna do is end this song.

Just end it, you'll fritter out. [humming]

- Okay, well let's look at each other

so that we do a classy ending rather than a sort of--

- I like the frittery ending.

- Yeah, I know, but eye contact's gonna be...

- [Andy] Yeah, there's gonna be no...

- No, we should do some eye contact at least, so there's...

- There's not gonna be, we're not gonna do a Bach.

- No Bach. - But we're just gonna

let it stop, and then let the clicker start,

and they'll be a gap between the end of the song,

and the beginning of the next one.

- Generally, it ends, it'd be great

if we had some eye contact for the end

'cause a lot of 'em, you know,

it's sort of ringing and you, you kind of do it--

- Do you have a feeling we're playing

in Prague or somewhere?

[dramatic orchestral music]

- What? - No, it's like Buenos Aires,

isn't it?

- Yeah, I think we got like high class friends

who listen to like real music, I guess that's what this is.

Are these your friends? - My dressing room

has got music and vibe in it.

It's like, come here, it's like Colditz.

- Well, I guess you're getting, all the ambience

is going into your room.

- Um, this is almost the biggest gig of our lives, isn't it?

[audience cheering]

- This next song is the first time

it's ever been played in public.

This is a sort of baptism, interesting.

This is called I hope that someone gets my,

Message In A Bottle.

[upbeat rock music]

- [Andy] Returning to England in February, 1979,

we were greeted by an intense media focus.

♪ Just a castaway

♪ An island lost at sea, yo

♪ Another lonely day

♪ With no one here

- [Andy] In Holland, we played the Pinkpop Festival.

We drive the crowd mad, and at the end

are endorsed over the P.A.

by the great British DJ, John Peel, and with his blessing,

it feels like we have finally broken through.

♪ I'll send an SOS to the world ♪

♪ I'll send an SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ Message in a bottle

♪ Message in a bottle

- [Andy] Sting is fast becoming a media darling.

With his good looks, tenor voice, and moody arrogance,

he's perfect fodder for the star making machine.

♪ I should have known this right from the start ♪

♪ Only hope can keep me together ♪

♪ Love can mend your life

♪ But love can break your heart ♪

♪ I'll send an SOS to the world ♪

♪ I'll send an SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

- [Andy] The truth is that this attention

to our singer does cause friction,

but it also adds fuel to the fire.

But now, underneath, there's is the lingering shadow

that maybe he will, in the time honored phrase, go solo.

- [Interviewer] Most things are written by Sting.

Not all things.

Does that mean that you write the lyrics

and the songs for yourself,

and then present it for the rest of the band?

- I've told you, we're not answering

this sort of question on television.

- Well, what should I? - No, what you're trying

to do is split us up. - Yes, no, I'm not trying,

to take, I'm not trying to be - You are, you're trying

you're trying to get us, - against the group.

- You're trying to wedge between us all.

We love each other. - You'd like to

hammer it away, yes. - And we don't talk about it.

- [Interviewer] I just wanted to show

that three different people can work well together.

- Well, our politics are very complex,

but they seem to work, end. [chuckling]

- [Interviewer] That's right.

- [Andy] A&M starts pushing us

to get on with our second album.

And despite some pressure from executives

at A&M to get a big time producer,

we are absolutely certain that we do not want

someone telling us what to do.

We already have three producers in the band.

Now, Sting, over that chord,

how about if you play some over harmonics?

Like across your E chord.

We do it on our own,

and we argue and fight our way onto tracks

that become the tight compromise between our ideas.

Within in two weeks, we have the album in place.

- Well that should be quiet, though.

- No, well let me hit the chord first,

and then you just plunk across the top of it.

- The reason we need that quiet

is because when we come into Vision Of The Night,

it's bling, one, two, three, four, bam, da, da, da.

- [Andy] Yeah, right, exactly.

- Ba, da, la, la, la?

- Ba, da, la, la, la... - You asshole.

It's not ba, da, la, la, la.

- Unga-chunga, unga-chunga,

ba, da, la, la, la, unga-chunga.

You know, that part.

- Alright, it's time Philadelphia.

[mumbling] It's time for The Police!

["So Lonely" by The Police]

♪ Just take a seat they're always free ♪

- [Andy] The band is getting bigger

than I ever imagined it could be,

and at home, well, I tried to be fully attentive.

I find it hard to be as present as I should be.

The success of the band eats everything.

♪ I always play the starring role ♪

♪ So lonely, so lonely, lonely, lonely ♪

♪ So lonely, so lonely

- [Andy] The phone rings off the hook.

The baby cries.

The press beat on the door,

and we set off on another tour of the UK.

♪ So lonely, so lonely

[melodic guitar solo]

- [Andy] In October, Regatta de Blanc was released,

and enters the UK charts at number one,

but instead of capitalizing on our British success

and enjoying this moment of glory,

we perversely go back to the US

to play tiny little clubs with undersized audiences

who have never heard of us.

Why the fuck are we doing this?

But we try to keep the spirit going

as we work our way through a new frontier,

and despite the fact that in our country we are kings.

In the testosterone driven maleness of it all,

the band, the success, the money, power is everything,

and little thought is given to marriage,

babies or fragile situations.

We have to conquer America.

♪ So lonely, so lonely, so lonely ♪

♪ So lonely, so lonely, so lonely ♪

♪ So lonely, so lonely, so lonely ♪

♪ So lonely, so lonely, so lonely ♪

♪ Whoa

[audience cheering]

- [Interviewer] And you're what, about

a third of the way into the American tour now?

- [Andy] Ah, yeah, we've done three weeks so far.

We have another five weeks left.

- [Interviewer] How's it been going?

- It's been great.

We've discovered parts of America

that nobody's ever seen, I think.

[interviewer chuckling] Really, it's like that.

- We put up a British flag and everything.

We're taking it home with us.

We're establishing colonies here and everything.

- Right. - A gig

in the Everglades was lousy.

There was a lot of crocodiles.

- [Stewart] Yeah, pretty snappy audience, though.

["Regatta de Blanc" by The Police]

♪ Cha, cha

- [Andy] We spend November crisscrossing the country

like game of snakes and ladders.

The priority seems to be to make it

as physically demanding for the band as possible.

Houston, Dallas, Tulsa, Lawrence, St. Paul,

Chicago, Detroit, Milwaukee.

It all turns into a kaleidoscopic journey

of freeways, truck stops, invitations to party,

and a shit load of marijuana.

♪ Daylight come and me wanna go home ♪

♪ Daylight come and me wanna go home ♪

♪ Daylight come and me wanna go home ♪

♪ Daylight come and me wanna

♪ We wanna go

♪ Home

♪ Home

♪ Home

♪ Home

♪ Home

♪ Home

- [Andy] In the United States at this time,

the radio stations play only safe, formulaic music.

Our music is not playlist material,

and we have to battle the convention

by accepting all the radio interviews we can,

and proselytizing for the new music scene.

We're willing, but it feels like

we're climbing a mountain with our fingernails.

♪ E-Yay-Yo

♪ E-Yo-E-Yay

- [Andy] I begin photographing everything around me.

I love the feel of the camera in my hand.

It's like a gun.

I shoot the world, and I possess the tours in a new way.

♪ E-Yay-Yo

♪ E-Yo-E-Yay

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yay-Yay-Ya-Ya-Ya-Ya-Ya, yeah ♪

- [Andy] As the heat grows around the band,

photography becomes a private world I can retreat to.

Gradually the roads, the hotels,

the fans, the limos, and the Arizona night

become a black and white tapestry.

My relationship to touring shifts.

Music and photography merge.

The tours begin to unfold like a roll of film.

A dream through the lens.

[aggressive rock music]

1980, we're about to set off a world tour

that will take in 37 cities in 19 countries.

This will be the most time I have spent away from my family.

[plane engine whirring]

[crowd cheering]

- I think that's it.

The group have arrived.

We're here in Bombay.

- [Andy] The concert is a riot from beginning to end,

and it feels more like an uprising

than a nice, quiet evening of rock'n roll.

You played it

in twice the tempo. Hole In My Life.

- Hole In My Life? - Bah, bah, bah.

- It's really, - No, man

- you're panic stricken. - it's not working.

- Every time you play. - I don't know about it.

- You are fucking diabolical.

- Don't attack me, sludge.

- Not at all. - You're not well

my love. - We survive that,

and continue on to play a massive concert in Rio.

- [Man] Welcome to Rio.

- Andy? - Andy?

Andy speaks excellent Portuguese.

[audience cheering]

[atmospheric guitar music]

[train chugging]

[audience cheering]

- [Andy] We arrive at the Holiday Inn.

Conveniently located by the Great Pyramid.

I walk in, and see Kate standing there with Layla.

[upbeat children's music] [Kate giggling]

Layla?

For a moment we reunite,

but in the middle of this rock circus, it's a strain,

and I can feel that my head is elsewhere.

Hey, [chuckling] woo.

- [Interviewer] What about your wives and kids?

I mean, how does she feel.

All these young things drooling all over you.

I mean, is that a threat for your ladies?

- I think it turns them on, actually.

- [Andy] They like it, I think.

- Yeah. - We're encouraged

in our erstwhile activities.

- [Interviewer] But touring the way you do,

you probably don't get to see them very much?

- No, we don't.

- [Interviewer] So how do you feel about that?

- I feel pretty duff about it.

I like my wife and kid, actually.

So, this is a sacrifice we have to make to...

- Yes.

- But it's not forever, you know?

We don't have to do this forever, do we?

- Well, it's not in our contract.

[Sting chuckling]

- You will play forever.

- The clause, that's called the infinity clause.

- [Sting] Let me say, it's nice to be here in Athens.

[crowd cheering]

["Driven To Tears" by The Police]

[aggressive rock music]

- [Andy] We're the first group to play here

since The Stones in 1969.

When the military took over the country,

rock concerts in Greece came to an end.

When we arrive in our large, blue bus,

there is a huge crowd already surrounding the building,

and an army of uniformed men trying to control things.

[siren wailing]

We leave Athens and surge on through the rest of Europe.

The show's becoming more chaotic, disordered and riotous.

Like a cyclone, we whirl through each city

leaving emotional and physical wreckage behind us.

♪ Driven to tears

- [Andy] We do the shows and make the records,

but already it's turned three unknown hopefuls

into a machine.

♪ Driven to tears

- So, Stew, you gotta help me out.

What I'm thinking is starting at,

at the tempo we're gonna stay at.

Starting this faster.

- It was incredible anyway but will give it a go.

Whatever you want me to do.

- Here, you know, the B-flat section in this one.

- That's after yeah, yeah, yeah?

- No, it's before it.

- Magic was the place where I felt something like,

uh-oh, uh-oh, uh-oh, May Day.

- I thought Magic was alright.

I mean, no, but that time I was fucked.

I was fucked up here.

- And, you know one little... - It's just

one little part - fuck up last night

was in Synchronicity. - in one little place.

- I think you went to the double thing before we got there.

- Where? - Just in Synchronicity.

I think you doubled up that E. - Oh, that's right.

That's right. - It's not like...

- Well, we're gonna be toast. - I did?

- Check. - Well, it might be worth

you checking out, you know,

listen to your set one time and you'll hear 'em.

[atmospheric guitar]

- Roll it again. - That's not bad.

- Nobody works that. - Ah, I still don't know

what you're talking about.

Let's do it by just going into it.

- [Sting] The instrumental verse in other words.

- Ba-dee-dee-da-leedle-la

- [Andy] Our best playing now is during soundchecks,

where we can still cut loose and play all kinds of music

with almost nothing from the show.

And during these jams,

we come up with new ideas for melodic riffs

and rhythmic concepts that are the lifeblood of our music.

In the actual shows now as we move through

the worked out setlist,

the songs the audience expect.

I feel frustrated.

I want more freedom to play,

and it's beginning to feel like a cage.

[melodic rock music]

- [Interviewer] How do you feel about that?

I mean, it's obviously great

that all this fabulous stuff is happening to you,

but is there any conflict at all?

I mean, is it tough at all

because you're getting all this recognition?

- [Sting] It's nice, if there is a problem, it's a nice one.

- [Interviewer] What about the other guys?

Andy and Stewart. - Stewart.

- [Interviewer] How do they feel about the fact

that you're getting all this attention?

- Well, it's only at this present time.

The other two members of the band are very dynamic

and very talented in their own right,

and they have other things apart from the group

which they're interested in,

which I'm not at liberty to tell about,

but they do other things,

and obviously, the band, The Police

is a platform for us all to jump off.

So we can do other things.

We're not just gonna remain

as a rock'n roll band playing.

That's not all we're gonna do.

Because we've had hit records,

we're allowed to do what we like,

and we'll do exactly that.

- [Interviewer] I wanna ask Andy a question

because it was his quote.

- Why me?

- It was your quote. - Oh, it was my quote.

- [Sting] Relax, don't be nervous.

- Yeah. - You said that

Sting is the perfect front man.

- I did? - You said that?

- Name the article, when did I say that?

- In Rolling Stone... - Did I really?

- I think. - I paid him $50.00

to say that.

- I wanna keep in with him, yeah.

Well, no, he is, isn't he?

- You know, look at him, tall, - Why?

- handsome, talented, charming, smart,

and very rich, good looking, can sing,

plays a good bass. - Funny.

Gives. - And

he knows what he wants. - Gets what he wants.

- And he's prepared to go on.

- [Interviewer] They small listed that you

were going to sort of, not quit the group,

but spend a fair amount of time away from the group.

- Who said that?

- [Interviewer] Well, this article said this, we've just...

- It's not like it-- - It wasn't Sting,

it was I'm quitting the group.

- Oh, right, and you were gonna go and record...

- Actually, all three of us are quitting.

- Now, wait a minute, wait a minute, one of us,

I'm quitting first. - Someone has to quit first.

- I'm quitting first.

In fact, I'm gonna quit right now.

- Well, it's time to say goodnight.

Goodnight, Stewart. - Goodnight.

- Goodnight, Andy, Sting.

- Which camera are we saying goodnight, too?

- That one over there.

- Goodnight. - It's Goodnight Australia.

[atmospheric guitar music]

- [Andy] We go to Holland

to begin recording our third album,

and I've wondered ever since

we completed Regatta de Blanc,

how long Sting would play this game?

He's not a team player,

doesn't want to share credits,

and makes comments in the press to that effect.

Gradually, something like an album emerges,

but we're short of material.

I have an instrumental tune I want to do

called Behind My Camel.

Sting refuses to play on it which is a drag,

but Stewart is willing.

So I put down a backing track with me playing bass,

and later, I add all the guitar parts.

Somewhere in the middle of all this action,

Sting, half joking, half serious,

hides the tapes in the gardens at the back of the studio.

I get what's going on,

and a day later managed to dig up the tape.

Not only does the song end up on the album,

it goes on to win a Grammy for Best Rock Instrumental.

On the last day before we leave on tour,

we come to the conclusion that the mixes aren't right,

and on a kamikaze mission,

remix the entire album in one night.

We winded up at 6:00 a.m.,

and Zenyatta Mondatta is ready to go out into the world.

["Voices Inside My Head" by The Police]

[upbeat rock music]

1981, and as if we never left,

we return to North America and Madison Square Garden.

[audience cheering]

Wherever we are now,

drug dealers leap like genie's from the wallpaper.

The party never ends and with a shrug,

we enjoy the festivities.

The pressure is really on,

but you have to get out there and do it,

and occasionally, we really need that rocket fuel.

- [Interviewer] Can I ask you a serious question?

- Yes. - I mean, like over the last

year, has it sort of like grown

out of proportion for you guys?

- Well, we try to grow with it.

I mean, obviously. [chuckling]

- [Sting] We try to grow out

- The operation gets bigger. - than grow with it.

- [Sting] Stewart and I grow in it,

but Andy, he's very stunted.

- We don't like to talk about growth around Andy.

It's really not fair to talk about,

you know, small people.

- No, seriously, I'm trying to give him a serious answer.

- I'd like a serious answer. - There's grapefruit

on me hand. - It's not the question.

On we go to Hawaii, Japan and New Zealand

to end the tour in Western Australia.

I should return straight home to my family

but dazed and confused,

I stupidly decide to spend another three weeks

photographing in Asia.

♪ Echoes

♪ Things that you said

- [Andy] Stewart and I have ourselves delivered

to the Obeori Hilton in Kuta Beach, Bali,

and we spend a couple of days recovering

from the rigors of touring by hanging around the pool.

And we meet John Belushi,

and we immediately hit it off.

In five minutes, we discover to our mutual delight,

that nearby there's a place

that sells magic mushroom omelets.

♪ Voices

♪ Inside my head

♪ Echoes

[Layla crying]

- Are you hungry?

[atmospheric guitar music]

[Layla crying] - Oh.

C'mon, c'mon.

I arrive back to the creeping cold and gray,

to a partner who by now is alienated.

And this time, it's difficult

to get back to where we were.

The intimacy, love, and humor of just two years earlier

seems to be slipping away.

[Layla laughing]

Layla, hello.

In contrast to this bleak environment,

our fourth album is to be recorded

in the month of June, 1981

at Air Studios on the Caribbean Island of Montserrat,

and we slip into a luxurious new life

of swimming in the morning, cruising the island,

and gathering in the studio after lunch.

The other families are here,

but Kate has decided not to come.

I feel her absence under the bright island light.

This time, the studio feels more like a canvas

for dirty fighting.

The stakes have been raised,

and instead of rejoicing in the unbelievable success

we've created together,

we lose sight of the big picture,

and go on in emotional disorder.

Each one of us battling for his own territory.

Each one of us wants his instrument

slightly louder than the other.

Wants his songs recorded.

Will not be less than anyone else.

It's a combative process.

The poor engineer trying to arbitrate

as three sets of hands fiddle with the faders.

I get a call from Kate.

She tells me with hardly a breath, she wants a divorce.

I argue on the phone with her, but it's useless.

She's made her decision, that's it.

[atmospheric guitar music]

We finish up the album, Ghost In The Machine,

and that's about what I feel like.

A ghost.

It's become senseless.

It maybe a good album,

but these days people tell us what we want to hear.

Personally, I like about half of it.

My mind is elsewhere.

In October, Ghost In The Machine is released

with a collective sigh of relief from the press

that we haven't blown it,

and they give us rave reviews.

Now that we are trapped in the spotlight,

it's time for the tabloids to expose our fragility.

The dirt, sex, money, power, conflicts.

The human drama that sells newspapers.

["Behind My Camel" by The Police]

[psychedelic rock music]

To the press, we have morphed from a trio

of smiling blonde heads,

into three maniacally driven, egocentric individuals

who do nothing but row with each other.

Sting in his corner begins portraying himself as ruthless,

with his headline in The Sun,

"Why I may quit The Police.

"I'm out for myself, and they know it."

There's a delirious buzz that's reaching new heights.

Policemania is the word.

Now we're surrounded by muscle.

Large, beefy men ready to kill

at the slightest provocation.

They watch out for us and occasionally overdue their job.

We work our way through another giant pastiche

of American cities until it is a disorientating blur.

Obsessed with photography,

I document everything endlessly.

I cogitate on ways to make photography

in this hell of blandness.

Trapped trouser legs under doorways.

Knock sand filled cigarette bins to the ground.

Attach little rubber sharks to body parts.

Place little toy nuns on naked female bodies.

It's a passage through it.

We'd speed away from shows in three separate limos.

It's either take off instantly,

or be trapped in the building for several hours.

It's a peculiar anti-climax

to go within minutes from a burning stage

in a crazed auditorium,

to the solitary and roaring silence

of your pastel papered hotel room.

Our tour manager waits for me at the front desk

while I inspect two or three rooms

before he checks me in as Django Reinhardt.

I'm very specific about my needs.

I don't even wanna see a freeway, let alone hear it.

No male fans within a ten mile radius,

and do not disturb me, ever.

Leave me the fuck alone until gig time.

I feel as if I opened the same door

to the same room every night,

pick up my guitar and stare at the beige carpet.

I am a rock'n roll asshole.

An emaciated millionaire prick.

And fuck everything.

Brilliant.

[camera clicking]

[camera clicking]

[camera clicking]

[camera clicking] [wood clattering]

[motorbike engine revving]

["Every Breath You Take" by The Police]

♪ Every night you stay

♪ I'll be watching you

♪ Oh, can't you see

♪ You belong to me

♪ How my poor heart aches

♪ With every step you take

♪ Every move you make

♪ Every vow you break

♪ Every smile you fake

♪ Every claim you stake

♪ I'll be watching you

♪ Oh, can't you see

♪ You belong to me

♪ How my poor heart aches

♪ With every step you take

♪ Every move you make

♪ Every vow you break

♪ Every smile you fake

♪ Every claim you stake

♪ I'll be watching you

Ta-da. [woman screaming]

[group speaking in foreign language]

Yeah.

- [Interviewer] Did you think when you made Roxanne,

that you then got plans to become

the biggest rock'n roll band in the world?

I mean, did you see yourselves

taking over the mantel

of the Stones and so on? - Stewart.

- I'll tell ya what... - Well, you're always

optimistic.

If you weren't, you wouldn't be in a band.

- It's been a close shave

all the way, actually. - That's right.

- [Stewart] It takes a lot of optimism to be in a pop group

'cause there's a lot of competition

to fight your way past and you assume that you will.

And in our case, we have.

- [Interviewer] But you've been sort of,

a weight-- - Let's face it, we're

in competition with ourselves.

You know, as a group, we've achieved

what groups set out to achieve.

You know, gold records, platinum records,

awards and everything.

We're really in competition with ourselves.

We have to better ourselves. - Mm.

- [Sting] Not with anybody else, frankly.

[atmospheric guitar music]

- [Andy] Arriving back in Montserrat

to record our fifth album

suddenly wipes the glass clear,

and we stare at one another as if in assessment.

In the shocking calm of the studio,

without the blanket of touring,

the mud drops to the bottom of the glass,

and we eye each other like strangers.

We've changed,

and as if underscoring our current mental state,

we record in three separate rooms.

Stewart is up in the dining room of the house

with miles of cable and ear phones.

Sting is in the control room,

and I am alone in the actual studio.

All this for what the engineer calls, "Perfect separation."

And with this album, we get it.

Although, not quite in the way intended.

But we struggle on, and end the sessions

with a ridiculous scene in which

we toss a coin to see which tracks will go onto the album.

Will Stewart and I get our songs on?

What will the final sequence be?

I finally solve this one by suggesting

that maybe we put all the softer songs on one side,

and the uptempo stuff on the other.

Sting likes this idea, and thus, it is ordained.

[crowd cheering]

[aggressive drum beat]

Synchronicity the album,

and Every Breath You Take, the single,

hit number one on the Billboard Charts.

- [Man] Congratulations,

wear it in good health. - Thank you.

The single remains in this position for eight weeks,

and the album for four months,

keeping even Michael Jackson out of the number one spot.

- Humbled. - Hooray, hooray,

hooray. - We've done it.

["Synchronicity II" by The Police]

[hard rock music]

♪ Another suburban family morning ♪

♪ Grandmother screaming at the wall ♪

- [Andy] MTV is only in its second year,

and picks us as the band to promote all summer long.

- [Andy, Stewart, Sting] America, demand your MTV.

I want my MTV.

- MTV is the greatest thing since sliced bread.

- [Stewart] If that hat was a smaller size,

I'd be watching MTV.

- Hi, I'm Andy Summers. [group laughing]

♪ Call your cable company and say, I want my MTV. ♪

♪ Many miles away

♪ Something crawls from the slime ♪

♪ At the bottom of a dark

♪ Scottish lake

♪ Another working day

♪ The factory belches filth into the sky ♪

♪ He walks unhindered through the picket lines today ♪

- [Andy] Sting, Stewart and I

try to rebuild some sort of group camaraderie

so that we can go on tour,

but the success, in classic fashion,

has brought about a separation between us,

and the closeness of the early days has disappeared.

♪ But all he ever thinks to do is watch ♪

- Boy, okay, yes, we just finished a wonderful show

at the Cincinnati Auditorium, and, ah...

- And as far as your concerned,

- And as far as I'm - You can have

concerned. - the wrong job.

[Martha giggling]

- Well, I'm looking for a job with Uriah Heep next week.

- And Martha would like to say a few words.

- Right, and Martha is gonna

take my place in the band. - And as for you, Summers.

Do you have your boxing gloves on in that gig?

- I'll put my guitar on.

- I'd like to advertise for a new band, please.

- Yeah, so would we, too. - Hold on, hold on, hold on.

- Anyhow... - We need to get

a little bit of Synchronicity here for maybe a second.

- Synchronicity? - Oh, but Synchronicity

has nothing to do with order.

It has more to do with chaos.

- It doesn't mean anything, Sting.

[aggressive guitar solo]

♪ Yay

♪ Ay

♪ Oh

♪ Yay

♪ Ay

♪ Oh

- [Andy] At this inflated point in our career,

it feels like Sting has already broken away.

Although, I do not think about it too much,

I can feel a shift taking place.

♪ Another working day has ended ♪

♪ Only the rush hour hell to face ♪

♪ Packed like lemmings into shiny metal boxes ♪

♪ Contestants in a suicidal race ♪

♪ Daddy grips the wheel and stares ♪

♪ Alone into the distance

♪ He knows that something somewhere has to break ♪

♪ He sees the family home now

♪ Looming in his headlights

♪ The pain upstairs that makes his eyeballs ache ♪

♪ Many miles away

♪ There's a shadow on the door

♪ Of a cottage on the shore

♪ Of a dark

♪ Scottish lake

♪ Many miles away

[audience cheering]

Goodnight, thank you, goodbye.

[audience cheering]

- [Andy] Sharon, how you doing?

- [Man] How you guys doing? Hey, welcome to the Apollo.

- Thank you. - Really,

it's a pleasure having you. - Oh, right.

It's great to be here.

- [Man] Welcome to the Apollo,

come on in. - Thank you.

- Welcome... [atmospheric guitar music]

- [Interviewer] How do you feel about this all

coming to an end like this?

- Well, you know, I mean,

we're a band that, you know, has sort of traditionally,

we never seemed to quite close the door,

so we sort of say things, but I mean, you know,

all of us now, performers do that.

How many people just say they're never coming back,

and they make like next 10 comebacks, you know?

- Eagles. - So, it's whatever.

You know, we'll see what happens, you know?

[audience cheering]

- Singer, bass player, author, activist,

and all around good egg.

Ladies and gentlemen, Sting.

[audience cheering]

When you consider everything in relation

to The Police, I mean,

you must, do you look back

with a sense of achievement and affection?

Particularly in having done this thing

of coming together and playing again?

- It's almost like Mum and Dad

got back together again after a divorce, you know?

[audience laughing]

People are so happy that we're standing together

and singing and playing, and then at the end

we hold each others hands.

That's very good, but we've done it.

We've achieved everything we set out to do a hundredfold,

and I, my personal thing,

is I don't want to step into the same river more than twice.

[audience laughing] [Elvis chuckling]

I think, um, we've been hugely successful,

and I think the creative thing is to say,

thank you, and not be sentimental,

and you just keep doing it.

It's just my feeling.

- [Elvis] Well, I think it's about time

that we got your band mates out here,

and see what they got to say about things.

- Absolutely. [audience cheering]

- Ladies and gentlemen, for the last time

on television, The Police.

[audience cheering]

Is there any part of you that says never say never?

- No, never say never, but here's what you can say,

Andy, Sting, you're fired.

[audience laughing]

- As we call Sting-- - I'm not fired,

you're fired. - No, no, no, no.

- Oh, no, please. - I fired you six months ago.

- It's sort of hard to deal with from my point of view.

- To deal with what? - To deal with this?

- To deal with an interview. - We're like this

all the time, you know?

- This is it. - I mean, we'll be like this

- This is what you get. - tomorrow.

But at the moment, I wanna have a fight.

- Yeah, you do? - Much better television

than with the questions.

I promise you. - Okay.

- I'll tell you what, she we film me whooping Sting?

- Yes. - That would be good,

wouldn't it? - That would be great.

[table clattering]

- [Andy] Oh, dear.

- Let's go. - That's that.

- Oddity. - Everybody in the cars,

let's get outta here.

- [Andy] After a few years

and unparalleled success together,

the fragile democracy has become a dictatorship,

and Sting's agenda, although veiled, is obvious.

He does not wanna be in a band.

In a way, I don't blame him.

Maybe it's time to split.

We've done our work, this is as far as we can go,

and it sure feels like the sunset.

[atmospheric acoustic guitar]

But things change.

And if anyone has learned that lesson,

it certainly is me.

Every band I've been in has broken up.

You go on.

Maybe, once again, there's something new unfolding.

Life doesn't end here.

It just gets better.

In 1986, a miracle happened

when Kate and I, after a divorce,

four and a half years apart,

and attempts at relationships with other people,

found our way back together,

and Kate became pregnant almost immediately.

And this time with twin boys.

Well, it's great to have them all here.

Of course, it's the greatest thrill for me

for them to finally see this.

Well, I've been blathering on about it for all these years.

It is actually real.

That makes it a very special pleasure.

- So, I was really happy for Andy,

and really happy that he had this chance to like,

do the thing that he really loves the most again.

Yeah.

["Bring On The Night" by The Police]

[melodic rock music]

- [Interviewer] Some of them are pretty provocative, huh?

- Well, I thought about it.

I said, there has to be a little bit of that.

And I mean, it's supposed to be rock'n roll.

It can't be too straight.

I can't just put the prettiest pictures up anyway.

So it'd be a bit gritty.

- [Interviewer] So it's an accurate representation,

you would say? - Yeah.

- Yes? - Well, yeah, it's a life.

♪ The evening spreads itself against the sky ♪

♪ Waiting for tomorrow

- Enjoying your...

Well, it's like this, and then I was thinking there.

- [Andy] I've done that today already.

- Just think that we were all so pretty back in the day.

- I know, I know. - Shit, we don't look

like that anymore.

♪ Bring on the night

♪ I couldn't stand another hour of daylight ♪

- How are you? - Are you guys ready

to reform, Sting? Andy?

[Sting screaming] [Stewart screaming]

♪ The future has brought a question mark ♪

- That's it.

Okay, thank you.

- And I'm Suzie.

Do you remember Suzie and Mia from Bridgehampton?

It was that summer, the Bridgehampton summer.

- You're that, Suzie? - You were flying

all over the place.

- Yeah. - Do you remember?

- I do.

- Anyway-- - That was you?

- That was me. - Oh, wow.

- You were the one that said call the roadies.

- Why don't you give us an explanation

of this photograph right here?

Yeah, that's right.

- Well, they're all works of the imagination.

♪ Bring on the night

♪ I couldn't stand another hour of daylight ♪

[atmospheric guitar solo]

[crowd cheering]

- [Andy] Finally, the concert at Hyde Park, London.

The last one we'll ever do in our hometown.

Backstage, the atmosphere is electric.

We don't feel smug or clever.

We really have to pull this off tonight.

[crowd cheering]

Like a prayer, it was now, it was forever.

I strike the first chord.

["Message In A Bottle" by The Police]

[melodic rock music]

♪ Just a castaway

♪ An island lost at sea, oh

♪ Another lonely day

♪ With no one here but me, oh

♪ More loneliness

♪ Than any man could bear

♪ Rescue me before

- [Stewart] Well, there's about another

$50.00. - I'll take it, Andy Summers

is probably the, um,

the finest human being in this room.

- Wow, thanks a lot.

- [chuckling] Well, there's some pretty good

human beings in this room, remember?

- [Interviewer] Are you too old to rock'n roll?

- Too old to rock'n roll? - Oh, man.

She's getting real heavy now.

- Uh-oh, this is the deep stuff.

- Now, wait a minute, there are two Andy Summers.

There's a lot of confusion about this.

One is really old, and he used to play with all,

- And then there's a second one.

- And there's this one,

and this is his son.

- Hi. - Junior, right?

- This is like, - There's a lot

- it's very awkward, okay? - of confusion.

- And the one who played in Kevin Coyne

and Soft Machine and all these groups of yesteryear

was his dad. - Was his dad.

- Welcome to the show. - Thank you.

- [Interviewer] Tell us about Synchronicity?

I think a lot of your fans

must have gone through the dictionary.

- In the studio, although you work formally,

you hope that accidents will happen,

and synchronistic events will happen in the studio,

which will be more powerful

than when you try to just play

in a straightforward manner.

- Oh, yeah. - Does that make

any sense at all to you, sir?

- [Interviewer] Yeah.

- Good.

[interviewer chuckling] [Andy laughing]

Well, you asked. - Yeah.

- Yeah, okay, I lost you completely, right?

- Yeah. - Good, okay.

Next question. - Yeah.

- [laughing] If I mess this up, you take over, Andy.

Andy has an important announcement

to make about MTV.

- Hello.

What?

Ah, right.

- Excuse me, makeup.

- Oh, fuck off. [shrieking]

♪ Walked out this morning

♪ I don't believe what I saw

♪ A hundred billion bottles

♪ Washed up on the shore

♪ It seems I'm not alone in being alone ♪

♪ A hundred billion castaway

♪ Looking for a home

♪ I'll send an SOS to the world ♪

♪ I'll send an SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ Message in a bottle

♪ Message in a bottle

[upbeat acoustic guitar]

♪ Just because my hair is curly ♪

♪ Just because my teeth are pearly ♪

♪ Just because I like to wear a smile ♪

♪ Always dressing in the latest style ♪

♪ Just because I'm glad I'm living ♪

♪ Take trouble smiling and the world is mine ♪

♪ I'm a lucky fella

♪ Got sun for my umbrella

♪ That's why they call me

♪ That's why they call me

♪ That's why they call me

♪ Shine