Original subtitles

Downloaded from YTS.MX

Are you guys ready for one of

our final bands tonight?

Chicago, give a warm welcome

Official YIFY movies site: YTS.MX

to Broken Social Scene!

Two, three, four...

["Ibi Dreams of Pavement"

by Broken Social Scene]

♪ Well, I got shot right in the back ♪

♪ And you were there, you were there ♪

♪ I said I was never coming back ♪

♪ And you were there, you were there ♪

♪ Well I know the eyelids are under attack ♪

♪ You were there, you were there. ♪

This is the part where you gotta cheer with us

because we are alive, Chicago!

Lots of fucked up things goin' on right now,

so let's just cheer for ourselves, alright?

On the count of three, cheer as loud as you can.

One, two, three, go!

Last chance, here we go.

One, two, three... scream!

Slide to me a little bit more.

So, this is a movie that I shot and edited together.

Um...

2008.

What year were you born?

- '07. - '07, okay.

So, we put this together the year after you were born.

Actually, this movie never got finished.

Are you gonna try and finish it?

Yeah. It's time to finish it.

- Mm-hm. - Yeah.

In the late '90s and early 2000s,

I was living in downtown Toronto.

At that time, you could get a sweet place to live

for under $500.

People bought records from Sam the Record Man

and rented movies from Blockbuster.

Most people were discovering mainstream music

on the MuchMusic Countdown.

They also watched Citytv and Speakers Corner.

And Drake?

He was just an actor on a TV show called Degrassi.

Toronto also had this youthful

and creative underground.

It's where I found this exciting group of artists.

Come on!

I'd like to welcome to the room, Mr. Stephen Chung!

That's me, Stephen.

Stevie. Chung. Chungie.

I'm a cinematographer.

Words are not my strong suit.

♪ I think it's almost time... ♪

Let's do that again!

There's so many players

in the Broken Social Scene.

It's almost impossible to keep track of them all.

The first person I met was Brendan Canning,

AKA "The Champ."

He's the DJ, the selector;

he's the heartbeat of the party.

It was the '90s,

so there were lots of different bands.

I kind of joined Len around '96...

by accident.

♪ I was lying on the grass of Sunday morning of last week ♪

♪ Indulging in my self-defeat... ♪

But I was still in hHead.

Grunge was happening, and so all the Canadian labels

were trying to play catch-up, like, "Oh, they're a trio.

"They got plaid shirts and army shorts."

That led into winning a radio station contest

and winning a hundred grand.

We didn't make a great record.

I feel like a fucking idiot.

Smoking too much weed, in a band who wasn't quite all together...

Whatever. You're 24. You make mistakes.

♪ I'm on your side, y'all... ♪

Then I started playing in By Divine Right.

You know, I wasn't feeling like I'm living up

to some kind of potential that I believe I have.

It was kind of a little confusing because I was

really into house music as well, just loving staying out late,

doing some ecstasy, hearing DJs play house music.

I was obsessed.

While Brendan and I were

partying our asses off,

I discovered Charlie Spearin and his boys Do Make Say Think.

I'm familiar with the chill-out room.

4 in the morning, warehouses,

and when everybody's too freaked out on MDMA or whatever,

they go into this room filled with couches,

and then there would be this quartet of dudes with guitars

and delay pedals making the most gentle ambient music.

I listened to you guys in awe.

I'd never heard anything like it before.

It felt like the way music was supposed to be.

It was such a contrast to the struggling

to get radio play or struggling to get mainstream attention.

For me, the real forefront of interesting music in Toronto

came from Peaches.

♪ Let's get over this ♪

♪ I'm your lovertits... ♪

She encouraged everybody to get their freak on.

There was a sense of, you're never gonna make it,

so there was this counterculture freedom

to just book shows and play shows

and do whatever the hell you want.

Holy cow, look at that dust.

This is my Tascam 388 Studio 8.

This was how you made friends.

This is how you brought people together.

This is how you made music.

This was the, you know, poor person's perfect studio.

This is basically what everybody wanted to do

instead of watching television, instead of consuming television.

It was a way to create.

So much joy, so much possibility, so much music.

Tell me when you first met Kevin.

This kid comes up to me and says,

"You look like a guy who likes Tortoise."

And I thought, "Is there a look?

"Do I have this look? 'Cause I do like Tortoise.

"I love Tortoise!"

That was that icebreaker that he came up to me with,

and it worked.

Okay, let's go. Let's go on mix.

What key are you in?

I dunno.

Kevin and I just started talking about music

all the time.

He would come over and we'd do recordings,

and then we started KC Accidental,

the idea being that we would just sort of embrace

spontaneity, and whatever happens happens.

Love this guy! I want it on film.

Sweet, sweet track.

Kevin and Charles, Accidental.

I would see Kevin around town a little bit.

You know, boppin' around.

This one DJ night, I had Kevin doing security.

He looked a little distressed;

I'm like, "Oh, what's goin' on?"

He's like, "Oh, man, someone brought in Red Baron beer here,"

and he's like, "I gotta go try and find the guy.

"He's, like, sneakin' beers into the bar."

And I was just like, "Well, fuck, let me help you

"try and find the guy."

So I'm makin' a show of, like, lookin' around the bar

for Red Baron beer,

but meanwhile it's like I'm going into my bag to be like...

Fuckin' guy!

'Cause I had brought beers from the last gig.

Kevin made me a couple of mix cassettes

that had some KC Accidental on it.

It spoke to me.

I just said it's like, "Oh! Oh, that's good."

It's like, "Maybe I'll make this kid a star."

So talented!

You are lucky guys. See you tomorrow.

- Bye, Mom! - Alright.

Okay, bye Mama!

I was immediately drawn to Kevin,

and so was my camera.

He had this amazing ability to inspire and connect people.

But for us, it was really the music that glued us together.

So, we met,

and then we started to see each other

at certain parties at three, four in the morning.

Yeah!

You had a hard time communicating.

You did. You had a hard time expressing yourself.

You were the poster child for

"You're never alone when you listen to music."

I still remember, Pavement was playing

and you looked at me and you said,

"I don't really understand that much,

"but I understand this."

That was the start.

Like a lot of good art and music,

in the beginning...

I mean, there's nothing like a beginning.

Brendan, the story goes,

he just got my number and he called me, twice.

He was moving in with Jo-Ann to Afton,

and I started just kind of pursuing him, per se.

I like the way he sways. I like the way he moves.

There was something about his speed.

He was slow, but yet so accurate.

I got all this gear from Charlie

because the Do Makes went on tour,

so I got his 8-track and I said, "Why don't you come over?"

So we just started hanging out

in the basement. That was kinda it.

We would always call him our second wife.

He would be at our house all morning, all afternoon,

all evening, into the next day.

He was an inspiration to Kevin.

He was a bit older and had lots of experience in music.

He had his sea legs maybe a little bit.

Like, I just would wake up and be like,

"I gotta just hang out with this guy."

He just made my life better.

Brendan and I'd stay up till around 6 am,

just messin' around in the deep part of the winter.

It was having the best of both worlds.

It was having, you know, the woman you love

and just being so excited about this guy coming over,

making a really mellow, simple--

because we only had 8 tracks to work with-- record.

I think he thought he was

making my solo record, and I was just thinking,

"Nah, it's like who wants a fuckin' solo career?"

You know, like, we got a thing happening.

There's a thing.

And it turned out to become Feel Good Lost.

♪ Coming to you live ♪

♪ Passport radio almost mine ♪

♪ Coming to you live ♪

♪ Passport radio almost mine ♪

We had this one jammer going and I was like,

"We should get Leslie to sing on this."

She was living at West Queen Street with Peaches.

♪ We want it... ♪

I remember Queen Street felt exciting.

Kensington Market felt exciting.

I remember walking into Songbird.

Yeah.

It would be kind of this church feeling of, like,

"Ah! Ah!" Like a hallowed hall of gear.

And you, it must have been

that we kind of got reconnected through--

'Cause you're frickin' By Divine Right.

We were in By Divine Right together.

Oh, good God!

By the time we were jamming at Afton,

I felt like a road warrior,

and then you played for a whole lifespan before me.

And then, this guy Kevin had none of that experience,

had never played shows,

and yet had the really optimistic,

positive hubris to tell us what to do.

And I felt really confused but charmed and convinced

by his clarity of things.

Feel Good Lost, it wasn't really a band, you know?

It was kind of a concept that Brendan and Kevin started.

Those two cats were manipulating the tape machine

like an instrument, creating this world,

these soundscapes;

this cloud, this beautiful cloud.

That's all I can really call it.

I can't remember how the invitation came.

I guess, like, me playing trombone was--

and bringing a trombone into this type of music

was another original thought.

And they were doing it in this basement.

It became a real hub, real fast.

It was basically guest after guest.

- Hey. - Hey.

Jesus, come on in!

Always recording.

Always.

Hey, I'm Sammy, by the way.

- Nice camera. - Is this thing on, man?

Yeah.

We should do this.

Yeah, let's go.

This is just another one of those evenings,

I guess.

You just live in the moment.

But you knew that you were a part of something

that was just really awesome.

I went over to Kev's house on Afton

and he introduced me to this guy named Brendan.

They just had a really good connection.

They both kind of see things I think as

the person who's playing the part

is more important than the part that they play.

All these different little scenes

came together.

Charles bringing different people,

I brought different people.

We jammed there all the time,

but they also had lots of parties,

and then they had brunches that would turn into parties.

Everybody was interested in each other.

Everybody wanted to talk to each other.

Everyone was welcome.

There was food.

There was excellent lighting.

There was, like, a warm place to land.

You've got it. In the pocket!

I'd say sometimes drop out,

just so it can be even better when it comes back in.

I'm just trying to, make sure I remember...

Yeah, don't forget the...

I've always worked as a carpenter.

I would go directly from the shop.

I got the nickname, I think it was Peroff that coined it,

"Dusty Pants."

You would come over in the afternoon

and you'd hang around.

There'd be a lot of just hanging around.

The endless hanging out.

It was just gettin' high in the middle of the day

and goin' into that basement.

There was something about the camaraderie

that was just super fun.

And you all fall in love with each other

in different ways, and you all get crushes on each other

in different ways, musical and otherwise.

And because there's so many of us,

there's lots of ways that you could personally get to know

one other person off to the side

and create your own relationships with them.

Jo-Ann and Kevin already made Afton into this hearth.

It was like the eternal present.

It certainly felt like there was some kind of

renaissance going on.

It wasn't so hard to be an artist

around 2000 in Toronto.

Rent was cheap.

The creativity was on fire.

Queen West, there was hardly anybody

in that neighbourhood that we knew.

Katharine Mulherin's gallery was there,

and if Katharine's gallery is here,

then it's gonna be cool 'cause all the artists

are gonna be there.

You could walk across Queen Street

on a Thursday night

when there'd be a new show opening up.

It was just-- it was very vibrant.

And also very innocent and really creative.

Hey, Kevvy!

Just felt like you could do your own thing.

At least, it did for us.

We were all kind of doing weird things

with whatever venues we could find in Toronto.

We kind of also wanted, I think, to be in these unusual settings

'cause we were weirdos.

We were basically broke

but we went to see shows all the time.

Ted's was looking for a new booker,

so he asked me if I could come and weave my magic there.

I gave Jonny Dovercourt his Wavelength Sunday nights.

That was the start of all the interesting stuff

that was going to go on there.

The Wavelength guys,

they were keeping the spark of indie rock alive.

Ted's Wrecking Yard upstairs,

which ended up being the BSS clubhouse.

If we weren't playing there, we were there watching shows.

That was an important venue.

Everyone was supporting each other.

You just suddenly found that there was a way

that you could connect everyone.

There wasn't a competition to stop each other.

What are ya gonna do?

Any time...

Oh my God!

Yes!

We need to spread some love.

What are you gonna do?

I'm gonna do the... 95!

Justin Peroff!

I'm gonna do the 95!

I remember there being a lot more people there.

It wasn't like a normal band.

Most of the players were all songwriters

and had solo careers.

I remember there being a conversation of a conceptual,

"Let's play once a month and write the songs for the shows."

One, two, three, four!

For me, it was this great freedom

of not pretending to be a thing.

Like, this is just people playing music, right?

It's playing music together.

Like, we're gonna make new songs.

We're gonna have new people.

There's no goal.

I would miss a practice for Social Scene,

and then I would show up at a gig and Kevin would be like,

"We wrote three songs!" you know?

Those early jams,

I remember just feeling like the storm was gathering.

It's been nice, ladies and gentlemen.

Thank you very much.

Andrew Whiteman, Charles Spearin,

Brendan Canning,

John Crossingham, Justin Peroff.

And Kevin Drew!

And Kevin Drew.

That's all for you tonight, limited edition.

It's like, fuck, man.

I was hoping someone would videotape this

so we could watch it when we're, like, 70.

I want to welcome our friend, our love,

Miss Emily Haines.

I also want to welcome to the stage at this time,

Mr. James Shaw.

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

Someone called a meeting and was like,

"We gotta go talk about the fact that these shows happen

"and they were really great.

"Let's, like, make a record or something."

And I think Kevin was like,

"Yeah, let's do it. Let's make this a thing."

In my memory, that was the moment that it kind of, like,

it turned from, like, a thing that just happened

to a thing that then we decided to make happen.

Here we go!

♪ I know you're dyin', baby, I know it's good, yeah ♪

♪ And I know there's 360 things you'd rather be doin' ♪

♪ But you fuck what you love

and you love what you fuck ♪

It started with us looking for

a recording studio that was affordable.

We really didn't have much money.

I had some money 'cause I was touring

with Franklin the Turtle at the time.

Everybody pitched in.

We just needed some place that was cheap.

Thank you! Goodnight!

I wanted to make great records,

but I did not have high hopes.

I was just hoping that I wouldn't fucking go bankrupt!

I'm just hoping to, like, make, like, 1,500 a month

just to cover rent, kind of thing.

I knew I've got one of the top bands in the city.

These guys got somethin' real special on their own without me,

so I'd love to be able to, like, bring my thing in

to that as well.

I just felt like, "I'm at that level,"

or, "I'll get to that level,

"so then we'll both bring each other up."

Like Dada?

No, no, no, there was a band called Dada.

He calls me because they thought they're gonna

go into the place with, like, a big room and a couch

and all that shit.

I was sitting there in that dirty kitchen and you said,

"What do you charge?"

And I was like, "Boy, they're gonna probably

"come in for maybe two weeks.

"I'll make, like, a thousand bucks or somethin'.

"I need the money!"

So, I'm like, "150 bucks a day?"

And there's, like, about a 45-second pause,

and then Kevin comes back,

"Well, why don't we just book, like, five weeks?"

Just before they came in,

a friend of mine said, "You need a proper patch bay,"

and so I ended up going down a patch bay rabbit hole.

Did you get some good drum, Canning?

The gear is kind of working,

but then it started on fire and smoking out of the back.

It's like, "Whoa, unplug that!"

Is that good?

Oh my God, here I got the patch bay, you know,

and I got the new board, and I was so excited.

And it's just all falling to shit.

Chung, turn off the camera.

Don't put pressure on Dave

to try to find the feedback, okay?

Kill the camera, Chung!

Wassap!

Euh!

Wow.

That's the beginning.

That's amazing.

Watching myself walk into a portal.

It changed all of our lives, straight up.

I had no idea at the time.

So, Charlie, he started playing.

He's just monkeying around and he kept playing it

over and over 'cause he liked what he was doing

and he kept expanding the.

So that kept him occupied.

I remember Kevin said,

"Justin, oh, here's a drum beat that you should try!"

Later that night, we were listening to it,

and then that's when Brendan was mumbling,

and I'm like, "Oh, go in there and try it."

I said, "Brendan has an idea he wants to try."

I knew he wouldn't normally do it,

but they had just met me so I could, like,

make a bold thing like that and they wouldn't, like,

just go, "Oh, okay..."

♪ Then when you let it ♪

♪ You asked for nothing ♪

♪ Why don't you share it? ♪

♪ All of the time you live... ♪

But we ended up using that take!

That is what you hear on that record.

That's his first attempt.

It is.

Charlie taught me accidents are amazing,

but you taught me that the vibe is usually

while you're finding it.

The session where the person's, like,

still exploring and discovering the song,

there's some little nanoseconds of the playing or something

that's being expressed that's more exciting.

Let's do it again. I need a...

I don't think Kevin played anything

for the first half of the song,

and then he comes in with

this microphone going through a guitar amp, screaming,

"You forgot it in people!

"You forgot it in people! You forgot it in people!"

That's where the album title comes from.

♪ You forgot it in people! ♪

♪ You forgot it in people! ♪

♪ You forgot it in people... ♪

Nobody knows that.

I don't think anybody can pick it out.

Maybe somebody did.

He played it to me the next morning

and I was like,

"Don't change it! It's amazing!"

He just said, "My boys!"

and he had, like, a hand on mine and Kevin's back,

like we hit something good.

♪ All the time you live ♪

♪ There's something out there ♪

It just happened because it happened, you know?

We had now this new, fresh tune.

It suddenly made it seem like this is a redeeming experience,

or that maybe this isn't all lost.

And then it just got better and better.

Dave, tell me you recorded that!

The pervading spirit of

"Stars and Sons" was Newfeld.

The way he could take everyone's personalities

and make it sound whole...

He's a scientist.

He used the studio as an instrument.

He would, like, ride it, not like an instrument,

ride it like a piece of machinery

that he wanted to kill.

There's no other like him.

An absolute original.

He internalized and made it painful

in how badly he wanted our records to sound

the best that they could.

It became really clear very early

that you can't have everyone

constantly having input and the same amount of, like,

jurisdiction or involvement in the record-making process.

Later at night, it was a little easier

to maybe think about it or-- you know what I mean?

To see it from a different perspective.

We felt at ease with each other's presence,

and the same thing with you coming in with the camera.

I mean, how many times were we recording and we look over,

Stevie's in the corner of the room, behind a plant,

and has a mirror and he's shooting my reflection!

Wicked.

Right now, we're battin' a 10-song record,

with this song in two parts, making it 11.

♪ Stevie won't leave me alone! ♪

That doesn't include, Mama doesn't like it

when you go downstairs.

♪ Stevie won't leave me alone. ♪

♪ Oh, Stevie... ♪

♪ Always with your fuckin' camera! ♪

♪ Always through the leaves... ♪

If you're already rolling,

people don't-- they forget that you're there,

and then natural stuff kind of happens.

It's a really fine art to go in and be part of somebody's life

without interfering with something special

that's happening.

One more time. Let's slow down.

Keep that bit in.

Oh, it's in A.

No, the B string. The B string.

Play the whole D chord, buddy?

It's goin' down now.

I was in the room,

but I wasn't in the room, if you know what I mean.

Like, I was in the drum booth,

so I couldn't always hear the conversation that was happening.

- It's getting hot in here. - Let's get it hotter.

JUSTIN I remember the first version

of "Almost Crimes."

It wasn't called "Almost Crimes."

It was called, like, "The Dinosaur Jr. Song,"

'cause the original version of that sounds exactly like

a Dinosaur Jr. song.

So, what does that remind you of?

My role in that band was defined in that moment.

You know, it's like, I'm just yellin' at everybody;

I'm like, "No, man, that's not fuckin' good.

"No, gotta do this, gotta do this."

Like, the song was too fuckin' long.

"Let's go. Let's cut it.

"Let's make this fuckin' thing happen."

And Kev's like, "Okay, everyone's gotta be chill, man."

Is that the chorus?

Cranley likes to be adjacent to the spotlight,

and he'll make sure that the person in the spotlight

sounds fantastic by what he does musically.

Like, he made up an instrument: two-stringed guitar, two-tar.

Because there's four other dudes playing a six-string guitar.

That's the most Cranley thing ever.

Oh, yeah, yeah.

That sounded pretty cool, eh?

Yeah, yeah.

Oh, shit! That was a moment!

Well-oh-ah-oh!

♪ Well, I told you, I told you, I told you ♪

♪ I told you I wouldn't do it once ♪

♪ But I'm gonna do it twice. ♪

Of course, then when Feist came in

and heard what you had done

and added her part, then it was just like...

signed, sealed, and delivered!

♪ I told you! ♪

♪ I told you! ♪

♪ Waited! ♪

♪ I waited, waited, oh-ho! ♪

The Afton aesthetic and the 95 aesthetic

kind of met here.

So with the synths, and the vocals, the saxophone,

it started to feel like something

that had its own identity.

There's a sort of now-ness to it.

We're living it. This is what we do.

♪ We've got love and hate, it's the only way ♪

♪ I think it's almost... ♪

♪ Crime! ♪

♪ I think it's almost... ♪

♪ Crime... ♪

But then You Forgot it in People came out

and we had to be a normal band.

Like, we had to tour.

♪ I think it's almost crime. ♪

Should do that again!

Soundscapes was in line with

something like Wavelength.

You know, keeping music alive.

Social Scene, and specifically You Forgot it in People,

was the type of record that was, you know,

musically quite transformative,

but did not fit in any traditional commercial box.

This one's for Soundscapes.

Thank you very, very much, guys.

Thank you very, very, very, very much.

Oh my God, Crossingham.

Is that Millan back there?

- Yeah. - Little cutie.

♪ And in the red room at a distance... ♪

♪ How would you know it? ♪

Chewing gum!

Terrible!

You're just like, "I don't even care what I'm singing."

"I don't even care, I'm just chewing gum,

"I got a scarf on."

Good tempo of the song, though.

♪ This one will know how far to live on... ♪

Am I here?

- No. - Maybe not.

- No, no. - But then, who did,?

We need some audience participation over here!

He... I don't know, is that Now?

Are we gonna play tomorrow?

You're not out, are you?

Yeah, I'm gonna take my shit to.

And are you gonna come back, or what?

It's 4:30 or something.

It's 4. We're still jamming today.

And we need to jam tomorrow, too.

And we need to jam tomorrow?

Wha... Wait a second. What the fuck?

I thought you were whipping over there and whipping back.

Okay.

We still have tons of shit to do, do we not?

♪ There's love in the air! ♪

I remember being very...

just wanting it to happen so badly,

wanting to make the record, wanting to rehearse.

I was always on top of everybody.

I think I was very annoying.

Kev's obviously a massive glue factor

for the group because, you know,

it's like it started off in his basement.

And I feel like leading, he was the leader,

even though he wasn't, but he was.

You know, he absolutely was.

We had the right chemistry,

especially with Brendan and Jason Collett and Leslie.

Like, people that had been doing it for so long,

and we had a nice parallel of people that had been there

and done it and those who were eager to just get started.

And then we did a song called "Build."

♪ Build, you've got to learn how to build. ♪

♪ You've got to change, change and build! ♪

Circus of Sour...!

And the covers. The covers!.

Have you ever seen Shrek?

I was just following the fun opportunities.

These are rubles.

- Rubles? - Yeah!

I mean, there was no "making it."

There was actually no thought

that that would even be anywhere on the table,

near the table, the table adjacent.

There was no making a living playing music

that was, at all, on my mind.

I was working any way I could to pay my rent,

but none of those ways were music.

The feeling was, there's something really cool

to get to do with friends, and I'm gonna go do that.

You know what I mean?

One gig to the next.

Like, I was seven years older than you,

so maybe I have a different perspective on, like,

music success.

Right. You'd gotten close to something

that you thought was success.

Yeah, like a bunch of times.

So, it's like, "Fuck, like, I'm in my 30s.

"I have no backup plan. Like, this shit has to work."

You know?

But that does explain a lot,

that if you were already in your 30s and I was in my early 20s,

that's exactly the cognitive difference between,

"What are we doing here?"

I don't think I felt I had to leave,

but I just kept leaving.

["Anthems for a Seventeen-Year-Old Girl"

by Broken Social Scene]

There were a lot of challenges at that time.

There was a major label system that was sort of a disrespected

Canadian offshoot of the major labels.

Distribution was really, like, an obstacle.

You just had to, like, kiss all these weird asses.

And it was just like...

I mean, you know me; I was just like, "No."

"I'm not doing that. It's ridiculous."

And that's why Jimmy and I went to New York.

We felt if we wanted to do it on a global scale,

we couldn't do it here.

I remember Lula Lounge.

It was the CD release party, and Emily and Leslie were away.

I had to fill both shoes.

Well, I'd been singing with Emily since I'm 15.

I've sung with her so much that I know how to sing along

in my mind with how she would be as a person.

She'd been my best friend since I was 15.

But I remember Peroff, like, behind the scenes,

being like, "Okay, like, 'Anthems,' like, you know,

"it's not lackadaisical. Like, it's on the beat!

"You've gotta, like, you know, keep"--

You know, it's like, "Stay on the beat."

And I just remember being under, like,

an incredible amount of pressure to, like, pull off both humans.

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone... ♪

What I'm always trying to do

is just be where I am

and let the voices of fear leave.

♪ Used to be one of the rotten ones and I liked you for that ♪

♪ Now you're all gone, got your make-up on

and you're not coming back ♪

I think it's important to be present

as much as you can be.

So, the Broken Social Scene

is really causing a stir.

They've gotten three 5 out of 5 star reviews

in the Toronto Area, and they're pretty hot, eh?

That's right, and well-deserved.

A very strange collective.

They started out with a core of two members,

but they've expanded on their second album,

called You Forgot it in People, to a ten-member band.

♪ All your kind, they're coming clean ♪

♪ They sleep through keys, they kill their needs ♪

♪ All your kind, they're spool and lance ♪

♪ They crash their kiss, they harmonize... ♪

Oh my God!

You probably didn't realize that that conversation

was being recorded.

Uh...

I mean, I don't remember that conversation,

but there were many conversations like that.

It was, um...

Holy shit, Chung.

I like to be called David Drew.

I went through this whole period of life

when I had first got involved with Broken Social Scene

being introduced as Kevin Drew's father.

I was nameless.

Kevin decided that he needed help.

"Can you help me with the band's finances?

"Can you give me some advice about the record label?"

You know, Kevin now constantly says,

"I've saved your life, you know?"

And there are times when I've said to him,

"You know what? Enough of the life-saving.

"You know, this stuff gets a bit overwhelming sometimes."

It's a post-Napster, pre-iTunes world.

Large music companies were focused on

shifting environments that were scary.

With Remedios,

it's one of those things where you immediately go,

"Okay, we're getting married and this is gonna be a marriage.

"There's gonna be good times and there's gonna be bad."

He gave up so much to come and be with us,

and he just pushed everything forward,

and then he also did everything he said he was gonna do.

I remember telling my parents,

"I'm leaving my really stable job

"to go partner with this musician, Kevin."

That was when everything kicked off

with Broken Social Scene and Arts & Crafts.

Kevin introduced me to him, and clearly,

you know, this was a driven guy.

He was charming, to say the least.

If I was gonna get a business partner again in my life,

Jeffrey would be fine.

But he's too good-looking for me.

Yeah, I'd have to get someone slightly uglier.

In Jeffrey, you had this guy who had worked

in the traditional label system,

but unlike a lot of people in the music industry,

Jeffrey wasn't afraid of the internet.

He really embraced it.

And so, he really saw the internet as a way of, like,

turning fans into ambassadors for this group.

The exuberance of something totally new

and totally fresh.

People were hip to it and excited by it.

It was almost instantaneous.

They'd have a really good crowd.

You know, friends, family, and then fans.

Thank you. Everything's okay here?

Everything's fine.

I'm just trying to find a spot with some light

to put your gear.

Like I said, there's no favourites here.

- There's no favourites? - No.

But she's the mother of the lead singer!

Of the bride.

I have to ask you a question, then.

What's your favourite thing about Broken Social Scene?

Uh, they don't live in my house anymore.

Why do I have a mic in my pocket?

Chung, did you put that thing in my back pocket?

I'm all wired!

This was like a hometown,

just pre-holiday show.

Biggest venue I think they'd ever done in town.

Totally sold out.

♪ The weather outside is frightful! ♪

You know what? Don't point that weapon at me!

And I remember you filming that.

Phoenix show was one of the landmarks.

Brendan, do you trust him?

Chung?

- Yeah, I trust him. - Yeah?

And that's the first time I feel like

I wanted to shoot a movie.

♪ All these people drinking lover's spit... ♪

You Forgot it in People

is the honeymoon of Broken Social Scene.

I do actually kind of remember

playing with Social Scene at the Phoenix,

but I think I remember slow-dancing with Peroff.

Doing a show is a reciprocation.

You put it out, the audience gives it back,

and then it goes to another level.

Not necessarily through lyrics

and a song, but just a feeling.

This is "It's All Gonna Break."

Thank you very much, folks.

Enjoy your lives. Goodnight.

♪ It's all...

♪ Gonna break! ♪

♪ Treat me like a sign ♪

♪ Sounds like so well ♪

♪ I know times like these are the hell ♪

♪ And when you do the tricks, the tricks look so good ♪

♪ I got buried rumours waiting in the woods ♪

♪ And they try to climb awake and call me over ♪

♪ Skies they rape and skies are sober ♪

♪ Minds they fake and minds rolled over ♪

♪ It's good, it's good, it's good, it's good to love ♪

♪ But it's all... ♪

♪ Gonna break! ♪

♪ It's all, all, all, all, all, all, all ♪

♪ All, all, all, all, all, all, all, all, all ♪

♪ All-all-all-all-all... ♪

♪ Gonna break! ♪

Let's go! Raise your hands up high!

Are we brunching in the morning?

Yeah, we're gonna try.

Thanks, babe.

Thanks for comin'.

As much as I had some of the best

live experiences being on stage with that band,

I also had some of the best backstage experiences.

The show never fuckin' stopped.

I have this memory,

they did back-to-back nights, and the first night, like,

the backstage was just total chaos.

Me, too! Don't forget about me, Stevie!

Don't forget about me, alright?

I'm here! Talking shit!

The second night's show, and they said,

"Alright, listen, it needs to be a closed backstage tonight.

"Like, nobody's coming in tonight,

"except for this person, and except for that person.

"And except for, like, you know, indie rockers."

Okay, so, uh, it's a totally open backstage!

I was pretty cocky last night.

I'd give myself a 9.5 out of 10.

Oh, yeah?

At that time, they were, like,

both mayors of our scene in the city.

This will never, ever, ever, ever happen again.

So let's just know that all we have is right now.

Always, man. Always and forever.

Chungie, I'm so glad you were there tonight.

- Yeah. You know? - I am, too.

- Are you Broken Social Scene? - Yes.

Why is everyone comin' to our house?

'Cause you fuckin' said,

invited people back to our house to smoke pot.

That's a big crowd...

Yeah, and I have no idea why.

Things got a little, like, nuts.

I wasn't always happy with the people hanging out.

The crowd started to change

and the people who came over started to change.

The community part of it diluted.

It became something different.

It's an age-old tale of changing times.

I don't think it's, like--

I don't think there's anything tragic about it.

I think it's amazing, what happened,

'cause we all wanted something to happen.

And it did.

We were all toiling away in Canada

at a time where people didn't pay much

mind to Canadian music internationally.

The band was in the right place at the right time

and made the right record.

That was the first BSS video.

That was probably before anything had happened.

It's gonna be an art/cult video.

In this backyard, everyone will be wearing camouflage.

We're gonna do band performance and we're gonna mock

sort of the whole band performance stylization of it.

What we're gonna be doing down at the bottom of that hill

over there is we're gonna have an orange screen in the back,

and we're gonna do the band performance

with everyone rocking out with bags over their heads.

What's with the bags on our heads?

The bags on our heads?

What do you mean what's with them?

It just makes it better.

Can we cut holes in this for eyes?

'Cause that'll freak me out if I have a bag over my head

the whole time.

I'm gonna get all claustrophobic and weird.

And then that crazy Pitchfork Media review.

Who the fuck is Pitchfork?

When the Pitchfork review came in,

it was like a different world to me,

'cause it was like reviews on the internet,

which I normally was like,

"Did we get written up in the Toronto Star?"

It's like, "No, don't worry about your print anymore."

Basically when I got online in 1994,

I was kind of seeing, like, "This internet thing

"has a lot of potential as a publishing platform."

I kind of felt a little bit of a responsibility

because we had such a megaphone within this world.

And I was hugely passionate about indie music.

2002, and I'm digging through all of these CDs,

and I come across Broken Social Scene,

You Forgot it in People, and I'm like,

"God, that is a terrible band name."

From the moment it comes on, that record is amazing!

It's got this lush, beautiful intro,

and then it just kicks in and it doesn't stop.

♪ And they all want to love the cause ♪

♪ They all need to be... ♪

I think I gave it a 9.1 or a 9.2,

something just over a 9.

At this point, though, Pitchfork's readership is maybe,

like, 50,000 people a day.

50,000 a day seems like a lot.

I didn't have the internet.

I didn't have a cell phone.

Suddenly, this website changed the game for us.

So when Pitchfork slaps a 9.2

on this unknown band from Canada with a weird name,

it really piqued a lot of people's interest.

Like, "Who the fuck are these guys?

"You know, they're not Wilco. They're not Radiohead.

"I need to seek this out right away."

It was timed so well that two months later

we were on the road, and everywhere we went

it was basically just sold out.

We were excited about,

you know, playing around town.

Suddenly, you can just play anywhere in the world.

We caught America so off-guard

that Canada snuck in somehow with the indie rock explosion.

This record was growing.

It was global.

It was getting bigger and bigger and bigger.

All the shows were sold out.

These festivals that we played, like,

early days in Europe, were just like that phrase,

like just a rag-tag group of kids, you know?

Holland, Holland.

Jimmy in Holland.

And when you're all new to the game,

everyone's new.

Like, even Jeffrey had never managed a band before.

He had worked; he was label side.

It's not easy.

We got a bag of those?

Everyone was trying to figure it out.

What can we afford?

How many people could we afford to bring?

It was usually like "one more musician versus lights,"

was typically how it all went.

No one knew what the fuck we were doing.

You guys got an adventure.

Yeah, I'm all for that.

Seeing the world through this shuttle bus

scenario of teenage heartbeat, summer camp, music.

We have a successful record.

It catches heat in America, then it catches heat in the UK,

then it catches heat in Europe, and then you're going to Japan;

you're kind of playing catch-up.

And then, you know, we also gotta get

the next record out the door.

When they had to make the follow-up record,

what became the self-titled record,

they would jump into the studio when they had, like,

an extra spare day off.

We didn't have that sort of consistent window

in their creative process at that time.

- Can we hear that, too? - Yeah.

So just let it ring.

The beat's so groovy in this, man.

Justin, I know I talked to a lot of bands

about how when they heard his rhythms,

it changed the way they wanted to play.

Hey, you know what, guys?

Do another version, and remember, this time,

it sounds so good when there's lots of space, too.

You too, Brendan. You hear that, too?

- Yeah. - So just let it ring.

You've got a producer like Dave Newfeld

colouring in a lot of the lines when we would go on tour,

and we'd come back and we'd be like, "Oh, this is great.

"This sounds like your song now."

He wanted everything to sound as great

as it possibly could, and it was intense,

but then the results, and just being around that energy,

it worked.

- We were very burnt out. - At that point?

What about now?!

I think we'll always be burnt out, too.

It seems to be the way I'm looking for.

I don't want to tour this fall, but Canning...

Canning's insisting that we're going to.

It's back to school. It's back to school.

Back to school. Apparently.

All you ask for in life

is just to try to make it simple,

and this band is not that.

Kevin and Brendan had to be at the whim

of these other entities that were ambitious.

Metric...

I'm gonna play a coliseum in Croatia.

The timing couldn't be worse. It's writing.

Stars...

We're goin' away on Friday.

Feist...

They had people, and then they didn't.

By this point, Broken Social Scene had hired

Lisa Lobsinger to be the female voice of the band.

Emily, Amy, and Feist weren't available as much.

But Lobby sort of came

and allowed us to continue on,

and she sang other people's songs,

and she took on a lot.

Some of the best times I had on the road were with her.

I think the original architecture

of what Broken Social Scene was wasn't a band, but it was,

"How do you tour this thing?"

I'd see a tour announcement come up

and I'd look at the tour and call up Kevin and be like,

"Alright, man, I'm gonna come to LA, San Diego,

"I'll do New York, Boston,

"as long as it's a tour bus, I'm gonna take three days off,

"and then I'm gonna do the three European festivals."

And he's like, "Sure, man. I'll make it work. For you."

Super hungover!

Now you've got

all these ego-driven personalities,

myself included; it's tricky manoeuvring.

You never know who's gonna show up from tour to tour.

There was a tour we did where, like,

Emily, Amy, Leslie, none of them were available.

It was pre-Lobsinger.

And so, we solved this problem

by getting the promoter in each town

to find a local woman singer.

We did it in Singapore.

We did this in Mexico City.

Yeah, you know what I'm talkin' about.

- Hi, Chungie. - Hi, Stevie.

Um, how should we do this?

We could do a song each.

But it's kinda nice for "7/4" to have everybody sing,

it's comin' in hard, and stuff like that.

Yeah, "7/4"...

- We can all sing! - We can have both of you, yeah.

And then "Almost Crimes," you can kill it.

- Okay. - Awesome.

We gotta get some horn players.

We're just gonna go to Mariachi Square

and try and find some.

They want 3,200 for the whole group.

They won't separate. And that's for an hour.

- We need a Plan B. - Yeah.

We need horns, man. We need horns.

- What happened? - Three.

200 bucks, and they're gonna stay for the four songs.

They're gonna be there at 11, too.

I can't believe we just got some guy.

Five, six, seven, one, two, three, four, five, six, seven.

- That's it. - That's it.

That's one song!

- That's all there is to it. - That's it.

Do you have it in writing?

I don't. I can try and write it out.

That sprawling collective

of a revolving door of musicians coming and going,

that's hard to sustain.

'Cause it's in trumpet language.

I can transpose it.

It's really difficult

to put that much chaos on stage.

You can't just remove the chaos because it's built on chaos.

It was a little much.

It was a little much.

Social Scene has never been able to control

our presentation of ourselves.

We've never been able to do it.

♪ It's a shoreline ♪

♪ And it's half speed ♪

♪ It's a cruel world ♪

♪ And it's time... ♪

Our lives were just kinda like...

They were away a lot more. I was doing things here.

Brendan and Kevin got what they wanted:

they were able to survive off their art.

They were given more access to keep creating and doing things.

Thank you so much, everybody!

I had two kids at that time,

and hangin' out with your buddies,

smoking pot and taking pictures,

was just not gonna happen at that point in time.

That's not a job.

No! You guys were jettin' all over the place.

Nine, ten... Check, one, two...

Everybody's hungry, so I have 20 meals

being brought over to the Q101 stage.

We're all leaving here right now on golf carts.

Lollapalooza in 2006

was a very special moment for this group.

A lot of people like Emily and Feist and Amy

had been off touring with their own bands and projects,

and this was a rare occasion for everyone to come together

at one show, which is something that wasn't happening

a lot back then, and hasn't really happened a lot since.

And it was just this magical moment

where you've got tens of thousands of people

completely going on this emotional journey

that a Social Scene show takes you on.

Are you guys ready for one of

our final bands tonight?

Chicago, give a warm welcome...

to Broken Social Scene!

We've got 45 minutes to play our guts out for you tonight,

so here we go!

Thank you so much for doin' this for us.

One! Two! Three! Four!

["Ibi Dreams of Pavement"

by Broken Social Scene]

♪ Well, I got shot right in the back ♪

♪ And you were there, you were there ♪

♪ I said I was never coming back ♪

♪ And you were there, you were there ♪

♪ Well I know the eyelids are under attack ♪

♪ You were there, you were there... ♪

This is the part where you gotta cheer with us,

because we are alive, Chicago!

Lots of fucked up things goin' on right now,

so let's just cheer for ourselves, alright?

On the count of three, cheer as loud as you can.

One, two, three, go!

Last chance, here we go.

One, two, three, scream!

Enjoy your lives.

We are, and will always be, Broken Social Scene.

Goodnight and thank you for this.

This was incredible.

One more song!

One more song! One more song!

One more song! One more song!

One more song! One more song!

Oh my God!

70,000 people!

I think we're done!

♪ Does it come in cages? ♪

♪ Does it come in threes? ♪

♪ Shipping on our time ♪

♪ Shipping on our seas ♪

♪ Never the carpet ♪

♪ Never the key ♪

♪ Art can fail you ♪

♪ Not for me to believe ♪

♪ And I won't be leavin' ♪

♪ And everyone can see ♪

♪ There's a dirty cheque stub ♪

♪ I know, I know they're free ♪

I remember the band broke up

over and over again.

Like, "This is our last show!"

"No, this is really our last show!"

We didn't like the idea of chasing our dreams or whatever.

It was just like we're living it.

This is what we do.

I, uh, I gotta say my heart is...

Are you nervous?

Not nervous, it's just, we sound like shit on TV, so...

You know, when you don't rehearse and you just hang out

and you're always on the cusp of breaking up,

you've gotta take some pavement licks.

I realize, like, Social Scene,

we just did stuff out of friendship.

I don't necessarily know if that comes across well on TV,

because TV makes everybody think

that that's how it's supposed to be.

Hey, there it is right there. There's the Late Show building.

What do we do? How do we get in?

Uh, we just go around the corner.

Big day coming, champion.

Big day.

Into the homes of fuckin'...

Millions.

Here we go, 219.

- Justin. Nice to meet you. - Hi!

- A pleasure. - I'm Kevin.

- How are you? - Very well.

Hi!

Meet the band: there's a lot of us!

Our next guests are an acclaimed band

from, uh, Toronto. Great city.

Uh, this is their current self-titled CD.

Please welcome Broken Social Scene!

♪ Fire eye'd boy gave them all the slip ♪

♪ Fire eye'd boy gave them all the slip ♪

♪ If you're going to come, you better make it quick ♪

♪ Fire eye'd boy gave them all the slip ♪

- Oh, wow. That was good, B. - Yeah.

That's the big time.

David Letterman.

- We work hard. - Yeah.

And there's a lot of fuckin' whatever they are.

- That's tuna. - That's a crunchy bun!

- That's stale, dude! - I guess.

That's stale, isn't it?

Yeah.

I got this stuff on.

Yeah, like right up in there,

there's some nice reflections happening.

Yeah.

Christmas trees.

All the lights and the Christmas trees.

Yeah!

Woo!

I think it's I'm either sick,

or I'm struggling to, you know, maintain some sanity.

I mean, yeah.

Everyone knows what they've gleaned

from their own life experiences.

This bizarre job that we have stumbled into

gives us a strange sense of our opinions

needing a microphone.

Playing in the band,

it's half existential crisis and then half celebration.

It's like it's all the things.

It's all the things 'cause you're just...

You have to meld into this one organism.

♪ It's a cruel world and it's time ♪

♪ It's coming, it's coming in hard ♪

♪ It's coming, it's coming in hard... ♪

♪ It's coming, it's coming in hard ♪

♪ It's coming, it's coming in hard... ♪

♪ It's coming, it's coming in hard ♪

♪ It's coming, it's coming in hard... ♪

♪ It's coming, it's coming in... ♪

People who were kids

had to grow up a little bit.

It's all gonna break.

That's what we were experiencing.

And it's a bit fucked up

at that point, I imagine.

- It is, yeah. - Yeah, yeah, so...

The honeymoon's over, man!

- At that point. - Yeah.

Definitely.

♪ The worst things I thank you for... ♪

Having friendships that are so deep

that you get called out in ways that you can

actually develop and grow.

That's why you make music,

to find out who you are.

It's just, it's too hard

to put into this one little box.

Can't we make the song instrumental?

Yeah.

You two guys, outta here!

♪ Fire eye'd boy gave them all the slip ♪

♪ Fire eye'd boy gave them all the slip... ♪

The group is this plastic, ever-informing,

ever-influencing and de-influencing each other,

but that's not the story.

And the only reason why I'm in with you in this movie now

is because part of the story is about you growing up

and your intersection with this group of people making art.

I feel like I didn't grow up until I had kids.

I never saw somebody flip the script

and go and work harder than you.

When you had Quentin,

that's when we first started to not see you that much,

and then when you had Miles, you were gone.

- Yeah. - You were just like,

"I have to provide for my family."

So you finish this, like, rough cut of the film.

What happens after that?

They said... I can't even remember, but...

I wish I had the email still. It disappeared.

I want to say it felt like they said,

"This movie will never see the light of day!"

There was lots of really great footage,

but I just didn't feel like there was enough of a story.

He knew I was fuckin' devastated, I guess.

I needed to make it up to you!

And you needed a second to just recalibrate, too.

Yeah.

'Cause, like I said, you were working so hard,

and those party days were over.

Yeah.

The seven years I knew you before

You Forgot it in People came out,

we were religiously listening to Pavement.

Here we are in Seattle.

Scott Kannberg,

who is "Spiral Stairs" in Pavement,

had invited me to come and stay in his home

for a few days in Seattle, and I wrote him back and said,

"Can I bring my friend Stephen?"

We would love it if you could show some footage of

what we've done since we've been here.

He told me that you said that.

I don't know that. I don't believe it. Really?

Episodes...

Here we go, Stephen Chung and Spiral Stairs.

Are we spoonin' tonight?

We need to spoon!

- Hey, look at that. - We're on.

- You know you'd love to. - Yeah.

But you can't.

Of course you can. Andrea would let you spoon me.

Come here!

How can you think that you can capture someone,

within taking photographs and filming things?

That's not ever capturing somebody's truth.

We went down there.

He gave us these rare Pavement...

Dude, he gave me the motherlode.

And I saw Scott giving him these vinyls,

and Stevie just took 'em and he just said,

"Thank you very much!"

And I thought to myself,

"You're gonna be okay!"

Yeah, that's right!

Kevvy gets somethin' in the end!

- I'm okay. - I'm okay.

I'm okay.

Goodbye, goodbye. This is ours. This is ours.

It was a lot of fun.

Thanks for filming it all, Stevie.

Then I didn't see you much after then.

You went off and did your life.

And I went off and did mine.

What this band and this record

meant for people,

like, I think you can only see that looking back

with some time and distance and some perspective.

The fact that we're sitting here today is filled with optimism

that the answer you got in 2007 was not, "No,"

but it was, "Not now."

They were right.

The story wasn't ready.

It wasn't ready.

Like every band, it's always changing.

There is no such thing as BSS.

There is no such thing as Do Make Say Think.

There is no such thing as bands.

Like, it's fuckin' people.

I'm curious why you felt like you needed to make this movie.

Um, great question.

It was just like, "This is the time,"

and I want to make a movie, and it's about this.

It's evolved, it's changed, but it's still, you know,

it's really about my relationship with these guys,

this group of amazing people,

this creative collaboration and friendship and love

and just having a good time together and being creative.

They want to have the same traditional story

of how bands work, and it's bullshit because for us,

we had ups and downs and lefts and rights

and all kinds of things,

but we also had so much fun. It was so much fun.

The thing that hasn't changed about this band

is they're still the best of friends,

and they've been through a lot of, you know,

roller coaster drama to get to this point.

Goin' strong, 23 years later.

Everyone told us we were gonna break up.

We didn't; we're still here.

I have to say thank you.

Oh, you're welcome.

Because you've given me the time, you've welcomed me in,

and you just let me live with ya.

You gave us memories, Stevie.

You gave us memories about things that

I would not have remembered and...

No, I certainly would not have remembered.

No. And people say, "Don't look back,"

but I disagree with that.

I say look back so that you can know

how you continue on moving forward.

It was really cool to get on this journey with you again,

as annoying as it was.

In the end, it's always worth it.

- Cheers! - Cheers.

- Cheers. - Don't spill it on the Neumann!

Yeah!

There you go. I stand corrected.

Chungie, that was so much fun, man.

Yeah, that's the only way.

You wanna resume with that quickly

and then move on? - Yeah.

And then he goes, "That's how we broke up!"

The documentary's comin', buddy!

It's like, slow; I like it all that way.

♪ I like it all that way. ♪

♪ I like it all that way. ♪

Yeah. Just to get nit-picky.

Do this! Brendan!

Say goodnight, everyone.

Goodnight, everyone!

And I'll see you in a couple days.

See ya!

I thought I did it, dude, and if I didn't,

then I'll never do it.

I know, but it's...

♪ I like it all that way. ♪

That's just the way you used to sing it. It's sorta...

How am I singing it now?

You're like...

♪ I like it all that way. ♪

- ♪ I like it all that way. ♪ - Yeah.

Alright, let's try again.

- It works? - Yeah.

Great.

It's a big show!

It's the big show!

It's the big show...!

It's the big show!

Sing it if you know it, come on.

♪ I like it all that way ♪

♪ I like it all that way ♪

♪ I'll keep them out girl, yeah, I'll keep it true ♪

♪ I'll do anything inside the skin of you ♪

♪ Because I know that the sound of your heart

is a god I can trust ♪

♪ Like a man, not a boy, ♪

♪ I don't love, I just fight

with the violence in ourselves ♪

♪ It's all... ♪

♪ Gonna break! ♪

♪ It's all, all, all, all, all, all, all ♪

♪ All, all, all... ♪

♪ All, all, all... ♪

♪ Gonna break! ♪

♪ And you all want the lovely music to save your lives ♪

♪ And you all want the lovely music to save your lives ♪

♪ Keep it coming, there is no lie to save your life ♪

♪ Keep it coming, this is the lie to save your life ♪

You were asked if the band was breaking up;

you said, "You can't break up something

"that's already broken."

- Right! - You remember this?

- No. - No?

The only way you could destroy it is to actually fix it.

Wow, I went-- I knew things long ago, apparently.

Well, yeah, what I said then.

I hope they don't fix it, then.

I hope this movie doesn't fix it.

♪ Used to be one of the wretched ones

and I liked you for that ♪

Used to be one of the wretched ones

and I liked you for that

♪ Used to be one of the wretched ones

and I liked you for that ♪

♪ Now you're all gone, got your make-up on

and you're not coming back, can't you come back? ♪

♪ Used to be one of the rotten ones

and I liked you for that ♪

♪ Used to be one of the rotten ones

and I liked you for that ♪

♪ Used to be one of the rotten ones

and I liked you for that ♪

♪ Now you're all gone, got your make-up on

and you're not coming back ♪

♪ Bleaching your teeth, smiling flash ♪

♪ Talking trash, under your breath ♪

♪ Bleaching your teeth, smiling flash ♪

♪ Talking trash, under your breath ♪

♪ Bleaching your teeth, smiling flash ♪

♪ Talking trash, under your breath ♪

♪ Bleaching your teeth, smiling flash ♪

♪ Talking trash, under my window ♪

♪ Park that car ♪

♪ Drop that phone ♪

♪ Park that car

♪ Drop that phone ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me... ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone... ♪

♪ Park that car, drop that phone ♪

♪ Sleep on the floor, dream about me ♪

♪ Park that car, drop that phone ♪

♪ Park that car, drop that phone ♪

♪ Park that car, drop that phone... ♪

♪ Used to be one of the rotten ones

and I liked you for that ♪

♪ Now you're all gone, got your make-up on

and you're not coming back ♪