Original subtitles

WARREN: I remember we sat and listened to the songs, and,

there was something incredibly eerie about

the first track Jesus Alone,

sort of had this line, "He fell from the sky, crash landed".

MAN: Do you wanna just tell me the story?

WARREN: I mean I don't really know because I can't imagine

how you never get such a thing.

And, you know, I just can't even

fathom it. Um...

And watching this happen to people that you love,

is um... It doesn't even...

I don't think even... lets you any, gives you any insight

really into it. Because, there's a step within,

you can't go.

But, it... it feels like...

for Nick or somebody who's created all his life, um,

it feels like... [INDISTINCT MUMBLING]

Can we stop right there?

MAN: We have to re-calibrate, this is out of focus.

It's not usable at the moment.

I know. Calibrate focus please.

Sorry. That's alright, man.

Are you... Let's cut it.

Alright, do you want me to hop out? Yeah.

Yes please. Could you? Do you want me to get out too?

Yea, we'll get out. If you wanna stretch your legs.

Yeah.

MAN 1: Mate, I'm sorry.

MAN 2: It's shocking man. It's shocking, it's terrible. This is not what I...

-what I want you to... - To be honest I find this really hard, because,

- I've never discussed Nick's private life, um... - Yeah.

Or anybody that I know. I don't sort of, discuss it like this, and, it feels like this is

-something that gotta come up. You know? - Yeah.

Um, and so there's a part of me that feels very protective.

That's where's it's hard to strike a balance, you know.

Like, I can... you know,

I don't wanna go and tell you what I saw when I went there,

and all this, I don't wanna tell what I felt because,

it just feels like... that's...

that's like, private, you know.

Uh, I just... Warren sent me something yesterday.

MAN: Uh... emailed a friend...

um, last night.

I shouldn't go in first, because I get in before...

Uh...

[FOOTSTEPS]

We've all gotta get behind you.

Um, I don't know.

WARREN: And, I was mentioning how time

felt elastic these days.

Alright so we need to go this way, mate.

[INDISTINCT]

WARREN: And he emailed me back...

uh, a very excited and lovely email.

Where he spoke about um, the idea that all things were happening...

Is this um...

WARREN: all the time.

Is this okay to wear in the studio, do you want me to put a shirt on and stuff?

Uh... Textually,

textually that's not the greatest thing. Okay.

Yeah. Okay.

Okay, come on, let's uh... begin to film this. Alright. Yeah, we're filming.

We never stopped.

Okay. So, try and get both Nick's.

WARREN: All past present and future, are happening now.

Right now.

And then if you just... Yeah, great Nick.

WARREN: That basically a caveman, was clubbing a female mate,

[CLANGS]

Uh, at the same time that astronauts, or scientists trying to...

work out how to colonize Mars.

[FOOTSTEPS]

WARREN: Now...

that is encouraging right?

And, I think he meant well. But, it's not true because...

it's not true...

because...

We need an exit. I know.

It's to the right.

Hey, you see there's another Nick in the mirror there... Yeah, there.

Wait till he comes back in.

WARREN: If everything was happening now...

Nick. NICK: Yeah?

How do you feel about us having another go at that?

WARREN: I wouldn't be sitting here

waiting for the film crew to work out how to work...

MAN: Yeah, we'd really appreciate another go.

WARREN: this ridiculous 3D black and white camera.

NICK: Uh, alright.

Okay.

WARREN: Right now nothing is happening.

MAN: We won't do it a third time.

Okay, so what do you want to do?

Basically, everything you just did was fantastic, okay?

And? We'd really appreciate another go.

You know what I'm saying? Um... so, I have to undress again?

MAN: Undress, yeah.

Now, let's go back to it, eh? Do you want to do it a bit slower?

I see the focus, guys, you need to focus guys.

[INDISTINCT CHATTER]

MAN: I mean obviously your songs have become

a lot less narrative.

Uh...

Yeah. The other half. Yeah, and...

do you have uh, is there a reason for that?

Well, yeah... Yeah I mean,

I think um...

maybe there's...[STUTTERS] maybe some serve a certain need,

and, I think I probably needed uh, on some level

a kind of narrative in my life that was...

kind of predictable and had it's...

had a kind of logic to it.

NICK: So, I wrote stories and,

they seem to hold everything together. Um, in a particular part of my life, for a long

part of my life

where things needed to be held together. Um, but, I don't believe in the narrative

anymore. I don't... um...

I don't actually believe that that's what life is like.

And, that there's

a pleasing resolve and all of that sort of thing to life.

I... I... I just feel that

to do fractured narrative, uh, a thing where, uh...

where time is actually compressed,

um, events uh...

stuck on top of other events. There's no particular logic to it. Um...

or, a distressing kind of logic,

um, makes it, um...

it's much ore real that true to the way I feel about things.

So, um, this is just sort of directorial...

uh, tactic, to make us all pissed off.

What, you're pissed off? [LAUGHS]

No, roll.

To get us all edgy in the morning.

WOMAN: Should we put your bags in front? Yeah, thanks.

Not at all. It's actually just a... this is...

Thanks, Nick.

We're rolling right?

[DOOR CLOSES]

So, um, everything we say...

is taped?

It's all. Unless we pull out the plug.

Yup.

Okay.

NICK: I think it's the nature of songs to um... have an insight into things

that we don't consciously have because, largely they come from

the unconscious. Yeah.

Which is a king of reservoir of knowledge and understanding that"s far beyond what

we consciously are aware of.

I've got this...

stuff that we did in Morwan here,

when we were going through it.

And, maybe we can just go through

these, and look at them.

What? Yeah, let's change it a little bit.

Yeah, but it... Well, you know, we can add But um...

or subtract and then...

But actually, with Jesus Alone, should we go back to that,

um, you know, we talked about going back to the earlier version of it.

Yeah. That's less... okay, good.

NICK: So, songs an often uh...

appear to foretell situations in

the same way as dreams maybe, are able to...

um... have, uh...

have a kind of prophetic nature sometimes.

Susie, for example, is hugely superstitious,

about my songs. Um... Yeah.

That there being a canary in the coal mine kind of thing that there's some...

Because, if... Exactly. Yeah.

But, you know, and I... I... Like I said, I don't think

that this is a unique to what I do. Although I

write a certain type of song, that has a certain element

of, uh, anxiety, and dread, and anguish...

Yeah. To them in their nature.

So, it can... it can...

foretell, um...

uh, they can foretell, um...

certain events.

[SYNTH PLAYING]

[SWITCH CLICKS]

[SWITCH CLICKS]

Right. Hey Jake!

This is the vocal that you didn't do at La Frite. NICK: Yeah.

NICK: Yeah but, I just patched up this... Yeah.

So, um, is this before it's being...

Before it's being... put in time?

Yeah.

* You fell from the sky Crash landed in a field Near the river Adur

* Flowers spring from the Ground Lambs burst from the Wombs of their mothers

* In a hole beneath the bridge You convalesced you Fashioned masks

* You gave them names You gave them names

* With my voice.

It's better there.

* I am calling you.

And, I'm playing the piano at the same time. Yeah.

And, because it's just opened up a bit more there.

This feels like...

It does need the piano right? Cut the piano here.

We could do the piano separately. Yeah, yeah.

Edit over done piano, and all those sorts of.

"Ooh's", and "Ah's", and all that.

*You're an African doctor Harvesting tear ducts *

That has a, I mean a... I have to listen to the other one, but this...

definitely has a sort of, intensity about it.

Yeah. There's something the vibe just builds in it and it becomes hypnotic and stuff

and, the other one feels like a song. It Feels... Yeah, okay. So...

The vocal needs to be fixed up, because there's... Yeah, it goes in and out.

Just mumbo-jumbo on it.

Well, it's kind of ad-libbed.

Right. A bit, a bit. You know, a lot.

And then...

In La Frite we kind of put it on one.

The one was actually... it wasn't...

We never even knew where the one was.

It's coming in the wrong spots. At least we all had a different opinion.

As we often do. [LAUGHS]

It felt like it... You've never heard that one before.

[LAUGHING]

One! Should there be a vocal before we do anything else?

WARREN: Uh... Yeah. Or, maybe we don't need a vocal before.

I think the vocal would give us the kind of... the energy,

Um... Right.

And what to do, so that you feed off...

You know, you working off like...

[VIOLIN STRUMS]

Oh, that's it? Yeah.

Incredible wasn't it. Aluminum.

I'm incredible.

3000 Dollars.

[LAUGHING]

You bought it? Yeah.

It sound good? Nah, it looks awesome.

[LAUGHING]

[VIOLIN STRUMS]

[VIOLIN TUNING]

NICK: This is difficult. This is really fucking difficult.

It is.

Doing and over dub-vocal, is some kind of torture.

And it's something that I really try and avoid.

I do everything I can to get the vocal down while

the basic track is being recorded,

you know. That we just all do it together.

WARREN: There's something more hypnotic about this one and kind of more...

meditative or, something. And it kind of has a...

Feels a bit more mysterious or something.

And, also the kind of fact that the stuff doesn't just come in on the one,

wait, feel it comes in somewhere,

there's some more space for the kind of backing...

to kind of come through.

[PIANO MUSIC PLAYING]

WARREN: C?

No. WARREN: What's that one?

NICK: I don't know what the chords are.

I have to hear it on...

Nick, you wanna play piano right?

NICK: I don't know what the chords are.

I don't know. I don't know yet, because,

I don't even know what the chords are.

NICK: They keep changing all the time.

[PIANO MUSIC PLAYING]

NICK: I mean, I played the chords originally.

But, there seems to be an endless variations on the circle.

Oh fuck it. I don't know what that is. So, no, I won't be playing the piano.

[CHUCKLES]

And, there seems to be a bit weird to be trying to work out the chords,

to an improvised song anyway.

Don't you think?

* I am calling you

* With your voice

* I am calling you

I should have strengthened my voice.

* With my voice

* With my voice My voice

* I am call, call, call

I should have sung more before I came into the studio.

* I am call

I knew that at the time.

Okay.

Alright.

WARREN: I'll come out okay. Yeah.

NICK: I think I'm losing my voice.

[PIANO MUSIC PLAYING]

[PIANO MUSIC PLAYING]

Just find it into lost things.

My voice.

My iPhone.

My judgment.

[PIANO MUSIC PLAYING]

My memory maybe.

Fuck.

[PIANO MUSIC PLAYING]

And, isn't that the invisible things?

Lost things...

that have so much mass,

and so much weight.

[PIANO MUSIC PLAYING]

Alright.

NICK: And, are as big as the universe.

[JESUS ALONE PLAYING]

* You fell from the sky

* Crash landed in a field Near the river Adur

* Flowers spring from The ground Lambs burst from The wombs of their mothers

* In a hole beneath the bridge You convalesced, you fashioned Masks of twigs and clay

* You cried beneath The dripping tree

* Ghost song Lodged In the throat of a mermaid

* With my voice

* I am calling you

* You're a young man waking Covered in blood that is Not yours

* You're a woman in a yellow Dress Surrounded by a charm Of hummingbirds

* You're a young girl full of Forbidden energy Flickering in the gloom

* You're a drug addict Lying on your back In a Tijuana hotel room

* With my voice

* I am calling you

* With my voice

* I am calling you

* You're an African doctor Harvesting tear ducts

* You believe in God, but you Get no special dispensation For this belief now

* You're an old man sitting by The fire, you're the mist Rolling off the sea

* You're a distant memory in The mind of your creator Don't you see

* With my voice

* I am calling you

* With my voice

* I am calling you

* Let us sit together

* Until the moment comes

* With my voice

* I am calling you

* Let us sit together In the dark

* Until the moment comes

* With my voice

* I am calling you

* With my voice

* I am calling you

* With my voice

* I am calling you

* With my voice

* I am calling you

[INSTRUMENTAL MUSIC PLAYING]

[MUSIC FADES]

WARREN: Cool! Nice.

WARREN: That's a good one, and a longer. It's good.

Great. Cup of tea?

WARREN: Do you feel that the lack of narrative allows you to get the something...

as wide a... I just don't think, I don't think, uh...

life is a story.

Yeah. You know, that... that hasn't,

I mean, we all hope it is. Yeah.

Um...

We all... It kind of is, I have to say.

It kind of is a story.

It's the same story for everyone. [CHUCKLES]

In a way It... In a way but, um...

the arc can be very different and it's not necessarily, um...

um...

yeah, yeah, I guess...

you were born, and you die.

Um... Well you gradually...

decay. Gradually decay.

Yeah, which is...

I mean, that what I feel like I'm dealing with.

And, you're ten years ahead of me.

Um...

you decay and you sort of diminish.

Um...

WARREN: Do you really feel that way?

Yeah. In what sense?

Um, that the struggle to... to do what I do is um...

it just requires more effort.

Was he ready? Yeah.

Alright, mate. What from?

Were do you wanna go from, boss?

WARREN: I guess the second, uh...

the second... no, verse. Chord?

Second verse, okay.

NICK: Most of us don't wanna change.

Really.

Does that went away?

That did... What happened when you,

when you came in, 'cause it went away. Now, it's come back.

NICK: I mean why should we.

WARREN: Has it moved back or, is it a cable? Was it when you lifted up the cables, John?

Lift up the cables.

NICK: What we want to do is...

to sort of modific... modif...

modify...

Yeah. Yes. Stop, what've you done there?

NICK: Most of us don't want to change.

Whatever that cable is, that's the one.

NICK: What we do want is sort of, modifications on the original model.

[VIOLIN PLAYING]

We keep on being ourselves but just...

hopefully better versions of ourselves.

But, what happens when...

an event occurs that's so catastrophic

that we just change from one day to the next.

You change from the known person,

to an unknown person.

So that, when you look at yourself in the mirror,

you recognize the person...

uh, but you won't...

but, the person inside the skin is a different person.

NICK: So that when you go outside...

the world is the same.

But, now you are a different person and you have to

renegotiate your position in the world.

WOMAN: a bit. Going for G here...

Yeah. We can do it.

Okay. NICK: For instance...

I think D-F-G, D-F-A seems to...

NICK: when you go into a shop

to get cigarettes, because this new version of yourself

smokes, and the shop owner says, "How are you?"

And you don't know how to answer.

Or, when you meet a friend on the street, who says some kindness.

Uh, the... they don't really work on the choruses because,

they connect to the...[HUMMING] Yes... maybe it should be...

it's like a "boom".

NICK: And, suddenly you are crying in their arms for ages.

And, then you realize that the person is not a friend at all.

I think it's... we're saying the same thing... Like a boom?

[HUMMING]

They're doing the "waa". Then I'm planning to wind up.

Yeah.

NICK: But, someone else that you don't actually really

know very well.

I wouldn't put any more emotion into it.

Or, you go into a bakery to buy a loaf of bread...

let's say.

And, you're standing in the queue,

and someone grabs you by the arm and says something,

with their kind eyes...

[PLAYING CELLO]

But, you can't work out what they've said because the new you can't hear very well.

And, so, you say "What?"

But, too loudly and angrily,

and he says,

"We are all with you, man".

And you look around and all the bakery is looking at you with kind eyes.

And, you think that people are really nice.

But, when did you become an object of pity?

[TECHNO MUSIC PLAYING]

As soon as I walked in here, I got this spike of agitation. You did?

How come?

Has anyone seen my pen?

Thank you.

Um, yeah.

Um...

did you print out the words that I sent, or the words...

This is what you sent. Yeah. Did I?

Um, okay.

Yeah, um...

No, because you don't have any...

What if I've got them on my computer?

Do you have a printer?

NICK: Here I am, the moonlight man, with my six shooter and Steve McQueen,

call me a cab, I'm not that kind of a guy, I have a dream.

Sometimes I the elevator to the top of the Burj Al Arab

and shoot my guns across Dubai.

Bang, bang, bang, I'm that kind of guy.

I know.

But mostly, I curl up inside my typewriter... curl up inside my typewriter and wish

that I can die.

Your legs are so long, they should come with their own elevator.

Don't worry, darling, I'll be coming around, see you later.

Have you guys sang them differently,

or, something like that, um...

[INDISTINCT]

Because, between you and me and my best friend, the housefly...

I'm Steve McQueen with a big beautiful dream.

I am god.

I am God, thinking about God, thinking about Steve McQueen.

Oh, yeah, great.

It's for me the sirens and the sylphs do their twilight pining.

On Saturday night. I woke on someone else's stomach lining.

Up and down this street, call me a cab.

Call me a cab.

No I'm a housefly called God and I don't give a fuck.

Right, that's it. Go on.

Here I come up the elevator, sixty floors hoping I don't get stuck.

And everyone out here does mean And everyone out here does pain.

But, someone's got to sing the stars.

And, someone's got to sing the rain.

I'm the atomizer.

I'm the vaporizer.

I turn everything to crud, I like it here in flesh and blood.

I'm the elevator man, don't you see?

You're a spine lashed, long legged lovely young thing.

Call me a cab. I'll drive to the top of the Burj Al Arab.

And, fire my guns across your stomach.

Because, someone's got to sing the stars, and someone's got to sing the rain.

And someone's got to sing the blood. And someone's got to sing the pain.

Watch out you fuckers.

I've got my six shooter and my housefly on lead,

I'm Burj Al McQueen.

And I'm coming to make every last one of you bleed.

How are you, Jim? I'm alright, thank you. How are you?

[LAUGHING]

Got your beard back, mate. Yeah, yeah.

I thought I'd grow it just for the show.

What about continuity?

Fuck continuity.

Fuck continuity.

God is great, chances are God is good, well I wouldn't go that far

[INDISTINCT]

C to B Flat.

I'm Steve McQueen the atrocity man.

* You wanna bleed on me.

And sing too, Jim.

* If you wanna bleed Don't bleed *

NICK: With my strap on blood pondered dream...

* If you wanna bleed Don't bleed

* Step away.

NICK: But, mostly curl up inside my typewriter with my housefly and cry.

I tell my housefly not to cry.

My housefly chose me not to die.

Because someone's got to sing the stars,

and someone's got to sing the rain.

D minor.

And, someone's got to sing the blood.

And, someone's got to sing the pain.

Okay.

[INDISTINCT CHATTER]

[CLEARS THROAT]

NICK: Look at him.

Holding everything together.

NICK: Is my hair alright?

Fucking, never been better.

Best it's ever been. Best it's ever been. Huh? Best it's ever...

It better be. Fucking, proceed with absolute confidence.

NICK: What would I do without Warren.

If it's not...

[PIANO MUSIC PLAYING]

MAN: Cut! Cut!

MAN: Three-Four minutes.

NICK: We should do one, we should do a take pretty soon.

Or we're gonna lose the essence of the thing.

Because I can the whole mojo slipping away. WARREN: Yeah, it's getting

cold. NICK: We're getting bored, irritable.

Can I hear, can I try that out just with the backing track please, Jake.

What's the time line?

[INDISTINCT CHATTER]

NICK: 'Cause it's too loud.

[PIANO MUSIC PLAYING]

[CHATTERING]

Tishi, see that guy? Tishi.

That means, go to... The cameraman, was like, Tishi.

Did you show him his camera? Yeah, yeah, I showed him a photo.

Spooky.

NICK: Warren just pointed out how much the photographer looks like.

Tishi.

Tishi is another photographer.

MAN: Hang on. [INDISTINCT]

Who has like shaggy hair and a beard and...

Bad backs are coming back. Yeah, mate.

NICK: Lived most of his life in the streets, of his home town.

In the Czech Republic.

He took photographs of women, with a camera

that he made himself.

They are...

really wonderful photographs.

Like stolen moments, of women in over many

amazing facets.

I mean, many amazing facets.

Women have more facets than men.

Men are... [LAUGHS]

Men are pretty much two dimensional.

And women are,

like, fucking 3D.

My wife is spectacularly three dimensional.

But, every time I try to, um...

get a handle on her,

and to put her into focus,

she shifts and changes, and becomes someone else.

Or worse, she steps out of the frame entirely.

And...

I'm left with a hovering

ghost, in which... that's...

burned on my retina.

Like I've starred into a spotlight.

And closed my eyes.

Eventually she steps back into the frame,

and I pull her back in focus.

But, she's changed because she's been

out there, communing with the dead.

[SIGHS]

[GIRL IN AMBER PLAYING]

* Some go and some stay behind Some never move at all

* Girl in amber trapped forever Spinning down the hall

* Let no part of her go Unremembered, clothes Across the floor

* Girl in amber lumber slumber Shuts the bathroom door

* The phone, the phone The phone it rings, it rings It rings no more

* The song, the song, the Song it spins since nineteen eighty-four

* The phone, the phone The phone it rings, it rings It rings no more

* The song, the song It's been spinning

* Since Nineteen

* And if you want to Bleed, just bleed

* And if you want to Bleed, just bleed

* But if you want to leave Don't breathe

* The world just step away

* And let the world

* And now in turn, you turn You kneel, lace up his shoes Your little blue-eyed boy

* Take him by his hand Go floating down the hall

* I get lucky, I get lucky Cause I tried again

* I knew the world it would Stop spinning now since You've been gone

* I used to think that when You died you kind of Wandered the world

* In a slumber till you Crumbled, were absorbed Into the earth

* Well, I don't think That any more

* The phone it rings no more

* The song, the song it Spins now Since nineteen eighty-four

* The song, the song it spins The song, it spins, it spins It's been a spinning now

* And if you'll hold me I will Tell you that you know that

* And if you want to leave Don't breathe

* And if you want to leave Don't breathe

* And if you want to leave Don't breathe

* A word

* Just step away

* And let the world turn

* The song, the song it Spins now Since nineteen eighty-four

* The phone, it rings, it rings And you won't stay

* Don't touch me

* Don't touch me

* Don't touch me

* Don't touch me

* Don't touch me

[INDISTINCT CHATTER]

NICK: Hair's still alright?

WARREN: Even better.

It's even better now.

What ever you did, don't touch it.

NICK: Don't touch it.

NICK: Fuck! What happened to my face.

Look at those bags under my eyes.

Where did they come from?

They weren't there last year.

The director says I look like a battered monument.

I have a terrible feeling he's trying to be kind to me.

I must remember to be kind back.

I must remember to be kind.

[MAGNETO PLAYING]

[INSTRUMENTAL MUSIC PLAYING]

* Mostly I never knew Which way was out

* Once it was on It was on and that was that

* The umbilicus was a faucet That fountained rabbit blood

* And I spun on my wheel

* Like a laboratory rat

* I was an electrical storm On the bathroom floor Clutching the bowl

* My blood was for the gags And other people's diseases

* My monstrous little memory Had swallowed me whole

* It was the year I officially Became the bride of Jesus

* In love, in love In love you laugh

* I move you move

* And one more time With feeling

* In love, in love In laugh, you laugh

* I'm sawn in half

* And the stars are splashed

* Across the ceiling

* Oh, the urge to kill Somebody was basically Overwhelming

* I had such hard blues Down there in the supermarket Queues

* And I had a sudden urge to Become someone Someone like you

* Who started out with less Than anyone I ever knew

* In love, in love, I love You love, I laugh, you love

* I move, you move And one more time with feeling

* In love, in love I love, You love I laugh, you laugh

* I'm sawn in half

* And the stars are splashed

* Across the ceiling

* Oh, and oh you come shining

* Softly to the hold Of a drink

*Come as far as the edge Of my blood and swim

* And in the bathroom mirror I see me vomit in the sink

* And all through the house we Hear the hyena's hymns

* Of love I love, you love I laugh, You laugh

* I move, you move, you move One more time with feeling

* I love, you love I laugh, you laugh

* We saw each other in heart And all the stars have Splashed

* And splattered

* Across the ceiling

[MUSIC FADES]

How disturbing is this?

It's quite disturbing. Yeah. It is?

Well, I think, um... I'll make a deal with you.

Absolutely anything in that's in the film that you don't like?

Yeah. Right? You can cut out.

Okay. Okay?

Okay.

Let's just take one now.

Wait till it's, um...

I'll wait till... You know, take a photo of them,

and then we can put it in the film.

That worked, yeah. Okay, cool. Yeah. Okay.

And just wind it on with the... Okay.

The winder thing.

Okay.

Awesome. Okay.

And so, if you wanna, um, take any photos today,

just gotta pop up the flash, which is that.

NICK: We didn't ask for it.

But, it is all around us.

A gratuitous beauty.

That exists whether we, uh, there to witness it or not.

The world plunges on.

And the world is magnificent.

I watch you on your ice flow.

Cold something into the Arctic wind.

The wind offers a brutal resistance.

But, still you plough on.

I cling to my ice berg and sing to you.

*See the sun, see it rising

* See it rising

* Rising in your eyes.

Oh my God. Hey.

Look at you. I've got brown hair.

You've been alright? Yeah.

What you doing. Oh, good. Nothing.

Um... No, get rid of it.

Have the animal rights people... Shh, shh!

Why is creaking?

It's been, um, an enormous amount of doing nothing,

waiting around. Yeah.

Sounds pretty difficult.

You'll get used to the camera being there, now your on.

Thanks.

Good day Suz!

[LAUGHING]

See you're shy.

That's what I'd do at the time, and they...

they give me special one that's not connected.

Just for the fuck of it.

Go to DFA fader, that's fuck all.

[LAUGHING]

BOY: And the buttons? Can I press the buttons as well.

NICK: And this guy, is the videographer. We're watching the videographer,

who's watching the camera man, who's watching us,

and it just goes around, and around, and around.

Spooky, huh?

WOMAN: So, which is the 3D camera?

Cam-ception!

They heavy one. That one.

This is the videographer.

Is this in 2D? That's in 2D.

Okay. He's in 2D.

[LAUGHING]

WARREN: Yeah, I mean it's... No, I mean it's...

Yeah, yeah. Basically the couple of record in the soundtrack stuff

has been really about that I just pall a bunch of stuff in there,

and then just try and find something in there, like it's really about... that's

the really exciting thing.

Um, for the last few years with me, has been about that, like...

trying to find something that kind of, just comes out of nowhere.

Um...

NICK: These guys, Warren and Andrew the director,

they like to go on about,

accidents and the accident... uh...

the accidental nature of art,

but, this is just another way of saying they're communing with the Gods.

I mean, you think God would have more pressing to do. Really.

There's no such thing as accidents.

[LOUD CLANG]

MAN: Oh, fuck!

Yeah, I think accidents is the wrong word, because,

um, it more...

Um...

that we just get into... that we get ourselves into a space these days.

Where, um...

some sort of magical thing happens, that isn't

to do with, uh,

which isn't to do with knowing,

which isn't to do with knowing at all actually, so...

um...

I mean there are of course, happy accidents and stuff like that, but...

Mostly, um, I find that me and Warren particularly, when we kind of

jam together and stuff like that, we get into, uh...

a situation where a lot of very beautiful things just happen

after each other. And, then we get into a situation where that doesn't happen at all.

And we kind of, um, forever...

um, foraging away for these moments.

NICK: It's a very different collaborative situation with me and Warren that is

with anybody else, that has been working with me.

Because, we actually sit down in a room together and compose

a song together.

* We're beginning our descent

* I never knew What that meant

* We grabbed the oxygen pod

* And I call out the window

* Down here the sea.

And it actually really exciting to sing the same if you're in a room together,

to sing to something,

that you don't know.

You don't know where it's going.

So, I'm singing a melody,

that's being kind of, stretched into all these

into a wholly different way, that I can never come up with myself.

[PLAYING THE VIOLIN]

When I sit at the piano,

I play chords and I know what it's gonna sound like before I press the keys down.

And so you just... it becomes repetitious, there's no way around it.

It's very exciting to have

someone else doing

that side of things.

Because, your melodies aren't dictated by

what you know,

[SKELETON TREE PLAYING]

* Sunday morning

* Scattered in trees

* Pressed against the sky

* The jittery TV

* And an empty bed

* Glowing white like fire

* And I called out the window

* Down to the sea

* And the devil Comes collecting

* For nothing is for free

* And I call out the window

* Jesus rising by

* In a

* Field.

You know, I'm...

to a fault,

have had a thing about words, both, love and respect about

words, but, a kind of fear about words, of where they can actually take you, and...

Um, what they can expose and stuff about you. Words right, that's what that's...

what makes the world go around, if we didn't have any way about

articulating anything, we would have no way of even remembering anything really.

Um... so,

because of that power of words I've really kept them

contained like,

don't let a line go, in my opinion...

I mean, people might just think what I do is shit. I have to forget about that.

But, in my opinion I don't need a line go,

that I'm not really really please with.

Basically, right?

Um, and this record

I have to let go of that, because,

um, the line is successful

for another reason.

[TAPPING]

[ANTHROCENE PLAYING]

* All the fine wind is gone

* And this sweet world is so Much older

* Animals pull the night Around their shoulders

*Flowers fall to their Naked knees

* Here I come now here I come

* I hear you been out there Looking for something to love

* The dark force that shifts At the edge of the tree

* It's alright, it's alright

* When you turn So long and Lovely It's hard to believe

* That we're falling now In the name of the Anthrocene

* All the things we love We love, we love, we lose

* It's our bodies that fall When they try to rise

* And I hear you been looking Out for something to love

* Sit down beside me

* And I'll name it for you

* Behold, behold The heaven bound sea

* The wind cast its shadow And moves for the tree

*Behold the animals And the Birds And the sky entire

* I hear you been out there Looking for something to Set on fire

*The head bow children Fall to their knees

* Humbled in the age Of the Anthrocene

* Here they come now Here they come

* Are pulling you away

* There are powers at play More forceful than we

* Come over here and sit down

* And say a short prayer

* A prayer to the air, the air That we breathe

* And the astonishing rise Of the Anthrocene

* Come on now, come on now

* Hold your breath While you're safe

* It's a long way back And I'm begging you please

* To come home now Come home now

* Well, I heard you been out Looking for something to love

* Close your eyes Little world

* And brace yourself

I don't want to just write songs like a diary,

of what my life is like, I'm not really interested in that.

Um...

I want to write songs that radiate out... that...

connect with people and don't alienate people.

A kind of great...

trauma isn't actually a very good thing,

um...

you know, you kind of... Well sometimes you know, we all wish we have something

to write about. We all wish we have something in our lives,

that can happen. That we can...

that we can, um...

to write about and make our writing interesting.

And all of that sort of stuff.

But, actually trauma actually I think in the way that this happened and,

and in the events that happened,

it was extremely damaging to the creative process.

NICK: Later someone entered the garden and bashed the snakes brains in with a rock.

Basically every one stood around among the long black cars in a state of shock.

Everything got sad, sad as a wind chime. Sad, as stream as,

sad as a single lost sock.

There are many snakes, many trees, many gardens to unlock.

The media and it's complicitors reader blew the whole thing out of proportion.

A snake became a serpent, and in a typical tabloid distortion

the dead tree grew apples, the wasteland paradise, God was brought in

blame apportioned.

The whole thing went tits up to the ceiling. A complete fuck up and a total abortion.

It's like a rap song.

The children let off hand fulls of balloons into the sky,

they huddled under the marquis.

The wind chime stopped.

Stream is flagged.

The straight sailing ships on the sea.

There is a toll gate now in paradise, absolutely nothing is for free.

What's the worst that can happen?

Turning, pushing the hair from you face and smiling at me.

MAN: Do you think it's a good idea to have Suzie coming out of the toilet?

Just from an aesthetic

and emotional and,

How do you feel Suzie? SUZIE: I don't mind. No, no.

It's fine. I don't mind.

[INDISTINCT]

Darling, do you really wanna be photographed pinning and dressed up in the toilet?

It's fine. I don't mind.

Just decide though. Okay.

Well, it probably, oh... MAN: Let's move the camera up there.

Can we avoid seeing th toilet?

You won't see the toilet.

You're not going down into the bowl.

MAN: What d'you think when you look at the picture?

Yeah, things are changed.

Um...

I like that because, uh...

because of the position of our bodies, that we're not, uh, connected.

That we're sorbed in our own...

whatever. And, uh... but there is a real connection as well

at the same time.

Anyway I love that picture.

Actually went to a union psychiatrist, 'cause I had

some problems or whatever. But, when you ended up talking about Suzie all the time because

she's actually much more interesting than I am,

And he was obviously more interested in her as well.

Um, and...

and he said, that it was a kind of untapped

creativity makes... is quite a common thing, actually

to... for... um,

that she's not doing what she's supposed to be doing.

So, it's a common thing for women

to move furniture around.

I mean, what should we do... 2.

Yes? Where can this go?

It can go back to where it was the other day. Back into...

SUZIE: Where was it the other day? It was where?

The bike was there. Yeah. SUZIE: Yeah, but do you want this out of the shot completely.

If you can just get that.

That could go into Nick's office.

NICK: She knows I don't like it, so, um,

tends to happen when I'm not in the house.

And, so I go away and then I come back in and it's different.

You don't mind if I put this back under the... SUZIE: Yeah, that's fine.

NICK: I found this article of this guy up north, who had a similar situation with his wife

and, he would nail...

everything. All the chairs to the ground and everything like that. And she would tear them up

and she'd be... it was like, that chronic. And eventually he divorced her in the end.

But, um...

doesn't bid well for the future.

'Cause it's cropped up in couple of Nick's songs,

I'm like... MAN: Yeah, yeah, yeah.

I'm really embarrassed. MAN: I always thought that

it was some brilliant... He'd come up with some brilliant kind of,

metaphor, you know... SUZIE: Yeah, I know.

Is an actual description. Actual description.

Suzie changes, um, it's better but Suzie actually changes

the function of the room.

While you asleep, right. [LAUGHING]

So that you wake up,

and, yeah it's... it's a different, yeah.

It's like the TV room, when before it was the bedroom or something.

No, I unplug it myself, darling.

The woman keeps it plugged in though. Suzie, I think here...

they should... SUZIE: The boots and everything. Thank you.

NICK: Alright, just take it in and out.

NICK: Oh, fuck.

Because there's, um... SUZIE: Okay.

MAN: Did you see that? That's Nick Cave.

[SUZIE LAUGHS]

Now, should we just see, you can see what's gong on there, Nick.

You can see what you're being photographed by.

NICK: Yeah.

MAN: You just thought that we'd leave the house and you'd be safe from us right?

Yeah. In a sense yeah.

But, we're still filming you, in 3D.

From another location.

Thats amazing.

But, seriously what... what do you think about Suzie's shoes?

Well, let me see her feet.

You see them?

I think you should wear the high heels. Okay.

I'll keep them on.

Alright. Okay.

Now, Suzie, you want to just explain to us the philosophy of the dress?

Yeah, um, okay this dress is based on the American prairie dress,

and, um...

it's, you know, there's some cults that all wear the same dresses...

that was kind of the inspiration,

because I wanted to do them in all these different color pastels.

And I wanted them to be kind of, instead of, being really frumpy that they're really

see through. Some of them are completely see through.

And some of them, like, this one is sort of, semi see through.

We can decide how much you...

want to reveal.

MAN: So, its the idea that takes something that is supposed to be deeply conservative,

and sexualize it.

Yeah, I guess so. There is that. And it's not that see through.

So you don't have to worry.

Since, um,

you know, since everything that happened my work became something

different, you know. Before it was something I was doing

you know, because I was enjoying it and loving it, but, then it became a real necessity,

I really had to be able to work,

'cause it was the only thing that would take my mind off everything.

Yeah.

SUZIE: I tried to not allow myself,

to sink down into, you know, I try to...

You know, to just keep moving forward and keep looking forwards, and just, um...

But, sometimes, you know, physically sometimes I feel it almost more on my...

Don't know how to describe it. It's like a physical depression almost. Not 'cause I'm

depressed, but just the grief process and, you know, and everything like that is very...

physical but, very you know, my work is so diverting,

and, I'm so grateful for that. Right.

Nick tells me, "You're really different when you go..." Nick really encourages

me to work, and, um,

people have said to me all that's what... creativity, where it comes from.

It comes from all other time from pain and from...

some terrible situations and...

And, then I realized that that's what was happening to me.

You know, in a small way.

I haven't got anything I can say any words of...

wisdom or anything about it. Because, I'm not at that... I don't know if I ever will be.

[INDISTINCT]

MAN: Suzie, can tell us what it is?

Um...

[WHISPERS] It's difficult.

I'm gonna cry.

[GULPS]

Um, well, after Arthur died I found this in storage.

I just couldn't believe it when I saw it because, it's a painting that he did when he was

how old? About five or, something like that? And it was... it's of the windmill,

and, you know, just where died.

Um...

And Earl did one as well. There's two of them.

Um, and then I found this one and I just kind of couldn't believe it.

I sort of hid it for a while, I didn't want to show Nick, I didn't know what to

do with it,

and, I was upset that it's framed in black and why it's framed in black.

I don't know why?

Um, because it was framed a long time ago,

and it kind of, freaked me out as well. 'Cause I thought "Why is it framed in black?"

You know, maybe that's...

you know, it's been really superstitious, and, um, anyway yeah.

But, I'm... I don't really know

what else to say about it. Really.

Yeah.

Put it over here? Yeah.

[SIGHS]

NICK: There is more paradise in hell than what we've been told.

And every step we take, we stop from blue.

Lie down and bleed into the water hole.

And so, the night, it will in time unfold.

Curled up inside my palm and it's sleeping too.

There is more paradise in hell than we've been told.

From your lashes tumble stars of gold,

star lashes, little splashes of dew.

Spill across the world and through my soul.

Now call your tiny animals to the drinking hole.

Little cat, little bear, little fire horse, little kangaroo,

there is more paradise in hell than we've been told.

Little cat, little fire horse with a shivering foal.

Curled in my demon palm and dreaming too.

And, all across the world the night night unfolds.

And all across the night and through my soul.

But, every step we take we start from blue.

Fresh tears bleed into the water hole.

There is more paradise in hell than we've been told.

You need... The imagination needs room to move.

It needs room to invent.

Um, and to dream, and when

a trauma happens, that's that big...

It is no room, it's just no imaginative room around it.

It's just the fucking trauma.

Um, and I think that was...

that was what the problem was when I tried to do new songs in the studio.

It's almost like the songs, uh...

that songs that you had written, uh...

in a way... maybe there were songs you might have needed.

I don't know. I don't know about the songs.

Because the songs do seem to have a...

The... Um...

There's a sense of helplessness in the songs.

Yeah. Well, you know... You know.

When we... you know, it's sort of talking about this prophetic nature of all of them,

that sort of stuff, I mean we gotta take that with a pinch of salt.

Yeah. You know, um...

And I don't really care about their prophetic,

they're not important enough.

At this stage...

but, the way that they've been presented, the way that...

the way that you hear them on this record.

It's very much because of the emotional state,

just... not just of myself but, everybody actually.

In the studio when we were doing that...

it's... it's, um,

the kind of state we were all in gave us, I think a confidence just to allow this thing

to go out like it was. This document to go out like it was.

Um, which we wouldn't have done if events were different, you know.

Fix this up and we would have redone this and, um...

There's something about the naked nature of the songs that have

um...

Alpha.

Or, you know...

all through.

So we're here.

[BUTTON CLICKS]

[INSTRUMENTAL MUSIC PLAYING]

[I NEED YOU PLAYING]

* When you're feeling Like a lover

* Nothing really Matters anymore

* I saw you standing there

* In the supermarket

* With your red dress falling And your eyes are to The ground

* Nothing really matters

* Nothing really matters When the one you love is gone

* You're still in me, baby

* I need you

* In my heart, I need you

* Cause nothing Really matters

* I'm standing in the doorway

* You're walking around my Place in your red dress

* Hair hanging down

* With your eyes on one, we Love the ones we can

* Cause nothing really matters When you're standing

* I need you, I need you

* Cause nothing Really matters

* We follow the line of The palms of our hands

* You're standing In the supermarket

* Nothing, holding hands

* In your red dress, falling

* Falling, Falling in

* A long black car is Waiting 'round

* I will miss you When you're gone

* I'll miss you when you're Gone away forever

* Cause nothing Really matters

* I thought I knew better So much better

* And I need you

* I need you

* Cause nothing Really matters

* On the night we Wrecked like a train

* Purring cars And pouring rain

* Never felt right about Never again

* Cause nothing Really matters

* Nothing really Matters anymore

* Not even today

* No matter how hard I try

* When you're standing in The aisle

* And no, baby

* Nothing, nothing, nothing

* Nothing

* I need, I need, I need you

* I need you

* In my heart

* I need you

* Just breathe, just breathe

* I need you

[MUSIC FADES]

There are things that are being torn apart,

and I'm desperately trying to find

a way of making some kind of, um...

narrative sense out of it, if we're talking about song writing, or, at least

some sense out of it where, um...

over the... I can do what it keeps saying in the books. What people keep saying to me

that It's, uh... that I can reduce this chaotic...

mess that's happened down into something that...

that's more um...

You know, that I can reduce, distill it down to like

a platitude that I can fit nicely you know, a kind of greeting card

sized platitude,

that means something to me, like, "He lives in my heart", or something like that.

People say it all the time to me.

"He lives in my heart", and I go, "Yeah, yeah, I know, I know".

But, he doesn't you know. MAN: He doesn't?

I mean, he is in my heart but, he doesn't live at all.

And, there is no... I wanna be able to sit here and...

round this off in some kind of way. But, to me it's just not.

You know, it's just not...

things... it's affected me in a way that I don't understand.

So, then my reactions to things aren't, um,

the same as they used to, and they used to be able to predict what would...

I would feel at certain times and now...

um...

I just have a handle on things anymore.

Um... What's that like?

Well, it's frightening because, uh...

like, I don't know what I'm fucking doing now.

For example.

What am I sitting in a... in a... camera...

being filmed, talking about this sort of thing.

I wouldn't have dreamed of doing that before.

MAN: Well, I'm not sure that I feel entirely comfortable about it either.

[LAUGHING]

I don't know either.

[DISTANT SKY PLAYING]

* Let us go now

* My one true love

* Call the gasman

* Cut the power out

* We can set out

* We can set out For the distant sky

* Watch the sun Watch it rising

* In your eyes

* Let us go now

* My darling companion

* Set out

* For the distant sky

* See the sun See it rising

* See it rising

* Rising in your eyes

* Let us go now

* My only companion

* Set out for

* The distant skies

* Soon the children

* Will be rising

* Will be rising

* This is not for our eyes

* They told us our gods Would outlive us

* They told us our dreams Would outlive us

* They told us our gods Would outlive us

* But they lied

[VIOLIN PLAYING]

[MUSIC FADES]

NICK: I'm driving in a car along the M25,

and I'm driving in a car along the M25, on a tiny blue spec trapped in a moon beam.

I'm looking out the window, and up at the countless and indifferent stars.

I am barely a child, really.

The blue spec spins in a dark field,

that began 15 billion years ago.

I'm driving home from the studio where I've been making a record.

I'm feeling what every person who makes a record probably feels.

That I am making something of great significance, and permanence.

Even though in reality I know what I've committed my self to is of no real significance.

And, no real permanence.

But, I have something that the universe has not

never has had.

And will never have.

Consciousness.

My consciousness exists only at this given time, it has no past.

And no future.

But, it's present, is bigger in magnitude than all the trillion stars

and planets, and galaxies.

There's no, um...

it... you know, I can put it in different ways with...

and make it sound nice and stuff like that, what happened, and...

you just kind of, tied up in language and stuff like that, but, actually...

every time I try and articulate it just... just...

does the whole... does him a disservice.

That's what it feels like to me.

You know, 'cause it's...

it happened to us but, to happened to him.

Um, and that's um...

like the day, or the night, and around that time is, um...

is like this place...

you just don't wanna go,

you know. It's like...

all the rest around is okay, I can

deal with that. I can deal with that. It's okay. In fact that's something I wanted to say...

is that...

if everything is not okay, but, it's also okay.

Right? Things go on, and, you know, if

anyone's interested, the records go on.

And, we're still going what we do.

Um, and the work goes on.

Um...

And, in that respect things...

continue.

Can we hear the, uh...

song please? Jake, where ever you are.

What ever, we just want to see how it goes.

Okay.

NICK: Can you do one one way, and one they other way?

Here we go guys, And...

[CLICK] We're rolling.

[SKELETON TREE PLAYING]

* Sunday morning

* Skeleton tree

* Oh, nothing is for free

* In the window, a candle

* Well, maybe you can see

* Fallen leaves thrown Against the sky

* A jittery TV

* Glowing white like fire

* Nothing is for free

* I called out

* I called out

* Right across the sea

* But the echo comes Back empty

* Nothing is for free

[INSTRUMENTAL MUSIC PLAYING]

* Sunday morning

* Skeleton tree

* Pressed against the sky

* The jittery TV

* Glowing white like fire

* And I called out

* I called out

* Right across the sea

* And I called out

* I called out

* Nothing is for free

* And it's

* Alright

* Now

* And it's

* Alright

* Now

* And it's

* Alright

* Now.

Anyway, that's what I mean, you know...

All of this stuff that I'm saying now it just... it feels like,

it's just a lot of bullshit to me.

You know, it may mean something but, in the end,

in the end there's something that happened,

um, and there's a kind of, like a ring around that event...

um, it's fenced off.

And, everything else is okay around it but, there's just something that happened

in that short space of time that we can never get that far away from.

That we're, uh...

You probably don't want to.

Well, it's I think, you know, when I looked at the film back there was

something I was rattling all about time being elastic.

Yeah. And that is

I think, that's what I meant that we're attached to this

event. And that we move away like that and we're line on a rubber band.

And life can go on, and on, and on, but eventually,

it just keeps coming back to that thing. And that's, uh...

that's some kind of trauma, I guess.

NICK: It's strange reading those scripts back, those,

lyrics...

from my song book back.

And, you know, they're okay.

They're actually kind of beautiful really.

But, at the time they never revealed themselves as such.

And they just thought that I was writing

a lot of rubbish.

That was one of the things I lost.

That was one of the things that I lost hard.

A sense of belief in myself.

Like I had fucked up bad.

The me and Suzie had looked away for a terrible moment.

And this reflected savagely on everything else.

My belief in the good in things in the world.

In ourselves, evaporated.

But, you know, after a while, after a time,

Suzie and I decided to be happy.

This happiness seemed to be an act of revenge.

An act of defiance.

To care about each other, and everyone else.

And to be careful.

To be careful with each other.

And the ones around us.

* I'm walking through Deep water

* It's all but I can do

* I'm walking through Deep water

* Trying to get to you

* Your face is hidden from me But your love is not

* I will not reach for other Things till I know what I have got

* I'm walking through Deep water Trying to get to you

* I'm walking through Deep water

* I have no time to lose

* I'm walking through Deep water

* There's nothing Left to choose

* This little heart of mine Got loaded up with chains

* The world just swirls Around me The water makes its claim

* I'm walking through Deep water Trying to get to you

* Who will calm my fears?

* Who will drive my tears away

* Who will calm my fears?

* Who will drive my Tears away

* I'm walking through Deep water

* Nearer to the sea

* I'm asking the deep water

* Don't take my love from me

* I'll dance with little ladies With a hundred just like me

* They hold their breath And hesitate And dance beneath the sea

* I'm walking through Deep water Trying to get to you *

[MUSIC FADES]

NICK: One, two, three, four...

* Come one

* Morning comes

* A jittery TV

* I call out the window

* When the morning comes

* Nothing is for free

* Nothing is for free

* Fire

* Nothing

* Can narrow the bed

* Glowing white like fire

* And I called out the window

* Down in the sea

* But the echo Comes back in, dear

* 'Cause nothing is for free

* And I called out the window

* Skeleton tree

[MUSIC FADES]