1 00:00:15,690 --> 00:00:18,150 WARREN: I remember we sat and listened to the songs, and, 2 00:00:18,190 --> 00:00:21,120 there was something incredibly eerie about 3 00:00:21,150 --> 00:00:23,920 the first track Jesus Alone, 4 00:00:23,950 --> 00:00:27,150 sort of had this line, "He fell from the sky, crash landed". 5 00:00:27,190 --> 00:00:29,190 MAN: Do you wanna just tell me the story? 6 00:00:29,220 --> 00:00:31,950 WARREN: I mean I don't really know because I can't imagine 7 00:00:31,990 --> 00:00:34,320 how you never get such a thing. 8 00:00:34,350 --> 00:00:38,050 And, you know, I just can't even 9 00:00:38,090 --> 00:00:39,920 fathom it. Um... 10 00:00:39,950 --> 00:00:44,820 And watching this happen to people that you love, 11 00:00:44,850 --> 00:00:47,750 is um... It doesn't even... 12 00:00:47,790 --> 00:00:51,750 I don't think even... lets you any, gives you any insight 13 00:00:51,790 --> 00:00:54,590 really into it. Because, there's a step within, 14 00:00:54,620 --> 00:00:55,950 you can't go. 15 00:00:56,950 --> 00:00:59,990 But, it... it feels like... 16 00:01:00,020 --> 00:01:04,020 for Nick or somebody who's created all his life, um, 17 00:01:04,050 --> 00:01:07,790 it feels like... [INDISTINCT MUMBLING] 18 00:01:07,820 --> 00:01:09,550 Can we stop right there? 19 00:01:11,850 --> 00:01:13,890 MAN: We have to re-calibrate, this is out of focus. 20 00:01:13,920 --> 00:01:15,090 It's not usable at the moment. 21 00:01:15,120 --> 00:01:17,050 I know. Calibrate focus please. 22 00:01:18,050 --> 00:01:20,220 Sorry. That's alright, man. 23 00:01:20,250 --> 00:01:22,090 Are you... Let's cut it. 24 00:01:23,320 --> 00:01:25,050 Alright, do you want me to hop out? Yeah. 25 00:01:25,090 --> 00:01:27,150 Yes please. Could you? Do you want me to get out too? 26 00:01:27,190 --> 00:01:29,150 Yea, we'll get out. If you wanna stretch your legs. 27 00:01:29,190 --> 00:01:30,290 Yeah. 28 00:01:32,290 --> 00:01:34,590 MAN 1: Mate, I'm sorry. 29 00:01:34,620 --> 00:01:37,750 MAN 2: It's shocking man. It's shocking, it's terrible. This is not what I... 30 00:01:37,790 --> 00:01:42,190 -what I want you to... - To be honest I find this really hard, because, 31 00:01:42,220 --> 00:01:47,020 - I've never discussed Nick's private life, um... - Yeah. 32 00:01:47,050 --> 00:01:52,050 Or anybody that I know. I don't sort of, discuss it like this, and, it feels like this is 33 00:01:52,090 --> 00:01:55,220 -something that gotta come up. You know? - Yeah. 34 00:01:55,250 --> 00:02:00,190 Um, and so there's a part of me that feels very protective. 35 00:02:00,220 --> 00:02:03,090 That's where's it's hard to strike a balance, you know. 36 00:02:03,120 --> 00:02:04,920 Like, I can... you know, 37 00:02:04,950 --> 00:02:07,690 I don't wanna go and tell you what I saw when I went there, 38 00:02:07,720 --> 00:02:11,020 and all this, I don't wanna tell what I felt because, 39 00:02:11,050 --> 00:02:14,650 it just feels like... that's... 40 00:02:14,690 --> 00:02:16,490 that's like, private, you know. 41 00:02:20,350 --> 00:02:24,120 Uh, I just... Warren sent me something yesterday. 42 00:02:24,150 --> 00:02:26,520 MAN: Uh... emailed a friend... 43 00:02:26,990 --> 00:02:29,950 um, last night. 44 00:02:29,990 --> 00:02:32,890 I shouldn't go in first, because I get in before... 45 00:02:33,850 --> 00:02:34,890 Uh... 46 00:02:35,820 --> 00:02:38,150 [FOOTSTEPS] 47 00:02:38,190 --> 00:02:40,820 We've all gotta get behind you. 48 00:02:40,850 --> 00:02:42,250 Um, I don't know. 49 00:02:42,290 --> 00:02:47,150 WARREN: And, I was mentioning how time 50 00:02:47,190 --> 00:02:49,890 felt elastic these days. 51 00:02:52,350 --> 00:02:54,790 Alright so we need to go this way, mate. 52 00:02:56,290 --> 00:02:57,150 [INDISTINCT] 53 00:02:58,690 --> 00:03:01,720 WARREN: And he emailed me back... 54 00:03:01,750 --> 00:03:06,290 uh, a very excited and lovely email. 55 00:03:06,320 --> 00:03:11,750 Where he spoke about um, the idea that all things were happening... 56 00:03:11,790 --> 00:03:12,820 Is this um... 57 00:03:12,850 --> 00:03:14,490 WARREN: all the time. 58 00:03:14,520 --> 00:03:17,090 Is this okay to wear in the studio, do you want me to put a shirt on and stuff? 59 00:03:18,150 --> 00:03:21,950 Uh... Textually, 60 00:03:21,990 --> 00:03:23,920 textually that's not the greatest thing. Okay. 61 00:03:23,950 --> 00:03:26,290 Yeah. Okay. 62 00:03:26,320 --> 00:03:30,650 Okay, come on, let's uh... begin to film this. Alright. Yeah, we're filming. 63 00:03:30,690 --> 00:03:31,950 We never stopped. 64 00:03:31,990 --> 00:03:34,620 Okay. So, try and get both Nick's. 65 00:03:34,650 --> 00:03:38,820 WARREN: All past present and future, are happening now. 66 00:03:38,850 --> 00:03:40,050 Right now. 67 00:03:40,090 --> 00:03:43,090 And then if you just... Yeah, great Nick. 68 00:03:43,120 --> 00:03:48,290 WARREN: That basically a caveman, was clubbing a female mate, 69 00:03:49,850 --> 00:03:51,520 [CLANGS] 70 00:03:51,550 --> 00:03:57,290 Uh, at the same time that astronauts, or scientists trying to... 71 00:03:57,320 --> 00:03:59,850 work out how to colonize Mars. 72 00:04:00,220 --> 00:04:01,720 [FOOTSTEPS] 73 00:04:08,220 --> 00:04:09,290 WARREN: Now... 74 00:04:11,750 --> 00:04:14,650 that is encouraging right? 75 00:04:16,750 --> 00:04:22,220 And, I think he meant well. But, it's not true because... 76 00:04:30,120 --> 00:04:31,250 it's not true... 77 00:04:32,650 --> 00:04:33,820 because... 78 00:04:33,850 --> 00:04:35,820 We need an exit. I know. 79 00:04:35,850 --> 00:04:36,950 It's to the right. 80 00:04:41,320 --> 00:04:43,950 Hey, you see there's another Nick in the mirror there... Yeah, there. 81 00:04:43,990 --> 00:04:45,850 Wait till he comes back in. 82 00:04:47,690 --> 00:04:49,790 WARREN: If everything was happening now... 83 00:04:50,650 --> 00:04:51,890 Nick. NICK: Yeah? 84 00:04:51,920 --> 00:04:54,320 How do you feel about us having another go at that? 85 00:04:54,350 --> 00:04:56,150 WARREN: I wouldn't be sitting here 86 00:04:56,190 --> 00:05:00,090 waiting for the film crew to work out how to work... 87 00:05:00,120 --> 00:05:02,850 MAN: Yeah, we'd really appreciate another go. 88 00:05:02,890 --> 00:05:06,190 WARREN: this ridiculous 3D black and white camera. 89 00:05:07,050 --> 00:05:08,050 NICK: Uh, alright. 90 00:05:08,790 --> 00:05:09,620 Okay. 91 00:05:09,650 --> 00:05:11,790 WARREN: Right now nothing is happening. 92 00:05:11,820 --> 00:05:13,720 MAN: We won't do it a third time. 93 00:05:13,750 --> 00:05:15,550 Okay, so what do you want to do? 94 00:05:15,590 --> 00:05:18,920 Basically, everything you just did was fantastic, okay? 95 00:05:18,950 --> 00:05:22,190 And? We'd really appreciate another go. 96 00:05:25,120 --> 00:05:27,890 You know what I'm saying? Um... so, I have to undress again? 97 00:05:27,920 --> 00:05:29,620 MAN: Undress, yeah. 98 00:05:29,650 --> 00:05:32,750 Now, let's go back to it, eh? Do you want to do it a bit slower? 99 00:05:32,790 --> 00:05:34,950 I see the focus, guys, you need to focus guys. 100 00:05:34,990 --> 00:05:37,950 [INDISTINCT CHATTER] 101 00:05:41,890 --> 00:05:46,290 MAN: I mean obviously your songs have become 102 00:05:46,320 --> 00:05:48,020 a lot less narrative. 103 00:05:49,150 --> 00:05:51,090 Uh... 104 00:05:51,120 --> 00:05:53,590 Yeah. The other half. Yeah, and... 105 00:05:53,620 --> 00:05:56,920 do you have uh, is there a reason for that? 106 00:05:56,950 --> 00:05:59,750 Well, yeah... Yeah I mean, 107 00:05:59,790 --> 00:06:01,890 I think um... 108 00:06:04,150 --> 00:06:09,090 maybe there's...[STUTTERS] maybe some serve a certain need, 109 00:06:09,120 --> 00:06:13,590 and, I think I probably needed uh, on some level 110 00:06:13,620 --> 00:06:17,890 a kind of narrative in my life that was... 111 00:06:17,920 --> 00:06:20,220 kind of predictable and had it's... 112 00:06:21,120 --> 00:06:23,020 had a kind of logic to it. 113 00:06:25,690 --> 00:06:28,250 NICK: So, I wrote stories and, 114 00:06:28,290 --> 00:06:33,750 they seem to hold everything together. Um, in a particular part of my life, for a long 115 00:06:33,790 --> 00:06:35,790 part of my life 116 00:06:35,820 --> 00:06:41,020 where things needed to be held together. Um, but, I don't believe in the narrative 117 00:06:41,050 --> 00:06:43,550 anymore. I don't... um... 118 00:06:47,050 --> 00:06:50,990 I don't actually believe that that's what life is like. 119 00:06:51,020 --> 00:06:53,120 And, that there's 120 00:06:53,150 --> 00:06:57,920 a pleasing resolve and all of that sort of thing to life. 121 00:06:57,950 --> 00:07:00,550 I... I... I just feel that 122 00:07:00,590 --> 00:07:05,120 to do fractured narrative, uh, a thing where, uh... 123 00:07:05,150 --> 00:07:07,690 where time is actually compressed, 124 00:07:07,720 --> 00:07:10,590 um, events uh... 125 00:07:10,620 --> 00:07:15,290 stuck on top of other events. There's no particular logic to it. Um... 126 00:07:17,020 --> 00:07:19,920 or, a distressing kind of logic, 127 00:07:19,950 --> 00:07:22,890 um, makes it, um... 128 00:07:22,920 --> 00:07:26,520 it's much ore real that true to the way I feel about things. 129 00:07:27,690 --> 00:07:31,620 So, um, this is just sort of directorial... 130 00:07:32,790 --> 00:07:36,550 uh, tactic, to make us all pissed off. 131 00:07:36,590 --> 00:07:38,050 What, you're pissed off? [LAUGHS] 132 00:07:39,290 --> 00:07:40,520 No, roll. 133 00:07:41,950 --> 00:07:43,590 To get us all edgy in the morning. 134 00:07:43,620 --> 00:07:45,250 WOMAN: Should we put your bags in front? Yeah, thanks. 135 00:07:45,290 --> 00:07:49,020 Not at all. It's actually just a... this is... 136 00:07:49,050 --> 00:07:50,120 Thanks, Nick. 137 00:07:51,350 --> 00:07:53,320 We're rolling right? 138 00:07:53,350 --> 00:07:54,620 [DOOR CLOSES] 139 00:07:58,350 --> 00:08:02,020 So, um, everything we say... 140 00:08:03,090 --> 00:08:04,920 is taped? 141 00:08:04,950 --> 00:08:06,950 It's all. Unless we pull out the plug. 142 00:08:07,690 --> 00:08:08,750 Yup. 143 00:08:10,850 --> 00:08:12,450 Okay. 144 00:08:12,490 --> 00:08:17,950 NICK: I think it's the nature of songs to um... have an insight into things 145 00:08:17,990 --> 00:08:22,820 that we don't consciously have because, largely they come from 146 00:08:22,850 --> 00:08:24,920 the unconscious. Yeah. 147 00:08:24,950 --> 00:08:29,620 Which is a king of reservoir of knowledge and understanding that"s far beyond what 148 00:08:29,650 --> 00:08:31,750 we consciously are aware of. 149 00:08:34,620 --> 00:08:36,550 I've got this... 150 00:08:36,590 --> 00:08:38,890 stuff that we did in Morwan here, 151 00:08:38,920 --> 00:08:41,250 when we were going through it. 152 00:08:41,290 --> 00:08:44,790 And, maybe we can just go through 153 00:08:45,650 --> 00:08:47,320 these, and look at them. 154 00:08:47,350 --> 00:08:50,090 What? Yeah, let's change it a little bit. 155 00:08:50,120 --> 00:08:53,320 Yeah, but it... Well, you know, we can add But um... 156 00:08:53,350 --> 00:08:56,220 or subtract and then... 157 00:08:56,250 --> 00:09:00,620 But actually, with Jesus Alone, should we go back to that, 158 00:09:00,650 --> 00:09:04,550 um, you know, we talked about going back to the earlier version of it. 159 00:09:04,590 --> 00:09:06,750 Yeah. That's less... okay, good. 160 00:09:06,790 --> 00:09:08,690 NICK: So, songs an often uh... 161 00:09:10,190 --> 00:09:14,220 appear to foretell situations in 162 00:09:14,250 --> 00:09:16,920 the same way as dreams maybe, are able to... 163 00:09:17,850 --> 00:09:21,920 um... have, uh... 164 00:09:21,950 --> 00:09:24,790 have a kind of prophetic nature sometimes. 165 00:09:24,820 --> 00:09:28,890 Susie, for example, is hugely superstitious, 166 00:09:28,920 --> 00:09:33,250 about my songs. Um... Yeah. 167 00:09:33,290 --> 00:09:36,750 That there being a canary in the coal mine kind of thing that there's some... 168 00:09:36,790 --> 00:09:38,690 Because, if... Exactly. Yeah. 169 00:09:40,720 --> 00:09:45,990 But, you know, and I... I... Like I said, I don't think 170 00:09:46,020 --> 00:09:50,290 that this is a unique to what I do. Although I 171 00:09:50,320 --> 00:09:54,790 write a certain type of song, that has a certain element 172 00:09:54,820 --> 00:09:59,850 of, uh, anxiety, and dread, and anguish... 173 00:09:59,890 --> 00:10:01,920 Yeah. To them in their nature. 174 00:10:03,120 --> 00:10:05,090 So, it can... it can... 175 00:10:05,790 --> 00:10:08,850 foretell, um... 176 00:10:13,020 --> 00:10:16,550 uh, they can foretell, um... 177 00:10:18,320 --> 00:10:19,820 certain events. 178 00:10:22,190 --> 00:10:24,220 [SYNTH PLAYING] 179 00:10:26,890 --> 00:10:28,090 [SWITCH CLICKS] 180 00:10:32,120 --> 00:10:33,590 [SWITCH CLICKS] 181 00:10:46,650 --> 00:10:49,550 Right. Hey Jake! 182 00:10:49,590 --> 00:10:51,850 This is the vocal that you didn't do at La Frite. NICK: Yeah. 183 00:10:51,890 --> 00:10:55,920 NICK: Yeah but, I just patched up this... Yeah. 184 00:10:55,950 --> 00:11:00,020 So, um, is this before it's being... 185 00:11:00,050 --> 00:11:01,820 Before it's being... put in time? 186 00:11:01,850 --> 00:11:04,650 Yeah. 187 00:11:04,690 --> 00:11:09,620 * You fell from the sky Crash landed in a field Near the river Adur 188 00:11:14,650 --> 00:11:20,790 * Flowers spring from the Ground Lambs burst from the Wombs of their mothers 189 00:11:25,120 --> 00:11:29,990 * In a hole beneath the bridge You convalesced you Fashioned masks 190 00:11:30,020 --> 00:11:33,320 * You gave them names You gave them names 191 00:11:33,350 --> 00:11:35,150 * With my voice. 192 00:11:35,190 --> 00:11:36,590 It's better there. 193 00:11:36,620 --> 00:11:40,550 * I am calling you. 194 00:11:40,590 --> 00:11:42,550 And, I'm playing the piano at the same time. Yeah. 195 00:11:42,590 --> 00:11:45,290 And, because it's just opened up a bit more there. 196 00:11:46,190 --> 00:11:48,250 This feels like... 197 00:11:48,290 --> 00:11:51,650 It does need the piano right? Cut the piano here. 198 00:11:53,050 --> 00:11:55,790 We could do the piano separately. Yeah, yeah. 199 00:11:55,820 --> 00:11:59,550 Edit over done piano, and all those sorts of. 200 00:11:59,590 --> 00:12:00,850 "Ooh's", and "Ah's", and all that. 201 00:12:00,890 --> 00:12:04,550 *You're an African doctor Harvesting tear ducts * 202 00:12:04,590 --> 00:12:07,750 That has a, I mean a... I have to listen to the other one, but this... 203 00:12:07,790 --> 00:12:10,190 definitely has a sort of, intensity about it. 204 00:12:10,220 --> 00:12:14,220 Yeah. There's something the vibe just builds in it and it becomes hypnotic and stuff 205 00:12:14,250 --> 00:12:18,220 and, the other one feels like a song. It Feels... Yeah, okay. So... 206 00:12:18,250 --> 00:12:22,890 The vocal needs to be fixed up, because there's... Yeah, it goes in and out. 207 00:12:22,920 --> 00:12:24,890 Just mumbo-jumbo on it. 208 00:12:26,850 --> 00:12:28,550 Well, it's kind of ad-libbed. 209 00:12:28,590 --> 00:12:31,550 Right. A bit, a bit. You know, a lot. 210 00:12:31,590 --> 00:12:32,420 And then... 211 00:12:32,450 --> 00:12:35,250 In La Frite we kind of put it on one. 212 00:12:35,290 --> 00:12:37,650 The one was actually... it wasn't... 213 00:12:37,690 --> 00:12:39,620 We never even knew where the one was. 214 00:12:39,650 --> 00:12:43,590 It's coming in the wrong spots. At least we all had a different opinion. 215 00:12:43,620 --> 00:12:45,050 As we often do. [LAUGHS] 216 00:12:45,090 --> 00:12:48,690 It felt like it... You've never heard that one before. 217 00:12:48,720 --> 00:12:49,790 [LAUGHING] 218 00:12:51,850 --> 00:12:56,220 One! Should there be a vocal before we do anything else? 219 00:12:56,250 --> 00:12:59,820 WARREN: Uh... Yeah. Or, maybe we don't need a vocal before. 220 00:12:59,850 --> 00:13:04,050 I think the vocal would give us the kind of... the energy, 221 00:13:04,090 --> 00:13:05,590 Um... Right. 222 00:13:05,620 --> 00:13:08,120 And what to do, so that you feed off... 223 00:13:08,150 --> 00:13:10,890 You know, you working off like... 224 00:13:11,890 --> 00:13:13,920 [VIOLIN STRUMS] 225 00:13:14,990 --> 00:13:16,250 Oh, that's it? Yeah. 226 00:13:20,150 --> 00:13:22,820 Incredible wasn't it. Aluminum. 227 00:13:26,250 --> 00:13:27,720 I'm incredible. 228 00:13:29,150 --> 00:13:30,550 3000 Dollars. 229 00:13:30,590 --> 00:13:31,590 [LAUGHING] 230 00:13:32,990 --> 00:13:35,290 You bought it? Yeah. 231 00:13:35,320 --> 00:13:38,320 It sound good? Nah, it looks awesome. 232 00:13:38,350 --> 00:13:40,550 [LAUGHING] 233 00:13:42,920 --> 00:13:46,820 [VIOLIN STRUMS] 234 00:13:50,920 --> 00:13:53,020 [VIOLIN TUNING] 235 00:13:56,720 --> 00:14:00,150 NICK: This is difficult. This is really fucking difficult. 236 00:14:01,020 --> 00:14:02,120 It is. 237 00:14:03,890 --> 00:14:09,890 Doing and over dub-vocal, is some kind of torture. 238 00:14:09,920 --> 00:14:13,150 And it's something that I really try and avoid. 239 00:14:13,190 --> 00:14:18,890 I do everything I can to get the vocal down while 240 00:14:18,920 --> 00:14:21,090 the basic track is being recorded, 241 00:14:21,120 --> 00:14:23,650 you know. That we just all do it together. 242 00:14:23,690 --> 00:14:27,720 WARREN: There's something more hypnotic about this one and kind of more... 243 00:14:27,750 --> 00:14:30,690 meditative or, something. And it kind of has a... 244 00:14:30,720 --> 00:14:33,120 Feels a bit more mysterious or something. 245 00:14:33,150 --> 00:14:38,150 And, also the kind of fact that the stuff doesn't just come in on the one, 246 00:14:38,190 --> 00:14:40,250 wait, feel it comes in somewhere, 247 00:14:40,290 --> 00:14:42,720 there's some more space for the kind of backing... 248 00:14:42,750 --> 00:14:44,220 to kind of come through. 249 00:14:45,120 --> 00:14:48,190 [PIANO MUSIC PLAYING] 250 00:14:52,890 --> 00:14:54,050 WARREN: C? 251 00:14:55,220 --> 00:14:57,820 No. WARREN: What's that one? 252 00:15:00,890 --> 00:15:02,990 NICK: I don't know what the chords are. 253 00:15:04,190 --> 00:15:05,650 I have to hear it on... 254 00:15:07,150 --> 00:15:09,920 Nick, you wanna play piano right? 255 00:15:09,950 --> 00:15:12,150 NICK: I don't know what the chords are. 256 00:15:12,190 --> 00:15:16,050 I don't know. I don't know yet, because, 257 00:15:16,090 --> 00:15:17,850 I don't even know what the chords are. 258 00:15:19,790 --> 00:15:21,790 NICK: They keep changing all the time. 259 00:15:23,020 --> 00:15:25,050 [PIANO MUSIC PLAYING] 260 00:15:25,090 --> 00:15:27,550 NICK: I mean, I played the chords originally. 261 00:15:30,050 --> 00:15:34,290 But, there seems to be an endless variations on the circle. 262 00:15:34,320 --> 00:15:37,590 Oh fuck it. I don't know what that is. So, no, I won't be playing the piano. 263 00:15:38,090 --> 00:15:39,850 [CHUCKLES] 264 00:15:39,890 --> 00:15:42,590 And, there seems to be a bit weird to be trying to work out the chords, 265 00:15:43,590 --> 00:15:45,990 to an improvised song anyway. 266 00:15:46,020 --> 00:15:47,620 Don't you think? 267 00:15:49,050 --> 00:15:52,750 * I am calling you 268 00:15:57,050 --> 00:15:59,850 * With your voice 269 00:15:59,890 --> 00:16:04,620 * I am calling you 270 00:16:04,650 --> 00:16:06,820 I should have strengthened my voice. 271 00:16:07,650 --> 00:16:09,720 * With my voice 272 00:16:10,650 --> 00:16:12,750 * With my voice My voice 273 00:16:13,920 --> 00:16:18,620 * I am call, call, call 274 00:16:21,090 --> 00:16:24,120 I should have sung more before I came into the studio. 275 00:16:26,250 --> 00:16:28,320 * I am call 276 00:16:28,350 --> 00:16:30,290 I knew that at the time. 277 00:16:31,090 --> 00:16:32,220 Okay. 278 00:16:36,090 --> 00:16:37,250 Alright. 279 00:16:39,850 --> 00:16:41,620 WARREN: I'll come out okay. Yeah. 280 00:16:43,790 --> 00:16:45,920 NICK: I think I'm losing my voice. 281 00:16:48,050 --> 00:16:50,790 [PIANO MUSIC PLAYING] 282 00:16:55,350 --> 00:16:58,190 [PIANO MUSIC PLAYING] 283 00:16:58,220 --> 00:17:00,120 Just find it into lost things. 284 00:17:05,220 --> 00:17:06,750 My voice. 285 00:17:09,120 --> 00:17:10,820 My iPhone. 286 00:17:13,690 --> 00:17:15,650 My judgment. 287 00:17:15,690 --> 00:17:17,950 [PIANO MUSIC PLAYING] 288 00:17:18,650 --> 00:17:19,850 My memory maybe. 289 00:17:23,590 --> 00:17:24,890 Fuck. 290 00:17:24,920 --> 00:17:27,820 [PIANO MUSIC PLAYING] 291 00:17:39,890 --> 00:17:42,220 And, isn't that the invisible things? 292 00:17:46,850 --> 00:17:48,120 Lost things... 293 00:17:50,050 --> 00:17:51,920 that have so much mass, 294 00:17:54,790 --> 00:17:56,120 and so much weight. 295 00:17:58,120 --> 00:18:00,020 [PIANO MUSIC PLAYING] 296 00:18:01,690 --> 00:18:02,720 Alright. 297 00:18:02,750 --> 00:18:04,620 NICK: And, are as big as the universe. 298 00:18:05,920 --> 00:18:09,720 [JESUS ALONE PLAYING] 299 00:18:27,150 --> 00:18:29,790 * You fell from the sky 300 00:18:29,820 --> 00:18:33,250 * Crash landed in a field Near the river Adur 301 00:18:38,750 --> 00:18:43,820 * Flowers spring from The ground Lambs burst from The wombs of their mothers 302 00:18:48,690 --> 00:18:54,720 * In a hole beneath the bridge You convalesced, you fashioned Masks of twigs and clay 303 00:18:59,890 --> 00:19:03,790 * You cried beneath The dripping tree 304 00:19:03,820 --> 00:19:06,050 * Ghost song Lodged In the throat of a mermaid 305 00:19:12,290 --> 00:19:14,150 * With my voice 306 00:19:15,120 --> 00:19:18,950 * I am calling you 307 00:19:23,290 --> 00:19:28,050 * You're a young man waking Covered in blood that is Not yours 308 00:19:33,120 --> 00:19:38,620 * You're a woman in a yellow Dress Surrounded by a charm Of hummingbirds 309 00:19:43,890 --> 00:19:49,150 * You're a young girl full of Forbidden energy Flickering in the gloom 310 00:19:54,050 --> 00:19:59,620 * You're a drug addict Lying on your back In a Tijuana hotel room 311 00:20:04,890 --> 00:20:07,690 * With my voice 312 00:20:07,720 --> 00:20:11,920 * I am calling you 313 00:20:15,190 --> 00:20:17,950 * With my voice 314 00:20:17,990 --> 00:20:21,520 * I am calling you 315 00:20:27,350 --> 00:20:32,990 * You're an African doctor Harvesting tear ducts 316 00:20:37,690 --> 00:20:43,550 * You believe in God, but you Get no special dispensation For this belief now 317 00:20:49,720 --> 00:20:55,120 * You're an old man sitting by The fire, you're the mist Rolling off the sea 318 00:20:59,720 --> 00:21:05,550 * You're a distant memory in The mind of your creator Don't you see 319 00:21:08,650 --> 00:21:11,220 * With my voice 320 00:21:11,250 --> 00:21:15,520 * I am calling you 321 00:21:18,890 --> 00:21:21,190 * With my voice 322 00:21:21,220 --> 00:21:25,850 * I am calling you 323 00:21:30,890 --> 00:21:33,250 * Let us sit together 324 00:21:34,250 --> 00:21:37,550 * Until the moment comes 325 00:21:40,120 --> 00:21:42,120 * With my voice 326 00:21:42,950 --> 00:21:47,190 * I am calling you 327 00:21:52,190 --> 00:21:54,850 * Let us sit together In the dark 328 00:21:54,890 --> 00:21:58,250 * Until the moment comes 329 00:22:01,950 --> 00:22:03,590 * With my voice 330 00:22:04,290 --> 00:22:08,290 * I am calling you 331 00:22:12,050 --> 00:22:14,120 * With my voice 332 00:22:15,020 --> 00:22:19,050 * I am calling you 333 00:22:22,350 --> 00:22:25,290 * With my voice 334 00:22:25,320 --> 00:22:30,020 * I am calling you 335 00:22:33,020 --> 00:22:35,850 * With my voice 336 00:22:35,890 --> 00:22:40,250 * I am calling you 337 00:22:40,290 --> 00:22:42,720 [INSTRUMENTAL MUSIC PLAYING] 338 00:24:10,020 --> 00:24:12,020 [MUSIC FADES] 339 00:24:15,690 --> 00:24:18,190 WARREN: Cool! Nice. 340 00:24:18,220 --> 00:24:20,650 WARREN: That's a good one, and a longer. It's good. 341 00:24:20,690 --> 00:24:22,520 Great. Cup of tea? 342 00:24:26,720 --> 00:24:30,820 WARREN: Do you feel that the lack of narrative allows you to get the something... 343 00:24:30,850 --> 00:24:34,650 as wide a... I just don't think, I don't think, uh... 344 00:24:35,920 --> 00:24:37,620 life is a story. 345 00:24:37,650 --> 00:24:40,550 Yeah. You know, that... that hasn't, 346 00:24:40,590 --> 00:24:42,820 I mean, we all hope it is. Yeah. 347 00:24:43,220 --> 00:24:45,050 Um... 348 00:24:45,090 --> 00:24:47,150 We all... It kind of is, I have to say. 349 00:24:47,850 --> 00:24:50,220 It kind of is a story. 350 00:24:50,250 --> 00:24:52,790 It's the same story for everyone. [CHUCKLES] 351 00:24:52,820 --> 00:24:56,250 In a way It... In a way but, um... 352 00:24:56,290 --> 00:25:00,790 the arc can be very different and it's not necessarily, um... 353 00:25:03,650 --> 00:25:04,790 um... 354 00:25:05,920 --> 00:25:08,650 yeah, yeah, I guess... 355 00:25:08,690 --> 00:25:11,020 you were born, and you die. 356 00:25:11,050 --> 00:25:13,750 Um... Well you gradually... 357 00:25:13,790 --> 00:25:15,890 decay. Gradually decay. 358 00:25:15,920 --> 00:25:18,020 Yeah, which is... 359 00:25:18,050 --> 00:25:20,550 I mean, that what I feel like I'm dealing with. 360 00:25:20,590 --> 00:25:22,120 And, you're ten years ahead of me. 361 00:25:23,350 --> 00:25:24,620 Um... 362 00:25:26,120 --> 00:25:29,550 you decay and you sort of diminish. 363 00:25:35,820 --> 00:25:37,820 Um... 364 00:25:37,850 --> 00:25:39,190 WARREN: Do you really feel that way? 365 00:25:40,120 --> 00:25:43,550 Yeah. In what sense? 366 00:25:43,590 --> 00:25:48,820 Um, that the struggle to... to do what I do is um... 367 00:25:51,290 --> 00:25:53,850 it just requires more effort. 368 00:25:57,220 --> 00:25:58,750 Was he ready? Yeah. 369 00:25:58,790 --> 00:26:00,120 Alright, mate. What from? 370 00:26:00,150 --> 00:26:02,120 Were do you wanna go from, boss? 371 00:26:02,150 --> 00:26:04,520 WARREN: I guess the second, uh... 372 00:26:06,220 --> 00:26:08,050 the second... no, verse. Chord? 373 00:26:08,090 --> 00:26:09,220 Second verse, okay. 374 00:26:10,920 --> 00:26:12,720 NICK: Most of us don't wanna change. 375 00:26:13,820 --> 00:26:15,150 Really. 376 00:26:15,190 --> 00:26:16,790 Does that went away? 377 00:26:16,820 --> 00:26:18,290 That did... What happened when you, 378 00:26:18,320 --> 00:26:20,690 when you came in, 'cause it went away. Now, it's come back. 379 00:26:21,690 --> 00:26:23,450 NICK: I mean why should we. 380 00:26:23,490 --> 00:26:27,290 WARREN: Has it moved back or, is it a cable? Was it when you lifted up the cables, John? 381 00:26:27,320 --> 00:26:28,890 Lift up the cables. 382 00:26:31,320 --> 00:26:33,650 NICK: What we want to do is... 383 00:26:33,690 --> 00:26:35,950 to sort of modific... modif... 384 00:26:35,990 --> 00:26:37,320 modify... 385 00:26:37,350 --> 00:26:40,250 Yeah. Yes. Stop, what've you done there? 386 00:26:40,290 --> 00:26:42,850 NICK: Most of us don't want to change. 387 00:26:42,890 --> 00:26:45,550 Whatever that cable is, that's the one. 388 00:26:45,590 --> 00:26:50,550 NICK: What we do want is sort of, modifications on the original model. 389 00:26:50,590 --> 00:26:52,890 [VIOLIN PLAYING] 390 00:26:52,920 --> 00:26:56,850 We keep on being ourselves but just... 391 00:26:56,890 --> 00:26:59,020 hopefully better versions of ourselves. 392 00:27:01,050 --> 00:27:02,290 But, what happens when... 393 00:27:03,920 --> 00:27:07,550 an event occurs that's so catastrophic 394 00:27:07,590 --> 00:27:10,890 that we just change from one day to the next. 395 00:27:12,720 --> 00:27:15,090 You change from the known person, 396 00:27:15,120 --> 00:27:17,550 to an unknown person. 397 00:27:17,590 --> 00:27:19,650 So that, when you look at yourself in the mirror, 398 00:27:20,790 --> 00:27:23,290 you recognize the person... 399 00:27:24,120 --> 00:27:26,020 uh, but you won't... 400 00:27:26,050 --> 00:27:29,050 but, the person inside the skin is a different person. 401 00:27:33,850 --> 00:27:35,820 NICK: So that when you go outside... 402 00:27:40,950 --> 00:27:43,020 the world is the same. 403 00:27:43,050 --> 00:27:47,750 But, now you are a different person and you have to 404 00:27:47,790 --> 00:27:50,190 renegotiate your position in the world. 405 00:27:52,650 --> 00:27:53,920 WOMAN: a bit. Going for G here... 406 00:27:53,950 --> 00:27:55,250 Yeah. We can do it. 407 00:27:55,290 --> 00:27:56,620 Okay. NICK: For instance... 408 00:27:57,350 --> 00:27:59,890 I think D-F-G, D-F-A seems to... 409 00:27:59,920 --> 00:28:01,820 NICK: when you go into a shop 410 00:28:01,850 --> 00:28:06,620 to get cigarettes, because this new version of yourself 411 00:28:06,650 --> 00:28:10,920 smokes, and the shop owner says, "How are you?" 412 00:28:10,950 --> 00:28:14,020 And you don't know how to answer. 413 00:28:14,050 --> 00:28:18,020 Or, when you meet a friend on the street, who says some kindness. 414 00:28:18,050 --> 00:28:22,720 Uh, the... they don't really work on the choruses because, 415 00:28:22,750 --> 00:28:26,290 they connect to the...[HUMMING] Yes... maybe it should be... 416 00:28:26,320 --> 00:28:27,850 it's like a "boom". 417 00:28:27,890 --> 00:28:31,090 NICK: And, suddenly you are crying in their arms for ages. 418 00:28:31,120 --> 00:28:34,320 And, then you realize that the person is not a friend at all. 419 00:28:34,350 --> 00:28:37,750 I think it's... we're saying the same thing... Like a boom? 420 00:28:37,790 --> 00:28:39,220 [HUMMING] 421 00:28:39,250 --> 00:28:41,250 They're doing the "waa". Then I'm planning to wind up. 422 00:28:41,720 --> 00:28:43,120 Yeah. 423 00:28:43,150 --> 00:28:46,020 NICK: But, someone else that you don't actually really 424 00:28:46,050 --> 00:28:47,220 know very well. 425 00:28:49,050 --> 00:28:51,550 I wouldn't put any more emotion into it. 426 00:28:51,590 --> 00:28:55,590 Or, you go into a bakery to buy a loaf of bread... 427 00:28:56,120 --> 00:28:58,220 let's say. 428 00:28:58,250 --> 00:29:01,650 And, you're standing in the queue, 429 00:29:01,690 --> 00:29:05,020 and someone grabs you by the arm and says something, 430 00:29:05,050 --> 00:29:07,050 with their kind eyes... 431 00:29:07,090 --> 00:29:09,050 [PLAYING CELLO] 432 00:29:09,090 --> 00:29:14,720 But, you can't work out what they've said because the new you can't hear very well. 433 00:29:14,750 --> 00:29:16,920 And, so, you say "What?" 434 00:29:16,950 --> 00:29:19,550 But, too loudly and angrily, 435 00:29:20,020 --> 00:29:21,220 and he says, 436 00:29:23,620 --> 00:29:26,790 "We are all with you, man". 437 00:29:26,820 --> 00:29:31,290 And you look around and all the bakery is looking at you with kind eyes. 438 00:29:32,750 --> 00:29:34,950 And, you think that people are really nice. 439 00:29:37,850 --> 00:29:40,790 But, when did you become an object of pity? 440 00:29:44,620 --> 00:29:47,820 [TECHNO MUSIC PLAYING] 441 00:30:03,050 --> 00:30:07,750 As soon as I walked in here, I got this spike of agitation. You did? 442 00:30:08,150 --> 00:30:09,150 How come? 443 00:30:14,120 --> 00:30:15,690 Has anyone seen my pen? 444 00:30:20,150 --> 00:30:21,650 Thank you. 445 00:30:21,690 --> 00:30:23,620 Um, yeah. 446 00:30:27,350 --> 00:30:28,520 Um... 447 00:30:28,550 --> 00:30:31,990 did you print out the words that I sent, or the words... 448 00:30:32,020 --> 00:30:33,720 This is what you sent. Yeah. Did I? 449 00:30:34,890 --> 00:30:36,650 Um, okay. 450 00:30:37,750 --> 00:30:39,850 Yeah, um... 451 00:30:39,890 --> 00:30:42,290 No, because you don't have any... 452 00:30:42,320 --> 00:30:43,990 What if I've got them on my computer? 453 00:30:46,290 --> 00:30:47,690 Do you have a printer? 454 00:30:49,250 --> 00:30:53,620 NICK: Here I am, the moonlight man, with my six shooter and Steve McQueen, 455 00:30:53,650 --> 00:30:58,050 call me a cab, I'm not that kind of a guy, I have a dream. 456 00:30:58,090 --> 00:31:01,890 Sometimes I the elevator to the top of the Burj Al Arab 457 00:31:01,920 --> 00:31:04,820 and shoot my guns across Dubai. 458 00:31:04,850 --> 00:31:07,650 Bang, bang, bang, I'm that kind of guy. 459 00:31:14,090 --> 00:31:15,650 I know. 460 00:31:15,690 --> 00:31:20,050 But mostly, I curl up inside my typewriter... curl up inside my typewriter and wish 461 00:31:20,090 --> 00:31:21,150 that I can die. 462 00:31:23,820 --> 00:31:27,920 Your legs are so long, they should come with their own elevator. 463 00:31:27,950 --> 00:31:31,050 Don't worry, darling, I'll be coming around, see you later. 464 00:31:31,090 --> 00:31:32,850 Have you guys sang them differently, 465 00:31:32,890 --> 00:31:34,750 or, something like that, um... 466 00:31:34,790 --> 00:31:36,890 [INDISTINCT] 467 00:31:36,920 --> 00:31:40,290 Because, between you and me and my best friend, the housefly... 468 00:31:42,720 --> 00:31:45,820 I'm Steve McQueen with a big beautiful dream. 469 00:31:47,320 --> 00:31:48,720 I am god. 470 00:31:50,990 --> 00:31:54,690 I am God, thinking about God, thinking about Steve McQueen. 471 00:31:55,290 --> 00:31:57,790 Oh, yeah, great. 472 00:31:57,820 --> 00:32:01,790 It's for me the sirens and the sylphs do their twilight pining. 473 00:32:01,820 --> 00:32:05,790 On Saturday night. I woke on someone else's stomach lining. 474 00:32:07,320 --> 00:32:10,120 Up and down this street, call me a cab. 475 00:32:10,150 --> 00:32:11,950 Call me a cab. 476 00:32:11,990 --> 00:32:15,620 No I'm a housefly called God and I don't give a fuck. 477 00:32:17,050 --> 00:32:18,790 Right, that's it. Go on. 478 00:32:18,820 --> 00:32:23,050 Here I come up the elevator, sixty floors hoping I don't get stuck. 479 00:32:24,720 --> 00:32:29,050 And everyone out here does mean And everyone out here does pain. 480 00:32:29,090 --> 00:32:31,620 But, someone's got to sing the stars. 481 00:32:31,650 --> 00:32:33,690 And, someone's got to sing the rain. 482 00:32:35,150 --> 00:32:36,850 I'm the atomizer. 483 00:32:36,890 --> 00:32:38,490 I'm the vaporizer. 484 00:32:38,520 --> 00:32:43,050 I turn everything to crud, I like it here in flesh and blood. 485 00:32:43,090 --> 00:32:45,250 I'm the elevator man, don't you see? 486 00:32:45,290 --> 00:32:48,990 You're a spine lashed, long legged lovely young thing. 487 00:32:49,020 --> 00:32:52,990 Call me a cab. I'll drive to the top of the Burj Al Arab. 488 00:32:53,020 --> 00:32:55,720 And, fire my guns across your stomach. 489 00:32:59,650 --> 00:33:05,120 Because, someone's got to sing the stars, and someone's got to sing the rain. 490 00:33:05,150 --> 00:33:09,620 And someone's got to sing the blood. And someone's got to sing the pain. 491 00:33:11,220 --> 00:33:13,550 Watch out you fuckers. 492 00:33:13,590 --> 00:33:16,650 I've got my six shooter and my housefly on lead, 493 00:33:16,690 --> 00:33:18,950 I'm Burj Al McQueen. 494 00:33:18,990 --> 00:33:21,890 And I'm coming to make every last one of you bleed. 495 00:33:21,920 --> 00:33:25,650 How are you, Jim? I'm alright, thank you. How are you? 496 00:33:26,020 --> 00:33:27,690 [LAUGHING] 497 00:33:27,720 --> 00:33:30,090 Got your beard back, mate. Yeah, yeah. 498 00:33:30,120 --> 00:33:31,820 I thought I'd grow it just for the show. 499 00:33:33,650 --> 00:33:35,320 What about continuity? 500 00:33:35,350 --> 00:33:36,920 Fuck continuity. 501 00:33:37,850 --> 00:33:39,550 Fuck continuity. 502 00:33:39,590 --> 00:33:45,320 God is great, chances are God is good, well I wouldn't go that far 503 00:33:45,350 --> 00:33:46,750 [INDISTINCT] 504 00:33:47,150 --> 00:33:48,190 C to B Flat. 505 00:33:48,220 --> 00:33:51,220 I'm Steve McQueen the atrocity man. 506 00:33:51,250 --> 00:33:55,790 * You wanna bleed on me. 507 00:33:57,120 --> 00:33:58,720 And sing too, Jim. 508 00:33:58,750 --> 00:34:03,650 * If you wanna bleed Don't bleed * 509 00:34:03,690 --> 00:34:06,650 NICK: With my strap on blood pondered dream... 510 00:34:06,690 --> 00:34:10,820 * If you wanna bleed Don't bleed 511 00:34:11,950 --> 00:34:13,720 * Step away. 512 00:34:13,750 --> 00:34:18,150 NICK: But, mostly curl up inside my typewriter with my housefly and cry. 513 00:34:20,720 --> 00:34:23,220 I tell my housefly not to cry. 514 00:34:23,250 --> 00:34:25,750 My housefly chose me not to die. 515 00:34:27,090 --> 00:34:30,190 Because someone's got to sing the stars, 516 00:34:30,220 --> 00:34:32,520 and someone's got to sing the rain. 517 00:34:33,120 --> 00:34:34,120 D minor. 518 00:34:34,150 --> 00:34:35,990 And, someone's got to sing the blood. 519 00:34:38,750 --> 00:34:40,850 And, someone's got to sing the pain. 520 00:34:42,320 --> 00:34:43,590 Okay. 521 00:34:46,790 --> 00:34:49,120 [INDISTINCT CHATTER] 522 00:34:49,150 --> 00:34:50,150 [CLEARS THROAT] 523 00:34:53,590 --> 00:34:54,750 NICK: Look at him. 524 00:34:57,750 --> 00:34:59,120 Holding everything together. 525 00:34:59,150 --> 00:35:00,520 NICK: Is my hair alright? 526 00:35:01,950 --> 00:35:04,090 Fucking, never been better. 527 00:35:04,120 --> 00:35:07,990 Best it's ever been. Best it's ever been. Huh? Best it's ever... 528 00:35:08,020 --> 00:35:12,950 It better be. Fucking, proceed with absolute confidence. 529 00:35:12,990 --> 00:35:14,820 NICK: What would I do without Warren. 530 00:35:14,850 --> 00:35:15,920 If it's not... 531 00:35:15,950 --> 00:35:17,250 [PIANO MUSIC PLAYING] 532 00:35:17,290 --> 00:35:18,650 MAN: Cut! Cut! 533 00:35:19,920 --> 00:35:21,150 MAN: Three-Four minutes. 534 00:35:21,190 --> 00:35:24,790 NICK: We should do one, we should do a take pretty soon. 535 00:35:24,820 --> 00:35:28,250 Or we're gonna lose the essence of the thing. 536 00:35:28,290 --> 00:35:31,820 Because I can the whole mojo slipping away. WARREN: Yeah, it's getting 537 00:35:31,850 --> 00:35:35,820 cold. NICK: We're getting bored, irritable. 538 00:35:35,850 --> 00:35:40,020 Can I hear, can I try that out just with the backing track please, Jake. 539 00:35:47,890 --> 00:35:49,020 What's the time line? 540 00:35:50,850 --> 00:35:53,650 [INDISTINCT CHATTER] 541 00:35:55,120 --> 00:35:57,120 NICK: 'Cause it's too loud. 542 00:36:00,850 --> 00:36:03,950 [PIANO MUSIC PLAYING] 543 00:36:27,720 --> 00:36:29,850 [CHATTERING] 544 00:36:33,990 --> 00:36:36,620 Tishi, see that guy? Tishi. 545 00:36:36,650 --> 00:36:40,720 That means, go to... The cameraman, was like, Tishi. 546 00:36:40,750 --> 00:36:43,290 Did you show him his camera? Yeah, yeah, I showed him a photo. 547 00:36:43,790 --> 00:36:45,220 Spooky. 548 00:36:45,250 --> 00:36:48,250 NICK: Warren just pointed out how much the photographer looks like. 549 00:36:48,290 --> 00:36:49,690 Tishi. 550 00:36:51,050 --> 00:36:52,890 Tishi is another photographer. 551 00:36:52,920 --> 00:36:55,650 MAN: Hang on. [INDISTINCT] 552 00:36:55,690 --> 00:36:58,220 Who has like shaggy hair and a beard and... 553 00:36:58,250 --> 00:37:00,820 Bad backs are coming back. Yeah, mate. 554 00:37:00,850 --> 00:37:04,650 NICK: Lived most of his life in the streets, of his home town. 555 00:37:05,250 --> 00:37:06,520 In the Czech Republic. 556 00:37:08,020 --> 00:37:10,690 He took photographs of women, with a camera 557 00:37:10,720 --> 00:37:11,990 that he made himself. 558 00:37:12,920 --> 00:37:14,750 They are... 559 00:37:14,790 --> 00:37:17,320 really wonderful photographs. 560 00:37:17,350 --> 00:37:21,850 Like stolen moments, of women in over many 561 00:37:21,890 --> 00:37:23,690 amazing facets. 562 00:37:26,790 --> 00:37:28,950 I mean, many amazing facets. 563 00:37:32,020 --> 00:37:34,890 Women have more facets than men. 564 00:37:36,350 --> 00:37:38,150 Men are... [LAUGHS] 565 00:37:38,190 --> 00:37:40,920 Men are pretty much two dimensional. 566 00:37:41,950 --> 00:37:43,820 And women are, 567 00:37:43,850 --> 00:37:44,950 like, fucking 3D. 568 00:37:46,620 --> 00:37:49,750 My wife is spectacularly three dimensional. 569 00:37:53,150 --> 00:37:54,820 But, every time I try to, um... 570 00:37:56,090 --> 00:37:57,220 get a handle on her, 571 00:37:59,050 --> 00:38:02,120 and to put her into focus, 572 00:38:02,150 --> 00:38:05,250 she shifts and changes, and becomes someone else. 573 00:38:05,290 --> 00:38:08,090 Or worse, she steps out of the frame entirely. 574 00:38:08,920 --> 00:38:09,950 And... 575 00:38:10,850 --> 00:38:14,120 I'm left with a hovering 576 00:38:14,150 --> 00:38:16,190 ghost, in which... that's... 577 00:38:17,590 --> 00:38:18,990 burned on my retina. 578 00:38:20,250 --> 00:38:22,890 Like I've starred into a spotlight. 579 00:38:23,820 --> 00:38:25,190 And closed my eyes. 580 00:38:28,020 --> 00:38:29,920 Eventually she steps back into the frame, 581 00:38:31,590 --> 00:38:33,850 and I pull her back in focus. 582 00:38:33,890 --> 00:38:35,850 But, she's changed because she's been 583 00:38:38,150 --> 00:38:41,190 out there, communing with the dead. 584 00:38:45,150 --> 00:38:47,020 [SIGHS] 585 00:38:55,690 --> 00:38:59,190 [GIRL IN AMBER PLAYING] 586 00:39:09,750 --> 00:39:14,920 * Some go and some stay behind Some never move at all 587 00:39:16,290 --> 00:39:23,250 * Girl in amber trapped forever Spinning down the hall 588 00:39:23,290 --> 00:39:29,990 * Let no part of her go Unremembered, clothes Across the floor 589 00:39:30,020 --> 00:39:36,720 * Girl in amber lumber slumber Shuts the bathroom door 590 00:39:36,750 --> 00:39:43,790 * The phone, the phone The phone it rings, it rings It rings no more 591 00:39:43,820 --> 00:39:51,050 * The song, the song, the Song it spins since nineteen eighty-four 592 00:39:51,090 --> 00:39:57,990 * The phone, the phone The phone it rings, it rings It rings no more 593 00:39:58,020 --> 00:40:02,120 * The song, the song It's been spinning 594 00:40:02,150 --> 00:40:05,990 * Since Nineteen 595 00:40:06,020 --> 00:40:09,720 * And if you want to Bleed, just bleed 596 00:40:12,250 --> 00:40:16,650 * And if you want to Bleed, just bleed 597 00:40:19,220 --> 00:40:23,920 * But if you want to leave Don't breathe 598 00:40:24,920 --> 00:40:28,990 * The world just step away 599 00:40:29,020 --> 00:40:31,690 * And let the world 600 00:40:31,720 --> 00:40:38,150 * And now in turn, you turn You kneel, lace up his shoes Your little blue-eyed boy 601 00:40:40,020 --> 00:40:47,320 * Take him by his hand Go floating down the hall 602 00:40:47,350 --> 00:40:54,550 * I get lucky, I get lucky Cause I tried again 603 00:40:54,590 --> 00:41:01,920 * I knew the world it would Stop spinning now since You've been gone 604 00:41:01,950 --> 00:41:08,790 * I used to think that when You died you kind of Wandered the world 605 00:41:08,820 --> 00:41:15,320 * In a slumber till you Crumbled, were absorbed Into the earth 606 00:41:15,350 --> 00:41:19,720 * Well, I don't think That any more 607 00:41:19,750 --> 00:41:22,290 * The phone it rings no more 608 00:41:22,320 --> 00:41:29,790 * The song, the song it Spins now Since nineteen eighty-four 609 00:41:29,820 --> 00:41:36,050 * The song, the song it spins The song, it spins, it spins It's been a spinning now 610 00:41:36,090 --> 00:41:42,690 * And if you'll hold me I will Tell you that you know that 611 00:41:44,790 --> 00:41:49,190 * And if you want to leave Don't breathe 612 00:41:50,850 --> 00:41:55,520 * And if you want to leave Don't breathe 613 00:41:57,650 --> 00:42:02,990 * And if you want to leave Don't breathe 614 00:42:03,950 --> 00:42:05,920 * A word 615 00:42:06,820 --> 00:42:09,320 * Just step away 616 00:42:09,350 --> 00:42:13,550 * And let the world turn 617 00:42:25,620 --> 00:42:31,820 * The song, the song it Spins now Since nineteen eighty-four 618 00:42:33,190 --> 00:42:39,050 * The phone, it rings, it rings And you won't stay 619 00:43:08,020 --> 00:43:10,590 * Don't touch me 620 00:43:15,250 --> 00:43:17,190 * Don't touch me 621 00:43:22,050 --> 00:43:24,590 * Don't touch me 622 00:43:28,320 --> 00:43:31,020 * Don't touch me 623 00:43:36,320 --> 00:43:39,520 * Don't touch me 624 00:43:47,890 --> 00:43:51,690 [INDISTINCT CHATTER] 625 00:43:56,150 --> 00:43:57,750 NICK: Hair's still alright? 626 00:43:58,650 --> 00:44:00,050 WARREN: Even better. 627 00:44:00,090 --> 00:44:01,920 It's even better now. 628 00:44:03,350 --> 00:44:04,850 What ever you did, don't touch it. 629 00:44:05,650 --> 00:44:07,590 NICK: Don't touch it. 630 00:44:13,620 --> 00:44:15,120 NICK: Fuck! What happened to my face. 631 00:44:18,020 --> 00:44:19,920 Look at those bags under my eyes. 632 00:44:21,950 --> 00:44:23,250 Where did they come from? 633 00:44:26,350 --> 00:44:27,750 They weren't there last year. 634 00:44:32,280 --> 00:44:35,190 The director says I look like a battered monument. 635 00:44:38,020 --> 00:44:40,820 I have a terrible feeling he's trying to be kind to me. 636 00:44:44,920 --> 00:44:47,020 I must remember to be kind back. 637 00:44:49,620 --> 00:44:51,650 I must remember to be kind. 638 00:44:53,890 --> 00:44:56,590 [MAGNETO PLAYING] 639 00:44:57,820 --> 00:45:01,220 [INSTRUMENTAL MUSIC PLAYING] 640 00:45:31,850 --> 00:45:35,020 * Mostly I never knew Which way was out 641 00:45:40,950 --> 00:45:44,620 * Once it was on It was on and that was that 642 00:45:50,950 --> 00:45:54,850 * The umbilicus was a faucet That fountained rabbit blood 643 00:45:54,890 --> 00:45:57,280 * And I spun on my wheel 644 00:46:00,720 --> 00:46:02,590 * Like a laboratory rat 645 00:46:09,690 --> 00:46:14,920 * I was an electrical storm On the bathroom floor Clutching the bowl 646 00:46:19,650 --> 00:46:23,750 * My blood was for the gags And other people's diseases 647 00:46:28,790 --> 00:46:32,150 * My monstrous little memory Had swallowed me whole 648 00:46:37,850 --> 00:46:42,850 * It was the year I officially Became the bride of Jesus 649 00:46:44,050 --> 00:46:48,950 * In love, in love In love you laugh 650 00:46:48,990 --> 00:46:51,690 * I move you move 651 00:46:51,720 --> 00:46:55,550 * And one more time With feeling 652 00:46:55,590 --> 00:46:58,850 * In love, in love In laugh, you laugh 653 00:46:59,720 --> 00:47:01,920 * I'm sawn in half 654 00:47:01,950 --> 00:47:04,950 * And the stars are splashed 655 00:47:08,180 --> 00:47:12,620 * Across the ceiling 656 00:47:14,850 --> 00:47:20,050 * Oh, the urge to kill Somebody was basically Overwhelming 657 00:47:24,280 --> 00:47:29,790 * I had such hard blues Down there in the supermarket Queues 658 00:47:33,820 --> 00:47:39,850 * And I had a sudden urge to Become someone Someone like you 659 00:47:39,890 --> 00:47:45,690 * Who started out with less Than anyone I ever knew 660 00:47:52,020 --> 00:47:56,180 * In love, in love, I love You love, I laugh, you love 661 00:47:56,220 --> 00:48:01,950 * I move, you move And one more time with feeling 662 00:48:03,820 --> 00:48:06,890 * In love, in love I love, You love I laugh, you laugh 663 00:48:07,920 --> 00:48:10,590 * I'm sawn in half 664 00:48:10,620 --> 00:48:13,220 * And the stars are splashed 665 00:48:15,950 --> 00:48:20,620 * Across the ceiling 666 00:48:47,320 --> 00:48:51,750 * Oh, and oh you come shining 667 00:48:51,790 --> 00:48:54,790 * Softly to the hold Of a drink 668 00:48:57,180 --> 00:49:02,950 *Come as far as the edge Of my blood and swim 669 00:49:07,690 --> 00:49:12,590 * And in the bathroom mirror I see me vomit in the sink 670 00:49:16,120 --> 00:49:21,920 * And all through the house we Hear the hyena's hymns 671 00:49:25,980 --> 00:49:30,890 * Of love I love, you love I laugh, You laugh 672 00:49:30,920 --> 00:49:35,920 * I move, you move, you move One more time with feeling 673 00:49:38,820 --> 00:49:43,550 * I love, you love I laugh, you laugh 674 00:49:43,590 --> 00:49:49,720 * We saw each other in heart And all the stars have Splashed 675 00:49:49,750 --> 00:49:51,550 * And splattered 676 00:49:53,750 --> 00:49:56,850 * Across the ceiling 677 00:50:09,850 --> 00:50:11,650 [MUSIC FADES] 678 00:50:18,590 --> 00:50:20,790 How disturbing is this? 679 00:50:20,820 --> 00:50:22,750 It's quite disturbing. Yeah. It is? 680 00:50:22,790 --> 00:50:27,220 Well, I think, um... I'll make a deal with you. 681 00:50:27,250 --> 00:50:30,620 Absolutely anything in that's in the film that you don't like? 682 00:50:30,650 --> 00:50:32,150 Yeah. Right? You can cut out. 683 00:50:32,180 --> 00:50:33,520 Okay. Okay? 684 00:50:36,890 --> 00:50:38,250 Okay. 685 00:50:38,280 --> 00:50:39,920 Let's just take one now. 686 00:50:39,950 --> 00:50:41,820 Wait till it's, um... 687 00:50:41,850 --> 00:50:45,550 I'll wait till... You know, take a photo of them, 688 00:50:45,590 --> 00:50:47,980 and then we can put it in the film. 689 00:50:51,650 --> 00:50:53,790 That worked, yeah. Okay, cool. Yeah. Okay. 690 00:50:53,820 --> 00:50:55,590 And just wind it on with the... Okay. 691 00:50:56,020 --> 00:50:57,220 The winder thing. 692 00:50:58,350 --> 00:51:00,050 Okay. 693 00:51:00,080 --> 00:51:01,050 Awesome. Okay. 694 00:51:01,080 --> 00:51:03,980 And so, if you wanna, um, take any photos today, 695 00:51:04,020 --> 00:51:05,850 just gotta pop up the flash, which is that. 696 00:51:11,280 --> 00:51:12,690 NICK: We didn't ask for it. 697 00:51:17,050 --> 00:51:19,050 But, it is all around us. 698 00:51:19,080 --> 00:51:20,650 A gratuitous beauty. 699 00:51:22,350 --> 00:51:25,280 That exists whether we, uh, there to witness it or not. 700 00:51:27,920 --> 00:51:30,050 The world plunges on. 701 00:51:32,080 --> 00:51:33,790 And the world is magnificent. 702 00:51:37,820 --> 00:51:39,950 I watch you on your ice flow. 703 00:51:41,750 --> 00:51:44,180 Cold something into the Arctic wind. 704 00:51:46,980 --> 00:51:49,750 The wind offers a brutal resistance. 705 00:51:52,150 --> 00:51:53,520 But, still you plough on. 706 00:51:58,050 --> 00:52:00,620 I cling to my ice berg and sing to you. 707 00:52:02,180 --> 00:52:07,920 *See the sun, see it rising 708 00:52:10,690 --> 00:52:14,220 * See it rising 709 00:52:15,280 --> 00:52:20,520 * Rising in your eyes. 710 00:52:25,120 --> 00:52:27,950 Oh my God. Hey. 711 00:52:27,980 --> 00:52:30,180 Look at you. I've got brown hair. 712 00:52:35,050 --> 00:52:37,820 You've been alright? Yeah. 713 00:52:37,850 --> 00:52:40,590 What you doing. Oh, good. Nothing. 714 00:52:41,350 --> 00:52:45,080 Um... No, get rid of it. 715 00:52:45,120 --> 00:52:47,880 Have the animal rights people... Shh, shh! 716 00:52:48,780 --> 00:52:50,050 Why is creaking? 717 00:52:52,350 --> 00:52:56,120 It's been, um, an enormous amount of doing nothing, 718 00:52:56,150 --> 00:52:57,280 waiting around. Yeah. 719 00:52:58,620 --> 00:53:00,020 Sounds pretty difficult. 720 00:53:02,690 --> 00:53:05,180 You'll get used to the camera being there, now your on. 721 00:53:06,150 --> 00:53:07,520 Thanks. 722 00:53:08,880 --> 00:53:10,020 Good day Suz! 723 00:53:10,050 --> 00:53:11,780 [LAUGHING] 724 00:53:12,780 --> 00:53:14,050 See you're shy. 725 00:53:20,080 --> 00:53:21,720 That's what I'd do at the time, and they... 726 00:53:21,750 --> 00:53:24,620 they give me special one that's not connected. 727 00:53:24,650 --> 00:53:26,120 Just for the fuck of it. 728 00:53:27,350 --> 00:53:30,120 Go to DFA fader, that's fuck all. 729 00:53:30,150 --> 00:53:31,520 [LAUGHING] 730 00:53:33,820 --> 00:53:36,050 BOY: And the buttons? Can I press the buttons as well. 731 00:53:43,620 --> 00:53:47,950 NICK: And this guy, is the videographer. We're watching the videographer, 732 00:53:47,980 --> 00:53:51,320 who's watching the camera man, who's watching us, 733 00:53:51,350 --> 00:53:53,780 and it just goes around, and around, and around. 734 00:53:55,180 --> 00:53:56,980 Spooky, huh? 735 00:53:57,020 --> 00:53:58,880 WOMAN: So, which is the 3D camera? 736 00:53:58,920 --> 00:53:59,950 Cam-ception! 737 00:53:59,980 --> 00:54:01,880 They heavy one. That one. 738 00:54:01,920 --> 00:54:03,720 This is the videographer. 739 00:54:03,750 --> 00:54:06,880 Is this in 2D? That's in 2D. 740 00:54:06,920 --> 00:54:08,980 Okay. He's in 2D. 741 00:54:10,590 --> 00:54:12,250 [LAUGHING] 742 00:54:19,280 --> 00:54:22,620 WARREN: Yeah, I mean it's... No, I mean it's... 743 00:54:22,650 --> 00:54:26,080 Yeah, yeah. Basically the couple of record in the soundtrack stuff 744 00:54:26,120 --> 00:54:30,120 has been really about that I just pall a bunch of stuff in there, 745 00:54:30,150 --> 00:54:34,220 and then just try and find something in there, like it's really about... that's 746 00:54:34,250 --> 00:54:36,150 the really exciting thing. 747 00:54:36,180 --> 00:54:40,320 Um, for the last few years with me, has been about that, like... 748 00:54:40,350 --> 00:54:44,620 trying to find something that kind of, just comes out of nowhere. 749 00:54:45,020 --> 00:54:46,220 Um... 750 00:54:46,250 --> 00:54:49,680 NICK: These guys, Warren and Andrew the director, 751 00:54:49,720 --> 00:54:51,680 they like to go on about, 752 00:54:51,720 --> 00:54:55,880 accidents and the accident... uh... 753 00:54:56,850 --> 00:55:00,920 the accidental nature of art, 754 00:55:00,950 --> 00:55:05,150 but, this is just another way of saying they're communing with the Gods. 755 00:55:06,980 --> 00:55:10,280 I mean, you think God would have more pressing to do. Really. 756 00:55:12,180 --> 00:55:14,250 There's no such thing as accidents. 757 00:55:14,280 --> 00:55:15,750 [LOUD CLANG] 758 00:55:16,620 --> 00:55:17,680 MAN: Oh, fuck! 759 00:55:21,020 --> 00:55:23,720 Yeah, I think accidents is the wrong word, because, 760 00:55:25,650 --> 00:55:27,780 um, it more... 761 00:55:30,120 --> 00:55:31,620 Um... 762 00:55:31,650 --> 00:55:35,980 that we just get into... that we get ourselves into a space these days. 763 00:55:36,720 --> 00:55:38,680 Where, um... 764 00:55:38,720 --> 00:55:42,820 some sort of magical thing happens, that isn't 765 00:55:42,850 --> 00:55:44,080 to do with, uh, 766 00:55:46,250 --> 00:55:49,150 which isn't to do with knowing, 767 00:55:49,180 --> 00:55:53,220 which isn't to do with knowing at all actually, so... 768 00:55:53,950 --> 00:55:56,550 um... 769 00:55:56,580 --> 00:56:02,080 I mean there are of course, happy accidents and stuff like that, but... 770 00:56:02,120 --> 00:56:07,250 Mostly, um, I find that me and Warren particularly, when we kind of 771 00:56:07,280 --> 00:56:10,880 jam together and stuff like that, we get into, uh... 772 00:56:12,580 --> 00:56:16,950 a situation where a lot of very beautiful things just happen 773 00:56:16,980 --> 00:56:22,280 after each other. And, then we get into a situation where that doesn't happen at all. 774 00:56:22,320 --> 00:56:25,020 And we kind of, um, forever... 775 00:56:27,150 --> 00:56:31,650 um, foraging away for these moments. 776 00:56:37,880 --> 00:56:42,650 NICK: It's a very different collaborative situation with me and Warren that is 777 00:56:42,680 --> 00:56:47,580 with anybody else, that has been working with me. 778 00:56:47,620 --> 00:56:51,150 Because, we actually sit down in a room together and compose 779 00:56:51,180 --> 00:56:52,580 a song together. 780 00:56:54,180 --> 00:56:56,680 * We're beginning our descent 781 00:56:58,150 --> 00:57:01,580 * I never knew What that meant 782 00:57:03,920 --> 00:57:06,250 * We grabbed the oxygen pod 783 00:57:21,320 --> 00:57:25,880 * And I call out the window 784 00:57:29,850 --> 00:57:32,180 * Down here the sea. 785 00:57:35,780 --> 00:57:41,320 And it actually really exciting to sing the same if you're in a room together, 786 00:57:41,350 --> 00:57:43,250 to sing to something, 787 00:57:44,680 --> 00:57:46,720 that you don't know. 788 00:57:46,750 --> 00:57:48,820 You don't know where it's going. 789 00:57:48,850 --> 00:57:50,920 So, I'm singing a melody, 790 00:57:52,250 --> 00:57:58,220 that's being kind of, stretched into all these 791 00:57:58,250 --> 00:58:02,620 into a wholly different way, that I can never come up with myself. 792 00:58:07,120 --> 00:58:09,580 [PLAYING THE VIOLIN] 793 00:58:31,880 --> 00:58:34,650 When I sit at the piano, 794 00:58:34,680 --> 00:58:39,850 I play chords and I know what it's gonna sound like before I press the keys down. 795 00:58:42,950 --> 00:58:47,250 And so you just... it becomes repetitious, there's no way around it. 796 00:58:55,280 --> 00:58:57,150 It's very exciting to have 797 00:58:58,050 --> 00:59:00,280 someone else doing 798 00:59:00,320 --> 00:59:02,020 that side of things. 799 00:59:04,750 --> 00:59:07,920 Because, your melodies aren't dictated by 800 00:59:07,950 --> 00:59:09,080 what you know, 801 00:59:27,080 --> 00:59:30,180 [SKELETON TREE PLAYING] 802 00:59:30,220 --> 00:59:34,280 * Sunday morning 803 00:59:34,320 --> 00:59:38,120 * Scattered in trees 804 00:59:39,650 --> 00:59:42,150 * Pressed against the sky 805 00:59:43,680 --> 00:59:47,580 * The jittery TV 806 00:59:48,680 --> 00:59:51,620 * And an empty bed 807 00:59:54,180 --> 00:59:59,650 * Glowing white like fire 808 00:59:59,680 --> 01:00:03,580 * And I called out the window 809 01:00:07,280 --> 01:00:11,920 * Down to the sea 810 01:00:14,780 --> 01:00:18,780 * And the devil Comes collecting 811 01:00:18,820 --> 01:00:21,720 * For nothing is for free 812 01:00:22,620 --> 01:00:25,780 * And I call out the window 813 01:00:26,820 --> 01:00:32,650 * Jesus rising by 814 01:00:32,680 --> 01:00:35,220 * In a 815 01:00:38,920 --> 01:00:41,650 * Field. 816 01:00:53,950 --> 01:00:55,680 You know, I'm... 817 01:00:56,750 --> 01:00:58,780 to a fault, 818 01:00:58,820 --> 01:01:03,080 have had a thing about words, both, love and respect about 819 01:01:03,120 --> 01:01:08,680 words, but, a kind of fear about words, of where they can actually take you, and... 820 01:01:08,720 --> 01:01:14,980 Um, what they can expose and stuff about you. Words right, that's what that's... 821 01:01:15,020 --> 01:01:18,820 what makes the world go around, if we didn't have any way about 822 01:01:18,850 --> 01:01:22,650 articulating anything, we would have no way of even remembering anything really. 823 01:01:23,720 --> 01:01:27,020 Um... so, 824 01:01:27,050 --> 01:01:30,920 because of that power of words I've really kept them 825 01:01:31,350 --> 01:01:33,920 contained like, 826 01:01:33,950 --> 01:01:36,750 don't let a line go, in my opinion... 827 01:01:36,780 --> 01:01:40,250 I mean, people might just think what I do is shit. I have to forget about that. 828 01:01:40,280 --> 01:01:42,320 But, in my opinion I don't need a line go, 829 01:01:42,350 --> 01:01:44,280 that I'm not really really please with. 830 01:01:44,320 --> 01:01:46,120 Basically, right? 831 01:01:46,150 --> 01:01:47,820 Um, and this record 832 01:01:48,850 --> 01:01:52,620 I have to let go of that, because, 833 01:01:52,650 --> 01:01:55,280 um, the line is successful 834 01:01:55,320 --> 01:01:56,720 for another reason. 835 01:01:57,120 --> 01:01:58,720 [TAPPING] 836 01:02:03,120 --> 01:02:05,220 [ANTHROCENE PLAYING] 837 01:02:05,250 --> 01:02:08,950 * All the fine wind is gone 838 01:02:13,580 --> 01:02:16,980 * And this sweet world is so Much older 839 01:02:22,680 --> 01:02:27,880 * Animals pull the night Around their shoulders 840 01:02:31,580 --> 01:02:36,980 *Flowers fall to their Naked knees 841 01:02:37,980 --> 01:02:42,220 * Here I come now here I come 842 01:02:42,250 --> 01:02:47,220 * I hear you been out there Looking for something to love 843 01:02:51,020 --> 01:02:55,880 * The dark force that shifts At the edge of the tree 844 01:02:57,250 --> 01:03:01,250 * It's alright, it's alright 845 01:03:01,280 --> 01:03:06,950 * When you turn So long and Lovely It's hard to believe 846 01:03:10,080 --> 01:03:17,020 * That we're falling now In the name of the Anthrocene 847 01:03:27,950 --> 01:03:34,150 * All the things we love We love, we love, we lose 848 01:03:37,680 --> 01:03:44,580 * It's our bodies that fall When they try to rise 849 01:03:47,980 --> 01:03:53,580 * And I hear you been looking Out for something to love 850 01:03:55,750 --> 01:03:59,780 * Sit down beside me 851 01:03:59,820 --> 01:04:02,520 * And I'll name it for you 852 01:04:05,150 --> 01:04:10,620 * Behold, behold The heaven bound sea 853 01:04:14,320 --> 01:04:19,820 * The wind cast its shadow And moves for the tree 854 01:04:22,120 --> 01:04:29,120 *Behold the animals And the Birds And the sky entire 855 01:04:29,150 --> 01:04:34,920 * I hear you been out there Looking for something to Set on fire 856 01:04:37,620 --> 01:04:44,120 *The head bow children Fall to their knees 857 01:04:44,150 --> 01:04:50,250 * Humbled in the age Of the Anthrocene 858 01:05:04,580 --> 01:05:07,750 * Here they come now Here they come 859 01:05:07,780 --> 01:05:10,550 * Are pulling you away 860 01:05:11,950 --> 01:05:17,550 * There are powers at play More forceful than we 861 01:05:20,180 --> 01:05:23,820 * Come over here and sit down 862 01:05:23,850 --> 01:05:26,920 * And say a short prayer 863 01:05:28,750 --> 01:05:34,120 * A prayer to the air, the air That we breathe 864 01:05:35,650 --> 01:05:40,980 * And the astonishing rise Of the Anthrocene 865 01:05:42,220 --> 01:05:45,220 * Come on now, come on now 866 01:05:45,250 --> 01:05:48,620 * Hold your breath While you're safe 867 01:05:51,250 --> 01:05:57,120 * It's a long way back And I'm begging you please 868 01:05:57,150 --> 01:06:01,150 * To come home now Come home now 869 01:06:05,780 --> 01:06:11,920 * Well, I heard you been out Looking for something to love 870 01:06:14,820 --> 01:06:18,820 * Close your eyes Little world 871 01:06:18,850 --> 01:06:21,250 * And brace yourself 872 01:06:28,950 --> 01:06:33,180 I don't want to just write songs like a diary, 873 01:06:33,220 --> 01:06:36,950 of what my life is like, I'm not really interested in that. 874 01:06:36,980 --> 01:06:39,180 Um... 875 01:06:39,220 --> 01:06:43,120 I want to write songs that radiate out... that... 876 01:06:43,150 --> 01:06:46,020 connect with people and don't alienate people. 877 01:06:50,850 --> 01:06:53,120 A kind of great... 878 01:06:53,150 --> 01:06:56,780 trauma isn't actually a very good thing, 879 01:06:56,820 --> 01:06:58,420 um... 880 01:06:58,450 --> 01:07:02,920 you know, you kind of... Well sometimes you know, we all wish we have something 881 01:07:02,950 --> 01:07:07,280 to write about. We all wish we have something in our lives, 882 01:07:07,320 --> 01:07:10,320 that can happen. That we can... 883 01:07:10,350 --> 01:07:12,520 that we can, um... 884 01:07:16,580 --> 01:07:19,250 to write about and make our writing interesting. 885 01:07:19,280 --> 01:07:22,220 And all of that sort of stuff. 886 01:07:22,250 --> 01:07:26,580 But, actually trauma actually I think in the way that this happened and, 887 01:07:26,620 --> 01:07:28,020 and in the events that happened, 888 01:07:31,620 --> 01:07:34,850 it was extremely damaging to the creative process. 889 01:07:39,220 --> 01:07:45,550 NICK: Later someone entered the garden and bashed the snakes brains in with a rock. 890 01:07:45,580 --> 01:07:50,680 Basically every one stood around among the long black cars in a state of shock. 891 01:07:52,920 --> 01:07:57,550 Everything got sad, sad as a wind chime. Sad, as stream as, 892 01:07:57,580 --> 01:07:59,720 sad as a single lost sock. 893 01:08:01,820 --> 01:08:07,280 There are many snakes, many trees, many gardens to unlock. 894 01:08:07,320 --> 01:08:13,080 The media and it's complicitors reader blew the whole thing out of proportion. 895 01:08:13,120 --> 01:08:18,150 A snake became a serpent, and in a typical tabloid distortion 896 01:08:18,180 --> 01:08:22,650 the dead tree grew apples, the wasteland paradise, God was brought in 897 01:08:22,680 --> 01:08:25,080 blame apportioned. 898 01:08:25,120 --> 01:08:30,020 The whole thing went tits up to the ceiling. A complete fuck up and a total abortion. 899 01:08:30,050 --> 01:08:31,120 It's like a rap song. 900 01:08:32,280 --> 01:08:37,250 The children let off hand fulls of balloons into the sky, 901 01:08:37,280 --> 01:08:38,880 they huddled under the marquis. 902 01:08:41,350 --> 01:08:42,720 The wind chime stopped. 903 01:08:45,580 --> 01:08:46,780 Stream is flagged. 904 01:08:49,580 --> 01:08:51,720 The straight sailing ships on the sea. 905 01:08:54,350 --> 01:08:58,580 There is a toll gate now in paradise, absolutely nothing is for free. 906 01:09:03,180 --> 01:09:04,720 What's the worst that can happen? 907 01:09:06,920 --> 01:09:09,850 Turning, pushing the hair from you face and smiling at me. 908 01:09:15,320 --> 01:09:19,220 MAN: Do you think it's a good idea to have Suzie coming out of the toilet? 909 01:09:20,950 --> 01:09:23,980 Just from an aesthetic 910 01:09:24,020 --> 01:09:26,050 and emotional and, 911 01:09:26,080 --> 01:09:28,680 How do you feel Suzie? SUZIE: I don't mind. No, no. 912 01:09:28,720 --> 01:09:29,880 It's fine. I don't mind. 913 01:09:29,920 --> 01:09:32,020 [INDISTINCT] 914 01:09:32,050 --> 01:09:35,550 Darling, do you really wanna be photographed pinning and dressed up in the toilet? 915 01:09:35,580 --> 01:09:36,950 It's fine. I don't mind. 916 01:09:36,980 --> 01:09:38,920 Just decide though. Okay. 917 01:09:38,950 --> 01:09:42,250 Well, it probably, oh... MAN: Let's move the camera up there. 918 01:09:42,280 --> 01:09:43,780 Can we avoid seeing th toilet? 919 01:09:43,820 --> 01:09:45,580 You won't see the toilet. 920 01:09:45,620 --> 01:09:47,850 You're not going down into the bowl. 921 01:10:11,250 --> 01:10:12,920 MAN: What d'you think when you look at the picture? 922 01:10:14,980 --> 01:10:16,580 Yeah, things are changed. 923 01:10:17,280 --> 01:10:18,280 Um... 924 01:10:20,350 --> 01:10:22,180 I like that because, uh... 925 01:10:25,750 --> 01:10:30,880 because of the position of our bodies, that we're not, uh, connected. 926 01:10:30,920 --> 01:10:32,650 That we're sorbed in our own... 927 01:10:34,350 --> 01:10:40,020 whatever. And, uh... but there is a real connection as well 928 01:10:40,050 --> 01:10:41,120 at the same time. 929 01:10:46,680 --> 01:10:48,650 Anyway I love that picture. 930 01:10:48,680 --> 01:10:53,920 Actually went to a union psychiatrist, 'cause I had 931 01:10:53,950 --> 01:10:57,250 some problems or whatever. But, when you ended up talking about Suzie all the time because 932 01:10:57,280 --> 01:11:00,720 she's actually much more interesting than I am, 933 01:11:00,750 --> 01:11:04,820 And he was obviously more interested in her as well. 934 01:11:05,320 --> 01:11:07,550 Um, and... 935 01:11:09,250 --> 01:11:13,720 and he said, that it was a kind of untapped 936 01:11:13,750 --> 01:11:17,280 creativity makes... is quite a common thing, actually 937 01:11:17,320 --> 01:11:21,180 to... for... um, 938 01:11:21,220 --> 01:11:24,250 that she's not doing what she's supposed to be doing. 939 01:11:24,280 --> 01:11:27,080 So, it's a common thing for women 940 01:11:28,080 --> 01:11:29,650 to move furniture around. 941 01:11:30,620 --> 01:11:32,580 I mean, what should we do... 2. 942 01:11:32,620 --> 01:11:34,580 Yes? Where can this go? 943 01:11:34,620 --> 01:11:37,220 It can go back to where it was the other day. Back into... 944 01:11:37,250 --> 01:11:40,220 SUZIE: Where was it the other day? It was where? 945 01:11:40,250 --> 01:11:44,550 The bike was there. Yeah. SUZIE: Yeah, but do you want this out of the shot completely. 946 01:11:44,580 --> 01:11:45,780 If you can just get that. 947 01:11:45,820 --> 01:11:47,950 That could go into Nick's office. 948 01:11:47,980 --> 01:11:51,780 NICK: She knows I don't like it, so, um, 949 01:11:51,820 --> 01:11:54,720 tends to happen when I'm not in the house. 950 01:11:54,750 --> 01:11:58,880 And, so I go away and then I come back in and it's different. 951 01:11:58,920 --> 01:12:03,780 You don't mind if I put this back under the... SUZIE: Yeah, that's fine. 952 01:12:03,820 --> 01:12:08,720 NICK: I found this article of this guy up north, who had a similar situation with his wife 953 01:12:08,750 --> 01:12:10,480 and, he would nail... 954 01:12:10,520 --> 01:12:14,880 everything. All the chairs to the ground and everything like that. And she would tear them up 955 01:12:14,920 --> 01:12:19,820 and she'd be... it was like, that chronic. And eventually he divorced her in the end. 956 01:12:20,820 --> 01:12:21,880 But, um... 957 01:12:24,180 --> 01:12:25,950 doesn't bid well for the future. 958 01:12:29,180 --> 01:12:31,980 'Cause it's cropped up in couple of Nick's songs, 959 01:12:32,020 --> 01:12:33,820 I'm like... MAN: Yeah, yeah, yeah. 960 01:12:33,850 --> 01:12:36,080 I'm really embarrassed. MAN: I always thought that 961 01:12:36,120 --> 01:12:41,120 it was some brilliant... He'd come up with some brilliant kind of, 962 01:12:41,150 --> 01:12:43,880 metaphor, you know... SUZIE: Yeah, I know. 963 01:12:43,920 --> 01:12:46,920 Is an actual description. Actual description. 964 01:12:46,950 --> 01:12:51,880 Suzie changes, um, it's better but Suzie actually changes 965 01:12:51,920 --> 01:12:54,050 the function of the room. 966 01:12:54,080 --> 01:12:57,020 While you asleep, right. [LAUGHING] 967 01:12:57,050 --> 01:12:58,620 So that you wake up, 968 01:12:59,820 --> 01:13:03,880 and, yeah it's... it's a different, yeah. 969 01:13:03,920 --> 01:13:07,620 It's like the TV room, when before it was the bedroom or something. 970 01:13:09,150 --> 01:13:11,580 No, I unplug it myself, darling. 971 01:13:11,620 --> 01:13:14,620 The woman keeps it plugged in though. Suzie, I think here... 972 01:13:14,650 --> 01:13:18,150 they should... SUZIE: The boots and everything. Thank you. 973 01:13:20,850 --> 01:13:22,180 NICK: Alright, just take it in and out. 974 01:13:24,850 --> 01:13:26,250 NICK: Oh, fuck. 975 01:13:26,280 --> 01:13:28,180 Because there's, um... SUZIE: Okay. 976 01:13:31,980 --> 01:13:34,050 MAN: Did you see that? That's Nick Cave. 977 01:13:35,020 --> 01:13:36,720 [SUZIE LAUGHS] 978 01:13:36,750 --> 01:13:40,080 Now, should we just see, you can see what's gong on there, Nick. 979 01:13:40,120 --> 01:13:42,550 You can see what you're being photographed by. 980 01:13:42,580 --> 01:13:44,580 NICK: Yeah. 981 01:13:44,620 --> 01:13:47,880 MAN: You just thought that we'd leave the house and you'd be safe from us right? 982 01:13:47,920 --> 01:13:50,680 Yeah. In a sense yeah. 983 01:13:50,720 --> 01:13:53,880 But, we're still filming you, in 3D. 984 01:13:53,920 --> 01:13:55,780 From another location. 985 01:13:55,820 --> 01:13:57,250 Thats amazing. 986 01:13:57,280 --> 01:14:01,020 But, seriously what... what do you think about Suzie's shoes? 987 01:14:02,120 --> 01:14:03,980 Well, let me see her feet. 988 01:14:07,580 --> 01:14:09,680 You see them? 989 01:14:09,720 --> 01:14:13,050 I think you should wear the high heels. Okay. 990 01:14:13,080 --> 01:14:14,250 I'll keep them on. 991 01:14:14,980 --> 01:14:17,650 Alright. Okay. 992 01:14:17,680 --> 01:14:21,020 Now, Suzie, you want to just explain to us the philosophy of the dress? 993 01:14:21,050 --> 01:14:26,720 Yeah, um, okay this dress is based on the American prairie dress, 994 01:14:27,080 --> 01:14:29,120 and, um... 995 01:14:29,150 --> 01:14:32,680 it's, you know, there's some cults that all wear the same dresses... 996 01:14:33,720 --> 01:14:35,580 that was kind of the inspiration, 997 01:14:35,620 --> 01:14:38,620 because I wanted to do them in all these different color pastels. 998 01:14:38,650 --> 01:14:42,120 And I wanted them to be kind of, instead of, being really frumpy that they're really 999 01:14:42,150 --> 01:14:44,920 see through. Some of them are completely see through. 1000 01:14:44,950 --> 01:14:48,050 And some of them, like, this one is sort of, semi see through. 1001 01:14:48,080 --> 01:14:50,820 We can decide how much you... 1002 01:14:50,850 --> 01:14:52,480 want to reveal. 1003 01:14:52,520 --> 01:14:57,680 MAN: So, its the idea that takes something that is supposed to be deeply conservative, 1004 01:14:57,720 --> 01:14:59,180 and sexualize it. 1005 01:14:59,220 --> 01:15:02,920 Yeah, I guess so. There is that. And it's not that see through. 1006 01:15:02,950 --> 01:15:04,220 So you don't have to worry. 1007 01:15:05,880 --> 01:15:07,280 Since, um, 1008 01:15:07,320 --> 01:15:12,020 you know, since everything that happened my work became something 1009 01:15:12,050 --> 01:15:15,180 different, you know. Before it was something I was doing 1010 01:15:15,220 --> 01:15:19,680 you know, because I was enjoying it and loving it, but, then it became a real necessity, 1011 01:15:19,720 --> 01:15:22,850 I really had to be able to work, 1012 01:15:22,880 --> 01:15:25,320 'cause it was the only thing that would take my mind off everything. 1013 01:15:25,350 --> 01:15:26,180 Yeah. 1014 01:15:28,020 --> 01:15:32,150 SUZIE: I tried to not allow myself, 1015 01:15:32,180 --> 01:15:37,280 to sink down into, you know, I try to... 1016 01:15:37,320 --> 01:15:42,880 You know, to just keep moving forward and keep looking forwards, and just, um... 1017 01:15:42,920 --> 01:15:49,120 But, sometimes, you know, physically sometimes I feel it almost more on my... 1018 01:15:49,150 --> 01:15:54,080 Don't know how to describe it. It's like a physical depression almost. Not 'cause I'm 1019 01:15:54,120 --> 01:15:58,920 depressed, but just the grief process and, you know, and everything like that is very... 1020 01:15:58,950 --> 01:16:03,620 physical but, very you know, my work is so diverting, 1021 01:16:03,650 --> 01:16:06,820 and, I'm so grateful for that. Right. 1022 01:16:06,850 --> 01:16:10,880 Nick tells me, "You're really different when you go..." Nick really encourages 1023 01:16:10,920 --> 01:16:13,720 me to work, and, um, 1024 01:16:13,750 --> 01:16:18,850 people have said to me all that's what... creativity, where it comes from. 1025 01:16:18,880 --> 01:16:23,020 It comes from all other time from pain and from... 1026 01:16:23,050 --> 01:16:26,220 some terrible situations and... 1027 01:16:26,250 --> 01:16:29,820 And, then I realized that that's what was happening to me. 1028 01:16:30,920 --> 01:16:32,180 You know, in a small way. 1029 01:16:35,820 --> 01:16:40,150 I haven't got anything I can say any words of... 1030 01:16:40,180 --> 01:16:46,080 wisdom or anything about it. Because, I'm not at that... I don't know if I ever will be. 1031 01:16:58,780 --> 01:17:00,320 [INDISTINCT] 1032 01:17:00,350 --> 01:17:01,820 MAN: Suzie, can tell us what it is? 1033 01:17:03,250 --> 01:17:04,650 Um... 1034 01:17:04,680 --> 01:17:05,820 [WHISPERS] It's difficult. 1035 01:17:08,780 --> 01:17:09,780 I'm gonna cry. 1036 01:17:10,180 --> 01:17:11,180 [GULPS] 1037 01:17:14,850 --> 01:17:22,050 Um, well, after Arthur died I found this in storage. 1038 01:17:22,080 --> 01:17:27,920 I just couldn't believe it when I saw it because, it's a painting that he did when he was 1039 01:17:27,950 --> 01:17:33,250 how old? About five or, something like that? And it was... it's of the windmill, 1040 01:17:35,920 --> 01:17:37,180 and, you know, just where died. 1041 01:17:40,050 --> 01:17:41,920 Um... 1042 01:17:41,950 --> 01:17:45,680 And Earl did one as well. There's two of them. 1043 01:17:45,720 --> 01:17:50,280 Um, and then I found this one and I just kind of couldn't believe it. 1044 01:17:53,950 --> 01:17:57,680 I sort of hid it for a while, I didn't want to show Nick, I didn't know what to 1045 01:17:57,720 --> 01:17:59,620 do with it, 1046 01:17:59,650 --> 01:18:03,850 and, I was upset that it's framed in black and why it's framed in black. 1047 01:18:03,880 --> 01:18:05,150 I don't know why? 1048 01:18:05,180 --> 01:18:08,050 Um, because it was framed a long time ago, 1049 01:18:08,080 --> 01:18:11,950 and it kind of, freaked me out as well. 'Cause I thought "Why is it framed in black?" 1050 01:18:11,980 --> 01:18:13,080 You know, maybe that's... 1051 01:18:15,050 --> 01:18:19,820 you know, it's been really superstitious, and, um, anyway yeah. 1052 01:18:19,850 --> 01:18:21,720 But, I'm... I don't really know 1053 01:18:23,580 --> 01:18:24,780 what else to say about it. Really. 1054 01:18:32,580 --> 01:18:33,780 Yeah. 1055 01:18:37,720 --> 01:18:39,280 Put it over here? Yeah. 1056 01:18:54,820 --> 01:18:55,820 [SIGHS] 1057 01:18:58,950 --> 01:19:02,980 NICK: There is more paradise in hell than what we've been told. 1058 01:19:03,020 --> 01:19:06,750 And every step we take, we stop from blue. 1059 01:19:06,780 --> 01:19:08,780 Lie down and bleed into the water hole. 1060 01:19:10,920 --> 01:19:13,980 And so, the night, it will in time unfold. 1061 01:19:14,020 --> 01:19:17,220 Curled up inside my palm and it's sleeping too. 1062 01:19:17,250 --> 01:19:21,220 There is more paradise in hell than we've been told. 1063 01:19:21,250 --> 01:19:24,650 From your lashes tumble stars of gold, 1064 01:19:24,680 --> 01:19:27,820 star lashes, little splashes of dew. 1065 01:19:27,850 --> 01:19:30,520 Spill across the world and through my soul. 1066 01:19:31,880 --> 01:19:35,120 Now call your tiny animals to the drinking hole. 1067 01:19:35,150 --> 01:19:39,080 Little cat, little bear, little fire horse, little kangaroo, 1068 01:19:39,120 --> 01:19:42,680 there is more paradise in hell than we've been told. 1069 01:19:42,720 --> 01:19:46,650 Little cat, little fire horse with a shivering foal. 1070 01:19:46,680 --> 01:19:49,780 Curled in my demon palm and dreaming too. 1071 01:19:49,820 --> 01:19:53,250 And, all across the world the night night unfolds. 1072 01:19:53,280 --> 01:19:56,620 And all across the night and through my soul. 1073 01:19:56,650 --> 01:20:00,220 But, every step we take we start from blue. 1074 01:20:00,250 --> 01:20:02,650 Fresh tears bleed into the water hole. 1075 01:20:04,850 --> 01:20:07,280 There is more paradise in hell than we've been told. 1076 01:20:17,350 --> 01:20:21,820 You need... The imagination needs room to move. 1077 01:20:21,850 --> 01:20:24,220 It needs room to invent. 1078 01:20:24,250 --> 01:20:28,120 Um, and to dream, and when 1079 01:20:28,150 --> 01:20:32,580 a trauma happens, that's that big... 1080 01:20:32,620 --> 01:20:36,650 It is no room, it's just no imaginative room around it. 1081 01:20:36,680 --> 01:20:38,080 It's just the fucking trauma. 1082 01:20:39,980 --> 01:20:43,250 Um, and I think that was... 1083 01:20:43,280 --> 01:20:47,650 that was what the problem was when I tried to do new songs in the studio. 1084 01:20:49,720 --> 01:20:51,850 It's almost like the songs, uh... 1085 01:20:53,080 --> 01:20:56,220 that songs that you had written, uh... 1086 01:20:58,780 --> 01:21:03,120 in a way... maybe there were songs you might have needed. 1087 01:21:06,020 --> 01:21:08,780 I don't know. I don't know about the songs. 1088 01:21:08,820 --> 01:21:11,220 Because the songs do seem to have a... 1089 01:21:12,950 --> 01:21:14,950 The... Um... 1090 01:21:17,820 --> 01:21:20,150 There's a sense of helplessness in the songs. 1091 01:21:20,180 --> 01:21:23,050 Yeah. Well, you know... You know. 1092 01:21:25,620 --> 01:21:29,780 When we... you know, it's sort of talking about this prophetic nature of all of them, 1093 01:21:29,820 --> 01:21:32,850 that sort of stuff, I mean we gotta take that with a pinch of salt. 1094 01:21:32,880 --> 01:21:35,120 Yeah. You know, um... 1095 01:21:36,880 --> 01:21:40,180 And I don't really care about their prophetic, 1096 01:21:40,220 --> 01:21:42,780 they're not important enough. 1097 01:21:42,820 --> 01:21:45,550 At this stage... 1098 01:21:45,580 --> 01:21:49,280 but, the way that they've been presented, the way that... 1099 01:21:49,320 --> 01:21:51,120 the way that you hear them on this record. 1100 01:21:55,180 --> 01:21:59,080 It's very much because of the emotional state, 1101 01:21:59,120 --> 01:22:02,050 just... not just of myself but, everybody actually. 1102 01:22:02,080 --> 01:22:03,820 In the studio when we were doing that... 1103 01:22:05,050 --> 01:22:07,320 it's... it's, um, 1104 01:22:07,350 --> 01:22:12,850 the kind of state we were all in gave us, I think a confidence just to allow this thing 1105 01:22:12,880 --> 01:22:17,120 to go out like it was. This document to go out like it was. 1106 01:22:17,150 --> 01:22:22,220 Um, which we wouldn't have done if events were different, you know. 1107 01:22:22,250 --> 01:22:26,280 Fix this up and we would have redone this and, um... 1108 01:22:29,680 --> 01:22:34,680 There's something about the naked nature of the songs that have 1109 01:22:34,720 --> 01:22:35,820 um... 1110 01:22:37,320 --> 01:22:38,720 Alpha. 1111 01:22:40,050 --> 01:22:42,820 Or, you know... 1112 01:22:44,120 --> 01:22:45,720 all through. 1113 01:22:47,220 --> 01:22:48,220 So we're here. 1114 01:22:51,680 --> 01:22:52,920 [BUTTON CLICKS] 1115 01:22:55,780 --> 01:22:58,950 [INSTRUMENTAL MUSIC PLAYING] 1116 01:23:12,180 --> 01:23:15,080 [I NEED YOU PLAYING] 1117 01:23:43,180 --> 01:23:48,250 * When you're feeling Like a lover 1118 01:23:48,280 --> 01:23:53,820 * Nothing really Matters anymore 1119 01:23:54,780 --> 01:23:58,050 * I saw you standing there 1120 01:23:58,080 --> 01:24:02,180 * In the supermarket 1121 01:24:02,220 --> 01:24:09,180 * With your red dress falling And your eyes are to The ground 1122 01:24:11,280 --> 01:24:15,750 * Nothing really matters 1123 01:24:15,780 --> 01:24:22,550 * Nothing really matters When the one you love is gone 1124 01:24:23,920 --> 01:24:26,920 * You're still in me, baby 1125 01:24:27,620 --> 01:24:31,150 * I need you 1126 01:24:36,780 --> 01:24:42,220 * In my heart, I need you 1127 01:24:48,320 --> 01:24:52,880 * Cause nothing Really matters 1128 01:24:52,920 --> 01:24:57,050 * I'm standing in the doorway 1129 01:24:57,080 --> 01:25:03,250 * You're walking around my Place in your red dress 1130 01:25:03,280 --> 01:25:07,820 * Hair hanging down 1131 01:25:07,850 --> 01:25:13,920 * With your eyes on one, we Love the ones we can 1132 01:25:13,950 --> 01:25:19,020 * Cause nothing really matters When you're standing 1133 01:25:27,150 --> 01:25:32,750 * I need you, I need you 1134 01:25:36,080 --> 01:25:41,050 * Cause nothing Really matters 1135 01:25:41,080 --> 01:25:47,220 * We follow the line of The palms of our hands 1136 01:25:47,250 --> 01:25:51,950 * You're standing In the supermarket 1137 01:25:51,980 --> 01:25:55,150 * Nothing, holding hands 1138 01:25:55,180 --> 01:26:00,720 * In your red dress, falling 1139 01:26:00,750 --> 01:26:04,550 * Falling, Falling in 1140 01:26:04,580 --> 01:26:09,950 * A long black car is Waiting 'round 1141 01:26:09,980 --> 01:26:15,250 * I will miss you When you're gone 1142 01:26:15,280 --> 01:26:22,120 * I'll miss you when you're Gone away forever 1143 01:26:22,150 --> 01:26:26,580 * Cause nothing Really matters 1144 01:26:26,620 --> 01:26:32,080 * I thought I knew better So much better 1145 01:26:32,120 --> 01:26:36,180 * And I need you 1146 01:26:42,320 --> 01:26:46,720 * I need you 1147 01:26:51,680 --> 01:26:55,980 * Cause nothing Really matters 1148 01:26:56,020 --> 01:27:00,720 * On the night we Wrecked like a train 1149 01:27:00,750 --> 01:27:05,020 * Purring cars And pouring rain 1150 01:27:05,050 --> 01:27:10,980 * Never felt right about Never again 1151 01:27:11,020 --> 01:27:15,550 * Cause nothing Really matters 1152 01:27:15,580 --> 01:27:20,820 * Nothing really Matters anymore 1153 01:27:20,850 --> 01:27:23,020 * Not even today 1154 01:27:23,050 --> 01:27:27,280 * No matter how hard I try 1155 01:27:29,320 --> 01:27:34,750 * When you're standing in The aisle 1156 01:27:35,980 --> 01:27:39,650 * And no, baby 1157 01:27:39,680 --> 01:27:45,250 * Nothing, nothing, nothing 1158 01:27:46,620 --> 01:27:49,620 * Nothing 1159 01:27:51,150 --> 01:27:57,720 * I need, I need, I need you 1160 01:27:59,850 --> 01:28:04,980 * I need you 1161 01:28:09,950 --> 01:28:13,150 * In my heart 1162 01:28:13,180 --> 01:28:17,280 * I need you 1163 01:28:20,220 --> 01:28:23,950 * Just breathe, just breathe 1164 01:28:24,650 --> 01:28:31,580 * I need you 1165 01:28:43,780 --> 01:28:45,620 [MUSIC FADES] 1166 01:28:51,020 --> 01:28:54,180 There are things that are being torn apart, 1167 01:28:54,220 --> 01:28:58,280 and I'm desperately trying to find 1168 01:28:58,320 --> 01:29:03,050 a way of making some kind of, um... 1169 01:29:03,080 --> 01:29:07,180 narrative sense out of it, if we're talking about song writing, or, at least 1170 01:29:07,220 --> 01:29:10,580 some sense out of it where, um... 1171 01:29:10,620 --> 01:29:16,220 over the... I can do what it keeps saying in the books. What people keep saying to me 1172 01:29:16,250 --> 01:29:21,650 that It's, uh... that I can reduce this chaotic... 1173 01:29:21,680 --> 01:29:25,720 mess that's happened down into something that... 1174 01:29:25,750 --> 01:29:26,780 that's more um... 1175 01:29:30,020 --> 01:29:34,220 You know, that I can reduce, distill it down to like 1176 01:29:34,250 --> 01:29:39,120 a platitude that I can fit nicely you know, a kind of greeting card 1177 01:29:39,150 --> 01:29:41,280 sized platitude, 1178 01:29:41,320 --> 01:29:45,250 that means something to me, like, "He lives in my heart", or something like that. 1179 01:29:45,280 --> 01:29:47,850 People say it all the time to me. 1180 01:29:47,880 --> 01:29:51,650 "He lives in my heart", and I go, "Yeah, yeah, I know, I know". 1181 01:29:51,680 --> 01:29:53,950 But, he doesn't you know. MAN: He doesn't? 1182 01:29:53,980 --> 01:29:58,180 I mean, he is in my heart but, he doesn't live at all. 1183 01:29:58,220 --> 01:30:02,920 And, there is no... I wanna be able to sit here and... 1184 01:30:05,120 --> 01:30:10,250 round this off in some kind of way. But, to me it's just not. 1185 01:30:11,780 --> 01:30:13,550 You know, it's just not... 1186 01:30:19,050 --> 01:30:23,880 things... it's affected me in a way that I don't understand. 1187 01:30:23,920 --> 01:30:28,950 So, then my reactions to things aren't, um, 1188 01:30:28,980 --> 01:30:32,880 the same as they used to, and they used to be able to predict what would... 1189 01:30:32,920 --> 01:30:35,750 I would feel at certain times and now... 1190 01:30:35,780 --> 01:30:37,650 um... 1191 01:30:37,680 --> 01:30:40,920 I just have a handle on things anymore. 1192 01:30:41,880 --> 01:30:45,650 Um... What's that like? 1193 01:30:45,680 --> 01:30:49,020 Well, it's frightening because, uh... 1194 01:30:49,050 --> 01:30:51,510 like, I don't know what I'm fucking doing now. 1195 01:30:51,950 --> 01:30:53,180 For example. 1196 01:30:53,220 --> 01:30:56,620 What am I sitting in a... in a... camera... 1197 01:30:57,850 --> 01:31:01,250 being filmed, talking about this sort of thing. 1198 01:31:01,280 --> 01:31:04,220 I wouldn't have dreamed of doing that before. 1199 01:31:04,250 --> 01:31:06,820 MAN: Well, I'm not sure that I feel entirely comfortable about it either. 1200 01:31:06,850 --> 01:31:08,180 [LAUGHING] 1201 01:31:08,220 --> 01:31:09,550 I don't know either. 1202 01:31:11,720 --> 01:31:16,150 [DISTANT SKY PLAYING] 1203 01:31:20,650 --> 01:31:23,720 * Let us go now 1204 01:31:28,980 --> 01:31:31,510 * My one true love 1205 01:31:33,220 --> 01:31:35,680 * Call the gasman 1206 01:31:36,280 --> 01:31:39,120 * Cut the power out 1207 01:31:41,150 --> 01:31:45,020 * We can set out 1208 01:31:45,050 --> 01:31:48,150 * We can set out For the distant sky 1209 01:31:51,080 --> 01:31:56,550 * Watch the sun Watch it rising 1210 01:31:59,180 --> 01:32:01,580 * In your eyes 1211 01:32:21,680 --> 01:32:25,820 * Let us go now 1212 01:32:26,820 --> 01:32:33,280 * My darling companion 1213 01:32:40,880 --> 01:32:43,120 * Set out 1214 01:32:43,150 --> 01:32:50,120 * For the distant sky 1215 01:33:00,880 --> 01:33:05,750 * See the sun See it rising 1216 01:33:08,720 --> 01:33:13,220 * See it rising 1217 01:33:13,250 --> 01:33:18,750 * Rising in your eyes 1218 01:33:36,250 --> 01:33:39,580 * Let us go now 1219 01:33:41,180 --> 01:33:46,650 * My only companion 1220 01:33:55,620 --> 01:34:00,050 * Set out for 1221 01:34:01,180 --> 01:34:06,720 * The distant skies 1222 01:34:14,350 --> 01:34:19,310 * Soon the children 1223 01:34:19,350 --> 01:34:22,980 * Will be rising 1224 01:34:23,880 --> 01:34:29,750 * Will be rising 1225 01:34:29,780 --> 01:34:36,750 * This is not for our eyes 1226 01:34:51,980 --> 01:34:57,150 * They told us our gods Would outlive us 1227 01:34:59,150 --> 01:35:04,580 * They told us our dreams Would outlive us 1228 01:35:07,580 --> 01:35:13,150 * They told us our gods Would outlive us 1229 01:35:15,350 --> 01:35:19,780 * But they lied 1230 01:35:29,680 --> 01:35:32,120 [VIOLIN PLAYING] 1231 01:36:20,050 --> 01:36:22,120 [MUSIC FADES] 1232 01:36:37,050 --> 01:36:40,980 NICK: I'm driving in a car along the M25, 1233 01:36:41,020 --> 01:36:46,950 and I'm driving in a car along the M25, on a tiny blue spec trapped in a moon beam. 1234 01:36:50,720 --> 01:36:55,650 I'm looking out the window, and up at the countless and indifferent stars. 1235 01:36:57,210 --> 01:36:58,750 I am barely a child, really. 1236 01:37:00,780 --> 01:37:03,180 The blue spec spins in a dark field, 1237 01:37:04,950 --> 01:37:09,210 that began 15 billion years ago. 1238 01:37:09,250 --> 01:37:14,150 I'm driving home from the studio where I've been making a record. 1239 01:37:14,180 --> 01:37:18,550 I'm feeling what every person who makes a record probably feels. 1240 01:37:18,580 --> 01:37:22,850 That I am making something of great significance, and permanence. 1241 01:37:22,880 --> 01:37:27,950 Even though in reality I know what I've committed my self to is of no real significance. 1242 01:37:29,110 --> 01:37:30,620 And, no real permanence. 1243 01:37:34,310 --> 01:37:38,850 But, I have something that the universe has not 1244 01:37:38,880 --> 01:37:40,210 never has had. 1245 01:37:40,250 --> 01:37:41,920 And will never have. 1246 01:37:43,110 --> 01:37:44,180 Consciousness. 1247 01:37:47,680 --> 01:37:52,820 My consciousness exists only at this given time, it has no past. 1248 01:37:52,850 --> 01:37:55,280 And no future. 1249 01:37:55,310 --> 01:38:00,650 But, it's present, is bigger in magnitude than all the trillion stars 1250 01:38:00,680 --> 01:38:02,020 and planets, and galaxies. 1251 01:38:13,080 --> 01:38:14,080 There's no, um... 1252 01:38:16,210 --> 01:38:20,820 it... you know, I can put it in different ways with... 1253 01:38:20,850 --> 01:38:25,550 and make it sound nice and stuff like that, what happened, and... 1254 01:38:25,580 --> 01:38:30,680 you just kind of, tied up in language and stuff like that, but, actually... 1255 01:38:30,720 --> 01:38:34,210 every time I try and articulate it just... just... 1256 01:38:35,580 --> 01:38:39,110 does the whole... does him a disservice. 1257 01:38:39,150 --> 01:38:40,620 That's what it feels like to me. 1258 01:38:45,280 --> 01:38:47,110 You know, 'cause it's... 1259 01:38:47,150 --> 01:38:49,050 it happened to us but, to happened to him. 1260 01:39:03,680 --> 01:39:05,510 Um, and that's um... 1261 01:39:08,080 --> 01:39:12,620 like the day, or the night, and around that time is, um... 1262 01:39:15,010 --> 01:39:16,720 is like this place... 1263 01:39:20,310 --> 01:39:22,210 you just don't wanna go, 1264 01:39:22,250 --> 01:39:23,820 you know. It's like... 1265 01:39:23,850 --> 01:39:26,650 all the rest around is okay, I can 1266 01:39:26,680 --> 01:39:31,820 deal with that. I can deal with that. It's okay. In fact that's something I wanted to say... 1267 01:39:32,680 --> 01:39:34,310 is that... 1268 01:39:34,350 --> 01:39:37,880 if everything is not okay, but, it's also okay. 1269 01:39:37,920 --> 01:39:42,310 Right? Things go on, and, you know, if 1270 01:39:42,350 --> 01:39:45,080 anyone's interested, the records go on. 1271 01:39:45,110 --> 01:39:46,950 And, we're still going what we do. 1272 01:39:47,820 --> 01:39:49,010 Um, and the work goes on. 1273 01:39:50,310 --> 01:39:51,950 Um... 1274 01:39:51,980 --> 01:39:54,150 And, in that respect things... 1275 01:39:55,720 --> 01:39:57,150 continue. 1276 01:40:02,110 --> 01:40:04,210 Can we hear the, uh... 1277 01:40:04,250 --> 01:40:07,010 song please? Jake, where ever you are. 1278 01:40:09,820 --> 01:40:12,180 What ever, we just want to see how it goes. 1279 01:40:12,950 --> 01:40:14,180 Okay. 1280 01:40:15,980 --> 01:40:17,880 NICK: Can you do one one way, and one they other way? 1281 01:40:17,920 --> 01:40:19,180 Here we go guys, And... 1282 01:40:19,210 --> 01:40:21,110 [CLICK] We're rolling. 1283 01:40:27,620 --> 01:40:28,580 [SKELETON TREE PLAYING] 1284 01:40:34,310 --> 01:40:37,110 * Sunday morning 1285 01:40:38,250 --> 01:40:40,580 * Skeleton tree 1286 01:40:42,950 --> 01:40:46,110 * Oh, nothing is for free 1287 01:40:50,180 --> 01:40:54,750 * In the window, a candle 1288 01:40:58,250 --> 01:41:01,950 * Well, maybe you can see 1289 01:41:06,110 --> 01:41:12,580 * Fallen leaves thrown Against the sky 1290 01:41:14,150 --> 01:41:17,680 * A jittery TV 1291 01:41:21,080 --> 01:41:25,180 * Glowing white like fire 1292 01:41:29,310 --> 01:41:33,050 * Nothing is for free 1293 01:41:36,680 --> 01:41:39,850 * I called out 1294 01:41:40,880 --> 01:41:43,650 * I called out 1295 01:41:45,050 --> 01:41:48,580 * Right across the sea 1296 01:41:52,580 --> 01:41:56,580 * But the echo comes Back empty 1297 01:42:00,350 --> 01:42:03,720 * Nothing is for free 1298 01:42:08,680 --> 01:42:10,980 [INSTRUMENTAL MUSIC PLAYING] 1299 01:42:37,810 --> 01:42:40,580 * Sunday morning 1300 01:42:41,750 --> 01:42:43,780 * Skeleton tree 1301 01:42:46,680 --> 01:42:49,910 * Pressed against the sky 1302 01:42:54,350 --> 01:42:57,150 * The jittery TV 1303 01:43:00,850 --> 01:43:05,910 * Glowing white like fire 1304 01:43:09,010 --> 01:43:12,880 * And I called out 1305 01:43:12,910 --> 01:43:15,250 * I called out 1306 01:43:17,880 --> 01:43:20,880 * Right across the sea 1307 01:43:24,950 --> 01:43:27,910 * And I called out 1308 01:43:27,950 --> 01:43:30,620 * I called out 1309 01:43:32,780 --> 01:43:36,010 * Nothing is for free 1310 01:43:36,880 --> 01:43:39,580 * And it's 1311 01:43:40,810 --> 01:43:44,110 * Alright 1312 01:43:46,080 --> 01:43:47,810 * Now 1313 01:43:51,780 --> 01:43:53,850 * And it's 1314 01:43:55,680 --> 01:43:58,620 * Alright 1315 01:44:01,010 --> 01:44:02,580 * Now 1316 01:44:06,910 --> 01:44:08,980 * And it's 1317 01:44:10,880 --> 01:44:13,780 * Alright 1318 01:44:16,350 --> 01:44:17,880 * Now. 1319 01:44:29,150 --> 01:44:32,550 Anyway, that's what I mean, you know... 1320 01:44:32,580 --> 01:44:36,620 All of this stuff that I'm saying now it just... it feels like, 1321 01:44:36,650 --> 01:44:38,950 it's just a lot of bullshit to me. 1322 01:44:38,980 --> 01:44:42,010 You know, it may mean something but, in the end, 1323 01:44:43,280 --> 01:44:46,150 in the end there's something that happened, 1324 01:44:48,010 --> 01:44:53,880 um, and there's a kind of, like a ring around that event... 1325 01:44:55,250 --> 01:44:57,010 um, it's fenced off. 1326 01:45:01,250 --> 01:45:05,620 And, everything else is okay around it but, there's just something that happened 1327 01:45:05,650 --> 01:45:09,880 in that short space of time that we can never get that far away from. 1328 01:45:10,980 --> 01:45:12,080 That we're, uh... 1329 01:45:12,950 --> 01:45:14,850 You probably don't want to. 1330 01:45:14,880 --> 01:45:17,910 Well, it's I think, you know, when I looked at the film back there was 1331 01:45:17,950 --> 01:45:20,650 something I was rattling all about time being elastic. 1332 01:45:20,680 --> 01:45:22,110 Yeah. And that is 1333 01:45:22,150 --> 01:45:26,910 I think, that's what I meant that we're attached to this 1334 01:45:26,950 --> 01:45:31,950 event. And that we move away like that and we're line on a rubber band. 1335 01:45:31,980 --> 01:45:35,810 And life can go on, and on, and on, but eventually, 1336 01:45:35,850 --> 01:45:38,910 it just keeps coming back to that thing. And that's, uh... 1337 01:45:41,910 --> 01:45:44,780 that's some kind of trauma, I guess. 1338 01:45:51,080 --> 01:45:54,910 NICK: It's strange reading those scripts back, those, 1339 01:45:56,150 --> 01:45:57,950 lyrics... 1340 01:45:57,980 --> 01:45:59,180 from my song book back. 1341 01:46:02,350 --> 01:46:05,980 And, you know, they're okay. 1342 01:46:07,610 --> 01:46:09,280 They're actually kind of beautiful really. 1343 01:46:11,750 --> 01:46:14,310 But, at the time they never revealed themselves as such. 1344 01:46:14,350 --> 01:46:16,050 And they just thought that I was writing 1345 01:46:16,750 --> 01:46:17,980 a lot of rubbish. 1346 01:46:21,950 --> 01:46:23,250 That was one of the things I lost. 1347 01:46:25,680 --> 01:46:28,080 That was one of the things that I lost hard. 1348 01:46:30,810 --> 01:46:32,950 A sense of belief in myself. 1349 01:46:35,250 --> 01:46:36,880 Like I had fucked up bad. 1350 01:46:38,910 --> 01:46:42,980 The me and Suzie had looked away for a terrible moment. 1351 01:46:43,010 --> 01:46:45,580 And this reflected savagely on everything else. 1352 01:46:48,150 --> 01:46:51,050 My belief in the good in things in the world. 1353 01:46:52,580 --> 01:46:54,950 In ourselves, evaporated. 1354 01:47:00,950 --> 01:47:03,680 But, you know, after a while, after a time, 1355 01:47:05,110 --> 01:47:07,180 Suzie and I decided to be happy. 1356 01:47:08,880 --> 01:47:12,980 This happiness seemed to be an act of revenge. 1357 01:47:15,750 --> 01:47:17,210 An act of defiance. 1358 01:47:21,750 --> 01:47:24,550 To care about each other, and everyone else. 1359 01:47:25,810 --> 01:47:27,150 And to be careful. 1360 01:47:28,210 --> 01:47:29,680 To be careful with each other. 1361 01:47:31,180 --> 01:47:32,710 And the ones around us. 1362 01:47:43,880 --> 01:47:47,950 * I'm walking through Deep water 1363 01:47:49,110 --> 01:47:52,650 * It's all but I can do 1364 01:47:56,150 --> 01:47:59,780 * I'm walking through Deep water 1365 01:48:01,710 --> 01:48:05,810 * Trying to get to you 1366 01:48:08,650 --> 01:48:13,550 * Your face is hidden from me But your love is not 1367 01:48:13,580 --> 01:48:18,280 * I will not reach for other Things till I know what I have got 1368 01:48:18,310 --> 01:48:24,280 * I'm walking through Deep water Trying to get to you 1369 01:48:28,210 --> 01:48:31,110 * I'm walking through Deep water 1370 01:48:33,580 --> 01:48:38,210 * I have no time to lose 1371 01:48:40,910 --> 01:48:45,580 * I'm walking through Deep water 1372 01:48:45,610 --> 01:48:49,880 * There's nothing Left to choose 1373 01:48:52,910 --> 01:48:57,710 * This little heart of mine Got loaded up with chains 1374 01:48:57,750 --> 01:49:02,950 * The world just swirls Around me The water makes its claim 1375 01:49:02,980 --> 01:49:07,980 * I'm walking through Deep water Trying to get to you 1376 01:49:12,910 --> 01:49:15,980 * Who will calm my fears? 1377 01:49:17,680 --> 01:49:22,780 * Who will drive my tears away 1378 01:49:22,810 --> 01:49:26,280 * Who will calm my fears? 1379 01:49:27,780 --> 01:49:31,750 * Who will drive my Tears away 1380 01:49:41,150 --> 01:49:45,150 * I'm walking through Deep water 1381 01:49:46,350 --> 01:49:50,150 * Nearer to the sea 1382 01:49:53,250 --> 01:49:58,080 * I'm asking the deep water 1383 01:49:58,110 --> 01:50:01,950 * Don't take my love from me 1384 01:50:05,350 --> 01:50:09,950 * I'll dance with little ladies With a hundred just like me 1385 01:50:09,980 --> 01:50:14,810 * They hold their breath And hesitate And dance beneath the sea 1386 01:50:14,850 --> 01:50:20,280 * I'm walking through Deep water Trying to get to you * 1387 01:50:25,750 --> 01:50:29,950 [MUSIC FADES] 1388 01:50:36,980 --> 01:50:40,510 NICK: One, two, three, four... 1389 01:50:41,750 --> 01:50:43,810 * Come one 1390 01:50:45,780 --> 01:50:48,980 * Morning comes 1391 01:50:52,010 --> 01:50:56,080 * A jittery TV 1392 01:50:59,810 --> 01:51:02,550 * I call out the window 1393 01:51:02,580 --> 01:51:05,110 * When the morning comes 1394 01:51:06,880 --> 01:51:09,650 * Nothing is for free 1395 01:51:12,010 --> 01:51:18,550 * Nothing is for free 1396 01:51:27,580 --> 01:51:30,710 * Fire 1397 01:51:31,980 --> 01:51:34,910 * Nothing 1398 01:51:36,050 --> 01:51:39,780 * Can narrow the bed 1399 01:51:39,810 --> 01:51:45,950 * Glowing white like fire 1400 01:51:45,980 --> 01:51:52,080 * And I called out the window 1401 01:51:54,350 --> 01:51:58,850 * Down in the sea 1402 01:52:02,080 --> 01:52:06,180 * But the echo Comes back in, dear 1403 01:52:06,210 --> 01:52:10,010 * 'Cause nothing is for free 1404 01:52:10,050 --> 01:52:13,580 * And I called out the window 1405 01:52:13,610 --> 01:52:18,280 * Skeleton tree 1406 01:52:31,610 --> 01:52:33,810 [MUSIC FADES]