All language subtitles for David Gilmour - Live At Pompeii_ Behind The Scenes _ Return To Pompeii _ Then And Now_English (auto-generated)

[music]

[music]

I don't get out on tour very often and

both for myself and for the memories

[music] that you're hopefully going to

create for people. It's nice to play in

beautiful old places which have a

special vibe to them. We started in Pula

in Croatia in a absolutely

spectacular amphitheater. [music] In the

beautiful places, you know that there's

a whole added

veneer of specialness that the building

gives to it. Verona is such a lovely

place. We played 2015 and 2016. [music]

And the great places in America, you

know, the Hollywood Bowl. We did couple

of nights at the Hollywood [music] Bowl.

Fantastic place. It's got a magic to it.

There are other ones, the Chicago

Auditorium, [music] beautiful, beautiful

old theater. We played there with Pink

Floyd back in the early '7s.

We played Radio City Music [music] Hall

in New York, which we've also played

with Pink Floyd years and years ago, and

it is one of the really special places.

>> We played Madison Square Garden, which

is [music] always a favorite. Has a

great sound, great atmosphere. There are

extras, a number of songs from the

various other places. [music] That very

first show, Rockaw conducted by Zubignf

Pryer who did the orchestrations for the

my last two albums. Some of the songs

from that are going to be on the DVD

[music] as well.

I can't remember who came up with the

thought, but you know, we were looking

around for places to play. The minute

someone mooted the idea of playing in

Pompei, I said, "Go for it. Absolutely."

I said, "You'll never get it." I said,

"I don't think they'll let us do it, but

uh give it a go." They gave it a go. We

did it.

We headed off in a convoy down [music]

to the middle of the the modern town of

Pompei and into the town hall and met

the mayor and was presented with the

freedom of the city. And

>> thank you very much.

>> The town of Pompei itself, the mayor and

all those people were absolutely

thrilled with the idea. And uh thank you

very much. We walked in, Polly and I,

and it's it just [music] brought back

all sorts of memories of the times that

we were there and Heath Robinson sort of

setup that we had at the time, you know,

cuz we had an eight track Brunell eight

[music] track tape machine sitting at

the back, hundreds of little wires and a

little mixing [music] desk. It's amazing

that we got anything as good soundwise,

sonically out of it as we did at the

time, doing Take and Take Again in the

blazing hot sun.

So going back this time, all sorts of

memories and ghosts hanging around in

that place. Adrien Maban was there with

an exhibition from that time, which was

entirely coincidental. It had nothing to

do with us being there. It was booked to

be there anyway. We talked about who

would be good to have there. Someone

said, "Mary Beard. Let's see." And

contacted Mary Beard. She was going

there anyway. So we asked to have a chat

about it. Yeah, great. So things um

serendipitously, you know, just fell

into place. She tells great great

stories. She brings it all really down

to earth. You know, we have these ideas,

you know, the gladiators, lions, and you

think

>> wild beasts. Well, yeah. You went out in

the hills and you got a few sheep, a few

wild boar, and you had some clients with

nets and spears and you imagined what

you were seeing. And

>> somehow that makes it feel even more

real and more alive.

>> [music]

>> It felt like it was a very special gig

to be doing. We were in a run of fairly

special gigs, but [music] this one was

very nerve-wracking. It was very small

because uh you know the the seating

around the [music] outside, which would

have held another 10,000 people or

something, is still covered in earth and

grass and people can't sit on it. So we

[music] had a very small limit of of

people who could be there in the

audience only you know on the floor

itself. I was unusually nervous

but we got to the end of the first night

and thought yep we you know we cracked

it. It was it was really good [snorts]

and the second night was even better. It

was more or less the [music] same show

as we've been doing except there was the

opportunity to put things around the

rim, [music] you know, fireworks and

flaming torches,

all stuff to create more atmosphere.

We recorded a [music] lot of shows in a

lot of places and filmed quite a few,

but we thought that one would be

something extra special, which indeed

[music] it was. The shows went really

well.

[cheering]

Just spectacular shots. Beautiful.

[music]

There's a song that I wrote the music

for that Polly wrote the words for about

Rick [snorts] um in a boat lies waiting

which we put into a sequence. [music]

um wish you were here, you know, always

reminds me of of Sid. And in a place

like Pompei, those things are heightened

because, you know, of the time we spent

there before and [music] because it's a

special occasion, these things all come

on to you while you're performing and um

hopefully

heighten the feeling and the emotion of

the occasion for the audience as well. I

think they do.

>> [music]

>> We did um the ray gig in the sky there

which we hadn't done before on that tour

and we hadn't done I mean I hadn't done

for years and years and years. Louise

Marshall and our singers had put

together an arrangement that was

fantastic and we couldn't wait to do it

and we had to stop ourselves giving it

away early.

And of course, we did One of These Days,

which we hadn't been playing very much

on the tour. And that's the only song,

in fact, that we played with Pink Floyd

back in 71 that we repeated again this

time.

[music]

You want the whole thing to start and

finish and have um a kind of a

narrative. [music] Now you're not

imposing a narrative on it that has a

specific meaning, but you're having a

narrative of moods that uh run you from

uh the start to the finish.

There are a number of songs which have

[music] got moments where there's a lot

of improvisation. I get to do most of

it, of course, but um you know, Chuck

and Greg and Joel Melop on the sacks and

and Chester Cayman of course on the

guitar.

I'm kind of into perfection in a way,

but I at the same time I don't consider

that playing the songs [music] perfectly

as on the record is my idea of

perfection. Um I want it [music] to be

live music. I want people who play with

me to have um some autonomy.

I would rather that we go for something

and enjoy actually playing and making

music. [music]

>> [music]

[music]

[cheering]

>> We did a film of the South American

[music]

bit, some some of the music, some of the

events backstage, some of the things

that went on.

>> Hello.

We got M25 50 times over here.

>> Jam

>> short bits of each of the legs of the

tour are going to be on the DVD as well

to give a bit of background vibe.

>> So, what was the first song that you

that you wrote for for him?

>> I think it was What do you want from me,

which

>> which is bad for a relationship.

[laughter]

>> Just put it there. Don't worry about it.

It's only a bell.

>> This is the first time I've ever been to

[music] South America and I was quite

excited. The venues were vast. Well, we

were playing 50,000 a night.

The audiences are so fantastically

enthusiastic and so but so polite at the

same time. And um it's a much more even

split between men and women. And they're

rather beautiful.

>> [music]

[music]

[music]

[music]

>> You know, lots of people have said

before how great the South American

audiences are and how great it is to

tour South America. I've gone, "Yeah,

yeah, sure. It's just the same as

everywhere else really. But they were

right. It was It was really a treat.

>> Polly is deeply involved in all of it

[music] with me. You know, it's

fantastic to have someone as smart and

as creative as her. She's brilliant.

Polly took photos. [music]

Sarah Lee, another great photographer,

came and took photos. Gavin's taken some

of them. Anna, [music] a Polish

photographer who took lots on the 2006

tour as well. We have a wealth of

material that we can use in the booklets

and on the jackets. And it all has to be

part of one artistic [music] experience.

That's something we really really work

on. You can't cut corners when you're

trying to create something of that sort

of magic [music] to it. It has an

atmosphere. The Albert Hall, I've always

loved the Albert Hall. Treat it with

[music] respect and it'll pay you back.

Feels like a second home to me. It fits

in with my ethos of [music] the

beautiful and exciting venues.

[music]

>> Well, Gabriel's a lovely piano player

and he actually played the piano on in

any tongue. I managed to persuade him to

play it once live with us at the Albert

Hall and he's refused to do it ever

since.

>> That's good. says, "I've done the album

Hall. Don't need to do anything else

really, do I?" [snorts]

[music]

I I feel very uncomfortable heading off

out and doing another tour without

having made new music. [music]

There are several songs that are close

to being complete, which didn't make it

onto this album. I can't see myself

doing another tour without making

another album first, and [music] that

takes me a while. It took 10 years last

time. I'm really hoping that uh without

making any promises that it won't take

10 years this [music] time that uh that

I will get back in and and start working

again and [snorts] and then following

that. Yeah, I'll be out again. I'll

can't keep me away from South America

this time.

[music]

[music]

>> [music]

[music]

[music]

[music]

[music]

>> I like the songs to be obviously

recognizably like the album, but I don't

like to be too prescriptive with the

guys. I like it to be properly

interactive and if they can bring

something to it, if it's slightly

different. I'm not very fussed about it

sounding too precisely like the record.

>> It rocks you

[music]

like [singing] a cradle. It rocks you to

the

sleep like [singing] a baby [music] as

he knocks at the door.

[singing]

Yeah. [music]

[music]

[music]

[music]

Heat.

[music]

>> [music]

[music]

>> It's like going into the sea. There's

nothing.

Something [music and singing]

I never knew.

In silence [music and singing]

I hear

you and [singing]

Christing [music]

still [singing] your

[music]

>> Chester's an old old friend of mine. I

played with him in 1985 at Live Aid, the

original Live Aid, when we both played

in Brian Ferry's band, [music] and I've

always wanted to work with him. This is

the first sort of opportunity I've I've

had to get there. And we also had Greg

Filling Gaines, who I met when he was

touring with Michael Jackson, and Chuck

Lavell, who was with the Alman Brothers

band years and years ago. You might not

think that's a good fit, but uh I

thought it was. and and of course Stevie

Danislau

and from Brazil Joel Melo and Guy Pratt

and the [music] singers

[music]

[singing]

[music]

See [music] inside [singing]

there is nothing to hide. [music] Turn

[singing] and face the light.

>> I want people to get a chance to play

and I pick people [music] for their

abilities to take part and join in. The

better the guys are, the better I tend

[music] to play and um you know the the

easier it can be. [music]

[music]

[music]

>> [music]

[music]

>> Whatever it [singing] takes to break,

got to do it. [music]

>> In 1971, Adrian Marvin came to us. He

wanted to make an art movie of us

playing in the amphitheater in Pompei.

We were there for several days. Uh, no

[music] audience,

just us playing and retaking when we

needed to, doing it all in [music]

daylight, the sun beating down on us,

very hot. I think it was September or

October. We had a mixing desk. [music]

We didn't have a proper PA up there

even. I mean, there must have been some

sort of monitoring, I guess, but our

road crew, Peter Watts and [music] and

Alan Styles put together a little rig

with an eight track 1 in tape machine

and [music] um we recorded as best as we

could. These guys just patched the mics

through into this tape machine and and

we recorded it. Um it sounds amazingly

good.

And now to be able to go back to that

same venue and do the first ever [music]

concert to an audience there since it

was uh the Gladiators.

And I mean it's sort of 2,000 years

first concert. [snorts] It was a real

treat. It's a real privilege.

You know, performing live is is part of

the lifeblood of music. And uh so that's

why we still get out there and do these

things once in a while.

[music]

Hey,

[music]

[music]

[music]

hey, hey.

What I like to do is to play in

beautiful [music] places where people

will have a sense of the majesty of the

building that it's being performed in

and that will add to the [music]

memories they take away and retain

thereafter.

[music]

Heat. Heat. [music]

[music]

[music]

Heat.

[music]

[music]

Heat.

[music]

Heat.

[music]

Heat.

[music]

Heat.

[music]

[music]

Heat.

[music]

>> [music]

[music]

[music]

>> It's a place of of ghosts And I couldn't

help but think of playing there with

Rick and the sense of revisiting history

from a long long time ago was definitely

right there in the forefront of my mind

as I was getting on stage. I was quite

nervous at the beginning but you know

once you've knocked through the first

couple of songs

you're just concentrating on what you're

doing.

>> [music]

>> These these corridors were built really

basically for rich Romans to go to the

best seats, you know, the nearest to the

arena.

>> That's that's why they were built in the

first place. But since the uh visious

explosion, they've been closed for 2,000

years nearly.

>> I mean, I never had any idea when I was

setting [music] this up that you would

be back, you know, at the same time. And

it was coincidence.

>> This is coincidence.

>> This is pure coincidence. [music] Yeah.

>> [music]

>> So this I think is really good. This is

Echo's part two of course.

>> Yeah.

[music]

>> That's up the suvius there as well.

>> Do you remember [music] that?

>> Yeah.

>> It was very cold and very windy.

>> Very good shot.

>> Because people still come to Pompei and

they say, "Can we see the [music]

amphitheater where the Pink Floyd

played?" They don't want to steal all

the immortal treasures, you know,

because in fact [music] Steven and I

think David, they said to me, "Well,

maybe we might consider doing something

if you can find a good venue." Oh,

>> so you went to them to say, "I would

like to film the musicians in [music] a

place already."

>> No, I said I wanted to combine their

music with art, contemporary art like

Christo and Tingly and McGreet and so on

so forth. And they didn't like that idea

at all. So, so then I came back saying,

"Well, maybe couldn't we do something in

the amphitheater?"

>> Uh,

>> and now you've set him on a course of

amphitheaters.

>> And so now, yes. Yes. Wow.

>> Can't keep them out of an amphitheater

now.

>> Yeah. It's a good idea. Well, it's a

beautiful place. It's I mean, it's it's

you know, there's [music] ghosts in

here.

>> Exactly.

>> Yeah.

>> So, the children, it's I read something

saying that some little children did

come and they were allowed to sort of

quietly watch. Have any of those

children ever sort of

>> Well, one of them isn't one of them the

mayor or one of those.

>> No, no, no. One of them is someone

>> is the guy who brought you to the mayor.

His name is Mateo Autumo. He was an old

ragati.

>> Oh, was he one of the children? Yeah.

>> How funny.

>> They say, "Oh my gosh, inside [music]

the amphitheater there are Pink Floyd."

I can't believe it. I can't believe it.

1971 [music]

I was uh 14 or 15.

As young boys we go inside the ruins

without paying tickets. In that time it

was possible. And so for three four days

we were here to to to listen the

concert. What remain uh is the

fascination of music in a lonely place.

So the the history of Pompei is strictly

together the story of Pink Floyd in 71

really that music was something

extraterrestrial for for for for all.

[laughter]

So I said to the to the mayor, David

Gilmore is coming 7 at 8th of July. We

have to give him the honorary citizen.

Say oh my gosh yes. Pompei wants to make

him honor.

>> Thank you very much.

>> I'm honored.

>> Welcome. Welcome. Welcome. Welcome.

>> Thank you very much.

>> This is your city. This is your city.

>> Thank you. It's lovely to be back here.

What you tell kids when they come here

is where do you think they went for a

pee?

>> There is no there is there are no

facilities in this place.

>> There still isn't.

>> We still haven't got anywhere to go.

>> They had to find they [laughter]

wouldn't allow me to have a loose

backstage here. So in the middle of it I

need to dash off. [laughter]

>> Well, you think nothing changes

quite how many people have been here

because it depends how how squashed they

were. Um but 12,000 15,000 some people

put it 20 20,000 people and no

lavatories

>> and what would the performances have? I

mean they would have been

>> from what what [laughter]

>> well I think it would have been quite

crude

>> we don't imagine guitars or liars you

know

>> they think of it as being lions and

tigers and hippopotamuses and

>> do you think it's just bare knuckle

fighting?

I think it was sheep. I I always I

always say, you know, probably wild

beasts. Well, yeah. You went out in the

hills and you got a few sheep, a few

wild boar, and you had some guys with

nets and spears and you imagined what

you were seeing. Our hunch is that they

didn't die as much as you'd like. Well,

much as you'd hate to think they did,

right? Like hate to think. I don't

partly because they're terribly

expensive commodities. You know, if

you're the gladiatorial kind of

impressario, you don't want to lose all

your property in, you know, a couple of

fights, your stars. I mean, the big

question really is, was it like boxing

or was it like wrestling?

>> Yeah.

>> Yeah.

>> And we like to think of it as like

boxing.

>> Yeah.

>> But the chances are it was a bit more

like wrestling. Though, one of the

things is absolutely clear is a they

became sort of a bit heartthrobby. So

that although gladiators were ter, you

know, they were the lowest of the low in

Roman terms. You know, you know, don't

let your daughter, you know, marry a

gladiator. It was awful.

>> No future.

>> No, absolutely no future. Um, they had a

kind of sort of sexy, heartthrob image.

And Roman writers go on about how, you

know, elderly uh middle-class ladies

>> go for go for the rough trade.

>> Ruins are ruins.

But [music] from 1971, ruins are

something more

for Pink Floyd [music] fans is like a

church. They go inside with the guitar,

put the guitar on the on the ground in

the exact [music] place where was David

Gilmore playing the guitar and like

this.

[music] It's unbelievable.

It's unbelievable.