All language subtitles for Peter Gabriel-Still Growing Up Unwrapped DVDRip x264 AC3 5.1 titler

Still Growing Up was a sort
of continuation of sorts really

from the Growing Up Tour.

It was doing it in a
different environment,

and sort of get up on a stage,
concentrate on the music,

a sort of sweatier,
dirtier thing in a lot of ways,

in gigs that we wouldn't have
been able to take the big tour into.

And the reason it's
Still Growing Up

is because it's substantially
the same as Growing Up,

but as in life, it's a long process
that carries on and on.

Where the hell are we?

We're landing in
Milan's Malpensa.

We're in Lecce.

Rome.
We're at the edge of Lake Geneva.

In Chambéry.
Naples.

We're here in Montecatini Terme.
We're now in Nice.

The wonderful Greek
amphitheatre in Taormina.

Beautiful place.
It's really hot here.

On the first Growing Up Tour,

there was quite a lot
of pressure and stress.

There were some tensions
within the band.

There always
are in any band.

But on the
Still Growing Up Tour,

the same people had got used to each
other's strengths and weaknesses.

It was much more easy going.

I think everyone felt there was a bit
more room to be themselves off stage

and to be themselves
musically on stage.

In Austria we started off,
I think, in the mountains, in snow,

and then came down and played
by lakes or in town squares.

It was a different type of tour

with sort of less pressure
and more focus on the music.

What's interesting is that there's
a whole different physical process

when you just arrive at the
gig before you go on stage.

So in these gigs,

you can't sound check at
them cos they're festivals,

so we're just coming
in and out.

And it's more...

I just remember the stars of
old arriving in their limousine,

playing and then getting out.

I think I generally do trust people.
I'm an optimist.

I'd rather be in a world
where I trust people

and I'm occasionally
disappointed,

than one where
I'm afraid of being

let down or done
over all the time

and I'm occasionally surprised.

The crew on any tour are the engine
that drives the whole thing,

so, you've gotta
look after your crew.

At the same time at
the beginning of a tour,

you're torn in a
thousand directions.

I find that once the tour's got
going it's easier sometimes then

to try and connect and to spend a
bit of time with the crew and so on.

We try and eat in the same
areas and that sort of thing.

I mean, there is still
a them-and-us thing sometimes,

but I think less so
than on a lot of tours.

I think when you get it right,

and you know you're innovating
or breaking through barriers,

that's exciting and rewarding.

I don't believe in this
concept of genius at all.

I think, you know,
Einstein was probably a genius.

But, you know, I'm also smart enough
to work with very talented people.

David, well,
he's a sculptor.

He still is,
with his approach to sound.

A purist is probably
a good word for David.

Rachel, I think,
is a mixture of

Manhattan downtown
hipster, jazzer.

She's sort of either right
in it or right out of it.

Mel's fascinating to watch,

and obviously as her dad,
I'm enormously proud.

Tony, canny, lanky.

Ged's the engine driver.

He's also the most eager
to please in some ways.

Rich...

He makes me laugh
cos, you know,

he's an enormously talented,
gifted musician

and can handle almost any
musical problem thrown at him,

but again,
there's a part of him

that would be really playing
at being the rock star,

but really loving it.

I think there's quite a lot
of sort of your inner life

which should be only let out
in appropriate situations

with appropriate people.

You know, that sometimes,
too much information is given,

and we live in a pretty
dysfunctional world

and celebrities and visible people
are often quite needy people,

and so I think there's quite a lot
of baggage that comes with that.

So although I think
it's really powerful

from all the therapy
that I've done,

when you do unload it
should be in the right place,

at the right time,

and most important of all,
to the right people.

Anger, for instance.

People will often dump
on the wrong person.

Mr David Rhodes.

Am I a good boss?
I think I try and be a fair boss.

I think a lot of musicians I see,

whenever they've got
dirty work to do,

telling people they're not wanted
or they're doing something wrong,

they'll often get managers or
somebody else to deliver the message.

I don't do that,

but I think sometimes, you know,
I'm not assertive enough

with what I want or
what I feel about things.

That fudges the issue sometimes
and makes it complicated.

No dreams come without a bill,
you know,

and people forget that sometimes
and I forget it sometimes.

So I think the reality of
making something happen,

most times,
it's just a ton of hard work.

And I remember
having that clear dream

whether I chose the farm
route or the music route,

and I had pictured
performing at concerts,

even though I didn't really
have a desire to be a singer,

I wanted to be a drummer.

So I felt I got a little
taste of the future.

I wanted to be an engine
driver for a while.

An opera singer
or an astronaut.

I wanted to be a kid.

I either wanted to be a
spaceman or Jimmy Osmond.

I wanted to be Superman
and I was convinced I could fly,

when I ran round the
apple trees in the garden.

Marine biologist.

I seem to remember
wanting to be Scottish.

I regularly used to...

dream of being in a band.

Burn You Up.

Often people think
that artists are special,

unique or exceptionally talented.

I don't.
I think most artists are visible...

In fact, most people
that are visible in the world

are there because
they need to be,

and that we're actually
very flexible creatures,

that we can acquire talent.

And I'm convinced you could
go up to anybody in the street,

with a gun to their
head and tell them

this was going to go off
in 12 minutes' time

if they hadn't produced
and interesting piece of art,

and all sorts of artists
will appear out of nowhere.

At the same time,
I think what I do

is still unique and special
in some way,

because, in part, of the different
experiences that I've had.

I've put things together

in a different way than
other people would probably.

I think talent is very overrated.

Most of the arts
are languages to me.

Music, painting, film, photography.
There used to be this idea

that you had to be born
with a lot of talent

to have a chance of
succeeding in these areas,

but you don't say you have
to be born with a talent

for French or Italian
or German or Chinese,

you just happen to live in the place
long enough and you pick it up.

That's what I feel
about most arts.

Most of us start off using the voices
of the people we love, you know,

you just try and copy someone.

And then gradually, you're either
not very good at copying them

or your own voice
gets louder and louder,

and you find out who you are,

but I think, you know,
it took me three solo albums

and quite a few
years with a band

before I think I found who
I was musically, if you like.

I was doing some gigs in Germany
with Frank Zappa.

We were supporting Frank Zappa

and his audience in Berlin were very
much sort of old hard-core hippies

and, you know, they thought
I was just cheap shit.

The booze was just...

And this sort of rain of stuff
being thrown on the stage,

so that was...

It was very humbling.

Next night, we were in
another German city.

I thought,
"Shit, here we go. "

And we go out there again and
similar sort of reaction, you know.

They hate it.

But it wasn't just the music,
it was me personally, you know.

They meant it.

And suddenly,
I had the one of those moments,

and I thought,
"That's it, I'm no longer afraid. "

The thing you're most scared
of when you get on a stage

is being rejected
and booed off,

and I suddenly realised I'd been
booed off and I was still up there.

They didn't like it any more

but I was still doing it
and they couldn't stop me.

I thought...
and I just started giggling.

Tony Levin looked over
like I'd gone crazy,

but it was a fantastic sort
of moment of enlightenment.

Digging in the Dirt.

I always loved
to play in the dirt.

We had a river running
through the farm

and I used to go down
and play in the mud.

You used to feel the earth
around your hand.

You'd feel more connected.

Love it. I was always looking,
digging for buried treasure.

In a psychological way, I like to dig
in the dirt as much as anybody,

and dig up what's underneath
and behind things.

It's a great resource
to have there.

When you feel stuff getting into your
body because you can't release it,

if you haven't got
the sort of environment

where you can
get emotion out,

then I think it's a
really important thing.

There's so many occasions
where I'm feeling so much

but I can't compute it,
can't word it.

I can't get it out of there.
I can't get to grips with it.

But if I'm with a therapist,
they can help me do that.

Sometimes,
Digging in the Dirt,

when we perform it,
gets pretty weird.

It definitely can
get pretty weird.

Like, the guys seem to just
really be kind of aggressive,

and they get into
a weird mode.

It's like Mel and IU
are kind of left on our own.

I was born on a farm,

so I think I grew up surrounded
by fields, green, animals

and still feel very
at home there.

Yeah, I used to run
up Solsbury Hill.

It did feel like a magical place.

It's where I used to go to
reflect as well as to work out.

I crashed my car
at the top once.

Flying a kite up there.

Why do people
buy my records?

I think when it works,

you can touch
people with music

in a way that you can't
with other arts.

The hearing I think goes directly
through to the emotional system

without a lot of filtering.

It's almost like it sort of plugs
directly into more of the heart

and less of the brain.

When I get it right,
I can make people feel things,

and I think that's what
they buy it for.

When you listen to Peter's music,
it goes deep, deep, deep,

and deeper and
deeper and deeper.

I discover a new thing
every time.

When he plays his music,
his shows, he speaks to us.

He's speaking to me through
his music and his words.

And I have never experienced
that feeling before.

His songs aren't just about love,
like most other singers',

they're just about life
and the world.

There can't be a favourite
Peter Gabriel track.

It's your mood. Whatever your mood,
there's a song for it.

There is only Peter Gabriel.

Am I celebrity?

The answer is "on weekends".

In other words,
it's a great thing to be able to do

when you want to get a
good seat in a restaurant,

or go to a premiere,

and, you know, there's a bit of that
"look at me" in every performer.

But it's a miserable place
to live all the time.

You do see one or
two people in our world

that didn't have the
vanity bypass operation.

So I think it's something

that I love to play from time
to time and get stroked,

but, you know, you don't want
to take it that seriously.

Well, he's got
quite a few tricks.

My favourite PG move,
and I'm not gonna try to do it...

You should get Mel to do it.

Like that.
Look.

Probably standing still.

Probably like most people,
I would have to say

that when he thrusts
his hips in and out.

The pelvic thrust.

I have plenty of vanity.

I think anyone who's
got on a stage

has done their full training
of air guitar.

But I'm a lot more
realistic now.

I remember in the make-up department,
you start off,

and the make-up girl says,
"You look lovely. "

The second stage is,
"You've got a nice face. "

Third stage is,
"You've got lovely eyes. "

The fourth stage is,
"Where do you come from?"

I've always been excited
in the possibilities

of how technology can
really transform people's lives.

We see that as musicians
time and time again.

Before, when I started off,

it was as if you were
going into a laboratory.

You were put
in a glass cage

and people in white
coats did their thing.

Now, even though
we've got our studios,

you can still do 90 percent
of it on your laptop.

So it's a wonderfully
different environment.

I think it's an enabling thing.

I get very excited
with all these things

and how to use technology
in different ways.

I'm a guy who's really perhaps
over-attached to my computer.

I don't go anywhere
without the laptop.

I would describe myself
as an early adopter

and think that it's big and clever to
use something before it really works.

I've got into trouble
a lot like that.

I've made a lot of friends
on the Internet.

They reach out to us
from the audience.

Well, it's too important.

I think we all are in
thrall of technology.

It would be so much better if people
thought before they used technology

or made sure that technology
was purely a tool,

a means to an end,
rather than an end in itself.

I'm a huge believer in the telephone,
the mobile phone,

and they're talking about
these roll-out screens

that would be like a pencil that
you unroll, connect to your phone,

and then you've got
a decent-sized screen,

and through that, you've suddenly
got computers for $100 or less,

that the developing world
can transform themselves.

They had hole-in-the-wall
experiments in India,

where people just left
computer terminals in the wall

and the street kids would come up,
no prior training or education,

and they'd just
fiddle around

and I think within two hours,

almost every kid had found out how
to open files and started playing.

So I think that's one example of
technology transforming the world.

I think there's many other
ways that it can do that.

We're on in five minutes then.

For the last time,
the top goes on.

What, this is the
end of the tour?

I'm definitely sad.
I'm gonna miss everybody here.

But I'm gonna have to
sing my heart out tonight.

In Come Talk to Me,
I think there was a time

when I felt I'd sort of lost a means
of communicating with Mel,

and that was the starting
point for that song.

All families go through different
parts of their relationship.

You start off with
the parent being...

the all-powerful person.

And it often ends up with the kid
being the all-powerful person

and the parent, you know,
in the child's role.

And between those two points,
you have many transformations.

Melanie.

Of course at the beginning,
you know,

you don't have a problem reconciling
wealth with any political viewpoint,

because you don't have any.

And now, you know, there's
a lot of things around in my life.

I feel...

I've been through various stages
of thinking about things,

but now I'm very comfortable
with how things are.

I think I've got quite a lot
in my life which is selfish,

and quite a lot which is unselfish
and I'm happy with the balance.

I think the particular thing
with the Biko story

was that I had some friends
connected with Amnesty.

I'd been reading
about his imprisonment.

It was one of those things
that you thought

because there was a certain
amount of news coverage,

that his captors would think twice
before they did him any harm

because they knew people
would watch and know about it,

but it didn't stop them.

I think they actually only
meant to torture him.

It was pretty merciless,

but having left him after they'd
pretty much finished him off,

he was schlepped around to
another prison and left to die.

So that was very
shocking for me.

It's over

It is over.

- Thanks for the ride.
- Thanks for the ride.

I think there's a mixed feeling
almost every tour,

particularly if you've sweated
and had some adrenaline rush,

that if you're sort of
satisfied on the one hand

that you've put a lot into it,
physically if nothing other else,

and on the other,
you're sad that it's stopping.

It's like that
morning-after-the-party feeling.

You're sort of still
somewhat bleary-eyed,

but there's an echo of what was there,
but it's already fading.