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WARREN: I remember we sat and
listened to the songs, and,
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00:00:18,190 --> 00:00:21,120
there was something
incredibly eerie about
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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".
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00:00:27,190 --> 00:00:29,190
MAN: Do you wanna
just tell me the story?
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00:00:29,220 --> 00:00:31,950
WARREN: I mean I don't really
know because I can't imagine
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00:00:31,990 --> 00:00:34,320
how you never get such
a thing.
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00:00:34,350 --> 00:00:38,050
And, you know, I
just can't even
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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,
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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...
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00:01:00,020 --> 00:01:04,020
for Nick or somebody who's
created all his life, um,
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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.
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00:01:20,250 --> 00:01:22,090
Are you...
Let's cut it.
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00:01:23,320 --> 00:01:25,050
Alright, do you want me
to hop out?
Yeah.
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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.
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00:01:29,190 --> 00:01:30,290
Yeah.
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00:01:32,290 --> 00:01:34,590
MAN 1: Mate, I'm sorry.
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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...
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00:01:37,790 --> 00:01:42,190
-what I want you to...
- To be honest I find this
really hard, because,
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00:01:42,220 --> 00:01:47,020
- I've never discussed Nick's
private life, um...
- Yeah.
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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.
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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,
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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.
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00:02:24,150 --> 00:02:26,520
MAN: Uh...
emailed a friend...
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00:02:26,990 --> 00:02:29,950
um, last night.
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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.
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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
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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.
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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.
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00:03:30,690 --> 00:03:31,950
We never stopped.
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00:03:31,990 --> 00:03:34,620
Okay.
So, try and get
both Nick's.
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00:03:34,650 --> 00:03:38,820
WARREN:
All past present and future,
are happening now.
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00:03:38,850 --> 00:03:40,050
Right now.
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00:03:40,090 --> 00:03:43,090
And then if you just...
Yeah, great Nick.
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00:03:43,120 --> 00:03:48,290
WARREN:
That basically a caveman,
was clubbing a female mate,
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00:03:49,850 --> 00:03:51,520
[CLANGS]
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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.
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00:04:00,220 --> 00:04:01,720
[FOOTSTEPS]
73
00:04:08,220 --> 00:04:09,290
WARREN: Now...
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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...
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00:04:32,650 --> 00:04:33,820
because...
78
00:04:33,850 --> 00:04:35,820
We need an exit.
I know.
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00:04:35,850 --> 00:04:36,950
It's to the right.
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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.
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00:04:47,690 --> 00:04:49,790
WARREN: If everything was
happening now...
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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
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00:06:33,790 --> 00:06:35,790
part of my life
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00:06:35,820 --> 00:06:41,020
where things needed to be
held together. Um, but, I
don't believe in the narrative
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00:06:41,050 --> 00:06:43,550
anymore. I don't... um...
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00:06:47,050 --> 00:06:50,990
I don't actually believe that
that's what life is like.
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00:06:51,020 --> 00:06:53,120
And, that there's
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00:06:53,150 --> 00:06:57,920
a pleasing resolve and all
of that sort of thing to life.
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00:06:57,950 --> 00:07:00,550
I... I... I just feel that
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00:07:00,590 --> 00:07:05,120
to do fractured narrative, uh,
a thing where, uh...
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00:07:05,150 --> 00:07:07,690
where time is actually
compressed,
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00:07:07,720 --> 00:07:10,590
um, events uh...
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00:07:10,620 --> 00:07:15,290
stuck on top of other events.
There's no particular logic
to it. Um...
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00:07:17,020 --> 00:07:19,920
or, a distressing
kind of logic,
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00:07:19,950 --> 00:07:22,890
um, makes it, um...
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00:07:22,920 --> 00:07:26,520
it's much ore real that true
to the way I feel about things.
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00:07:27,690 --> 00:07:31,620
So, um, this is just sort of
directorial...
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00:07:32,790 --> 00:07:36,550
uh, tactic, to make us
all pissed off.
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00:07:36,590 --> 00:07:38,050
What, you're pissed off?
[LAUGHS]
132
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No, roll.
133
00:07:41,950 --> 00:07:43,590
To get us all edgy in the
morning.
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00:07:43,620 --> 00:07:45,250
WOMAN: Should we put
your bags in front?
Yeah, thanks.
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00:07:45,290 --> 00:07:49,020
Not at all. It's
actually just
a... this is...
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00:07:49,050 --> 00:07:50,120
Thanks, Nick.
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00:07:51,350 --> 00:07:53,320
We're rolling right?
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00:07:53,350 --> 00:07:54,620
[DOOR CLOSES]
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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
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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.
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00:08:24,950 --> 00:08:29,620
Which is a king of reservoir
of knowledge and understanding
that"s far beyond what
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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,
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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
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00:08:45,650 --> 00:08:47,320
these, and look at them.
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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.
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00:09:06,790 --> 00:09:08,690
NICK: So, songs an often uh...
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00:09:10,190 --> 00:09:14,220
appear to foretell
situations in
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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,
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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...
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00:09:36,790 --> 00:09:38,690
Because, if...
Exactly. Yeah.
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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...
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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
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uh, they can foretell, um...
177
00:10:18,320 --> 00:10:19,820
certain events.
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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
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* 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]101436
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