Original subtitles

So this is a brand new out of The Doors: Live at the Hollywood Bowl.

We went back into the vaults, and we got the original footage

and it's all been re-edited by a magnificent editing team.

So this is the only film in which the majority of songs, if not all the songs, were filmed,

and we have a complete soundtrack.

Well, not only is this our only complete performance,

there are several tunes that we don't normally do.

The complete version of Spanish Caravan,

for the first time, never before seen, never before heard.

And we do a part of the Celebration of the Lizard and Texas Radio.

But we don't do... We do it in a sort of a jazz groove. Not the way it's on the record.

It's got a brand new version of Hello, I Love You.

The complete version of Hello, I love You.

Yeah, I'm pleased that Hello, I Love You is on there

because I worked real hard on that sucker.

Hello, I Love You. We didn't have it at all.

We had just the faintest vocals, so we couldn't...

- Jim's microphone went out for some reason. - Right.

Jim's microphone went out.

It was working in the house, but it wasn't working in the truck.

So we didn't have any vocal.

In order to make it work for this video,

I was able to go to other performances, live performances,

like Pittsburgh or Philadelphia or Boston or New York or Los Angeles

and take words here and there of him actually singing

and sync it in there so that it works sync-wise,

and, otherwise, you wouldn't be watching this video today.

At this moment I'm on...

Well, we're recording, I'm frantic trying to get any vocal to happen at all.

And as you can hear in this track, the vocal's cutting in and out,

and I'm switching from Jim's track to Ray's mic,

trying to make something, anything, happen.

So, as you can see here, each one of these is an edit

of cutting Jim's vocal into picture.

So this was a case we didn't have Ray either, for some reason we didn't have Ray.

So I had to manufacture Ray.

So, taking that away,

we can play Jim and Ray... Play the same sound.

Inserted the band into this whole thing.

So, from nothing to something.

Bruce Botnick was able to recreate

and dig out of those tracks Jim Morrison's vocal,

and you hear it as if you were at the Hollywood Bowl

onstage with us, practically. Certainly in the audience.

Same thing held true on Texas Radio and the Big Beat.

I was able to go grab some of his poetry from other live performances

and put it in place and some outtakes from the L.A. Woman album

and of just him and put him in and it worked.

There was probably nobody any more amazed than me that it worked.

Here is a segment of Texas Radio that has microphone issues.

They were cutting in and out and there's crackles in there.

Let me zoom in and you can see one in particular. There's three.

One, two, three, four, five crackles.

So let's...

Using a decrackler, I'm going to go here

and I'm going to remove them, the crackles.

Look at that wave form, it's beautiful.

And for all intents and purposes, they're gone.

Versus...

Now I feel that I've done these tricks and it shouldn't be a surprise to anybody.

We owe it to the fans to tell them.

And I've found that by telling them that I'm doing this and why,

they're happy because otherwise they'd be without those three songs.

And it's not to pull the wool over anybody's eyes,

it's just to give you a full and complete performance.

And a good one.

The difference in the sound between a hall and the Hollywood Bowl

is a build-up in the bottom end and the room tone that you hear

because in an arena, like let's say Madison Square Garden,

you hear the room. It adds to the overall sound and the character.

The Bowl, because it's outdoors, it can't build up.

The bottom end doesn't build up, anything like that. So it's quite clear.

The bottom. I was really concerned about the bottom.

How's that bass? How's that left-hand bass doing and... Man...

- Make it sound good - It sounded great, yeah.

Because we only recorded with two audience microphones,

those became the surround tracks.

So we had the surround...

We had a little bit of audience pickup in Jim's mike or in John's drums,

and when I spread it all out into surround

I also used a impulse response reverberation program

to effect what it would be like to be outside at the Bowl

because the recording in itself was very dry. It didn't have any dimension to it.

So by doing that I could create a larger environment,

a cycle acoustical environment.

It's a little bit of smoke and mirrors, but you have to do that.

John Albarian, a superb video editor,

went and he transferred all the film very carefully to high definition,

took that film and, using the audio, free-sunk everything up.

By looking at the picture, where if you can get one frame right,

you could maybe take another camera and lock it in, and as John Albarian said,

"Thank God for John Densmore

"because his drum beats, when they were close enough, got us in sync."

Because no time code, no 60 hertz,

no nothing, even no clappers like that.

So that was amazing.

When I got the picture and I watched it,

and then I realised that some of the audio that I had chosen of Jim

on the three songs where he was missing wasn't right.

And I also found, listening to his voice leaking into the surround tracks,

that they were the wrong melody, too, because he was singing different.

So I had to go find, from various performances,

from all the different cities live, find a word here and there

that had the proper note and the right inflection

and put that in.

And then I delivered that back to video,

and video would go, "Oh, my goodness. Now we know it's there, we're out of sync."

And I'd say, "Yeah, do you have another shot?

"Because I can't make it work with your picture.

"Do you have a cutaway or a two shot or something from behind

"that we can cut away from Jim,

"so that we can re-sync just for those couple of words?"

And John was able to effect that.

Judging at the video that I've seen so far,

and I haven't seen the HD, on a big screen let alone,

it looks pretty damn good.

I'm excited because I know what it originally looked like,

and 16 millimetre, it didn't look too good.

It goes from the old ratio

of 3:4, 4:3, to widescreen.

And usually when people go from standard size format to widescreen,

it squashes the people and they all look squat. Or you cut off their heads.

None of that happened, it's like a miracle.

How did it go to widescreen? How did it do that?

I don't know, digital.

Digital.

Digital, it just blew the whole thing up. It took that and enlarged it

and kept Jim's head where it's supposed to be.

It did not cut off the top of his head. Did not make him look squat.

Our heads do look a little fatter, I think.

Do they?

Which is not a bad thing.

Well, mine is always fat. I've always had a fat head.

I could watch it all night, man. It just looks so good.

I've seen most of the footage before, but it's always on a little editor or something.

And, man, it just blew me away, how great it looks and sounds.

I just want to get it out there so people can see it.