One More Time with Feeling (2016) Movie Script
WARREN: I remember we sat and
listened to the songs, and,
there was something
incredibly eerie about
the first track Jesus Alone,
sort of had this line, "He fell
from the sky, crash landed".
MAN: Do you wanna
just tell me the story?
WARREN: I mean I don't really
know because I can't imagine
how you never get such
a thing.
And, you know, I
just can't even
fathom it. Um...
And watching this happen to
people that you love,
is um...
It doesn't even...
I don't think even... lets you
any, gives you any insight
really into it. Because,
there's a step within,
you can't go.
But, it... it feels like...
for Nick or somebody who's
created all his life, um,
it feels like...
[INDISTINCT MUMBLING]
Can we stop right there?
MAN: We have to re-calibrate,
this is out of focus.
It's not usable at the moment.
I know.
Calibrate focus please.
Sorry.
That's alright, man.
Are you...
Let's cut it.
Alright, do you want me
to hop out?
Yeah.
Yes please. Could you?
Do you want me to get out too?
Yea, we'll get out.
If you wanna stretch your legs.
Yeah.
MAN 1: Mate, I'm sorry.
MAN 2: It's shocking man.
It's shocking, it's terrible.
This is not what I...
-what I want you to...
- To be honest I find this
really hard, because,
- I've never discussed Nick's
private life, um...
- Yeah.
Or anybody that I know. I don't
sort of, discuss it like this,
and, it feels like this is
-something that gotta come up.
You know?
- Yeah.
Um, and so there's a part of
me that feels very protective.
That's where's it's hard
to strike a balance, you know.
Like, I can... you know,
I don't wanna go and tell you
what I saw when I went there,
and all this, I don't wanna
tell what I felt because,
it just feels like...
that's...
that's like, private, you know.
Uh, I just... Warren sent me
something yesterday.
MAN: Uh...
emailed a friend...
um, last night.
I shouldn't go in first,
because I get in before...
Uh...
[FOOTSTEPS]
We've all gotta get behind you.
Um, I don't know.
WARREN: And, I was
mentioning how time
felt elastic these days.
Alright so we need to go
this way, mate.
[INDISTINCT]
WARREN: And he emailed
me back...
uh, a very excited
and lovely email.
Where he spoke about um, the idea
that all things were happening...
Is this um...
WARREN: all the time.
Is this okay to wear in the studio,
do you want me to put a shirt on and stuff?
Uh...
Textually,
textually that's not the
greatest thing.
Okay.
Yeah.
Okay.
Okay, come on, let's uh...
begin to film this. Alright.
Yeah, we're filming.
We never stopped.
Okay.
So, try and get
both Nick's.
WARREN:
All past present and future,
are happening now.
Right now.
And then if you just...
Yeah, great Nick.
WARREN:
That basically a caveman,
was clubbing a female mate,
[CLANGS]
Uh, at the same time that
astronauts, or scientists
trying to...
work out how to
colonize Mars.
[FOOTSTEPS]
WARREN: Now...
that is encouraging right?
And, I think he meant well.
But, it's not true because...
it's not true...
because...
We need an exit.
I know.
It's to the right.
Hey, you see there's another
Nick in the mirror there...
Yeah, there.
Wait till he comes back in.
WARREN: If everything was
happening now...
Nick.
NICK: Yeah?
How do you feel about us
having another go at that?
WARREN:
I wouldn't be sitting here
waiting for the film crew to
work out how to work...
MAN:
Yeah, we'd really appreciate
another go.
WARREN:
this ridiculous 3D black
and white camera.
NICK: Uh, alright.
Okay.
WARREN:
Right now nothing is happening.
MAN:
We won't do it a third time.
Okay, so what do you
want to do?
Basically, everything you just
did was fantastic, okay?
And?
We'd really appreciate
another go.
You know what I'm saying?
Um... so, I have to
undress again?
MAN: Undress, yeah.
Now, let's go back to it, eh?
Do you want to do it
a bit slower?
I see the focus, guys,
you need to focus guys.
[INDISTINCT CHATTER]
MAN: I mean obviously
your songs have become
a lot less narrative.
Uh...
Yeah. The other half.
Yeah, and...
do you have uh, is there
a reason for that?
Well, yeah...
Yeah I mean,
I think um...
maybe there's...[STUTTERS] maybe
some serve a certain need,
and, I think I probably needed
uh, on some level
a kind of narrative in my life
that was...
kind of predictable
and had it's...
had a kind of logic to it.
NICK: So, I wrote stories and,
they seem to hold everything
together. Um, in a particular
part of my life, for a long
part of my life
where things needed to be
held together. Um, but, I
don't believe in the narrative
anymore. I don't... um...
I don't actually believe that
that's what life is like.
And, that there's
a pleasing resolve and all
of that sort of thing to life.
I... I... I just feel that
to do fractured narrative, uh,
a thing where, uh...
where time is actually
compressed,
um, events uh...
stuck on top of other events.
There's no particular logic
to it. Um...
or, a distressing
kind of logic,
um, makes it, um...
it's much ore real that true
to the way I feel about things.
So, um, this is just sort of
directorial...
uh, tactic, to make us
all pissed off.
What, you're pissed off?
[LAUGHS]
No, roll.
To get us all edgy in the
morning.
WOMAN: Should we put
your bags in front?
Yeah, thanks.
Not at all. It's
actually just
a... this is...
Thanks, Nick.
We're rolling right?
[DOOR CLOSES]
So, um, everything we say...
is taped?
It's all.
Unless we pull out the plug.
Yup.
Okay.
NICK: I think it's the nature
of songs to um... have an
insight into things
that we don't consciously have
because, largely they come from
the unconscious.
Yeah.
Which is a king of reservoir
of knowledge and understanding
that"s far beyond what
we consciously are aware of.
I've got this...
stuff that we did in
Morwan here,
when we were going
through it.
And, maybe we can just go
through
these, and look at them.
What?
Yeah, let's change it
a little bit.
Yeah, but it...
Well, you know, we can add
But um...
or subtract and then...
But actually,
with Jesus Alone,
should we go back to that,
um, you know, we talked about
going back to the earlier
version of it.
Yeah.
That's less... okay, good.
NICK: So, songs an often uh...
appear to foretell
situations in
the same way as dreams maybe,
are able to...
um... have, uh...
have a kind of
prophetic nature sometimes.
Susie, for example, is
hugely superstitious,
about my songs. Um...
Yeah.
That there being a canary in
the coal mine kind of thing
that there's some...
Because, if...
Exactly. Yeah.
But, you know, and I... I...
Like I said, I don't think
that this is a unique to what
I do. Although I
write a certain type of song,
that has a certain element
of, uh, anxiety, and dread,
and anguish...
Yeah.
To them in their nature.
So, it can... it can...
foretell, um...
uh, they can foretell, um...
certain events.
[SYNTH PLAYING]
[SWITCH CLICKS]
[SWITCH CLICKS]
Right.
Hey Jake!
This is the vocal that
you didn't do at La Frite.
NICK: Yeah.
NICK: Yeah but, I just patched
up this...
Yeah.
So, um, is this
before it's being...
Before it's being...
put in time?
Yeah.
You fell from the sky
Crash landed in a field
Near the river Adur
Flowers spring from the
Ground Lambs burst from the
Wombs of their mothers
In a hole beneath the bridge
You convalesced you
Fashioned masks
You gave them names
You gave them names
With my voice.
It's better there.
I am calling you.
And, I'm playing the
piano at the same time.
Yeah.
And, because it's
just opened up a bit more there.
This feels like...
It does need the piano right?
Cut the piano here.
We could do the piano
separately.
Yeah, yeah.
Edit over done piano, and
all those sorts of.
"Ooh's", and "Ah's",
and all that.
You're an African doctor
Harvesting tear ducts
That has a, I mean a...
I have to listen to the other
one, but this...
definitely has a sort of,
intensity about it.
Yeah. There's something the
vibe just builds in it and it
becomes hypnotic and stuff
and, the other one feels like
a song. It Feels...
Yeah, okay. So...
The vocal needs to be fixed up,
because there's...
Yeah, it goes in and out.
Just mumbo-jumbo on it.
Well, it's kind of ad-libbed.
Right.
A bit, a bit. You know,
a lot.
And then...
In La Frite we
kind of put it on one.
The one was actually...
it wasn't...
We never even knew
where the one was.
It's coming in the wrong spots.
At least we all had
a different opinion.
As we often do.
[LAUGHS]
It felt like it...
You've never heard
that one before.
[LAUGHING]
One! Should there be a vocal
before we do anything else?
WARREN: Uh... Yeah.
Or, maybe we don't need
a vocal before.
I think the vocal would give us
the kind of... the energy,
Um...
Right.
And what to do, so that you
feed off...
You know,
you working off like...
[VIOLIN STRUMS]
Oh, that's it?
Yeah.
Incredible wasn't it.
Aluminum.
I'm incredible.
3000 Dollars.
[LAUGHING]
You bought it?
Yeah.
It sound good?
Nah, it looks awesome.
[LAUGHING]
[VIOLIN STRUMS]
[VIOLIN TUNING]
NICK: This is difficult.
This is really
fucking difficult.
It is.
Doing and over dub-vocal, is
some kind of torture.
And it's something that I
really try and avoid.
I do everything I can to get
the vocal down while
the basic track is being
recorded,
you know. That we just
all do it together.
WARREN: There's something more
hypnotic about this one
and kind of more...
meditative or, something.
And it kind of has a...
Feels a bit more
mysterious or something.
And, also the kind of fact
that the stuff doesn't
just come in on the one,
wait, feel it
comes in somewhere,
there's some more space
for the kind of backing...
to kind of come through.
[PIANO MUSIC PLAYING]
WARREN: C?
No.
WARREN: What's that one?
NICK: I don't know
what the chords are.
I have to hear it on...
Nick, you wanna
play piano right?
NICK: I don't know what
the chords are.
I don't know.
I don't know yet, because,
I don't even know what
the chords are.
NICK: They keep changing
all the time.
[PIANO MUSIC PLAYING]
NICK: I mean, I played the
chords originally.
But, there seems to be an
endless variations on the
circle.
Oh fuck it. I don't know what
that is. So, no, I won't be
playing the piano.
[CHUCKLES]
And, there seems to be a bit
weird to be trying to work
out the chords,
to an improvised song anyway.
Don't you think?
I am calling you
With your voice
I am calling you
I should have strengthened
my voice.
With my voice
With my voice
My voice
I am call, call, call
I should have sung more before
I came into the studio.
I am call
I knew that at the time.
Okay.
Alright.
WARREN: I'll come out okay.
Yeah.
NICK:
I think I'm losing my voice.
[PIANO MUSIC PLAYING]
[PIANO MUSIC PLAYING]
Just find it
into lost things.
My voice.
My iPhone.
My judgment.
[PIANO MUSIC PLAYING]
My memory maybe.
Fuck.
[PIANO MUSIC PLAYING]
And, isn't that
the invisible things?
Lost things...
that have so much mass,
and so much weight.
[PIANO MUSIC PLAYING]
Alright.
NICK: And, are as big as
the universe.
[JESUS ALONE PLAYING]
You fell from the sky
Crash landed in a field
Near the river Adur
Flowers spring from
The ground Lambs burst from
The wombs of their mothers
In a hole beneath the bridge
You convalesced, you fashioned
Masks of twigs and clay
You cried beneath
The dripping tree
Ghost song Lodged
In the throat of a mermaid
With my voice
I am calling you
You're a young man waking
Covered in blood that is
Not yours
You're a woman in a yellow
Dress Surrounded by a charm
Of hummingbirds
You're a young girl full of
Forbidden energy
Flickering in the gloom
You're a drug addict
Lying on your back
In a Tijuana hotel room
With my voice
I am calling you
With my voice
I am calling you
You're an African doctor
Harvesting tear ducts
You believe in God, but you
Get no special dispensation
For this belief now
You're an old man sitting by
The fire, you're the mist
Rolling off the sea
You're a distant memory in
The mind of your creator
Don't you see
With my voice
I am calling you
With my voice
I am calling you
Let us sit together
Until the moment comes
With my voice
I am calling you
Let us sit together
In the dark
Until the moment comes
With my voice
I am calling you
With my voice
I am calling you
With my voice
I am calling you
With my voice
I am calling you
[INSTRUMENTAL MUSIC PLAYING]
[MUSIC FADES]
WARREN: Cool!
Nice.
WARREN: That's a good one,
and a longer.
It's good.
Great.
Cup of tea?
WARREN: Do you feel that
the lack of narrative allows
you to get the something...
as wide a...
I just don't think, I
don't think, uh...
life is a story.
Yeah.
You know, that...
that hasn't,
I mean, we all hope it is.
Yeah.
Um...
We all...
It kind of is,
I have to say.
It kind of is a story.
It's the same story for
everyone.
[CHUCKLES]
In a way
It... In a way but, um...
the arc can be very different
and it's not necessarily, um...
um...
yeah, yeah,
I guess...
you were born, and you die.
Um...
Well you gradually...
decay.
Gradually decay.
Yeah, which is...
I mean, that what I feel like
I'm dealing with.
And, you're ten years ahead
of me.
Um...
you decay and you sort
of diminish.
Um...
WARREN:
Do you really feel that way?
Yeah.
In what sense?
Um, that the struggle to...
to do what I do is um...
it just requires more effort.
Was he ready?
Yeah.
Alright, mate.
What from?
Were do you wanna go from, boss?
WARREN:
I guess the second, uh...
the second... no, verse.
Chord?
Second verse, okay.
NICK: Most of us don't
wanna change.
Really.
Does that went away?
That did...
What happened when you,
when you came in, 'cause it
went away. Now, it's come back.
NICK: I mean why should we.
WARREN: Has it moved back or,
is it a cable? Was it when you
lifted up the cables, John?
Lift up the cables.
NICK: What we want to do is...
to sort of modific...
modif...
modify...
Yeah.
Yes. Stop, what've you
done there?
NICK: Most of us don't
want to change.
Whatever that cable is,
that's the one.
NICK: What we do want is
sort of, modifications
on the original model.
[VIOLIN PLAYING]
We keep on being ourselves
but just...
hopefully better
versions of ourselves.
But, what happens when...
an event occurs that's
so catastrophic
that we just change from one
day to the next.
You change from the known
person,
to an unknown person.
So that, when you look at
yourself in the mirror,
you recognize the person...
uh, but you won't...
but, the person inside
the skin is a different person.
NICK: So that when you go
outside...
the world is the same.
But, now you are a different
person and you have to
renegotiate your position
in the world.
WOMAN:
a bit. Going for G here...
Yeah.
We can do it.
Okay.
NICK: For instance...
I think D-F-G, D-F-A seems to...
NICK:
when you go into a shop
to get cigarettes, because this
new version of yourself
smokes, and the shop owner
says, "How are you?"
And you don't know how
to answer.
Or, when you meet a friend on
the street, who says some
kindness.
Uh, the... they don't really
work on the choruses because,
they connect to the...[HUMMING]
Yes... maybe it should be...
it's like a "boom".
NICK: And, suddenly
you are crying in their
arms for ages.
And, then you realize
that the person is not
a friend at all.
I think it's... we're saying
the same thing...
Like a boom?
[HUMMING]
They're doing the "waa".
Then I'm planning to wind up.
Yeah.
NICK:
But, someone else that you
don't actually really
know very well.
I wouldn't put any more
emotion into it.
Or, you go into a bakery to
buy a loaf of bread...
let's say.
And, you're standing
in the queue,
and someone grabs you
by the arm and says something,
with their kind eyes...
[PLAYING CELLO]
But, you can't work out what
they've said because the new
you can't hear very well.
And, so, you say "What?"
But, too loudly and angrily,
and he says,
"We are all with you, man".
And you look around and all
the bakery is looking at you
with kind eyes.
And, you think that people
are really nice.
But, when did you become
an object of pity?
[TECHNO MUSIC PLAYING]
As soon as I walked in here,
I got this spike of agitation.
You did?
How come?
Has anyone seen my pen?
Thank you.
Um, yeah.
Um...
did you print out the words
that I sent, or the words...
This is what you sent.
Yeah.
Did I?
Um, okay.
Yeah, um...
No, because you
don't have any...
What if I've got them on
my computer?
Do you have a printer?
NICK: Here I am,
the moonlight man, with my six
shooter and Steve McQueen,
call me a cab,
I'm not that kind of a guy,
I have a dream.
Sometimes I the elevator to
the top of the Burj Al Arab
and shoot my guns across Dubai.
Bang, bang, bang,
I'm that kind of guy.
I know.
But mostly, I curl up inside
my typewriter... curl up inside
my typewriter and wish
that I can die.
Your legs are so long, they
should come with their
own elevator.
Don't worry, darling, I'll be
coming around, see you later.
Have you guys sang them
differently,
or, something like that, um...
[INDISTINCT]
Because, between you and me
and my best friend,
the housefly...
I'm Steve McQueen
with a big beautiful dream.
I am god.
I am God, thinking about
God, thinking about
Steve McQueen.
Oh, yeah, great.
It's for me the sirens
and the sylphs do their
twilight pining.
On Saturday night. I woke on
someone else's stomach lining.
Up and down this street,
call me a cab.
Call me a cab.
No I'm a housefly called God
and I don't give a fuck.
Right, that's it.
Go on.
Here I come up the elevator,
sixty floors hoping I don't
get stuck.
And everyone out here does mean
And everyone out here does pain.
But, someone's got to
sing the stars.
And, someone's got to
sing the rain.
I'm the atomizer.
I'm the vaporizer.
I turn everything to crud,
I like it here in flesh
and blood.
I'm the elevator man,
don't you see?
You're a spine lashed,
long legged lovely young thing.
Call me a cab. I'll drive
to the top of the Burj Al Arab.
And, fire my guns
across your stomach.
Because, someone's got to
sing the stars, and someone's
got to sing the rain.
And someone's got to sing
the blood. And someone's got to
sing the pain.
Watch out you fuckers.
I've got my six shooter and my
housefly on lead,
I'm Burj Al McQueen.
And I'm coming to make
every last one of you bleed.
How are you, Jim?
I'm alright, thank you.
How are you?
[LAUGHING]
Got your beard back, mate.
Yeah, yeah.
I thought I'd grow it just
for the show.
What about continuity?
Fuck continuity.
Fuck continuity.
God is great, chances are
God is good,
well I wouldn't go that far
[INDISTINCT]
C to B Flat.
I'm Steve McQueen
the atrocity man.
You wanna bleed on me.
And sing too, Jim.
If you wanna bleed
Don't bleed
NICK: With my strap on blood
pondered dream...
If you wanna bleed
Don't bleed
Step away.
NICK: But, mostly curl up
inside my typewriter
with my housefly and cry.
I tell my housefly not to cry.
My housefly chose me
not to die.
Because someone's got to
sing the stars,
and someone's got to sing
the rain.
D minor.
And, someone's got to
sing the blood.
And, someone's
got to sing the pain.
Okay.
[INDISTINCT CHATTER]
[CLEARS THROAT]
NICK: Look at him.
Holding everything together.
NICK: Is my hair alright?
Fucking, never been better.
Best it's ever been.
Best it's ever been.
Huh? Best it's ever...
It better be.
Fucking, proceed with
absolute confidence.
NICK: What would I
do without Warren.
If it's not...
[PIANO MUSIC PLAYING]
MAN: Cut! Cut!
MAN: Three-Four minutes.
NICK:
We should do one, we should
do a take pretty soon.
Or we're gonna lose
the essence of the thing.
Because I can the whole mojo
slipping away.
WARREN: Yeah, it's getting
cold.
NICK: We're getting bored,
irritable.
Can I hear, can I try that
out just with the backing track
please, Jake.
What's the time line?
[INDISTINCT CHATTER]
NICK: 'Cause it's too loud.
[PIANO MUSIC PLAYING]
[CHATTERING]
Tishi, see that guy?
Tishi.
That means, go to...
The cameraman, was like, Tishi.
Did you show him his camera?
Yeah, yeah, I showed him
a photo.
Spooky.
NICK: Warren just pointed out
how much the photographer
looks like.
Tishi.
Tishi is another photographer.
MAN: Hang on.
[INDISTINCT]
Who has like shaggy hair
and a beard and...
Bad backs are coming back.
Yeah, mate.
NICK: Lived most of his life in
the streets, of his home town.
In the Czech Republic.
He took photographs of
women, with a camera
that he made himself.
They are...
really wonderful photographs.
Like stolen moments, of women
in over many
amazing facets.
I mean,
many amazing facets.
Women have more
facets than men.
Men are...
[LAUGHS]
Men are pretty much
two dimensional.
And women are,
like, fucking 3D.
My wife is spectacularly
three dimensional.
But, every time I try to, um...
get a handle on her,
and to put her into focus,
she shifts and changes,
and becomes someone else.
Or worse, she steps out of
the frame entirely.
And...
I'm left with a hovering
ghost, in which...
that's...
burned on my retina.
Like I've starred into
a spotlight.
And closed my eyes.
Eventually she steps back
into the frame,
and I pull her back in focus.
But, she's changed because
she's been
out there, communing
with the dead.
[SIGHS]
[GIRL IN AMBER PLAYING]
Some go and some stay behind
Some never move at all
Girl in amber trapped forever
Spinning down the hall
Let no part of her go
Unremembered, clothes
Across the floor
Girl in amber lumber slumber
Shuts the bathroom door
The phone, the phone
The phone it rings, it rings
It rings no more
The song, the song,
the Song it spins
since nineteen eighty-four
The phone, the phone
The phone it rings, it rings
It rings no more
The song, the song
It's been spinning
Since Nineteen
And if you want to
Bleed, just bleed
And if you want to
Bleed, just bleed
But if you want to leave
Don't breathe
The world just step away
And let the world
And now in turn, you turn
You kneel, lace up his shoes
Your little blue-eyed boy
Take him by his hand
Go floating down the hall
I get lucky, I get lucky
Cause I tried again
I knew the world it would
Stop spinning now since
You've been gone
I used to think that when
You died you kind of
Wandered the world
In a slumber till you
Crumbled, were absorbed
Into the earth
Well, I don't think
That any more
The phone it rings no more
The song, the song it
Spins now
Since nineteen eighty-four
The song, the song it spins
The song, it spins, it spins
It's been a spinning now
And if you'll hold me I will
Tell you that you know that
And if you want to leave
Don't breathe
And if you want to leave
Don't breathe
And if you want to leave
Don't breathe
A word
Just step away
And let the world turn
The song, the song it
Spins now
Since nineteen eighty-four
The phone, it rings, it rings
And you won't stay
Don't touch me
Don't touch me
Don't touch me
Don't touch me
Don't touch me
[INDISTINCT CHATTER]
NICK: Hair's still alright?
WARREN: Even better.
It's even better now.
What ever you did,
don't touch it.
NICK: Don't touch it.
NICK:
Fuck! What happened to my face.
Look at those bags
under my eyes.
Where did they come from?
They weren't there last year.
The director says I look
like a battered monument.
I have a terrible feeling he's
trying to be kind to me.
I must remember
to be kind back.
I must remember to be kind.
[MAGNETO PLAYING]
[INSTRUMENTAL MUSIC PLAYING]
Mostly I never knew
Which way was out
Once it was on
It was on and that was that
The umbilicus was a faucet
That fountained rabbit blood
And I spun on my wheel
Like a laboratory rat
I was an electrical storm
On the bathroom floor
Clutching the bowl
My blood was for the gags
And other people's diseases
My monstrous little memory
Had swallowed me whole
It was the year I officially
Became the bride of Jesus
In love, in love
In love you laugh
I move you move
And one more time
With feeling
In love, in love
In laugh, you laugh
I'm sawn in half
And the stars are splashed
Across the ceiling
Oh, the urge to kill
Somebody was basically
Overwhelming
I had such hard blues
Down there in the supermarket
Queues
And I had a sudden urge to
Become someone
Someone like you
Who started out with less
Than anyone I ever knew
In love, in love, I love
You love, I laugh, you love
I move, you move
And one more time with feeling
In love, in love
I love, You love
I laugh, you laugh
I'm sawn in half
And the stars are splashed
Across the ceiling
Oh, and oh you come shining
Softly to the hold
Of a drink
Come as far as the edge
Of my blood and swim
And in the bathroom mirror
I see me vomit in the sink
And all through the house we
Hear the hyena's hymns
Of love
I love, you love
I laugh, You laugh
I move, you move, you move
One more time with feeling
I love, you love
I laugh, you laugh
We saw each other in heart
And all the stars have
Splashed
And splattered
Across the ceiling
[MUSIC FADES]
How disturbing is this?
It's quite disturbing. Yeah.
It is?
Well, I think, um...
I'll make a deal with you.
Absolutely anything in that's
in the film that you don't like?
Yeah.
Right? You can cut out.
Okay.
Okay?
Okay.
Let's just take one now.
Wait till it's, um...
I'll wait till...
You know, take a photo
of them,
and then we can put it
in the film.
That worked, yeah.
Okay, cool.
Yeah. Okay.
And just wind it
on with the...
Okay.
The winder thing.
Okay.
Awesome.
Okay.
And so, if you wanna, um,
take any photos today,
just gotta pop up the flash,
which is that.
NICK: We didn't ask for it.
But, it is all around us.
A gratuitous beauty.
That exists whether we,
uh, there to witness it or not.
The world plunges on.
And the world is magnificent.
I watch you on your ice flow.
Cold something into
the Arctic wind.
The wind offers
a brutal resistance.
But, still you plough on.
I cling to my ice berg
and sing to you.
See the sun, see it rising
See it rising
Rising in your eyes.
Oh my God.
Hey.
Look at you.
I've got brown hair.
You've been alright?
Yeah.
What you doing.
Oh, good.
Nothing.
Um...
No, get rid of it.
Have the animal rights
people...
Shh, shh!
Why is creaking?
It's been, um, an enormous
amount of doing nothing,
waiting around.
Yeah.
Sounds pretty difficult.
You'll get used to the camera
being there, now your on.
Thanks.
Good day Suz!
[LAUGHING]
See you're shy.
That's what I'd do
at the time, and they...
they give me special one
that's not connected.
Just for the fuck of it.
Go to DFA fader, that's
fuck all.
[LAUGHING]
BOY: And the buttons?
Can I press
the buttons as well.
NICK: And this guy,
is the videographer. We're
watching the videographer,
who's watching the camera man,
who's watching us,
and it just goes around,
and around, and around.
Spooky, huh?
WOMAN:
So, which is the 3D camera?
Cam-ception!
They heavy one.
That one.
This is the videographer.
Is this in 2D?
That's in 2D.
Okay.
He's in 2D.
[LAUGHING]
WARREN:
Yeah, I mean it's...
No, I mean it's...
Yeah, yeah. Basically
the couple of record in
the soundtrack stuff
has been really about that
I just pall a bunch of
stuff in there,
and then just try and find
something in there, like it's
really about... that's
the really exciting thing.
Um, for the last few years with
me, has been about that, like...
trying to find something that
kind of, just comes out of
nowhere.
Um...
NICK: These guys, Warren
and Andrew the director,
they like to go on about,
accidents
and the accident... uh...
the accidental nature of art,
but, this is just another way
of saying they're communing
with the Gods.
I mean, you think God would
have more pressing to do.
Really.
There's no such thing as
accidents.
[LOUD CLANG]
MAN: Oh, fuck!
Yeah, I think accidents
is the wrong word, because,
um, it more...
Um...
that we just get into... that
we get ourselves into
a space these days.
Where, um...
some sort of magical thing
happens, that isn't
to do with, uh,
which isn't to do with knowing,
which isn't to do with knowing
at all actually, so...
um...
I mean there are of course,
happy accidents and stuff
like that, but...
Mostly, um, I find that me
and Warren particularly,
when we kind of
jam together and stuff like
that, we get into, uh...
a situation where a lot of very
beautiful things just happen
after each other. And, then we
get into a situation where
that doesn't happen at all.
And we kind of, um,
forever...
um, foraging away
for these moments.
NICK: It's a very different
collaborative situation with me
and Warren that is
with anybody else, that has
been working with me.
Because, we actually sit down
in a room together and compose
a song together.
We're beginning our descent
I never knew
What that meant
We grabbed the oxygen pod
And I call out the window
Down here the sea.
And it actually really exciting
to sing the same if you're
in a room together,
to sing to something,
that you don't know.
You don't know
where it's going.
So, I'm singing
a melody,
that's being kind of,
stretched into all these
into a wholly different way,
that I can never come up with
myself.
[PLAYING THE VIOLIN]
When I sit at the piano,
I play chords and I know what
it's gonna sound like before I
press the keys down.
And so you just... it becomes
repetitious, there's no way
around it.
It's very exciting to have
someone else doing
that side of things.
Because, your melodies aren't
dictated by
what you know,
[SKELETON TREE PLAYING]
Sunday morning
Scattered in trees
Pressed against the sky
The jittery TV
And an empty bed
Glowing white like fire
And I called out the window
Down to the sea
And the devil
Comes collecting
For nothing is for free
And I call out the window
Jesus rising by
In a
Field.
You know, I'm...
to a fault,
have had a thing about words,
both, love and respect about
words, but, a kind of fear
about words, of where they can
actually take you, and...
Um, what they can expose and
stuff about you. Words right,
that's what that's...
what makes the world go around,
if we didn't have any way about
articulating anything, we would
have no way of even remembering
anything really.
Um... so,
because of that power of
words I've really kept them
contained like,
don't let a line go,
in my opinion...
I mean, people might just think
what I do is shit. I have to
forget about that.
But, in my opinion I don't
need a line go,
that I'm not really really
please with.
Basically, right?
Um, and this record
I have to let go of that,
because,
um, the line is successful
for another reason.
[TAPPING]
[ANTHROCENE PLAYING]
All the fine wind is gone
And this sweet world is so
Much older
Animals pull the night
Around their shoulders
Flowers fall to their
Naked knees
Here I come now here I come
I hear you been out there
Looking for something to love
The dark force that shifts
At the edge of the tree
It's alright, it's alright
When you turn
So long and Lovely
It's hard to believe
That we're falling now
In the name of the Anthrocene
All the things we love
We love, we love, we lose
It's our bodies that fall
When they try to rise
And I hear you been looking
Out for something to love
Sit down beside me
And I'll name it for you
Behold, behold
The heaven bound sea
The wind cast its shadow
And moves for the tree
Behold the animals
And the Birds
And the sky entire
I hear you been out there
Looking for something to
Set on fire
The head bow children
Fall to their knees
Humbled in the age
Of the Anthrocene
Here they come now
Here they come
Are pulling you away
There are powers at play
More forceful than we
Come over here and sit down
And say a short prayer
A prayer to the air, the air
That we breathe
And the astonishing rise
Of the Anthrocene
Come on now, come on now
Hold your breath
While you're safe
It's a long way back
And I'm begging you please
To come home now
Come home now
Well, I heard you been out
Looking for something to love
Close your eyes
Little world
And brace yourself
I don't want to just write
songs like a diary,
of what my life is like, I'm
not really interested in that.
Um...
I want to write songs that
radiate out... that...
connect with people
and don't alienate people.
A kind of great...
trauma isn't actually
a very good thing,
um...
you know, you kind of...
Well sometimes you know,
we all wish we have something
to write about. We all wish
we have something in
our lives,
that can happen.
That we can...
that we can, um...
to write about and make
our writing interesting.
And all of that
sort of stuff.
But, actually trauma actually
I think in the way that
this happened and,
and in the events that
happened,
it was extremely damaging to
the creative process.
NICK: Later someone entered
the garden and bashed the
snakes brains in with a rock.
Basically every one stood
around among the long black
cars in a state of shock.
Everything got sad,
sad as a wind chime.
Sad, as stream as,
sad as a single lost sock.
There are many snakes, many
trees, many gardens to unlock.
The media and it's complicitors
reader blew the whole thing out
of proportion.
A snake became a serpent,
and in a typical tabloid
distortion
the dead tree grew apples,
the wasteland paradise,
God was brought in
blame apportioned.
The whole thing went tits up
to the ceiling. A complete
fuck up and a total abortion.
It's like a rap song.
The children let off hand fulls
of balloons into the sky,
they huddled under the marquis.
The wind chime stopped.
Stream is flagged.
The straight sailing ships
on the sea.
There is a toll gate now in
paradise, absolutely nothing
is for free.
What's the worst
that can happen?
Turning, pushing the hair
from you face
and smiling at me.
MAN: Do you think it's a good
idea to have Suzie coming out
of the toilet?
Just from an aesthetic
and emotional and,
How do you feel Suzie?
SUZIE: I don't mind. No, no.
It's fine.
I don't mind.
[INDISTINCT]
Darling, do you really wanna be
photographed pinning
and dressed up in the toilet?
It's fine. I don't mind.
Just decide though.
Okay.
Well, it probably, oh...
MAN: Let's move the camera
up there.
Can we avoid seeing th toilet?
You won't see the toilet.
You're not going down
into the bowl.
MAN:
What d'you think when you
look at the picture?
Yeah, things are changed.
Um...
I like that because, uh...
because of the position of our
bodies, that we're not, uh,
connected.
That we're sorbed
in our own...
whatever. And, uh... but there
is a real connection as well
at the same time.
Anyway I love that picture.
Actually went to a union
psychiatrist, 'cause I had
some problems or whatever. But,
when you ended up talking about
Suzie all the time because
she's actually much more
interesting than I am,
And he was obviously more
interested in her as well.
Um, and...
and he said, that it was a kind
of untapped
creativity makes... is quite
a common thing, actually
to... for... um,
that she's not doing what
she's supposed to be doing.
So, it's a common
thing for women
to move furniture around.
I mean, what should we do... 2.
Yes?
Where can this go?
It can go back to where it
was the other day.
Back into...
SUZIE:
Where was it the other day?
It was where?
The bike was there. Yeah.
SUZIE: Yeah, but do you want
this out of the shot completely.
If you can just get that.
That could go into
Nick's office.
NICK: She knows I don't like it,
so, um,
tends to happen when I'm
not in the house.
And, so I go away and then I
come back in and it's different.
You don't mind if I put this
back under the...
SUZIE: Yeah, that's fine.
NICK: I found this article of
this guy up north, who had a
similar situation with his wife
and, he would nail...
everything. All the chairs to
the ground and everything like
that. And she would tear them up
and she'd be... it was like,
that chronic. And eventually
he divorced her in the end.
But, um...
doesn't bid well for the future.
'Cause it's cropped up in
couple of Nick's songs,
I'm like...
MAN: Yeah, yeah, yeah.
I'm really embarrassed.
MAN: I always thought that
it was some brilliant...
He'd come up with
some brilliant kind of,
metaphor, you know...
SUZIE: Yeah, I know.
Is an actual description.
Actual description.
Suzie changes, um, it's better
but Suzie actually changes
the function of the room.
While you asleep, right.
[LAUGHING]
So that you wake up,
and, yeah it's...
it's a different, yeah.
It's like the TV room,
when before it was
the bedroom or something.
No, I unplug it myself, darling.
The woman keeps it
plugged in though.
Suzie, I think here...
they should...
SUZIE: The boots
and everything. Thank you.
NICK: Alright, just take
it in and out.
NICK: Oh, fuck.
Because there's, um...
SUZIE: Okay.
MAN: Did you see that?
That's Nick Cave.
[SUZIE LAUGHS]
Now, should we just see,
you can see what's gong
on there, Nick.
You can see what you're being
photographed by.
NICK: Yeah.
MAN: You just thought that we'd
leave the house and you'd
be safe from us right?
Yeah. In a sense yeah.
But, we're still filming you,
in 3D.
From another location.
Thats amazing.
But, seriously what...
what do you think about
Suzie's shoes?
Well, let me see her feet.
You see them?
I think you should wear
the high heels.
Okay.
I'll keep them on.
Alright.
Okay.
Now, Suzie, you want to just
explain to us the philosophy
of the dress?
Yeah, um, okay this dress is
based on the American
prairie dress,
and, um...
it's, you know, there's
some cults that all wear
the same dresses...
that was kind of
the inspiration,
because I wanted to do them
in all these different color
pastels.
And I wanted them to be kind
of, instead of, being really
frumpy that they're really
see through. Some of them are
completely see through.
And some of them, like, this
one is sort of,
semi see through.
We can decide how much you...
want to reveal.
MAN: So, its the idea that takes
something that is supposed to
be deeply conservative,
and sexualize it.
Yeah, I guess so. There is that.
And it's not that see through.
So you don't have to worry.
Since, um,
you know, since everything that
happened my work became
something
different, you know. Before it
was something I was doing
you know, because I was enjoying
it and loving it, but, then
it became a real necessity,
I really had to be able to work,
'cause it was the only thing
that would take my mind
off everything.
Yeah.
SUZIE:
I tried to not
allow myself,
to sink down into, you know,
I try to...
You know, to just keep moving
forward and keep looking
forwards, and just, um...
But, sometimes, you know,
physically sometimes I feel
it almost more on my...
Don't know how to describe it.
It's like a physical depression
almost. Not 'cause I'm
depressed, but just the grief
process and, you know, and
everything like that is very...
physical but, very you know,
my work is so diverting,
and, I'm so grateful
for that.
Right.
Nick tells me, "You're really
different when you go..."
Nick really encourages
me to work, and, um,
people have said to me all
that's what... creativity,
where it comes from.
It comes from all other time
from pain and from...
some terrible situations and...
And, then I realized that
that's what was happening
to me.
You know, in a small way.
I haven't got anything I can
say any words of...
wisdom or anything about it.
Because, I'm not at that... I
don't know if I ever will be.
[INDISTINCT]
MAN: Suzie, can tell us
what it is?
Um...
[WHISPERS] It's difficult.
I'm gonna cry.
[GULPS]
Um, well, after Arthur died
I found this in storage.
I just couldn't believe it when
I saw it because, it's a
painting that he did when he was
how old? About five or,
something like that? And it
was... it's of the windmill,
and, you know, just where died.
Um...
And Earl did one as well.
There's two of them.
Um, and then I found this one
and I just kind of couldn't
believe it.
I sort of hid it for a while,
I didn't want to show
Nick, I didn't know what to
do with it,
and, I was upset that it's
framed in black and why
it's framed in black.
I don't know why?
Um, because it was framed
a long time ago,
and it kind of, freaked me out
as well. 'Cause I thought "Why
is it framed in black?"
You know, maybe that's...
you know, it's been really
superstitious, and, um,
anyway yeah.
But, I'm...
I don't really know
what else to say about it.
Really.
Yeah.
Put it over here?
Yeah.
[SIGHS]
NICK: There is more paradise
in hell than what we've been
told.
And every step we take,
we stop from blue.
Lie down and bleed
into the water hole.
And so, the night, it will
in time unfold.
Curled up inside my palm
and it's sleeping too.
There is more paradise in
hell than we've been told.
From your lashes tumble
stars of gold,
star lashes, little splashes
of dew.
Spill across the world
and through my soul.
Now call your tiny animals
to the drinking hole.
Little cat, little bear, little
fire horse, little kangaroo,
there is more paradise in hell
than we've been told.
Little cat, little fire horse
with a shivering foal.
Curled in my demon palm
and dreaming too.
And, all across the world
the night night unfolds.
And all across the night
and through my soul.
But, every step
we take we start
from blue.
Fresh tears bleed into
the water hole.
There is more paradise
in hell than we've been told.
You need... The imagination
needs room to move.
It needs room to invent.
Um, and to dream,
and when
a trauma happens, that's
that big...
It is no room, it's just
no imaginative room around it.
It's just the fucking trauma.
Um, and I think that was...
that was what the problem
was when I tried to do new
songs in the studio.
It's almost like
the songs, uh...
that songs that you
had written, uh...
in a way... maybe there
were songs you might have
needed.
I don't know.
I don't know about the songs.
Because the songs do seem
to have a...
The...
Um...
There's a sense of helplessness
in the songs.
Yeah. Well, you know...
You know.
When we... you know, it's sort
of talking about this prophetic
nature of all of them,
that sort of stuff, I mean we
gotta take that with a pinch
of salt.
Yeah.
You know, um...
And I don't really care
about their prophetic,
they're not important enough.
At this stage...
but, the way that they've been
presented, the way that...
the way that you hear them
on this record.
It's very much because of
the emotional state,
just... not just of myself but,
everybody actually.
In the studio when we
were doing that...
it's... it's, um,
the kind of state we were all in
gave us, I think a confidence
just to allow this thing
to go out like it was. This
document to go out like it was.
Um, which we wouldn't have done
if events were different,
you know.
Fix this up and we would have
redone this and, um...
There's something about
the naked nature
of the songs that have
um...
Alpha.
Or, you know...
all through.
So we're here.
[BUTTON CLICKS]
[INSTRUMENTAL MUSIC PLAYING]
[I NEED YOU PLAYING]
When you're feeling
Like a lover
Nothing really
Matters anymore
I saw you standing there
In the supermarket
With your red dress falling
And your eyes are to
The ground
Nothing really matters
Nothing really matters
When the one you love is gone
You're still in me, baby
I need you
In my heart, I need you
Cause nothing
Really matters
I'm standing in the doorway
You're walking around my
Place in your red dress
Hair hanging down
With your eyes on one, we
Love the ones we can
Cause nothing really matters
When you're standing
I need you, I need you
Cause nothing
Really matters
We follow the line of
The palms of our hands
You're standing
In the supermarket
Nothing, holding hands
In your red dress, falling
Falling, Falling in
A long black car is
Waiting 'round
I will miss you
When you're gone
I'll miss you when you're
Gone away forever
Cause nothing
Really matters
I thought I knew better
So much better
And I need you
I need you
Cause nothing
Really matters
On the night we
Wrecked like a train
Purring cars
And pouring rain
Never felt right about
Never again
Cause nothing
Really matters
Nothing really
Matters anymore
Not even today
No matter how hard I try
When you're standing in
The aisle
And no, baby
Nothing, nothing, nothing
Nothing
I need, I need, I need you
I need you
In my heart
I need you
Just breathe, just breathe
I need you
[MUSIC FADES]
There are things that are
being torn apart,
and I'm desperately trying
to find
a way of making some
kind of, um...
narrative sense out of it,
if we're talking about song
writing, or, at least
some sense out of it
where, um...
over the... I can do what
it keeps saying in the books.
What people keep saying to me
that It's, uh...
that I can reduce
this chaotic...
mess that's happened down
into something that...
that's more um...
You know, that I can reduce,
distill it down to like
a platitude that I can fit
nicely you know,
a kind of greeting card
sized platitude,
that means something to me,
like, "He lives in my heart",
or something like that.
People say it all
the time to me.
"He lives in my heart",
and I go, "Yeah, yeah, I know,
I know".
But, he doesn't you know.
MAN: He doesn't?
I mean, he is in my heart but,
he doesn't live at all.
And, there is no...
I wanna be able to sit
here and...
round this off in some kind of
way. But, to me it's just
not.
You know, it's just not...
things... it's affected me
in a way that I don't
understand.
So, then my reactions to things
aren't, um,
the same as they used to,
and they used to be able to
predict what would...
I would feel at certain
times and now...
um...
I just have a handle on things
anymore.
Um...
What's that like?
Well, it's frightening
because, uh...
like, I don't know what I'm
fucking doing now.
For example.
What am I sitting in a...
in a... camera...
being filmed, talking about
this sort of thing.
I wouldn't have dreamed
of doing that before.
MAN: Well, I'm not sure that
I feel entirely comfortable
about it either.
[LAUGHING]
I don't know either.
[DISTANT SKY PLAYING]
Let us go now
My one true love
Call the gasman
Cut the power out
We can set out
We can set out
For the distant sky
Watch the sun
Watch it rising
In your eyes
Let us go now
My darling companion
Set out
For the distant sky
See the sun
See it rising
See it rising
Rising in your eyes
Let us go now
My only companion
Set out for
The distant skies
Soon the children
Will be rising
Will be rising
This is not for our eyes
They told us our gods
Would outlive us
They told us our dreams
Would outlive us
They told us our gods
Would outlive us
But they lied
[VIOLIN PLAYING]
[MUSIC FADES]
NICK: I'm driving in a car
along the M25,
and I'm driving in a car along
the M25, on a tiny blue spec
trapped in a moon beam.
I'm looking out the window,
and up at the countless
and indifferent stars.
I am barely a child, really.
The blue spec spins in
a dark field,
that began 15 billion
years ago.
I'm driving home from
the studio where I've been
making a record.
I'm feeling what every person
who makes a record probably
feels.
That I am making something
of great significance,
and permanence.
Even though in reality I know
what I've committed my self to
is of no real significance.
And, no real permanence.
But, I have something
that the universe has not
never has had.
And will never have.
Consciousness.
My consciousness exists only
at this given time,
it has no past.
And no future.
But, it's present, is bigger
in magnitude than
all the trillion stars
and planets, and galaxies.
There's no, um...
it... you know, I can put it in
different ways with...
and make it sound nice
and stuff like that,
what happened, and...
you just kind of, tied up in
language and stuff like that,
but, actually...
every time I try and articulate
it just... just...
does the whole...
does him a disservice.
That's what it feels
like to me.
You know, 'cause it's...
it happened to us
but, to happened to him.
Um, and that's um...
like the day, or the night,
and around that time is, um...
is like this place...
you just don't wanna go,
you know.
It's like...
all the rest around
is okay, I can
deal with that. I can deal with
that. It's okay. In fact that's
something I wanted to say...
is that...
if everything is not okay, but,
it's also okay.
Right? Things go on,
and, you know, if
anyone's interested,
the records go on.
And, we're still going
what we do.
Um, and the work goes on.
Um...
And, in that respect things...
continue.
Can we hear the, uh...
song please?
Jake, where ever you are.
What ever, we just want
to see how it goes.
Okay.
NICK:
Can you do one one way,
and one they other way?
Here we go guys,
And...
[CLICK]
We're rolling.
[SKELETON TREE PLAYING]
Sunday morning
Skeleton tree
Oh, nothing is for free
In the window, a candle
Well, maybe you can see
Fallen leaves thrown
Against the sky
A jittery TV
Glowing white like fire
Nothing is for free
I called out
I called out
Right across the sea
But the echo comes
Back empty
Nothing is for free
[INSTRUMENTAL MUSIC PLAYING]
Sunday morning
Skeleton tree
Pressed against the sky
The jittery TV
Glowing white like fire
And I called out
I called out
Right across the sea
And I called out
I called out
Nothing is for free
And it's
Alright
Now
And it's
Alright
Now
And it's
Alright
Now.
Anyway, that's what
I mean, you know...
All of this stuff that I'm
saying now it just...
it feels like,
it's just a lot of
bullshit to me.
You know, it may mean something
but, in the end,
in the end there's something
that happened,
um, and there's a kind of,
like a ring around that
event...
um, it's fenced off.
And, everything else is okay
around it but, there's just
something that happened
in that short space of time
that we can never get
that far away from.
That we're, uh...
You probably
don't want to.
Well, it's I think,
you know, when I looked
at the film back there was
something I was rattling all
about time being elastic.
Yeah.
And that is
I think, that's what I meant
that we're attached to this
event. And that we move
away like that and we're
line on a rubber band.
And life can go on, and on,
and on, but eventually,
it just keeps coming
back to that thing.
And that's, uh...
that's some kind of
trauma, I guess.
NICK:
It's strange reading those
scripts back, those,
lyrics...
from my song book back.
And, you know, they're okay.
They're actually kind
of beautiful really.
But, at the time they never
revealed themselves as such.
And they just thought
that I was writing
a lot of rubbish.
That was one of
the things I lost.
That was one of the things
that I lost hard.
A sense of belief in myself.
Like I had fucked up bad.
The me and Suzie had looked
away for a terrible moment.
And this reflected savagely
on everything else.
My belief in the good in things
in the world.
In ourselves, evaporated.
But, you know, after a while,
after a time,
Suzie and I decided
to be happy.
This happiness seemed to
be an act of revenge.
An act of defiance.
To care about each other,
and everyone else.
And to be careful.
To be careful with each other.
And the ones around us.
I'm walking through
Deep water
It's all but I can do
I'm walking through
Deep water
Trying to get to you
Your face is hidden from me
But your love is not
I will not reach for other
Things till I know what
I have got
I'm walking through
Deep water
Trying to get to you
I'm walking through
Deep water
I have no time to lose
I'm walking through
Deep water
There's nothing
Left to choose
This little heart of mine
Got loaded up with chains
The world just swirls
Around me
The water makes its claim
I'm walking through
Deep water
Trying to get to you
Who will calm my fears?
Who will drive my
tears away
Who will calm my fears?
Who will drive my
Tears away
I'm walking through
Deep water
Nearer to the sea
I'm asking the deep water
Don't take my love from me
I'll dance with little ladies
With a hundred just like me
They hold their breath
And hesitate
And dance beneath the sea
I'm walking through
Deep water
Trying to get to you
[MUSIC FADES]
NICK: One, two, three, four...
Come one
Morning comes
A jittery TV
I call out the window
When the morning comes
Nothing is for free
Nothing is for free
Fire
Nothing
Can narrow the bed
Glowing white like fire
And I called out the window
Down in the sea
But the echo
Comes back in, dear
'Cause nothing is for free
And I called out the window
Skeleton tree
[MUSIC FADES]
listened to the songs, and,
there was something
incredibly eerie about
the first track Jesus Alone,
sort of had this line, "He fell
from the sky, crash landed".
MAN: Do you wanna
just tell me the story?
WARREN: I mean I don't really
know because I can't imagine
how you never get such
a thing.
And, you know, I
just can't even
fathom it. Um...
And watching this happen to
people that you love,
is um...
It doesn't even...
I don't think even... lets you
any, gives you any insight
really into it. Because,
there's a step within,
you can't go.
But, it... it feels like...
for Nick or somebody who's
created all his life, um,
it feels like...
[INDISTINCT MUMBLING]
Can we stop right there?
MAN: We have to re-calibrate,
this is out of focus.
It's not usable at the moment.
I know.
Calibrate focus please.
Sorry.
That's alright, man.
Are you...
Let's cut it.
Alright, do you want me
to hop out?
Yeah.
Yes please. Could you?
Do you want me to get out too?
Yea, we'll get out.
If you wanna stretch your legs.
Yeah.
MAN 1: Mate, I'm sorry.
MAN 2: It's shocking man.
It's shocking, it's terrible.
This is not what I...
-what I want you to...
- To be honest I find this
really hard, because,
- I've never discussed Nick's
private life, um...
- Yeah.
Or anybody that I know. I don't
sort of, discuss it like this,
and, it feels like this is
-something that gotta come up.
You know?
- Yeah.
Um, and so there's a part of
me that feels very protective.
That's where's it's hard
to strike a balance, you know.
Like, I can... you know,
I don't wanna go and tell you
what I saw when I went there,
and all this, I don't wanna
tell what I felt because,
it just feels like...
that's...
that's like, private, you know.
Uh, I just... Warren sent me
something yesterday.
MAN: Uh...
emailed a friend...
um, last night.
I shouldn't go in first,
because I get in before...
Uh...
[FOOTSTEPS]
We've all gotta get behind you.
Um, I don't know.
WARREN: And, I was
mentioning how time
felt elastic these days.
Alright so we need to go
this way, mate.
[INDISTINCT]
WARREN: And he emailed
me back...
uh, a very excited
and lovely email.
Where he spoke about um, the idea
that all things were happening...
Is this um...
WARREN: all the time.
Is this okay to wear in the studio,
do you want me to put a shirt on and stuff?
Uh...
Textually,
textually that's not the
greatest thing.
Okay.
Yeah.
Okay.
Okay, come on, let's uh...
begin to film this. Alright.
Yeah, we're filming.
We never stopped.
Okay.
So, try and get
both Nick's.
WARREN:
All past present and future,
are happening now.
Right now.
And then if you just...
Yeah, great Nick.
WARREN:
That basically a caveman,
was clubbing a female mate,
[CLANGS]
Uh, at the same time that
astronauts, or scientists
trying to...
work out how to
colonize Mars.
[FOOTSTEPS]
WARREN: Now...
that is encouraging right?
And, I think he meant well.
But, it's not true because...
it's not true...
because...
We need an exit.
I know.
It's to the right.
Hey, you see there's another
Nick in the mirror there...
Yeah, there.
Wait till he comes back in.
WARREN: If everything was
happening now...
Nick.
NICK: Yeah?
How do you feel about us
having another go at that?
WARREN:
I wouldn't be sitting here
waiting for the film crew to
work out how to work...
MAN:
Yeah, we'd really appreciate
another go.
WARREN:
this ridiculous 3D black
and white camera.
NICK: Uh, alright.
Okay.
WARREN:
Right now nothing is happening.
MAN:
We won't do it a third time.
Okay, so what do you
want to do?
Basically, everything you just
did was fantastic, okay?
And?
We'd really appreciate
another go.
You know what I'm saying?
Um... so, I have to
undress again?
MAN: Undress, yeah.
Now, let's go back to it, eh?
Do you want to do it
a bit slower?
I see the focus, guys,
you need to focus guys.
[INDISTINCT CHATTER]
MAN: I mean obviously
your songs have become
a lot less narrative.
Uh...
Yeah. The other half.
Yeah, and...
do you have uh, is there
a reason for that?
Well, yeah...
Yeah I mean,
I think um...
maybe there's...[STUTTERS] maybe
some serve a certain need,
and, I think I probably needed
uh, on some level
a kind of narrative in my life
that was...
kind of predictable
and had it's...
had a kind of logic to it.
NICK: So, I wrote stories and,
they seem to hold everything
together. Um, in a particular
part of my life, for a long
part of my life
where things needed to be
held together. Um, but, I
don't believe in the narrative
anymore. I don't... um...
I don't actually believe that
that's what life is like.
And, that there's
a pleasing resolve and all
of that sort of thing to life.
I... I... I just feel that
to do fractured narrative, uh,
a thing where, uh...
where time is actually
compressed,
um, events uh...
stuck on top of other events.
There's no particular logic
to it. Um...
or, a distressing
kind of logic,
um, makes it, um...
it's much ore real that true
to the way I feel about things.
So, um, this is just sort of
directorial...
uh, tactic, to make us
all pissed off.
What, you're pissed off?
[LAUGHS]
No, roll.
To get us all edgy in the
morning.
WOMAN: Should we put
your bags in front?
Yeah, thanks.
Not at all. It's
actually just
a... this is...
Thanks, Nick.
We're rolling right?
[DOOR CLOSES]
So, um, everything we say...
is taped?
It's all.
Unless we pull out the plug.
Yup.
Okay.
NICK: I think it's the nature
of songs to um... have an
insight into things
that we don't consciously have
because, largely they come from
the unconscious.
Yeah.
Which is a king of reservoir
of knowledge and understanding
that"s far beyond what
we consciously are aware of.
I've got this...
stuff that we did in
Morwan here,
when we were going
through it.
And, maybe we can just go
through
these, and look at them.
What?
Yeah, let's change it
a little bit.
Yeah, but it...
Well, you know, we can add
But um...
or subtract and then...
But actually,
with Jesus Alone,
should we go back to that,
um, you know, we talked about
going back to the earlier
version of it.
Yeah.
That's less... okay, good.
NICK: So, songs an often uh...
appear to foretell
situations in
the same way as dreams maybe,
are able to...
um... have, uh...
have a kind of
prophetic nature sometimes.
Susie, for example, is
hugely superstitious,
about my songs. Um...
Yeah.
That there being a canary in
the coal mine kind of thing
that there's some...
Because, if...
Exactly. Yeah.
But, you know, and I... I...
Like I said, I don't think
that this is a unique to what
I do. Although I
write a certain type of song,
that has a certain element
of, uh, anxiety, and dread,
and anguish...
Yeah.
To them in their nature.
So, it can... it can...
foretell, um...
uh, they can foretell, um...
certain events.
[SYNTH PLAYING]
[SWITCH CLICKS]
[SWITCH CLICKS]
Right.
Hey Jake!
This is the vocal that
you didn't do at La Frite.
NICK: Yeah.
NICK: Yeah but, I just patched
up this...
Yeah.
So, um, is this
before it's being...
Before it's being...
put in time?
Yeah.
You fell from the sky
Crash landed in a field
Near the river Adur
Flowers spring from the
Ground Lambs burst from the
Wombs of their mothers
In a hole beneath the bridge
You convalesced you
Fashioned masks
You gave them names
You gave them names
With my voice.
It's better there.
I am calling you.
And, I'm playing the
piano at the same time.
Yeah.
And, because it's
just opened up a bit more there.
This feels like...
It does need the piano right?
Cut the piano here.
We could do the piano
separately.
Yeah, yeah.
Edit over done piano, and
all those sorts of.
"Ooh's", and "Ah's",
and all that.
You're an African doctor
Harvesting tear ducts
That has a, I mean a...
I have to listen to the other
one, but this...
definitely has a sort of,
intensity about it.
Yeah. There's something the
vibe just builds in it and it
becomes hypnotic and stuff
and, the other one feels like
a song. It Feels...
Yeah, okay. So...
The vocal needs to be fixed up,
because there's...
Yeah, it goes in and out.
Just mumbo-jumbo on it.
Well, it's kind of ad-libbed.
Right.
A bit, a bit. You know,
a lot.
And then...
In La Frite we
kind of put it on one.
The one was actually...
it wasn't...
We never even knew
where the one was.
It's coming in the wrong spots.
At least we all had
a different opinion.
As we often do.
[LAUGHS]
It felt like it...
You've never heard
that one before.
[LAUGHING]
One! Should there be a vocal
before we do anything else?
WARREN: Uh... Yeah.
Or, maybe we don't need
a vocal before.
I think the vocal would give us
the kind of... the energy,
Um...
Right.
And what to do, so that you
feed off...
You know,
you working off like...
[VIOLIN STRUMS]
Oh, that's it?
Yeah.
Incredible wasn't it.
Aluminum.
I'm incredible.
3000 Dollars.
[LAUGHING]
You bought it?
Yeah.
It sound good?
Nah, it looks awesome.
[LAUGHING]
[VIOLIN STRUMS]
[VIOLIN TUNING]
NICK: This is difficult.
This is really
fucking difficult.
It is.
Doing and over dub-vocal, is
some kind of torture.
And it's something that I
really try and avoid.
I do everything I can to get
the vocal down while
the basic track is being
recorded,
you know. That we just
all do it together.
WARREN: There's something more
hypnotic about this one
and kind of more...
meditative or, something.
And it kind of has a...
Feels a bit more
mysterious or something.
And, also the kind of fact
that the stuff doesn't
just come in on the one,
wait, feel it
comes in somewhere,
there's some more space
for the kind of backing...
to kind of come through.
[PIANO MUSIC PLAYING]
WARREN: C?
No.
WARREN: What's that one?
NICK: I don't know
what the chords are.
I have to hear it on...
Nick, you wanna
play piano right?
NICK: I don't know what
the chords are.
I don't know.
I don't know yet, because,
I don't even know what
the chords are.
NICK: They keep changing
all the time.
[PIANO MUSIC PLAYING]
NICK: I mean, I played the
chords originally.
But, there seems to be an
endless variations on the
circle.
Oh fuck it. I don't know what
that is. So, no, I won't be
playing the piano.
[CHUCKLES]
And, there seems to be a bit
weird to be trying to work
out the chords,
to an improvised song anyway.
Don't you think?
I am calling you
With your voice
I am calling you
I should have strengthened
my voice.
With my voice
With my voice
My voice
I am call, call, call
I should have sung more before
I came into the studio.
I am call
I knew that at the time.
Okay.
Alright.
WARREN: I'll come out okay.
Yeah.
NICK:
I think I'm losing my voice.
[PIANO MUSIC PLAYING]
[PIANO MUSIC PLAYING]
Just find it
into lost things.
My voice.
My iPhone.
My judgment.
[PIANO MUSIC PLAYING]
My memory maybe.
Fuck.
[PIANO MUSIC PLAYING]
And, isn't that
the invisible things?
Lost things...
that have so much mass,
and so much weight.
[PIANO MUSIC PLAYING]
Alright.
NICK: And, are as big as
the universe.
[JESUS ALONE PLAYING]
You fell from the sky
Crash landed in a field
Near the river Adur
Flowers spring from
The ground Lambs burst from
The wombs of their mothers
In a hole beneath the bridge
You convalesced, you fashioned
Masks of twigs and clay
You cried beneath
The dripping tree
Ghost song Lodged
In the throat of a mermaid
With my voice
I am calling you
You're a young man waking
Covered in blood that is
Not yours
You're a woman in a yellow
Dress Surrounded by a charm
Of hummingbirds
You're a young girl full of
Forbidden energy
Flickering in the gloom
You're a drug addict
Lying on your back
In a Tijuana hotel room
With my voice
I am calling you
With my voice
I am calling you
You're an African doctor
Harvesting tear ducts
You believe in God, but you
Get no special dispensation
For this belief now
You're an old man sitting by
The fire, you're the mist
Rolling off the sea
You're a distant memory in
The mind of your creator
Don't you see
With my voice
I am calling you
With my voice
I am calling you
Let us sit together
Until the moment comes
With my voice
I am calling you
Let us sit together
In the dark
Until the moment comes
With my voice
I am calling you
With my voice
I am calling you
With my voice
I am calling you
With my voice
I am calling you
[INSTRUMENTAL MUSIC PLAYING]
[MUSIC FADES]
WARREN: Cool!
Nice.
WARREN: That's a good one,
and a longer.
It's good.
Great.
Cup of tea?
WARREN: Do you feel that
the lack of narrative allows
you to get the something...
as wide a...
I just don't think, I
don't think, uh...
life is a story.
Yeah.
You know, that...
that hasn't,
I mean, we all hope it is.
Yeah.
Um...
We all...
It kind of is,
I have to say.
It kind of is a story.
It's the same story for
everyone.
[CHUCKLES]
In a way
It... In a way but, um...
the arc can be very different
and it's not necessarily, um...
um...
yeah, yeah,
I guess...
you were born, and you die.
Um...
Well you gradually...
decay.
Gradually decay.
Yeah, which is...
I mean, that what I feel like
I'm dealing with.
And, you're ten years ahead
of me.
Um...
you decay and you sort
of diminish.
Um...
WARREN:
Do you really feel that way?
Yeah.
In what sense?
Um, that the struggle to...
to do what I do is um...
it just requires more effort.
Was he ready?
Yeah.
Alright, mate.
What from?
Were do you wanna go from, boss?
WARREN:
I guess the second, uh...
the second... no, verse.
Chord?
Second verse, okay.
NICK: Most of us don't
wanna change.
Really.
Does that went away?
That did...
What happened when you,
when you came in, 'cause it
went away. Now, it's come back.
NICK: I mean why should we.
WARREN: Has it moved back or,
is it a cable? Was it when you
lifted up the cables, John?
Lift up the cables.
NICK: What we want to do is...
to sort of modific...
modif...
modify...
Yeah.
Yes. Stop, what've you
done there?
NICK: Most of us don't
want to change.
Whatever that cable is,
that's the one.
NICK: What we do want is
sort of, modifications
on the original model.
[VIOLIN PLAYING]
We keep on being ourselves
but just...
hopefully better
versions of ourselves.
But, what happens when...
an event occurs that's
so catastrophic
that we just change from one
day to the next.
You change from the known
person,
to an unknown person.
So that, when you look at
yourself in the mirror,
you recognize the person...
uh, but you won't...
but, the person inside
the skin is a different person.
NICK: So that when you go
outside...
the world is the same.
But, now you are a different
person and you have to
renegotiate your position
in the world.
WOMAN:
a bit. Going for G here...
Yeah.
We can do it.
Okay.
NICK: For instance...
I think D-F-G, D-F-A seems to...
NICK:
when you go into a shop
to get cigarettes, because this
new version of yourself
smokes, and the shop owner
says, "How are you?"
And you don't know how
to answer.
Or, when you meet a friend on
the street, who says some
kindness.
Uh, the... they don't really
work on the choruses because,
they connect to the...[HUMMING]
Yes... maybe it should be...
it's like a "boom".
NICK: And, suddenly
you are crying in their
arms for ages.
And, then you realize
that the person is not
a friend at all.
I think it's... we're saying
the same thing...
Like a boom?
[HUMMING]
They're doing the "waa".
Then I'm planning to wind up.
Yeah.
NICK:
But, someone else that you
don't actually really
know very well.
I wouldn't put any more
emotion into it.
Or, you go into a bakery to
buy a loaf of bread...
let's say.
And, you're standing
in the queue,
and someone grabs you
by the arm and says something,
with their kind eyes...
[PLAYING CELLO]
But, you can't work out what
they've said because the new
you can't hear very well.
And, so, you say "What?"
But, too loudly and angrily,
and he says,
"We are all with you, man".
And you look around and all
the bakery is looking at you
with kind eyes.
And, you think that people
are really nice.
But, when did you become
an object of pity?
[TECHNO MUSIC PLAYING]
As soon as I walked in here,
I got this spike of agitation.
You did?
How come?
Has anyone seen my pen?
Thank you.
Um, yeah.
Um...
did you print out the words
that I sent, or the words...
This is what you sent.
Yeah.
Did I?
Um, okay.
Yeah, um...
No, because you
don't have any...
What if I've got them on
my computer?
Do you have a printer?
NICK: Here I am,
the moonlight man, with my six
shooter and Steve McQueen,
call me a cab,
I'm not that kind of a guy,
I have a dream.
Sometimes I the elevator to
the top of the Burj Al Arab
and shoot my guns across Dubai.
Bang, bang, bang,
I'm that kind of guy.
I know.
But mostly, I curl up inside
my typewriter... curl up inside
my typewriter and wish
that I can die.
Your legs are so long, they
should come with their
own elevator.
Don't worry, darling, I'll be
coming around, see you later.
Have you guys sang them
differently,
or, something like that, um...
[INDISTINCT]
Because, between you and me
and my best friend,
the housefly...
I'm Steve McQueen
with a big beautiful dream.
I am god.
I am God, thinking about
God, thinking about
Steve McQueen.
Oh, yeah, great.
It's for me the sirens
and the sylphs do their
twilight pining.
On Saturday night. I woke on
someone else's stomach lining.
Up and down this street,
call me a cab.
Call me a cab.
No I'm a housefly called God
and I don't give a fuck.
Right, that's it.
Go on.
Here I come up the elevator,
sixty floors hoping I don't
get stuck.
And everyone out here does mean
And everyone out here does pain.
But, someone's got to
sing the stars.
And, someone's got to
sing the rain.
I'm the atomizer.
I'm the vaporizer.
I turn everything to crud,
I like it here in flesh
and blood.
I'm the elevator man,
don't you see?
You're a spine lashed,
long legged lovely young thing.
Call me a cab. I'll drive
to the top of the Burj Al Arab.
And, fire my guns
across your stomach.
Because, someone's got to
sing the stars, and someone's
got to sing the rain.
And someone's got to sing
the blood. And someone's got to
sing the pain.
Watch out you fuckers.
I've got my six shooter and my
housefly on lead,
I'm Burj Al McQueen.
And I'm coming to make
every last one of you bleed.
How are you, Jim?
I'm alright, thank you.
How are you?
[LAUGHING]
Got your beard back, mate.
Yeah, yeah.
I thought I'd grow it just
for the show.
What about continuity?
Fuck continuity.
Fuck continuity.
God is great, chances are
God is good,
well I wouldn't go that far
[INDISTINCT]
C to B Flat.
I'm Steve McQueen
the atrocity man.
You wanna bleed on me.
And sing too, Jim.
If you wanna bleed
Don't bleed
NICK: With my strap on blood
pondered dream...
If you wanna bleed
Don't bleed
Step away.
NICK: But, mostly curl up
inside my typewriter
with my housefly and cry.
I tell my housefly not to cry.
My housefly chose me
not to die.
Because someone's got to
sing the stars,
and someone's got to sing
the rain.
D minor.
And, someone's got to
sing the blood.
And, someone's
got to sing the pain.
Okay.
[INDISTINCT CHATTER]
[CLEARS THROAT]
NICK: Look at him.
Holding everything together.
NICK: Is my hair alright?
Fucking, never been better.
Best it's ever been.
Best it's ever been.
Huh? Best it's ever...
It better be.
Fucking, proceed with
absolute confidence.
NICK: What would I
do without Warren.
If it's not...
[PIANO MUSIC PLAYING]
MAN: Cut! Cut!
MAN: Three-Four minutes.
NICK:
We should do one, we should
do a take pretty soon.
Or we're gonna lose
the essence of the thing.
Because I can the whole mojo
slipping away.
WARREN: Yeah, it's getting
cold.
NICK: We're getting bored,
irritable.
Can I hear, can I try that
out just with the backing track
please, Jake.
What's the time line?
[INDISTINCT CHATTER]
NICK: 'Cause it's too loud.
[PIANO MUSIC PLAYING]
[CHATTERING]
Tishi, see that guy?
Tishi.
That means, go to...
The cameraman, was like, Tishi.
Did you show him his camera?
Yeah, yeah, I showed him
a photo.
Spooky.
NICK: Warren just pointed out
how much the photographer
looks like.
Tishi.
Tishi is another photographer.
MAN: Hang on.
[INDISTINCT]
Who has like shaggy hair
and a beard and...
Bad backs are coming back.
Yeah, mate.
NICK: Lived most of his life in
the streets, of his home town.
In the Czech Republic.
He took photographs of
women, with a camera
that he made himself.
They are...
really wonderful photographs.
Like stolen moments, of women
in over many
amazing facets.
I mean,
many amazing facets.
Women have more
facets than men.
Men are...
[LAUGHS]
Men are pretty much
two dimensional.
And women are,
like, fucking 3D.
My wife is spectacularly
three dimensional.
But, every time I try to, um...
get a handle on her,
and to put her into focus,
she shifts and changes,
and becomes someone else.
Or worse, she steps out of
the frame entirely.
And...
I'm left with a hovering
ghost, in which...
that's...
burned on my retina.
Like I've starred into
a spotlight.
And closed my eyes.
Eventually she steps back
into the frame,
and I pull her back in focus.
But, she's changed because
she's been
out there, communing
with the dead.
[SIGHS]
[GIRL IN AMBER PLAYING]
Some go and some stay behind
Some never move at all
Girl in amber trapped forever
Spinning down the hall
Let no part of her go
Unremembered, clothes
Across the floor
Girl in amber lumber slumber
Shuts the bathroom door
The phone, the phone
The phone it rings, it rings
It rings no more
The song, the song,
the Song it spins
since nineteen eighty-four
The phone, the phone
The phone it rings, it rings
It rings no more
The song, the song
It's been spinning
Since Nineteen
And if you want to
Bleed, just bleed
And if you want to
Bleed, just bleed
But if you want to leave
Don't breathe
The world just step away
And let the world
And now in turn, you turn
You kneel, lace up his shoes
Your little blue-eyed boy
Take him by his hand
Go floating down the hall
I get lucky, I get lucky
Cause I tried again
I knew the world it would
Stop spinning now since
You've been gone
I used to think that when
You died you kind of
Wandered the world
In a slumber till you
Crumbled, were absorbed
Into the earth
Well, I don't think
That any more
The phone it rings no more
The song, the song it
Spins now
Since nineteen eighty-four
The song, the song it spins
The song, it spins, it spins
It's been a spinning now
And if you'll hold me I will
Tell you that you know that
And if you want to leave
Don't breathe
And if you want to leave
Don't breathe
And if you want to leave
Don't breathe
A word
Just step away
And let the world turn
The song, the song it
Spins now
Since nineteen eighty-four
The phone, it rings, it rings
And you won't stay
Don't touch me
Don't touch me
Don't touch me
Don't touch me
Don't touch me
[INDISTINCT CHATTER]
NICK: Hair's still alright?
WARREN: Even better.
It's even better now.
What ever you did,
don't touch it.
NICK: Don't touch it.
NICK:
Fuck! What happened to my face.
Look at those bags
under my eyes.
Where did they come from?
They weren't there last year.
The director says I look
like a battered monument.
I have a terrible feeling he's
trying to be kind to me.
I must remember
to be kind back.
I must remember to be kind.
[MAGNETO PLAYING]
[INSTRUMENTAL MUSIC PLAYING]
Mostly I never knew
Which way was out
Once it was on
It was on and that was that
The umbilicus was a faucet
That fountained rabbit blood
And I spun on my wheel
Like a laboratory rat
I was an electrical storm
On the bathroom floor
Clutching the bowl
My blood was for the gags
And other people's diseases
My monstrous little memory
Had swallowed me whole
It was the year I officially
Became the bride of Jesus
In love, in love
In love you laugh
I move you move
And one more time
With feeling
In love, in love
In laugh, you laugh
I'm sawn in half
And the stars are splashed
Across the ceiling
Oh, the urge to kill
Somebody was basically
Overwhelming
I had such hard blues
Down there in the supermarket
Queues
And I had a sudden urge to
Become someone
Someone like you
Who started out with less
Than anyone I ever knew
In love, in love, I love
You love, I laugh, you love
I move, you move
And one more time with feeling
In love, in love
I love, You love
I laugh, you laugh
I'm sawn in half
And the stars are splashed
Across the ceiling
Oh, and oh you come shining
Softly to the hold
Of a drink
Come as far as the edge
Of my blood and swim
And in the bathroom mirror
I see me vomit in the sink
And all through the house we
Hear the hyena's hymns
Of love
I love, you love
I laugh, You laugh
I move, you move, you move
One more time with feeling
I love, you love
I laugh, you laugh
We saw each other in heart
And all the stars have
Splashed
And splattered
Across the ceiling
[MUSIC FADES]
How disturbing is this?
It's quite disturbing. Yeah.
It is?
Well, I think, um...
I'll make a deal with you.
Absolutely anything in that's
in the film that you don't like?
Yeah.
Right? You can cut out.
Okay.
Okay?
Okay.
Let's just take one now.
Wait till it's, um...
I'll wait till...
You know, take a photo
of them,
and then we can put it
in the film.
That worked, yeah.
Okay, cool.
Yeah. Okay.
And just wind it
on with the...
Okay.
The winder thing.
Okay.
Awesome.
Okay.
And so, if you wanna, um,
take any photos today,
just gotta pop up the flash,
which is that.
NICK: We didn't ask for it.
But, it is all around us.
A gratuitous beauty.
That exists whether we,
uh, there to witness it or not.
The world plunges on.
And the world is magnificent.
I watch you on your ice flow.
Cold something into
the Arctic wind.
The wind offers
a brutal resistance.
But, still you plough on.
I cling to my ice berg
and sing to you.
See the sun, see it rising
See it rising
Rising in your eyes.
Oh my God.
Hey.
Look at you.
I've got brown hair.
You've been alright?
Yeah.
What you doing.
Oh, good.
Nothing.
Um...
No, get rid of it.
Have the animal rights
people...
Shh, shh!
Why is creaking?
It's been, um, an enormous
amount of doing nothing,
waiting around.
Yeah.
Sounds pretty difficult.
You'll get used to the camera
being there, now your on.
Thanks.
Good day Suz!
[LAUGHING]
See you're shy.
That's what I'd do
at the time, and they...
they give me special one
that's not connected.
Just for the fuck of it.
Go to DFA fader, that's
fuck all.
[LAUGHING]
BOY: And the buttons?
Can I press
the buttons as well.
NICK: And this guy,
is the videographer. We're
watching the videographer,
who's watching the camera man,
who's watching us,
and it just goes around,
and around, and around.
Spooky, huh?
WOMAN:
So, which is the 3D camera?
Cam-ception!
They heavy one.
That one.
This is the videographer.
Is this in 2D?
That's in 2D.
Okay.
He's in 2D.
[LAUGHING]
WARREN:
Yeah, I mean it's...
No, I mean it's...
Yeah, yeah. Basically
the couple of record in
the soundtrack stuff
has been really about that
I just pall a bunch of
stuff in there,
and then just try and find
something in there, like it's
really about... that's
the really exciting thing.
Um, for the last few years with
me, has been about that, like...
trying to find something that
kind of, just comes out of
nowhere.
Um...
NICK: These guys, Warren
and Andrew the director,
they like to go on about,
accidents
and the accident... uh...
the accidental nature of art,
but, this is just another way
of saying they're communing
with the Gods.
I mean, you think God would
have more pressing to do.
Really.
There's no such thing as
accidents.
[LOUD CLANG]
MAN: Oh, fuck!
Yeah, I think accidents
is the wrong word, because,
um, it more...
Um...
that we just get into... that
we get ourselves into
a space these days.
Where, um...
some sort of magical thing
happens, that isn't
to do with, uh,
which isn't to do with knowing,
which isn't to do with knowing
at all actually, so...
um...
I mean there are of course,
happy accidents and stuff
like that, but...
Mostly, um, I find that me
and Warren particularly,
when we kind of
jam together and stuff like
that, we get into, uh...
a situation where a lot of very
beautiful things just happen
after each other. And, then we
get into a situation where
that doesn't happen at all.
And we kind of, um,
forever...
um, foraging away
for these moments.
NICK: It's a very different
collaborative situation with me
and Warren that is
with anybody else, that has
been working with me.
Because, we actually sit down
in a room together and compose
a song together.
We're beginning our descent
I never knew
What that meant
We grabbed the oxygen pod
And I call out the window
Down here the sea.
And it actually really exciting
to sing the same if you're
in a room together,
to sing to something,
that you don't know.
You don't know
where it's going.
So, I'm singing
a melody,
that's being kind of,
stretched into all these
into a wholly different way,
that I can never come up with
myself.
[PLAYING THE VIOLIN]
When I sit at the piano,
I play chords and I know what
it's gonna sound like before I
press the keys down.
And so you just... it becomes
repetitious, there's no way
around it.
It's very exciting to have
someone else doing
that side of things.
Because, your melodies aren't
dictated by
what you know,
[SKELETON TREE PLAYING]
Sunday morning
Scattered in trees
Pressed against the sky
The jittery TV
And an empty bed
Glowing white like fire
And I called out the window
Down to the sea
And the devil
Comes collecting
For nothing is for free
And I call out the window
Jesus rising by
In a
Field.
You know, I'm...
to a fault,
have had a thing about words,
both, love and respect about
words, but, a kind of fear
about words, of where they can
actually take you, and...
Um, what they can expose and
stuff about you. Words right,
that's what that's...
what makes the world go around,
if we didn't have any way about
articulating anything, we would
have no way of even remembering
anything really.
Um... so,
because of that power of
words I've really kept them
contained like,
don't let a line go,
in my opinion...
I mean, people might just think
what I do is shit. I have to
forget about that.
But, in my opinion I don't
need a line go,
that I'm not really really
please with.
Basically, right?
Um, and this record
I have to let go of that,
because,
um, the line is successful
for another reason.
[TAPPING]
[ANTHROCENE PLAYING]
All the fine wind is gone
And this sweet world is so
Much older
Animals pull the night
Around their shoulders
Flowers fall to their
Naked knees
Here I come now here I come
I hear you been out there
Looking for something to love
The dark force that shifts
At the edge of the tree
It's alright, it's alright
When you turn
So long and Lovely
It's hard to believe
That we're falling now
In the name of the Anthrocene
All the things we love
We love, we love, we lose
It's our bodies that fall
When they try to rise
And I hear you been looking
Out for something to love
Sit down beside me
And I'll name it for you
Behold, behold
The heaven bound sea
The wind cast its shadow
And moves for the tree
Behold the animals
And the Birds
And the sky entire
I hear you been out there
Looking for something to
Set on fire
The head bow children
Fall to their knees
Humbled in the age
Of the Anthrocene
Here they come now
Here they come
Are pulling you away
There are powers at play
More forceful than we
Come over here and sit down
And say a short prayer
A prayer to the air, the air
That we breathe
And the astonishing rise
Of the Anthrocene
Come on now, come on now
Hold your breath
While you're safe
It's a long way back
And I'm begging you please
To come home now
Come home now
Well, I heard you been out
Looking for something to love
Close your eyes
Little world
And brace yourself
I don't want to just write
songs like a diary,
of what my life is like, I'm
not really interested in that.
Um...
I want to write songs that
radiate out... that...
connect with people
and don't alienate people.
A kind of great...
trauma isn't actually
a very good thing,
um...
you know, you kind of...
Well sometimes you know,
we all wish we have something
to write about. We all wish
we have something in
our lives,
that can happen.
That we can...
that we can, um...
to write about and make
our writing interesting.
And all of that
sort of stuff.
But, actually trauma actually
I think in the way that
this happened and,
and in the events that
happened,
it was extremely damaging to
the creative process.
NICK: Later someone entered
the garden and bashed the
snakes brains in with a rock.
Basically every one stood
around among the long black
cars in a state of shock.
Everything got sad,
sad as a wind chime.
Sad, as stream as,
sad as a single lost sock.
There are many snakes, many
trees, many gardens to unlock.
The media and it's complicitors
reader blew the whole thing out
of proportion.
A snake became a serpent,
and in a typical tabloid
distortion
the dead tree grew apples,
the wasteland paradise,
God was brought in
blame apportioned.
The whole thing went tits up
to the ceiling. A complete
fuck up and a total abortion.
It's like a rap song.
The children let off hand fulls
of balloons into the sky,
they huddled under the marquis.
The wind chime stopped.
Stream is flagged.
The straight sailing ships
on the sea.
There is a toll gate now in
paradise, absolutely nothing
is for free.
What's the worst
that can happen?
Turning, pushing the hair
from you face
and smiling at me.
MAN: Do you think it's a good
idea to have Suzie coming out
of the toilet?
Just from an aesthetic
and emotional and,
How do you feel Suzie?
SUZIE: I don't mind. No, no.
It's fine.
I don't mind.
[INDISTINCT]
Darling, do you really wanna be
photographed pinning
and dressed up in the toilet?
It's fine. I don't mind.
Just decide though.
Okay.
Well, it probably, oh...
MAN: Let's move the camera
up there.
Can we avoid seeing th toilet?
You won't see the toilet.
You're not going down
into the bowl.
MAN:
What d'you think when you
look at the picture?
Yeah, things are changed.
Um...
I like that because, uh...
because of the position of our
bodies, that we're not, uh,
connected.
That we're sorbed
in our own...
whatever. And, uh... but there
is a real connection as well
at the same time.
Anyway I love that picture.
Actually went to a union
psychiatrist, 'cause I had
some problems or whatever. But,
when you ended up talking about
Suzie all the time because
she's actually much more
interesting than I am,
And he was obviously more
interested in her as well.
Um, and...
and he said, that it was a kind
of untapped
creativity makes... is quite
a common thing, actually
to... for... um,
that she's not doing what
she's supposed to be doing.
So, it's a common
thing for women
to move furniture around.
I mean, what should we do... 2.
Yes?
Where can this go?
It can go back to where it
was the other day.
Back into...
SUZIE:
Where was it the other day?
It was where?
The bike was there. Yeah.
SUZIE: Yeah, but do you want
this out of the shot completely.
If you can just get that.
That could go into
Nick's office.
NICK: She knows I don't like it,
so, um,
tends to happen when I'm
not in the house.
And, so I go away and then I
come back in and it's different.
You don't mind if I put this
back under the...
SUZIE: Yeah, that's fine.
NICK: I found this article of
this guy up north, who had a
similar situation with his wife
and, he would nail...
everything. All the chairs to
the ground and everything like
that. And she would tear them up
and she'd be... it was like,
that chronic. And eventually
he divorced her in the end.
But, um...
doesn't bid well for the future.
'Cause it's cropped up in
couple of Nick's songs,
I'm like...
MAN: Yeah, yeah, yeah.
I'm really embarrassed.
MAN: I always thought that
it was some brilliant...
He'd come up with
some brilliant kind of,
metaphor, you know...
SUZIE: Yeah, I know.
Is an actual description.
Actual description.
Suzie changes, um, it's better
but Suzie actually changes
the function of the room.
While you asleep, right.
[LAUGHING]
So that you wake up,
and, yeah it's...
it's a different, yeah.
It's like the TV room,
when before it was
the bedroom or something.
No, I unplug it myself, darling.
The woman keeps it
plugged in though.
Suzie, I think here...
they should...
SUZIE: The boots
and everything. Thank you.
NICK: Alright, just take
it in and out.
NICK: Oh, fuck.
Because there's, um...
SUZIE: Okay.
MAN: Did you see that?
That's Nick Cave.
[SUZIE LAUGHS]
Now, should we just see,
you can see what's gong
on there, Nick.
You can see what you're being
photographed by.
NICK: Yeah.
MAN: You just thought that we'd
leave the house and you'd
be safe from us right?
Yeah. In a sense yeah.
But, we're still filming you,
in 3D.
From another location.
Thats amazing.
But, seriously what...
what do you think about
Suzie's shoes?
Well, let me see her feet.
You see them?
I think you should wear
the high heels.
Okay.
I'll keep them on.
Alright.
Okay.
Now, Suzie, you want to just
explain to us the philosophy
of the dress?
Yeah, um, okay this dress is
based on the American
prairie dress,
and, um...
it's, you know, there's
some cults that all wear
the same dresses...
that was kind of
the inspiration,
because I wanted to do them
in all these different color
pastels.
And I wanted them to be kind
of, instead of, being really
frumpy that they're really
see through. Some of them are
completely see through.
And some of them, like, this
one is sort of,
semi see through.
We can decide how much you...
want to reveal.
MAN: So, its the idea that takes
something that is supposed to
be deeply conservative,
and sexualize it.
Yeah, I guess so. There is that.
And it's not that see through.
So you don't have to worry.
Since, um,
you know, since everything that
happened my work became
something
different, you know. Before it
was something I was doing
you know, because I was enjoying
it and loving it, but, then
it became a real necessity,
I really had to be able to work,
'cause it was the only thing
that would take my mind
off everything.
Yeah.
SUZIE:
I tried to not
allow myself,
to sink down into, you know,
I try to...
You know, to just keep moving
forward and keep looking
forwards, and just, um...
But, sometimes, you know,
physically sometimes I feel
it almost more on my...
Don't know how to describe it.
It's like a physical depression
almost. Not 'cause I'm
depressed, but just the grief
process and, you know, and
everything like that is very...
physical but, very you know,
my work is so diverting,
and, I'm so grateful
for that.
Right.
Nick tells me, "You're really
different when you go..."
Nick really encourages
me to work, and, um,
people have said to me all
that's what... creativity,
where it comes from.
It comes from all other time
from pain and from...
some terrible situations and...
And, then I realized that
that's what was happening
to me.
You know, in a small way.
I haven't got anything I can
say any words of...
wisdom or anything about it.
Because, I'm not at that... I
don't know if I ever will be.
[INDISTINCT]
MAN: Suzie, can tell us
what it is?
Um...
[WHISPERS] It's difficult.
I'm gonna cry.
[GULPS]
Um, well, after Arthur died
I found this in storage.
I just couldn't believe it when
I saw it because, it's a
painting that he did when he was
how old? About five or,
something like that? And it
was... it's of the windmill,
and, you know, just where died.
Um...
And Earl did one as well.
There's two of them.
Um, and then I found this one
and I just kind of couldn't
believe it.
I sort of hid it for a while,
I didn't want to show
Nick, I didn't know what to
do with it,
and, I was upset that it's
framed in black and why
it's framed in black.
I don't know why?
Um, because it was framed
a long time ago,
and it kind of, freaked me out
as well. 'Cause I thought "Why
is it framed in black?"
You know, maybe that's...
you know, it's been really
superstitious, and, um,
anyway yeah.
But, I'm...
I don't really know
what else to say about it.
Really.
Yeah.
Put it over here?
Yeah.
[SIGHS]
NICK: There is more paradise
in hell than what we've been
told.
And every step we take,
we stop from blue.
Lie down and bleed
into the water hole.
And so, the night, it will
in time unfold.
Curled up inside my palm
and it's sleeping too.
There is more paradise in
hell than we've been told.
From your lashes tumble
stars of gold,
star lashes, little splashes
of dew.
Spill across the world
and through my soul.
Now call your tiny animals
to the drinking hole.
Little cat, little bear, little
fire horse, little kangaroo,
there is more paradise in hell
than we've been told.
Little cat, little fire horse
with a shivering foal.
Curled in my demon palm
and dreaming too.
And, all across the world
the night night unfolds.
And all across the night
and through my soul.
But, every step
we take we start
from blue.
Fresh tears bleed into
the water hole.
There is more paradise
in hell than we've been told.
You need... The imagination
needs room to move.
It needs room to invent.
Um, and to dream,
and when
a trauma happens, that's
that big...
It is no room, it's just
no imaginative room around it.
It's just the fucking trauma.
Um, and I think that was...
that was what the problem
was when I tried to do new
songs in the studio.
It's almost like
the songs, uh...
that songs that you
had written, uh...
in a way... maybe there
were songs you might have
needed.
I don't know.
I don't know about the songs.
Because the songs do seem
to have a...
The...
Um...
There's a sense of helplessness
in the songs.
Yeah. Well, you know...
You know.
When we... you know, it's sort
of talking about this prophetic
nature of all of them,
that sort of stuff, I mean we
gotta take that with a pinch
of salt.
Yeah.
You know, um...
And I don't really care
about their prophetic,
they're not important enough.
At this stage...
but, the way that they've been
presented, the way that...
the way that you hear them
on this record.
It's very much because of
the emotional state,
just... not just of myself but,
everybody actually.
In the studio when we
were doing that...
it's... it's, um,
the kind of state we were all in
gave us, I think a confidence
just to allow this thing
to go out like it was. This
document to go out like it was.
Um, which we wouldn't have done
if events were different,
you know.
Fix this up and we would have
redone this and, um...
There's something about
the naked nature
of the songs that have
um...
Alpha.
Or, you know...
all through.
So we're here.
[BUTTON CLICKS]
[INSTRUMENTAL MUSIC PLAYING]
[I NEED YOU PLAYING]
When you're feeling
Like a lover
Nothing really
Matters anymore
I saw you standing there
In the supermarket
With your red dress falling
And your eyes are to
The ground
Nothing really matters
Nothing really matters
When the one you love is gone
You're still in me, baby
I need you
In my heart, I need you
Cause nothing
Really matters
I'm standing in the doorway
You're walking around my
Place in your red dress
Hair hanging down
With your eyes on one, we
Love the ones we can
Cause nothing really matters
When you're standing
I need you, I need you
Cause nothing
Really matters
We follow the line of
The palms of our hands
You're standing
In the supermarket
Nothing, holding hands
In your red dress, falling
Falling, Falling in
A long black car is
Waiting 'round
I will miss you
When you're gone
I'll miss you when you're
Gone away forever
Cause nothing
Really matters
I thought I knew better
So much better
And I need you
I need you
Cause nothing
Really matters
On the night we
Wrecked like a train
Purring cars
And pouring rain
Never felt right about
Never again
Cause nothing
Really matters
Nothing really
Matters anymore
Not even today
No matter how hard I try
When you're standing in
The aisle
And no, baby
Nothing, nothing, nothing
Nothing
I need, I need, I need you
I need you
In my heart
I need you
Just breathe, just breathe
I need you
[MUSIC FADES]
There are things that are
being torn apart,
and I'm desperately trying
to find
a way of making some
kind of, um...
narrative sense out of it,
if we're talking about song
writing, or, at least
some sense out of it
where, um...
over the... I can do what
it keeps saying in the books.
What people keep saying to me
that It's, uh...
that I can reduce
this chaotic...
mess that's happened down
into something that...
that's more um...
You know, that I can reduce,
distill it down to like
a platitude that I can fit
nicely you know,
a kind of greeting card
sized platitude,
that means something to me,
like, "He lives in my heart",
or something like that.
People say it all
the time to me.
"He lives in my heart",
and I go, "Yeah, yeah, I know,
I know".
But, he doesn't you know.
MAN: He doesn't?
I mean, he is in my heart but,
he doesn't live at all.
And, there is no...
I wanna be able to sit
here and...
round this off in some kind of
way. But, to me it's just
not.
You know, it's just not...
things... it's affected me
in a way that I don't
understand.
So, then my reactions to things
aren't, um,
the same as they used to,
and they used to be able to
predict what would...
I would feel at certain
times and now...
um...
I just have a handle on things
anymore.
Um...
What's that like?
Well, it's frightening
because, uh...
like, I don't know what I'm
fucking doing now.
For example.
What am I sitting in a...
in a... camera...
being filmed, talking about
this sort of thing.
I wouldn't have dreamed
of doing that before.
MAN: Well, I'm not sure that
I feel entirely comfortable
about it either.
[LAUGHING]
I don't know either.
[DISTANT SKY PLAYING]
Let us go now
My one true love
Call the gasman
Cut the power out
We can set out
We can set out
For the distant sky
Watch the sun
Watch it rising
In your eyes
Let us go now
My darling companion
Set out
For the distant sky
See the sun
See it rising
See it rising
Rising in your eyes
Let us go now
My only companion
Set out for
The distant skies
Soon the children
Will be rising
Will be rising
This is not for our eyes
They told us our gods
Would outlive us
They told us our dreams
Would outlive us
They told us our gods
Would outlive us
But they lied
[VIOLIN PLAYING]
[MUSIC FADES]
NICK: I'm driving in a car
along the M25,
and I'm driving in a car along
the M25, on a tiny blue spec
trapped in a moon beam.
I'm looking out the window,
and up at the countless
and indifferent stars.
I am barely a child, really.
The blue spec spins in
a dark field,
that began 15 billion
years ago.
I'm driving home from
the studio where I've been
making a record.
I'm feeling what every person
who makes a record probably
feels.
That I am making something
of great significance,
and permanence.
Even though in reality I know
what I've committed my self to
is of no real significance.
And, no real permanence.
But, I have something
that the universe has not
never has had.
And will never have.
Consciousness.
My consciousness exists only
at this given time,
it has no past.
And no future.
But, it's present, is bigger
in magnitude than
all the trillion stars
and planets, and galaxies.
There's no, um...
it... you know, I can put it in
different ways with...
and make it sound nice
and stuff like that,
what happened, and...
you just kind of, tied up in
language and stuff like that,
but, actually...
every time I try and articulate
it just... just...
does the whole...
does him a disservice.
That's what it feels
like to me.
You know, 'cause it's...
it happened to us
but, to happened to him.
Um, and that's um...
like the day, or the night,
and around that time is, um...
is like this place...
you just don't wanna go,
you know.
It's like...
all the rest around
is okay, I can
deal with that. I can deal with
that. It's okay. In fact that's
something I wanted to say...
is that...
if everything is not okay, but,
it's also okay.
Right? Things go on,
and, you know, if
anyone's interested,
the records go on.
And, we're still going
what we do.
Um, and the work goes on.
Um...
And, in that respect things...
continue.
Can we hear the, uh...
song please?
Jake, where ever you are.
What ever, we just want
to see how it goes.
Okay.
NICK:
Can you do one one way,
and one they other way?
Here we go guys,
And...
[CLICK]
We're rolling.
[SKELETON TREE PLAYING]
Sunday morning
Skeleton tree
Oh, nothing is for free
In the window, a candle
Well, maybe you can see
Fallen leaves thrown
Against the sky
A jittery TV
Glowing white like fire
Nothing is for free
I called out
I called out
Right across the sea
But the echo comes
Back empty
Nothing is for free
[INSTRUMENTAL MUSIC PLAYING]
Sunday morning
Skeleton tree
Pressed against the sky
The jittery TV
Glowing white like fire
And I called out
I called out
Right across the sea
And I called out
I called out
Nothing is for free
And it's
Alright
Now
And it's
Alright
Now
And it's
Alright
Now.
Anyway, that's what
I mean, you know...
All of this stuff that I'm
saying now it just...
it feels like,
it's just a lot of
bullshit to me.
You know, it may mean something
but, in the end,
in the end there's something
that happened,
um, and there's a kind of,
like a ring around that
event...
um, it's fenced off.
And, everything else is okay
around it but, there's just
something that happened
in that short space of time
that we can never get
that far away from.
That we're, uh...
You probably
don't want to.
Well, it's I think,
you know, when I looked
at the film back there was
something I was rattling all
about time being elastic.
Yeah.
And that is
I think, that's what I meant
that we're attached to this
event. And that we move
away like that and we're
line on a rubber band.
And life can go on, and on,
and on, but eventually,
it just keeps coming
back to that thing.
And that's, uh...
that's some kind of
trauma, I guess.
NICK:
It's strange reading those
scripts back, those,
lyrics...
from my song book back.
And, you know, they're okay.
They're actually kind
of beautiful really.
But, at the time they never
revealed themselves as such.
And they just thought
that I was writing
a lot of rubbish.
That was one of
the things I lost.
That was one of the things
that I lost hard.
A sense of belief in myself.
Like I had fucked up bad.
The me and Suzie had looked
away for a terrible moment.
And this reflected savagely
on everything else.
My belief in the good in things
in the world.
In ourselves, evaporated.
But, you know, after a while,
after a time,
Suzie and I decided
to be happy.
This happiness seemed to
be an act of revenge.
An act of defiance.
To care about each other,
and everyone else.
And to be careful.
To be careful with each other.
And the ones around us.
I'm walking through
Deep water
It's all but I can do
I'm walking through
Deep water
Trying to get to you
Your face is hidden from me
But your love is not
I will not reach for other
Things till I know what
I have got
I'm walking through
Deep water
Trying to get to you
I'm walking through
Deep water
I have no time to lose
I'm walking through
Deep water
There's nothing
Left to choose
This little heart of mine
Got loaded up with chains
The world just swirls
Around me
The water makes its claim
I'm walking through
Deep water
Trying to get to you
Who will calm my fears?
Who will drive my
tears away
Who will calm my fears?
Who will drive my
Tears away
I'm walking through
Deep water
Nearer to the sea
I'm asking the deep water
Don't take my love from me
I'll dance with little ladies
With a hundred just like me
They hold their breath
And hesitate
And dance beneath the sea
I'm walking through
Deep water
Trying to get to you
[MUSIC FADES]
NICK: One, two, three, four...
Come one
Morning comes
A jittery TV
I call out the window
When the morning comes
Nothing is for free
Nothing is for free
Fire
Nothing
Can narrow the bed
Glowing white like fire
And I called out the window
Down in the sea
But the echo
Comes back in, dear
'Cause nothing is for free
And I called out the window
Skeleton tree
[MUSIC FADES]