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♪ (GUITAR MUSIC PLAYING) ♪

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♪ (CLAPPING RHYTHMICALLY) ♪

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♪ (MORE INSTRUMENTS JOIN) ♪

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JOHN LURIE: We're in New York.
We're here to do the music.

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♪ (MUSIC FADES) ♪

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But I wanted to show you
'cause we...

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I think we do music different
than anybody elsewhere.

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I write the stuff,

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but I bring it in,
and we rehearse it.

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And...

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'Cause the musicians are great,

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and we use their idiosyncrasies,
and what they're great with.

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And I've been playing with some
of these guys for 35, 40 years.

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(NO AUDIO)

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And... it's much nicer now
than it was.

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I mean,
they all show up on time.

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They're all there on time
for rehearsal.

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And then, they've learnt
how to use a calendar.

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They're just basically
more responsible.

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And there's no noodling.

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It used to be,
when they were young,

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you finish a song
and then they're all like...

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(BABBLES)

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You know, in between the songs,

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and you just have to,
"Shut up, shut up!"

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I mean, you-- I'd have
to yell "shut up" 40 times

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between each take,
you know, so...

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And now,
as soon as things finish,

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they all sit there patiently
waiting for the next thing.

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And it’s just
so much more pleasant.

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I love these guys.

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As well-- I mean,
I probably had enough

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existing music that I own
to use in the show, but that...

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Like, this is
a great opportunity to have,

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'cause I never thought
it would--

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After the illness started,
I didn't think

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I'd ever gonna be able
to do this again.

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So it's great for me,

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and, um, I bought this guitar
that I love.

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Spending probably
too much money to do it,

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but it's gonna be exciting.

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(NO AUDIO)

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JOHN: I wanted to show you.
I mean, it's interesting to see

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how much easier it is
to use these guys

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now that they're older.

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And my advice to you is
if you're starting a band...

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is to hire musicians
who are 60 years old or older.

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♪ (MUSIC CONTINUES) ♪

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♪ (MUSIC FADES) ♪

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We're going
to the rehearsal studio

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in New York City,
where the musicians live.

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We're a tiny bit late,
but our driver is excellent.

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JOHN: Tell your confession
to the camera.

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Well, um... (CHUCKLES)

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Years ago, in the dark,

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-you remem-- (CHUCKLES)
-(JOHN LAUGHS)

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Okay. I was--
I was switching around--

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-(INDISTINCT CHATTER)
-We were in the dark!

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Well, Frisbee football.
John did fake me out.

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It's just like whenever
you block a Black guy's shot

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in basketball, they always yell,
"Foul!" Even though--

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-(CALVIN WESTON LAUGHS)
-Yeah, every time.

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White guy can't block
a Black guy's shot, like ever.

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(CALVIN CHUCKLES)

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You know I still got
that drum kit.

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JOHN: Let's talk
about something important.

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Do you know how much my socks
are itching me right now?

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The gun.

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JOHN: I know I'm not going...
(SPEAKS INDISTINCTLY)

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(LAUGHS) You remember?
Guy came home and said,

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-"You're sitting on my steps."
-Yeah.

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CALVIN: And then Dad
came home and said,
"Hey Cal, hold this for me..."

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Oh, that, that, that.

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-I thought you meant
the other gun.
-Yeah, that's the same night.

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No, not that gun.

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-(LAUGHS) No, not that gun.
-JOHN: Oh, okay. Oh!

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-(INDISTINCT CHATTER OVER PHONE)
-NESRIN WOLF: Okay.
We'll see you in a second.

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Hey, John. Remember
when you were a celebrity

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and used to pick out
spaces like that?

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-I used to go over
to places like that.
-(LAUGHS)

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We can't get in.
Aren't you worried?

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-Really?
-We can't get in.

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-Can't get in there.
-Aren't you worried?

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No.

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♪ (PLAYING UP-TEMPO RHYTHM) ♪

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So, we were doing this...

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I was doing
this film score and...

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I liked the director,
I liked him.

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But he liked to go to nightclubs

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more than he actually
liked to work on the movie,

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and they fired him.

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And then they brought in
this guy to clean everything up.

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One of those guys
who cleans up a lot of movies.

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He says, "I want to--"
He wants to get it done.

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Doesn't care
if it's shit or what.

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But he didn't like the director.

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So when he heard the director
wanted a ska score,

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he said,
"I don't want any ska music."

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So...

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But the score
was 90 percent written,

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and it was kind of good,
and I liked the director,

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so we wanted to do
what we had already

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to give him what he wanted.

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And, uh...
So all the musicians were told

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to not say the word "ska."

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♪ (SKA MUSIC PLAYING) ♪

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-♪ (MUSIC CONCLUDES) ♪
-So we played stuff.

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(CHUCKLING)
It sounded like that.

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And all the musicians
were sort of--

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He said,
"What kind of music is this?"

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And the musicians just
kind of went like...

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And I said,
"Oh, that's hoopoe music."

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-"Oh," he said.
-(SCATTERED LAUGHTER
IN BACKGROUND)

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Asshole.

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-Hope he sees this.
-(ALL LAUGHING)

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JOHN: This one could be
somebody else.

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I don't know which you--

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♪ ("NESRIN WALKING BACKWARDS"
PLAYING OVER SPEAKER) ♪

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You think a horn
could play that?

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Trombone.

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Trumpet? Trombone?

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-Trombone.
-Trombone? Yeah,
that's what I thought.

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♪ (HUMS MELODY) ♪

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-Yeah, yeah, yeah, okay.
-STEVEN BERNSTEIN:
Could be a 'bone part.

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♪ (PLAYING HARMONY ON GUITARS) ♪

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Can you turn it around?

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-Like how-- how ought--
-So it's like...

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♪ (PLAYS NOTES) ♪

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No, so it's...

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♪ (PLAYS NOTES) ♪

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-Going, da... You know?
-Oh, I see.

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♪ (CONTINUE PLAYING
GUITAR HARMONY) ♪

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(INDISTINCT CHATTER)

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Yeah, I like it, I like it,
I like it. You got it?

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♪ (BAND PLAYING
"NESRIN WALKING BACKWARDS") ♪

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I have my own TV show.
I'm a disaster.

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-One, two, three, and four.
-♪ (MUSIC PLAYS QUIETLY
OVER SPEAKER) ♪

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-One, two, three, and four.
-♪ (PLAYS REPEATING NOTES) ♪

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-One, two, and three, and four.
-One, two, and three, and four.

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-One, two...
-♪ (PLAYS PIANO CHORD) ♪

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-One, two, and three, and four.
-One, two, and three, and four.

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♪ (BAND PLAYING
"PAINTING WITH JOHN
NEW OPENING") ♪

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-STEVEN: Bring the horn?
-Yeah.

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STEVEN: Let's get the baritone.
One, two, three, and four.

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♪ (TROMBONES PLAY) ♪

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-(JOHN GROANS)
-♪ (MUSIC FADES) ♪

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It makes me want...
It makes me wanna die.

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Let's just do it like...
♪ (HUMS NOTES) ♪

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That's it.
♪ (HUMS NOTES) ♪

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-♪ (HUMS) ♪
-♪ (BAND PLAYS NOTES) ♪

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And probably not even in tempo,
right? Just like--

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JOHN: No, not in tempo.
That's a good--

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Is there anything salvageable
from the end of it?

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-Uh...
-JOHN: Was all that...

155
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Who wrote that?
I didn't write that.

156
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-You've obviously
misunderstood me.
-(LAUGHS)

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♪ (MUSIC CONTINUES) ♪

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JOHN: (SINGING)
♪ Bah-dee ♪

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00:09:06,338 --> 00:09:08,340
♪ Bah ♪

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ALL: ♪ Bah-dee... ♪

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♪ (MUSIC FADES) ♪

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-Yeah. And then
the last two beats...
-Last two beats, yeah.

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And you can-- You don't have
to stop it suddenly.

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KENNY WOLLESEN:
Do you want me to play it

165
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just chord notes or something?
Or you just want sound?

166
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-I want you to make a lot
of noise. I don't know.
-STEVEN: Racket. Racket.

167
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-Just a whole, like, random...
-STEVEN: Racket. Racket.

168
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JOHN: You can actually
play a rhythm?

169
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I thought you just hit it
and it just goes...

170
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(IMITATES CYMBAL)
Like that.

171
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I mean, you can if you want,
but whatever.

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JOHN: Let me know
what it does then.

173
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But maybe I don't wanna hear
what it does.

174
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-So... (HUMS)
-You want it to be loud, right?

175
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JOHN: Again,
not throwing it out of here.

176
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(LAUGHS)

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STEVEN: Marc, play the tape
from the beginning and just--

178
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JOHN: No, no, no.
It can play right from here.

179
00:09:48,129 --> 00:09:49,714
-We just got another part.
-(INSTRUMENT RATTLES)

180
00:09:49,798 --> 00:09:51,925
(INDISTINCT CHATTER)

181
00:09:52,008 --> 00:09:53,885
STEVEN: Play it right from
what we did last time.

182
00:09:53,927 --> 00:09:58,807
♪ (BAND PLAYS "JOHN GUN WALK") ♪

183
00:10:00,183 --> 00:10:04,729
(THUNDER SHEET CRASHES)

184
00:10:10,735 --> 00:10:12,821
♪ (MUSIC FADES) ♪

185
00:10:12,904 --> 00:10:14,656
Did you see that?
It's this kind.

186
00:10:14,739 --> 00:10:17,075
-(INDISTINCT CHATTER)
-(INSTRUMENT RATTLES)

187
00:10:18,827 --> 00:10:22,122
Oh, my God. These are so cool!

188
00:10:22,580 --> 00:10:24,040
(RATTLES)

189
00:10:24,082 --> 00:10:26,126
And look,
they all make different sounds.

190
00:10:26,209 --> 00:10:28,503
(RATTLES)

191
00:10:28,586 --> 00:10:30,630
Hey. Look,
they all make different sounds.

192
00:10:30,714 --> 00:10:32,340
(RATTLING)

193
00:10:33,425 --> 00:10:35,343
(HIGHER PITCHED RATTLING)

194
00:10:35,427 --> 00:10:36,386
Wow.

195
00:10:37,512 --> 00:10:38,805
So cool.

196
00:10:41,266 --> 00:10:43,643
-Oh.
-(BEADS CLATTER)

197
00:10:45,729 --> 00:10:50,275
♪ (MELLOW GUITAR
MUSIC PLAYING) ♪

198
00:11:32,650 --> 00:11:34,402
♪ (MUSIC FADES) ♪

199
00:11:34,486 --> 00:11:37,405
♪ (PLAYS UPBEAT MELODY) ♪

200
00:11:41,659 --> 00:11:46,081
♪ (HOLDS FINAL NOTE) ♪

201
00:11:46,164 --> 00:11:46,956
ART BARON: Yeah.

202
00:11:46,998 --> 00:11:48,333
-Yep.
-ART: That's it, man.

203
00:11:48,375 --> 00:11:52,045
Cool. Good. You're very good.
You're very professional.

204
00:11:52,128 --> 00:11:54,339
-ART: Thank you.
-JOHN: You play with Buddy Rich?

205
00:11:54,422 --> 00:11:56,675
I did for two-- three weeks.

206
00:11:56,716 --> 00:11:58,385
JOHN: Did he ever yell at you?

207
00:11:58,468 --> 00:11:59,844
-All the time.
-(ALL LAUGH)

208
00:11:59,928 --> 00:12:03,139
♪ (GUITAR NOTES
PLAYING OVER SPEAKER) ♪

209
00:12:03,223 --> 00:12:04,683
Help me out, fellas.

210
00:12:04,724 --> 00:12:08,937
♪ (BOTH HUMMING MELODY) ♪

211
00:12:09,020 --> 00:12:12,440
No. ♪ (HUMS MELODY) ♪

212
00:12:12,524 --> 00:12:15,610
♪ (BOTH HUMMING MELODY) ♪

213
00:12:15,694 --> 00:12:17,487
-Oh, yeah.
-STEVEN: You're welcome.

214
00:12:17,529 --> 00:12:21,074
♪ (BAND PLAYS "GB-14") ♪

215
00:12:54,774 --> 00:12:59,863
♪ (SAXOPHONE PLAYING) ♪

216
00:13:49,079 --> 00:13:51,081
♪ (MUSIC CONCLUDES) ♪

217
00:13:52,123 --> 00:13:55,960
♪ (BAND PLAYING
"DETECTIVE ERIK MUSPATERRE") ♪

218
00:14:02,509 --> 00:14:05,720
-Are you gonna remember?
-CALVIN: Yeah, I'll remember it.

219
00:14:05,804 --> 00:14:07,013
-You're recording it?
-CALVIN: Yeah.

220
00:14:07,097 --> 00:14:09,974
This is great. That, that.
Do-- That, that! Go ahead.

221
00:14:10,016 --> 00:14:12,268
♪ (CALVIN RESUMES
PLAYING ON DRUMS) ♪

222
00:14:21,903 --> 00:14:26,157
♪ (HORN SECTION PLAYING ALONE) ♪

223
00:14:32,497 --> 00:14:34,124
♪ (MUSIC CONCLUDES) ♪

224
00:14:34,165 --> 00:14:36,918
I mean that, it sounds...
How it was written, it was like

225
00:14:37,002 --> 00:14:39,170
-two separate fighting things.
-CALVIN: Right.

226
00:14:39,212 --> 00:14:41,631
But this is now sounding like
they're your backup horns,

227
00:14:41,673 --> 00:14:42,966
which is not bad. But--

228
00:14:43,008 --> 00:14:44,843
DOUG WIESELMAN:
Michael was doing...

229
00:14:44,926 --> 00:14:47,178
-With Bernstein?
-STEVEN: I think I just did...

230
00:14:47,220 --> 00:14:49,347
-Slide goes with you, too?
-Can't remember.

231
00:14:49,389 --> 00:14:51,182
JOHN: No, no, no. At the end
of this one, you go...

232
00:14:51,224 --> 00:14:52,934
You're supposed to...
♪ (HUMS) ♪

233
00:14:53,018 --> 00:14:54,185
And you kept
putting it in there?

234
00:14:54,269 --> 00:14:55,812
-It's not in there.
-JOHN: No, it's not in there.

235
00:14:55,854 --> 00:14:58,314
But that's--
So now you've left holes.

236
00:14:58,356 --> 00:14:59,774
-(CHUCKLES)
-Doug wrote this one.

237
00:14:59,858 --> 00:15:01,026
JOHN: No, no, no, but we're...

238
00:15:01,067 --> 00:15:03,278
We could give them
more notes is what I'm saying.

239
00:15:04,279 --> 00:15:05,488
-DOUG: Let's just--
-Hey, what's your...

240
00:15:05,530 --> 00:15:07,782
What's the first phrase
when you come in?

241
00:15:07,866 --> 00:15:11,202
♪ (BAND MEMBERS HUM MELODY) ♪

242
00:15:11,244 --> 00:15:13,496
Well, why don't they play
your fucking phrase, too?

243
00:15:13,538 --> 00:15:16,499
Why don't they play...
♪ (HUMS MELODY) ♪

244
00:15:16,541 --> 00:15:17,667
♪ (REPEATS MELODY) ♪

245
00:15:17,709 --> 00:15:19,419
-STEVEN: So, the same thing--
-JOHN: Yeah, they play

246
00:15:19,502 --> 00:15:22,172
at least for the first--
at least for that first bit.

247
00:15:22,213 --> 00:15:25,550
-Sorry.
-No, it's okay. So...

248
00:15:25,592 --> 00:15:28,428
This is jitterbug fascist.
And that's what's happened here.

249
00:15:28,511 --> 00:15:30,889
And now you just left
the notes out, right?

250
00:15:30,930 --> 00:15:33,266
No, no. We--
This is what we came up with.

251
00:15:33,350 --> 00:15:35,268
(LAUGHS)

252
00:15:35,352 --> 00:15:39,397
♪ (BAND PLAYING
"DETECTIVE ERIK MUSPATERRE") ♪

253
00:16:27,529 --> 00:16:29,572
♪ (MUSIC FADES) ♪

254
00:16:29,614 --> 00:16:32,075
(INDISTINCT CHATTER)

255
00:16:32,117 --> 00:16:33,910
John Lurie's
favorite instrument.

256
00:16:33,952 --> 00:16:35,370
It's a slide trumpet.

257
00:16:35,453 --> 00:16:37,497
He dedicated a painting to it.

258
00:16:38,498 --> 00:16:40,458
Slide trumpet. Bad.

259
00:16:40,500 --> 00:16:42,293
That's what it says
on the painting.

260
00:16:42,377 --> 00:16:44,629
"It's a slide trumpet, bad."

261
00:16:44,671 --> 00:16:47,674
"This is a slide trumpet.
This is bad."

262
00:16:47,757 --> 00:16:49,968
(LAUGHS)

263
00:16:50,051 --> 00:16:56,141
♪ ("JOHN AND CALVIN
WAH WAH" PLAYING) ♪

264
00:17:30,967 --> 00:17:33,595
♪ (MUSIC FADES) ♪

265
00:17:33,678 --> 00:17:37,349
♪ ("THE EMPEROR OF CAMELDOM"
PLAYING QUIETLY OVER SPEAKER) ♪

266
00:17:43,897 --> 00:17:45,607
Just one part.

267
00:17:45,690 --> 00:17:47,692
-JOHN: No, it's two parts.
-I made it with this part.

268
00:17:47,776 --> 00:17:49,235
♪ (PLAYS NOTES) ♪

269
00:17:49,319 --> 00:17:50,570
JOHN: That's the bass.

270
00:17:52,405 --> 00:17:53,990
Yeah, but don't let it
ring like that. Just...

271
00:17:54,032 --> 00:17:55,200
♪ (PLUCKS SHORT NOTES) ♪

272
00:17:55,283 --> 00:17:57,243
JOHN: Yeah.
Well, that's too much.

273
00:17:58,411 --> 00:18:02,415
-♪ (PLAYS MELODY) ♪
-STEVEN: Okay.

274
00:18:02,499 --> 00:18:05,043
STEVEN: And the low--
The high, is it this one?

275
00:18:05,126 --> 00:18:07,379
DOUG: Yeah, so it's kinda quiet.

276
00:18:07,462 --> 00:18:11,091
♪ (ALL PLAYING
"THE EMPEROR OF CAMELDOM") ♪

277
00:18:23,770 --> 00:18:24,729
Slow it down a bit, Doug.

278
00:18:24,813 --> 00:18:26,398
-Do we have a tempo yet on this?
-STEVEN: Yes.

279
00:18:26,439 --> 00:18:28,358
-What's the tempo?
-STEVEN: Ninety.

280
00:18:28,400 --> 00:18:30,568
-Plain 90?
-It's a... Yeah.

281
00:18:36,408 --> 00:18:42,914
♪ (BAND PLAYS
"THE EMPEROR OF CAMELDOM") ♪

282
00:20:04,412 --> 00:20:08,875
♪ (MUSIC CONTINUES) ♪

283
00:20:54,212 --> 00:20:58,550
♪ (MUSIC CONCLUDES) ♪

284
00:20:58,633 --> 00:21:01,720
-(PHONE RINGING)
-Ay, yi, yi.

285
00:21:01,803 --> 00:21:04,639
-It's amazing how...
-(PHONE RINGING)

286
00:21:04,723 --> 00:21:05,890
...the phone
doesn't ring all day

287
00:21:05,932 --> 00:21:08,226
and then as soon
as you start to work on music,

288
00:21:08,309 --> 00:21:09,352
then it rings.

289
00:21:09,394 --> 00:21:10,979
-(PHONE RINGING)
-Hello.

290
00:21:12,480 --> 00:21:14,941
It's Sunday night at 11 o'clock.

291
00:21:16,234 --> 00:21:18,570
Who is-- Yes, yes,
this is John Lurie.

292
00:21:19,362 --> 00:21:20,572
Who is this?

293
00:21:24,159 --> 00:21:27,495
(CHUCKLES) Oh.
So, I won a free cruise?

294
00:21:29,247 --> 00:21:30,623
For me and my wife?

295
00:21:32,083 --> 00:21:36,338
What-- Would it be--
How about if it's wives, plural?

296
00:21:37,213 --> 00:21:39,632
Yes, because I may have
more than one.

297
00:21:42,135 --> 00:21:44,304
No, seriously, I had--
This amazing thing happened.

298
00:21:44,387 --> 00:21:48,266
I was feeling
really somewhat optimistic,

299
00:21:48,350 --> 00:21:51,603
but also depressed
and lonely at the same time.

300
00:21:51,686 --> 00:21:53,521
Do you ever feel like that?

301
00:21:53,605 --> 00:21:58,610
And I got this email
with a photograph

302
00:21:58,651 --> 00:22:01,488
from this Russian woman,
who was just beautiful,

303
00:22:01,571 --> 00:22:03,823
and she wrote
the sweetest email

304
00:22:03,907 --> 00:22:07,494
and she was looking to meet
a man like me.

305
00:22:08,787 --> 00:22:09,996
So I responded.

306
00:22:11,706 --> 00:22:14,918
And she wrote back
this lovely email

307
00:22:14,959 --> 00:22:17,962
with more photographs
and I was quite taken.

308
00:22:18,046 --> 00:22:20,548
And then I felt bad.
There's all these other

309
00:22:20,632 --> 00:22:23,593
lonely Russian women
that I didn't write to.

310
00:22:23,635 --> 00:22:26,221
I only wrote to her.
So I thought I should write

311
00:22:26,304 --> 00:22:28,431
to all of them, just to be nice.

312
00:22:28,473 --> 00:22:34,396
♪ (BAND PLAYING
"FLEA'S NIGHTMARE") ♪

313
00:23:06,261 --> 00:23:07,637
JOHN: (CHUCKLES) I know. I know.

314
00:23:07,679 --> 00:23:11,224
But it could be wonderful.
I mean, if they get along.

315
00:23:11,307 --> 00:23:12,726
♪ (MUSIC FADES) ♪

316
00:23:12,809 --> 00:23:15,729
So, the cruise might be
a nice thing.

317
00:23:17,856 --> 00:23:20,358
Yeah, but-- No, I'm not worried
about money 'cause...

318
00:23:20,442 --> 00:23:22,110
I mean, my luck
has been really good

319
00:23:22,152 --> 00:23:24,029
on the internet lately
where I...

320
00:23:24,571 --> 00:23:25,864
This Nigerian prince...

321
00:23:25,947 --> 00:23:30,702
♪ (BAND PLAYING "THE SNAKE
THAT PROTECTS TEETH") ♪

322
00:24:33,390 --> 00:24:35,308
♪ (MUSIC CONCLUDES) ♪

323
00:24:35,392 --> 00:24:36,434
And then we'll be all set

324
00:24:36,476 --> 00:24:37,644
And we're all gonna go
on your cruise

325
00:24:37,727 --> 00:24:41,106
if you're okay with, like,
if I have 34 wives.

326
00:24:42,982 --> 00:24:45,318
Yeah, yes.
What's your name again?

327
00:24:45,402 --> 00:24:46,695
Rodney, yeah.

328
00:24:46,778 --> 00:24:48,613
Could you give me
your home number?

329
00:24:50,073 --> 00:24:52,784
Well, why not? I have--
You have my home number.

330
00:24:57,622 --> 00:24:59,749
Well, I don't know.
It feels weird.

331
00:25:01,001 --> 00:25:03,795
All right. Well, call me back
at this number.

332
00:25:03,837 --> 00:25:05,672
But not too early.
I get up late.

333
00:25:06,339 --> 00:25:07,465
Thanks, Rodney.

334
00:25:07,507 --> 00:25:10,927
I hope-- I hope your luck goes
like mine has gone lately.

335
00:25:13,179 --> 00:25:16,099
I love you, too. Goodbye.

336
00:25:16,141 --> 00:25:21,813
♪ ("THE FIRST AND ROYAL QUEEN"
BY THE LOUNGE LIZARDS PLAYING) ♪

337
00:27:32,777 --> 00:27:34,154
♪ (MUSIC CONCLUDES) ♪