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Downloaded from
YTS.BZ

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Official YIFY movies site:
YTS.BZ

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(dramatic music)

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(dramatic music continues)

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(dramatic music continues)

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(dramatic music continues)

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(dramatic music continues)

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(computer warbling)

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(metallic banging)

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(indistinct)

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- Something you're playing. (laughing)

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(music and voice clips running together)

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(computer blipping)

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(birds chirping)
(goose honking)

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(cows mooing)

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(tense music)

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(energetic music)

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- Okay, I better, better get serious.

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(serious music)

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What I feel when I listen
to this is that it needs

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punctuation of some kind.

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It would be nice if something went...

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(Eno imitates booming)

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As soon as I hear that, it's a place.

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I think about it in terms of geography.

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You know, I think I've got the,

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I've got something going on down there.

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Now I want something going on up there.

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I want something in, I want a sky.

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(tense music continues)

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What else do I want in this world?

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Some creatures, something
that sounds like life.

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I can sometimes stand in that room

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and work for six hours

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and I'm just making
something and it's happening

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and I'm happening along with it.

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It's my way of making a space for myself.

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(energetic music)

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A place that I want to be in.

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When you create something,
you are doing this thing

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that humans are very good
at, which is imagining.

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It's a way of entering another
world, looking at its values,

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seeing how they work out,

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and that tells you
something about yourself

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that gives you a core
from which to take action.

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I now have 50 years of work behind me

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and I talk about it now as if I had

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the whole thing figured out
in my head, but I didn't.

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They were just feelings
of somewhere I was going.

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(energetic music)

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- [Gary] Can you tell us your full name?

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- Brian Peter George.

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St. John Le Baptist De Lasal Eno.

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(computer roaring)

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- Frank Zappa once said
that rock criticism

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is people who can't write

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talking to people who can't speak

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for people who can't read.

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(audience laughing)

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Brian Eno, composer and theoretician,

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I assure you can do all three very well.

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I ask you, please help
me welcome Brian Eno.

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(audience applauding)

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It's safe to say that
more people are familiar

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with your music than
with your visual work.

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You're the producer
for U2 and David Byrne.

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I wonder if to begin we
could talk a little bit

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about your roots.

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What kind of music and other art

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and cultural experiences were resonant

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for you when you were growing up?

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- Actually, I know the first song

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that really made an impression on me was

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"Get a Job" by the Silhouettes.

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(audience laughing)

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Because the first time I
heard that, I decided that

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that was great music

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and I would never get a job.

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(laughing)

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And I never did.

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I've never really had a job.

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(birds chirping)

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- So there were these things
sitting on the back of a leaf.

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I've never seen anything like that before

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and I thought, I don't
think those are eggs.

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I think those are spiders, little spiders.

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Okay.

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So I came back today to look at them

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and I touched the leaf,
which is this leaf here,

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and they all fell off

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and sort of shot off in
every possible direction.

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Yeah, I can see one right there.

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Now let me see if I can
take a picture of that.

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It's now gonna come next
to that stone. Got him.

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Look okay, now you can see it.

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Now you can see what they are.

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Little beetles.

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Okay. That's pretty exciting.

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- [Gary] I wanted to ask you about

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how you got into making
generative music and art.

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- I'm always thinking about
how things happen in nature.

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(bright music)

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I started becoming very
interested in evolution theory.

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I think the thing that thrilled
me most about evolution

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was the idea of complexity
arising out of simplicity.

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Things started out simpler
and they've ramified into more

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and more complex and beautiful things.

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I realized that it was possible
to make music like this.

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(water babbling)

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Instead of trying to specify
every moment of a piece

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of music in advance,
you're setting up a system

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or a process. They're
sets of rules basically,

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which generates music.

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That's where the word
generative came from.

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That's why I use that word.

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(gentle piano music)

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So let's say that's my beginning phrase.

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This piece of software lets
me leave out 30% of the notes.

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(gentle piano music)

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And then maybe I'll occasionally
get one of those notes

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to repeat a few times.
(imitates notes being played)

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Okay, there it goes. One of those repeats.

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So I have a loop,

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but it's a loop that is
changing each time it plays.

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(gentle piano music)

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So you're sort of sculpting something that

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has a life anyway.

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You're just watching it evolve.

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So I started thinking
of myself as somebody

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who created things that would

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carry on having their own life.

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(gentle music)

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Instead of thinking I'm
gonna make something

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and that's it, that's the
end of it, that's finished,

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you think, I'm gonna plant something,

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I'm gonna plant the seeds
of this piece of music

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and then that piece of music
is gonna flower in thousands

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of different ways in the course of time.

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(gentle music continues)

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You know all of the ingredients,

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but you don't know the result

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of letting them repattern in that way.

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Our brain is very creative.

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It wants to find patterns.

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So one of the key aspects
of generative art,

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assuming the audiences are
intelligent participants.

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The audience's brain does the cooking

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and keeps seeing relationships.

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(computer blipping)

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(musical note humming)

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(energetic music)

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I joined Roxy Music almost by accident.

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I was invited around by Andy and Brian

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just to tape some of their songs.

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While I was there, I
began showing them some

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of the things you could do
with a tape recorder other than

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just record music with it.

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Andy had a synthesizer

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and I was quite naturally
interested in that.

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(energetic music)

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♪ Make me a deal and make it straight ♪

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♪ All signed and sealed, I'll take it ♪

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♪ To Robert E. Lee, I'll show it ♪

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♪ I hope and pray he
don't blow it 'cause ♪

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♪ We've been around a long time ♪

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♪ Just tryin' to, tryin' to but you ♪

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♪ Make the big time ♪

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Synthesizers were quite new

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and nobody really knew
what to do with them.

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I couldn't play any instruments,

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but here was an instrument
that I could play

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because there was no way of saying how

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that instrument should be played,

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so I could make the rules for that.

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Suddenly I thought, oh, there's
a whole set of tools here

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that I'm as well qualified
as anybody else to use.

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(energetic music continues)

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There was always an ambiguity about

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where the sound actually came from.

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You know, people always used to say

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after concerts, "I dunno
what you were doing,

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"but I think I liked it." (laughing)

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(energetic electric music playing)

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Phil would be playing guitar.

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(energetic music)

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The guitar was coming into my
synth, so I could do things

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with it, like duplicate it and
copy it and change the time.

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(energetic music continues)

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It was a way of bringing
some of the things

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that recording studios had made possible

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into a live situation.

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That was part of the identity
of the band at that point.

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We made sounds that other
bands couldn't make.

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(energetic music continues)

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♪ Far beyond the pale horizon ♪

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♪ Some place near the desert strand ♪

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- If you take something from the past

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and put it in the context

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of other things in the
present, you change it anyway.

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I mean it's like creating
something, something new.

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I mean we don't, we don't
just play rock revival.

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We also put it in the context
of say, electronics and oboes

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and the way Bryan sings and so on.

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So it becomes a a different kind of--

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- I think if you ever--
- ...experience anyway.

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- It probably works in the
sense that we take one step back

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and two or three steps into the future.

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(energetic music)

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- We wanted to start being
conscious again of those things

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that had been rejected as showbiz-y,

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like stage costumes,

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00:13:01,311 --> 00:13:03,814
and we thought a lot of
the people we really like,

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00:13:03,814 --> 00:13:06,609
like Little Richard, put on
a show for their audience

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and we want to put on a show.

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♪ But you blew my mind ♪

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(energetic music)

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00:13:25,836 --> 00:13:26,754
- [Interviewer] Brian, you said that would

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embarrass your daughter

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00:13:27,713 --> 00:13:29,131
just then.
(Brian laughing)

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Will it embarrass you

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00:13:30,007 --> 00:13:32,760
or does it embarrass you looking at that?

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00:13:32,760 --> 00:13:34,469
- No.
- Not at all, no.

223
00:13:34,469 --> 00:13:35,303
- No.

224
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- Do you think it should?

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- Not at all. No, no, no.

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No, no, no,

227
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Were they happy times?

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00:13:38,974 --> 00:13:41,059
Did you actually enjoy those times?

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00:13:41,059 --> 00:13:43,812
- Yes, I did, but I never liked touring

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00:13:43,812 --> 00:13:45,814
and that's why I've never done it since.

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Touring for me is a waste of time.

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You know, 23 hours of the
day spent getting ready

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for one hour of the day really.

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00:13:56,324 --> 00:13:57,618
It's very hard for me

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to concentrate on anything
else when I'm touring.

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00:14:00,203 --> 00:14:01,413
So I didn't enjoy that

237
00:14:01,413 --> 00:14:04,207
and in fact that was one of
the reasons I left the band.

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00:14:04,207 --> 00:14:07,502
I just want to get back
to what I like doing,

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00:14:07,502 --> 00:14:09,254
which is dabbling.

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00:14:09,254 --> 00:14:10,673
(rapid snatches of music playing)

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-Colors.

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Funny. Nature.

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00:14:15,135 --> 00:14:15,761
- [Interviewer] As a matter of fact,

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00:14:15,761 --> 00:14:17,554
that gets us to a point that

245
00:14:17,554 --> 00:14:20,057
how is it that Brian Eno
does, you know, sculpture

246
00:14:20,057 --> 00:14:24,019
as we're going to see and
painting and video installations

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and design.

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00:14:24,770 --> 00:14:25,813
- Shirts.
- Shirts.

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00:14:25,813 --> 00:14:28,065
(Brian laughing)

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Yeah. Just explain what is, tie...

251
00:14:33,153 --> 00:14:33,987
- Tie-dye.

252
00:14:33,987 --> 00:14:37,700
Not T-H-A-I, no, T-I-E.

253
00:14:38,075 --> 00:14:40,035
No, it's an old thing from the sixties.

254
00:14:41,912 --> 00:14:45,583
It's sort of unsuccessful dyeing
really turned into an art.

255
00:14:45,583 --> 00:14:47,375
You know, to dye things with an even color

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00:14:47,375 --> 00:14:48,376
is very difficult.

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To do most things in the
way that you're intended

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to is very difficult,

259
00:14:53,548 --> 00:14:57,344
and in fact you can make a
career by looking at these things

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00:14:57,344 --> 00:15:00,055
and doing them badly and
celebrating the fact.

261
00:15:00,055 --> 00:15:03,141
That's really the basis of
my career, you know, saying,

262
00:15:03,141 --> 00:15:06,729
okay, I can't do this
well, so let's see in

263
00:15:06,729 --> 00:15:09,564
what interesting ways I can fail at it.

264
00:15:09,564 --> 00:15:12,025
And this is a good example
of that, you know, I mean

265
00:15:12,025 --> 00:15:15,195
to dye a shirt evenly blue
is actually quite hard.

266
00:15:15,821 --> 00:15:18,616
(soft music)

267
00:15:18,616 --> 00:15:20,117
Where are we? '87.

268
00:15:25,413 --> 00:15:28,876
I've been keeping
notebooks for a long time.

269
00:15:28,876 --> 00:15:31,587
The oldest one in here
was started when I was 14.

270
00:15:41,639 --> 00:15:43,056
(soft music continues)

271
00:15:43,891 --> 00:15:45,976
My reasons for doing it
are probably the same

272
00:15:45,976 --> 00:15:48,270
as everybody else's who keeps notebooks.

273
00:15:48,270 --> 00:15:49,813
It's a way of working out ideas.

274
00:15:49,813 --> 00:15:52,107
I use drawing to work out ideas.

275
00:15:53,651 --> 00:15:56,194
I think the main value of keeping a diary

276
00:15:56,194 --> 00:15:59,948
is paying attention to what
you've been paying attention to.

277
00:16:03,535 --> 00:16:06,329
It's the process of trying
to organize it enough

278
00:16:06,329 --> 00:16:08,874
to actually clarify in my own mind.

279
00:16:08,874 --> 00:16:10,375
I have to think about now

280
00:16:10,375 --> 00:16:12,460
how does that actually connect with that?

281
00:16:14,296 --> 00:16:16,799
This is a time when I
tried to think of a new way

282
00:16:16,799 --> 00:16:19,134
of evaluating things I was working on.

283
00:16:19,134 --> 00:16:21,511
I thought, okay, I shall think of

284
00:16:21,511 --> 00:16:23,764
all the criteria that matter to me.

285
00:16:23,764 --> 00:16:26,016
Fun,

286
00:16:26,016 --> 00:16:27,100
work,

287
00:16:27,100 --> 00:16:27,893
glory,

288
00:16:27,893 --> 00:16:28,476
money,

289
00:16:28,476 --> 00:16:31,188
good exercise,

290
00:16:31,188 --> 00:16:33,231
and how long it's gonna take.

291
00:16:33,398 --> 00:16:34,274
(chuckles)

292
00:16:35,233 --> 00:16:38,403
It's got some sweet
drawings by my daughter

293
00:16:38,403 --> 00:16:39,613
who was then two.

294
00:16:40,823 --> 00:16:43,992
Oh yes, and this her abstract period.

295
00:16:43,992 --> 00:16:46,161
(soft music continues)

296
00:16:46,161 --> 00:16:50,123
So on this page you have
a drawing for a light box.

297
00:16:50,123 --> 00:16:54,377
You have a suggestion to try
to make a formant generator

298
00:16:54,377 --> 00:16:55,713
and a comb filter,

299
00:16:56,546 --> 00:17:01,218
and you also have my shopping list.

300
00:17:02,636 --> 00:17:05,388
It's the process of trying
to organize it enough.

301
00:17:05,388 --> 00:17:06,765
That's when you know whether you really

302
00:17:06,765 --> 00:17:07,600
understand it or not.

303
00:17:07,808 --> 00:17:09,392
And once I've written it down

304
00:17:09,392 --> 00:17:12,229
and worked it out, I don't
really need the notebook anymore.

305
00:17:13,772 --> 00:17:16,566
In fact, had I just
destroyed all these diaries

306
00:17:17,610 --> 00:17:19,027
after I'd finished with them,

307
00:17:19,027 --> 00:17:21,404
I wouldn't be in this situation I am now.

308
00:17:22,823 --> 00:17:25,158
Having to talk about them. (laughing)

309
00:17:25,158 --> 00:17:27,202
Don't forget, somebody's gonna want

310
00:17:27,202 --> 00:17:29,121
to make a documentary one day.

311
00:17:29,121 --> 00:17:30,914
Get it all out of your life now.

312
00:17:32,540 --> 00:17:36,003
(computer blipping)

313
00:17:36,003 --> 00:17:38,421
(wild music)

314
00:17:47,555 --> 00:17:49,767
I actually spent about 80%

315
00:17:49,767 --> 00:17:53,103
of my time I think in recording
studios, which suits me fine

316
00:17:53,103 --> 00:17:55,480
because I'm happier in
the recording studio

317
00:17:55,480 --> 00:17:57,274
than anywhere else I think.

318
00:17:57,274 --> 00:17:59,067
If anything, the recording studio,

319
00:17:59,067 --> 00:18:01,486
not the synthesizer is my instrument.

320
00:18:02,780 --> 00:18:04,782
Can you just play that middle bit again?

321
00:18:05,407 --> 00:18:08,368
With recording studios, making music

322
00:18:08,368 --> 00:18:10,621
became much more like painting.

323
00:18:10,621 --> 00:18:15,626
If you think about it, when
you go to work in a studio,

324
00:18:15,626 --> 00:18:18,671
what you're really doing is
composing a sound picture.

325
00:18:18,671 --> 00:18:22,174
What you're doing is making
something over a period of time

326
00:18:22,174 --> 00:18:24,509
and building it up incrementally.

327
00:18:24,509 --> 00:18:27,638
And I thought this is
really what I trained to do.

328
00:18:27,638 --> 00:18:29,222
I was trained as a painter

329
00:18:29,222 --> 00:18:33,351
and I always had that feeling
about what I was doing,

330
00:18:33,351 --> 00:18:35,353
that I was making paintings.

331
00:18:35,353 --> 00:18:37,606
But they were paintings
that existed in time

332
00:18:37,606 --> 00:18:39,817
and we call them music.

333
00:18:39,817 --> 00:18:42,653
(energetic music)

334
00:18:51,453 --> 00:18:56,166
I suddenly realized there was
a real space for me actually,

335
00:18:56,166 --> 00:18:58,919
somebody who could
exploit the new technical

336
00:18:58,919 --> 00:19:00,503
possibilities that existed.

337
00:19:00,503 --> 00:19:02,422
Understanding what you
could do in a studio

338
00:19:02,422 --> 00:19:04,507
that you couldn't do anywhere else.

339
00:19:04,507 --> 00:19:06,301
- [Singer] One, two, three, four.

340
00:19:06,301 --> 00:19:09,137
(energetic music)

341
00:19:12,891 --> 00:19:19,272
♪ Baby's on fire, better
throw her in the water ♪

342
00:19:20,774 --> 00:19:27,447
♪ Look at her laughing, like
a heifer to the slaughter ♪

343
00:19:28,323 --> 00:19:30,659
I was almost always working with people

344
00:19:30,659 --> 00:19:34,663
who were very un-dogmatic
about what I should be doing,

345
00:19:34,663 --> 00:19:37,207
but simultaneously completely baffled by

346
00:19:37,207 --> 00:19:39,417
what I was wanting to do.

347
00:19:39,417 --> 00:19:42,755
I mean, my first managers
were very supportive

348
00:19:42,755 --> 00:19:47,635
but they didn't pretend
that they really got it.

349
00:19:47,635 --> 00:19:50,387
(Brian yodeling)

350
00:20:00,230 --> 00:20:02,941
I was generally at the
time regarded as a sort

351
00:20:02,941 --> 00:20:05,152
of failed glam rockstar,

352
00:20:06,153 --> 00:20:08,071
you know, as if I had actually,

353
00:20:08,071 --> 00:20:10,407
that was the only thing in my
life I'd ever wanted to be.

354
00:20:10,407 --> 00:20:12,993
(solemn music)

355
00:20:14,620 --> 00:20:17,122
There's a huge momentum
attached with success.

356
00:20:17,122 --> 00:20:20,167
You know, it's like having a sort of,

357
00:20:20,167 --> 00:20:21,835
an ocean liner pushing you along

358
00:20:21,835 --> 00:20:24,922
and it's very hard to change
the direction of it I think.

359
00:20:24,922 --> 00:20:28,676
I felt a terrible pressure of
expectation in England about

360
00:20:28,676 --> 00:20:30,886
what I ought to be doing.

361
00:20:30,886 --> 00:20:32,638
There was a sense that I ought to be doing

362
00:20:32,638 --> 00:20:33,597
something or other.

363
00:20:36,391 --> 00:20:40,688
And trying to sidestep this railway train

364
00:20:40,688 --> 00:20:42,856
pushing me down these tracks

365
00:20:42,856 --> 00:20:44,232
was very, very difficult.

366
00:20:48,195 --> 00:20:52,700
I remember one piece on the
album, Another Green World,

367
00:20:54,242 --> 00:20:56,453
which I made in tears

368
00:20:56,453 --> 00:20:59,665
because I just didn't know
what the fuck I was doing.

369
00:21:00,749 --> 00:21:03,168
I had the studio booked,
I had to use it, you know,

370
00:21:03,168 --> 00:21:05,045
studios were very expensive then.

371
00:21:05,045 --> 00:21:08,465
I can remember standing
there playing this piece

372
00:21:08,465 --> 00:21:11,218
with tears running down my cheeks

373
00:21:11,218 --> 00:21:13,679
'cause I was thinking,
I'm absolutely lost.

374
00:21:13,679 --> 00:21:17,349
I'm only doing this because
I've paid this money

375
00:21:17,349 --> 00:21:18,433
and I've gotta do something.

376
00:21:18,433 --> 00:21:19,768
I've got a deadline coming up.

377
00:21:19,768 --> 00:21:21,937
I have to deliver a record.

378
00:21:21,937 --> 00:21:25,273
And this piece is a little
piece called "Spirits Drifting."

379
00:21:26,524 --> 00:21:28,235
You know, it's not the
most significant piece

380
00:21:28,235 --> 00:21:29,820
of music in the world,

381
00:21:29,820 --> 00:21:33,281
but it's the piece that convinced me

382
00:21:33,281 --> 00:21:35,951
that there's no correlation
between the feeling

383
00:21:35,951 --> 00:21:37,327
that I'm having at the time

384
00:21:38,495 --> 00:21:43,500
and how the piece stands
up in the fullness of time.

385
00:21:43,834 --> 00:21:45,377
That's the important thing.

386
00:21:45,377 --> 00:21:48,380
It's learning to trust yourself.

387
00:21:48,380 --> 00:21:51,800
(solemn music continues)

388
00:21:58,849 --> 00:22:01,685
(Brian whistling)

389
00:22:06,732 --> 00:22:09,151
(soft music)

390
00:22:12,404 --> 00:22:13,947
The question that's been interesting me

391
00:22:13,947 --> 00:22:17,492
for my whole life really
is why do we like music?

392
00:22:21,121 --> 00:22:23,373
If you start to think about that,

393
00:22:23,373 --> 00:22:26,251
that is the most incredibly
difficult question to answer,

394
00:22:27,544 --> 00:22:31,464
because I think in a way we
can understand a lot about

395
00:22:31,464 --> 00:22:34,217
human beings by trying
to answer that question.

396
00:22:36,804 --> 00:22:39,723
I want to know why do we like music?

397
00:22:39,723 --> 00:22:43,226
(energetic music)

398
00:22:43,226 --> 00:22:45,854
Why is one collection of notes nicer

399
00:22:45,854 --> 00:22:47,898
than another collection of notes?

400
00:22:47,898 --> 00:22:49,274
♪ We could be heroes ♪

401
00:22:49,274 --> 00:22:51,484
This melody as opposed to that melody.

402
00:22:51,484 --> 00:22:53,486
♪ Nothing compares ♪

403
00:22:53,486 --> 00:22:55,739
That beat
(dramatic music)

404
00:22:55,739 --> 00:22:56,865
as opposed to that beat.

405
00:22:56,865 --> 00:22:58,283
(rapid piano music)

406
00:22:58,283 --> 00:22:59,743
What means something to us?

407
00:22:59,743 --> 00:23:01,119
♪ In the name ♪

408
00:23:01,119 --> 00:23:02,495
What gives us feelings?

409
00:23:02,495 --> 00:23:04,164
(energetic music)

410
00:23:04,164 --> 00:23:05,165
Why do we care?

411
00:23:05,165 --> 00:23:06,416
(singer vocalizing)

412
00:23:06,416 --> 00:23:08,836
I never lost interest in trying

413
00:23:08,836 --> 00:23:10,045
to answer that question.

414
00:23:11,338 --> 00:23:12,631
Why do we like music?

415
00:23:12,631 --> 00:23:16,176
(repetitive music beat)

416
00:23:16,176 --> 00:23:18,011
I am more and more starting to think

417
00:23:18,011 --> 00:23:20,388
that music preceded language.

418
00:23:20,388 --> 00:23:23,642
It was making noises together
that people did first.

419
00:23:23,642 --> 00:23:27,062
(singers vocalizing)

420
00:23:27,062 --> 00:23:30,398
And I think one of the
thrills of music is that sense

421
00:23:30,398 --> 00:23:33,068
that you have, that you're
synchronized with something.

422
00:23:33,068 --> 00:23:35,821
(dramatic music)

423
00:23:36,572 --> 00:23:40,909
You know, if you go to a big
concert, 15, 20,000 people,

424
00:23:40,909 --> 00:23:43,411
the thrill of being there
is not just the music,

425
00:23:44,997 --> 00:23:48,208
it's the thrill of being
part of a huge crowd.

426
00:23:48,208 --> 00:23:51,879
Suddenly you stop being
just this one little person

427
00:23:51,879 --> 00:23:54,089
and you're part of a huge tide.

428
00:23:56,049 --> 00:23:59,094
It's that sense of being
part of a bigger you.

429
00:24:00,804 --> 00:24:04,683
I think it's a feeling that
humans have always wanted,

430
00:24:04,683 --> 00:24:07,185
because we're such social beings.

431
00:24:07,185 --> 00:24:09,187
We're hardly individuals at all really.

432
00:24:11,690 --> 00:24:15,694
I think possibly the strongest
drive in human beings

433
00:24:15,694 --> 00:24:17,613
is to belong.

434
00:24:17,613 --> 00:24:22,242
I think it's stronger than the
sex drive, stronger than the,

435
00:24:22,242 --> 00:24:24,578
I want to be top of the heap drive,

436
00:24:24,578 --> 00:24:26,580
stronger than anything really.

437
00:24:26,580 --> 00:24:29,750
The need to feel that
you belong to something.

438
00:24:29,750 --> 00:24:32,335
(audience applauding)

439
00:24:32,335 --> 00:24:33,170
Hello everybody.

440
00:24:34,337 --> 00:24:36,423
I kind of misunderstood this.

441
00:24:36,423 --> 00:24:39,176
I thought there were gonna
be about 15 or 20 people.

442
00:24:39,176 --> 00:24:40,678
(all laughing)

443
00:24:40,678 --> 00:24:41,887
And we were gonna work on a couple

444
00:24:41,887 --> 00:24:45,098
of songs together like I do
with my acapella group at home.

445
00:24:46,391 --> 00:24:48,268
But I guess that won't be the case.

446
00:24:48,268 --> 00:24:49,436
(gentle music)

447
00:24:49,436 --> 00:24:54,441
♪ I gave my all for my dear children ♪

448
00:24:56,484 --> 00:25:01,239
♪ Their problems still with love I share ♪

449
00:25:02,908 --> 00:25:05,869
When you have a group of
people singing together,

450
00:25:05,869 --> 00:25:07,913
there's a level of cooperation

451
00:25:07,913 --> 00:25:09,873
and telepathy involved in that.

452
00:25:09,873 --> 00:25:11,959
That is so beautiful to hear.

453
00:25:11,959 --> 00:25:15,963
♪ Bring them home from anywhere ♪

454
00:25:18,381 --> 00:25:22,427
I think singing is the key
to world peace actually.

455
00:25:22,427 --> 00:25:25,138
And I have this idea that

456
00:25:25,138 --> 00:25:26,765
the more singing groups there are,

457
00:25:26,765 --> 00:25:28,642
the happier everybody will be.

458
00:25:28,642 --> 00:25:32,980
♪ And from that goal some sweet day ♪

459
00:25:37,776 --> 00:25:39,027
That got really good at the end.

460
00:25:39,027 --> 00:25:42,197
(audience applauding)

461
00:25:43,323 --> 00:25:46,076
Thank you so much. It was a
pleasure singing with you.

462
00:25:46,076 --> 00:25:48,912
(computer blipping)

463
00:25:49,371 --> 00:25:50,330
Can I begin?

464
00:25:51,248 --> 00:25:52,082
So here they are.

465
00:25:52,082 --> 00:25:56,754
These were the first Oblique Strategies,

466
00:25:56,754 --> 00:25:59,297
cluster analysis, body percussion.

467
00:26:00,423 --> 00:26:02,509
Look most closely at the most embarrassing

468
00:26:02,509 --> 00:26:04,302
details and amplify them.

469
00:26:04,302 --> 00:26:05,262
Take a break.

470
00:26:06,471 --> 00:26:09,975
I started doing these immediately

471
00:26:09,975 --> 00:26:12,352
after we finished the first Roxy album.

472
00:26:13,186 --> 00:26:15,230
So that was in 1972.

473
00:26:15,230 --> 00:26:16,690
(dramatic music)

474
00:26:16,690 --> 00:26:19,777
We were a new band and we
had a quite tight budget

475
00:26:21,319 --> 00:26:23,196
and a limited time in studio.

476
00:26:23,196 --> 00:26:25,616
So I was just doing what we had to do

477
00:26:25,616 --> 00:26:28,410
and not really living in the situation

478
00:26:28,410 --> 00:26:29,828
that we were in at the moment.

479
00:26:29,828 --> 00:26:32,873
And so I started making a little list of

480
00:26:34,166 --> 00:26:36,585
reminders to myself really.

481
00:26:36,585 --> 00:26:39,212
So I thought I have to make
it so that these things

482
00:26:40,130 --> 00:26:44,677
stop the kind of headlong momentum

483
00:26:44,677 --> 00:26:47,262
and divert me, throw me off at an angle.

484
00:26:47,262 --> 00:26:49,682
So I thought I'll write them onto cards.

485
00:26:49,682 --> 00:26:52,434
(dramatic music)

486
00:26:59,149 --> 00:27:03,904
And my friend Peter Schmidt
had also been keeping

487
00:27:03,904 --> 00:27:06,699
sort of similar ideas to do with painting.

488
00:27:06,699 --> 00:27:10,118
And so his are very nice,

489
00:27:10,118 --> 00:27:12,245
I'll just read a few,
"towards simplicity."

490
00:27:13,664 --> 00:27:16,166
"The light cannot see the shadow."

491
00:27:16,166 --> 00:27:18,669
"Every nuisance is a part of reality."

492
00:27:20,087 --> 00:27:22,715
So it was putting together my cards

493
00:27:23,841 --> 00:27:28,220
and his notes in his book

494
00:27:28,220 --> 00:27:30,681
that gave us the Oblique Strategies.

495
00:27:30,681 --> 00:27:34,267
(dramatic music continues)

496
00:27:37,688 --> 00:27:40,649
The very first one I remember was

497
00:27:41,817 --> 00:27:44,862
"Honor thy error as a hidden intention."

498
00:27:44,862 --> 00:27:47,740
If something happens
that you didn't expect,

499
00:27:47,740 --> 00:27:51,201
the tendency is to get rid of it

500
00:27:51,201 --> 00:27:52,953
because you don't know
where it's gonna lead you

501
00:27:52,953 --> 00:27:55,372
and you don't have time to think about it.

502
00:27:55,372 --> 00:27:57,415
So you tend to just reject it.

503
00:27:58,500 --> 00:28:02,630
Whereas I thought, well if
I'm working at home on my own,

504
00:28:02,630 --> 00:28:04,965
I often get the best results

505
00:28:04,965 --> 00:28:07,300
by actually following those things.

506
00:28:07,300 --> 00:28:09,887
Seeing where that's going
that I wasn't going.

507
00:28:12,139 --> 00:28:13,515
You always have habits, you know,

508
00:28:13,515 --> 00:28:15,893
habits develop very quickly.

509
00:28:15,893 --> 00:28:18,687
I just think it's always
worth questioning those

510
00:28:18,687 --> 00:28:20,898
sorts of assumptions.

511
00:28:20,898 --> 00:28:23,233
You know, it might turn
out that they're right.

512
00:28:24,526 --> 00:28:26,862
It's not to say that
you never, ever resort

513
00:28:26,862 --> 00:28:28,530
to that model again,

514
00:28:28,530 --> 00:28:31,033
but it's just saying,
what about if we don't do

515
00:28:31,033 --> 00:28:32,200
it that way this time?

516
00:28:34,161 --> 00:28:37,080
I mean, I use them when
I'm in a fix really.

517
00:28:37,080 --> 00:28:40,042
I don't really use them for fun that much,

518
00:28:40,042 --> 00:28:42,586
but it's quite fun using them if you're

519
00:28:42,586 --> 00:28:43,962
playing with other people.

520
00:28:45,798 --> 00:28:47,716
One of the games that David Bowie

521
00:28:47,716 --> 00:28:51,845
and I used to do was we
would each pull a card

522
00:28:53,055 --> 00:28:58,060
and keep it secret, not tell
each other what we'd got.

523
00:28:58,936 --> 00:29:02,773
And so we'd both be proceeding
under some kind of order,

524
00:29:02,773 --> 00:29:05,734
(note rumbling)

525
00:29:05,734 --> 00:29:07,611
and then at the end we'd
find out what it was.

526
00:29:07,611 --> 00:29:10,030
(soft music)

527
00:29:11,031 --> 00:29:14,910
I remember one day when we
were working in Berlin on those

528
00:29:14,910 --> 00:29:16,954
sessions, I guess for "Heroes."

529
00:29:16,954 --> 00:29:19,164
We were working on something together.

530
00:29:19,164 --> 00:29:20,498
The piece was going through sort

531
00:29:20,498 --> 00:29:23,168
of quite radical transformations

532
00:29:23,168 --> 00:29:26,296
as it went back and forth between us.

533
00:29:26,296 --> 00:29:27,590
(soft music continues)

534
00:29:27,590 --> 00:29:29,382
And so we'd each pulled the card

535
00:29:29,382 --> 00:29:32,595
and my card "was change nothing

536
00:29:32,595 --> 00:29:35,889
"and continue with
immaculate consistency,"

537
00:29:35,889 --> 00:29:40,769
and his card was "destroy
the most important thing."

538
00:29:40,769 --> 00:29:42,605
(Brian laughing)

539
00:29:42,605 --> 00:29:45,190
So out of that came,

540
00:29:45,190 --> 00:29:48,193
I think it was the
piece called “Moss Garden”

541
00:29:48,193 --> 00:29:49,987
I think came out of that.

542
00:29:49,987 --> 00:29:53,156
You'd never know from
those two instructions.

543
00:29:53,156 --> 00:29:55,576
(soft music)

544
00:29:59,287 --> 00:30:00,956
But that was fun.

545
00:30:00,956 --> 00:30:03,709
We used to do game playing like that.

546
00:30:05,711 --> 00:30:09,757
It just tilts things in an
interesting way sometimes

547
00:30:11,842 --> 00:30:13,886
- A lot of the recording
situation for Brian

548
00:30:13,886 --> 00:30:17,681
and myself is sort of a a
what if kind of situation.

549
00:30:17,681 --> 00:30:21,226
It's like there's a lot of
play involved with what we do.

550
00:30:23,646 --> 00:30:25,773
In the late seventies when
we worked together,

551
00:30:25,773 --> 00:30:27,482
a couple of the guys in
our band at that time

552
00:30:27,482 --> 00:30:32,487
found what Brian and I wanted
to do kind of stupid and childish

553
00:30:33,614 --> 00:30:34,907
and I guess they're probably right,

554
00:30:34,907 --> 00:30:38,326
but it produces great results. (laughing)

555
00:30:38,326 --> 00:30:41,246
(energetic music)

556
00:30:52,591 --> 00:30:54,885
- I dunno. (laughing)

557
00:30:54,885 --> 00:30:57,220
It's always a really
embarrassing question for me,

558
00:30:57,220 --> 00:31:00,182
'cause I'm not quite sure
what it is that Brian does.

559
00:31:00,182 --> 00:31:02,059
He doesn't play very much.

560
00:31:02,059 --> 00:31:04,978
I always mix my albums.

561
00:31:04,978 --> 00:31:06,814
So I guess it has something to do

562
00:31:06,814 --> 00:31:10,358
with the fact when he puts some
stuff into a work situation,

563
00:31:10,358 --> 00:31:14,738
he just changes the parameters
of what you're doing more

564
00:31:14,738 --> 00:31:18,867
by verbalizing different
approaches to what one does.

565
00:31:18,867 --> 00:31:22,079
So it's more, it's more kind
of a philosophic content

566
00:31:22,079 --> 00:31:23,330
with Brian.

567
00:31:23,330 --> 00:31:27,000
(energetic music continues)

568
00:31:27,835 --> 00:31:30,462
- Working with Bowie, the
most interesting thing

569
00:31:30,462 --> 00:31:33,716
was watching him adjust the character.

570
00:31:33,716 --> 00:31:35,718
- Hello, Space Boy!

571
00:31:36,009 --> 00:31:40,263
- And of course the best pop
singers are always inventions.

572
00:31:40,263 --> 00:31:43,391
They're sort of characters
that you put onto stage.

573
00:31:45,310 --> 00:31:48,438
When you're singing you
think, who am I being now?

574
00:31:49,564 --> 00:31:50,858
Where am I coming from?

575
00:31:52,359 --> 00:31:54,527
I remember one song we worked on.

576
00:31:54,527 --> 00:31:56,989
He goes in and does a vocal.

577
00:31:56,989 --> 00:31:58,490
He comes back out, listens to it.

578
00:31:58,490 --> 00:32:01,702
He says, "It's a bit
lumberjack, isn't it?"

579
00:32:02,911 --> 00:32:05,205
(laughing) And I knew
exactly what he meant.

580
00:32:06,164 --> 00:32:09,835
He said, "I think he
needs to have a bit more

581
00:32:09,835 --> 00:32:13,505
"of a nine to five job." (laughing)

582
00:32:13,505 --> 00:32:16,466
And then he goes out
and does another vocal

583
00:32:16,466 --> 00:32:20,512
where this character is less macho

584
00:32:20,512 --> 00:32:25,058
and sort of assertive,
and is slightly confined

585
00:32:25,058 --> 00:32:27,936
and slightly looking over his shoulder.

586
00:32:27,936 --> 00:32:31,189
You know, somebody's
his boss sort of thing.

587
00:32:31,189 --> 00:32:34,401
Just the nature of the
voice carries a message.

588
00:32:34,401 --> 00:32:37,821
And I think in pop music,
that's always what you're doing.

589
00:32:37,821 --> 00:32:40,032
Who is this person singing this song?

590
00:32:45,287 --> 00:32:50,292
♪ I, I wish you could swim ♪

591
00:32:53,545 --> 00:32:54,379
♪ Like the dolphins ♪

592
00:32:54,379 --> 00:32:56,965
The record was just called "Heroes."

593
00:32:56,965 --> 00:32:59,051
I think that concept is important

594
00:33:00,928 --> 00:33:03,639
because again, the voice is heroic.

595
00:33:05,057 --> 00:33:09,645
The voice is a careful construction
of somebody standing up

596
00:33:09,645 --> 00:33:14,357
and saying, you know, "I'm here
and I'm gonna brave it out."

597
00:33:14,357 --> 00:33:17,736
“I'm gonna face it out.”
That's all in the voice.

598
00:33:18,278 --> 00:33:23,283
♪ Though nothing will drive them away ♪

599
00:33:26,036 --> 00:33:31,041
♪ We can be heroes just for one day ♪

600
00:33:35,087 --> 00:33:39,424
♪ And we can be us just for one day ♪

601
00:33:42,302 --> 00:33:45,305
(computer blipping)

602
00:33:55,733 --> 00:33:57,484
- Retrace your steps.

603
00:33:58,401 --> 00:34:01,154
(dramatic music)

604
00:34:14,835 --> 00:34:18,421
(dramatic music continues)

605
00:34:24,552 --> 00:34:26,346
(dramatic music continues)

606
00:34:26,346 --> 00:34:28,098
(tone beeping)

607
00:34:28,098 --> 00:34:29,516
(audience applauding)

608
00:34:29,516 --> 00:34:30,893
(person laughing)

609
00:34:30,893 --> 00:34:33,311
- Our next category is for Best Producer,

610
00:34:33,311 --> 00:34:35,939
and to present the award, Mr. Bryan Ferry.

611
00:34:35,939 --> 00:34:39,109
(audience applauding)

612
00:34:43,155 --> 00:34:44,740
- Hello.

613
00:34:44,740 --> 00:34:47,534
And the winner is Brian Eno

614
00:34:47,534 --> 00:34:49,828
for James’s Get Laid and U2’s Zooropa.

615
00:34:49,828 --> 00:34:50,913
(audience applauding)

616
00:34:50,913 --> 00:34:53,749
(energetic music)

617
00:34:56,126 --> 00:34:57,169
- [Announcer] Brian Eno, one of rock's

618
00:34:57,169 --> 00:34:58,879
most sought after producers.

619
00:34:58,879 --> 00:35:03,300
Other credits: Devo,
David Bowie, Ultrvox, Carmel,

620
00:35:03,300 --> 00:35:05,719
John Cale, and Talking Heads.

621
00:35:08,055 --> 00:35:08,889
- Thank you very much.

622
00:35:08,889 --> 00:35:10,223
This is a big surprise.

623
00:35:11,141 --> 00:35:12,517
As you probably all realize

624
00:35:12,517 --> 00:35:15,478
that making records, like most aspects

625
00:35:15,478 --> 00:35:18,273
of modern culture, is a
highly cooperative enterprise.

626
00:35:18,273 --> 00:35:22,861
And lots and lots of people
are involved, including

627
00:35:22,861 --> 00:35:25,614
that sniveling coward
known as the producer.

628
00:35:25,614 --> 00:35:27,074
Well, I'm one of those.

629
00:35:27,074 --> 00:35:28,951
(audience applauding)
Thank you very much.

630
00:35:31,829 --> 00:35:35,373
A lot of my work as a producer was saying,

631
00:35:35,373 --> 00:35:37,918
where in this have we never been before?

632
00:35:37,918 --> 00:35:40,754
What's the thing that
we've never heard before?

633
00:35:40,754 --> 00:35:42,798
Let's make something of that.

634
00:35:42,798 --> 00:35:45,926
If you do that and pull
it off, it's a big thrill.

635
00:35:45,926 --> 00:35:48,470
- [Voice On Computer] Is
grammatically correct.

636
00:35:48,470 --> 00:35:50,055
- Just shut up.

637
00:35:50,055 --> 00:35:53,726
- [Kuti] Ready, ready,
one, two, three, four.

638
00:35:53,726 --> 00:35:56,645
(energetic music)

639
00:35:57,938 --> 00:36:00,232
When I first started
listening to Fela Kuti,

640
00:36:00,482 --> 00:36:03,318
it absolutely was like
taking drugs for me.

641
00:36:03,318 --> 00:36:05,821
I just, I sat there, I listened

642
00:36:05,821 --> 00:36:07,405
to it again and again and again.

643
00:36:10,868 --> 00:36:14,830
The incessant ferocity of
that just knocked me out.

644
00:36:14,830 --> 00:36:19,585
And when I first met Talking
Heads, I took them to my flat

645
00:36:19,585 --> 00:36:20,753
and played them this record

646
00:36:20,753 --> 00:36:24,047
and I said, "This is the
music of the future."

647
00:36:24,047 --> 00:36:27,550
♪ To describe her ♪

648
00:36:27,550 --> 00:36:30,345
There's this kind of cascade
of backing vocalists.

649
00:36:32,931 --> 00:36:35,809
it's very much like what Fela was doing

650
00:36:35,809 --> 00:36:37,770
with the brass sections.

651
00:36:37,770 --> 00:36:40,522
♪ Darker, darker ♪

652
00:36:42,983 --> 00:36:44,317
See, that's a brass part really.

653
00:36:46,737 --> 00:36:51,742
♪ She is moving by remote control ♪

654
00:36:52,910 --> 00:36:54,244
♪ World of light ♪

655
00:36:55,162 --> 00:36:58,749
I'll play you one more,
not by Talking Heads,

656
00:36:58,749 --> 00:37:01,752
but this, this was an example of--

657
00:37:01,752 --> 00:37:02,961
(indistinct voice)

658
00:37:02,961 --> 00:37:04,171
Oh, shut up, you.

659
00:37:04,171 --> 00:37:06,840
- [Announcer] Waiting for
you to fill with your family.

660
00:37:07,675 --> 00:37:10,678
- This is "Moment of Surrender" by U2.

661
00:37:10,678 --> 00:37:14,264
Okay, so this song, this had
a very interesting beginning.

662
00:37:14,264 --> 00:37:15,599
(energetic music)

663
00:37:15,599 --> 00:37:19,227
Danny Lanois and I always used
to get into the studio early

664
00:37:19,227 --> 00:37:21,939
so the band would walk
into something exciting.

665
00:37:23,106 --> 00:37:24,733
We found that was a good technique

666
00:37:24,733 --> 00:37:28,278
for getting something going
rather than walking in

667
00:37:28,278 --> 00:37:29,321
and sort of listening to

668
00:37:29,321 --> 00:37:31,531
what we'd done yesterday
or something like that.

669
00:37:31,531 --> 00:37:36,536
So I was playing with this
loop that had a kind of

670
00:37:36,536 --> 00:37:40,874
strange camel-like lope to it, you know?

671
00:37:40,874 --> 00:37:43,293
(loping music)

672
00:37:43,293 --> 00:37:46,421
That's it.
(energetic music)

673
00:37:48,591 --> 00:37:49,758
It's really...

674
00:37:53,345 --> 00:37:54,471
I was playing with it and trying

675
00:37:54,471 --> 00:37:56,014
to straighten out a little bit.

676
00:37:56,014 --> 00:37:57,975
It was kind of a weird loop.

677
00:37:57,975 --> 00:38:01,436
But before I got it sorted
out, Larry walked in

678
00:38:01,436 --> 00:38:03,981
and just started drumming
with it as it was.

679
00:38:03,981 --> 00:38:06,108
And as soon as he came
in, I thought, this is it.

680
00:38:06,108 --> 00:38:08,318
This is the big song for this album.

681
00:38:10,112 --> 00:38:12,239
(energetic music)

682
00:38:12,239 --> 00:38:15,909
♪ I tied myself with wire ♪

683
00:38:15,909 --> 00:38:19,079
I made the verse two
measures longer than you

684
00:38:19,079 --> 00:38:20,748
would expect it to be.

685
00:38:20,748 --> 00:38:23,083
I've always thought
that you're more likely

686
00:38:23,083 --> 00:38:26,419
to get a good piece of
music if you start on a more

687
00:38:26,419 --> 00:38:28,714
complicated terrain of some kind.

688
00:38:28,714 --> 00:38:32,760
So this, this was an interesting
terrain, first of all,

689
00:38:32,760 --> 00:38:35,512
a clumsiness built into the beat

690
00:38:36,889 --> 00:38:40,225
and an awkwardness built into
the shape of the whole song.

691
00:38:40,225 --> 00:38:43,103
But that little thing, (imitates beat)

692
00:38:43,103 --> 00:38:44,980
which I don't know,

693
00:38:44,980 --> 00:38:48,358
it gives a signature to the
thing that is very unusual.

694
00:38:49,401 --> 00:38:52,195
Shall we have lunch now? (laughing)

695
00:38:52,905 --> 00:38:57,409
(audio clips running together rapidly)

696
00:39:00,370 --> 00:39:03,290
(energetic music)

697
00:39:12,507 --> 00:39:14,593
(energetic music continues)

698
00:39:17,512 --> 00:39:21,058
So I was living in New
York in the eighties

699
00:39:21,058 --> 00:39:24,144
and that was a very exciting
time in a way in New York

700
00:39:24,144 --> 00:39:26,396
'cause there was a lot
of activity downtown.

701
00:39:26,396 --> 00:39:28,649
And I was living on West Eighth Street

702
00:39:28,649 --> 00:39:30,483
near Washington Square Park.

703
00:39:30,483 --> 00:39:32,570
(energetic music)

704
00:39:32,570 --> 00:39:36,489
To set the scene, Washington
Square Park was always busy,

705
00:39:36,489 --> 00:39:38,200
there was always a lot going on,

706
00:39:38,200 --> 00:39:39,952
lots of different types of things.

707
00:39:41,203 --> 00:39:43,622
And one of the things I saw
there one day, I was walking

708
00:39:43,622 --> 00:39:46,291
through and I saw this
one guy sitting there

709
00:39:47,417 --> 00:39:50,003
playing an auto harp with little hammers.

710
00:39:50,003 --> 00:39:53,632
And there was just this
sort of little oasis

711
00:39:53,632 --> 00:39:55,550
of calmness around him.

712
00:39:56,468 --> 00:39:58,721
This turned out to Laraaji.

713
00:39:58,721 --> 00:40:03,308
- At the time that Brian Eno approached me

714
00:40:03,308 --> 00:40:07,855
with a note, I was playing
music in Washington Square Park.

715
00:40:07,855 --> 00:40:10,357
I usually play with my
eyes closed or half closed.

716
00:40:11,900 --> 00:40:14,778
And of course I was accepting donations.

717
00:40:14,778 --> 00:40:18,616
And after one evening of
playing music, I opened my eyes

718
00:40:18,616 --> 00:40:22,953
and there in the tray, in
addition to money, was a note.

719
00:40:22,953 --> 00:40:24,955
He didn't know my name or
how to get in touch with me,

720
00:40:24,955 --> 00:40:27,040
but obviously he had to leave early.

721
00:40:27,040 --> 00:40:29,042
So he left a note on how I
can get in touch with him.

722
00:40:29,042 --> 00:40:32,045
And he expressed his interest in exploring

723
00:40:32,045 --> 00:40:34,089
a recording project.

724
00:40:34,089 --> 00:40:36,592
Within two weeks we were in the studio.

725
00:40:37,509 --> 00:40:39,637
- So I met him and we became friends

726
00:40:39,637 --> 00:40:41,138
and we made the record,

727
00:40:43,599 --> 00:40:46,559
I think in one afternoon I think was,

728
00:40:46,559 --> 00:40:48,561
he just came into the studio and played.

729
00:40:50,063 --> 00:40:52,357
It's very bright, what he does.

730
00:40:52,357 --> 00:40:53,734
It always makes me think of, you know,

731
00:40:53,734 --> 00:40:56,111
when you're looking at a lake
and the sun is shining on it

732
00:40:56,111 --> 00:41:01,366
and there's just this
constant susurration of light.

733
00:41:02,117 --> 00:41:05,996
And of course what I love
about it is this quiet,

734
00:41:05,996 --> 00:41:09,833
strong sense of being alive in the moment,

735
00:41:09,833 --> 00:41:12,335
which he is more than
actually anybody else I know.

736
00:41:12,335 --> 00:41:15,255
(energetic music)

737
00:41:25,223 --> 00:41:28,894
(energetic music continues)

738
00:41:39,237 --> 00:41:42,908
(energetic music continues)

739
00:41:49,539 --> 00:41:52,084
(audio clips bleeding together)

740
00:41:52,084 --> 00:41:53,627
(computer blipping)

741
00:41:53,627 --> 00:41:56,463
(energetic music)

742
00:42:04,096 --> 00:42:07,766
(energetic music continues)

743
00:42:22,781 --> 00:42:26,451
(energetic music continues)

744
00:42:40,382 --> 00:42:44,052
(energetic music continues)

745
00:42:57,983 --> 00:42:59,109
♪ Jolly roger in a pickup ♪

746
00:42:59,109 --> 00:43:00,318
♪ Has a packet on the horses ♪

747
00:43:00,318 --> 00:43:01,528
♪ He's a docker with a bucket ♪

748
00:43:01,528 --> 00:43:03,614
♪ Just the ticket in a thicket ♪

749
00:43:07,284 --> 00:43:08,410
♪ Silly sally isn't pally ♪

750
00:43:08,410 --> 00:43:09,662
♪ With the crackers in the alley: ♪

751
00:43:09,662 --> 00:43:10,663
♪ She's a smacker and a whacker ♪

752
00:43:10,663 --> 00:43:12,372
♪ Wouldn't dally with a slacker ♪

753
00:43:16,585 --> 00:43:17,628
♪ Sally keeping in her locker ♪

754
00:43:17,628 --> 00:43:19,296
♪ Little packets for
the docker jolly roger ♪

755
00:43:19,296 --> 00:43:22,007
♪ Looking pretty, just
the sucker for a shocker ♪

756
00:43:25,886 --> 00:43:26,970
♪ Jolly roger in a pickup ♪

757
00:43:26,970 --> 00:43:28,096
♪ Has a packet on the horses ♪

758
00:43:28,096 --> 00:43:29,264
♪ He's a docker with a bucket ♪

759
00:43:29,264 --> 00:43:31,725
♪ Just the ticket in a thicket ♪

760
00:43:34,895 --> 00:43:36,605
- [Interviewer] So what was this about?

761
00:43:36,605 --> 00:43:40,859
- This is all latex here, which
as you know, is an extremely

762
00:43:40,859 --> 00:43:42,527
flexible material.

763
00:43:42,527 --> 00:43:47,449
And this is not, this experiment is not,

764
00:43:47,449 --> 00:43:50,535
as yet, a complete success, I must say,

765
00:43:50,535 --> 00:43:52,913
but it's an attempt to see

766
00:43:52,913 --> 00:43:56,083
what happens if you make
a speaker that is allowed

767
00:43:56,083 --> 00:43:58,251
to flop around and hear it.

768
00:43:58,251 --> 00:44:02,505
(energetic scratchy music playing)

769
00:44:07,177 --> 00:44:09,638
Oh, I think I've just
blown that one up probably.

770
00:44:09,638 --> 00:44:11,514
(interviewer laughing)

771
00:44:11,514 --> 00:44:14,142
Yeah. Oh, dear me, it's done
something seriously bad.

772
00:44:15,477 --> 00:44:17,479
(metal thumping)

773
00:44:17,479 --> 00:44:18,480
Hey, listen to that.

774
00:44:20,733 --> 00:44:23,777
(metal thumping)

775
00:44:27,823 --> 00:44:29,950
Well, anyway, I won't, I
won't bore you with that,

776
00:44:29,950 --> 00:44:32,620
but that's rather an
interesting effect as well.

777
00:44:32,620 --> 00:44:35,288
It's blown the amplifier
up in a funny way, I think.

778
00:44:35,288 --> 00:44:37,082
(Computer blipping)

779
00:44:37,082 --> 00:44:40,002
(soft music)

780
00:44:40,002 --> 00:44:42,921
- And here they're midway
through a series of concerts

781
00:44:42,921 --> 00:44:44,089
that are described in the program

782
00:44:44,089 --> 00:44:46,258
as “seamless musical invention,”

783
00:44:46,258 --> 00:44:48,218
ideal for lovers of all things ambient.

784
00:44:48,218 --> 00:44:50,846
Music from people like
Michael Nyman, Robert Fripp,

785
00:44:50,846 --> 00:44:52,139
the Penguin Cafe Orchestra,

786
00:44:52,139 --> 00:44:53,390
and visuals by the man

787
00:44:53,390 --> 00:44:54,850
that many believe is the founding father

788
00:44:54,850 --> 00:44:56,769
of ambient, Brian Eno.

789
00:44:58,478 --> 00:45:01,481
- I think I'm one of the founding
fathers of the recognition

790
00:45:01,481 --> 00:45:03,817
that there are other ways of hearing music

791
00:45:03,817 --> 00:45:05,443
and other ways of using music.

792
00:45:07,070 --> 00:45:10,323
(soft music continues)

793
00:45:15,162 --> 00:45:17,289
The first really conscious piece

794
00:45:17,289 --> 00:45:21,752
of ambient music I made
was Discreet Music.

795
00:45:21,752 --> 00:45:23,461
That was 1975.

796
00:45:25,463 --> 00:45:29,092
And I had already been
playing with different kinds

797
00:45:29,092 --> 00:45:31,428
of listening experiences.

798
00:45:31,428 --> 00:45:34,139
1, 2, 3.

799
00:45:38,894 --> 00:45:42,397
I was getting more and more
drawn to the idea of trying

800
00:45:42,397 --> 00:45:46,443
to make music that did
something in your life,

801
00:45:46,443 --> 00:45:48,528
because I was using music that way.

802
00:45:48,528 --> 00:45:51,615
(soft ambient music)

803
00:45:54,242 --> 00:45:56,829
I call the music I've
been doing ambient music,

804
00:45:56,829 --> 00:46:00,583
taking the sense of an
ambience as an atmosphere,

805
00:46:00,583 --> 00:46:03,501
or a surrounding influence, or a tint.

806
00:46:03,501 --> 00:46:07,172
The type of situation I
imagine this being used in is

807
00:46:07,214 --> 00:46:10,550
by creative people who pay
attention to the construction

808
00:46:10,550 --> 00:46:13,261
of their environment, who
pay attention to the types

809
00:46:13,261 --> 00:46:16,139
of lights they use, to the positioning

810
00:46:16,139 --> 00:46:19,559
of their working surface
in relation to a window.

811
00:46:19,559 --> 00:46:22,562
And who pay the same kind of
attention to the kind of sound

812
00:46:22,562 --> 00:46:24,189
that they have in the environment.

813
00:46:24,189 --> 00:46:28,652
So they regard the whole,
the sensory construction

814
00:46:28,652 --> 00:46:31,321
that surrounds them as one thing designed

815
00:46:31,321 --> 00:46:34,199
to create a useful mood for them.

816
00:46:35,533 --> 00:46:38,495
That's why I make that music
and that's why I listen to it.

817
00:46:42,666 --> 00:46:46,128
It's a funny thing. I think
my biggest contribution

818
00:46:46,128 --> 00:46:49,131
to a lot of things has been slowness.

819
00:46:49,131 --> 00:46:52,801
There are so many things
that happen at slower speeds

820
00:46:52,801 --> 00:46:55,679
that don't happen fast.

821
00:46:55,679 --> 00:46:58,181
And it's because really they're
happening in your brain.

822
00:46:58,181 --> 00:47:01,518
It's your brain kind of dealing with

823
00:47:01,518 --> 00:47:04,813
what is a comparative
paucity of information.

824
00:47:06,148 --> 00:47:08,692
We're used to a fast
rate of stimulus,

825
00:47:08,692 --> 00:47:11,069
particularly with modern media.

826
00:47:11,069 --> 00:47:14,740
And when that doesn't happen,
the brain becomes very active

827
00:47:14,740 --> 00:47:19,703
to kind of occupy that area, that vacuum.

828
00:47:20,996 --> 00:47:23,206
It's to do with the slowness of it

829
00:47:23,206 --> 00:47:25,834
and to do with what that does to you.

830
00:47:27,210 --> 00:47:29,462
(soft music)

831
00:47:29,462 --> 00:47:30,881
I've never been able to meditate,

832
00:47:30,881 --> 00:47:33,466
but I suppose it's a little bit like that,

833
00:47:33,466 --> 00:47:36,219
from what people tell me about meditation.

834
00:47:36,219 --> 00:47:38,972
I'm much too nervous to ever meditate,

835
00:47:40,515 --> 00:47:41,892
but I think that's sort of

836
00:47:41,892 --> 00:47:44,477
what I'm doing when I make these things.

837
00:47:44,477 --> 00:47:47,105
I'm making an occasion for myself to

838
00:47:48,941 --> 00:47:50,275
just stop. (Laughing)

839
00:47:51,193 --> 00:47:53,236
Just move at a
different speed. You know?

840
00:47:54,780 --> 00:47:57,199
(soft music)

841
00:48:10,045 --> 00:48:15,050
The general public have
always been extremely kind.

842
00:48:15,676 --> 00:48:21,389
- New age music, Brian Eno,
synthesizers, ambiance music.

843
00:48:21,682 --> 00:48:23,266
- It's rather slow.

844
00:48:24,101 --> 00:48:25,268
- I mean, it's the kind of music you use

845
00:48:25,268 --> 00:48:26,645
for these things like healing

846
00:48:26,645 --> 00:48:29,982
and that you would use for meditation.

847
00:48:30,983 --> 00:48:33,318
- But critics, they just
thought it was bogus.

848
00:48:33,318 --> 00:48:35,320
Like a con, you know?

849
00:48:35,320 --> 00:48:37,530
"Oh, he's gonna do a whole
bloody album of that."

850
00:48:37,530 --> 00:48:38,365
(Brian laughing)

851
00:48:38,365 --> 00:48:39,950
That's money for old rope, isn't it?

852
00:48:39,950 --> 00:48:42,410
- I was in a record shop
in Atlanta last year

853
00:48:42,410 --> 00:48:44,287
and the only things that were
in the shop, apart from lots

854
00:48:44,287 --> 00:48:47,875
of pseudo Greek columns, were
these records of ambient music

855
00:48:47,875 --> 00:48:49,209
with landscape sleeves.

856
00:48:49,209 --> 00:48:50,543
Please, you know, it's music for people

857
00:48:50,543 --> 00:48:51,837
who don't actually like music.

858
00:48:52,713 --> 00:48:55,465
- I honestly felt really disappointed

859
00:48:55,465 --> 00:48:58,218
and hurt actually, that something

860
00:48:58,218 --> 00:49:00,721
that I'd done in good faith, thinking

861
00:49:00,721 --> 00:49:03,682
I've really got something good here,

862
00:49:03,682 --> 00:49:07,352
could only be greeted
with sort of derision.

863
00:49:07,352 --> 00:49:10,689
And in fact, there was
a period when my name

864
00:49:10,689 --> 00:49:12,816
became an adjective in this country

865
00:49:12,816 --> 00:49:17,362
and it meant wimpy.

866
00:49:17,362 --> 00:49:20,532
The word Eno-esque became a word

867
00:49:20,532 --> 00:49:23,076
that people would use in reviews as a kind

868
00:49:23,076 --> 00:49:24,662
of thumbs down, you know?

869
00:49:25,621 --> 00:49:27,539
And in fact, that led to

870
00:49:29,875 --> 00:49:32,294
the greatest mistake of my career.

871
00:49:33,170 --> 00:49:37,716
Joni Mitchell, who I admired enormously,

872
00:49:37,716 --> 00:49:39,134
she phoned me and said,

873
00:49:41,511 --> 00:49:43,806
"I want to make an
ambient record with you."

874
00:49:46,099 --> 00:49:48,143
And I was just thinking, I never want

875
00:49:48,143 --> 00:49:50,520
to hear the word ambient again in my life

876
00:49:50,520 --> 00:49:55,317
because I'd had so much
shit heaped on me for it.

877
00:49:55,317 --> 00:49:56,694
And I said, "I'm sorry,

878
00:49:56,694 --> 00:49:58,821
"I'm just not doing
that kind of thing now.

879
00:49:59,697 --> 00:50:00,864
"You know, I love your
work and everything,"

880
00:50:00,864 --> 00:50:04,993
but I just, I thought
fuck, why didn't I say yes?

881
00:50:06,286 --> 00:50:07,830
Why didn't I say yes?

882
00:50:07,830 --> 00:50:12,125
I can't imagine what that could have been.

883
00:50:14,419 --> 00:50:17,923
Joni, I'm still here. (laughing)

884
00:50:17,923 --> 00:50:20,926
I'm ready, I'm ready at last.

885
00:50:20,926 --> 00:50:21,760
I'll do it.

886
00:50:32,688 --> 00:50:34,564
When working in a studio,

887
00:50:35,440 --> 00:50:38,026
or actually in much of
the rest of my life,

888
00:50:38,026 --> 00:50:39,903
I always have a little recorder with me.

889
00:50:39,903 --> 00:50:41,279
I can't write music.

890
00:50:41,279 --> 00:50:44,658
So if I want to remember a melody

891
00:50:44,658 --> 00:50:47,410
or something, I do it
just by recording it.

892
00:50:47,410 --> 00:50:51,456
So Gary and his crew here have
forced me to listen to some

893
00:50:51,456 --> 00:50:55,127
of these absolutely appalling tapes,

894
00:50:55,127 --> 00:50:58,046
which are mostly full of utter shite.

895
00:50:59,006 --> 00:51:03,301
This is an MC 60, so that must be 1990.

896
00:51:03,301 --> 00:51:05,262
(bright music)

897
00:51:05,262 --> 00:51:07,222
Here they are. (laughing)

898
00:51:07,222 --> 00:51:08,431
(Brian humming)

899
00:51:08,431 --> 00:51:13,436
♪ Alisado ♪

900
00:51:13,646 --> 00:51:14,479
♪ Hey ♪

901
00:51:14,479 --> 00:51:15,981
I could sing higher then.

902
00:51:15,981 --> 00:51:18,400
(indistinct)

903
00:51:19,652 --> 00:51:23,196
(Brian humming on recorder)

904
00:51:23,196 --> 00:51:25,658
Oh God, shut up.

905
00:51:25,658 --> 00:51:28,160
This is soon going to
become quite embarrassing,

906
00:51:29,327 --> 00:51:30,537
'cause it's all right to know

907
00:51:30,537 --> 00:51:32,289
that somebody did this once or twice.

908
00:51:32,289 --> 00:51:35,542
But to think that they did it for hours

909
00:51:36,293 --> 00:51:38,170
and weeks and months and years.

910
00:51:38,170 --> 00:51:41,131
(recorder rewinding)

911
00:51:41,131 --> 00:51:44,760
I feel like I've hated
myself for liking it.

912
00:51:44,760 --> 00:51:46,679
I hate to think that I
could have liked myself

913
00:51:46,679 --> 00:51:47,596
for hating it.

914
00:51:47,596 --> 00:51:48,430
(Brian laughing)

915
00:51:48,430 --> 00:51:50,683
I hated liking myself for liking to think

916
00:51:50,683 --> 00:51:52,976
that it should have been obvious.

917
00:51:52,976 --> 00:51:54,978
I hated liking myself for thinking

918
00:51:54,978 --> 00:51:57,480
that I liked hating myself.

919
00:51:57,480 --> 00:52:02,485
(Brian laughing)
(indistinct)

920
00:52:02,778 --> 00:52:05,614
(energetic music)

921
00:52:12,996 --> 00:52:13,914
This is U2.

922
00:52:14,998 --> 00:52:18,001
(singer vocalizing)

923
00:52:24,299 --> 00:52:26,176
That's me and Bono

924
00:52:29,972 --> 00:52:32,140
(Brian humming)

925
00:52:32,140 --> 00:52:34,517
(soft music)

926
00:52:35,268 --> 00:52:37,062
- Ready when you are.

927
00:52:37,062 --> 00:52:38,396
- We're ready when you are.

928
00:52:40,065 --> 00:52:44,027
(energetic music)
(indistinct)

929
00:52:44,027 --> 00:52:49,032
Most people write songs
not in the way you imagine.

930
00:52:49,032 --> 00:52:51,660
You know, people normally
imagine somebody sitting down,

931
00:52:51,660 --> 00:52:53,203
they strum the guitar

932
00:52:53,203 --> 00:52:55,497
and they write down the first line,

933
00:52:55,497 --> 00:52:58,250
then they strum, they,
write down the second line.

934
00:52:58,250 --> 00:53:01,003
I've never seen anybody
write a song like that.

935
00:53:01,003 --> 00:53:03,213
I've seen lots of songs being written.

936
00:53:03,213 --> 00:53:05,674
I have never seen a
song written like that.

937
00:53:05,674 --> 00:53:09,469
(energetic music)
(indistinct singing)

938
00:53:09,469 --> 00:53:12,264
What normally happens is
that people start playing

939
00:53:12,264 --> 00:53:13,473
and they go, (singing indistinctly).

940
00:53:21,064 --> 00:53:26,069
You know, they're singing,
they're getting a feeling.

941
00:53:26,654 --> 00:53:28,280
That's a person who's singing that.

942
00:53:28,280 --> 00:53:31,283
That's a different, and
as opposed to if I go,

943
00:53:31,283 --> 00:53:36,288
♪ Ooh sir, I'm all alone (indistinct) ♪

944
00:53:36,413 --> 00:53:38,791
That's another person with another world.

945
00:53:40,500 --> 00:53:43,295
So people nearly always, in my experience,

946
00:53:43,295 --> 00:53:44,546
start songs like that.

947
00:53:44,546 --> 00:53:46,674
They're just singing shit, really.

948
00:53:46,674 --> 00:53:51,679
♪ Sing a song, (indistinct) ♪

949
00:53:53,013 --> 00:53:58,018
♪ I'll be (indistinct) love song ♪

950
00:54:01,354 --> 00:54:04,524
What they're doing is they're
defining a personality.

951
00:54:04,524 --> 00:54:05,358
Is it vigorous?

952
00:54:05,358 --> 00:54:06,568
Is it retiring?

953
00:54:06,568 --> 00:54:07,778
Is it confident?

954
00:54:07,778 --> 00:54:09,196
Is it humble?

955
00:54:09,196 --> 00:54:10,530
They're making a person,

956
00:54:11,489 --> 00:54:14,492
and that person is gonna
exist in this musical world

957
00:54:14,492 --> 00:54:16,244
that is also being made.

958
00:54:16,244 --> 00:54:19,081
(energetic music)

959
00:54:27,505 --> 00:54:31,176
(energetic music continues)

960
00:54:34,972 --> 00:54:36,389
Think I would just like to know

961
00:54:36,389 --> 00:54:39,935
that we have got a good take
if you, even if there are one

962
00:54:39,935 --> 00:54:41,561
or two things to repair,

963
00:54:42,938 --> 00:54:47,234
and then we can go on with
some sense of, less sense

964
00:54:47,234 --> 00:54:50,278
of desperation into
doing some other takes.

965
00:54:50,278 --> 00:54:51,113
- What do you think, Bono?

966
00:54:51,113 --> 00:54:53,031
You wanna try a few lines on this?

967
00:54:55,325 --> 00:54:59,747
- I'll do some scatting
if that's any help to you.

968
00:54:59,747 --> 00:55:00,581
(energetic music)

969
00:55:00,581 --> 00:55:03,751
♪ In the name of love ♪

970
00:55:03,751 --> 00:55:05,335
(indistinct)

971
00:55:05,335 --> 00:55:08,964
♪ In the name of love ♪

972
00:55:08,964 --> 00:55:13,969
♪ In the name of love
(indistinct) in the name of love ♪

973
00:55:13,969 --> 00:55:18,265
♪ What more in the name of love♪

974
00:55:19,391 --> 00:55:21,559
♪ Of love ♪

975
00:55:27,315 --> 00:55:29,234
- [Brian] Sounded great.

976
00:55:29,234 --> 00:55:31,612
- Yeah. Yeah, fantastic.

977
00:55:31,612 --> 00:55:34,657
- Maybe a bit more
passion this time, Bono.

978
00:55:34,657 --> 00:55:36,199
- Yeah, it was a bit restrained actually.

979
00:55:36,199 --> 00:55:37,159
- Yeah.

980
00:55:37,159 --> 00:55:39,369
- Maybe you could try
standing for this one.

981
00:55:40,829 --> 00:55:42,956
- The only direction I might offer you is

982
00:55:42,956 --> 00:55:46,126
that the first chorus might be
a little more restrained than

983
00:55:46,126 --> 00:55:48,712
the others, but I wouldn't like

984
00:55:48,712 --> 00:55:50,213
to inhibit what you're doing.

985
00:55:52,215 --> 00:55:54,301
(energetic music)

986
00:55:54,301 --> 00:55:56,219
♪ Love ♪

987
00:55:58,972 --> 00:56:01,809
(Bono vocalizing)

988
00:56:04,937 --> 00:56:08,106
That second low verse
was beautiful on this.

989
00:56:08,106 --> 00:56:10,108
I must say this track is really bringing

990
00:56:10,108 --> 00:56:11,610
something out in your singing.

991
00:56:12,570 --> 00:56:16,448
So this song is now four
minutes, 30 seconds long.

992
00:56:17,532 --> 00:56:20,118
It was five minutes, 30
seconds at the castle.

993
00:56:21,078 --> 00:56:25,457
But brevity is the
essence of wit. (chuckles)

994
00:56:25,457 --> 00:56:27,835
It's nice for this song
to be a little shorter

995
00:56:27,835 --> 00:56:29,252
than it was before.

996
00:56:30,253 --> 00:56:31,839
- You're in the chorus,

997
00:56:32,715 --> 00:56:34,216
before you're in the verse.

998
00:56:34,967 --> 00:56:37,928
You know, you've finished the
chorus before you've started it.

999
00:56:38,929 --> 00:56:42,224
It’s like as if the song's
over before you begin it.

1000
00:56:42,224 --> 00:56:44,893
I don't know if it's, if it's
the fact it was late at night but,

1001
00:56:47,354 --> 00:56:48,939
it just doesn't seem grand.

1002
00:56:51,233 --> 00:56:52,067
- [Brian] Well, why don't we try

1003
00:56:52,067 --> 00:56:53,235
just slowing it down a little bit.

1004
00:56:53,235 --> 00:56:54,486
- Yeah.

1005
00:56:54,486 --> 00:56:59,491
(energetic music)
(indistinct)

1006
00:57:05,914 --> 00:57:08,041
- All the British rock and roll people,

1007
00:57:08,041 --> 00:57:10,377
even the punk rock people, Joe Strummer

1008
00:57:10,377 --> 00:57:12,212
and Paul Simonon, they're all art school.

1009
00:57:12,212 --> 00:57:15,215
John Lennon, art school,
Eric Clapton, art school,

1010
00:57:15,215 --> 00:57:17,550
Jimmy Page, art School,
they're all art school.

1011
00:57:17,550 --> 00:57:19,219
Brian Eno was our art school.

1012
00:57:20,220 --> 00:57:21,805
- Do you want to hear in its...

1013
00:57:21,805 --> 00:57:22,765
- [Bono] Entirety.

1014
00:57:22,765 --> 00:57:23,599
- Entirety.

1015
00:57:25,017 --> 00:57:26,143
- [Bono] Well, I like it alright.

1016
00:57:26,143 --> 00:57:28,103
(energetic music)

1017
00:57:28,103 --> 00:57:29,938
(beat clicking)

1018
00:57:29,938 --> 00:57:32,775
(energetic music)

1019
00:57:39,364 --> 00:57:43,035
(energetic music continues)

1020
00:57:54,588 --> 00:57:57,591
(computer blipping)

1021
00:58:01,511 --> 00:58:03,430
- [Eno] One of the things I would like

1022
00:58:03,430 --> 00:58:08,185
to rectify in the way people
talk about art is to sort

1023
00:58:08,185 --> 00:58:09,770
of downgrade that idea

1024
00:58:09,770 --> 00:58:12,981
that it's about a few geniuses
throughout history who've

1025
00:58:12,981 --> 00:58:15,776
suddenly appeared out of
nowhere and changed everything.

1026
00:58:17,110 --> 00:58:21,198
The more I looked at creative
situations like Saint Petersburg

1027
00:58:21,198 --> 00:58:25,493
in the early 20th century,
Paris in the forties and fifties

1028
00:58:25,493 --> 00:58:29,122
and sixties, these places
where there was a huge amount

1029
00:58:29,122 --> 00:58:32,125
of creative work going
on, the more I found

1030
00:58:32,125 --> 00:58:35,003
that in fact they were
very complicated networks

1031
00:58:35,003 --> 00:58:36,296
of people involved.

1032
00:58:37,840 --> 00:58:40,801
It's very difficult to
disentangle, first of all

1033
00:58:40,801 --> 00:58:43,679
where the ideas really came from,

1034
00:58:43,679 --> 00:58:47,099
and secondly, who created the
situation in which they could

1035
00:58:47,099 --> 00:58:51,019
appear and be recognized and nurtured.

1036
00:58:51,019 --> 00:58:54,231
And so as an alternative
to genius, I came up

1037
00:58:54,231 --> 00:58:58,110
with the idea of scenius,
which is the kind of creativity

1038
00:58:58,110 --> 00:59:00,487
of a whole scene of people.

1039
00:59:00,487 --> 00:59:03,198
The world isn't arranged
with a sort of pyramid,

1040
00:59:03,198 --> 00:59:05,909
with a few geniuses at
the top, and then more

1041
00:59:05,909 --> 00:59:08,286
and more unimportant people at the bottom.

1042
00:59:08,286 --> 00:59:10,455
It's an ecosystem,

1043
00:59:10,455 --> 00:59:14,084
and if you take one
part out of that jigsaw,

1044
00:59:14,084 --> 00:59:16,253
it can have far reaching effects.

1045
00:59:19,422 --> 00:59:21,967
(soft music continues)

1046
00:59:21,967 --> 00:59:23,093
(computer blipping)

1047
00:59:23,093 --> 00:59:24,261
(energetic music)

1048
00:59:24,261 --> 00:59:25,095
- [Interviewer] One thing I want to know

1049
00:59:25,095 --> 00:59:26,722
is about the fountain.

1050
00:59:26,722 --> 00:59:31,644
- In 1913, Marcel Duchamp
exhibited a urinal

1051
00:59:31,644 --> 00:59:33,353
and it was very notorious

1052
00:59:33,353 --> 00:59:36,356
for opening up a new idea in art

1053
00:59:36,356 --> 00:59:38,566
that the artist was not
necessarily somebody

1054
00:59:38,566 --> 00:59:40,861
who made something, but somebody

1055
00:59:40,861 --> 00:59:45,866
who created an art experience
by naming it as such.

1056
00:59:46,241 --> 00:59:47,993
This urinal was on show

1057
00:59:47,993 --> 00:59:50,328
at the Museum of Modern Art in New York.

1058
00:59:50,328 --> 00:59:53,498
I was due to give a lecture
there called “High Art, Low Art.”

1059
00:59:53,498 --> 00:59:54,917
And I thought, how ridiculous

1060
00:59:54,917 --> 00:59:58,837
that this particular piss pot gets carried

1061
00:59:58,837 --> 01:00:02,800
around the world at, it
costs about 30 or $40,000

1062
01:00:02,800 --> 01:00:05,468
to insure it every time it travels.

1063
01:00:05,468 --> 01:00:08,138
I thought how absolutely
stupid, the whole message

1064
01:00:08,138 --> 01:00:10,724
of this work is you can take any

1065
01:00:10,724 --> 01:00:12,142
object and put it in a gallery.

1066
01:00:12,142 --> 01:00:14,269
It doesn't have to be that one.

1067
01:00:14,269 --> 01:00:18,231
So I thought somebody
should piss in that thing

1068
01:00:18,231 --> 01:00:22,152
to sort of bring it back
to where it belonged.

1069
01:00:22,152 --> 01:00:24,613
So I decided it had to be me.

1070
01:00:24,613 --> 01:00:26,949
Of course it was behind Bulletproof Glass,

1071
01:00:26,949 --> 01:00:30,994
but it was made in sheets
that didn't quite meet.

1072
01:00:30,994 --> 01:00:33,789
There was a very small gap in between.

1073
01:00:33,789 --> 01:00:35,457
And I looked at this gap

1074
01:00:35,457 --> 01:00:37,542
and I decided that I
couldn't actually get my

1075
01:00:37,542 --> 01:00:38,919
organ through the gap.

1076
01:00:40,003 --> 01:00:44,174
So what I did, I went to
a plumbing supply shop

1077
01:00:44,174 --> 01:00:47,469
and I bought some very thin plastic tube.

1078
01:00:47,469 --> 01:00:50,806
And then I filled the tube
with urine in a manner

1079
01:00:50,806 --> 01:00:52,808
that I shan't describe in detail.

1080
01:00:52,808 --> 01:00:53,809
- [Interviewer] Right. Okay.

1081
01:00:53,809 --> 01:00:55,560
- And then I went into the museum

1082
01:00:55,560 --> 01:00:57,270
and I stood close to the glass

1083
01:00:57,270 --> 01:00:59,397
and there was a guard right behind me.

1084
01:00:59,397 --> 01:01:01,024
I could see him in the glass.

1085
01:01:02,234 --> 01:01:03,986
And I took it out

1086
01:01:03,986 --> 01:01:08,115
and got it through the
glass and fed it through,

1087
01:01:08,115 --> 01:01:11,451
and then just let the, let the piss out.

1088
01:01:11,451 --> 01:01:13,996
And it happened at a time
in New York when this word

1089
01:01:13,996 --> 01:01:17,750
decommodification was a very big buzzword.

1090
01:01:17,750 --> 01:01:22,755
And I called what I did
re-comode-ification. (laughing)

1091
01:01:25,465 --> 01:01:28,218
(birds chirping)

1092
01:01:31,096 --> 01:01:33,515
(soft music)

1093
01:01:34,808 --> 01:01:37,310
(cows mooing)

1094
01:01:40,313 --> 01:01:43,525
My thoughts are always divided between

1095
01:01:43,525 --> 01:01:45,903
what I'm doing artistically

1096
01:01:45,903 --> 01:01:50,073
and what possible relationship it can have

1097
01:01:50,073 --> 01:01:52,367
to the rest of the world.

1098
01:01:52,367 --> 01:01:55,537
And by that I mean the political
world, you know, the world

1099
01:01:55,537 --> 01:01:57,873
of resources and climate change

1100
01:01:57,873 --> 01:02:01,585
and breakdown of civilization.

1101
01:02:02,169 --> 01:02:06,089
For any artist, I think that
has to be a very difficult

1102
01:02:06,089 --> 01:02:08,008
question at the moment.

1103
01:02:08,008 --> 01:02:11,637
You have to be thinking,
does this have any relevance,

1104
01:02:11,637 --> 01:02:13,597
all this stuff I'm doing?

1105
01:02:13,597 --> 01:02:15,599
Does it make any difference to anything?

1106
01:02:16,809 --> 01:02:18,894
Could it make any difference to anything?

1107
01:02:19,770 --> 01:02:22,189
(soft music)

1108
01:02:24,024 --> 01:02:27,903
I think one of the sort
of long-term inspirations

1109
01:02:27,903 --> 01:02:30,989
for being an artist at all for me was

1110
01:02:30,989 --> 01:02:33,867
that I grew up in the country

1111
01:02:33,867 --> 01:02:37,621
and I've always drawn on
that experience of rural life

1112
01:02:37,621 --> 01:02:40,958
and the feeling of
watching how nature works.

1113
01:02:43,376 --> 01:02:45,879
Look, there's a little fish down there

1114
01:02:45,879 --> 01:02:49,007
For me, the river was always
a way of going somewhere.

1115
01:02:49,007 --> 01:02:51,844
Every child here, I think in
this town spends a lot of time

1116
01:02:51,844 --> 01:02:56,556
around the river because of
all the mysterious things

1117
01:02:56,556 --> 01:02:59,768
that live down the river
that don't live elsewhere.

1118
01:02:59,768 --> 01:03:03,939
And because you can go swimming
there and catching eels,

1119
01:03:03,939 --> 01:03:06,942
and there's an idea about water that I like,

1120
01:03:06,942 --> 01:03:09,612
which is that it's constant but not solid.

1121
01:03:09,612 --> 01:03:11,614
So the river is always going somewhere.

1122
01:03:11,614 --> 01:03:13,782
(water rushing)

1123
01:03:13,782 --> 01:03:15,701
I mean, a lot of the
songs I wrote are about

1124
01:03:15,701 --> 01:03:18,495
being on rivers. (laughing)

1125
01:03:20,038 --> 01:03:23,125
I started to realize that I
was doing this on a planet

1126
01:03:23,125 --> 01:03:27,796
that was suddenly quite
noticeably getting worse, actually.

1127
01:03:30,132 --> 01:03:31,842
I thought, well here's an odd paradox.

1128
01:03:31,842 --> 01:03:34,595
Here I am sort of celebrating nature

1129
01:03:34,595 --> 01:03:36,805
and taking inspiration from it,

1130
01:03:37,973 --> 01:03:40,475
and at the same time I'm
watching it disappearing.

1131
01:03:42,060 --> 01:03:44,021
Let's acknowledge that without it,

1132
01:03:44,021 --> 01:03:45,731
none of us would be doing anything.

1133
01:03:47,190 --> 01:03:48,609
We've gotta start looking after it.

1134
01:03:48,609 --> 01:03:50,694
(soft music)

1135
01:03:50,694 --> 01:03:53,697
(singer vocalizing)

1136
01:04:06,251 --> 01:04:08,921
I'm encouraged by an
English environmentalist,

1137
01:04:08,921 --> 01:04:10,380
Tom Rivett-Carnac.

1138
01:04:10,380 --> 01:04:14,176
He said, "We always overestimate
what we can do in a day

1139
01:04:14,176 --> 01:04:17,596
"and underestimate what
we will do in 10 years."

1140
01:04:17,596 --> 01:04:20,849
And I think that's a
very encouraging thought,

1141
01:04:20,849 --> 01:04:25,854
because human capability is
increasing exponentially,

1142
01:04:26,146 --> 01:04:30,400
just as environmental threat
is increasing exponentially.

1143
01:04:31,777 --> 01:04:36,239
The only way we can hope to
survive is by dealing with a lot

1144
01:04:36,239 --> 01:04:37,449
of separate issues.

1145
01:04:39,284 --> 01:04:41,453
We have to have a new economics,

1146
01:04:41,453 --> 01:04:43,914
we have to have a new sense of justice,

1147
01:04:43,914 --> 01:04:46,333
we have to have a new
relationship with the planet.

1148
01:04:47,292 --> 01:04:49,878
We wanted to solve all
those problems anyway,

1149
01:04:49,878 --> 01:04:52,631
climate change just
gives us a really strong

1150
01:04:52,631 --> 01:04:54,382
incentive to get on with it.

1151
01:04:56,760 --> 01:05:00,305
The optimistic side of me
says, if we get through this,

1152
01:05:00,305 --> 01:05:02,390
we'll be in a better world.

1153
01:05:02,390 --> 01:05:06,812
I mean a much better world,
it'll be a new place.

1154
01:05:08,396 --> 01:05:10,983
(dogs barking)

1155
01:05:15,195 --> 01:05:17,447
I've just realized, this must be

1156
01:05:17,447 --> 01:05:21,034
where the professional
dog walkers congregate.

1157
01:05:22,202 --> 01:05:24,997
Go and walk the fucking things,
don't stand around here.

1158
01:05:26,206 --> 01:05:27,207
(dogs barking)

1159
01:05:27,207 --> 01:05:31,169
So it's wonderful being an
artist and every day getting up

1160
01:05:31,169 --> 01:05:33,964
and thinking, what shall I do today?

1161
01:05:33,964 --> 01:05:37,968
But it's actually a
bit terrifying as well.

1162
01:05:37,968 --> 01:05:41,013
You know, every day you have to think out,

1163
01:05:41,013 --> 01:05:42,430
so what am I gonna do today?

1164
01:05:44,600 --> 01:05:48,395
You know, of all the things
I could do, what shall I do?

1165
01:05:48,395 --> 01:05:52,608
And some days you just don't
answer the question properly

1166
01:05:52,608 --> 01:05:54,985
and you spend a day sort of fiddling.

1167
01:05:55,903 --> 01:06:00,490
I used to get up, make
tea, make breakfast,

1168
01:06:02,200 --> 01:06:06,163
read emails, read things,
articles, whatever.

1169
01:06:07,164 --> 01:06:10,417
And the whole thing took about an hour,

1170
01:06:10,417 --> 01:06:12,085
what I would call breakfast time.

1171
01:06:12,920 --> 01:06:14,922
And then this year I decided,

1172
01:06:16,506 --> 01:06:19,217
what about if I stop having breakfast?

1173
01:06:19,217 --> 01:06:22,179
I started to realize
that you can't do input

1174
01:06:22,179 --> 01:06:24,097
and output at the same time.

1175
01:06:24,097 --> 01:06:28,018
So what I had been doing,
get up in the morning, input,

1176
01:06:28,018 --> 01:06:33,106
food, drink, news,
you know, emails,

1177
01:06:33,106 --> 01:06:33,899
blah, blah, blah.

1178
01:06:34,316 --> 01:06:36,652
It was just all in, in, in.

1179
01:06:37,778 --> 01:06:41,865
And when I wasn't doing
that, when I just sat down and

1180
01:06:43,491 --> 01:06:44,534
stopped.

1181
01:06:46,494 --> 01:06:48,581
stuff started coming up from inside.

1182
01:06:48,581 --> 01:06:52,585
I started remembering
ideas from a long time ago

1183
01:06:52,585 --> 01:06:55,754
and it's really sorted my
life out quite, quite well.

1184
01:06:55,754 --> 01:07:00,008
I don't go into the day with
a kind of muddle of stuff

1185
01:07:00,008 --> 01:07:02,678
that I've already taken in
that then all the things I have

1186
01:07:02,678 --> 01:07:05,388
to remember to do and people
I have to call and so on.

1187
01:07:07,015 --> 01:07:10,143
It kind of smooths
everything out quite a lot.

1188
01:07:10,143 --> 01:07:12,229
And then I look forward

1189
01:07:12,229 --> 01:07:14,648
to having my breakfast at midday,

1190
01:07:15,816 --> 01:07:18,360
and Jesus, do I look forward to that.

1191
01:07:18,360 --> 01:07:20,278
Like now, I'm so hungry.

1192
01:07:21,321 --> 01:07:23,448
You can't believe how hungry I am.

1193
01:07:24,658 --> 01:07:28,203
Is it anywhere near 12:00 yet?

1194
01:07:28,203 --> 01:07:30,413
- It is 11:30
- 20 minutes.

1195
01:07:30,413 --> 01:07:32,082
- By the time we get back.

1196
01:07:37,004 --> 01:07:39,840
(energetic music)

1197
01:07:41,842 --> 01:07:43,802
This is the title song actually.

1198
01:07:43,802 --> 01:07:45,638
- That is the title song?
- Yeah.

1199
01:07:45,638 --> 01:07:48,724
It's called, "Everything That
Happens Will Happen Today."

1200
01:07:48,724 --> 01:07:50,058
- Why?
- Yeah.

1201
01:07:50,058 --> 01:07:53,061
- It seems to kind of express
what a lot of the songs seem

1202
01:07:53,061 --> 01:07:56,899
to be, the kind of feeling
that a lot of the songs have of

1203
01:07:56,899 --> 01:08:00,443
sort of dread, but genuine,

1204
01:08:00,443 --> 01:08:03,030
but sort of positive at the same time.

1205
01:08:03,030 --> 01:08:04,031
- Dread and promise actually.

1206
01:08:04,031 --> 01:08:05,949
- Yeah.
- Dread, dread and promise.

1207
01:08:05,949 --> 01:08:07,576
(group laughing)

1208
01:08:07,576 --> 01:08:10,203
It's nice to have, it's quite ambiguous

1209
01:08:10,203 --> 01:08:13,248
because everything that
happens will happen today.

1210
01:08:13,248 --> 01:08:15,793
Could be a great message
or a terrible one,

1211
01:08:16,752 --> 01:08:18,461
and is in fact both together, really.

1212
01:08:18,461 --> 01:08:19,296
- [Interviewer] Yeah.

1213
01:08:19,296 --> 01:08:22,174
Is there something you're
trying to put out to the world

1214
01:08:23,091 --> 01:08:25,218
with these songs?

1215
01:08:28,180 --> 01:08:31,809
- Well, I guess sometimes you put out

1216
01:08:31,809 --> 01:08:33,852
what you would like to get back.

1217
01:08:33,852 --> 01:08:36,271
- Yeah, that's what I think it is.

1218
01:08:36,271 --> 01:08:37,230
(laughing)

1219
01:08:37,230 --> 01:08:39,900
It's, you make the music
that you would like to hear.

1220
01:08:40,525 --> 01:08:42,485
That's how I've always thought about it.

1221
01:08:42,861 --> 01:08:45,906
I don't ever try to second guess

1222
01:08:45,906 --> 01:08:48,158
what will happen to an audience.

1223
01:08:48,158 --> 01:08:50,953
I just assume that since my tastes aren't

1224
01:08:50,953 --> 01:08:53,038
that different from any anybody else's,

1225
01:08:53,038 --> 01:08:56,208
that probably it'll be
something like what happens

1226
01:08:56,208 --> 01:08:57,751
to me when I listen to it.

1227
01:08:57,751 --> 01:09:00,838
(bright music)

1228
01:09:00,838 --> 01:09:04,382
Okay, so this is an interesting
section coming here now.

1229
01:09:04,382 --> 01:09:06,927
(singer vocalizing)

1230
01:09:06,927 --> 01:09:08,553
(both laughing)

1231
01:09:08,553 --> 01:09:11,389
It suddenly goes sort of,
I don't know what it is,

1232
01:09:11,389 --> 01:09:12,641
Holiday Inn or something.

1233
01:09:13,391 --> 01:09:14,852
(both laughing)

1234
01:09:14,852 --> 01:09:15,894
(indistinct singing)

1235
01:09:15,894 --> 01:09:17,646
- I think this one was
done at your studio, right?

1236
01:09:17,646 --> 01:09:18,480
The vocal?

1237
01:09:18,480 --> 01:09:20,148
- Yeah.
- That's right. Yeah. Yeah.

1238
01:09:20,148 --> 01:09:24,277
I had a kind of rough vocal
that I'd done in New York,

1239
01:09:24,277 --> 01:09:28,281
but it just wasn't, wasn't quite right,

1240
01:09:28,281 --> 01:09:30,325
and so then, uh,

1241
01:09:31,534 --> 01:09:33,704
we kind of restructured the song,

1242
01:09:33,704 --> 01:09:35,247
had another go at it.

1243
01:09:35,247 --> 01:09:36,915
- That's when this character came.

1244
01:09:36,915 --> 01:09:37,833
- Yes. (laughing)

1245
01:09:38,792 --> 01:09:39,627
- Yeah, yeah.

1246
01:09:39,627 --> 01:09:42,545
This, this guy's, he's slightly demented,

1247
01:09:42,545 --> 01:09:45,132
(laughing)

1248
01:09:45,132 --> 01:09:47,676
but he's feeling good about it.

1249
01:09:48,927 --> 01:09:50,095
- [Interviewer] What's that one called?

1250
01:09:50,095 --> 01:09:54,057
- "I Feel My Stuff." (laughing)

1251
01:09:54,057 --> 01:09:58,103
(audio clips running together)

1252
01:09:59,855 --> 01:10:01,523
Have you ever seen a double pendulum?

1253
01:10:01,523 --> 01:10:04,192
(music humming)

1254
01:10:10,783 --> 01:10:13,702
It's an example of how
two simple systems

1255
01:10:13,702 --> 01:10:17,080
interacting can produce
very complex results.

1256
01:10:19,875 --> 01:10:22,795
I use this as a simplest
example really, of

1257
01:10:22,795 --> 01:10:26,715
what chaos theory is, and
what complex systems do,

1258
01:10:27,049 --> 01:10:29,551
(tense music)

1259
01:10:31,887 --> 01:10:35,432
because we are embedded
in complex systems,

1260
01:10:35,432 --> 01:10:38,894
like power stations and transport systems

1261
01:10:38,894 --> 01:10:40,896
and banks and so on.

1262
01:10:40,896 --> 01:10:43,315
But we act as though we're still embedded

1263
01:10:43,315 --> 01:10:44,733
in linear systems.

1264
01:10:45,818 --> 01:10:49,863
So this is really a way
of trying to remind myself

1265
01:10:49,863 --> 01:10:52,950
that complex systems require
quite a different kind

1266
01:10:52,950 --> 01:10:55,202
of prediction than simple ones.

1267
01:11:01,249 --> 01:11:02,375
(computer blipping)

1268
01:11:02,710 --> 01:11:05,045
- Ladies and gentlemen,
with great pleasure,

1269
01:11:05,045 --> 01:11:07,505
I give you Mr. Brian Eno.

1270
01:11:07,505 --> 01:11:11,301
(audience applauding)

1271
01:11:11,301 --> 01:11:12,886
- So you have this funny situation

1272
01:11:12,886 --> 01:11:15,555
that we depend on each other more,

1273
01:11:15,555 --> 01:11:17,641
but we understand each other less.

1274
01:11:17,641 --> 01:11:20,268
The worst thing is to start with something

1275
01:11:20,268 --> 01:11:22,855
that looks so fantastic,
you're frightened of it.

1276
01:11:22,855 --> 01:11:24,940
You have to define art as everything

1277
01:11:24,940 --> 01:11:27,484
from Cezanne to cake decoration.

1278
01:11:27,484 --> 01:11:31,488
Every interesting rock song
is a new universe of sound.

1279
01:11:31,488 --> 01:11:33,448
And I say that culture is everything

1280
01:11:33,448 --> 01:11:34,700
that we don't have to do.

1281
01:11:34,700 --> 01:11:36,368
It's completely bonkers, isn't it?

1282
01:11:36,368 --> 01:11:37,786
(audience laughing)

1283
01:11:37,786 --> 01:11:39,622
I want to ask the question,

1284
01:11:39,622 --> 01:11:41,915
what is defense defending us against?

1285
01:11:41,915 --> 01:11:44,251
The interesting thing is when ideas flow

1286
01:11:44,251 --> 01:11:45,878
in the other direction.

1287
01:11:45,878 --> 01:11:48,046
Okay, I think I better
stop, my voice is gone.

1288
01:11:48,046 --> 01:11:50,799
(audience applauding)

1289
01:11:50,799 --> 01:11:52,635
The very first lecture I did,

1290
01:11:54,427 --> 01:11:56,263
that was a turning point in my life.

1291
01:11:57,389 --> 01:12:00,058
I was invited by Michael Nyman to come up

1292
01:12:00,058 --> 01:12:01,769
and deliver a lecture.

1293
01:12:01,769 --> 01:12:04,146
I worked on it for about a month before.

1294
01:12:04,146 --> 01:12:07,399
I can remember sitting there rewriting

1295
01:12:07,399 --> 01:12:10,819
and rewriting and going over
it again and again and again.

1296
01:12:10,819 --> 01:12:14,698
And I thought, I'm just gonna
write it out word for word so

1297
01:12:14,698 --> 01:12:17,993
that if I freeze, I'll
actually just read it out.

1298
01:12:20,037 --> 01:12:22,164
So I went to Trent

1299
01:12:22,164 --> 01:12:24,249
and I was shitting myself the whole way

1300
01:12:24,249 --> 01:12:25,918
up there on the train.

1301
01:12:25,918 --> 01:12:27,127
I was so nervous.

1302
01:12:28,045 --> 01:12:30,964
And we walked across the
green to the lecture theater,

1303
01:12:30,964 --> 01:12:32,174
1500 people.

1304
01:12:32,174 --> 01:12:34,384
It was a huge lecture theater.

1305
01:12:34,384 --> 01:12:36,511
And I suddenly thought, fuck,

1306
01:12:36,511 --> 01:12:39,222
I've left all the notes
in the senior common room.

1307
01:12:40,015 --> 01:12:43,476
And it was at that point,
I just couldn't say,

1308
01:12:43,476 --> 01:12:46,063
"Oh, sorry," because it was
about a five minute walk

1309
01:12:46,063 --> 01:12:47,522
there and back, you know?

1310
01:12:47,522 --> 01:12:49,900
And I just thought, I just have to start.

1311
01:12:49,900 --> 01:12:51,401
And I did.

1312
01:12:51,401 --> 01:12:54,154
I just started without any notes

1313
01:12:54,154 --> 01:12:57,407
and I realized I had the
whole thing in my head.

1314
01:12:59,117 --> 01:13:01,078
And of course it was much
better than if I'd been

1315
01:13:01,078 --> 01:13:02,245
reading it off notes.

1316
01:13:02,245 --> 01:13:04,832
It had some life to it, you know?

1317
01:13:06,166 --> 01:13:09,377
Afterwards I thought, I'm
very pleased I did that,

1318
01:13:09,377 --> 01:13:12,297
first of all, because I
worked out that whole body

1319
01:13:12,297 --> 01:13:15,008
of thought properly.

1320
01:13:17,052 --> 01:13:20,472
But secondly, because I
realized I can do talks.

1321
01:13:20,472 --> 01:13:22,850
I really work better
if I've got a

1322
01:13:22,850 --> 01:13:24,643
destination for what I'm doing.

1323
01:13:24,643 --> 01:13:27,437
And so this became very
useful for me as a way

1324
01:13:27,437 --> 01:13:28,897
of thinking things out.

1325
01:13:28,897 --> 01:13:32,275
(audience applauding)

1326
01:13:32,275 --> 01:13:33,443
Thank you very much.

1327
01:13:38,406 --> 01:13:42,202
Now you might wonder why
I'm doing talks like this.

1328
01:13:42,202 --> 01:13:47,124
The reason is because I
think art in general is kind

1329
01:13:47,124 --> 01:13:49,459
of under threat politically.

1330
01:13:49,459 --> 01:13:54,256
And so I think it behooves
me, people like me

1331
01:13:54,256 --> 01:13:55,924
to talk out on its behalf

1332
01:13:55,924 --> 01:13:58,218
and to say it's something people do,

1333
01:13:58,218 --> 01:14:00,470
something all people do actually.

1334
01:14:00,470 --> 01:14:02,890
And it's something that's essential to

1335
01:14:02,890 --> 01:14:04,600
human understanding of the world.

1336
01:14:07,978 --> 01:14:10,731
(birds chirping)

1337
01:14:11,774 --> 01:14:14,359
(bees buzzing)

1338
01:14:24,995 --> 01:14:27,039
I think that the kind of change

1339
01:14:27,039 --> 01:14:30,584
that art makes is at a rather

1340
01:14:30,584 --> 01:14:32,670
deep level of consciousness.

1341
01:14:36,339 --> 01:14:39,802
If you've had the experience
of being really moved

1342
01:14:39,802 --> 01:14:43,013
by a piece of art, it's like magic.

1343
01:14:43,931 --> 01:14:48,602
In art, you put together a
few materials, a few colors,

1344
01:14:48,602 --> 01:14:50,437
a few shapes,

1345
01:14:50,437 --> 01:14:54,149
and suddenly, bang! There's
something that never existed

1346
01:14:54,149 --> 01:14:57,945
before and it's awesome.

1347
01:14:57,945 --> 01:14:59,446
You know, you're struck by it.

1348
01:15:02,908 --> 01:15:06,161
I remember when I was young,
I thought, what do artists do?

1349
01:15:06,161 --> 01:15:08,288
Why do I want to do that so much?

1350
01:15:09,372 --> 01:15:12,167
So this question really stayed with me,

1351
01:15:12,167 --> 01:15:17,005
and I never lost interest in
trying to answer that question.

1352
01:15:17,005 --> 01:15:18,632
What does art do for us?

1353
01:15:18,632 --> 01:15:20,467
Why do we want art at all?

1354
01:15:22,052 --> 01:15:24,096
I've come to think that feeling is really

1355
01:15:24,096 --> 01:15:26,807
the most important part of it.

1356
01:15:28,266 --> 01:15:32,354
Feelings are what artists
deal in the whole time.

1357
01:15:32,354 --> 01:15:33,438
That's what it's about.

1358
01:15:33,438 --> 01:15:35,190
It's about creating a situation

1359
01:15:35,190 --> 01:15:37,985
where people can have
feelings to examine them.

1360
01:15:39,319 --> 01:15:41,780
But a lot of people don't like the idea

1361
01:15:41,780 --> 01:15:44,241
that art is about feelings.

1362
01:15:44,241 --> 01:15:46,034
It's supposed to be about big issues.

1363
01:15:46,034 --> 01:15:48,161
Art is supposed to be important.

1364
01:15:48,161 --> 01:15:50,748
And I sort of believed
that for a while as well,

1365
01:15:50,748 --> 01:15:52,499
but now I more and more think,

1366
01:15:52,499 --> 01:15:55,753
what about if we just
say it's about feelings?

1367
01:15:56,587 --> 01:15:59,673
Is that such a shameful thing to admit to?

1368
01:15:59,673 --> 01:16:03,677
Is that too small an ambition,
to say that what we want

1369
01:16:03,677 --> 01:16:07,681
to do is to understand how
the world of feelings works?

1370
01:16:07,681 --> 01:16:11,434
(energetic music continues)

1371
01:16:15,814 --> 01:16:18,817
(singer vocalizing)

1372
01:16:24,281 --> 01:16:27,284
Art is a way we synchronize
our feelings about things.

1373
01:16:27,284 --> 01:16:29,787
And that of course, all impacts on

1374
01:16:29,787 --> 01:16:32,831
how we think about the world
that we actually live in.

1375
01:16:32,831 --> 01:16:36,334
What sort of society do we want to live in?

1376
01:16:36,334 --> 01:16:40,047
And what sort of people do
we want to be within that?

1377
01:16:40,047 --> 01:16:43,300
If you think that we're
all in a kind of lifeboat,

1378
01:16:43,300 --> 01:16:46,303
which is on a choppy sea,
we really need to be able

1379
01:16:46,303 --> 01:16:48,346
to harness the intelligence

1380
01:16:48,346 --> 01:16:51,474
and creativity of everybody actually.

1381
01:16:52,768 --> 01:16:55,020
Art is a way we do that.

1382
01:16:55,020 --> 01:16:57,230
I think that's a real hope for the future.

1383
01:16:57,230 --> 01:17:00,025
(energetic music)

1384
01:17:02,903 --> 01:17:07,908
(Brian humming)
(birds chirping)

1385
01:17:25,383 --> 01:17:29,722
(audio clips running together)

1386
01:17:29,722 --> 01:17:31,431
I have to stop because I have

1387
01:17:31,431 --> 01:17:35,268
to leave here at 12:00 or
else I shall be murdered.

1388
01:17:35,268 --> 01:17:36,604
- Okay.
- What time is it now?

1389
01:17:36,604 --> 01:17:39,022
(indistinct)

1390
01:17:40,774 --> 01:17:42,109
Okay, thank you.

1391
01:17:44,444 --> 01:17:46,446
Okay, here's your tape.

1392
01:17:48,448 --> 01:17:52,285
Sorry, I have to run.
(voices overlapping)

1393
01:17:52,285 --> 01:17:54,705
(indistinct)

1394
01:17:56,790 --> 01:17:59,376
(bright music)

1395
01:18:12,806 --> 01:18:16,226
(bright music continues)

1396
01:18:17,770 --> 01:18:22,775
♪ All I remember if
gathered together would be ♪

1397
01:18:27,237 --> 01:18:32,242
♪ Solitary firework flashes
over a fathomless sea ♪

1398
01:18:38,957 --> 01:18:43,962
♪ Feeling new feelings, Ketty
Lester, Dee Clark, Bobby Vee ♪

1399
01:18:48,383 --> 01:18:50,969
♪ Walking the dyke out to dark ♪

1400
01:18:50,969 --> 01:18:55,390
♪ Where the river turns into the sea ♪

1401
01:19:04,566 --> 01:19:08,779
(energetic music continues)

1402
01:19:32,219 --> 01:19:37,224
♪ All I remember if
gathered together would be ♪

1403
01:19:40,143 --> 01:19:45,148
♪ Just solitary firework
flashes over a fathomless sea ♪