Just thought I would relay a little bit of news to you all about the press conference notes we just received. Its news worthy in my mind. We shall see what you all think.
** It is a bit lengthy ** It captures all 25 minutes of thepress conference.
* * *TRANSCRIBER’S NOTE: VOICES IDENTIFIED WHEN POSSIBLE.* * *
00:00:00:00 (OFF-MIC CONVERSATION)
MODERATOR:
00:00:02:00 Ladies and gentlemen, Martin Scorsese and the Rolling Stones. (APPLAUSE)
MALE VOICE:
00:00:18:00 Marty sits here.
MARTIN SCORSESE:
00:00:19:00 Okay.
MALE VOICES:
00:00:21:00 One, two, three.
MARTIN SCORSESE:
00:00:23:00 It’s a chair. Gotcha. Okay.
MALE VOICE:
00:00:25:00 Good afternoon, everyone. Hello. Good afternoon,
MODERATOR:
00:00:30:00 First question right here.
QUESTION:
00:00:32:00 Good afternoon to all of you.
MALE VOICES:
00:00:34:00 Thank you. Thank you very much.
QUESTION:
00:00:35:00 Question for all five. Mr. Scorsese–
MARTIN SCORSESE:
00:00:39:00 Yes.
QUESTION:
00:00:39:00 Could you explain why it was important for you to make this film in a small venue in your native–
MARTIN SCORSESE:
00:01:01:00 The importance of making the film on– in a smaller venue, for me– I– I contemplated. We– we discussed doin’ it– in a bigger– arena. And I looked into that. And actually, you know, when– while I was doing it, while I was trying to prepare for that, I began to realize I’d rather– I think I’m better suited to– try to capture the group on stage, on a smaller stage.
00:01:22:00 More for the– more for the intimacy of the group and the way they play together. The way– you see the band work together and work each song. I found that to be interesting and– more than interesting. It’s just a compulsion of mine. I love to be able to see that and– have that– be able to cut from one image to the other, movement, that sort of thing. But really about the intimacy of the group and how they work together.
MALE VOICE:
00:01:46:00 Mick?
MICK JAGGER:
00:01:47:00 Well, I can’t remember what you said now. But the– the audience was (LAUGHTER)– the audience was a– was a good audience ’cause I think they really got into the spirit of making the movie as well as enjoying the, you know, being an audience for the band. They were a great audience for the band. But I think, also, a great audience for the movie. ‘Cause I think they–
MALE VOICE:
00:02:02:00 They were all cameramen.
MICK JAGGER:
00:02:03:00 They all realized they were in it. (LAUGHTER)
MARTIN SCORSESE:
00:02:05:00 That’s right. Roll the cameras.
MICK JAGGER:
00:02:06:00 That was really (UNINTEL).
MARTIN SCORSESE:
00:02:08:00 They enjoyed it. Cameramen liked it, yeah.
QUESTION:
00:02:10:00 Keith, anything special about that night?
KEITH RICHARDS:
00:02:13:00 They– the Beacon Theatre is– special for some reason, anyway. I mean, it wraps your arms– especially if you can play there for more than one night. And you start to get– the room sort of wraps its arms around ya. You know? And– and every night gets, like, warmer. And– it’s– it’s a great feeling room. You know? And– also– this band, you know, didn’t start off in stadiums. You know?
MALE VOICE:
00:02:39:00 Yeah. (LAUGHTER)
QUESTION:
00:02:41:00 Charlie, you want to try that? Special night?
CHARLIE:
00:02:43:00 No. No. (LAUGHTER)
MICK JAGGER:
00:02:46:00 I knew he’d say that. You know?
MARTIN SCORSESE:
00:02:48:00 Yeah, something told me. It’s–
MODERATOR:
00:02:49:00 All right. We’ll take– back here.
FEMALE QUESTION:
00:02:51:00 Hi, guys. Access
MICK JAGGER:
00:03:01:00 It’ll be very larger from what you– (LAUGHTER). And so you– the slight imperfections might be revealed. The funny thing is, though, really, that– that– that Marty– that Marty, after looking at all the options, decided he wanted to make this small, intimate movie. And I said, well, the– the laugh is, though, Marty, in the end, it’s going to be blown up to this huge IMAX thing. So the intimate moment is shown in IMAX. But it looks– it looks good in IMAX. So, you know, we– we got both formats. So we’re happy with that.
MODERATOR:
00:03:34:00 Fantastic. Back here.
FEMALE QUESTION:
00:03:37:00 I’d like to ask all the band members, but perhaps starting with you, Mick, we are all impressed and have been, and this movie reminds us of the boundless energy you have in what it takes to be on tour. Starting with– Mr. Jagger, I’d love to know what vitamins you take and what’s your workout regimen. ‘Cause all of us would like to be–
MICK JAGGER:
00:03:52:00 Oh, god.
FEMALE QUESTION:
00:03:53:00 –able to do this.
MICK JAGGER:
00:03:55:00 I don’t– do you forget about that?
KEITH RICHARDS:
00:03:57:00 You’d be all on it. (LAUGHTER)
MICK JAGGER:
00:04:00:00 (UNINTEL) out late.
00:04:02:00 KEITH RICHARDS: (UNINTEL)
MICK JAGGER:
00:04:04:00 So– no gym, no vitamins, I think that day. Just do it. Just get out there and– you know. When you ge– you get very pressurized in– in these situations, though. When– the thing is, I always find when there’s a movie shoot, that you have to really, you know, come up to the plate. And we– we– fortunately, we had two– nights of this.
00:04:23:00 What Keith was saying, you know, it– it’s good to play there more than one night. And I agree with him. It’s like– ’cause the first night we– we played, we more like a rehearsal for us, in a way. And the s– by the time the second night came ’round, we got more– adjusted to playing in– in this smaller theatre. Because we– you know, though we played lots of small theatres in the past, we hadn’t done it on this tour.
00:04:41:00 So this is like quite– different, suddenly, to go into a small theatre. So by the second night, you know, we knew (UNINTEL). Do it. This is going to be the night with all these people there and everything. So I– I felt really good about that particular night. So, you know, you just have to sometimes come and do it.
KEITH RICHARDS:
00:04:57:00 It was a turn-on. (LAUGHTER)
QUESTION:
00:05:01:00 Gentlemen, I’d like to ask– why you chose Marty as a director.
MICK JAGGER:
00:05:06:00 He’s the best one around. (LAUGHTER)
QUESTION:
00:05:09:00 What– what does he bring– what does he bring to this film that other directors wouldn’t?
MICK JAGGER:
00:05:12:00 Well, I can’t– I can’t answer that. I mean, you know. But– but– but, you know, I think that– I mean, he’s– I’m going to embarrass him now. He’s not– he’s not part of the furniture. You know, he’s actually sittin’ here. (LAUGHTER) And so– so he– he’s– he’s a fantastic director. And– and he assembled a wonderful crew. I think that he– that he would agree with that. He got fantastic– DPs, camera, lighting, all– everyone workin’ on it. And then very painstaking on the– on the editing, to produce the movie that you see. It’s not all in the shooting. It’s– it’s obviously in the– in the editing, too.
MALE VOICE:
00:05:44:00 It’s also that– we didn’t choose Marty. Marty chose us. (LAUGHTER)
MARTIN SCORSESE:
00:05:51:00 It was mutual.
MODERATOR:
00:05:51:00 Right over here.
QUESTION:
00:05:53:00 Hi, guys. Chris Weisner (PH) with Reuters. Marty, for you. With the underworld and the mafia having been featured in so many of your films, what kind of comparisons can you now make between a tight mob crew and The Stones? (LAUGHTER)
MARTIN SCORSESE:
00:06:06:00 Well. No, that’s– that’s an interesting question. I– you know– I don’t know if I can make direct– associations to it. I mean, but the music is something that deals with, at times– it reminds me– I’m gonna tell ya, it reminds when I went to see Threepenny Opera back in 1959, 1960 at the Theatre Delique (PH). And– how the– the music affected me and what that– what that was saying. What that play said.
00:06:30:00 And the lyrics– the lyrics are so important to me in that– in that particular– that particular play. And– I found I was– I grew up in an area that was kind of, in a sense, like the Threepenny Opera. And I think, at times, their music– the Rolling Stones music– had the similar affect on me. It– it dealt with aspects of a life that I was growing up around me that I– that I was associated with or saw. Or was experiencing.
00:06:55:00 And trying to put– make sense of. And so it was tougher, it had an edge. Beautiful and– and honest and– and brutal at– brutal at times. And– powerful. And it’s always stayed with me and it’s become a– a well of inspiration. Like, to this day, as Mick said in
MICK JAGGER:
00:07:13:00 Yeah.
MARTIN SCORSESE:
00:07:13:00 Yeah. He said, “I want you to know that this is the only film– Shine a Light is the only film that Gimme Shelter is not played in that I’ve made.” (LAUGHTER) And when I use Gimme Shelter in a film, which I think is more appro– it’s just as– it’s just as– as– apropos of the world we’re living in today– Gimme Shelter. When I use it in a film, I don’t– I don’t remember that I used it before. I said, “Well, let’s use that.”
00:07:32:00 And they said, “Marty, you did it before.” I said, “Well, that’s all right. Let’s put it in.” (LAUGHTER) I keep forgetting, you know? But it’s– it– it’s something that– the music has been very important to me over these years. Thank you.
MODERATOR:
00:07:41:00 Back in here in the– there you go.
FEMALE QUESTION:
00:07:43:00 Thank you. Well, that being said– the importance of The Stones’ music in your films, what song gave you the most pleasure when you saw it on film? What song was the most important and emotional to you when you saw it– when you saw the final film or when you were cutting it?
MARTIN SCORSESE:
00:07:58:00 That’s a hard one because, like, the entire concert is– was composed by– by numbers– like, one piece of music, in a way.
FEMALE QUESTION:
00:08:05:00 At the very last minute.
MARTIN SCORSESE:
00:08:07:00 And– well– actually, we– we fudged that a bit. That’s– (LAUGHTER) I mean, it felt like that. It felt like that. But it’s not–
MALE VOICE:
00:08:13:00 It’s impossible to answer that one.
MARTIN SCORSESE:
00:08:15:00 It really– really is impossible to answer. Sorry.
MODERATOR:
00:08:19:00 Gentleman back there.
QUESTION:
00:08:21:00 This question is for Keith and Mick. I know you’re both huge fans of– of Mr. Scorsese’s work. And I was wondering if you had any one film that you’re particularly fond of in his– in his body of work. One that really– you can watch over and over again, so to speak.
MICK JAGGER:
00:08:33:00 Which one do you like, Keith?
KEITH RICHARDS:
00:08:35:00 Oh, me?
MICK JAGGER:
00:08:35:00 Marty’s favorite. Your favorite.
KEITH RICHARDS:
00:08:38:00 I’m supposed to guess Marty’s favorite?
MICK JAGGER:
00:08:40:00 You know– your– (LAUGHTER)
MARTIN SCORSESE:
00:08:41:00 It’s all– never mind.
MICK JAGGER:
00:08:43:00 Kundun’s one of my favorites. (LAUGHTER) It’s not a joke.
KEITH RICHARDS:
00:08:48:00 I love ‘em all. (LAUGHTER) I love ‘em all.
MICK JAGGER:
00:08:49:00 You did you do that one?
MARTIN SCORSESE:
00:08:50:00 I did do it. Yes, I did. Yeah, yeah.
MICK JAGGER:
00:08:53:00 No, I love ‘em all. I love all of ‘em. It’s hard to– it’s hard to choose your favorite. You know.
KEITH RICHARDS:
00:08:58:00 They’re all our babies, you know?
MICK JAGGER:
00:08:59:00 I– I love all– I love– any and all of Marty’s movies. And I can’t wait for the next one.
MODERATOR:
00:09:05:00 Right here. Gentleman right here.
QUESTION:
00:09:07:00 Hi, from the newspaper L’Edition (PH) from
KEITH RICHARDS:
00:09:32:00 I’m lost now. This is all–
MICK JAGGER:
00:09:34:00 I’m a bit lost now. I got– I got a bit lost with that one. Can we– next time I come to
KEITH RICHARDS:
00:09:42:00 Yeah. I’ll draw you up a list. (LAUGHTER)
MODERATOR:
00:09:45:00 Right over here.
QUESTION:
00:09:46:00 Hello, guys. New Hope Gazette. Quick question. I want to thank Mr. Scorsese for filming the Rolling Stones who are a legendary band. And your work is legendary. And my question to you is, in– your latest film, Departed– Gimme Shelter, of course, has been in other films. But you picked Let it Loose. And– which is an obscure song. One of my favorites, actually, from Exile. And–
MALE VOICE:
00:10:08:00 Down in front.
QUESTION:
00:10:09:00 What is– what made you pick that song. And, in the future of your other films, will you pick more Stone obscure songs?
MARTIN SCORSESE:
00:10:16:00 Well– I mean, for me, it’s– I think it’s from Exile, isn’t it? Let Loose? From Exile on
00:10:39:00 So I tried a couple of other things afterwards. ‘Cause invariably, you say, “Well, that’s the first one. Well, it can’t be. It works, but it can’t be. It can’t be that– it can’t– working on the first try can’t be that way.” So we tried some other songs. But we went back to Let it Loose. And– placed it– just at the right moments– in between the dialog– for the highlights of the song. But it had the tone and the mood and the– again, the edge, I thought, that the scene had. And that the characters were– were like, really.
QUESTION:
00:11:05:00 Thank you.
MODERATOR:
00:11:08:00 Right here.
QUESTION:
00:11:08:00 Hi. Marlo Stern,
MICK JAGGER:
00:11:29:00 I don’t really know now. It was 18 months ago. (LAUGHTER) I don’t– I mean, you know, just–
KEITH RICHARDS:
00:11:35:00 Listen to me. Mick’ll– Mick’ll– he– he comes up with a set list. And– because he’s got to sing them. You know? And unless I say suddenly, “Hey, Mick, you’ve got ten songs in the same song,” you know what I mean, I don’t interfere. And– and so we– we make it up. The man’s got to sing ‘em, you know.
MICK JAGGER:
00:11:55:00 So I– yeah. I think it’s– you– you pick the one you think is best for the night, really. I don’t– wasn’t thinking, god, this is a (UNINTEL). It’s gonna–
KEITH RICHARDS:
00:12:02:00 Yeah, it might be a sore throat. It could be any– you know–
MODERATOR:
00:12:07:00 Gentleman right over here. Ian? Yeah.
QUESTION:
00:12:09:00 Hey guys, over here. I’m just wondering, for The Stones, how much fun are you guys still having doing this all these years later? And Marty, in terms of what you wanted to capture of that, were there little moments that you said, “Hey, you know, look at the affection between these guys. This has to be in the film”?
MICK JAGGER:
00:12:27:00 Well, I mean, a lot of fun. I mean, it took us two days to shoot the picture. We spent about four days doing the premieres and promotions. It’s, like, taking twice as long doin’ that. But I think we’re– we’re– we’re still– we had a lot of fun. You know, the– shootin’ this– this movie was– was quite– nerve-wracking in some ways. It was– it was fantastically– enjoyable in– in other ways.
00:12:49:00 You know, as I said before, it’s very nerve-wracking for– for us. Because we know we have to do something (UNINTEL). And I’m sure Marty, you know, got a lot of things goin’ on. He’s got to cover it if it happens. So, you know, it– it was quite a challenge. And– talkin’ about, you know, having fun. It was great fun to do. But it’s also a challenge for– for everyone sittin’ at this platform to come up with the goods both on the night and after it. So it– you know, you see this career wise, you always sees it and thinks it’s great fun. But there are also challenges to do these things slightly different from what you do normally.
KEITH RICHARDS:
00:13:21:00 Hey, read my lips.
MICK JAGGER:
00:13:23:00 There you go.
00:13:23:00 (OVERTALK)
MARTIN SCORSESE:
00:13:25:00 I’m sorry?
QUESTION:
00:13:26:00 In terms of what you wanted to capture.
MARTIN SCORSESE:
00:13:27:00 Well– again, I mean– for me, it was, literally, the moments that you can see the band actually working together. Each song like a narrative. It’s own narrative. A dramatic story. And the whole sound of the band is like a character. You know, one character. And each song. And so we caught– I mean, with the– with the– with the– grace of these– wonderful cinematographers, headed by Bob Richardson, people like Bob Elswit and– Ellen Kuras and– Tass (PH) and– Chivo (PH) and– John Toll and Lesnie from– who direc– who– did the– Lord of the Rings.
00:13:59:00 I mean, they– Andrew Rowlands. They were able to, like poets sometimes, be able to know exactly when to move that camera and pick up another member of the band. Et cetera. And when a camera went down. Don’t forget the– we shot this in 35 millimeter, not video. So that we had ten minute loads. We were going down all the time with cameras.
00:14:13:00 Cameras were– run– running out of film. So another– another camera would pick up where someone left off. And that’s why there were so many. To be able to pick up the slack. But the– the key was to find the moments– between the members of the band. How they play together, how they work together, and how they work it like a machine. Like the– like– it’s own– it’s own– entity, in a way. Each song.
KEITH RICHARDS:
00:14:32:00 Almost (UNINTEL) motion.
MARTIN SCORSESE:
00:14:34:00 Yeah. Yeah. (LAUGHTER)
MODERATOR:
00:14:36:00 Lady right here.
FEMALE QUESTION:
00:14:37:00 Hello. I’m from–
MICK JAGGER:
00:15:06:00 Oh, I don’t know.
KEITH RICHARDS:
00:15:07:00 But that’s only five years away.
MICK JAGGER:
00:15:08:00 Yeah, so– (LAUGHTER)
MARTIN SCORSESE:
00:15:12:00 Yeah, it’s pretty close, man. It’s pretty close. Not that far. Not that far. Who chose the clips?
FEMALE QUESTION:
00:15:21:00 Yeah.
MARTIN SCORSESE:
00:15:21:00 David Tedeschi is the editor of the film. And– we worked together, probably, almost nine, ten months, right? Editing this thing. The music came together rather quickly, I think, in the cutting. And that was– that was very enjoyable. But the hardest part was putting together the clips. I mean, I think David was– over 400 hours of footage that– that he, sort of, called–
FEMALE QUESTION:
00:15:39:00 Of the (UNINTEL)?
MARTIN SCORSESE:
00:15:40:00 Of the documentary sections. Of archival footage. And then he chose about 40 hours for me to see. And then we worked from that 40 hours. And it was a matter of balancing– saying something, but not saying too much, and then saying nothing with it. That was the key. And balancing it so it wouldn’t– it wouldn’t– it wouldn’t unbalance the music in the piece. Because– to do a– a film with all archival footage, I think– would be a four or five hour documentary.
MALE VOICE:
00:16:05:00 It’s another movie.
MARTIN SCORSESE:
00:16:06:00 Yeah, it’s another movie.
FEMALE QUESTION:
00:16:06:00 Do you (UNINTEL) have anything to say about the (UNINTEL)?
MICK JAGGER:
00:16:09:00 Well, you know, there were some moments when the archival footage, I felt, was going too long. And– and– and it– you– I felt we were lose– we were going off into another movie. And that we’re forgetting that we’re in a concert. Which is– ’cause it was very, kind of, riveting, sometimes, the old movie. But then, if it goes on sometimes too long, you– you want to come back to the– to the concert stage. So that– so, I thought, sometimes that David left them a little bit on the long side. So in the end–
MARTIN SCORSESE:
00:16:34:00 So we can see how we can–
MICK JAGGER:
00:16:35:00 In the end– we ended up with what we have which is good.
MODERATOR:
00:16:39:00 Right here.
FEMALE QUESTION:
00:16:41:00 Hi. Veronica Langley, one of the VH-1 winners. I have a question. Do you have any plans to do an acoustic album, like Beggars Banquet, in the future?
MICK JAGGER:
00:16:53:00 Beggars Banquet. Wasn’t really an acoustic album. It did have acoustic guitars on it, I’m sure. But we don’t, actually, have any plans to do an acoustic album.
MALE VOICE:
00:17:01:00 Like an unplugged.
MARTIN SCORSESE:
00:17:02:00 We have some acoustic in the feature-ette.
MICK JAGGER:
00:17:03:00 Yeah, we do have some acoustic– songs in the feature-ette on the DVD coming out.
KEITH RICHARDS:
00:17:08:00 When you can’t afford the electricity, baby, you go to acoustic.
MICK JAGGER:
00:17:11:00 Yeah, when it runs out. (LAUGHTER)
MARTIN SCORSESE:
00:17:13:00 That’s one of–
MODERATOR:
00:17:14:00 Okay. Steven, right here.
QUESTION:
00:17:15:00 Hi, Steven– Shaffer here, Boston Herald. I wondered– I loved the Motown Just my Imagination. Great high point for the movie. I wondered if you guys were planning to ever do a tribute album to someone or– or to something like Motown? And for Marty, how is it being back in
MICK JAGGER:
00:17:35:00 I often do tribute to Martha and the Vandellas in front of my mirror.
MARTIN SCORSESE:
00:17:38:00 Oh, that’s great. (LAUGHTER)
KEITH RICHARDS:
00:17:43:00 Oh, yeah. (UNINTEL) did that for 20 years and still (UNINTEL) cover ‘em all, you know what I mean?
MARTIN SCORSESE:
00:17:47:00 Right. For me–
00:17:55:00 (OVERTALK)
MARTIN SCORSESE:
00:17:57:00 A little cold. Especially at night. Yeah. Yeah. And– but aside from that, it’s– it’s really good. And– we’re working outside of
MODERATOR:
00:18:05:00 Over here.
QUESTION:
00:18:06:00 Yeah, hi. This is– Josh with E! Entertainment. And I just want to say– the numbers with the special guests, most– including Buddy Guy– I think– right here. Buddy Guy, you know, fantastic artist. You guys go back a long ways. I’d love, maybe, if you could talk about your relationship with Buddy Guy. And maybe, how you also brought on the other guests such as Jack White. And– and I have to say, Loving Cup is definitely one of my favorite songs. So I was happy to see you include it.
MICK JAGGER:
00:18:32:00 Thank you. Well, Buddy Guy, we’ve done, you know, in fact, we’ve done quite a few shows with Buddy Guy in the past. I think we’ve known him on and off for quite a long time. He’s, like, one of those continually wonderful blues performers that you admire.
KEITH RICHARDS:
00:18:47:00 I met him through Muddy Waters. You know? And then it goes back a long way.
MICK JAGGER:
00:18:50:00 Yeah. And we’re– (UNINTEL). And I think that the– that the thing that Marty captured, the duet thing that we did with him was– was really one of the high points of the movie for me.
KEITH RICHARDS:
00:19:01:00 I didn’t give him that guitar for nothing, man. (LAUGHTER)
MICK JAGGER:
00:19:04:00 You mean that wasn’t just for show?
00:19:06:00 (OVERTALK)
KEITH RICHARDS:
00:19:09:00 Hat’s off. (UNINTEL) a high point to me on that.
MICK JAGGER:
00:19:13:00 Yeah. And– and I think the other guests are really– all, in their own– different– slightly different ways, all add to– to the movie, you know? And– you know, I like all of the duets very much. I think they really will work. ‘Cause they don’t always work, those duets, I don’t think. But they–
KEITH RICHARDS:
00:19:29:00 Cristina’s very soulful.
MICK JAGGER:
00:19:30:00 I think that everyone sort of likes the– likes all the duets. And– and they really come off. So, thanks.
MODERATOR:
00:19:35:00 Gentleman back here in the back.
QUESTION:
00:19:37:00 Steve McFarland, Premiere.com. This question’s for Marty. I noticed Al Maysles in a few of the shots. How influenced were you by earlier Stones films like Gimme Shelter and others?
MARTIN SCORSESE:
00:19:46:00 About the earlier– I’m sorry?
QUESTION:
00:19:49:00 Earlier Stones concert films– like Gimme Shelter and others.
MARTIN SCORSESE:
00:19:52:00 Well, that– Al– yeah, Al (UNINTEL) reference the line, the continuity of– of films have been– a number of wonderful films made– with the Rolling Stones. So going back, of course, to Gimme Shelter. But– Hal Ashby’s– Let’s Spend the Night Together and– the Godard–
00:20:05:00 (OVERTALK)
MALE VOICE:
00:20:05:00 Cocksucker Blues.
MARTIN SCORSESE:
00:20:07:00 Cocksucker Blues which is– but also– the Godard film where you actually symp– see the song, Sympathy for the Devil, come together in the– in the recording studio, which is fascinating. So this is a– a direct reference to the– the– the past films. Yeah.
MODERATOR:
00:20:20:00 Gentleman in the hat.
QUESTION:
00:20:22:00 Ron Marazo (PH), Extra TV. Marty, when you set up the sequence in the beginning where you were on a long distance call with Mick and you were kind of waiting for the set to– the set of songs to be given to, how real was that tension between you guys?
MICK JAGGER:
00:20:38:00 Totally real, I (UNINTEL). (LAUGHTER)
MARTIN SCORSESE:
00:20:39:00 Absolutely. I– I mean, I– I trimmed it a bit. I mean, thing actual phone call was 45 minutes. So I cheated a bit. Over 45 minutes. But, you know, I– I hadn’t– it– the idea is to capture something spon– the spontan– spontaneity of the group. And– and the word capture means you have to control it somewhere. But you can’t control the spontaneity.
00:20:58:00 Therefore, the cameras have got to be in the right position. Then I wanted to go a little further. And that is, have them all moving cameras. But that means they could collide with the performers. So you have to be very careful. And all this sort of thing. And also, the band is on tour. So basically, we all– we were actually kind of talking to each other like little– little talking boxes. (LAUGHTER)
00:21:15:00 Let’s just get that shot. I had shot that, I think, at 11:00 at night on video. I sent– I sent– my assistant over to the hotel next door. They had white phones. “Get me a white phone.” ‘Cause it happened on a white phone. So I shot the– (LAUGHTER) I was like– we put it right in the machine, David and I. I– get– just get the voice. The little– the little box there. You know, the speaker come– like the– like Zeus. The voice of Zeus coming out of the air, you know?
00:21:34:00 As– and I said– but the– the humor of that was that, you know, we never really could be in the same city together for any really given– given, I’d say, a good long– a long period of time. We just couldn’t do it. And so we had to work that way. And I– did trim down the phone call. That’s true. I trimmed it down. Although me talking about a camera movement, I couldn’t stop talking on camera that moves and swoops. I couldn’t s– that’s real. That’s very real.
00:21:55:00 And the set list itself, I mean, had to really be something that they all worked out, almost, I think, to the last minute. I mean, you have to, as he says, know the room. You gotta feel the temperature of the audience. Gotta feel what’s happening. As he said, it could be a sore throat, it could be anything.
00:22:06:00 And so I was just concerned that we– we got– we got as much as we could on film because we were running out of– the film was running out of the magazines at ten minutes a clip. So I wanted to get the first three songs completely, with all 12 or 15 cameras, whatever it was. But inevitably, some of ‘em are gonna go out. Which happened, I think, from She was Hot.
00:22:24:00 But luckily, we had the backup cameras on She was Hot, you see. So we did– I actually found out the set list a lit– about a little– a little earlier than that. Someone did (UNINTEL) it. (LAUGHTER) I don’t want to say– I’m not gonna use the word stolen or, you know, I don’t want to say who it was. But we– we found it.
MALE VOICE:
00:22:40:00 I didn’t realize it was such (UNINTEL).
MODERATOR:
00:22:40:00 I believe this is the last question. Gentlemen right here.
QUESTION:
00:22:43:00 Hi, there. Over the last–
MARTIN SCORSESE:
00:22:44:00 It was crazy.
QUESTION:
00:22:45:00 Hi, Mr. Scorsese, this question is mostly for you. Over the last few years, you’ve reinforced your work with a kind of devel– development of a public persona, in a lot of ways. You did the Amex commercial. You’ve lent your name to certain causes and executive produced certain films. You– start and end this film.
00:22:58:00 And I’m interested– I mean, we haven’t seen a director like this since Hitchcock, in a lot of ways. Kind of the public persona. And I’m interested in how you’ve cultivated that over the years. And also, to the– The stones, I guess, how you felt about Mr. Scorsese– beginning and ending the film.
MARTIN SCORSESE:
00:23:13:00 Do you want to speak to that first? Or should I–
MICK JAGGER:
00:23:16:00 Yeah. Well, we had a lot– a lot of trouble workin’ out the ending of the film with Marty. He had to go to a lot of different acting coaches to do it.
MARTIN SCORSESE:
00:23:22:00 Really. It was really– (LAUGHTER) it was– it was sad. It was sad. Yeah. And it was just– no, I mean, I had started develop– I mean, I do it on my own pictures. I’m sort of the Edgar Kennedy. The slow burn. You know, that guy always used to go like this. That sort of– and that’s what you– that’s what happens when you make films.
00:23:37:00 And so– one of the things to do is to get into that. And– make a– and, literally, send up the hapless director, so to speak. Which– very often, you do feel like a hapless person sitting there. And the actor’s doing one thing. The camera. It starts to snow the other night when we’re shooting. It wasn’t supposed to snow.
00:23:54:00 You know? Things like that. Do we continue shooting? I mean– but that’s the nature of what it is. And– to have fun with it– I think there’s so many– documentaries now– or there’s so many sections of films that– concert films where you see the actual setting up the concert, interviewing people. Let’s have fun with it. Let’s– let’s get to the actual tension and the hu– the humor of that tension. Really, it’s the good humor of that tension.
MODERATOR:
00:24:16:00 And I believe we have one more. The lady right here.
FEMALE QUESTION:
00:24:19:00 Hi. This is the most extraordinary concert film because– it has a– a narrative arc in it that’s really decidedly wonderful. And we see aspects and elements of the Rolling Stones, who are– they’re iconic figures, but we see them anew. I wonder whether you had planned for this arc in preproduction. How you set that up. Or whether this happened during the course of the film where you found what you were getting. Or whether it happened in the editing room.
MARTIN SCORSESE:
00:24:48:00 It’s a good question. We had hoped for that arc. That’s where the tension is. That’s where the ten– and we need them to perform the way they are. I can’t put cameras in their way, yet I wanted to get that arc. And I knew that– if you call the arc– I– I knew that getting certain camera– cameramen and– and Ellen Kuras– also. Bob Richardson. All these people working together.
00:25:07:00 They also could find the angles and find the looks and know when to pan to– Ronnie on– on guitar. Know when to pan to Keith. Know when to stay on Mick and Charlie. And that sort of thing. And so I was hoping that the cameras in those positions would get those moments. And then that was constructed in the editing.
00:25:25:00 (OVERTALK)
MICK JAGGER:
00:25:26:00 Thank you very much, indeed. Ladies and gentlemen.
MALE VOICE:
00:25:27:00 Thank you.
MALE VOICE:
00:25:28:00 Thank you. (APPLAUSE)
* * *END OF AUDIO* * *
* * *END OF TRANSCRIPT* * *
Stones are over rated if you ask me. Yeah they have some good songs and have been around forever but they weren’t the best of their time.
Check out photos from the premiere of SHINE A LIGHT in London happening today!!
Its incredible!!
http://43kix.com/wap/eventitems.php?eventId=202