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Speaker 1: The Quest Loft Show is a production of iHeart Radio.

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Speaker 2: Ladies and gentlemen, Welcome to another episode of The Quest

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Speaker 2: Loft Show.

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Speaker 1: I will say that our guest today.

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Speaker 2: Is a visionary, a visionary so many iconic moments and

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Speaker 2: his canon be it of course, moll And Rouge, Romeo

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Speaker 2: and Juliet, the Elvis film The Great Gatsby. You know,

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Speaker 2: not enough people to talk about the get down. Nobody

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Speaker 2: talks about the get down right now, We're here to

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Speaker 2: celebrate probably one of the most clever acronyms, a movie

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Speaker 2: called Epic, which is Elvis Presley in concert. I guess

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Speaker 2: you could say almost companion film to the Elvis biopick.

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Speaker 2: And it's an amazing rare look. I believe, over fifty

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Speaker 2: nine hours of rare concert footage that hasn't been seen.

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Speaker 2: And in a minute, so much to talk about, Ladies

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Speaker 2: and gentlemen, please welcome, bads. Look all right, lureman, is

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Speaker 2: that is okay?

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Speaker 1: You say?

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Speaker 3: You do everything perfectly?

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Speaker 1: There you go, Baz Lauren, thank you for coming to

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Speaker 1: the Quest Love Show. How are you today?

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Speaker 4: Well, I'm extremely happy to be here on your show, man,

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Speaker 4: because I you know, you said a lot of nice

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Speaker 4: things about me and my work, and I feel the

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Speaker 4: same about you, and I feel somewhat of a kindred

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Speaker 4: spirit and that I think both of us, you know,

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Speaker 4: we don't specify ourselves. Like you love music, you love storytelling,

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Speaker 4: you love ideas, you like people, and you love culture.

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Speaker 3: And that's the way I see the world.

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Speaker 2: You know, I'm kind of geeking out because the fact

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Speaker 2: that you're even putting.

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Speaker 1: My pronoun into we and us, Like, I'm glad.

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Speaker 2: You see me as Atlasa Kendrick spirit, you know. Okay,

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Speaker 2: So I have so many questions to ask you about

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Speaker 2: your career, but for me, the most important is I

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Speaker 2: guess your trademark that I know you for is kind

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Speaker 2: of your anachronistic treatment of music in period pieces.

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Speaker 1: I remember sitting there and rolling me.

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Speaker 2: On Juliette, like, wait a minute, this music wasn't out there,

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Speaker 2: and like are they allowed to do that? Like we

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Speaker 2: had so many talks about wait, are they allowed to

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Speaker 2: just disregard time?

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Speaker 1: And you know, and this happens often in your movies.

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Speaker 2: When you first get a spark for a project, does

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Speaker 2: the playlist come first? Like how important is our songs

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Speaker 2: to you before you start a project?

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Speaker 4: Well, first, of all these I pop into my mind

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Speaker 4: and then I go, I must do it. I think

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Speaker 4: everything I've ever made has been in my mind from

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Speaker 4: the get gos. It is like the list of things

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Speaker 4: I feel I must make, not what I want to make,

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Speaker 4: but what I must make.

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Speaker 3: There's too many that I won't get them all done

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Speaker 3: before I go.

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Speaker 4: But like, for example, one thing I was always fascinated

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Speaker 4: with since being a kid was if Shakespeare made a movie?

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Speaker 4: How would he go about making a movie? And so

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Speaker 4: then it begins with that philosophical idea. I usually spend

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Speaker 4: time like I have a great friend Craig Piers went

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Speaker 4: to school. We wrote things together, you know, seem like

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Speaker 4: serial collaborators, musers, friends going up and downhills, drinking too

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Speaker 4: many glasses of wine and going.

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Speaker 3: Now, which, what's right? What's useful? Now?

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Speaker 4: So then it goes like, oh, you know, I really

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Speaker 4: want to reinvent the musical, but that's going to be

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Speaker 4: more complicated. So I just quickly bang off, you know,

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Speaker 4: what would Shakespeare do it for me?

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Speaker 3: A movie? That was the mission?

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Speaker 4: Now I say that, and it will answer your question,

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Speaker 4: because in studying Shakespeare very deeply, he would do things

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Speaker 4: like very broad comedy and then huge drama in the

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Speaker 4: next minute. The other thing he did was he took

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Speaker 4: pop music from the street and put it into his shows.

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Speaker 3: And he was pillared for this.

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Speaker 4: He was considered, I mean other writers at the time

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Speaker 4: that this guy is just such trash and he's a

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Speaker 4: working class he's not educated, he'll never last. But because

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Speaker 4: he did it, I would do it now now. To

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Speaker 4: be clear, as we were developing script, I developed the

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Speaker 4: music language as well. So it's literally written in the

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Speaker 4: script of Romeo and Juliet. I think it was something

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Speaker 4: like a boy with the voice of Stevie Wonder sings

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Speaker 4: a version of Princess Dove's Cry as a hymn as

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Speaker 4: Romeo and Juliet. So I can se the music of

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Speaker 4: equal importance in the fabric of storytelling as I with

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Speaker 4: the words and the image. I actually developed them in parallel,

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Speaker 4: like three scripts.

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Speaker 2: I guess you're telling me that you're saying that you

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Speaker 2: inherently know everything. And I believe this too, that all

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Speaker 2: humans know everything. We just have to channel you know,

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Speaker 2: the information, everything we need to know, everything that we're

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Speaker 2: going to know in this lifetime is already inside of us.

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Speaker 3: Yeah, life is a self revelation that never stops.

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Speaker 1: Correct. So that said, I gotta ask.

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Speaker 2: I mean, because everything you've done is ambitious, is there

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Speaker 2: a holy Grail project that you dream of making that's

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Speaker 2: kind of on the back Murner right now.

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Speaker 3: Well, I have to be very careful.

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Speaker 1: You can't.

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Speaker 4: Okay, no, no, because my answer going to sound pretentious,

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Speaker 4: and the answer is not.

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Speaker 1: You're an artist.

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Speaker 3: Not because anything I think up, I don't go.

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Speaker 4: I mean, this does sound pretentious, but I don't go

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Speaker 4: like I got this idea.

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Speaker 3: I need to get a job.

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Speaker 4: I just have always been either arrogant enough, or foolish enough,

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Speaker 4: or blind enough or singular enough to go hmmm. Shakespeare

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Speaker 4: directs a film. I want to make that now. At

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Speaker 4: that stage I had made Strictly Borim and it was

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Speaker 4: a wonderful journey. It was a play that I devised

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Speaker 4: in Lae. And when we did the film, we lost

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Speaker 4: the one distributor.

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Speaker 3: And then the guy brings me up.

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Speaker 4: I'm shaving my long collly black care off going Obviously,

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Speaker 4: I'll never make a movie again. It says my name

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Speaker 4: is Beer Rision, I'm from Zeke and film Festivela like

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Speaker 4: to invade you. We go Boom twelve o'clock, most amount

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Speaker 4: of sales in history.

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Speaker 3: Yeah. Changes, Yes, exactly, my life changes.

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Speaker 4: So by having said that, in doing a first look

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Speaker 4: deal with Fox, they were definitely not expecting me to

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Speaker 4: walk in and say I want to do Shakespeare, as

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Speaker 4: if Shakespeare was directing a movie. That was not what

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Speaker 4: they were hoping for. But I just go, that is

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Speaker 4: what is needed to tell you right now, Right now,

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Speaker 4: I mean, I'm in the middle of this, and this

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Speaker 4: is god epic has its own quite extraordinary life. Even

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Speaker 4: I'm swept up and surprised and joyed by the embrace.

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Speaker 4: And I'm not just saying that as a sales pitch,

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Speaker 4: but in the background, on a very deep level, I'm

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Speaker 4: working on jan Dac the story of Joan of arc

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Speaker 4: in the belief that in two years time, a story

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Speaker 4: about a world that is stuck in this echo chamber

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Speaker 4: of old dudes who want to keep it going around

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Speaker 4: and round and around because it makes money. And she

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Speaker 4: says enough is enough. And she comes from a small

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Speaker 4: country town at the age of seventeen and lifts up

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Speaker 4: a young king who's on his last knees and changes

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Speaker 4: history for that generation.

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Speaker 3: And I just think that's going to be useful. So

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Speaker 3: I just think I have to.

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Speaker 2: Do it continue the tradition of playing with time in

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Speaker 2: terms of.

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Speaker 4: I know every step genov ARC's taken, I've taken it,

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Speaker 4: and I've worked with academic systuff, very very academically. But

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Speaker 4: then I say, my job is to translate it for

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Speaker 4: the audience at this time, in this moment.

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Speaker 3: And so without saying.

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Speaker 4: What yeah, well, without saying what it is, yeah, see,

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Speaker 4: here's my thing, here's my thing.

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Speaker 3: Listen to my thing.

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Speaker 4: You take Gatsby, whether people agree with what I did

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Speaker 4: in Gadsby or not. I was working on Gatsby and

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Speaker 4: Fitzgerald wrote into his novella Black Street Music, which was

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Speaker 4: called jazz, even termed the phrase of jazz age, and

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Speaker 4: people went, why are you doing that? It's going to

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Speaker 4: be a fad, this jazz stuff, But when you come

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Speaker 4: to make the movie, it's kind of got a nostalgic patina.

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Speaker 4: So then I get with jay Z and Jay I

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Speaker 4: told him all about it down just down the road here,

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Speaker 4: and before I even finished, he says, what are you

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Speaker 4: talking about? We're doing it, And he says, we're going

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Speaker 4: to do this, and together we embark on this journey

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Speaker 4: bringing lots of artists together because we wanted to show

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Speaker 4: that that is what it is and what it felt like,

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Speaker 4: and what Gatsby in the novel felt like was kind

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Speaker 4: of what hip hop could do for us.

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Speaker 1: I understand.

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Speaker 2: So, yeah, if you put jazz inside of Gatsby, now

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Speaker 2: jazz is your grandparents' music, it's it's except great.

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Speaker 3: But I don't understand.

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Speaker 4: It was like edgy and scary and was like cut

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Speaker 4: through you know, gotcha?

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Speaker 2: What was your first musical memory in life? Your very

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Speaker 2: first musical memory.

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Speaker 3: Easy.

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Speaker 4: My father went to the Vietnam War and when he

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Speaker 4: came back, he brought with him what was called a

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Speaker 4: real to real Akai, very very high tech, and we

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Speaker 4: were in Sydney for a while. Then we moved to

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Speaker 4: a tiny country town. And in this tiny country town

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Speaker 4: we had the gas station and a restaurant, a pig farm.

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Speaker 3: It's only about five houses.

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Speaker 4: But Dad had a Kai and it came with the

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Speaker 4: demonstration tape. And the demonstration tape had Tijuana brass, classical music, Mozart,

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Speaker 4: the Beatles, and the sound of the Japanese.

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Speaker 3: Bulletrain going right.

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Speaker 4: Yeah, I know, it's random. Yeah, what I want to

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Speaker 4: show stereo. Okay, Oh, there was a voice that said

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Speaker 4: something like.

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Speaker 3: A Japanese bullet train now as it rips.

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Speaker 4: By, and it could record. But the thing is, I

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Speaker 4: think that we used to play the tape endlessly. And

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Speaker 4: then there were records, and then I ran my own

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Speaker 4: radio station, not as cool as yours. I only had

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Speaker 4: one record called One is the Loneliest Number, which I

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Speaker 4: don't find it. But I think the variety of that

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Speaker 4: music left me with a sort of lack of prejudice

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Speaker 4: about kinds of music.

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Speaker 3: There was just music, good and average.

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Speaker 1: Which city is the that you were born in or

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Speaker 1: grew up in?

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Speaker 4: But I was born in Sydney on the sand outside

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Speaker 4: where my parents were building a house with their bare hands.

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Speaker 4: But then very early on, we moved to this tiny

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Speaker 4: country town in the bush in Australia, kinda not in

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Speaker 4: desert in huge trees, like it was a forestry area

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Speaker 4: on a highway.

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Speaker 1: All right.

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Speaker 2: So many elements of your life I think can be

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Speaker 2: traced to your formative years. Everything as the irony hit

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Speaker 2: you or whatever, like your dad runs a movie theater

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Speaker 2: and suddenly like this is your life.

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Speaker 1: Your mom was a ballroom instructor, so that's you do

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Speaker 1: strictly ballroom. I mean, your name is Mark Anthony.

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Speaker 2: So there's some sort of Caesarus Shakespearean thing going on.

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Speaker 2: First of all, where is the name Baz come from?

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Speaker 1: Is that a nickname?

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Speaker 3: Or yeah?

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Speaker 4: Yeah, yeah, Well Willams is rather than going to the

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Speaker 4: epic version epic as you know, it was President Constant

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Speaker 4: give a plug, just kidding bigger, but no, the epic

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Speaker 4: version of it. But we my brothers and I grew

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Speaker 4: up my sister. There was a moment of tumultuous separation

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Speaker 4: and my mother leaves us to go to the city,

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Speaker 4: and you know, I just knew I would forever be there.

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Speaker 3: And that was a very loving man, and he.

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Speaker 4: Had all sorts of artists stay with us, and he

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Speaker 4: didn't ever ask to be without education. So we learned

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Speaker 4: photography and bought him dancing and commander training all at once.

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Speaker 3: You know.

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Speaker 4: It was crazy, like we all had to have a business.

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Speaker 4: We were just active from five am in the morning

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Speaker 4: till late at night, plus running the gas station and

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Speaker 4: blah blah blah.

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Speaker 3: And little kids, little kids. We had so much work

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Speaker 3: to do and stuff. But it was I now look

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Speaker 3: back and go.

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Speaker 4: It was sort of a caravancier of adventure and creativity.

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Speaker 4: There was NonStop. However, there's this breakup. I run away

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Speaker 4: and I find mom in the city and she puts me.

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Speaker 4: I was in quite a progressive school. There was like

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Speaker 4: experimental school that we were in. Had a new system

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Speaker 4: and you had to think all d day and so

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Speaker 4: you could learn different creative things. Anyway, long story short,

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Speaker 4: they put me into this kind of boys school. But

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Speaker 4: dad had this thing because he was from the Vietnam War.

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Speaker 4: He did not like hippies, and so he cut our

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Speaker 4: hair really really short, and we had to wear you know,

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Speaker 4: white shirts and ties. Can you imagine in the seventies,

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Speaker 4: you know, when everybody else was wearing pooka shells and

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Speaker 4: like a wine shirts and flip flops and you know, and.

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Speaker 3: Doing we you know, like we got beat up a

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Speaker 3: lot for that.

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Speaker 4: So as soon as I ran away, I grew up

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Speaker 4: my hair, which was crazy curly, and I went to

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Speaker 4: this boys school and you know, obviously you know, hormonal

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Speaker 4: teenage boys banging on their head. And so the US

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Speaker 4: got me basil Brush after a kind of English cartoon

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Speaker 4: character as a sort of oh yeah, just to put

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Speaker 4: me down.

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Speaker 3: So this nickname mas or Basil, bas.

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Speaker 1: Or Basil and you took it on.

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Speaker 4: So I went to hell with that and I went

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Speaker 4: into deed poll and at nineteen, you know what, mark

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Speaker 4: boring and thought, I'm going to call myself Baz Mark

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Speaker 4: two sides to me. One is going to be my

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Speaker 4: kind of brand, Baz, and the Mark's going to be

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Speaker 4: who I am. And I made up the name Basmark.

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Speaker 4: And was that your legal name now or my legal

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Speaker 4: name my passport?

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Speaker 3: Since I was nineteen?

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Speaker 2: Okay, at ten to fifteen, what were your goals in life?

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Speaker 3: Like?

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Speaker 1: What did you want to be when you grew up?

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Speaker 3: Well, again, it's going to sound pretentious.

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Speaker 1: But you're an artist. You're allowed to dream.

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Speaker 4: That's what I was doing. But I was not only dreaming.

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Speaker 4: I was doing so even at ten, I was doing shows.

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Speaker 4: I have my own radio show. Dad was really supportive

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Speaker 4: of this.

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Speaker 1: Wait, how were you when you had a radio show?

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Speaker 4: I was about eleven. I got the eleven years old.

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Speaker 3: Yeah.

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Speaker 4: I found this old record player and Dad ricked up

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Speaker 4: speakers in the gas station.

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Speaker 3: It was called radio. It was mobile no mobile gas.

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Speaker 4: Yeah, I here we are Radio Mlbil and when we come,

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Speaker 4: let's play that great hit one is the loneliest number,

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Speaker 4: because that's the only rest. And then my rather my

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Speaker 4: younger brother would read the sports, you know, and he

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Speaker 4: was like, let's say, not the greatest reader in the world.

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Speaker 4: Well that's enough with the sports. Let's get back to

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Speaker 4: that great hit one is the loneliest number. So it

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Speaker 4: was it was role playing, but I did it and

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Speaker 4: I made little films because Dad met month through photography.

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Speaker 4: He was in the equivalent of the Navy Seals, I guess,

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Speaker 4: you know. He was on the Melbourne, which is an

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Speaker 4: aircraft carry blowing stuff up basically to do landings, and

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Speaker 4: you know, he need really he lived an energy military life.

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Speaker 4: But he was very creative and he was obsessed with photography.

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Speaker 4: So he made me learn how to use a box brown.

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Speaker 4: He wouldn't let me use an SLR like old Kodak

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Speaker 4: and process my own film and footage. And I was

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Speaker 4: making little movies at the same time.

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Speaker 2: Okay, so you come from theater culture, of course, and

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Speaker 2: of course you as a director, I'm under the impression

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Speaker 2: that the grass is always greener on the other side,

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Speaker 2: like when you're on one side. Then you know, like

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Speaker 2: I wish I was as much as I complained about

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Speaker 2: touring with the Roots back in the night, you know,

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Speaker 2: like I would do anything, even the towns I hated

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Speaker 2: to go to.

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Speaker 1: But of course, when you're doing that.

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Speaker 2: You wish, oh man, if I could just live in

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Speaker 2: one city and have.

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Speaker 1: A regular job.

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Speaker 3: You know, the grass is always green.

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Speaker 2: So for you, you know, coming from developing theater, where's your

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Speaker 2: pleasure center?

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Speaker 1: Do you like theater better or is it movies?

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Speaker 4: You know, I honestly do not consider myself a film

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Speaker 4: director a director of opera. Right now, I've just finished

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Speaker 4: with seeing them making a little train carriage for the

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Speaker 4: people that have the orone express for dining carriage.

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Speaker 3: It's going to open in May. We've built what is this.

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Speaker 3: We've got a hotel in Miami.

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Speaker 1: Okay.

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Speaker 3: I got a little by here in New York.

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Speaker 1: Okay.

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Speaker 4: You know, I done election campaign edited magazines. I believe

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Speaker 4: in creative adventure. I actually don't define myself by that.

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Speaker 4: It's got to be a creative adventure. And I would

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Speaker 4: say what defines me is that I trade in storytelling

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Speaker 4: and ideas and the medium is always I'm open about it,

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Speaker 4: you know, like often thinks that for the first time

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Speaker 4: when I have my opera company. It was the first

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Speaker 4: time I did opera just because I was fascinated and compelled. Yeah,

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Speaker 4: I've met a lot of music. I learned to produce

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Speaker 4: quite early on. And although I've worked with the greats,

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Speaker 4: you know, like Jay and great great artists, I mean,

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Speaker 4: you know, the Bono's and the Bowies and you know

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Speaker 4: and Elton.

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Speaker 2: And I've known that you've produced your soundtracks, which, yeah,

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Speaker 2: I definitely want to get into that.

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Speaker 1: Yeah, forty years has passed since.

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Speaker 2: I don't want to reduce it to saying Leo Mania,

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Speaker 2: but I mean the spark of the world's obsession with

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Speaker 2: Leonardo DiCaprio. Really, there's always the well I was there

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Speaker 2: in the beginning. I was a day one, but I'm

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Speaker 2: really like I was alive during Romeo and Juliet time,

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Speaker 2: and I'll tell you how much have changed me as

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Speaker 2: a DJ.

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Speaker 1: I never knew why, Like I was late.

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Speaker 2: Maybe I saw Romeo and Juliet maybe like four months

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Speaker 2: after it came out. Yeah, And I used to always

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Speaker 2: play Young Hearts when free, and suddenly I was like, wow,

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Speaker 2: like young kids are really into Kandy State, and like

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Speaker 2: I must be doing something good. Having no clue how

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Speaker 2: you incorporated music into it. So, like, what are your

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Speaker 2: memories of like just that period of Romeo and Juliet.

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Speaker 2: How did you convince your producers in the movie company

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Speaker 2: that this idea is going to work?

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Speaker 1: First of all, did you know it was going to work? Yes,

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Speaker 1: you knew it.

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Speaker 2: Yes, okay, So from super to nuts, Like, how give

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Speaker 2: me your reflections of it?

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Speaker 4: Well, you know, we used to always make in the

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Speaker 4: days of Blu Ray, we always made the extras. You know,

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Speaker 4: I've been involved in everything, and I think I tell

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Speaker 4: the story. It's there was a big kind of thing

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Speaker 4: in Sun Valley where industrialists would come and so I

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Speaker 4: did a lecture on creativity and blah blah blah, and

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Speaker 4: I tell the story of pitching Romeo and Juliet.

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Speaker 3: And I'm a terrible picture.

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Speaker 4: And look, I gotta be careful because the exec I

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Speaker 4: had at the time as a dear friend, and you know,

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Speaker 4: he wasn't expecting me to come and see it's a

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Speaker 4: modern day Romeo and Juliet.

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Speaker 3: He says, just it's a long story, but I do

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Speaker 3: it terribly.

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Speaker 1: Who was the exact pitter?

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Speaker 3: Rice?

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Speaker 1: Oh, yes, of course.

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Speaker 4: And Rice is like, you know, I love Peter, but

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Speaker 4: he was young too, and he was like, oh my god,

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Speaker 4: he hates me telling this story, but I got to

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Speaker 4: tell you. He also without him, there would be no

390
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Speaker 4: Romeo and Juliet because there's a chapter two. First chapter

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Speaker 4: is I'll do it without going into all the detail.

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Speaker 4: But he says, that's great, but just don't mention its Shakespeare,

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Speaker 4: you know. So I go in and I do my

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Speaker 4: you know, is where like in Imasion and as Gangs

395
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Speaker 4: and Wound, the lights go on and goes horribly wrong. However,

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Speaker 4: I did what I always do, and it relates a

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Speaker 4: little bit to Epic because I think what Jonathan and

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Speaker 4: I John I Redman, my editor and co producing cro

399
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Speaker 4: creator on Epic. I always begin by making a kind

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Speaker 4: of tone poem of music, visuals and dialogue that can

401
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Speaker 4: convey the feeling of what it is I'm trying to

402
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Speaker 4: make because it's hard to grasp for people. And so

403
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Speaker 4: at the end of this disastrous hour where Peter Chernan,

404
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Speaker 4: who is like the head.

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Speaker 1: Of Fox then my current boss right.

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Speaker 4: Well, mister Jernon, you know, and wonderful, but he just

407
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Speaker 4: I put the tape on him.

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Speaker 3: And they went like, oh, I get it.

409
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Speaker 4: It's kind of Gangs and I went yes, So they

410
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Speaker 4: gave me a little bit of money, and Leonardo came

411
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Speaker 4: into it because I sing, I can't make this unless

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Speaker 4: I can find someone who looks like Romeo.

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Speaker 3: I saw a picture in a magazine.

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Speaker 4: I went, that kid there he looks like and I

415
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Speaker 4: just thought he was I didn't know he could act.

416
00:21:12,800 --> 00:21:15,320
Speaker 4: And they said, actually, he's a really amazing young actor.

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Speaker 4: So I go to him.

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Speaker 1: So you had no idea about what's eating Gilbert Group or.

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Speaker 4: I saw it then after it, wow, it's amazing. So

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Speaker 4: then I go to him and I said, look, why

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Speaker 4: don't you and your dad. I've got enough money to

422
00:21:27,359 --> 00:21:30,280
Speaker 4: give you both business colass tickets. Why don't you come

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00:21:30,320 --> 00:21:34,760
Speaker 4: down to Australia. Don't commit and I We'll do workshops.

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Speaker 4: And that's what I've always done, workshops. Leo being Leo

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Speaker 4: or Dio as I call him, Dio Cash is in

426
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Speaker 4: the tickets and brings all of his friends with him.

427
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Speaker 3: They fly bucket class, so they all come down and.

428
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Speaker 4: So I dress them all up and put them in

429
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Speaker 4: the in the test shootings that we do of this,

430
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Speaker 4: and some of this is actually on the Blu Ray

431
00:21:53,840 --> 00:21:55,800
Speaker 4: and he's amazing at it. But I'm like doing the

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Speaker 4: makeup myself and you know, and Don's shooting it and

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Speaker 4: all that. So armed with this deal coming down with

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Speaker 4: his dad, and I was sweeping through how.

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Speaker 3: We're going to do it.

436
00:22:06,240 --> 00:22:08,280
Speaker 4: We go back and then they see it and they

437
00:22:08,320 --> 00:22:13,080
Speaker 4: go great, now we're away, except all of a sudden,

438
00:22:14,000 --> 00:22:17,040
Speaker 4: I'm auditioning the red looking for Juliet and I hear

439
00:22:17,119 --> 00:22:19,240
Speaker 4: that like, maybe there's another Romeo and Juliet.

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00:22:19,800 --> 00:22:21,639
Speaker 3: I'm going, no, no, no, no, no, he was for kidding.

441
00:22:22,040 --> 00:22:24,119
Speaker 4: I sit down this story. I just can't give it

442
00:22:24,200 --> 00:22:26,399
Speaker 4: so epic. Sit down at a restaurant in London. I

443
00:22:26,400 --> 00:22:28,400
Speaker 4: hear this guy going, I just got up the phone

444
00:22:28,400 --> 00:22:30,360
Speaker 4: and I talked to this guy. Won't say who it is,

445
00:22:30,840 --> 00:22:33,200
Speaker 4: but an executive of Big Studio, and he says, they're

446
00:22:33,200 --> 00:22:36,639
Speaker 4: going to splash that boss lerm and crazy television exploding

447
00:22:36,680 --> 00:22:40,680
Speaker 4: Romeo and Juliet and do ours another production and like.

448
00:22:40,640 --> 00:22:41,680
Speaker 3: People, you were right there.

449
00:22:42,040 --> 00:22:44,560
Speaker 4: He was behind me at a ca the hell and in

450
00:22:44,560 --> 00:22:46,480
Speaker 4: London and he leans back and I don't know it

451
00:22:46,600 --> 00:22:48,879
Speaker 4: was you, no, And I'm saying to see him. I'm

452
00:22:48,880 --> 00:22:52,399
Speaker 4: sitting I think you're talking about Romeo and Juliet. And

453
00:22:52,440 --> 00:22:54,280
Speaker 4: I go, I'm so sorry, did mean to bump into you?

454
00:22:54,760 --> 00:22:54,960
Speaker 3: Right?

455
00:22:55,640 --> 00:22:57,240
Speaker 4: I can't tell the rest of the story. It's for

456
00:22:57,280 --> 00:22:59,520
Speaker 4: a book one day and Moto mine is I ring out?

457
00:22:59,560 --> 00:23:03,239
Speaker 4: My guys really said yep, but don't worry. They're going

458
00:23:03,240 --> 00:23:06,040
Speaker 4: to pay you out. But they want to do the

459
00:23:06,040 --> 00:23:09,200
Speaker 4: other one because it's at the other division of Fox

460
00:23:10,040 --> 00:23:12,560
Speaker 4: and my Robert Newman says to me, you know what,

461
00:23:13,200 --> 00:23:15,199
Speaker 4: I'm going to want to not tell bas you said that,

462
00:23:15,640 --> 00:23:17,679
Speaker 4: because I know he would not.

463
00:23:18,119 --> 00:23:19,280
Speaker 3: You just give it back to us.

464
00:23:19,720 --> 00:23:23,600
Speaker 4: And to his credit, Peter Rice writes this incredible letter

465
00:23:24,040 --> 00:23:27,399
Speaker 4: that says, when I passed on another Young Auteurs film,

466
00:23:27,760 --> 00:23:30,879
Speaker 4: you told me it was my job to convince you

467
00:23:31,280 --> 00:23:35,560
Speaker 4: when something that seemed improbable was worth doing, and because

468
00:23:35,560 --> 00:23:40,160
Speaker 4: of that they ultimately stuck with mine. And then that happened,

469
00:23:40,200 --> 00:23:42,040
Speaker 4: and then we went down. It was probably the most

470
00:23:42,119 --> 00:23:46,600
Speaker 4: romantic and wild and crazy shooting ever we shot in Mexico.

471
00:23:47,200 --> 00:23:50,280
Speaker 4: It was Leo and then Young Claire. Because Leo was

472
00:23:50,359 --> 00:23:52,880
Speaker 4: running around, we had our own choppers. And then at

473
00:23:52,880 --> 00:23:56,639
Speaker 4: some point I get a call saying, look, does she

474
00:23:56,640 --> 00:23:59,000
Speaker 4: don't want to make this film with Jim Cameron about

475
00:23:59,040 --> 00:24:01,960
Speaker 4: a big boat that seems, and they'd like you to

476
00:24:02,440 --> 00:24:04,159
Speaker 4: do you think you get Lea to read the script,

477
00:24:04,320 --> 00:24:04,960
Speaker 4: which we do.

478
00:24:05,640 --> 00:24:07,280
Speaker 3: And that's a whole other story.

479
00:24:07,119 --> 00:24:10,359
Speaker 2: Jesus Christ, now that I'm in the game of clearances,

480
00:24:10,720 --> 00:24:13,400
Speaker 2: oh yeah, in the nightmare of it. Well, last night

481
00:24:13,600 --> 00:24:16,240
Speaker 2: I spent two hours writing in the email trying to

482
00:24:16,280 --> 00:24:19,679
Speaker 2: convince someone to come off a price. How are you

483
00:24:19,760 --> 00:24:24,080
Speaker 2: able to convince Prince to let you cover when Devi's

484
00:24:24,080 --> 00:24:27,120
Speaker 2: crib when he's a notorious no or even.

485
00:24:27,119 --> 00:24:30,399
Speaker 4: Yeah, like with so tracks twice And in fact, I

486
00:24:30,480 --> 00:24:35,080
Speaker 4: was working with Prince on and look bless his dearly

487
00:24:35,080 --> 00:24:38,840
Speaker 4: departed soul because the man was a beautiful genius. But

488
00:24:38,960 --> 00:24:40,679
Speaker 4: he was doing We were working on a piece for

489
00:24:41,400 --> 00:24:44,320
Speaker 4: Gatsby for a real long time and just write at

490
00:24:44,320 --> 00:24:47,639
Speaker 4: the last minute, just to change the course, and.

491
00:24:47,600 --> 00:24:48,359
Speaker 1: He pulled the Prince.

492
00:24:49,440 --> 00:24:51,800
Speaker 4: It just another story. I can't go into it because

493
00:24:51,800 --> 00:24:53,800
Speaker 4: it take too long. But end up bringing a young

494
00:24:53,880 --> 00:24:57,000
Speaker 4: singer called Lana del Ray and st Lana, I really

495
00:24:57,000 --> 00:24:59,400
Speaker 4: need a song something like this, she says, come back.

496
00:24:59,359 --> 00:25:02,159
Speaker 1: The fact that radio hit was like third to last.

497
00:25:02,320 --> 00:25:03,439
Speaker 3: Yeah on it.

498
00:25:03,480 --> 00:25:06,360
Speaker 2: I was like, Wow, he knew, he knew exactly right

499
00:25:06,440 --> 00:25:08,520
Speaker 2: before computer blows up.

500
00:25:08,480 --> 00:25:12,000
Speaker 4: There's a book must be written Monday. I love music

501
00:25:12,160 --> 00:25:14,360
Speaker 4: and I've worked in it a lot, and my young

502
00:25:14,400 --> 00:25:17,480
Speaker 4: assistant on Romeo and Juliet, we learned to produce together.

503
00:25:17,520 --> 00:25:19,359
Speaker 4: We made a little record on which it was a

504
00:25:19,359 --> 00:25:22,920
Speaker 4: song called Sunscreen, which really blows up, and I really

505
00:25:23,000 --> 00:25:24,520
Speaker 4: learned how to even get on the faders.

506
00:25:24,760 --> 00:25:25,560
Speaker 3: Unfamiliar, you know.

507
00:25:26,240 --> 00:25:32,080
Speaker 4: So then we were preparing for Mulin Rouge and this

508
00:25:32,160 --> 00:25:35,200
Speaker 4: whole conceit that came up with Craig Bisness I working

509
00:25:35,240 --> 00:25:35,479
Speaker 4: on it.

510
00:25:35,840 --> 00:25:37,679
Speaker 3: You know, the poet had to be a genius poet.

511
00:25:37,880 --> 00:25:40,000
Speaker 4: But you know, if you say someone's a genius painter

512
00:25:40,640 --> 00:25:42,520
Speaker 4: and you do your own painting, you look at it.

513
00:25:42,560 --> 00:25:43,399
Speaker 3: Is that genius? I don't know?

514
00:25:43,440 --> 00:25:45,240
Speaker 4: But if it's Picasso, you go, well, the world says

515
00:25:45,240 --> 00:25:47,800
Speaker 4: it is. So it came up with the preposterous conceit.

516
00:25:48,200 --> 00:25:50,919
Speaker 4: The preposterous conceit was what if the poet opened his

517
00:25:50,960 --> 00:25:52,639
Speaker 4: mouth and saying, the hills real live, the sound of

518
00:25:52,720 --> 00:25:56,200
Speaker 4: music silly, but we all go genius, you know. Now,

519
00:25:56,240 --> 00:25:58,760
Speaker 4: go back to Romeo and Juliet. When I was writing

520
00:25:58,840 --> 00:26:02,800
Speaker 4: Romeo and Juliet, Peter showed me bitter Rice showed me yesterday.

521
00:26:03,520 --> 00:26:08,160
Speaker 4: So randomly the vibe tape that I made haven't seen

522
00:26:08,200 --> 00:26:11,640
Speaker 4: it for thirty years, and I realized that I would

523
00:26:11,640 --> 00:26:15,280
Speaker 4: cut that vibe tape to Venus as a boy, some

524
00:26:15,960 --> 00:26:22,000
Speaker 4: massive attack and the wagner that was from an opera.

525
00:26:22,400 --> 00:26:25,200
Speaker 4: The film ends with that wagner, and I went, Venus

526
00:26:25,280 --> 00:26:27,199
Speaker 4: is a boy. I gotta find whoever made this music.

527
00:26:27,480 --> 00:26:30,520
Speaker 4: That person was called Nelly Hooper. I finally meet Nellie

528
00:26:30,520 --> 00:26:34,320
Speaker 4: Hooper the student In no way is some pop producer

529
00:26:34,560 --> 00:26:35,480
Speaker 4: gonna make the music.

530
00:26:35,440 --> 00:26:36,160
Speaker 3: Romeo and Juliet.

531
00:26:36,200 --> 00:26:39,960
Speaker 4: I'm like, well yeah, and not only is it Nelly,

532
00:26:40,359 --> 00:26:44,800
Speaker 4: it's Craig Armstrong doing strings, and then it's Marius Devrees

533
00:26:45,520 --> 00:26:51,440
Speaker 4: and we create all those tracks. And Radiohead probably they

534
00:26:51,480 --> 00:26:55,000
Speaker 4: had talk show hosts had happened, but Radiohead were happening,

535
00:26:55,040 --> 00:26:57,120
Speaker 4: and I was sawing to Karen Rackman and I went, gee,

536
00:26:57,119 --> 00:26:59,440
Speaker 4: they've got such a feel. So I ring this young

537
00:26:59,480 --> 00:27:02,520
Speaker 4: guy called Tom Yaork remember this, And I'm talking to

538
00:27:02,560 --> 00:27:04,960
Speaker 4: him on the phone and I'm saying, look, we need

539
00:27:04,960 --> 00:27:08,840
Speaker 4: this end song and just talking about it, and he's like, yeah, yeah,

540
00:27:08,880 --> 00:27:11,040
Speaker 4: but I'm on tour. And then i'd ring him yeah yeah,

541
00:27:11,080 --> 00:27:14,120
Speaker 4: but I'm on tour. I think I've got it. We're

542
00:27:14,240 --> 00:27:18,320
Speaker 4: mixing the movie. We're doing the end credits. We have

543
00:27:18,400 --> 00:27:22,119
Speaker 4: another song in the end credits. All of a sudden,

544
00:27:22,119 --> 00:27:24,199
Speaker 4: I get a tap on the door. Guy runs in

545
00:27:24,240 --> 00:27:26,439
Speaker 4: with a dad tape. You might know what that is,

546
00:27:26,520 --> 00:27:29,359
Speaker 4: digital tape. Tiny yes, and it says from Tom Debas,

547
00:27:29,400 --> 00:27:32,199
Speaker 4: I hope I'm not too late. We've literally put it

548
00:27:32,200 --> 00:27:36,199
Speaker 4: in the machinery. We are just doing the final mix. Ok, right,

549
00:27:36,280 --> 00:27:39,320
Speaker 4: the film's definitely locked, but I'm layering in the final mix.

550
00:27:39,359 --> 00:27:43,119
Speaker 4: I'll put the tape in and roll it and that

551
00:27:43,320 --> 00:27:48,360
Speaker 4: song exit song for a movie cut too. That's how

552
00:27:48,400 --> 00:27:52,080
Speaker 4: the yeah cut to check this out. Cut to like

553
00:27:52,280 --> 00:27:56,600
Speaker 4: fifteen years later, I'm talking to Nigel Godridge and later

554
00:27:56,680 --> 00:28:00,399
Speaker 4: on Johnny Green. Eventually he just uses my house Sydney

555
00:28:00,440 --> 00:28:02,760
Speaker 4: to write a ballet in at some stage. So that's

556
00:28:02,800 --> 00:28:05,000
Speaker 4: how I sort of vaguely know Johnny. But cut to

557
00:28:05,640 --> 00:28:08,600
Speaker 4: Godridge tells me there'd been a bit of an argument

558
00:28:08,640 --> 00:28:11,760
Speaker 4: between the guys. I don't want to get into their life,

559
00:28:12,600 --> 00:28:15,680
Speaker 4: and Tom was like, that's it, and then goes downstairs

560
00:28:15,680 --> 00:28:16,880
Speaker 4: and he goes, oh, I got to write.

561
00:28:16,640 --> 00:28:18,240
Speaker 1: That damn song.

562
00:28:18,600 --> 00:28:21,159
Speaker 3: So he's doing it. Johnny Green when comes down.

563
00:28:21,440 --> 00:28:23,480
Speaker 4: So doing a bit of basing it, they do that

564
00:28:23,560 --> 00:28:26,480
Speaker 4: song and then they're write the next one, and that

565
00:28:26,600 --> 00:28:29,879
Speaker 4: becomes okay, computer, that's the first song. That's what I

566
00:28:29,920 --> 00:28:35,159
Speaker 4: was told, told you, I told you these stories are

567
00:28:35,200 --> 00:28:35,600
Speaker 4: so long.

568
00:28:35,680 --> 00:28:37,200
Speaker 1: I had this one for the ages.

569
00:28:37,400 --> 00:28:38,440
Speaker 3: I know, I got a book.

570
00:28:39,200 --> 00:28:43,760
Speaker 1: Okay, so with Mullan Rouge and Gatsby publishing. When I

571
00:28:43,800 --> 00:28:45,720
Speaker 1: watch it, of course, I mom, was, how do you

572
00:28:45,800 --> 00:28:46,200
Speaker 1: clear that?

573
00:28:47,280 --> 00:28:48,960
Speaker 3: I gotta tell you that here's the breakthrough.

574
00:28:48,640 --> 00:28:50,920
Speaker 1: Give me the most nightmare story of will.

575
00:28:50,960 --> 00:28:53,200
Speaker 4: But let me tell you the break the key, the

576
00:28:53,280 --> 00:28:56,440
Speaker 4: key that opens the golden chest. So the idea of

577
00:28:56,520 --> 00:29:01,720
Speaker 4: Molin Rouge is the preposterous conceit is that, you know,

578
00:29:02,240 --> 00:29:05,160
Speaker 4: the just genius music comes out of his mouth. We

579
00:29:05,240 --> 00:29:08,080
Speaker 4: decide that the genius music's got to be iconic music

580
00:29:08,440 --> 00:29:10,040
Speaker 4: that you like. Now I didn't just go here's my

581
00:29:10,120 --> 00:29:12,840
Speaker 4: record collection. Let's read the story. Greig Bits and I

582
00:29:12,920 --> 00:29:15,800
Speaker 4: and the music team would get spreadsheets and go, well,

583
00:29:15,800 --> 00:29:20,480
Speaker 4: how do we convey love? You know or your song?

584
00:29:20,520 --> 00:29:22,800
Speaker 4: For example, Mark Gift is my song and this one's

585
00:29:22,800 --> 00:29:25,240
Speaker 4: for you. Great line for a poet, right, and then

586
00:29:25,320 --> 00:29:27,480
Speaker 4: you know elephant love Medley. I mean we have beatles

587
00:29:27,520 --> 00:29:29,320
Speaker 4: in that. We have you know, for Collins, we have

588
00:29:29,800 --> 00:29:33,280
Speaker 4: you know, Dolly pardon. So I'm going on, I've got

589
00:29:33,280 --> 00:29:37,720
Speaker 4: to stop this because publishing companies are saying, no way.

590
00:29:38,320 --> 00:29:41,000
Speaker 1: Was it expensive. I feel like you were the beginning.

591
00:29:41,200 --> 00:29:42,680
Speaker 3: Oh wait, people.

592
00:29:42,440 --> 00:29:44,440
Speaker 1: See in the power of oh, we can charge.

593
00:29:44,880 --> 00:29:47,200
Speaker 4: I have to tell you the magic key. The magic

594
00:29:47,400 --> 00:29:49,840
Speaker 4: is this. I'm like, oh, this is never gonna happen.

595
00:29:50,160 --> 00:29:52,320
Speaker 4: Publishing companies are like, this is a grand rite.

596
00:29:52,360 --> 00:29:52,600
Speaker 3: You know.

597
00:29:52,800 --> 00:29:56,840
Speaker 4: Sound of music, la la la la. So I think, well,

598
00:29:56,960 --> 00:29:59,800
Speaker 4: the key song right now we need is your song

599
00:29:59,840 --> 00:30:02,240
Speaker 4: by Elton John. So I get a note through to

600
00:30:02,280 --> 00:30:05,520
Speaker 4: Elton John. I fly from Australia. He says, I loved me.

601
00:30:05,640 --> 00:30:07,160
Speaker 4: Of course I want to know all about it. I

602
00:30:07,200 --> 00:30:10,200
Speaker 4: fly from Australia all the way to England. I got

603
00:30:10,200 --> 00:30:12,800
Speaker 4: a temperature of one hundred and one thousand and I

604
00:30:13,080 --> 00:30:16,040
Speaker 4: almost I'm sorry, mister Elton, but I'm so sick.

605
00:30:16,040 --> 00:30:16,680
Speaker 3: I don't want to get you.

606
00:30:16,680 --> 00:30:18,160
Speaker 4: See, he gets, don't worry about that done and come

607
00:30:18,160 --> 00:30:19,800
Speaker 4: over to see him and just dine and hear about it.

608
00:30:20,040 --> 00:30:22,840
Speaker 4: So I come over over the door Nelton, who actually

609
00:30:23,240 --> 00:30:25,080
Speaker 4: go on to become a great friend of the family,

610
00:30:25,080 --> 00:30:27,040
Speaker 4: and we even write a song together one day, but

611
00:30:27,520 --> 00:30:31,280
Speaker 4: he just goes, I show him the idea. He says, done,

612
00:30:31,360 --> 00:30:33,200
Speaker 4: this is the most brilliant, genius idea. I'm going to

613
00:30:33,200 --> 00:30:36,120
Speaker 4: tell everybody to do it. And Elton kind of leads

614
00:30:36,200 --> 00:30:39,240
Speaker 4: the charge. And from that horse that got you yep,

615
00:30:39,680 --> 00:30:42,120
Speaker 4: And on that moment on, I'm forever grateful to him.

616
00:30:42,400 --> 00:30:44,520
Speaker 4: And from that moment on he kind of spreads the

617
00:30:44,520 --> 00:30:47,040
Speaker 4: words and I realize, what you got to do is

618
00:30:47,120 --> 00:30:49,600
Speaker 4: go straight to the artist. And so I just go

619
00:30:49,680 --> 00:30:53,320
Speaker 4: straight to the artist. I was so inaminate of David Bowie.

620
00:30:53,400 --> 00:30:56,560
Speaker 4: I just he was growing up. Rite to David Baya.

621
00:30:56,640 --> 00:30:59,800
Speaker 4: I get a phone call one day, says and he says,

622
00:31:00,120 --> 00:31:03,760
Speaker 4: David Bowie here and he goes, look, I think, which

623
00:31:03,840 --> 00:31:04,040
Speaker 4: is mean?

624
00:31:04,080 --> 00:31:05,200
Speaker 3: I kind of like the side.

625
00:31:06,640 --> 00:31:10,120
Speaker 4: And it goes, you know, I show him the film

626
00:31:10,120 --> 00:31:12,400
Speaker 4: and on one of them he says, well, from one

627
00:31:12,480 --> 00:31:14,640
Speaker 4: translator to another, I think I want to help you.

628
00:31:15,240 --> 00:31:17,640
Speaker 4: And then that was it. It was the artist, and

629
00:31:17,680 --> 00:31:19,600
Speaker 4: there was never such a thing as a mashup. You know,

630
00:31:19,600 --> 00:31:21,880
Speaker 4: if you think of Elevant Love Medley, that didn't exist

631
00:31:21,960 --> 00:31:23,640
Speaker 4: because publishers wouldn't allow it.

632
00:31:24,240 --> 00:31:25,240
Speaker 3: So he do molon route.

633
00:31:25,360 --> 00:31:28,880
Speaker 4: By the way, shout out to Jimmy Ivan because I

634
00:31:29,000 --> 00:31:32,280
Speaker 4: go and see Jimmy Ivan and I got the record

635
00:31:32,440 --> 00:31:32,880
Speaker 4: deal with.

636
00:31:32,880 --> 00:31:36,600
Speaker 3: Him, and he goes, you know, I see this guy buys.

637
00:31:36,640 --> 00:31:38,640
Speaker 3: He comes in in his suit and we have tea.

638
00:31:38,680 --> 00:31:41,240
Speaker 3: And it's a crazy idea, but I'm going to throw

639
00:31:41,360 --> 00:31:42,840
Speaker 3: the dice. It says, when you.

640
00:31:42,800 --> 00:31:45,720
Speaker 4: Know I love Jimmy, I think like Uncle Jimmy, and

641
00:31:46,720 --> 00:31:48,040
Speaker 4: I tell you something else amazing.

642
00:31:48,440 --> 00:31:50,200
Speaker 3: He says, hey, by the way, I got this song,

643
00:31:50,400 --> 00:31:51,800
Speaker 3: you might be interested in it. Gives it.

644
00:31:51,840 --> 00:31:54,440
Speaker 4: I'm pretty sure he gives it to me on a cassette.

645
00:31:54,800 --> 00:31:56,640
Speaker 4: He says, maybe you can use it, and I put

646
00:31:56,640 --> 00:31:59,960
Speaker 4: it in see young rapper kid you know from Detroit,

647
00:32:00,040 --> 00:32:03,120
Speaker 4: and it goes, my name is, my name is, and again,

648
00:32:03,160 --> 00:32:05,000
Speaker 4: well that's really cool. I couldn't find any place for

649
00:32:05,040 --> 00:32:07,520
Speaker 4: it though, you know. But then when I wanted to

650
00:32:07,560 --> 00:32:10,800
Speaker 4: do our Lady Mama Lade, and I was working there

651
00:32:10,840 --> 00:32:15,400
Speaker 4: with this great music supervising team and these two wonderful women,

652
00:32:16,040 --> 00:32:18,080
Speaker 4: I had this idea that maybe it should be sung

653
00:32:18,480 --> 00:32:21,680
Speaker 4: by like capop was very early then, like one really

654
00:32:21,680 --> 00:32:25,760
Speaker 4: great capop artist, one really great say American you know,

655
00:32:25,800 --> 00:32:26,560
Speaker 4: from each country.

656
00:32:26,680 --> 00:32:29,160
Speaker 3: Okay, see yeah, but too complicated. I couldn't get to

657
00:32:29,160 --> 00:32:29,320
Speaker 3: do this.

658
00:32:29,360 --> 00:32:32,480
Speaker 4: So we said, well, what about one rapper? And there

659
00:32:32,520 --> 00:32:36,000
Speaker 4: was this young ruddy powerse singer called Pink. She just

660
00:32:36,080 --> 00:32:39,520
Speaker 4: arrived in and then Christina Aguilera was like the blom

661
00:32:40,120 --> 00:32:43,840
Speaker 4: and then we got together with Ron Missy Elliott producing,

662
00:32:44,160 --> 00:32:47,200
Speaker 4: got in the studio with Missy's so fantastic. Missy was like,

663
00:32:47,240 --> 00:32:49,520
Speaker 4: there was this crazy moment you like this when we

664
00:32:49,640 --> 00:32:52,160
Speaker 4: got a rough of it down, Rock is doing her

665
00:32:52,680 --> 00:32:55,000
Speaker 4: and we got it, and like we're so excited because

666
00:32:55,000 --> 00:32:58,920
Speaker 4: we've got the latest MacBook Pro or something with an

667
00:32:58,920 --> 00:33:02,720
Speaker 4: outboard on the disc and Aunt couldn't get the disc going.

668
00:33:02,760 --> 00:33:06,000
Speaker 4: Missisico hell with that? She rings hello, this is Missy Elliott.

669
00:33:06,040 --> 00:33:08,400
Speaker 4: Leave a message and she puts the song on her

670
00:33:08,480 --> 00:33:10,760
Speaker 4: answering service right and then leaves.

671
00:33:10,800 --> 00:33:11,000
Speaker 3: You know.

672
00:33:11,640 --> 00:33:15,040
Speaker 4: So then we work with Ron Fair all of his studios.

673
00:33:15,320 --> 00:33:17,880
Speaker 4: Jimmy really put money behind it, and well the rest

674
00:33:17,920 --> 00:33:20,920
Speaker 4: of that song is history because it reigned supreme all

675
00:33:21,000 --> 00:33:21,520
Speaker 4: some along.

676
00:33:21,880 --> 00:33:27,040
Speaker 2: I think it's just enough to direct, let alone, script

677
00:33:27,080 --> 00:33:31,960
Speaker 2: supervised write it. I'm certain that you're also in the

678
00:33:32,120 --> 00:33:34,560
Speaker 2: editing process, micromanaging and all that stuff.

679
00:33:35,360 --> 00:33:37,720
Speaker 1: But you also produce your soundtracks.

680
00:33:38,000 --> 00:33:43,640
Speaker 2: Why put yourself through that stress?

681
00:33:44,400 --> 00:33:48,000
Speaker 4: Actually the music is probably the most enjoyable part for me,

682
00:33:48,600 --> 00:33:55,480
Speaker 4: because you know, writing is so full of deep psychological struggling.

683
00:33:56,080 --> 00:33:59,080
Speaker 4: Shout even me writing this. You have high good days

684
00:33:59,080 --> 00:34:01,040
Speaker 4: and bad days. The research is.

685
00:34:01,040 --> 00:34:02,520
Speaker 3: Amazing that I love. I live it.

686
00:34:02,560 --> 00:34:04,880
Speaker 4: I live it like Jean Dark at the moment, I've

687
00:34:04,920 --> 00:34:06,400
Speaker 4: taken every step She's ever taken.

688
00:34:06,560 --> 00:34:10,960
Speaker 2: How long do you give yourself time to do research

689
00:34:11,040 --> 00:34:14,600
Speaker 2: before you even start coming up with the script or.

690
00:34:14,880 --> 00:34:17,520
Speaker 4: Well, you know how many films I've made. That gives

691
00:34:17,520 --> 00:34:21,000
Speaker 4: you some idea. But I could research forever and never

692
00:34:21,080 --> 00:34:24,200
Speaker 4: make the movie. You really, yeah, I just love it,

693
00:34:24,239 --> 00:34:25,080
Speaker 4: like even now.

694
00:34:25,280 --> 00:34:26,720
Speaker 1: Well, yeah, come to Elvis.

695
00:34:26,800 --> 00:34:29,640
Speaker 4: Like I had an office in Gracelands for eighteen months.

696
00:34:30,320 --> 00:34:32,399
Speaker 4: I lived in the South for like nearly two years.

697
00:34:32,440 --> 00:34:35,800
Speaker 1: Coming, okay, so you developed the Elvis movie.

698
00:34:35,840 --> 00:34:39,640
Speaker 4: At the research, for sure, I was living in Memphis

699
00:34:40,200 --> 00:34:42,759
Speaker 4: so much and sort of undercover, you know what I mean,

700
00:34:42,800 --> 00:34:45,239
Speaker 4: Like we got to crazy music things, and I had

701
00:34:45,280 --> 00:34:49,200
Speaker 4: this house and Nashville, and I guess because I'm from

702
00:34:49,239 --> 00:34:52,200
Speaker 4: a tiny country town, I can't make films about a

703
00:34:52,239 --> 00:34:55,200
Speaker 4: tiny country town. So well, I cool one day. But

704
00:34:55,320 --> 00:34:57,880
Speaker 4: I love doing habit worlds, and I love to build

705
00:34:57,920 --> 00:35:00,799
Speaker 4: worlds and live inside them. So I build the world

706
00:35:00,800 --> 00:35:03,200
Speaker 4: around the world to make the movie. But before I

707
00:35:03,280 --> 00:35:06,000
Speaker 4: do that, it has to be within me so much

708
00:35:06,760 --> 00:35:10,360
Speaker 4: I literally have to live it.

709
00:35:20,440 --> 00:35:23,040
Speaker 1: So how does Elvis enter your life?

710
00:35:23,640 --> 00:35:27,120
Speaker 4: Well, as a kid, his entry was we had the

711
00:35:27,160 --> 00:35:31,640
Speaker 4: gas station, and we had restaurant and a farm.

712
00:35:32,040 --> 00:35:33,719
Speaker 3: But for a while we rang the local.

713
00:35:33,480 --> 00:35:39,040
Speaker 4: Cinema and every Sunday we had a matinee, an Elvis matinee.

714
00:35:39,440 --> 00:35:41,880
Speaker 4: So I'd be seeing the movies, you know, the Elvis movies.

715
00:35:42,640 --> 00:35:47,359
Speaker 4: And I was ten, but going, this guy's cool. I mean,

716
00:35:47,880 --> 00:35:50,239
Speaker 4: yoga is what yoga does. I didn't know what yoga was,

717
00:35:50,320 --> 00:35:53,160
Speaker 4: but he just seemed cool. Now, probably those movies aren't

718
00:35:53,160 --> 00:35:55,640
Speaker 4: as school as I thought they were. But then later

719
00:35:55,680 --> 00:35:58,120
Speaker 4: on in the seventies, I was doing Bored and dancing

720
00:35:58,200 --> 00:36:01,560
Speaker 4: and he dropped Burning Love and that song. I got

721
00:36:01,600 --> 00:36:04,279
Speaker 4: my grandmother to make a kind of Elvis jumpsuit, and

722
00:36:04,360 --> 00:36:07,359
Speaker 4: I'd go when we're doing the competition and say, hey,

723
00:36:07,400 --> 00:36:08,959
Speaker 4: do you think, hey, mate, do you think you could

724
00:36:09,000 --> 00:36:11,400
Speaker 4: like drop Burning Love? It will give him being. But

725
00:36:11,480 --> 00:36:13,319
Speaker 4: then he sort of, you know, I go on my

726
00:36:13,400 --> 00:36:17,320
Speaker 4: life and I open out all sorts of music opera,

727
00:36:18,080 --> 00:36:21,239
Speaker 4: and you know the Michaels and the Bowiees and the

728
00:36:21,560 --> 00:36:23,200
Speaker 4: you know ac DC's.

729
00:36:23,239 --> 00:36:26,120
Speaker 3: I've never had any or interest in all music. He

730
00:36:26,160 --> 00:36:26,719
Speaker 3: was always there.

731
00:36:28,040 --> 00:36:32,080
Speaker 4: And then I think music biography came my way a lot.

732
00:36:33,080 --> 00:36:36,239
Speaker 4: But I always think with biography of any kind, it

733
00:36:36,320 --> 00:36:41,080
Speaker 4: isn't just ABCD. You use the person's life to explore

734
00:36:41,120 --> 00:36:45,480
Speaker 4: a larger theme. As in Amadaez Amadas you learn a

735
00:36:45,520 --> 00:36:46,600
Speaker 4: lot about Mozart.

736
00:36:46,760 --> 00:36:48,200
Speaker 3: Is that exactly who Mozart is?

737
00:36:48,320 --> 00:36:51,880
Speaker 4: I don't know, but it's definitely exactly what jealousy is,

738
00:36:52,520 --> 00:36:56,800
Speaker 4: what happens between Salieri, who goes, God, I did everything

739
00:36:56,920 --> 00:36:59,000
Speaker 4: right and you put genius in that little pig.

740
00:37:00,080 --> 00:37:01,120
Speaker 3: That's what that movie is about.

741
00:37:02,200 --> 00:37:03,759
Speaker 4: So I always thought, Gee, if you're going to do

742
00:37:03,800 --> 00:37:09,320
Speaker 4: a music bio, pick Elvis's life is such a canvas

743
00:37:09,800 --> 00:37:13,520
Speaker 4: for America, for the fifties, the sixties and the seventies,

744
00:37:13,560 --> 00:37:16,600
Speaker 4: for the good, the bad, and the ugly. And then

745
00:37:16,719 --> 00:37:19,080
Speaker 4: as I learned more and more about Colonel Tom Parker

746
00:37:19,760 --> 00:37:24,480
Speaker 4: and the relationship between the great seller, the great carnival

747
00:37:24,560 --> 00:37:29,279
Speaker 4: Hucksta who's looking for a carnival act whose name was

748
00:37:29,360 --> 00:37:32,759
Speaker 4: never Colonel, never Tom, never Parker, and this kind of

749
00:37:32,960 --> 00:37:39,880
Speaker 4: orphan like creature that is Elvis, so unique, so shy, compassionate,

750
00:37:40,680 --> 00:37:45,080
Speaker 4: ashamed of his father going to jail, his whole upbringing

751
00:37:45,120 --> 00:37:47,239
Speaker 4: in one of the few white houses in the black community.

752
00:37:48,120 --> 00:37:50,600
Speaker 4: I took a long time before I found this guy,

753
00:37:50,680 --> 00:37:54,000
Speaker 4: Sam Bell. We thought he had passed go down to

754
00:37:54,040 --> 00:37:55,600
Speaker 4: two below. One day I find him and that was

755
00:37:55,600 --> 00:37:58,759
Speaker 4: a breakthrough for me, and I made extensive video of

756
00:37:58,880 --> 00:38:01,880
Speaker 4: him telling the story about how Elvis grew up in

757
00:38:01,880 --> 00:38:07,880
Speaker 4: the community, how his grandparents adored him, and about I

758
00:38:07,960 --> 00:38:09,680
Speaker 4: put it in the movie that bit where they run

759
00:38:09,719 --> 00:38:13,880
Speaker 4: off to the duke joints in the Gospel tent. I

760
00:38:13,960 --> 00:38:16,279
Speaker 4: just put it that bade him in the movie. So

761
00:38:17,520 --> 00:38:20,080
Speaker 4: you know this rise and fall, this kind of both

762
00:38:20,080 --> 00:38:22,479
Speaker 4: of them. The Colonel was a genius in his way,

763
00:38:22,800 --> 00:38:26,000
Speaker 4: the genius of selling, could sell you on anything, suck

764
00:38:26,080 --> 00:38:28,960
Speaker 4: the air out of any room he was in. And

765
00:38:30,400 --> 00:38:34,200
Speaker 4: Elvis's genius was the ability to take any song and

766
00:38:34,320 --> 00:38:38,560
Speaker 4: make it his own, like in epic that you see

767
00:38:38,680 --> 00:38:41,520
Speaker 4: in this footage. We found the way he takes like

768
00:38:41,560 --> 00:38:44,800
Speaker 4: a Simon and Garf uncle folk song and turns it

769
00:38:44,840 --> 00:38:47,760
Speaker 4: into a gospel power house. I mean, in this film

770
00:38:48,160 --> 00:38:50,320
Speaker 4: you get to see him actually doing it because he actually,

771
00:38:50,520 --> 00:38:52,840
Speaker 4: like Michael, he would sing the song lines, you know,

772
00:38:53,320 --> 00:38:56,360
Speaker 4: and the interpretations. He wasn't just you know, he didn't

773
00:38:56,640 --> 00:38:58,919
Speaker 4: have an orchestra coming in, let's do it this way.

774
00:38:59,320 --> 00:39:02,440
Speaker 3: He didn't have a star. He came up with the looks.

775
00:39:02,920 --> 00:39:03,120
Speaker 1: Yeah.

776
00:39:03,120 --> 00:39:05,680
Speaker 2: I was just gonna say to me, the rehearsals were

777
00:39:05,680 --> 00:39:07,480
Speaker 2: the most fascinating.

778
00:39:07,560 --> 00:39:09,759
Speaker 1: You're revealing part of it, especially.

779
00:39:09,440 --> 00:39:11,200
Speaker 2: When it was just stripped down, when it was just

780
00:39:11,840 --> 00:39:15,760
Speaker 2: the rhythm section, and eventually he adds everyone. But even

781
00:39:15,800 --> 00:39:19,560
Speaker 2: in watching the final presentation, when you know, I try.

782
00:39:19,440 --> 00:39:24,319
Speaker 4: To count just over seventy six songs, yeah, I just

783
00:39:25,080 --> 00:39:28,400
Speaker 4: about one hundred and ten publishings, because as you know,

784
00:39:29,160 --> 00:39:30,480
Speaker 4: one song can have length.

785
00:39:30,440 --> 00:39:33,320
Speaker 1: Three Beatles songs. Yeah, also's your friend.

786
00:39:35,480 --> 00:39:39,480
Speaker 4: I don't want to name, but I mean actually, actually

787
00:39:40,000 --> 00:39:44,799
Speaker 4: Paul and Beatles in general very generous towards Elvis. And

788
00:39:45,280 --> 00:39:48,239
Speaker 4: you can see now this mythology that Elvers sudden like,

789
00:39:48,239 --> 00:39:51,000
Speaker 4: look how much respect and love he has for the Beatles.

790
00:39:51,040 --> 00:39:51,640
Speaker 1: I was shot.

791
00:39:51,880 --> 00:39:54,120
Speaker 2: I mean, you know, I've read stories about when they

792
00:39:54,160 --> 00:39:56,799
Speaker 2: first met each other and all that stuff, but much

793
00:39:56,840 --> 00:39:59,880
Speaker 2: like Peter Jackson's doc of them just sit around rehearsing.

794
00:40:00,520 --> 00:40:03,480
Speaker 4: By the way, Peter Jackson so wonderful. I go down

795
00:40:03,520 --> 00:40:05,360
Speaker 4: to New Zealand and he and his team work to

796
00:40:05,400 --> 00:40:09,000
Speaker 4: bring this imagery back to why it's so astounding on Imax,

797
00:40:09,200 --> 00:40:12,319
Speaker 4: I mean it's opening, by the way, on last week

798
00:40:12,320 --> 00:40:15,239
Speaker 4: we did amazing numbers. And what was amazing was so

799
00:40:15,400 --> 00:40:19,360
Speaker 4: many older folk said, Ooh, I went and saw it

800
00:40:19,360 --> 00:40:22,200
Speaker 4: on Imax. I've never been to Imax before. I see

801
00:40:22,239 --> 00:40:24,760
Speaker 4: now why it's worth it. But just to be clear,

802
00:40:25,719 --> 00:40:28,919
Speaker 4: there is no AI in this film. I know, there

803
00:40:28,960 --> 00:40:31,400
Speaker 4: is no visual effect except the effect Elvis has on

804
00:40:31,560 --> 00:40:35,080
Speaker 4: his audience. It's just Peter Peter and the love of

805
00:40:35,160 --> 00:40:39,520
Speaker 4: restoring footage and being projected at the highest possible quality,

806
00:40:40,640 --> 00:40:42,560
Speaker 4: and that's what you're seeing, and you're seeing Elvis.

807
00:40:42,719 --> 00:40:43,720
Speaker 1: Was it shadow on sixteen?

808
00:40:44,360 --> 00:40:46,440
Speaker 4: No, So this is why it's so amazing, because the

809
00:40:46,440 --> 00:40:50,000
Speaker 4: Beatles just passed. It's crazy, the Beatles stuff with Jake.

810
00:40:50,080 --> 00:40:52,360
Speaker 4: By the way, I consider what Peter did with the Beatles.

811
00:40:52,480 --> 00:40:57,640
Speaker 4: If you ever want to understand collective creativity, that there

812
00:40:57,719 --> 00:41:03,279
Speaker 4: is no higher watermark. That is the best film to

813
00:41:03,400 --> 00:41:06,239
Speaker 4: explain how a group of creatives get together and make

814
00:41:06,320 --> 00:41:08,680
Speaker 4: something because it isn't made perfect, you know.

815
00:41:08,760 --> 00:41:11,160
Speaker 3: It's like I'm Paul going the long a winding. What

816
00:41:11,200 --> 00:41:11,920
Speaker 3: do you got for me to doing?

817
00:41:11,960 --> 00:41:13,200
Speaker 1: You know? Right like that?

818
00:41:13,320 --> 00:41:14,880
Speaker 4: And then the tensions in the room and all of that,

819
00:41:15,680 --> 00:41:18,640
Speaker 4: the music above them all whereas and I think Paul

820
00:41:18,800 --> 00:41:21,880
Speaker 4: someone said this, you know the thing you know, with

821
00:41:21,880 --> 00:41:24,600
Speaker 4: with of us, you know, at least we had each other,

822
00:41:25,000 --> 00:41:27,319
Speaker 4: we'd be stuck in rooms. But he was on his own,

823
00:41:27,760 --> 00:41:32,279
Speaker 4: you know, And so I think the great loneliness. But

824
00:41:32,400 --> 00:41:36,080
Speaker 4: I think that you know, Peters stuff has all shot

825
00:41:36,120 --> 00:41:42,480
Speaker 4: sixteen mil well we found was animorphic thirty five shot

826
00:41:42,520 --> 00:41:45,799
Speaker 4: with kleag lights. Let me explain, there's a thirty five

827
00:41:45,880 --> 00:41:49,759
Speaker 4: mel negative. Yes, anamorphic is where they squeeze the image

828
00:41:50,000 --> 00:41:52,799
Speaker 4: squeezed by an optical, which means when it expands is

829
00:41:52,840 --> 00:41:55,640
Speaker 4: at a higher quality not quite seventy emil but on

830
00:41:55,680 --> 00:41:59,000
Speaker 4: the way there and so all of that really primary

831
00:41:59,000 --> 00:42:02,560
Speaker 4: stuff of im just on stage, like where people are going,

832
00:42:02,600 --> 00:42:05,280
Speaker 4: oh my god, I feel like I'm actually in the concert.

833
00:42:06,200 --> 00:42:08,320
Speaker 3: That plus the work Peter does makes.

834
00:42:08,160 --> 00:42:10,600
Speaker 4: It feel I mean, if you've seen it on IMAX,

835
00:42:11,520 --> 00:42:16,200
Speaker 4: it's even I don't listen to me. Just go on

836
00:42:16,239 --> 00:42:19,560
Speaker 4: YouTube and put in epic and have random Bieble tell

837
00:42:19,560 --> 00:42:20,480
Speaker 4: you what that experience.

838
00:42:20,719 --> 00:42:22,040
Speaker 3: Who went in very cynically.

839
00:42:22,680 --> 00:42:25,200
Speaker 2: I was going to tell you that the first three

840
00:42:25,239 --> 00:42:28,600
Speaker 2: minutes even I was like askeful. A bit later, all right, well, yeah,

841
00:42:28,640 --> 00:42:30,239
Speaker 2: I saw it was a movie already, so like what

842
00:42:30,320 --> 00:42:33,920
Speaker 2: else am I? I'm not going to be moved, And

843
00:42:34,440 --> 00:42:38,440
Speaker 2: I gotta say, just the whole creative approach to doing it,

844
00:42:38,480 --> 00:42:39,399
Speaker 2: to having.

845
00:42:39,160 --> 00:42:40,920
Speaker 1: Him narrate it.

846
00:42:41,040 --> 00:42:44,160
Speaker 2: Yeah, it's almost like the same way that well, I

847
00:42:44,160 --> 00:42:47,879
Speaker 2: mean with Aretha's Amazing Greece, there was no narration. It's

848
00:42:47,920 --> 00:42:49,719
Speaker 2: almost like you're flying the room and you get to

849
00:42:49,760 --> 00:42:53,440
Speaker 2: observe it. But it left me with so many questions

850
00:42:53,440 --> 00:42:56,719
Speaker 2: because with his eyes and the thing was.

851
00:42:56,680 --> 00:42:59,000
Speaker 1: You didn't try to clean it up whatever.

852
00:42:59,200 --> 00:43:03,319
Speaker 2: Like there were moments where I just absolutely wondered, like

853
00:43:04,000 --> 00:43:06,400
Speaker 2: where he was in his life at that time, because

854
00:43:07,040 --> 00:43:10,879
Speaker 2: you know, like my introduction to Elvis was almost as

855
00:43:10,920 --> 00:43:14,600
Speaker 2: an eight nine year older seeing the white jump suit

856
00:43:14,640 --> 00:43:20,600
Speaker 2: and everything like I saw like comedic, almost caricature. So

857
00:43:20,680 --> 00:43:26,200
Speaker 2: I never took that period seriously, seriously, absolutely, and ninety

858
00:43:26,280 --> 00:43:29,240
Speaker 2: nine percent of my memory of that period was always

859
00:43:29,280 --> 00:43:38,520
Speaker 2: comic bas and I didn't realize how cathartic that performing

860
00:43:38,680 --> 00:43:42,799
Speaker 2: was for him at that time period. And so like,

861
00:43:43,719 --> 00:43:47,759
Speaker 2: first of all, how many how many cameras were documenting this?

862
00:43:48,280 --> 00:43:50,719
Speaker 4: Actually that's really good. I one of the things we

863
00:43:50,760 --> 00:43:52,040
Speaker 4: did it was shout out I think I get my

864
00:43:52,160 --> 00:43:54,200
Speaker 4: numbers wrong. I'm wrong with numbers on everything else to

865
00:43:54,200 --> 00:43:56,400
Speaker 4: the studio when it comes to budget. But it was

866
00:43:56,440 --> 00:43:58,319
Speaker 4: shot out of four nights, I think it was four six,

867
00:43:58,920 --> 00:44:02,440
Speaker 4: and they was shocked. Why these are anamorphic cameras. So

868
00:44:02,719 --> 00:44:04,960
Speaker 4: actually it wasn't like they just put the show out enrolled,

869
00:44:05,560 --> 00:44:08,320
Speaker 4: like these are giant cameras with giant lights, which is

870
00:44:08,360 --> 00:44:09,080
Speaker 4: why it looks so good.

871
00:44:09,080 --> 00:44:10,200
Speaker 3: The image is so good because you.

872
00:44:10,280 --> 00:44:13,000
Speaker 4: Got pounding light in there, which I mean sometimes I

873
00:44:13,000 --> 00:44:15,799
Speaker 4: had to stop the show and reloading things. And so

874
00:44:15,880 --> 00:44:17,800
Speaker 4: that's why the audience is a little bit like, wow,

875
00:44:18,239 --> 00:44:22,320
Speaker 4: they're really aware. I mean, Elvis would be riffing between things.

876
00:44:22,360 --> 00:44:24,960
Speaker 4: You know, we're making sorry folk women in Hollywood film

877
00:44:25,000 --> 00:44:27,239
Speaker 4: the nights, so sorry, you know, but so it's over

878
00:44:27,280 --> 00:44:30,719
Speaker 4: four nights. It's cleig lights. But I mean, you know,

879
00:44:30,760 --> 00:44:33,280
Speaker 4: what's going in out of focus? Sometimes that's a focus

880
00:44:33,320 --> 00:44:37,440
Speaker 4: puller in a manual focus using calculations of numbers to

881
00:44:37,520 --> 00:44:40,879
Speaker 4: try and follow him in ECU close ups like this,

882
00:44:41,320 --> 00:44:44,399
Speaker 4: they're not blow ups ECU. So they're trying to find

883
00:44:44,440 --> 00:44:46,839
Speaker 4: sharps what we call sharps on the eyes. I mean

884
00:44:46,880 --> 00:44:49,560
Speaker 4: that is what that's what they call widow making, you know,

885
00:44:49,760 --> 00:44:53,719
Speaker 4: that job of focus pulling mechanically like that on a

886
00:44:53,760 --> 00:44:54,400
Speaker 4: live show.

887
00:44:54,680 --> 00:44:56,080
Speaker 3: I mean, that can take you out.

888
00:44:56,200 --> 00:44:58,959
Speaker 1: I saw no cameramen on stage, so like well.

889
00:44:58,880 --> 00:45:00,440
Speaker 4: Every if you look at it, go and see it

890
00:45:00,480 --> 00:45:03,120
Speaker 4: again on imax, you'll see we left the cameras in

891
00:45:03,160 --> 00:45:06,640
Speaker 4: sometimes you'll see them, you're so that is a testament, though,

892
00:45:07,840 --> 00:45:09,800
Speaker 4: here's a testament to the fact that when Elvis is

893
00:45:09,840 --> 00:45:12,319
Speaker 4: on camera, you don't see anything but him, right, but

894
00:45:12,400 --> 00:45:15,640
Speaker 4: they're there. You can see them. The sixteen mil you

895
00:45:15,719 --> 00:45:18,600
Speaker 4: see guys running around whole after thing. The tour is

896
00:45:18,600 --> 00:45:21,600
Speaker 4: shot in sixteen mil. That's more like kind of cinema verite.

897
00:45:21,600 --> 00:45:23,480
Speaker 4: That's more like shooting in Vietnam or something, you know,

898
00:45:23,840 --> 00:45:27,320
Speaker 4: chasing the subject by the way. Sorry, sorry you said something.

899
00:45:27,360 --> 00:45:30,759
Speaker 4: And I would like to see if this is illuminating.

900
00:45:32,000 --> 00:45:34,319
Speaker 4: I know why you think about this as a joke,

901
00:45:34,440 --> 00:45:39,279
Speaker 4: period and there's absolute ample reason to think that. But

902
00:45:39,480 --> 00:45:42,600
Speaker 4: you know, in the film, Elvis says, yes, sir, I'm

903
00:45:42,640 --> 00:45:45,040
Speaker 4: going to go to England, I'm going to go to Europe.

904
00:45:45,040 --> 00:45:49,240
Speaker 4: I'm going to play Japan. When he goes, he builds

905
00:45:49,280 --> 00:45:53,400
Speaker 4: that big show, against everyone's expectations, with all the different

906
00:45:53,400 --> 00:45:56,480
Speaker 4: gospel scenes of the big band, with the expectation of

907
00:45:56,560 --> 00:45:59,319
Speaker 4: doing one tour around the States and going on a

908
00:45:59,360 --> 00:46:03,920
Speaker 4: global war tour. He does the thing, comes back, he

909
00:46:03,960 --> 00:46:07,479
Speaker 4: does it in Vegas again, goes around, comes back Vegas again,

910
00:46:07,680 --> 00:46:11,400
Speaker 4: comes around in Vegas again, Vegars again, as again until

911
00:46:11,400 --> 00:46:17,040
Speaker 4: he dies, and really he's like a bird, you know,

912
00:46:17,040 --> 00:46:19,879
Speaker 4: when a bird is hitting a glass window and can't

913
00:46:19,880 --> 00:46:24,120
Speaker 4: see the glass. He becomes more and more dispirited. There's

914
00:46:24,160 --> 00:46:27,239
Speaker 4: all sorts of reasons. Oh, you know, security, security. I mean,

915
00:46:27,280 --> 00:46:29,640
Speaker 4: I touch on it in the film, and.

916
00:46:29,560 --> 00:46:31,240
Speaker 3: I really believe.

917
00:46:32,000 --> 00:46:34,880
Speaker 4: I can't say it would have ended differently, but I

918
00:46:34,960 --> 00:46:37,680
Speaker 4: really believe if Elvis had gone on that tour around

919
00:46:37,719 --> 00:46:38,520
Speaker 4: the world.

920
00:46:38,840 --> 00:46:42,480
Speaker 2: And he has never left the United States, he went

921
00:46:42,480 --> 00:46:45,520
Speaker 2: in there, he went during his service to Germany, wasn't

922
00:46:45,520 --> 00:46:46,040
Speaker 2: allowed to sing.

923
00:46:46,440 --> 00:46:49,200
Speaker 4: He ran away to Paris three times. And I'm saying

924
00:46:49,239 --> 00:46:51,120
Speaker 4: that because we're about to open in Paris, and he

925
00:46:51,280 --> 00:46:53,840
Speaker 4: loved Paris. But he never did a world tour and

926
00:46:54,040 --> 00:46:55,239
Speaker 4: never say outside the US.

927
00:46:55,920 --> 00:46:56,560
Speaker 3: No, he did not.

928
00:46:57,440 --> 00:47:02,760
Speaker 4: And I believe that those wings, those musical wings, trapped

929
00:47:02,760 --> 00:47:06,520
Speaker 4: inside that golden cage of Vegas, never being able to spread,

930
00:47:06,760 --> 00:47:10,480
Speaker 4: certainly wore him down to a point where his spirit

931
00:47:10,760 --> 00:47:15,239
Speaker 4: was And what we think of in the white jumpsuit

932
00:47:15,320 --> 00:47:18,319
Speaker 4: tends to be year three or year four, or you

933
00:47:18,360 --> 00:47:20,840
Speaker 4: know in the movie where he sings unchained melody.

934
00:47:21,400 --> 00:47:23,920
Speaker 3: The body is so corrupt, but the voice still saws.

935
00:47:24,080 --> 00:47:26,640
Speaker 4: And the point I'm getting at is the footage we

936
00:47:26,800 --> 00:47:30,480
Speaker 4: found is the footage of him at his prime. I

937
00:47:30,520 --> 00:47:33,680
Speaker 4: will tell you something that thrilled me yesterday thrilled me.

938
00:47:34,200 --> 00:47:39,000
Speaker 4: We randomly play this amazing show on YouTube. Someone plays me,

939
00:47:39,520 --> 00:47:42,239
Speaker 4: this smart woman has a show where teens, I mean

940
00:47:42,360 --> 00:47:46,160
Speaker 4: young kids like you know, fourteen fifteen, never heard of Elvis,

941
00:47:46,360 --> 00:47:48,920
Speaker 4: very diverse crowd. And they, you know, they do that

942
00:47:48,920 --> 00:47:53,000
Speaker 4: stuff where they play the film epic and they're reacting

943
00:47:53,640 --> 00:47:56,600
Speaker 4: and the kids are you know, they're funny, and oh Elvis,

944
00:47:56,600 --> 00:47:58,759
Speaker 4: they know nothing about him. The first thing they look

945
00:47:58,760 --> 00:48:01,880
Speaker 4: at they go, wow, I love these costumes.

946
00:48:02,200 --> 00:48:02,800
Speaker 3: How cool?

947
00:48:03,080 --> 00:48:06,400
Speaker 4: He's so on, he's so now, and the passionate singing

948
00:48:06,840 --> 00:48:09,560
Speaker 4: and the gospel saying like he's kind of singing gospel,

949
00:48:09,560 --> 00:48:13,960
Speaker 4: but it's pop. I mean what they said. Their reaction

950
00:48:14,440 --> 00:48:18,640
Speaker 4: boyed me because I realized that when you say that

951
00:48:18,760 --> 00:48:24,960
Speaker 4: Elvis had this ability to kind of channel a singularity,

952
00:48:25,120 --> 00:48:30,799
Speaker 4: you know, the joke thing that happens happens because of

953
00:48:30,840 --> 00:48:34,360
Speaker 4: the spirit being worn down. But in fact, what's in

954
00:48:34,440 --> 00:48:37,440
Speaker 4: front of you, I can't tell you. And I'm not

955
00:48:37,480 --> 00:48:40,080
Speaker 4: doing this to encourage people to go out this weekend

956
00:48:40,160 --> 00:48:40,759
Speaker 4: on which we're on.

957
00:48:40,920 --> 00:48:41,640
Speaker 1: You know, I want them to.

958
00:48:41,760 --> 00:48:43,960
Speaker 4: Nineteen hundred spears, But I do, I do, And what

959
00:48:44,040 --> 00:48:48,520
Speaker 4: I want is someone who likes Elvis to badger someone

960
00:48:48,520 --> 00:48:50,640
Speaker 4: who does has no interest Nevers what's about? Because I

961
00:48:50,680 --> 00:48:52,759
Speaker 4: had someone on the interview of me the other day said,

962
00:48:52,920 --> 00:48:55,719
Speaker 4: I'm gonna give you full I have zero interest in

963
00:48:55,760 --> 00:48:58,879
Speaker 4: Nevers Bresley. In fact, I actually kind of dislike him.

964
00:48:59,080 --> 00:49:02,160
Speaker 4: He said, this film's miracle because they come out. I'm converted.

965
00:49:02,200 --> 00:49:04,200
Speaker 4: I don't know what's happened to me. I don't know

966
00:49:04,239 --> 00:49:04,920
Speaker 4: what's happened to me.

967
00:49:05,040 --> 00:49:08,399
Speaker 1: Look, I'm from hip hop, you know, we were raised

968
00:49:08,440 --> 00:49:09,600
Speaker 1: on fight the power.

969
00:49:09,719 --> 00:49:11,879
Speaker 3: Yeah, and you know what, And it took long for me.

970
00:49:12,000 --> 00:49:13,879
Speaker 1: To just sort of.

971
00:49:15,320 --> 00:49:17,280
Speaker 2: You know, and I thought about it too, like, well,

972
00:49:17,480 --> 00:49:19,400
Speaker 2: you know, who's going to tell the Roy Hamilton story

973
00:49:19,440 --> 00:49:21,200
Speaker 2: or you know, like you know the people.

974
00:49:20,960 --> 00:49:21,399
Speaker 3: Have about Roy.

975
00:49:21,560 --> 00:49:25,040
Speaker 4: By the way, listen, I am not here to defend Elvis.

976
00:49:25,120 --> 00:49:27,759
Speaker 4: I was very quiet about it in the making of

977
00:49:27,760 --> 00:49:30,240
Speaker 4: the film because I dealt was in a very cold

978
00:49:31,640 --> 00:49:34,080
Speaker 4: mechanical way, because I felt, let me tell this.

979
00:49:34,080 --> 00:49:35,640
Speaker 1: Story, let the story speak for itself.

980
00:49:35,719 --> 00:49:38,799
Speaker 4: Yes, but I can now tell you I mean the look,

981
00:49:38,840 --> 00:49:40,600
Speaker 4: I got all respect to fight the power. But the

982
00:49:40,680 --> 00:49:44,040
Speaker 4: artist that said that line in that song has come

983
00:49:44,080 --> 00:49:46,239
Speaker 4: on and said, well I just said that, Yes I know,

984
00:49:46,360 --> 00:49:48,719
Speaker 4: and I can now tell you I have been with

985
00:49:48,880 --> 00:49:52,600
Speaker 4: enough of black artists, people from the community, you know,

986
00:49:53,000 --> 00:49:54,879
Speaker 4: done the work, la la la. If there's one thing

987
00:49:54,920 --> 00:50:00,600
Speaker 4: Elvis presently, Look, there's this woman still one of the

988
00:50:00,640 --> 00:50:01,640
Speaker 4: great sweets.

989
00:50:01,280 --> 00:50:03,040
Speaker 3: Still alive, sent me before message.

990
00:50:03,640 --> 00:50:07,000
Speaker 4: But the year before there was a singer whose daughter's

991
00:50:07,120 --> 00:50:11,880
Speaker 4: name was Whitney Houston. And when Whitney met Elvis, she

992
00:50:12,080 --> 00:50:13,839
Speaker 4: just went like you know what, he walk in the room.

993
00:50:14,120 --> 00:50:16,720
Speaker 4: You don't say hello, mister Elvis, and you just stare

994
00:50:17,360 --> 00:50:19,239
Speaker 4: like I can tell you. Q Tip said to me.

995
00:50:19,680 --> 00:50:23,560
Speaker 4: The one thing in the community is there's definitely you

996
00:50:23,640 --> 00:50:26,840
Speaker 4: got to respect the artist. There's no question in the community.

997
00:50:26,880 --> 00:50:30,200
Speaker 4: And when it comes to Roy Hamilton, that story is

998
00:50:30,200 --> 00:50:35,759
Speaker 4: not always told accurately. Because Roy Hamilton was dying from

999
00:50:35,800 --> 00:50:38,880
Speaker 4: TB or had TB. He was in the same studio.

1000
00:50:40,239 --> 00:50:42,760
Speaker 4: Guys around him said Elvis had never been more nervous

1001
00:50:42,760 --> 00:50:44,640
Speaker 4: than when he met Roy Hamilton. He was his idol,

1002
00:50:45,080 --> 00:50:49,160
Speaker 4: and he gave Roy a song to record that Colonel

1003
00:50:49,200 --> 00:50:53,160
Speaker 4: nobody wanted to give you know her, No, No, I

1004
00:50:53,200 --> 00:50:55,960
Speaker 4: think actually another one won't to me, Gloria. I can't

1005
00:50:55,960 --> 00:50:58,680
Speaker 4: remember actually, but he's not Don't let Girl. Although I

1006
00:50:58,760 --> 00:51:00,719
Speaker 4: love that song. I mean I used to hear done

1007
00:51:00,800 --> 00:51:02,560
Speaker 4: Go and think it was always but of course it

1008
00:51:02,600 --> 00:51:09,080
Speaker 4: was Elvis channeling Roy, Elvis channeling you know, upper singers,

1009
00:51:09,120 --> 00:51:11,239
Speaker 4: like he says, he says in the darkhout. I love

1010
00:51:11,280 --> 00:51:13,960
Speaker 4: the Mexican sound. I love all music, dude.

1011
00:51:14,000 --> 00:51:19,719
Speaker 2: Like when I did Summer Soul, my favorite footage was

1012
00:51:19,880 --> 00:51:25,120
Speaker 2: watching the fourth camera, which was strictly just the audience reaction. Man,

1013
00:51:25,239 --> 00:51:28,319
Speaker 2: I wanted so much more audience reaction because there's one

1014
00:51:28,400 --> 00:51:32,800
Speaker 2: point where you do the perspective of watching the audience.

1015
00:51:34,000 --> 00:51:39,040
Speaker 2: I looked and there's four black people in the corner,

1016
00:51:39,120 --> 00:51:41,560
Speaker 2: and I mean they're getting down, like yo, this.

1017
00:51:41,600 --> 00:51:44,520
Speaker 1: Is my jam And I was gobsmacked.

1018
00:51:44,560 --> 00:51:46,960
Speaker 2: I was like wow, like but just to watch the

1019
00:51:47,040 --> 00:51:51,400
Speaker 2: audience reaction to him, to me, was one of the

1020
00:51:51,440 --> 00:51:57,920
Speaker 2: most fascinating revelatory And it's almost like the spectrum of

1021
00:51:59,080 --> 00:52:01,040
Speaker 2: every type of person in that audience.

1022
00:52:01,160 --> 00:52:03,239
Speaker 1: Yes, husband's sitting there.

1023
00:52:02,960 --> 00:52:05,160
Speaker 2: Because their wives are like da da da d like

1024
00:52:05,320 --> 00:52:09,600
Speaker 2: literally every every spectrum of life is captivated by this.

1025
00:52:10,200 --> 00:52:13,719
Speaker 2: But then there's also like the backstage footage. Okay, so

1026
00:52:13,960 --> 00:52:16,600
Speaker 2: before Sammy Davis talks to him, do you know the

1027
00:52:16,640 --> 00:52:19,600
Speaker 2: two gentlemen, the two black guys that are speaking.

1028
00:52:19,320 --> 00:52:20,080
Speaker 1: Who are there? Now?

1029
00:52:20,239 --> 00:52:21,839
Speaker 4: Let me tell you that because he said you coped

1030
00:52:21,920 --> 00:52:25,600
Speaker 4: all my moves, right, And I got to tell you.

1031
00:52:26,280 --> 00:52:28,759
Speaker 4: I know, I've had my research Guystom Wigan. I know

1032
00:52:28,880 --> 00:52:34,000
Speaker 4: that they were artists of the time and right, but

1033
00:52:34,120 --> 00:52:36,160
Speaker 4: let me just explain something about that. By the way,

1034
00:52:36,200 --> 00:52:39,839
Speaker 4: that footage has existed before, but the sound hasn't. And

1035
00:52:39,920 --> 00:52:43,120
Speaker 4: we found the dialogue, yes, right, Okay, so I've had

1036
00:52:43,160 --> 00:52:45,440
Speaker 4: the guys trying to find it out exactly there, and

1037
00:52:45,520 --> 00:52:49,319
Speaker 4: forgive me, because I'm sure they're hugely respected artists. But

1038
00:52:49,600 --> 00:52:52,440
Speaker 4: we only just started to break down exactly who's in

1039
00:52:52,520 --> 00:52:55,239
Speaker 4: that room, right, because we only just got it right

1040
00:52:55,239 --> 00:52:56,960
Speaker 4: at the end. So but the short answer is, I

1041
00:52:57,040 --> 00:52:59,880
Speaker 4: don't actually know, but I've always been amazed in the

1042
00:53:00,120 --> 00:53:02,839
Speaker 4: Elvis goes and then Sammy's gone, You're reving it up,

1043
00:53:02,880 --> 00:53:04,279
Speaker 4: you go going and Elvis's.

1044
00:53:03,960 --> 00:53:07,080
Speaker 1: Gone, and you know what Elvis cote to do?

1045
00:53:07,160 --> 00:53:08,040
Speaker 3: What when he.

1046
00:53:08,080 --> 00:53:11,560
Speaker 4: Says, I'm Fats. You wanna hear a publishing story? When

1047
00:53:11,560 --> 00:53:14,440
Speaker 4: he says, I'm well, listen to him. I'm Fats Domino. Right,

1048
00:53:14,880 --> 00:53:18,880
Speaker 4: he goes on and seeing a Fats Domino song, but

1049
00:53:18,920 --> 00:53:21,719
Speaker 4: he sings for about eight seconds and it was so expensive.

1050
00:53:21,760 --> 00:53:23,920
Speaker 4: I went, I can't put it in. But Fats used

1051
00:53:23,960 --> 00:53:27,239
Speaker 4: to make him breakfast in Vegas in the morning. And

1052
00:53:27,320 --> 00:53:31,200
Speaker 4: when Elvis never caught himself the king, And in fact,

1053
00:53:31,280 --> 00:53:32,440
Speaker 4: I've got it in the movie.

1054
00:53:32,800 --> 00:53:33,839
Speaker 3: We don't have film of.

1055
00:53:33,800 --> 00:53:37,120
Speaker 4: It, but it's in the press. When they say you're

1056
00:53:37,120 --> 00:53:38,400
Speaker 4: the king of rock roll says I'm not the king

1057
00:53:38,400 --> 00:53:40,399
Speaker 4: of rock and roll, says Fats, come down here. This

1058
00:53:40,480 --> 00:53:43,239
Speaker 4: is the king of rock and roll, right, I just

1059
00:53:43,680 --> 00:53:47,319
Speaker 4: I'm not trying to defend Elvis in a specific way.

1060
00:53:48,000 --> 00:53:51,000
Speaker 4: But Sissy Houston says, there's no way there just wasn't

1061
00:53:51,719 --> 00:53:55,279
Speaker 4: says something like, I never ever this idea of him

1062
00:53:55,320 --> 00:53:59,680
Speaker 4: having you know, that particular case was back in the fifties.

1063
00:53:59,719 --> 00:54:01,399
Speaker 4: He said, I was never in that town, and anyone

1064
00:54:01,400 --> 00:54:04,640
Speaker 4: who knows me, that's not me. And you want my theory,

1065
00:54:04,840 --> 00:54:09,840
Speaker 4: there was a lot of extreme mists trying to separate

1066
00:54:09,880 --> 00:54:12,120
Speaker 4: over us from the black community. They were trying to

1067
00:54:12,160 --> 00:54:14,239
Speaker 4: and I think that's where that came from. But that's

1068
00:54:14,239 --> 00:54:17,280
Speaker 4: just my theory. I've tried to be the devil's advocate. Yeah,

1069
00:54:17,320 --> 00:54:19,080
Speaker 4: but there's just it's the opposite.

1070
00:54:20,040 --> 00:54:24,120
Speaker 2: I will say this is probably the greatest case to

1071
00:54:25,600 --> 00:54:40,319
Speaker 2: really study it, just to see human moments. The thing

1072
00:54:40,360 --> 00:54:44,040
Speaker 2: when he rattles one of the sweet inspirations, like, yeah,

1073
00:54:44,080 --> 00:54:46,480
Speaker 2: he's joking with him and okay, so when you're watching

1074
00:54:46,520 --> 00:54:49,480
Speaker 2: all the footage, yeah, is it that loose to the

1075
00:54:49,520 --> 00:54:52,560
Speaker 2: point where they don't even have set lists?

1076
00:54:52,760 --> 00:54:54,319
Speaker 3: Okay, let me, I gotta explain something too.

1077
00:54:54,440 --> 00:54:57,240
Speaker 4: Yeah, all right, And by the way, with the sweets,

1078
00:54:58,040 --> 00:54:59,080
Speaker 4: we couldn't put everything in.

1079
00:54:59,800 --> 00:55:01,840
Speaker 3: It took so much labor to get it at this level.

1080
00:55:01,920 --> 00:55:04,239
Speaker 4: I got footage of him just in the corner and

1081
00:55:04,280 --> 00:55:06,600
Speaker 4: he's sitting there with the sweets and may I just

1082
00:55:06,600 --> 00:55:08,520
Speaker 4: he's talking about and so blah blah blah.

1083
00:55:09,160 --> 00:55:11,160
Speaker 3: We had to go back. Oh yeah, well they've got it. No,

1084
00:55:11,239 --> 00:55:12,280
Speaker 3: he was with another fella.

1085
00:55:12,680 --> 00:55:17,920
Speaker 4: It could have been for anybody's at an office hanging talking.

1086
00:55:18,120 --> 00:55:20,440
Speaker 1: Now, what was your original cut? How long was you.

1087
00:55:22,080 --> 00:55:25,680
Speaker 3: Longer? If I say it now, they released the cut?

1088
00:55:25,800 --> 00:55:26,600
Speaker 3: Release the cut?

1089
00:55:26,800 --> 00:55:28,319
Speaker 1: Do you have a longer cut? Yeah?

1090
00:55:28,360 --> 00:55:31,040
Speaker 4: We start by ballooning out, but we had to. We

1091
00:55:31,120 --> 00:55:33,360
Speaker 4: wanted it to be stay on point. I was telling

1092
00:55:33,440 --> 00:55:36,160
Speaker 4: the story, but I want to explain something. I'm not

1093
00:55:36,200 --> 00:55:40,520
Speaker 4: going to say. We have a friend. He's a living musical.

1094
00:55:40,280 --> 00:55:45,440
Speaker 3: Icon and yeah, a band actually I know quite well know.

1095
00:55:45,960 --> 00:55:48,200
Speaker 4: But we talk a lot about e us because he

1096
00:55:48,320 --> 00:55:51,360
Speaker 4: really really interested in was going to do Elvistro himself,

1097
00:55:51,400 --> 00:55:52,560
Speaker 4: and he's been a great help.

1098
00:55:53,960 --> 00:55:54,920
Speaker 3: He said to me, you know what.

1099
00:55:56,040 --> 00:55:59,839
Speaker 4: I used to rehearse my steps like I'd be influenced

1100
00:56:00,239 --> 00:56:01,520
Speaker 4: even work with a choreographer.

1101
00:56:03,120 --> 00:56:08,200
Speaker 3: Other great. Few icons swim in the fame level of Elvis.

1102
00:56:08,239 --> 00:56:12,879
Speaker 4: We know who they are, but they rehearsed Elvis would

1103
00:56:12,920 --> 00:56:14,479
Speaker 4: get in there rehearse those favorite songs.

1104
00:56:14,560 --> 00:56:16,239
Speaker 3: Now, I think you know how funny he is in

1105
00:56:16,280 --> 00:56:17,640
Speaker 3: this film, Yeah, and goofy.

1106
00:56:17,760 --> 00:56:20,080
Speaker 1: He has a sense of humor and he's really goofy, right.

1107
00:56:20,440 --> 00:56:23,360
Speaker 4: I think he's doing it because he's so striking to

1108
00:56:23,400 --> 00:56:27,120
Speaker 4: look at, and he's so musical. He's disarming everyone. And

1109
00:56:27,160 --> 00:56:30,480
Speaker 4: what happens is they never know what he's going to

1110
00:56:30,560 --> 00:56:33,319
Speaker 4: do on stage. Ronnie Tutt no idea what he's going

1111
00:56:33,360 --> 00:56:36,440
Speaker 4: to do, so the eyes glued to him, and so

1112
00:56:36,719 --> 00:56:39,360
Speaker 4: you know, he says early on, he goes, well, I

1113
00:56:39,480 --> 00:56:42,279
Speaker 4: just do what I feel out there. Always have You see,

1114
00:56:42,320 --> 00:56:44,680
Speaker 4: he doesn't have steps rehearsed, he doesn't stand in front

1115
00:56:44,680 --> 00:56:48,400
Speaker 4: of mirror. He just gets possessed. He becomes the music.

1116
00:56:49,320 --> 00:56:52,239
Speaker 4: And then in doing that, almost in a religious state,

1117
00:56:52,239 --> 00:56:55,080
Speaker 4: he gets all sort of wound up. Everybody else gets

1118
00:56:55,080 --> 00:56:57,520
Speaker 4: swept up, and they're all watching him. You don't know

1119
00:56:57,520 --> 00:56:58,920
Speaker 4: how many rounds he's going to do it. The end

1120
00:56:58,920 --> 00:57:03,560
Speaker 4: of a suspicious mind. You know he's doing that drum. His

1121
00:57:03,719 --> 00:57:05,040
Speaker 4: body is the conductor.

1122
00:57:05,040 --> 00:57:07,640
Speaker 1: He goes in the punch, yes exactly, yes.

1123
00:57:07,719 --> 00:57:10,040
Speaker 4: And the reason he does that is, you know, that's

1124
00:57:10,080 --> 00:57:11,800
Speaker 4: the only way he gets everybody together.

1125
00:57:11,920 --> 00:57:14,480
Speaker 3: And but because they're all doing it on stage, the

1126
00:57:14,600 --> 00:57:16,080
Speaker 3: audience are having the same experience.

1127
00:57:16,200 --> 00:57:19,640
Speaker 4: So it's a unique stage energy and presence.

1128
00:57:20,120 --> 00:57:20,880
Speaker 3: It's unique.

1129
00:57:20,960 --> 00:57:27,160
Speaker 2: That's why I said, watching this footage to me, I'm

1130
00:57:27,200 --> 00:57:31,240
Speaker 2: watching a human being in his happy place and a

1131
00:57:31,400 --> 00:57:35,680
Speaker 2: very cathartic method where it's just because even with Okay,

1132
00:57:35,800 --> 00:57:37,520
Speaker 2: I know we're talking a lot of inside pace, Paul,

1133
00:57:37,600 --> 00:57:39,200
Speaker 2: Now you guys are going to have to see this

1134
00:57:39,280 --> 00:57:41,360
Speaker 2: film so he can see what we're It's almost like

1135
00:57:41,400 --> 00:57:46,120
Speaker 2: the director's commentary without the film with you, dude.

1136
00:57:46,200 --> 00:57:46,760
Speaker 1: No music.

1137
00:57:46,920 --> 00:57:50,800
Speaker 2: The thing that I'm obsessed about, well one is the

1138
00:57:50,840 --> 00:57:52,000
Speaker 2: mix sounds pristine.

1139
00:57:52,160 --> 00:57:52,520
Speaker 3: Now.

1140
00:57:52,920 --> 00:57:56,240
Speaker 2: I watched it three times. The first time I watched

1141
00:57:56,360 --> 00:58:00,240
Speaker 2: just to count the microphones. The drums are only Mike, Yeah,

1142
00:58:00,240 --> 00:58:03,120
Speaker 2: I let me explain how many tracks.

1143
00:58:03,040 --> 00:58:04,480
Speaker 3: Let me explain. I'll do this. I'll try and do

1144
00:58:04,480 --> 00:58:05,120
Speaker 3: this efficiently.

1145
00:58:05,280 --> 00:58:05,520
Speaker 1: Yes.

1146
00:58:05,840 --> 00:58:08,960
Speaker 4: So, I don't know if I already said this, but

1147
00:58:10,040 --> 00:58:14,320
Speaker 4: I began by thinking there was this. Ernst Jurgenstein is

1148
00:58:14,320 --> 00:58:17,160
Speaker 4: a scientist of all Elvis things. He tells me there

1149
00:58:17,240 --> 00:58:20,360
Speaker 4: might be a forgotten reel of the Vegas Show in

1150
00:58:20,440 --> 00:58:22,920
Speaker 4: nineteen seventy I could use in the original film I'm shooting.

1151
00:58:23,600 --> 00:58:26,320
Speaker 4: I have the money to send someone literally into the

1152
00:58:26,360 --> 00:58:31,240
Speaker 4: salt mines in Kansas City, right where MGM's negatives are kept,

1153
00:58:31,280 --> 00:58:33,440
Speaker 4: because one hundred thousand dollars to go looking for this

1154
00:58:33,640 --> 00:58:36,760
Speaker 4: one reel suddenly a bit like Raiders of the Loss.

1155
00:58:36,920 --> 00:58:39,480
Speaker 1: It cost one hundred thousand just to look for it.

1156
00:58:39,480 --> 00:58:40,440
Speaker 3: It was expensive.

1157
00:58:40,520 --> 00:58:42,880
Speaker 4: It costs money because you got to go down, you

1158
00:58:42,920 --> 00:58:43,840
Speaker 4: got to go through the rooms.

1159
00:58:44,040 --> 00:58:46,360
Speaker 3: They kick the door in. That says Elvis or whatever

1160
00:58:46,360 --> 00:58:47,160
Speaker 3: that is. I wasn't there.

1161
00:58:47,160 --> 00:58:50,000
Speaker 4: I just get photographs and it's not one reel. It's

1162
00:58:50,040 --> 00:58:55,800
Speaker 4: sixty five boxes marked Elvis nineteen seventy the tour sixteen mile.

1163
00:58:56,240 --> 00:58:59,880
Speaker 4: And at the same time, Angie Markesy at Graysland comes

1164
00:58:59,880 --> 00:59:02,680
Speaker 4: in to the possession of never before seen emel So

1165
00:59:02,720 --> 00:59:04,840
Speaker 4: then we start to scan it, but no sound.

1166
00:59:05,080 --> 00:59:07,880
Speaker 3: No sound, Oh, so what are you thinking?

1167
00:59:08,560 --> 00:59:10,520
Speaker 4: So first of all we bring it back to Warners

1168
00:59:10,520 --> 00:59:13,480
Speaker 4: and it's smelling of vinegar, which means it's about to disintegrate.

1169
00:59:14,440 --> 00:59:18,080
Speaker 4: So John o'reben and I convinced Warners to scan it.

1170
00:59:18,640 --> 00:59:20,680
Speaker 4: We get it scanned. I do not use it in

1171
00:59:20,720 --> 00:59:23,120
Speaker 4: the movie. I finished the movie. What are we going

1172
00:59:23,200 --> 00:59:26,040
Speaker 4: to do with this gold? Put it back in the

1173
00:59:26,080 --> 00:59:28,960
Speaker 4: salt mines. No, we've got to make something special. So

1174
00:59:29,000 --> 00:59:31,400
Speaker 4: then we start trying to find the sound. We find

1175
00:59:31,480 --> 00:59:33,840
Speaker 4: mag tape and we'll try and keep it simple. Mag

1176
00:59:33,920 --> 00:59:36,600
Speaker 4: tape is when you're doing rough cuts, you use mag tape.

1177
00:59:36,640 --> 00:59:41,120
Speaker 4: So that's good because Elvis's vocal mostly almost ninety percent

1178
00:59:41,640 --> 00:59:45,120
Speaker 4: is good. The band running tut good, the band pretty

1179
00:59:45,200 --> 00:59:49,160
Speaker 4: damn good. Sometimes bit off mic, but the driving, by

1180
00:59:49,160 --> 00:59:52,640
Speaker 4: the way, fantastic, right, I'll get to that. Sometimes the

1181
00:59:52,680 --> 00:59:56,320
Speaker 4: sweets inspiration's not good enough, We've got extra track. Sometimes

1182
00:59:56,320 --> 00:59:59,040
Speaker 4: the orchestration badly micd like the orchestra was.

1183
00:59:59,000 --> 00:59:59,600
Speaker 3: The hardest thing.

1184
01:00:00,120 --> 01:00:04,800
Speaker 4: So actually the orchestration I couldn't tell, but my guys

1185
01:00:04,800 --> 01:00:07,800
Speaker 4: could because my team had worked on Elvis.

1186
01:00:08,040 --> 01:00:11,640
Speaker 3: Now during the make of Elves Eva McHugh.

1187
01:00:11,480 --> 01:00:13,880
Speaker 4: Who's my mixer, we found two knives you know what

1188
01:00:14,000 --> 01:00:17,400
Speaker 4: neves are, right, Okay, desks and we got so used

1189
01:00:17,440 --> 01:00:19,760
Speaker 4: to actually taking original Elvis tracks. By the way, I

1190
01:00:19,840 --> 01:00:25,720
Speaker 4: was with RCA, so I had amazing rob Sanschino santos Man.

1191
01:00:25,880 --> 01:00:29,120
Speaker 4: I mean he would give me take sixty and fifty

1192
01:00:29,160 --> 01:00:32,960
Speaker 4: two where Elvis goes boom, and so we start building

1193
01:00:32,960 --> 01:00:34,840
Speaker 4: the track but we realize if we make it as

1194
01:00:34,880 --> 01:00:37,160
Speaker 4: if Elvis comes to you in a dream, oh, and

1195
01:00:37,200 --> 01:00:41,280
Speaker 4: then breakthrough moment. We open one box and there's a

1196
01:00:41,360 --> 01:00:43,520
Speaker 4: Naga tape in it. Nagaria is like you used for

1197
01:00:43,560 --> 01:00:49,120
Speaker 4: sixteen mil and it's Elvis talking really unguarded about his life.

1198
01:00:50,080 --> 01:00:52,400
Speaker 3: And then we go, wait, that's what we got to do.

1199
01:00:52,800 --> 01:00:53,600
Speaker 3: Get out of the way.

1200
01:00:54,400 --> 01:00:57,800
Speaker 4: Let Elvis just tell his story and then we'll use

1201
01:00:57,840 --> 01:00:59,440
Speaker 4: the music as if it's in a kind of a

1202
01:00:59,520 --> 01:00:59,920
Speaker 4: dream skin.

1203
01:01:00,960 --> 01:01:02,000
Speaker 3: There's a bit of an interview.

1204
01:01:02,040 --> 01:01:04,880
Speaker 4: You see him and he's very bit tired looking in

1205
01:01:04,920 --> 01:01:08,280
Speaker 4: the sixteen mel and he says, look, I'm too tired.

1206
01:01:08,280 --> 01:01:10,760
Speaker 4: I'll do this tomorrow. He comes back, I don't want

1207
01:01:10,760 --> 01:01:14,000
Speaker 4: me on camera. So this audio is about forty minutes

1208
01:01:14,040 --> 01:01:16,040
Speaker 4: of him just talking about his life, but really unguarded

1209
01:01:16,040 --> 01:01:20,760
Speaker 4: because he's not on camera. Then starts us going to

1210
01:01:21,000 --> 01:01:25,800
Speaker 4: really private collectors who and I respect them, don't want

1211
01:01:25,840 --> 01:01:29,920
Speaker 4: even credits in the film don't sell. And we start

1212
01:01:30,680 --> 01:01:32,640
Speaker 4: asking them, look, we really need him saying this, have

1213
01:01:32,680 --> 01:01:36,680
Speaker 4: you got this bit? Sometimes there were car park things.

1214
01:01:36,680 --> 01:01:38,320
Speaker 4: I got to stop saying this because they reckon I

1215
01:01:38,400 --> 01:01:41,600
Speaker 4: might get whacked. And money exchanged hands there's a huge

1216
01:01:41,600 --> 01:01:43,680
Speaker 4: black market in Elvis stuff.

1217
01:01:43,520 --> 01:01:46,120
Speaker 3: I know, and a lot of it was missing. And

1218
01:01:46,200 --> 01:01:46,480
Speaker 3: all that.

1219
01:01:46,560 --> 01:01:51,720
Speaker 4: We start to build his storytelling now with the music. Yes,

1220
01:01:52,400 --> 01:01:56,040
Speaker 4: for example, sometimes I had to sweeten the orchestrations, so

1221
01:01:56,080 --> 01:02:00,480
Speaker 4: he did that. It's definitely I was his voice the time.

1222
01:02:00,520 --> 01:02:02,520
Speaker 4: Sometimes we might have to use the recording, but it's

1223
01:02:02,560 --> 01:02:03,320
Speaker 4: off the stage.

1224
01:02:03,480 --> 01:02:06,120
Speaker 3: It's I can tell you. His mic technique is like

1225
01:02:06,160 --> 01:02:09,080
Speaker 3: no other. He's never out of Chune. Was never out

1226
01:02:09,080 --> 01:02:09,400
Speaker 3: of Chune.

1227
01:02:09,520 --> 01:02:12,200
Speaker 1: Was there ever like this before monitors are on stage.

1228
01:02:12,240 --> 01:02:12,600
Speaker 3: I never had.

1229
01:02:13,200 --> 01:02:16,280
Speaker 4: He never had monitors. In fact, they used to put

1230
01:02:16,280 --> 01:02:17,960
Speaker 4: it through the damn sound system in the thing.

1231
01:02:18,000 --> 01:02:18,400
Speaker 3: I don't know.

1232
01:02:19,080 --> 01:02:22,600
Speaker 4: I mean, all I can tell you is that's primary material. However,

1233
01:02:22,680 --> 01:02:25,440
Speaker 4: give an example, we have this one bit of him

1234
01:02:25,440 --> 01:02:27,920
Speaker 4: singing O Happy Day and the sweets are a bit

1235
01:02:28,120 --> 01:02:30,400
Speaker 4: off Mac and we want to do We always going

1236
01:02:30,480 --> 01:02:32,880
Speaker 4: what would Elvis do? We want this in like five

1237
01:02:32,880 --> 01:02:35,720
Speaker 4: to one, five seven, you know, like you're there. We

1238
01:02:35,760 --> 01:02:39,680
Speaker 4: wanted Imax, We want the best. So I remember when

1239
01:02:39,720 --> 01:02:43,600
Speaker 4: we were doing Elvis the film, being told the story

1240
01:02:43,640 --> 01:02:46,800
Speaker 4: by Sam Bell, how he would sneak into Easttreek Church

1241
01:02:47,400 --> 01:02:51,160
Speaker 4: and watch Mahalia Jackson in a black gospel choir, and

1242
01:02:51,200 --> 01:02:54,040
Speaker 4: this was so powerful on him. So we thought, well,

1243
01:02:54,240 --> 01:02:56,160
Speaker 4: given we can't use that, what if we make the

1244
01:02:56,280 --> 01:03:00,440
Speaker 4: dream of Elvis singing O Happy Day come true? Rings

1245
01:03:00,760 --> 01:03:04,600
Speaker 4: Shannon's Saunders who has the cost of a choir in Nashville,

1246
01:03:04,920 --> 01:03:07,160
Speaker 4: and he records our Happy Day and we put Elvis

1247
01:03:07,200 --> 01:03:07,800
Speaker 4: and them together.

1248
01:03:07,960 --> 01:03:08,919
Speaker 3: So that's a dream beat.

1249
01:03:09,240 --> 01:03:09,840
Speaker 1: Nice, all right?

1250
01:03:10,000 --> 01:03:12,000
Speaker 4: But some stuff is just straight off the six team.

1251
01:03:12,720 --> 01:03:15,240
Speaker 4: How great they're are, that's straight off. That's straight off

1252
01:03:15,320 --> 01:03:15,640
Speaker 4: the desk.

1253
01:03:15,920 --> 01:03:19,040
Speaker 2: Were there any conflicts caught on tape? Because the thing

1254
01:03:19,160 --> 01:03:22,960
Speaker 2: is that for me, it's a nightmare one. It's like,

1255
01:03:23,040 --> 01:03:26,120
Speaker 2: you got the rhythm section to worry about. But then

1256
01:03:26,480 --> 01:03:30,320
Speaker 2: it's two sets of background singers. There's the sweets inspiration

1257
01:03:30,480 --> 01:03:34,880
Speaker 2: and right and his guys and yeah, I see.

1258
01:03:34,800 --> 01:03:36,560
Speaker 4: And by the way, they're a vocal group on their own.

1259
01:03:37,200 --> 01:03:40,240
Speaker 4: And then we have Kathy Kathy and she is a

1260
01:03:40,320 --> 01:03:43,600
Speaker 4: high soprano. Right, yeah, but anyway, you're right, we've got

1261
01:03:43,880 --> 01:03:46,560
Speaker 4: and we've got you know what, We've got James Burton

1262
01:03:46,640 --> 01:03:49,240
Speaker 4: on guitar, and you know, Ronnie Tat was like, oh

1263
01:03:49,440 --> 01:03:52,680
Speaker 4: do I want a drum with Elvis goes in He

1264
01:03:52,680 --> 01:03:55,480
Speaker 4: says this is the coolest guy, I mean, right, you know.

1265
01:03:56,080 --> 01:03:59,320
Speaker 2: The thing I was fascinated was the rhythm sections seem

1266
01:03:59,360 --> 01:04:02,280
Speaker 2: like their own club. Yep and Sweet Inspirations seem like

1267
01:04:02,280 --> 01:04:05,000
Speaker 2: their own clubs so tight, and Elvis's Guy seem like

1268
01:04:05,000 --> 01:04:07,960
Speaker 2: their own club. But I rarely see them all as

1269
01:04:08,000 --> 01:04:09,000
Speaker 2: a cohesive unit.

1270
01:04:09,040 --> 01:04:09,960
Speaker 1: But yet it works.

1271
01:04:10,080 --> 01:04:10,920
Speaker 3: But didn't you see.

1272
01:04:11,080 --> 01:04:13,120
Speaker 4: Look, we didn't put a lot of it in there

1273
01:04:13,160 --> 01:04:14,760
Speaker 4: because we had to keep the rhythm moving forward.

1274
01:04:14,920 --> 01:04:15,880
Speaker 3: But do you see the bit.

1275
01:04:15,720 --> 01:04:19,480
Speaker 4: Where he's doing no more woa and he starts to

1276
01:04:19,480 --> 01:04:23,440
Speaker 4: sing let's go back to the epedeo there, yeah, and

1277
01:04:23,440 --> 01:04:25,320
Speaker 4: we want to oscillate, and then he sings the top

1278
01:04:25,360 --> 01:04:26,280
Speaker 4: line and they follow him, you.

1279
01:04:26,280 --> 01:04:28,160
Speaker 1: See, Yeah, And they just follow him.

1280
01:04:28,240 --> 01:04:31,240
Speaker 4: And that is how he orchestrated. He orchestrated by singing

1281
01:04:31,600 --> 01:04:36,840
Speaker 4: the lines. And that was also how everybody was just

1282
01:04:36,960 --> 01:04:40,520
Speaker 4: watching his body. I mean, tut will tell you he

1283
01:04:40,640 --> 01:04:45,080
Speaker 4: was just basically watching how he wriggled, you know, and

1284
01:04:45,280 --> 01:04:46,960
Speaker 4: he knew how to bring it in and bring it out.

1285
01:04:47,000 --> 01:04:53,280
Speaker 4: And the cohesiveness is Elvis's physical body. That is the

1286
01:04:53,840 --> 01:04:58,720
Speaker 4: joining point. He's on stage and by the way, you

1287
01:04:58,800 --> 01:05:01,760
Speaker 4: saw the energy you see coming off that screen. Yes,

1288
01:05:01,880 --> 01:05:04,720
Speaker 4: by the way, his energy is the same in rehearsals.

1289
01:05:05,040 --> 01:05:05,560
Speaker 3: And by the.

1290
01:05:05,480 --> 01:05:06,960
Speaker 1: Way I can tell the difference.

1291
01:05:06,960 --> 01:05:08,160
Speaker 3: He did it three times a day.

1292
01:05:08,280 --> 01:05:10,280
Speaker 1: I couldn't tell the difference, could not tell the difference.

1293
01:05:10,360 --> 01:05:13,320
Speaker 4: He was not marking it. You know, rehearsals sometimes people

1294
01:05:13,400 --> 01:05:14,560
Speaker 4: just going like, okay, we're doing No.

1295
01:05:14,560 --> 01:05:16,640
Speaker 3: No, he was not marking it.

1296
01:05:17,360 --> 01:05:19,200
Speaker 2: Do you know if there were set lists at all?

1297
01:05:19,280 --> 01:05:22,120
Speaker 2: Because the thing is he calls the songs, Hey, let's

1298
01:05:22,120 --> 01:05:24,440
Speaker 2: do da da da da, And I know they.

1299
01:05:24,360 --> 01:05:25,600
Speaker 3: Have a nut.

1300
01:05:26,080 --> 01:05:28,959
Speaker 4: By the way, they had a bunch of songs. There's

1301
01:05:29,000 --> 01:05:31,080
Speaker 4: a bit. I think we might have taken it out

1302
01:05:31,320 --> 01:05:34,880
Speaker 4: forgive me. Oh no, I think he says. You know,

1303
01:05:34,920 --> 01:05:36,960
Speaker 4: they're driving in the back of the car, and I

1304
01:05:37,000 --> 01:05:40,320
Speaker 4: think he goes, you don't quite pick it up because

1305
01:05:40,320 --> 01:05:41,760
Speaker 4: we just if we left it in, it's just because

1306
01:05:41,760 --> 01:05:43,560
Speaker 4: it was good. And he says, you know what, I

1307
01:05:44,320 --> 01:05:47,720
Speaker 4: called for wash my hands in muddy waters. And they're going, well,

1308
01:05:48,160 --> 01:05:51,160
Speaker 4: they didn't hear me, And he goes, did you tell them?

1309
01:05:51,240 --> 01:05:53,080
Speaker 3: Yeah? I told him, so did you tell yourself?

1310
01:05:53,120 --> 01:05:54,680
Speaker 4: They make a joke and they go over it, but

1311
01:05:54,720 --> 01:05:57,200
Speaker 4: you can see a serious he's going, I called for

1312
01:05:57,400 --> 01:05:59,640
Speaker 4: wash my hands in muddy waters and they didn't hear me.

1313
01:06:00,240 --> 01:06:02,120
Speaker 4: So you what abput When he goes he goes all right,

1314
01:06:02,240 --> 01:06:05,120
Speaker 4: bridge and you'll all see him go like bridge, that's

1315
01:06:05,160 --> 01:06:07,920
Speaker 4: a giant climb. But he goes bridge and they're into it,

1316
01:06:08,080 --> 01:06:12,480
Speaker 4: maanaa and they're in and I think that's he says it.

1317
01:06:13,160 --> 01:06:15,360
Speaker 3: I don't want he says at the very beginning.

1318
01:06:15,800 --> 01:06:18,920
Speaker 4: You know, for the audience, it's new every night, and

1319
01:06:18,960 --> 01:06:20,560
Speaker 4: I don't want to get comfortable, and I don't want

1320
01:06:20,560 --> 01:06:21,200
Speaker 4: them to get comes.

1321
01:06:21,200 --> 01:06:21,920
Speaker 3: It's a bit scary.

1322
01:06:22,760 --> 01:06:25,360
Speaker 4: I have stage for it every night, and I don't

1323
01:06:25,360 --> 01:06:28,200
Speaker 4: want them to get comfortable. So, having worked with all

1324
01:06:28,240 --> 01:06:32,840
Speaker 4: sorts of great musicians, up and coming, young ones, great icons,

1325
01:06:33,360 --> 01:06:37,160
Speaker 4: generally speaking, you have the show worked out, you have

1326
01:06:37,240 --> 01:06:40,760
Speaker 4: the set list. You might mix it up now and then,

1327
01:06:40,880 --> 01:06:45,120
Speaker 4: but it's tight. No, no, no, this was about to

1328
01:06:45,240 --> 01:06:46,080
Speaker 4: quote the man.

1329
01:06:46,640 --> 01:06:48,720
Speaker 3: I just do what I feel I always have.

1330
01:06:50,080 --> 01:06:55,400
Speaker 2: Well, look, I mean you've from starters. I mean this

1331
01:06:55,440 --> 01:07:02,840
Speaker 2: can go on for nine hours. You've covered Shakespeare, fitzgeriald Elvis,

1332
01:07:04,040 --> 01:07:05,000
Speaker 2: hip hop in the Bronx.

1333
01:07:05,600 --> 01:07:06,960
Speaker 3: By the way, one day we'll talk about that.

1334
01:07:07,000 --> 01:07:13,000
Speaker 4: Yeah, to say this to you, that whole experience because

1335
01:07:13,280 --> 01:07:15,560
Speaker 4: you know, people wandering about Raymond Juliet and there's a story.

1336
01:07:15,640 --> 01:07:17,240
Speaker 4: I mean, I mean, I hardly ever make stuff, but

1337
01:07:18,080 --> 01:07:21,480
Speaker 4: that's that journey on doing that. I didn't set out

1338
01:07:21,520 --> 01:07:23,560
Speaker 4: to even do it. I just thought that story should

1339
01:07:23,560 --> 01:07:27,240
Speaker 4: be told, and then I got thrown into it because

1340
01:07:27,240 --> 01:07:28,760
Speaker 4: the only way to do it was, like I really

1341
01:07:28,800 --> 01:07:29,720
Speaker 4: really involved.

1342
01:07:30,080 --> 01:07:33,240
Speaker 3: You remember that story, that story? You know that you

1343
01:07:33,240 --> 01:07:34,080
Speaker 3: want to know music.

1344
01:07:34,960 --> 01:07:37,680
Speaker 4: I think in my life by accident, I've covered music

1345
01:07:38,400 --> 01:07:42,240
Speaker 4: from the operating period, music from the thirties, jazz, the

1346
01:07:42,320 --> 01:07:47,880
Speaker 4: jazz age music, then from the seventies, right, you know,

1347
01:07:48,480 --> 01:07:51,920
Speaker 4: and with Elvis music from the fifties. You know, Like,

1348
01:07:52,480 --> 01:07:56,120
Speaker 4: my life's been a musical history lesson and I'm still learning.

1349
01:07:56,200 --> 01:08:00,080
Speaker 2: Would you ever challenge yourself to a project that has

1350
01:08:00,120 --> 01:08:01,760
Speaker 2: new musical elements whatsoever?

1351
01:08:03,160 --> 01:08:05,880
Speaker 3: Sure, but it'd be boring for me.

1352
01:08:08,600 --> 01:08:15,520
Speaker 4: Hey, we'll do one on to get down one day.

1353
01:08:15,800 --> 01:08:18,719
Speaker 2: The Quest Love Show is hosted by Me Mere quest

1354
01:08:18,720 --> 01:08:23,320
Speaker 2: Love Thompson. The executive producers are Sean g Bryan Calhoun

1355
01:08:23,760 --> 01:08:30,320
Speaker 2: and Me. Produced by Brittany Benjamin and Jake Payne. Produced

1356
01:08:30,320 --> 01:08:36,280
Speaker 2: for iHeart by Noel Brown, Edited by Alex Convoy. iHeart

1357
01:08:36,400 --> 01:08:41,680
Speaker 2: Video support by Mark Canton, logo's graphics and animation by

1358
01:08:41,800 --> 01:08:43,599
Speaker 2: Nick by Loge.

1359
01:08:44,360 --> 01:08:46,480
Speaker 1: Additional support by Lance Coman.

1360
01:08:47,640 --> 01:08:52,439
Speaker 2: Special thanks to Kathy Brown, Special thanks to Sugar Steve Mandel.

1361
01:08:53,880 --> 01:08:56,960
Speaker 2: Please subscribe, break review, and share The Quest Love Show

1362
01:08:57,240 --> 01:08:59,040
Speaker 2: wherever stream your podcast.

1363
01:08:59,560 --> 01:09:00,639
Speaker 1: Make sure you follow us on.

1364
01:09:00,600 --> 01:09:07,280
Speaker 2: Socials that's at q LS. Check out hundreds and hundreds

1365
01:09:07,280 --> 01:09:10,600
Speaker 2: of QLs episodes, including the Quest Love Supreme Shows, and

1366
01:09:10,640 --> 01:09:15,679
Speaker 2: our podcast archives. The Quest Love Show is a production

1367
01:09:15,880 --> 01:09:32,440
Speaker 2: of iHeart Radium