Speaker 1: The Quest Loft Show is a production of iHeart Radio.
Speaker 2: Ladies and gentlemen, Welcome to another episode of The Quest
Speaker 2: Loft Show.
Speaker 1: I will say that our guest today.
Speaker 2: Is a visionary, a visionary so many iconic moments and
Speaker 2: his canon be it of course, moll And Rouge, Romeo
Speaker 2: and Juliet, the Elvis film The Great Gatsby. You know,
Speaker 2: not enough people to talk about the get down. Nobody
Speaker 2: talks about the get down right now, We're here to
Speaker 2: celebrate probably one of the most clever acronyms, a movie
Speaker 2: called Epic, which is Elvis Presley in concert. I guess
Speaker 2: you could say almost companion film to the Elvis biopick.
Speaker 2: And it's an amazing rare look. I believe, over fifty
Speaker 2: nine hours of rare concert footage that hasn't been seen.
Speaker 2: And in a minute, so much to talk about, Ladies
Speaker 2: and gentlemen, please welcome, bads. Look all right, lureman, is
Speaker 2: that is okay?
Speaker 1: You say?
Speaker 3: You do everything perfectly?
Speaker 1: There you go, Baz Lauren, thank you for coming to
Speaker 1: the Quest Love Show. How are you today?
Speaker 4: Well, I'm extremely happy to be here on your show, man,
Speaker 4: because I you know, you said a lot of nice
Speaker 4: things about me and my work, and I feel the
Speaker 4: same about you, and I feel somewhat of a kindred
Speaker 4: spirit and that I think both of us, you know,
Speaker 4: we don't specify ourselves. Like you love music, you love storytelling,
Speaker 4: you love ideas, you like people, and you love culture.
Speaker 3: And that's the way I see the world.
Speaker 2: You know, I'm kind of geeking out because the fact
Speaker 2: that you're even putting.
Speaker 1: My pronoun into we and us, Like, I'm glad.
Speaker 2: You see me as Atlasa Kendrick spirit, you know. Okay,
Speaker 2: So I have so many questions to ask you about
Speaker 2: your career, but for me, the most important is I
Speaker 2: guess your trademark that I know you for is kind
Speaker 2: of your anachronistic treatment of music in period pieces.
Speaker 1: I remember sitting there and rolling me.
Speaker 2: On Juliette, like, wait a minute, this music wasn't out there,
Speaker 2: and like are they allowed to do that? Like we
Speaker 2: had so many talks about wait, are they allowed to
Speaker 2: just disregard time?
Speaker 1: And you know, and this happens often in your movies.
Speaker 2: When you first get a spark for a project, does
Speaker 2: the playlist come first? Like how important is our songs
Speaker 2: to you before you start a project?
Speaker 4: Well, first, of all these I pop into my mind
Speaker 4: and then I go, I must do it. I think
Speaker 4: everything I've ever made has been in my mind from
Speaker 4: the get gos. It is like the list of things
Speaker 4: I feel I must make, not what I want to make,
Speaker 4: but what I must make.
Speaker 3: There's too many that I won't get them all done
Speaker 3: before I go.
Speaker 4: But like, for example, one thing I was always fascinated
Speaker 4: with since being a kid was if Shakespeare made a movie?
Speaker 4: How would he go about making a movie? And so
Speaker 4: then it begins with that philosophical idea. I usually spend
Speaker 4: time like I have a great friend Craig Piers went
Speaker 4: to school. We wrote things together, you know, seem like
Speaker 4: serial collaborators, musers, friends going up and downhills, drinking too
Speaker 4: many glasses of wine and going.
Speaker 3: Now, which, what's right? What's useful? Now?
Speaker 4: So then it goes like, oh, you know, I really
Speaker 4: want to reinvent the musical, but that's going to be
Speaker 4: more complicated. So I just quickly bang off, you know,
Speaker 4: what would Shakespeare do it for me?
Speaker 3: A movie? That was the mission?
Speaker 4: Now I say that, and it will answer your question,
Speaker 4: because in studying Shakespeare very deeply, he would do things
Speaker 4: like very broad comedy and then huge drama in the
Speaker 4: next minute. The other thing he did was he took
Speaker 4: pop music from the street and put it into his shows.
Speaker 3: And he was pillared for this.
Speaker 4: He was considered, I mean other writers at the time
Speaker 4: that this guy is just such trash and he's a
Speaker 4: working class he's not educated, he'll never last. But because
Speaker 4: he did it, I would do it now now. To
Speaker 4: be clear, as we were developing script, I developed the
Speaker 4: music language as well. So it's literally written in the
Speaker 4: script of Romeo and Juliet. I think it was something
Speaker 4: like a boy with the voice of Stevie Wonder sings
Speaker 4: a version of Princess Dove's Cry as a hymn as
Speaker 4: Romeo and Juliet. So I can se the music of
Speaker 4: equal importance in the fabric of storytelling as I with
Speaker 4: the words and the image. I actually developed them in parallel,
Speaker 4: like three scripts.
Speaker 2: I guess you're telling me that you're saying that you
Speaker 2: inherently know everything. And I believe this too, that all
Speaker 2: humans know everything. We just have to channel you know,
Speaker 2: the information, everything we need to know, everything that we're
Speaker 2: going to know in this lifetime is already inside of us.
Speaker 3: Yeah, life is a self revelation that never stops.
Speaker 1: Correct. So that said, I gotta ask.
Speaker 2: I mean, because everything you've done is ambitious, is there
Speaker 2: a holy Grail project that you dream of making that's
Speaker 2: kind of on the back Murner right now.
Speaker 3: Well, I have to be very careful.
Speaker 1: You can't.
Speaker 4: Okay, no, no, because my answer going to sound pretentious,
Speaker 4: and the answer is not.
Speaker 1: You're an artist.
Speaker 3: Not because anything I think up, I don't go.
Speaker 4: I mean, this does sound pretentious, but I don't go
Speaker 4: like I got this idea.
Speaker 3: I need to get a job.
Speaker 4: I just have always been either arrogant enough, or foolish enough,
Speaker 4: or blind enough or singular enough to go hmmm. Shakespeare
Speaker 4: directs a film. I want to make that now. At
Speaker 4: that stage I had made Strictly Borim and it was
Speaker 4: a wonderful journey. It was a play that I devised
Speaker 4: in Lae. And when we did the film, we lost
Speaker 4: the one distributor.
Speaker 3: And then the guy brings me up.
Speaker 4: I'm shaving my long collly black care off going Obviously,
Speaker 4: I'll never make a movie again. It says my name
Speaker 4: is Beer Rision, I'm from Zeke and film Festivela like
Speaker 4: to invade you. We go Boom twelve o'clock, most amount
Speaker 4: of sales in history.
Speaker 3: Yeah. Changes, Yes, exactly, my life changes.
Speaker 4: So by having said that, in doing a first look
Speaker 4: deal with Fox, they were definitely not expecting me to
Speaker 4: walk in and say I want to do Shakespeare, as
Speaker 4: if Shakespeare was directing a movie. That was not what
Speaker 4: they were hoping for. But I just go, that is
Speaker 4: what is needed to tell you right now, Right now,
Speaker 4: I mean, I'm in the middle of this, and this
Speaker 4: is god epic has its own quite extraordinary life. Even
Speaker 4: I'm swept up and surprised and joyed by the embrace.
Speaker 4: And I'm not just saying that as a sales pitch,
Speaker 4: but in the background, on a very deep level, I'm
Speaker 4: working on jan Dac the story of Joan of arc
Speaker 4: in the belief that in two years time, a story
Speaker 4: about a world that is stuck in this echo chamber
Speaker 4: of old dudes who want to keep it going around
Speaker 4: and round and around because it makes money. And she
Speaker 4: says enough is enough. And she comes from a small
Speaker 4: country town at the age of seventeen and lifts up
Speaker 4: a young king who's on his last knees and changes
Speaker 4: history for that generation.
Speaker 3: And I just think that's going to be useful. So
Speaker 3: I just think I have to.
Speaker 2: Do it continue the tradition of playing with time in
Speaker 2: terms of.
Speaker 4: I know every step genov ARC's taken, I've taken it,
Speaker 4: and I've worked with academic systuff, very very academically. But
Speaker 4: then I say, my job is to translate it for
Speaker 4: the audience at this time, in this moment.
Speaker 3: And so without saying.
Speaker 4: What yeah, well, without saying what it is, yeah, see,
Speaker 4: here's my thing, here's my thing.
Speaker 3: Listen to my thing.
Speaker 4: You take Gatsby, whether people agree with what I did
Speaker 4: in Gadsby or not. I was working on Gatsby and
Speaker 4: Fitzgerald wrote into his novella Black Street Music, which was
Speaker 4: called jazz, even termed the phrase of jazz age, and
Speaker 4: people went, why are you doing that? It's going to
Speaker 4: be a fad, this jazz stuff, But when you come
Speaker 4: to make the movie, it's kind of got a nostalgic patina.
Speaker 4: So then I get with jay Z and Jay I
Speaker 4: told him all about it down just down the road here,
Speaker 4: and before I even finished, he says, what are you
Speaker 4: talking about? We're doing it, And he says, we're going
Speaker 4: to do this, and together we embark on this journey
Speaker 4: bringing lots of artists together because we wanted to show
Speaker 4: that that is what it is and what it felt like,
Speaker 4: and what Gatsby in the novel felt like was kind
Speaker 4: of what hip hop could do for us.
Speaker 1: I understand.
Speaker 2: So, yeah, if you put jazz inside of Gatsby, now
Speaker 2: jazz is your grandparents' music, it's it's except great.
Speaker 3: But I don't understand.
Speaker 4: It was like edgy and scary and was like cut
Speaker 4: through you know, gotcha?
Speaker 2: What was your first musical memory in life? Your very
Speaker 2: first musical memory.
Speaker 3: Easy.
Speaker 4: My father went to the Vietnam War and when he
Speaker 4: came back, he brought with him what was called a
Speaker 4: real to real Akai, very very high tech, and we
Speaker 4: were in Sydney for a while. Then we moved to
Speaker 4: a tiny country town. And in this tiny country town
Speaker 4: we had the gas station and a restaurant, a pig farm.
Speaker 3: It's only about five houses.
Speaker 4: But Dad had a Kai and it came with the
Speaker 4: demonstration tape. And the demonstration tape had Tijuana brass, classical music, Mozart,
Speaker 4: the Beatles, and the sound of the Japanese.
Speaker 3: Bulletrain going right.
Speaker 4: Yeah, I know, it's random. Yeah, what I want to
Speaker 4: show stereo. Okay, Oh, there was a voice that said
Speaker 4: something like.
Speaker 3: A Japanese bullet train now as it rips.
Speaker 4: By, and it could record. But the thing is, I
Speaker 4: think that we used to play the tape endlessly. And
Speaker 4: then there were records, and then I ran my own
Speaker 4: radio station, not as cool as yours. I only had
Speaker 4: one record called One is the Loneliest Number, which I
Speaker 4: don't find it. But I think the variety of that
Speaker 4: music left me with a sort of lack of prejudice
Speaker 4: about kinds of music.
Speaker 3: There was just music, good and average.
Speaker 1: Which city is the that you were born in or
Speaker 1: grew up in?
Speaker 4: But I was born in Sydney on the sand outside
Speaker 4: where my parents were building a house with their bare hands.
Speaker 4: But then very early on, we moved to this tiny
Speaker 4: country town in the bush in Australia, kinda not in
Speaker 4: desert in huge trees, like it was a forestry area
Speaker 4: on a highway.
Speaker 1: All right.
Speaker 2: So many elements of your life I think can be
Speaker 2: traced to your formative years. Everything as the irony hit
Speaker 2: you or whatever, like your dad runs a movie theater
Speaker 2: and suddenly like this is your life.
Speaker 1: Your mom was a ballroom instructor, so that's you do
Speaker 1: strictly ballroom. I mean, your name is Mark Anthony.
Speaker 2: So there's some sort of Caesarus Shakespearean thing going on.
Speaker 2: First of all, where is the name Baz come from?
Speaker 1: Is that a nickname?
Speaker 3: Or yeah?
Speaker 4: Yeah, yeah, Well Willams is rather than going to the
Speaker 4: epic version epic as you know, it was President Constant
Speaker 4: give a plug, just kidding bigger, but no, the epic
Speaker 4: version of it. But we my brothers and I grew
Speaker 4: up my sister. There was a moment of tumultuous separation
Speaker 4: and my mother leaves us to go to the city,
Speaker 4: and you know, I just knew I would forever be there.
Speaker 3: And that was a very loving man, and he.
Speaker 4: Had all sorts of artists stay with us, and he
Speaker 4: didn't ever ask to be without education. So we learned
Speaker 4: photography and bought him dancing and commander training all at once.
Speaker 3: You know.
Speaker 4: It was crazy, like we all had to have a business.
Speaker 4: We were just active from five am in the morning
Speaker 4: till late at night, plus running the gas station and
Speaker 4: blah blah blah.
Speaker 3: And little kids, little kids. We had so much work
Speaker 3: to do and stuff. But it was I now look
Speaker 3: back and go.
Speaker 4: It was sort of a caravancier of adventure and creativity.
Speaker 4: There was NonStop. However, there's this breakup. I run away
Speaker 4: and I find mom in the city and she puts me.
Speaker 4: I was in quite a progressive school. There was like
Speaker 4: experimental school that we were in. Had a new system
Speaker 4: and you had to think all d day and so
Speaker 4: you could learn different creative things. Anyway, long story short,
Speaker 4: they put me into this kind of boys school. But
Speaker 4: dad had this thing because he was from the Vietnam War.
Speaker 4: He did not like hippies, and so he cut our
Speaker 4: hair really really short, and we had to wear you know,
Speaker 4: white shirts and ties. Can you imagine in the seventies,
Speaker 4: you know, when everybody else was wearing pooka shells and
Speaker 4: like a wine shirts and flip flops and you know, and.
Speaker 3: Doing we you know, like we got beat up a
Speaker 3: lot for that.
Speaker 4: So as soon as I ran away, I grew up
Speaker 4: my hair, which was crazy curly, and I went to
Speaker 4: this boys school and you know, obviously you know, hormonal
Speaker 4: teenage boys banging on their head. And so the US
Speaker 4: got me basil Brush after a kind of English cartoon
Speaker 4: character as a sort of oh yeah, just to put
Speaker 4: me down.
Speaker 3: So this nickname mas or Basil, bas.
Speaker 1: Or Basil and you took it on.
Speaker 4: So I went to hell with that and I went
Speaker 4: into deed poll and at nineteen, you know what, mark
Speaker 4: boring and thought, I'm going to call myself Baz Mark
Speaker 4: two sides to me. One is going to be my
Speaker 4: kind of brand, Baz, and the Mark's going to be
Speaker 4: who I am. And I made up the name Basmark.
Speaker 4: And was that your legal name now or my legal
Speaker 4: name my passport?
Speaker 3: Since I was nineteen?
Speaker 2: Okay, at ten to fifteen, what were your goals in life?
Speaker 3: Like?
Speaker 1: What did you want to be when you grew up?
Speaker 3: Well, again, it's going to sound pretentious.
Speaker 1: But you're an artist. You're allowed to dream.
Speaker 4: That's what I was doing. But I was not only dreaming.
Speaker 4: I was doing so even at ten, I was doing shows.
Speaker 4: I have my own radio show. Dad was really supportive
Speaker 4: of this.
Speaker 1: Wait, how were you when you had a radio show?
Speaker 4: I was about eleven. I got the eleven years old.
Speaker 3: Yeah.
Speaker 4: I found this old record player and Dad ricked up
Speaker 4: speakers in the gas station.
Speaker 3: It was called radio. It was mobile no mobile gas.
Speaker 4: Yeah, I here we are Radio Mlbil and when we come,
Speaker 4: let's play that great hit one is the loneliest number,
Speaker 4: because that's the only rest. And then my rather my
Speaker 4: younger brother would read the sports, you know, and he
Speaker 4: was like, let's say, not the greatest reader in the world.
Speaker 4: Well that's enough with the sports. Let's get back to
Speaker 4: that great hit one is the loneliest number. So it
Speaker 4: was it was role playing, but I did it and
Speaker 4: I made little films because Dad met month through photography.
Speaker 4: He was in the equivalent of the Navy Seals, I guess,
Speaker 4: you know. He was on the Melbourne, which is an
Speaker 4: aircraft carry blowing stuff up basically to do landings, and
Speaker 4: you know, he need really he lived an energy military life.
Speaker 4: But he was very creative and he was obsessed with photography.
Speaker 4: So he made me learn how to use a box brown.
Speaker 4: He wouldn't let me use an SLR like old Kodak
Speaker 4: and process my own film and footage. And I was
Speaker 4: making little movies at the same time.
Speaker 2: Okay, so you come from theater culture, of course, and
Speaker 2: of course you as a director, I'm under the impression
Speaker 2: that the grass is always greener on the other side,
Speaker 2: like when you're on one side. Then you know, like
Speaker 2: I wish I was as much as I complained about
Speaker 2: touring with the Roots back in the night, you know,
Speaker 2: like I would do anything, even the towns I hated
Speaker 2: to go to.
Speaker 1: But of course, when you're doing that.
Speaker 2: You wish, oh man, if I could just live in
Speaker 2: one city and have.
Speaker 1: A regular job.
Speaker 3: You know, the grass is always green.
Speaker 2: So for you, you know, coming from developing theater, where's your
Speaker 2: pleasure center?
Speaker 1: Do you like theater better or is it movies?
Speaker 4: You know, I honestly do not consider myself a film
Speaker 4: director a director of opera. Right now, I've just finished
Speaker 4: with seeing them making a little train carriage for the
Speaker 4: people that have the orone express for dining carriage.
Speaker 3: It's going to open in May. We've built what is this.
Speaker 3: We've got a hotel in Miami.
Speaker 1: Okay.
Speaker 3: I got a little by here in New York.
Speaker 1: Okay.
Speaker 4: You know, I done election campaign edited magazines. I believe
Speaker 4: in creative adventure. I actually don't define myself by that.
Speaker 4: It's got to be a creative adventure. And I would
Speaker 4: say what defines me is that I trade in storytelling
Speaker 4: and ideas and the medium is always I'm open about it,
Speaker 4: you know, like often thinks that for the first time
Speaker 4: when I have my opera company. It was the first
Speaker 4: time I did opera just because I was fascinated and compelled. Yeah,
Speaker 4: I've met a lot of music. I learned to produce
Speaker 4: quite early on. And although I've worked with the greats,
Speaker 4: you know, like Jay and great great artists, I mean,
Speaker 4: you know, the Bono's and the Bowies and you know
Speaker 4: and Elton.
Speaker 2: And I've known that you've produced your soundtracks, which, yeah,
Speaker 2: I definitely want to get into that.
Speaker 1: Yeah, forty years has passed since.
Speaker 2: I don't want to reduce it to saying Leo Mania,
Speaker 2: but I mean the spark of the world's obsession with
Speaker 2: Leonardo DiCaprio. Really, there's always the well I was there
Speaker 2: in the beginning. I was a day one, but I'm
Speaker 2: really like I was alive during Romeo and Juliet time,
Speaker 2: and I'll tell you how much have changed me as
Speaker 2: a DJ.
Speaker 1: I never knew why, Like I was late.
Speaker 2: Maybe I saw Romeo and Juliet maybe like four months
Speaker 2: after it came out. Yeah, And I used to always
Speaker 2: play Young Hearts when free, and suddenly I was like, wow,
Speaker 2: like young kids are really into Kandy State, and like
Speaker 2: I must be doing something good. Having no clue how
Speaker 2: you incorporated music into it. So, like, what are your
Speaker 2: memories of like just that period of Romeo and Juliet.
Speaker 2: How did you convince your producers in the movie company
Speaker 2: that this idea is going to work?
Speaker 1: First of all, did you know it was going to work? Yes,
Speaker 1: you knew it.
Speaker 2: Yes, okay, So from super to nuts, Like, how give
Speaker 2: me your reflections of it?
Speaker 4: Well, you know, we used to always make in the
Speaker 4: days of Blu Ray, we always made the extras. You know,
Speaker 4: I've been involved in everything, and I think I tell
Speaker 4: the story. It's there was a big kind of thing
Speaker 4: in Sun Valley where industrialists would come and so I
Speaker 4: did a lecture on creativity and blah blah blah, and
Speaker 4: I tell the story of pitching Romeo and Juliet.
Speaker 3: And I'm a terrible picture.
Speaker 4: And look, I gotta be careful because the exec I
Speaker 4: had at the time as a dear friend, and you know,
Speaker 4: he wasn't expecting me to come and see it's a
Speaker 4: modern day Romeo and Juliet.
Speaker 3: He says, just it's a long story, but I do
Speaker 3: it terribly.
Speaker 1: Who was the exact pitter?
Speaker 3: Rice?
Speaker 1: Oh, yes, of course.
Speaker 4: And Rice is like, you know, I love Peter, but
Speaker 4: he was young too, and he was like, oh my god,
Speaker 4: he hates me telling this story, but I got to
Speaker 4: tell you. He also without him, there would be no
Speaker 4: Romeo and Juliet because there's a chapter two. First chapter
Speaker 4: is I'll do it without going into all the detail.
Speaker 4: But he says, that's great, but just don't mention its Shakespeare,
Speaker 4: you know. So I go in and I do my
Speaker 4: you know, is where like in Imasion and as Gangs
Speaker 4: and Wound, the lights go on and goes horribly wrong. However,
Speaker 4: I did what I always do, and it relates a
Speaker 4: little bit to Epic because I think what Jonathan and
Speaker 4: I John I Redman, my editor and co producing cro
Speaker 4: creator on Epic. I always begin by making a kind
Speaker 4: of tone poem of music, visuals and dialogue that can
Speaker 4: convey the feeling of what it is I'm trying to
Speaker 4: make because it's hard to grasp for people. And so
Speaker 4: at the end of this disastrous hour where Peter Chernan,
Speaker 4: who is like the head.
Speaker 1: Of Fox then my current boss right.
Speaker 4: Well, mister Jernon, you know, and wonderful, but he just
Speaker 4: I put the tape on him.
Speaker 3: And they went like, oh, I get it.
Speaker 4: It's kind of Gangs and I went yes, So they
Speaker 4: gave me a little bit of money, and Leonardo came
Speaker 4: into it because I sing, I can't make this unless
Speaker 4: I can find someone who looks like Romeo.
Speaker 3: I saw a picture in a magazine.
Speaker 4: I went, that kid there he looks like and I
Speaker 4: just thought he was I didn't know he could act.
Speaker 4: And they said, actually, he's a really amazing young actor.
Speaker 4: So I go to him.
Speaker 1: So you had no idea about what's eating Gilbert Group or.
Speaker 4: I saw it then after it, wow, it's amazing. So
Speaker 4: then I go to him and I said, look, why
Speaker 4: don't you and your dad. I've got enough money to
Speaker 4: give you both business colass tickets. Why don't you come
Speaker 4: down to Australia. Don't commit and I We'll do workshops.
Speaker 4: And that's what I've always done, workshops. Leo being Leo
Speaker 4: or Dio as I call him, Dio Cash is in
Speaker 4: the tickets and brings all of his friends with him.
Speaker 3: They fly bucket class, so they all come down and.
Speaker 4: So I dress them all up and put them in
Speaker 4: the in the test shootings that we do of this,
Speaker 4: and some of this is actually on the Blu Ray
Speaker 4: and he's amazing at it. But I'm like doing the
Speaker 4: makeup myself and you know, and Don's shooting it and
Speaker 4: all that. So armed with this deal coming down with
Speaker 4: his dad, and I was sweeping through how.
Speaker 3: We're going to do it.
Speaker 4: We go back and then they see it and they
Speaker 4: go great, now we're away, except all of a sudden,
Speaker 4: I'm auditioning the red looking for Juliet and I hear
Speaker 4: that like, maybe there's another Romeo and Juliet.
Speaker 3: I'm going, no, no, no, no, no, he was for kidding.
Speaker 4: I sit down this story. I just can't give it
Speaker 4: so epic. Sit down at a restaurant in London. I
Speaker 4: hear this guy going, I just got up the phone
Speaker 4: and I talked to this guy. Won't say who it is,
Speaker 4: but an executive of Big Studio, and he says, they're
Speaker 4: going to splash that boss lerm and crazy television exploding
Speaker 4: Romeo and Juliet and do ours another production and like.
Speaker 3: People, you were right there.
Speaker 4: He was behind me at a ca the hell and in
Speaker 4: London and he leans back and I don't know it
Speaker 4: was you, no, And I'm saying to see him. I'm
Speaker 4: sitting I think you're talking about Romeo and Juliet. And
Speaker 4: I go, I'm so sorry, did mean to bump into you?
Speaker 3: Right?
Speaker 4: I can't tell the rest of the story. It's for
Speaker 4: a book one day and Moto mine is I ring out?
Speaker 4: My guys really said yep, but don't worry. They're going
Speaker 4: to pay you out. But they want to do the
Speaker 4: other one because it's at the other division of Fox
Speaker 4: and my Robert Newman says to me, you know what,
Speaker 4: I'm going to want to not tell bas you said that,
Speaker 4: because I know he would not.
Speaker 3: You just give it back to us.
Speaker 4: And to his credit, Peter Rice writes this incredible letter
Speaker 4: that says, when I passed on another Young Auteurs film,
Speaker 4: you told me it was my job to convince you
Speaker 4: when something that seemed improbable was worth doing, and because
Speaker 4: of that they ultimately stuck with mine. And then that happened,
Speaker 4: and then we went down. It was probably the most
Speaker 4: romantic and wild and crazy shooting ever we shot in Mexico.
Speaker 4: It was Leo and then Young Claire. Because Leo was
Speaker 4: running around, we had our own choppers. And then at
Speaker 4: some point I get a call saying, look, does she
Speaker 4: don't want to make this film with Jim Cameron about
Speaker 4: a big boat that seems, and they'd like you to
Speaker 4: do you think you get Lea to read the script,
Speaker 4: which we do.
Speaker 3: And that's a whole other story.
Speaker 2: Jesus Christ, now that I'm in the game of clearances,
Speaker 2: oh yeah, in the nightmare of it. Well, last night
Speaker 2: I spent two hours writing in the email trying to
Speaker 2: convince someone to come off a price. How are you
Speaker 2: able to convince Prince to let you cover when Devi's
Speaker 2: crib when he's a notorious no or even.
Speaker 4: Yeah, like with so tracks twice And in fact, I
Speaker 4: was working with Prince on and look bless his dearly
Speaker 4: departed soul because the man was a beautiful genius. But
Speaker 4: he was doing We were working on a piece for
Speaker 4: Gatsby for a real long time and just write at
Speaker 4: the last minute, just to change the course, and.
Speaker 1: He pulled the Prince.
Speaker 4: It just another story. I can't go into it because
Speaker 4: it take too long. But end up bringing a young
Speaker 4: singer called Lana del Ray and st Lana, I really
Speaker 4: need a song something like this, she says, come back.
Speaker 1: The fact that radio hit was like third to last.
Speaker 3: Yeah on it.
Speaker 2: I was like, Wow, he knew, he knew exactly right
Speaker 2: before computer blows up.
Speaker 4: There's a book must be written Monday. I love music
Speaker 4: and I've worked in it a lot, and my young
Speaker 4: assistant on Romeo and Juliet, we learned to produce together.
Speaker 4: We made a little record on which it was a
Speaker 4: song called Sunscreen, which really blows up, and I really
Speaker 4: learned how to even get on the faders.
Speaker 3: Unfamiliar, you know.
Speaker 4: So then we were preparing for Mulin Rouge and this
Speaker 4: whole conceit that came up with Craig Bisness I working
Speaker 4: on it.
Speaker 3: You know, the poet had to be a genius poet.
Speaker 4: But you know, if you say someone's a genius painter
Speaker 4: and you do your own painting, you look at it.
Speaker 3: Is that genius? I don't know?
Speaker 4: But if it's Picasso, you go, well, the world says
Speaker 4: it is. So it came up with the preposterous conceit.
Speaker 4: The preposterous conceit was what if the poet opened his
Speaker 4: mouth and saying, the hills real live, the sound of
Speaker 4: music silly, but we all go genius, you know. Now,
Speaker 4: go back to Romeo and Juliet. When I was writing
Speaker 4: Romeo and Juliet, Peter showed me bitter Rice showed me yesterday.
Speaker 4: So randomly the vibe tape that I made haven't seen
Speaker 4: it for thirty years, and I realized that I would
Speaker 4: cut that vibe tape to Venus as a boy, some
Speaker 4: massive attack and the wagner that was from an opera.
Speaker 4: The film ends with that wagner, and I went, Venus
Speaker 4: is a boy. I gotta find whoever made this music.
Speaker 4: That person was called Nelly Hooper. I finally meet Nellie
Speaker 4: Hooper the student In no way is some pop producer
Speaker 4: gonna make the music.
Speaker 3: Romeo and Juliet.
Speaker 4: I'm like, well yeah, and not only is it Nelly,
Speaker 4: it's Craig Armstrong doing strings, and then it's Marius Devrees
Speaker 4: and we create all those tracks. And Radiohead probably they
Speaker 4: had talk show hosts had happened, but Radiohead were happening,
Speaker 4: and I was sawing to Karen Rackman and I went, gee,
Speaker 4: they've got such a feel. So I ring this young
Speaker 4: guy called Tom Yaork remember this, And I'm talking to
Speaker 4: him on the phone and I'm saying, look, we need
Speaker 4: this end song and just talking about it, and he's like, yeah, yeah,
Speaker 4: but I'm on tour. And then i'd ring him yeah yeah,
Speaker 4: but I'm on tour. I think I've got it. We're
Speaker 4: mixing the movie. We're doing the end credits. We have
Speaker 4: another song in the end credits. All of a sudden,
Speaker 4: I get a tap on the door. Guy runs in
Speaker 4: with a dad tape. You might know what that is,
Speaker 4: digital tape. Tiny yes, and it says from Tom Debas,
Speaker 4: I hope I'm not too late. We've literally put it
Speaker 4: in the machinery. We are just doing the final mix. Ok, right,
Speaker 4: the film's definitely locked, but I'm layering in the final mix.
Speaker 4: I'll put the tape in and roll it and that
Speaker 4: song exit song for a movie cut too. That's how
Speaker 4: the yeah cut to check this out. Cut to like
Speaker 4: fifteen years later, I'm talking to Nigel Godridge and later
Speaker 4: on Johnny Green. Eventually he just uses my house Sydney
Speaker 4: to write a ballet in at some stage. So that's
Speaker 4: how I sort of vaguely know Johnny. But cut to
Speaker 4: Godridge tells me there'd been a bit of an argument
Speaker 4: between the guys. I don't want to get into their life,
Speaker 4: and Tom was like, that's it, and then goes downstairs
Speaker 4: and he goes, oh, I got to write.
Speaker 1: That damn song.
Speaker 3: So he's doing it. Johnny Green when comes down.
Speaker 4: So doing a bit of basing it, they do that
Speaker 4: song and then they're write the next one, and that
Speaker 4: becomes okay, computer, that's the first song. That's what I
Speaker 4: was told, told you, I told you these stories are
Speaker 4: so long.
Speaker 1: I had this one for the ages.
Speaker 3: I know, I got a book.
Speaker 1: Okay, so with Mullan Rouge and Gatsby publishing. When I
Speaker 1: watch it, of course, I mom, was, how do you
Speaker 1: clear that?
Speaker 3: I gotta tell you that here's the breakthrough.
Speaker 1: Give me the most nightmare story of will.
Speaker 4: But let me tell you the break the key, the
Speaker 4: key that opens the golden chest. So the idea of
Speaker 4: Molin Rouge is the preposterous conceit is that, you know,
Speaker 4: the just genius music comes out of his mouth. We
Speaker 4: decide that the genius music's got to be iconic music
Speaker 4: that you like. Now I didn't just go here's my
Speaker 4: record collection. Let's read the story. Greig Bits and I
Speaker 4: and the music team would get spreadsheets and go, well,
Speaker 4: how do we convey love? You know or your song?
Speaker 4: For example, Mark Gift is my song and this one's
Speaker 4: for you. Great line for a poet, right, and then
Speaker 4: you know elephant love Medley. I mean we have beatles
Speaker 4: in that. We have you know, for Collins, we have
Speaker 4: you know, Dolly pardon. So I'm going on, I've got
Speaker 4: to stop this because publishing companies are saying, no way.
Speaker 1: Was it expensive. I feel like you were the beginning.
Speaker 3: Oh wait, people.
Speaker 1: See in the power of oh, we can charge.
Speaker 4: I have to tell you the magic key. The magic
Speaker 4: is this. I'm like, oh, this is never gonna happen.
Speaker 4: Publishing companies are like, this is a grand rite.
Speaker 3: You know.
Speaker 4: Sound of music, la la la la. So I think, well,
Speaker 4: the key song right now we need is your song
Speaker 4: by Elton John. So I get a note through to
Speaker 4: Elton John. I fly from Australia. He says, I loved me.
Speaker 4: Of course I want to know all about it. I
Speaker 4: fly from Australia all the way to England. I got
Speaker 4: a temperature of one hundred and one thousand and I
Speaker 4: almost I'm sorry, mister Elton, but I'm so sick.
Speaker 3: I don't want to get you.
Speaker 4: See, he gets, don't worry about that done and come
Speaker 4: over to see him and just dine and hear about it.
Speaker 4: So I come over over the door Nelton, who actually
Speaker 4: go on to become a great friend of the family,
Speaker 4: and we even write a song together one day, but
Speaker 4: he just goes, I show him the idea. He says, done,
Speaker 4: this is the most brilliant, genius idea. I'm going to
Speaker 4: tell everybody to do it. And Elton kind of leads
Speaker 4: the charge. And from that horse that got you yep,
Speaker 4: And on that moment on, I'm forever grateful to him.
Speaker 4: And from that moment on he kind of spreads the
Speaker 4: words and I realize, what you got to do is
Speaker 4: go straight to the artist. And so I just go
Speaker 4: straight to the artist. I was so inaminate of David Bowie.
Speaker 4: I just he was growing up. Rite to David Baya.
Speaker 4: I get a phone call one day, says and he says,
Speaker 4: David Bowie here and he goes, look, I think, which
Speaker 4: is mean?
Speaker 3: I kind of like the side.
Speaker 4: And it goes, you know, I show him the film
Speaker 4: and on one of them he says, well, from one
Speaker 4: translator to another, I think I want to help you.
Speaker 4: And then that was it. It was the artist, and
Speaker 4: there was never such a thing as a mashup. You know,
Speaker 4: if you think of Elevant Love Medley, that didn't exist
Speaker 4: because publishers wouldn't allow it.
Speaker 3: So he do molon route.
Speaker 4: By the way, shout out to Jimmy Ivan because I
Speaker 4: go and see Jimmy Ivan and I got the record
Speaker 4: deal with.
Speaker 3: Him, and he goes, you know, I see this guy buys.
Speaker 3: He comes in in his suit and we have tea.
Speaker 3: And it's a crazy idea, but I'm going to throw
Speaker 3: the dice. It says, when you.
Speaker 4: Know I love Jimmy, I think like Uncle Jimmy, and
Speaker 4: I tell you something else amazing.
Speaker 3: He says, hey, by the way, I got this song,
Speaker 3: you might be interested in it. Gives it.
Speaker 4: I'm pretty sure he gives it to me on a cassette.
Speaker 4: He says, maybe you can use it, and I put
Speaker 4: it in see young rapper kid you know from Detroit,
Speaker 4: and it goes, my name is, my name is, and again,
Speaker 4: well that's really cool. I couldn't find any place for
Speaker 4: it though, you know. But then when I wanted to
Speaker 4: do our Lady Mama Lade, and I was working there
Speaker 4: with this great music supervising team and these two wonderful women,
Speaker 4: I had this idea that maybe it should be sung
Speaker 4: by like capop was very early then, like one really
Speaker 4: great capop artist, one really great say American you know,
Speaker 4: from each country.
Speaker 3: Okay, see yeah, but too complicated. I couldn't get to
Speaker 3: do this.
Speaker 4: So we said, well, what about one rapper? And there
Speaker 4: was this young ruddy powerse singer called Pink. She just
Speaker 4: arrived in and then Christina Aguilera was like the blom
Speaker 4: and then we got together with Ron Missy Elliott producing,
Speaker 4: got in the studio with Missy's so fantastic. Missy was like,
Speaker 4: there was this crazy moment you like this when we
Speaker 4: got a rough of it down, Rock is doing her
Speaker 4: and we got it, and like we're so excited because
Speaker 4: we've got the latest MacBook Pro or something with an
Speaker 4: outboard on the disc and Aunt couldn't get the disc going.
Speaker 4: Missisico hell with that? She rings hello, this is Missy Elliott.
Speaker 4: Leave a message and she puts the song on her
Speaker 4: answering service right and then leaves.
Speaker 3: You know.
Speaker 4: So then we work with Ron Fair all of his studios.
Speaker 4: Jimmy really put money behind it, and well the rest
Speaker 4: of that song is history because it reigned supreme all
Speaker 4: some along.
Speaker 2: I think it's just enough to direct, let alone, script
Speaker 2: supervised write it. I'm certain that you're also in the
Speaker 2: editing process, micromanaging and all that stuff.
Speaker 1: But you also produce your soundtracks.
Speaker 2: Why put yourself through that stress?
Speaker 4: Actually the music is probably the most enjoyable part for me,
Speaker 4: because you know, writing is so full of deep psychological struggling.
Speaker 4: Shout even me writing this. You have high good days
Speaker 4: and bad days. The research is.
Speaker 3: Amazing that I love. I live it.
Speaker 4: I live it like Jean Dark at the moment, I've
Speaker 4: taken every step She's ever taken.
Speaker 2: How long do you give yourself time to do research
Speaker 2: before you even start coming up with the script or.
Speaker 4: Well, you know how many films I've made. That gives
Speaker 4: you some idea. But I could research forever and never
Speaker 4: make the movie. You really, yeah, I just love it,
Speaker 4: like even now.
Speaker 1: Well, yeah, come to Elvis.
Speaker 4: Like I had an office in Gracelands for eighteen months.
Speaker 4: I lived in the South for like nearly two years.
Speaker 1: Coming, okay, so you developed the Elvis movie.
Speaker 4: At the research, for sure, I was living in Memphis
Speaker 4: so much and sort of undercover, you know what I mean,
Speaker 4: Like we got to crazy music things, and I had
Speaker 4: this house and Nashville, and I guess because I'm from
Speaker 4: a tiny country town, I can't make films about a
Speaker 4: tiny country town. So well, I cool one day. But
Speaker 4: I love doing habit worlds, and I love to build
Speaker 4: worlds and live inside them. So I build the world
Speaker 4: around the world to make the movie. But before I
Speaker 4: do that, it has to be within me so much
Speaker 4: I literally have to live it.
Speaker 1: So how does Elvis enter your life?
Speaker 4: Well, as a kid, his entry was we had the
Speaker 4: gas station, and we had restaurant and a farm.
Speaker 3: But for a while we rang the local.
Speaker 4: Cinema and every Sunday we had a matinee, an Elvis matinee.
Speaker 4: So I'd be seeing the movies, you know, the Elvis movies.
Speaker 4: And I was ten, but going, this guy's cool. I mean,
Speaker 4: yoga is what yoga does. I didn't know what yoga was,
Speaker 4: but he just seemed cool. Now, probably those movies aren't
Speaker 4: as school as I thought they were. But then later
Speaker 4: on in the seventies, I was doing Bored and dancing
Speaker 4: and he dropped Burning Love and that song. I got
Speaker 4: my grandmother to make a kind of Elvis jumpsuit, and
Speaker 4: I'd go when we're doing the competition and say, hey,
Speaker 4: do you think, hey, mate, do you think you could
Speaker 4: like drop Burning Love? It will give him being. But
Speaker 4: then he sort of, you know, I go on my
Speaker 4: life and I open out all sorts of music opera,
Speaker 4: and you know the Michaels and the Bowiees and the
Speaker 4: you know ac DC's.
Speaker 3: I've never had any or interest in all music. He
Speaker 3: was always there.
Speaker 4: And then I think music biography came my way a lot.
Speaker 4: But I always think with biography of any kind, it
Speaker 4: isn't just ABCD. You use the person's life to explore
Speaker 4: a larger theme. As in Amadaez Amadas you learn a
Speaker 4: lot about Mozart.
Speaker 3: Is that exactly who Mozart is?
Speaker 4: I don't know, but it's definitely exactly what jealousy is,
Speaker 4: what happens between Salieri, who goes, God, I did everything
Speaker 4: right and you put genius in that little pig.
Speaker 3: That's what that movie is about.
Speaker 4: So I always thought, Gee, if you're going to do
Speaker 4: a music bio, pick Elvis's life is such a canvas
Speaker 4: for America, for the fifties, the sixties and the seventies,
Speaker 4: for the good, the bad, and the ugly. And then
Speaker 4: as I learned more and more about Colonel Tom Parker
Speaker 4: and the relationship between the great seller, the great carnival
Speaker 4: Hucksta who's looking for a carnival act whose name was
Speaker 4: never Colonel, never Tom, never Parker, and this kind of
Speaker 4: orphan like creature that is Elvis, so unique, so shy, compassionate,
Speaker 4: ashamed of his father going to jail, his whole upbringing
Speaker 4: in one of the few white houses in the black community.
Speaker 4: I took a long time before I found this guy,
Speaker 4: Sam Bell. We thought he had passed go down to
Speaker 4: two below. One day I find him and that was
Speaker 4: a breakthrough for me, and I made extensive video of
Speaker 4: him telling the story about how Elvis grew up in
Speaker 4: the community, how his grandparents adored him, and about I
Speaker 4: put it in the movie that bit where they run
Speaker 4: off to the duke joints in the Gospel tent. I
Speaker 4: just put it that bade him in the movie. So
Speaker 4: you know this rise and fall, this kind of both
Speaker 4: of them. The Colonel was a genius in his way,
Speaker 4: the genius of selling, could sell you on anything, suck
Speaker 4: the air out of any room he was in. And
Speaker 4: Elvis's genius was the ability to take any song and
Speaker 4: make it his own, like in epic that you see
Speaker 4: in this footage. We found the way he takes like
Speaker 4: a Simon and Garf uncle folk song and turns it
Speaker 4: into a gospel power house. I mean, in this film
Speaker 4: you get to see him actually doing it because he actually,
Speaker 4: like Michael, he would sing the song lines, you know,
Speaker 4: and the interpretations. He wasn't just you know, he didn't
Speaker 4: have an orchestra coming in, let's do it this way.
Speaker 3: He didn't have a star. He came up with the looks.
Speaker 1: Yeah.
Speaker 2: I was just gonna say to me, the rehearsals were
Speaker 2: the most fascinating.
Speaker 1: You're revealing part of it, especially.
Speaker 2: When it was just stripped down, when it was just
Speaker 2: the rhythm section, and eventually he adds everyone. But even
Speaker 2: in watching the final presentation, when you know, I try.
Speaker 4: To count just over seventy six songs, yeah, I just
Speaker 4: about one hundred and ten publishings, because as you know,
Speaker 4: one song can have length.
Speaker 1: Three Beatles songs. Yeah, also's your friend.
Speaker 4: I don't want to name, but I mean actually, actually
Speaker 4: Paul and Beatles in general very generous towards Elvis. And
Speaker 4: you can see now this mythology that Elvers sudden like,
Speaker 4: look how much respect and love he has for the Beatles.
Speaker 1: I was shot.
Speaker 2: I mean, you know, I've read stories about when they
Speaker 2: first met each other and all that stuff, but much
Speaker 2: like Peter Jackson's doc of them just sit around rehearsing.
Speaker 4: By the way, Peter Jackson so wonderful. I go down
Speaker 4: to New Zealand and he and his team work to
Speaker 4: bring this imagery back to why it's so astounding on Imax,
Speaker 4: I mean it's opening, by the way, on last week
Speaker 4: we did amazing numbers. And what was amazing was so
Speaker 4: many older folk said, Ooh, I went and saw it
Speaker 4: on Imax. I've never been to Imax before. I see
Speaker 4: now why it's worth it. But just to be clear,
Speaker 4: there is no AI in this film. I know, there
Speaker 4: is no visual effect except the effect Elvis has on
Speaker 4: his audience. It's just Peter Peter and the love of
Speaker 4: restoring footage and being projected at the highest possible quality,
Speaker 4: and that's what you're seeing, and you're seeing Elvis.
Speaker 1: Was it shadow on sixteen?
Speaker 4: No, So this is why it's so amazing, because the
Speaker 4: Beatles just passed. It's crazy, the Beatles stuff with Jake.
Speaker 4: By the way, I consider what Peter did with the Beatles.
Speaker 4: If you ever want to understand collective creativity, that there
Speaker 4: is no higher watermark. That is the best film to
Speaker 4: explain how a group of creatives get together and make
Speaker 4: something because it isn't made perfect, you know.
Speaker 3: It's like I'm Paul going the long a winding. What
Speaker 3: do you got for me to doing?
Speaker 1: You know? Right like that?
Speaker 4: And then the tensions in the room and all of that,
Speaker 4: the music above them all whereas and I think Paul
Speaker 4: someone said this, you know the thing you know, with
Speaker 4: with of us, you know, at least we had each other,
Speaker 4: we'd be stuck in rooms. But he was on his own,
Speaker 4: you know, And so I think the great loneliness. But
Speaker 4: I think that you know, Peters stuff has all shot
Speaker 4: sixteen mil well we found was animorphic thirty five shot
Speaker 4: with kleag lights. Let me explain, there's a thirty five
Speaker 4: mel negative. Yes, anamorphic is where they squeeze the image
Speaker 4: squeezed by an optical, which means when it expands is
Speaker 4: at a higher quality not quite seventy emil but on
Speaker 4: the way there and so all of that really primary
Speaker 4: stuff of im just on stage, like where people are going,
Speaker 4: oh my god, I feel like I'm actually in the concert.
Speaker 3: That plus the work Peter does makes.
Speaker 4: It feel I mean, if you've seen it on IMAX,
Speaker 4: it's even I don't listen to me. Just go on
Speaker 4: YouTube and put in epic and have random Bieble tell
Speaker 4: you what that experience.
Speaker 3: Who went in very cynically.
Speaker 2: I was going to tell you that the first three
Speaker 2: minutes even I was like askeful. A bit later, all right, well, yeah,
Speaker 2: I saw it was a movie already, so like what
Speaker 2: else am I? I'm not going to be moved, And
Speaker 2: I gotta say, just the whole creative approach to doing it,
Speaker 2: to having.
Speaker 1: Him narrate it.
Speaker 2: Yeah, it's almost like the same way that well, I
Speaker 2: mean with Aretha's Amazing Greece, there was no narration. It's
Speaker 2: almost like you're flying the room and you get to
Speaker 2: observe it. But it left me with so many questions
Speaker 2: because with his eyes and the thing was.
Speaker 1: You didn't try to clean it up whatever.
Speaker 2: Like there were moments where I just absolutely wondered, like
Speaker 2: where he was in his life at that time, because
Speaker 2: you know, like my introduction to Elvis was almost as
Speaker 2: an eight nine year older seeing the white jump suit
Speaker 2: and everything like I saw like comedic, almost caricature. So
Speaker 2: I never took that period seriously, seriously, absolutely, and ninety
Speaker 2: nine percent of my memory of that period was always
Speaker 2: comic bas and I didn't realize how cathartic that performing
Speaker 2: was for him at that time period. And so like,
Speaker 2: first of all, how many how many cameras were documenting this?
Speaker 4: Actually that's really good. I one of the things we
Speaker 4: did it was shout out I think I get my
Speaker 4: numbers wrong. I'm wrong with numbers on everything else to
Speaker 4: the studio when it comes to budget. But it was
Speaker 4: shot out of four nights, I think it was four six,
Speaker 4: and they was shocked. Why these are anamorphic cameras. So
Speaker 4: actually it wasn't like they just put the show out enrolled,
Speaker 4: like these are giant cameras with giant lights, which is
Speaker 4: why it looks so good.
Speaker 3: The image is so good because you.
Speaker 4: Got pounding light in there, which I mean sometimes I
Speaker 4: had to stop the show and reloading things. And so
Speaker 4: that's why the audience is a little bit like, wow,
Speaker 4: they're really aware. I mean, Elvis would be riffing between things.
Speaker 4: You know, we're making sorry folk women in Hollywood film
Speaker 4: the nights, so sorry, you know, but so it's over
Speaker 4: four nights. It's cleig lights. But I mean, you know,
Speaker 4: what's going in out of focus? Sometimes that's a focus
Speaker 4: puller in a manual focus using calculations of numbers to
Speaker 4: try and follow him in ECU close ups like this,
Speaker 4: they're not blow ups ECU. So they're trying to find
Speaker 4: sharps what we call sharps on the eyes. I mean
Speaker 4: that is what that's what they call widow making, you know,
Speaker 4: that job of focus pulling mechanically like that on a
Speaker 4: live show.
Speaker 3: I mean, that can take you out.
Speaker 1: I saw no cameramen on stage, so like well.
Speaker 4: Every if you look at it, go and see it
Speaker 4: again on imax, you'll see we left the cameras in
Speaker 4: sometimes you'll see them, you're so that is a testament, though,
Speaker 4: here's a testament to the fact that when Elvis is
Speaker 4: on camera, you don't see anything but him, right, but
Speaker 4: they're there. You can see them. The sixteen mil you
Speaker 4: see guys running around whole after thing. The tour is
Speaker 4: shot in sixteen mil. That's more like kind of cinema verite.
Speaker 4: That's more like shooting in Vietnam or something, you know,
Speaker 4: chasing the subject by the way. Sorry, sorry you said something.
Speaker 4: And I would like to see if this is illuminating.
Speaker 4: I know why you think about this as a joke,
Speaker 4: period and there's absolute ample reason to think that. But
Speaker 4: you know, in the film, Elvis says, yes, sir, I'm
Speaker 4: going to go to England, I'm going to go to Europe.
Speaker 4: I'm going to play Japan. When he goes, he builds
Speaker 4: that big show, against everyone's expectations, with all the different
Speaker 4: gospel scenes of the big band, with the expectation of
Speaker 4: doing one tour around the States and going on a
Speaker 4: global war tour. He does the thing, comes back, he
Speaker 4: does it in Vegas again, goes around, comes back Vegas again,
Speaker 4: comes around in Vegas again, Vegars again, as again until
Speaker 4: he dies, and really he's like a bird, you know,
Speaker 4: when a bird is hitting a glass window and can't
Speaker 4: see the glass. He becomes more and more dispirited. There's
Speaker 4: all sorts of reasons. Oh, you know, security, security. I mean,
Speaker 4: I touch on it in the film, and.
Speaker 3: I really believe.
Speaker 4: I can't say it would have ended differently, but I
Speaker 4: really believe if Elvis had gone on that tour around
Speaker 4: the world.
Speaker 2: And he has never left the United States, he went
Speaker 2: in there, he went during his service to Germany, wasn't
Speaker 2: allowed to sing.
Speaker 4: He ran away to Paris three times. And I'm saying
Speaker 4: that because we're about to open in Paris, and he
Speaker 4: loved Paris. But he never did a world tour and
Speaker 4: never say outside the US.
Speaker 3: No, he did not.
Speaker 4: And I believe that those wings, those musical wings, trapped
Speaker 4: inside that golden cage of Vegas, never being able to spread,
Speaker 4: certainly wore him down to a point where his spirit
Speaker 4: was And what we think of in the white jumpsuit
Speaker 4: tends to be year three or year four, or you
Speaker 4: know in the movie where he sings unchained melody.
Speaker 3: The body is so corrupt, but the voice still saws.
Speaker 4: And the point I'm getting at is the footage we
Speaker 4: found is the footage of him at his prime. I
Speaker 4: will tell you something that thrilled me yesterday thrilled me.
Speaker 4: We randomly play this amazing show on YouTube. Someone plays me,
Speaker 4: this smart woman has a show where teens, I mean
Speaker 4: young kids like you know, fourteen fifteen, never heard of Elvis,
Speaker 4: very diverse crowd. And they, you know, they do that
Speaker 4: stuff where they play the film epic and they're reacting
Speaker 4: and the kids are you know, they're funny, and oh Elvis,
Speaker 4: they know nothing about him. The first thing they look
Speaker 4: at they go, wow, I love these costumes.
Speaker 3: How cool?
Speaker 4: He's so on, he's so now, and the passionate singing
Speaker 4: and the gospel saying like he's kind of singing gospel,
Speaker 4: but it's pop. I mean what they said. Their reaction
Speaker 4: boyed me because I realized that when you say that
Speaker 4: Elvis had this ability to kind of channel a singularity,
Speaker 4: you know, the joke thing that happens happens because of
Speaker 4: the spirit being worn down. But in fact, what's in
Speaker 4: front of you, I can't tell you. And I'm not
Speaker 4: doing this to encourage people to go out this weekend
Speaker 4: on which we're on.
Speaker 1: You know, I want them to.
Speaker 4: Nineteen hundred spears, But I do, I do, And what
Speaker 4: I want is someone who likes Elvis to badger someone
Speaker 4: who does has no interest Nevers what's about? Because I
Speaker 4: had someone on the interview of me the other day said,
Speaker 4: I'm gonna give you full I have zero interest in
Speaker 4: Nevers Bresley. In fact, I actually kind of dislike him.
Speaker 4: He said, this film's miracle because they come out. I'm converted.
Speaker 4: I don't know what's happened to me. I don't know
Speaker 4: what's happened to me.
Speaker 1: Look, I'm from hip hop, you know, we were raised
Speaker 1: on fight the power.
Speaker 3: Yeah, and you know what, And it took long for me.
Speaker 1: To just sort of.
Speaker 2: You know, and I thought about it too, like, well,
Speaker 2: you know, who's going to tell the Roy Hamilton story
Speaker 2: or you know, like you know the people.
Speaker 3: Have about Roy.
Speaker 4: By the way, listen, I am not here to defend Elvis.
Speaker 4: I was very quiet about it in the making of
Speaker 4: the film because I dealt was in a very cold
Speaker 4: mechanical way, because I felt, let me tell this.
Speaker 1: Story, let the story speak for itself.
Speaker 4: Yes, but I can now tell you I mean the look,
Speaker 4: I got all respect to fight the power. But the
Speaker 4: artist that said that line in that song has come
Speaker 4: on and said, well I just said that, Yes I know,
Speaker 4: and I can now tell you I have been with
Speaker 4: enough of black artists, people from the community, you know,
Speaker 4: done the work, la la la. If there's one thing
Speaker 4: Elvis presently, Look, there's this woman still one of the
Speaker 4: great sweets.
Speaker 3: Still alive, sent me before message.
Speaker 4: But the year before there was a singer whose daughter's
Speaker 4: name was Whitney Houston. And when Whitney met Elvis, she
Speaker 4: just went like you know what, he walk in the room.
Speaker 4: You don't say hello, mister Elvis, and you just stare
Speaker 4: like I can tell you. Q Tip said to me.
Speaker 4: The one thing in the community is there's definitely you
Speaker 4: got to respect the artist. There's no question in the community.
Speaker 4: And when it comes to Roy Hamilton, that story is
Speaker 4: not always told accurately. Because Roy Hamilton was dying from
Speaker 4: TB or had TB. He was in the same studio.
Speaker 4: Guys around him said Elvis had never been more nervous
Speaker 4: than when he met Roy Hamilton. He was his idol,
Speaker 4: and he gave Roy a song to record that Colonel
Speaker 4: nobody wanted to give you know her, No, No, I
Speaker 4: think actually another one won't to me, Gloria. I can't
Speaker 4: remember actually, but he's not Don't let Girl. Although I
Speaker 4: love that song. I mean I used to hear done
Speaker 4: Go and think it was always but of course it
Speaker 4: was Elvis channeling Roy, Elvis channeling you know, upper singers,
Speaker 4: like he says, he says in the darkhout. I love
Speaker 4: the Mexican sound. I love all music, dude.
Speaker 2: Like when I did Summer Soul, my favorite footage was
Speaker 2: watching the fourth camera, which was strictly just the audience reaction. Man,
Speaker 2: I wanted so much more audience reaction because there's one
Speaker 2: point where you do the perspective of watching the audience.
Speaker 2: I looked and there's four black people in the corner,
Speaker 2: and I mean they're getting down, like yo, this.
Speaker 1: Is my jam And I was gobsmacked.
Speaker 2: I was like wow, like but just to watch the
Speaker 2: audience reaction to him, to me, was one of the
Speaker 2: most fascinating revelatory And it's almost like the spectrum of
Speaker 2: every type of person in that audience.
Speaker 1: Yes, husband's sitting there.
Speaker 2: Because their wives are like da da da d like
Speaker 2: literally every every spectrum of life is captivated by this.
Speaker 2: But then there's also like the backstage footage. Okay, so
Speaker 2: before Sammy Davis talks to him, do you know the
Speaker 2: two gentlemen, the two black guys that are speaking.
Speaker 1: Who are there? Now?
Speaker 4: Let me tell you that because he said you coped
Speaker 4: all my moves, right, And I got to tell you.
Speaker 4: I know, I've had my research Guystom Wigan. I know
Speaker 4: that they were artists of the time and right, but
Speaker 4: let me just explain something about that. By the way,
Speaker 4: that footage has existed before, but the sound hasn't. And
Speaker 4: we found the dialogue, yes, right, Okay, so I've had
Speaker 4: the guys trying to find it out exactly there, and
Speaker 4: forgive me, because I'm sure they're hugely respected artists. But
Speaker 4: we only just started to break down exactly who's in
Speaker 4: that room, right, because we only just got it right
Speaker 4: at the end. So but the short answer is, I
Speaker 4: don't actually know, but I've always been amazed in the
Speaker 4: Elvis goes and then Sammy's gone, You're reving it up,
Speaker 4: you go going and Elvis's.
Speaker 1: Gone, and you know what Elvis cote to do?
Speaker 3: What when he.
Speaker 4: Says, I'm Fats. You wanna hear a publishing story? When
Speaker 4: he says, I'm well, listen to him. I'm Fats Domino. Right,
Speaker 4: he goes on and seeing a Fats Domino song, but
Speaker 4: he sings for about eight seconds and it was so expensive.
Speaker 4: I went, I can't put it in. But Fats used
Speaker 4: to make him breakfast in Vegas in the morning. And
Speaker 4: when Elvis never caught himself the king, And in fact,
Speaker 4: I've got it in the movie.
Speaker 3: We don't have film of.
Speaker 4: It, but it's in the press. When they say you're
Speaker 4: the king of rock roll says I'm not the king
Speaker 4: of rock and roll, says Fats, come down here. This
Speaker 4: is the king of rock and roll, right, I just
Speaker 4: I'm not trying to defend Elvis in a specific way.
Speaker 4: But Sissy Houston says, there's no way there just wasn't
Speaker 4: says something like, I never ever this idea of him
Speaker 4: having you know, that particular case was back in the fifties.
Speaker 4: He said, I was never in that town, and anyone
Speaker 4: who knows me, that's not me. And you want my theory,
Speaker 4: there was a lot of extreme mists trying to separate
Speaker 4: over us from the black community. They were trying to
Speaker 4: and I think that's where that came from. But that's
Speaker 4: just my theory. I've tried to be the devil's advocate. Yeah,
Speaker 4: but there's just it's the opposite.
Speaker 2: I will say this is probably the greatest case to
Speaker 2: really study it, just to see human moments. The thing
Speaker 2: when he rattles one of the sweet inspirations, like, yeah,
Speaker 2: he's joking with him and okay, so when you're watching
Speaker 2: all the footage, yeah, is it that loose to the
Speaker 2: point where they don't even have set lists?
Speaker 3: Okay, let me, I gotta explain something too.
Speaker 4: Yeah, all right, And by the way, with the sweets,
Speaker 4: we couldn't put everything in.
Speaker 3: It took so much labor to get it at this level.
Speaker 4: I got footage of him just in the corner and
Speaker 4: he's sitting there with the sweets and may I just
Speaker 4: he's talking about and so blah blah blah.
Speaker 3: We had to go back. Oh yeah, well they've got it. No,
Speaker 3: he was with another fella.
Speaker 4: It could have been for anybody's at an office hanging talking.
Speaker 1: Now, what was your original cut? How long was you.
Speaker 3: Longer? If I say it now, they released the cut?
Speaker 3: Release the cut?
Speaker 1: Do you have a longer cut? Yeah?
Speaker 4: We start by ballooning out, but we had to. We
Speaker 4: wanted it to be stay on point. I was telling
Speaker 4: the story, but I want to explain something. I'm not
Speaker 4: going to say. We have a friend. He's a living musical.
Speaker 3: Icon and yeah, a band actually I know quite well know.
Speaker 4: But we talk a lot about e us because he
Speaker 4: really really interested in was going to do Elvistro himself,
Speaker 4: and he's been a great help.
Speaker 3: He said to me, you know what.
Speaker 4: I used to rehearse my steps like I'd be influenced
Speaker 4: even work with a choreographer.
Speaker 3: Other great. Few icons swim in the fame level of Elvis.
Speaker 4: We know who they are, but they rehearsed Elvis would
Speaker 4: get in there rehearse those favorite songs.
Speaker 3: Now, I think you know how funny he is in
Speaker 3: this film, Yeah, and goofy.
Speaker 1: He has a sense of humor and he's really goofy, right.
Speaker 4: I think he's doing it because he's so striking to
Speaker 4: look at, and he's so musical. He's disarming everyone. And
Speaker 4: what happens is they never know what he's going to
Speaker 4: do on stage. Ronnie Tutt no idea what he's going
Speaker 4: to do, so the eyes glued to him, and so
Speaker 4: you know, he says early on, he goes, well, I
Speaker 4: just do what I feel out there. Always have You see,
Speaker 4: he doesn't have steps rehearsed, he doesn't stand in front
Speaker 4: of mirror. He just gets possessed. He becomes the music.
Speaker 4: And then in doing that, almost in a religious state,
Speaker 4: he gets all sort of wound up. Everybody else gets
Speaker 4: swept up, and they're all watching him. You don't know
Speaker 4: how many rounds he's going to do it. The end
Speaker 4: of a suspicious mind. You know he's doing that drum. His
Speaker 4: body is the conductor.
Speaker 1: He goes in the punch, yes exactly, yes.
Speaker 4: And the reason he does that is, you know, that's
Speaker 4: the only way he gets everybody together.
Speaker 3: And but because they're all doing it on stage, the
Speaker 3: audience are having the same experience.
Speaker 4: So it's a unique stage energy and presence.
Speaker 3: It's unique.
Speaker 2: That's why I said, watching this footage to me, I'm
Speaker 2: watching a human being in his happy place and a
Speaker 2: very cathartic method where it's just because even with Okay,
Speaker 2: I know we're talking a lot of inside pace, Paul,
Speaker 2: Now you guys are going to have to see this
Speaker 2: film so he can see what we're It's almost like
Speaker 2: the director's commentary without the film with you, dude.
Speaker 1: No music.
Speaker 2: The thing that I'm obsessed about, well one is the
Speaker 2: mix sounds pristine.
Speaker 3: Now.
Speaker 2: I watched it three times. The first time I watched
Speaker 2: just to count the microphones. The drums are only Mike, Yeah,
Speaker 2: I let me explain how many tracks.
Speaker 3: Let me explain. I'll do this. I'll try and do
Speaker 3: this efficiently.
Speaker 1: Yes.
Speaker 4: So, I don't know if I already said this, but
Speaker 4: I began by thinking there was this. Ernst Jurgenstein is
Speaker 4: a scientist of all Elvis things. He tells me there
Speaker 4: might be a forgotten reel of the Vegas Show in
Speaker 4: nineteen seventy I could use in the original film I'm shooting.
Speaker 4: I have the money to send someone literally into the
Speaker 4: salt mines in Kansas City, right where MGM's negatives are kept,
Speaker 4: because one hundred thousand dollars to go looking for this
Speaker 4: one reel suddenly a bit like Raiders of the Loss.
Speaker 1: It cost one hundred thousand just to look for it.
Speaker 3: It was expensive.
Speaker 4: It costs money because you got to go down, you
Speaker 4: got to go through the rooms.
Speaker 3: They kick the door in. That says Elvis or whatever
Speaker 3: that is. I wasn't there.
Speaker 4: I just get photographs and it's not one reel. It's
Speaker 4: sixty five boxes marked Elvis nineteen seventy the tour sixteen mile.
Speaker 4: And at the same time, Angie Markesy at Graysland comes
Speaker 4: in to the possession of never before seen emel So
Speaker 4: then we start to scan it, but no sound.
Speaker 3: No sound, Oh, so what are you thinking?
Speaker 4: So first of all we bring it back to Warners
Speaker 4: and it's smelling of vinegar, which means it's about to disintegrate.
Speaker 4: So John o'reben and I convinced Warners to scan it.
Speaker 4: We get it scanned. I do not use it in
Speaker 4: the movie. I finished the movie. What are we going
Speaker 4: to do with this gold? Put it back in the
Speaker 4: salt mines. No, we've got to make something special. So
Speaker 4: then we start trying to find the sound. We find
Speaker 4: mag tape and we'll try and keep it simple. Mag
Speaker 4: tape is when you're doing rough cuts, you use mag tape.
Speaker 4: So that's good because Elvis's vocal mostly almost ninety percent
Speaker 4: is good. The band running tut good, the band pretty
Speaker 4: damn good. Sometimes bit off mic, but the driving, by
Speaker 4: the way, fantastic, right, I'll get to that. Sometimes the
Speaker 4: sweets inspiration's not good enough, We've got extra track. Sometimes
Speaker 4: the orchestration badly micd like the orchestra was.
Speaker 3: The hardest thing.
Speaker 4: So actually the orchestration I couldn't tell, but my guys
Speaker 4: could because my team had worked on Elvis.
Speaker 3: Now during the make of Elves Eva McHugh.
Speaker 4: Who's my mixer, we found two knives you know what
Speaker 4: neves are, right, Okay, desks and we got so used
Speaker 4: to actually taking original Elvis tracks. By the way, I
Speaker 4: was with RCA, so I had amazing rob Sanschino santos Man.
Speaker 4: I mean he would give me take sixty and fifty
Speaker 4: two where Elvis goes boom, and so we start building
Speaker 4: the track but we realize if we make it as
Speaker 4: if Elvis comes to you in a dream, oh, and
Speaker 4: then breakthrough moment. We open one box and there's a
Speaker 4: Naga tape in it. Nagaria is like you used for
Speaker 4: sixteen mil and it's Elvis talking really unguarded about his life.
Speaker 3: And then we go, wait, that's what we got to do.
Speaker 3: Get out of the way.
Speaker 4: Let Elvis just tell his story and then we'll use
Speaker 4: the music as if it's in a kind of a
Speaker 4: dream skin.
Speaker 3: There's a bit of an interview.
Speaker 4: You see him and he's very bit tired looking in
Speaker 4: the sixteen mel and he says, look, I'm too tired.
Speaker 4: I'll do this tomorrow. He comes back, I don't want
Speaker 4: me on camera. So this audio is about forty minutes
Speaker 4: of him just talking about his life, but really unguarded
Speaker 4: because he's not on camera. Then starts us going to
Speaker 4: really private collectors who and I respect them, don't want
Speaker 4: even credits in the film don't sell. And we start
Speaker 4: asking them, look, we really need him saying this, have
Speaker 4: you got this bit? Sometimes there were car park things.
Speaker 4: I got to stop saying this because they reckon I
Speaker 4: might get whacked. And money exchanged hands there's a huge
Speaker 4: black market in Elvis stuff.
Speaker 3: I know, and a lot of it was missing. And
Speaker 3: all that.
Speaker 4: We start to build his storytelling now with the music. Yes,
Speaker 4: for example, sometimes I had to sweeten the orchestrations, so
Speaker 4: he did that. It's definitely I was his voice the time.
Speaker 4: Sometimes we might have to use the recording, but it's
Speaker 4: off the stage.
Speaker 3: It's I can tell you. His mic technique is like
Speaker 3: no other. He's never out of Chune. Was never out
Speaker 3: of Chune.
Speaker 1: Was there ever like this before monitors are on stage.
Speaker 3: I never had.
Speaker 4: He never had monitors. In fact, they used to put
Speaker 4: it through the damn sound system in the thing.
Speaker 3: I don't know.
Speaker 4: I mean, all I can tell you is that's primary material. However,
Speaker 4: give an example, we have this one bit of him
Speaker 4: singing O Happy Day and the sweets are a bit
Speaker 4: off Mac and we want to do We always going
Speaker 4: what would Elvis do? We want this in like five
Speaker 4: to one, five seven, you know, like you're there. We
Speaker 4: wanted Imax, We want the best. So I remember when
Speaker 4: we were doing Elvis the film, being told the story
Speaker 4: by Sam Bell, how he would sneak into Easttreek Church
Speaker 4: and watch Mahalia Jackson in a black gospel choir, and
Speaker 4: this was so powerful on him. So we thought, well,
Speaker 4: given we can't use that, what if we make the
Speaker 4: dream of Elvis singing O Happy Day come true? Rings
Speaker 4: Shannon's Saunders who has the cost of a choir in Nashville,
Speaker 4: and he records our Happy Day and we put Elvis
Speaker 4: and them together.
Speaker 3: So that's a dream beat.
Speaker 1: Nice, all right?
Speaker 4: But some stuff is just straight off the six team.
Speaker 4: How great they're are, that's straight off. That's straight off
Speaker 4: the desk.
Speaker 2: Were there any conflicts caught on tape? Because the thing
Speaker 2: is that for me, it's a nightmare one. It's like,
Speaker 2: you got the rhythm section to worry about. But then
Speaker 2: it's two sets of background singers. There's the sweets inspiration
Speaker 2: and right and his guys and yeah, I see.
Speaker 4: And by the way, they're a vocal group on their own.
Speaker 4: And then we have Kathy Kathy and she is a
Speaker 4: high soprano. Right, yeah, but anyway, you're right, we've got
Speaker 4: and we've got you know what, We've got James Burton
Speaker 4: on guitar, and you know, Ronnie Tat was like, oh
Speaker 4: do I want a drum with Elvis goes in He
Speaker 4: says this is the coolest guy, I mean, right, you know.
Speaker 2: The thing I was fascinated was the rhythm sections seem
Speaker 2: like their own club. Yep and Sweet Inspirations seem like
Speaker 2: their own clubs so tight, and Elvis's Guy seem like
Speaker 2: their own club. But I rarely see them all as
Speaker 2: a cohesive unit.
Speaker 1: But yet it works.
Speaker 3: But didn't you see.
Speaker 4: Look, we didn't put a lot of it in there
Speaker 4: because we had to keep the rhythm moving forward.
Speaker 3: But do you see the bit.
Speaker 4: Where he's doing no more woa and he starts to
Speaker 4: sing let's go back to the epedeo there, yeah, and
Speaker 4: we want to oscillate, and then he sings the top
Speaker 4: line and they follow him, you.
Speaker 1: See, Yeah, And they just follow him.
Speaker 4: And that is how he orchestrated. He orchestrated by singing
Speaker 4: the lines. And that was also how everybody was just
Speaker 4: watching his body. I mean, tut will tell you he
Speaker 4: was just basically watching how he wriggled, you know, and
Speaker 4: he knew how to bring it in and bring it out.
Speaker 4: And the cohesiveness is Elvis's physical body. That is the
Speaker 4: joining point. He's on stage and by the way, you
Speaker 4: saw the energy you see coming off that screen. Yes,
Speaker 4: by the way, his energy is the same in rehearsals.
Speaker 3: And by the.
Speaker 1: Way I can tell the difference.
Speaker 3: He did it three times a day.
Speaker 1: I couldn't tell the difference, could not tell the difference.
Speaker 4: He was not marking it. You know, rehearsals sometimes people
Speaker 4: just going like, okay, we're doing No.
Speaker 3: No, he was not marking it.
Speaker 2: Do you know if there were set lists at all?
Speaker 2: Because the thing is he calls the songs, Hey, let's
Speaker 2: do da da da da, And I know they.
Speaker 3: Have a nut.
Speaker 4: By the way, they had a bunch of songs. There's
Speaker 4: a bit. I think we might have taken it out
Speaker 4: forgive me. Oh no, I think he says. You know,
Speaker 4: they're driving in the back of the car, and I
Speaker 4: think he goes, you don't quite pick it up because
Speaker 4: we just if we left it in, it's just because
Speaker 4: it was good. And he says, you know what, I
Speaker 4: called for wash my hands in muddy waters. And they're going, well,
Speaker 4: they didn't hear me, And he goes, did you tell them?
Speaker 3: Yeah? I told him, so did you tell yourself?
Speaker 4: They make a joke and they go over it, but
Speaker 4: you can see a serious he's going, I called for
Speaker 4: wash my hands in muddy waters and they didn't hear me.
Speaker 4: So you what abput When he goes he goes all right,
Speaker 4: bridge and you'll all see him go like bridge, that's
Speaker 4: a giant climb. But he goes bridge and they're into it,
Speaker 4: maanaa and they're in and I think that's he says it.
Speaker 3: I don't want he says at the very beginning.
Speaker 4: You know, for the audience, it's new every night, and
Speaker 4: I don't want to get comfortable, and I don't want
Speaker 4: them to get comes.
Speaker 3: It's a bit scary.
Speaker 4: I have stage for it every night, and I don't
Speaker 4: want them to get comfortable. So, having worked with all
Speaker 4: sorts of great musicians, up and coming, young ones, great icons,
Speaker 4: generally speaking, you have the show worked out, you have
Speaker 4: the set list. You might mix it up now and then,
Speaker 4: but it's tight. No, no, no, this was about to
Speaker 4: quote the man.
Speaker 3: I just do what I feel I always have.
Speaker 2: Well, look, I mean you've from starters. I mean this
Speaker 2: can go on for nine hours. You've covered Shakespeare, fitzgeriald Elvis,
Speaker 2: hip hop in the Bronx.
Speaker 3: By the way, one day we'll talk about that.
Speaker 4: Yeah, to say this to you, that whole experience because
Speaker 4: you know, people wandering about Raymond Juliet and there's a story.
Speaker 4: I mean, I mean, I hardly ever make stuff, but
Speaker 4: that's that journey on doing that. I didn't set out
Speaker 4: to even do it. I just thought that story should
Speaker 4: be told, and then I got thrown into it because
Speaker 4: the only way to do it was, like I really
Speaker 4: really involved.
Speaker 3: You remember that story, that story? You know that you
Speaker 3: want to know music.
Speaker 4: I think in my life by accident, I've covered music
Speaker 4: from the operating period, music from the thirties, jazz, the
Speaker 4: jazz age music, then from the seventies, right, you know,
Speaker 4: and with Elvis music from the fifties. You know, Like,
Speaker 4: my life's been a musical history lesson and I'm still learning.
Speaker 2: Would you ever challenge yourself to a project that has
Speaker 2: new musical elements whatsoever?
Speaker 3: Sure, but it'd be boring for me.
Speaker 4: Hey, we'll do one on to get down one day.
Speaker 2: The Quest Love Show is hosted by Me Mere quest
Speaker 2: Love Thompson. The executive producers are Sean g Bryan Calhoun
Speaker 2: and Me. Produced by Brittany Benjamin and Jake Payne. Produced
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Speaker 1: Additional support by Lance Coman.
Speaker 2: Special thanks to Kathy Brown, Special thanks to Sugar Steve Mandel.
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