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Loud Quiet Loud - A Film About the Pixies (full movie) — Transcript

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0:02hello hello is anybody listening to this
0:05this is the audio commentary portion of
0:06our loud quiet loud DVD my name is
0:08Steven caner I am Matthew galin I'm
0:11Trevor risto the editor so we should
0:14probably start with how we came up with
0:15the idea of doing this film it's a good
0:17idea
0:18Steve uh Matthew and I were working on a
0:20show called family bonds that I was
0:22directing and he was producing and
0:23Trevor was actually editing and Matthew
0:26and I are both big Pixies fans going
0:27back to our early days and our first
0:30reaction was oh my God the Pixies are
0:32getting back together we got to get
0:33tickets so we jumped on the internet and
0:35we were buying tickets to actually the
0:37show at coach it was the first show they
0:38announced and while we were online
0:40waiting for our Ticket Master order to
0:42go through we kind of had this moment of
0:43looking at each other and saying like
0:45wait a minute we're filmmakers we should
0:46go make this film screw tickets we can
0:48get backstage
0:49passes so yeah this film is basically
0:52our backstage
0:54pass 10
0:57months I'm sure you know this song it's
0:59whereas my mind I think this was a
1:02performance from the Hammerstein
1:03ballroom at the end of the tour was the
1:06last stop on their 2004 reunion tour
1:09Trevor you want to talk about the title
1:10a little bit once we settled on the
1:12title loud quiet loud it did begin to
1:15inform the way that we sculpted the film
1:17in the edit Suite in terms of the
1:19editing process loud the songs that sort
1:22of a lot of Sharp Cuts to quiet sections
1:24of the film and we began to conceive of
1:28the film as sort of closely following
1:31the structure of some of their
1:33songs I think step and I called the film
1:36meet the Pixies for a while because we
1:37thought it was had a certain amount of
1:39irony to it that this band has been
1:41around for 15 years and no one had
1:44really done anything intimate about them
1:46the other thing about loud quiet loud is
1:47it's kind of the music that they're
1:49known for creating play it Loud then
1:51play it quiet then play it
1:53Loud it also got to be really as Trevor
1:56was saying the rhythm of the
1:58film they just seemed so energetic and
2:00electric and together on stage and
2:03offstage they were very quiet and going
2:05off and doing their own thing and not
2:06talking to each other so going back to
2:09that Ticket Master moment we decided we
2:11needed to make the film and we contacted
2:12their manager who's this kind of gruff
2:15intellectual guy in New England named
2:16Ken go who's been their manager forever
2:18and his first reaction was yeah you and
2:21everybody else there's 17 filmmakers who
2:23already contacted
2:24us that of course was a big setback we
2:27started sending them letters and treats
2:30ments and samples of our work and
2:32flowers and chocolates and I don't know
2:33what but we really wanted to make this
2:35film cat food cat food yeah he's got 38
2:38cats never leaves his
2:40home so we had a few weeks of sort of
2:42hand ringing and not knowing if we were
2:44going to get chosen to do the film and
2:46then all of a sudden we got a phone call
2:48from Ken go and he said okay if you want
2:50to make this film Charles is driving
2:53from San Francisco to Los Angeles today
2:56and they're going to start rehearsing
2:58he's playing a show at the Roxy in s
3:00Frisco tonight so get on a plane that
3:03day so yeah so you came into my office
3:06and said here's here's the situation I
3:08can't go for some reason and so
3:11basically we had you know the moment of
3:13Reckoning it was either we jump at this
3:15opportunity or you know we might lose it
3:17forever so I called Paul duits who's uh
3:19one of our cameramen and we High tailed
3:22it onto a flight out to San Francisco
3:24and we made Charles's last solo acoustic
3:26show by maybe 10 minutes all the way
3:29from New York and then the next morning
3:32uh Charles and I drove from San
3:35Francisco to LA in his sort of white
3:38bubble truck it's very odd little
3:41vehicle that he tours the country in and
3:43had a nice and slightly awkward 8 hour
3:48drive I'd say he had a whole punk rock
3:50box set that we listen to and he pointed
3:52out all of his favorite songs and it was
3:54nice anyway we landed in La at this
3:57rehearsal and Steven met us out
4:00there and this was our first real shoot
4:04was this first rehearsal in Los Angeles
4:07the early tapes from this rehearsal are
4:09basically all black because the band
4:12apparently wouldn't let you turn the
4:13lights on in the room we definitely had
4:15some early hurdles with getting them
4:17used to the idea of being in a film we
4:19pitched the band of ver film which meant
4:21we were going to not do any interviews
4:23so we basically got the background
4:25information by filming other people
4:26doing interviews mostly Rock critics
4:29luckily the critics were great this of
4:31course it was kind of shocking to us
4:33that the Pixies had gotten back together
4:35and none of them had thought about Pixie
4:38songs or listened to pixie songs in all
4:39of the intervening years and they got
4:42together and did not know the words and
4:44did not know how the songs went and
4:45really had to relearn the songs almost
4:46from scratch that was kind of surprising
4:49to us I think we had a moment of
4:50thinking oh my God they might really
4:52suck on this tour I don't I don't think
4:54Kim had played any of these songs maybe
4:56with the exception of gigantic in 12
4:58years and Dave hadn't even picked up
4:59drums he moved on to Magic one funny
5:02thing that happened in this early
5:03rehearsal in fact while they were
5:04relearning the songs is they had a
5:06moment of playing where's my mind and
5:08they could not get where's my mind
5:09straight they couldn't remember how it
5:10goes they couldn't remember how it ends
5:12and they needed to listen to it on an
5:14iPod and nobody had the song on an iPod
5:16except for Matthew and so this was our
5:19first shoe with the pixies that was our
5:20favorite band ever and all of a sudden
5:23Matthew went over with his iPod with
5:25wears my mind on it and Charles and Kim
5:27were kind of trading it back and forth
5:29listen to where's my mind and Matthew is
5:31giving me these looks like is this
5:32really
5:33happening being kicked out of my house
5:35living in hotel I was in the worst place
5:38in the world when we screened this film
5:40at film festivals everyone in the
5:41audience always cracks up when they see
5:43David metal detecting on the beach and
5:46it actually never seemed quite
5:47appropriate to us in the editing room
5:48but actually the band when we screened
5:50it for them the first time cracked up
5:52when they saw that too enormously
5:54everybody but Dave everybody but Dave I
5:57think it's implied that it's a way for
5:58Dave to make a living and not a hobby in
6:01the film which it is actually a hobby
6:03that he takes very seriously that he's
6:04he's actually got an incredible
6:06collection of metal that he's collected
6:08through the years of all good loot old
6:11Civil War bullets and old coins and
6:14musket balls from Revolutionary
6:17War obviously he didn't find those in
6:19Los Angeles he found those in the woods
6:22behind his home in
6:24massachus anyway we shot this at the
6:26Magic Castle which is a place in
6:28Hollywood uh sort of like
6:30a Magic Castle guess David refers to it
6:34as his home away from home yeah and it's
6:36it was very hard to get access to this
6:37place but uh Janet Billy Rich one of our
6:39producers and a close working partner
6:43and friend of Steven and mine got us in
6:45there as she does in many
6:48instances has always granted the golden
6:50key Magic's kind of a great ice breaker
6:53for David it's almost his initial way of
6:55communicating with people is through
6:56magic and he's absolutely fantastic
6:59magician he's truly unbelievable
7:01magician and if we were making a longer
7:04film I'm sure we would have included
7:05quite a bit more of his his magic his
7:07card tricks because they're impressive
7:10and similarly Joey is a really great
7:12composer Matthew and I were commenting
7:14the other day that Joey's kind of
7:16blistering yet tuneful guitar is really
7:18the sound that defines the Pixies it's
7:20not surprising he does well as a
7:21composer okay I was just watching the
7:23show Weeds on Showtime and he composed
7:25the music for it the look on his face
7:28was like he was in
7:33pain I was eing it
7:36out you know I was Finding ways you know
7:41to make money we'll do three songs this
7:44was shot around the corner from the
7:45stick figure production
7:50offices this I think was their first
7:52live performance in years
8:05you know it it couldn't come at a better
8:08time the
8:10reunion can you see this is one of our
8:13first shoots Steven and I and Paul
8:17deitz uh went to visit the OBGYN of Joey
8:21and Linda this is actually before we
8:22really knew any of them I think it was
8:25the day after that first rehearsal in
8:26Los Angeles they were nice enough to let
8:29us yeah that's a
8:31baby baby yeah the score is by legendary
8:36producer and composer Daniel
8:38Lis who I think it was a miracle that he
8:41agreed to score the film we were about
8:43to have it scored by one of our friends
8:45and we said you know this is a film
8:46about the Pixies why don't we take a
8:47shot at our Top Choice composer and just
8:49see what he says and Daniel was our
8:51choice and again the OD seemed so long
8:54when you first brought that up the odds
8:56seemed impossible and I think actually
8:59when you you first mentioned to me that
9:00you were going to go out to him to
9:02suggest it I I I do believe that I
9:04thought you were
9:05joking yeah it seemed almost Unthinkable
9:08but we took a shot and again Janet bigr
9:11who's she used to manage Nirvana and all
9:14these great bands and she seems to know
9:15everyone in the music industry she said
9:17oh yeah I know Dan I'll just give him a
9:18call and she gave him a call and he
9:19watched the film and then he was
9:21supposed to call me for a weekend and I
9:23sat around my house all day every time
9:25the phone would ring I'd leap up and run
9:27to the phone and it was never him and
9:28finally on Monday or Tuesday he called
9:30and said yeah I like the film let's do
9:31it I can't think that was a very
9:33exciting
9:34moment all this stuff needs to
9:37be so Kim deal actually since the Pixies
9:40broke up she is the one who was most
9:42successful she formed the
9:44Breeders and I think with the song
9:47Cannonball went to number one and
9:49breeders had a very
9:51successful run making her I think the
9:54most ambivalent about a pixie's
9:57reunion she also had a quite a sort of
9:59comfortable homey life here in in Ohio
10:02with her parents very uh very family
10:07oriented she and Kelly are extremely
10:11close so anyway this was the uh
10:15first when Paul duetts and I went to San
10:19Francisco this was the show that we
10:20filmed this was Charles Charles's last
10:22solo acoustic show before the tour
10:25started and he played a fair amount of
10:28Pixie song songs I think as a warmup
10:31and you you know as usually the case
10:34they were the ones that were greeted
10:36with the most
10:38Applause he was making jokes about it
10:41during the
10:42show we had a very difficult time
10:44figuring out the structure of the film
10:45we edited I think for 53 weeks or
10:48something maybe you can talk a little
10:50about these at home intros of the band
10:52members well one of the most interesting
10:54things about the film itself is that the
10:58band members
11:00had developed such incredibly different
11:02lives one from the other in the Years
11:04following the pixie's initial split and
11:07uh you know you see Charles here with
11:08his family and Joey with his family
11:10scoring the documentary Kim with the
11:12Breeders and David with his magic and
11:15just the way that the band members had
11:17taken such different roots and the way
11:18that this reunion threw them back
11:21together and we felt it was important to
11:23get their individual stories up early on
11:25in the film that's why we had those four
11:27little segments showing what they had
11:29been doing in the intervening years
11:30because the film largely is about or
11:34ended up being about how the
11:35trajectories of their individual lives
11:37and formed the reunion and and how it
11:39was that these four people who had grown
11:41so different and so apart from one
11:43another over the course of the
11:44intervening years coped with being back
11:47in a room and back touring with the band
11:49that really had toine their youth yeah
11:51and it was a conscious decision on all
11:53of our parts not to linger on their past
11:57and basically pick the film up right
11:58when the tour started and carry it
12:00through to the end so that creates
12:02certain amount of hurdles in the edit
12:04room as far as setting people up and
12:06defining
12:14characters this was their first gig it
12:17was a tiny Club in Minnesota we were
12:19shocked it was just like a bar 800
12:22people I should also say this footage
12:24here that we're watching right now it's
12:25footage that Kelly is actually shooting
12:27with uh little home camera that she was
12:30kind enough to let us use in our
12:39edit you'll see the footage that we got
12:42from her camera of her parents being
12:44interviewed right right here I think
12:46it's very apparent in this scene that
12:48the Pixies when they got back together
12:49were really not rock stars in their
12:51minds at all particularly in their own
12:54minds and this actually is a great
12:55moment that illustrates that here Kim's
12:57mom is talking about how you know Kim
12:59needs Kim needs this Rockstar reunion to
13:02give her something to do otherwise she
13:03would be sitting around doing her crafts
13:05all day and uh Kim's reaction to it is
13:18priceless anyway this yeah this club was
13:20was a it was a hole in the wall they
13:23were they were genuinely nervous this
13:25type of thing happening with Charles
13:26knocking over the microphone St like I
13:27think they were genuinely concerned
13:29about how their shows were going to go
13:31and it seemed like a reasonable concern
13:32at the time at this moment in time it
13:34wasn't at all apparent that the tour
13:36would be the success that it was and we
13:38used that little thing in the mic stand
13:40falling over obviously to show that that
13:44their concerns and apprehensions were
13:46were legitimate and uh and that they
13:48didn't know how it would turn out I said
13:50the initial demand for tickets was
13:51insane and people were lined up outside
13:54that club in Minneapolis for for days it
13:57was Apparent from the beginning that
13:58that that demand for tickets and that
14:00the demand for the reunion was
14:01incredibly high but it was not what was
14:02not immediately apparent was whether or
14:04not the band would would would meet that
14:05demand and would reward those those fans
14:08with great
14:09performances so this scene I actually
14:12remember vividly sitting in the pixie
14:15Hotel waiting knowing that it was the
14:17day before their first show and waiting
14:18for them to give me a call saying it's
14:20okay to come in the room I wasn't sure
14:22if they were together or in their own
14:23rooms I couldn't get anyone to answer
14:24their phones I think they were really
14:26nervous and I was sitting with Paul in
14:28the hotel for hours and hours drinking
14:31Iced Teas and eating peanuts and hoping
14:33someone was going to call and Kelly once
14:36again Kelly was kind
14:37of our fearless collaborator who had
14:40access and could kind of get us in all
14:41the nooks and crannies and she called
14:43and said okay guys you can come up to
14:45the room right now and we zoomed up and
14:47got there just in time for them to
14:49capture this scene to toast their first
14:51gig they're wondering what what they
14:52should toast to don't screw up don't
14:55screw up it's the suggestion toast to
14:57don't screw up and again that speaks to
15:00their uh concerns that um they will be
15:02able to pull it off and then walked from
15:05from their hotel to the gig I think that
15:07these moments in Minneapolis are
15:09probably the most some of the most
15:11genuine as far as the four of them in a
15:14room together just
15:16being emotionally open to one another I
15:20think after this point they sort of
15:22start to
15:24retreat and interestingly enough this
15:26very first show they're picking up the
15:29tour on this warm-up tour probably
15:31closest to the way they left it off
15:33which is to say playing these midsize
15:35venues you know they weren't they
15:37weren't selling out huge stadiums back
15:39when they when they first split
15:41up I think that feeling of that I was
15:43talking about of I can't believe we're
15:45in this situation I think this was
15:46another one of those situations by
15:48around show 30 or 40 on the tour I'd say
15:50it started to wear off but this was
15:52definitely a moment for Matthew and I
15:54there's a line here that's tough to pick
15:55out of the mix it's interesting Charles
15:57says right here
15:59all right I'm going to puke all right
16:02I'm um I don't know if it's that
16:04apparent you can hear it under the mix
16:06but that is what he says when he's about
16:08to take the stage for the first time in
16:09front of an audience as a member of the
16:11Pixies and this is a guy that's been
16:12performing for
16:1421 21 years or something 20 years this
16:17was really exhilarating Matthew Matthew
16:19and Paul that's Paul right there with
16:20the camera this is the loudest crowd
16:22I've ever heard and there were only 800
16:23people in the club it was
16:25deafening Matthew and Paul were in the
16:27front row and I was standing on on stage
16:29with the Pixies I was like felt like the
16:31fifth member of the band or
16:37something there's not many of my shots
16:40from the stage I was so shocked and
16:42amazed to be up there there's one of
16:44yours and there's another shot that kind
16:46of comes down from the balcony uh just
16:49to show that this is a relatively small
16:51club and it was packed to the gills so
16:53we did use some of those shots from
16:54behind to show just how enthusiastic you
16:57see the people up in the balcony there I
16:59mean this place was
17:04packed the tickets for the show were
17:06going on eBay for something like three
17:09or four or
17:11$500 there was actually some great
17:13footage that for whatever reason didn't
17:14end up making it in there of the fans
17:16that had been queuing up outside the
17:18venue for 24 hours or more waiting to
17:21get good seats to get good vantage point
17:24there was a company called dis live that
17:26was recording the show live and then
17:27selling the CDs as they went the door
17:29and they sold every CD they could burn
17:31and in fact there's a kid outside this
17:32venu who was was interviewed on camera
17:35uh saying that he had pre-ordered every
17:38CD from the entire tour and that he I
17:41don't remember what the amount of money
17:42that he had to pay was for the pre-order
17:44but that's just a small indication of
17:45the level of fanaticism that this band's
17:48fans feel towards them guys with Pixie
17:50tattoos in Minneapolis I saw a couple of
17:52those there's the other shot there Steve
17:55nice work Steve very very nice yeah I
17:58got one
18:03yeah but they really clicked it in on
18:04this first show they really did and this
18:07uh particular song is so is such a crowd
18:11pleaser I came to realize after watching
18:13the footage from dozens of shows that uh
18:16there are a few songs that always get
18:17the crowd moving and this is this is
18:19definitely definitely one of them it was
18:21always the intention of all of us to use
18:23the song UMass because we knew they were
18:25playing UMass towards the end of the
18:27tour so we said okay well that's a given
18:28will just play UMass at UMass and this
18:31ended up being just a far better
18:33performance and it just captures the
18:35sort of pure energy of that moment much
18:38better than the performance ofs did so
18:40that's one of one of our loud quiet loud
18:42moments comes up in fact every time the
18:44songs end there's there's a sort of loud
18:46quiet loud
18:48moment where they're just rocking on
18:50stage and the crowd's going crazy and
18:52they seem to have this amazing
18:53electricity and chemistry and all of a
18:54sudden you go backstage and they're
18:56backstage there's no alcohol they're
18:58very very quiet and human they're almost
19:00like anti- rock stars or something and
19:02again that mirrors the structure of the
19:03songs where you can get a very quiet
19:06first verse very
19:08quiet introduction to the song and
19:10suddenly it explodes into this wall of
19:13sound in the in the
19:15chorus loud quiet
19:18loud so here's backstage it's just
19:22them moment that's all non-alcoholic
19:25beer freaking out were were you you must
19:28have been
19:30they're so this was actually a much more
19:31animated backstage than we normally
19:33experienced are you so fingers or for
19:36wrist I think they were genuinely
19:38excited by the response and by how good
19:40they sound I bet that'll go away after a
19:42couple weeks just shake it out
19:45too I've got on my you I bleed towards
19:48end I had glanced at this guys and I
19:51just rer oh wow it's one of my favorite
19:55moments in the film yeah Steven insisted
19:58actually I remember
19:59that that moment make it in there
20:00because he thought that Kim's blisters
20:02Were A fitting physical manifestation of
20:06their sort of lack of practice and also
20:09the scars that they were going that they
20:13were going to get by going back on the
20:15road whoa that's heady yeah did you
20:19think that Steve no thanks Trevor he
20:22made me sound smart I just like the
20:23moment when Charles says oh Kim cuz I
20:25think it actually you can see that you
20:27know there's this history between the
20:29two of them it's like a two old friends
20:33it's a great
20:35line just for just for a little bit of
20:37background we were all very conscious of
20:39not making a Behind the Music piece here
20:41we really wanted the Pixies are kind of
20:44shrouded in mystery and we did not want
20:45to be the people that peeled away all
20:46the mystery so from the outset we really
20:50discussed keeping the film almost
20:52feeling like a pixie's song or something
20:55all their songs are mysterious also you
20:57can't really quite ever tell what
20:58they're talking about
20:59that's right and actually this U Montage
21:01here that gets us through the warm-up
21:02tour was originally set to the song Wave
21:05of Mutilation and uh it felt really
21:09celebratory and it felt sort of like a
21:12hagiography instead of a documentary and
21:14I think Matthew nixed that idea nice
21:17word though geography thank you uh I
21:21just thought Caribou was a little more
21:22evocative of a
21:24song and also I think that you thought
21:26correctly that uh we of
21:29Mutilation made the warm-up tour the
21:31very early stages of the tour feel like
21:33this Grand celebration of success when
21:35in fact it wasn't yet clear that that
21:37was the case that that's what was
21:38happening although it was happening in
21:40the beginning is they were I think being
21:42apart for 12 years had made some of the
21:44wounds feel and at the very beginning
21:46they were much more communicative and
21:48kind of excited about being on the road
21:49again and being together and talking to
21:51each other a lot more and as this tour
21:53went on the the non-communication
21:55between them grew and almost to a
21:57shocking extent
21:59where they would just hang out in their
22:01hotel rooms not talk to each other all
22:02day long that's right you could hear a
22:04pin drop backstage certain chefs and we
22:07were paying for this film by ourselves
22:10and there would be times we'd be on the
22:12road and have our sound guy and our
22:15camera guy and our hotel expenses and
22:16our travel expenses and the Pixies would
22:18be hanging in their hotel rooms by
22:21themselves we would not know what to
22:24shoot made us really have to think out
22:26out of the box in a lot of cases
22:37Trevor did a beautiful job putting this
22:39Montage together this really gets its
22:43point across very efficiently that
22:45things were taking off the band was
22:48settling in it's you know I love this
22:52whole head shaving Montage that was
22:54actually brought on by Jonathan fansy
22:56who was our other Director of
22:57Photography who was filming Charles one
23:00day in his room Charles started to shave
23:02his head and John had the idea of
23:05getting Joey and David on camera doing
23:07it as well and it just became a great
23:10emblematic Montage of older Warriors
23:13going into battle that's right in in
23:15initial versions of the film we had
23:17actually a quite a a longer a longer
23:19sequence cut to some kind of dramatic
23:21music of the three of them shaving their
23:22heads intercut with Kim putting on her
23:24makeup and it was never probably
23:26destined to actually make it into the
23:28film that way but it did end up being
23:29very fun I think it was kind of
23:30emblematic of them becoming rock stars
23:32because nothing says you're not a rock
23:35star more than a sort
23:37of that's right that's right just as
23:40Phil Collins or Michael
23:42stype uh anyway this was pure Kelly deal
23:45right here this is she picked up a
23:47camera and said hey let's go outside
23:48we're at brickton Academy in London and
23:52uh I think a lot of these people thought
23:54she was Kim that is true which is why we
23:57we ended up iding her again in the film
23:59right here is because we needed to
24:01differentiate for the audience that this
24:03is actually Kelly but uh someone pointed
24:05out to me the other day that this is
24:08very similar to a scene and don't look
24:11back um when they're outside that I
24:13think it's the Royal Alor Hall in London
24:15which was completely
24:18unintentional but you know I love the
24:23comparison this is our one moment of
24:25kind of revealing a little of their
24:26background and their story
24:29other than this one moment we really
24:30tried to keep it present day we did this
24:33really for people who were uninitiated
24:35into the Pixies history and it's really
24:37just the bare minimum information that
24:39you need in order to understand the rest
24:41of the film the very first cut of this
24:44film was a chronological straight verite
24:47version and it was about 4 hours long
24:50and it was so boring that Stephen and I
24:52couldn't even get through it and we
24:53directed the film and we like had to
24:55stop Trevor at about hour two and a half
24:58I think and just say Okay this isn't
25:00working so we had to we had to go back
25:02and concede a couple of things one was
25:04you know we need the barest minimum of
25:07past Pixies information it was funny cuz
25:10going into that cut we were really
25:12excited we like oh we have so much good
25:13stuff and let's just do a 4our pixie
25:15movie it's going to be awesome yeah it's
25:18not
25:19true was you know slow movies are slow
25:23movies and they're you know this one was
25:26painfully glacially slow and also going
25:30back to what step was saying earlier
25:32about how the band um had a difficult
25:36time communicating with one another um
25:38that they would be so electric on stage
25:42and then offstage they would be quite
25:44quiet and reserved and separated from
25:46one another and that that also presented
25:48an enormous challenge in the editing
25:50room uh for all three of us as we were
25:52trying to conceive of how to make this
25:54film and the direction to take it
25:56because um at first we didn't know how
25:59to make a film about people that didn't
26:01speak to one another without relying on
26:04obvious documentary techniques like
26:06interviews where they say well we don't
26:07talk to each other you know we do have a
26:09line in here where Charles says we don't
26:10talk to each other that much but that's
26:12more of a it's still a verit moment I
26:14mean he's being interviewed by somebody
26:16else right or you know a third party a
26:18record company executive or a rolling
26:20stone writer being interviewed saying oh
26:22the Pixies were really great and
26:24influential I mean we wanted to tell the
26:26story of the tour not exactly the back
26:28story or history of the band that's
26:29probably been done on VH1 a number of
26:32times we going to tell the story of this
26:33tour so actually the fact that they were
26:37that they did have a difficult time
26:38communicating with one another as
26:41individuals did become in itself a story
26:45worth telling and I think a story that
26:47we did try to tell and also as it
26:49happened over the course of the tour
26:51they did become more communicative with
26:54one another and that was a very
26:56interesting story and a very interesting
26:57thing he develop the way to the way to
26:59tell that story was to really Embrace
27:01These Quiet Moments uh not until the end
27:04did they become a little more
27:05communicative that's right but uh you
27:07know it's funny I think a lot of the
27:09lack of communication comes from the
27:11fact
27:12that there's not really a band at the
27:15heart of these four people anymore I
27:17mean these were four people that did get
27:19together uh a lot of the Dynamics were
27:21still there but they got together for a
27:23specific reason you know and they say
27:25that it was money
27:27but think over the course of the tour
27:29that morphed into something else it
27:31became a sort of redemption for all of
27:33them absolutely but the lack of
27:35communication I think is just because
27:36they are just four middle-aged very very
27:40different people and I think they've
27:42gotten more different as as they've
27:43gotten older because this shared
27:45experience that they had when they were
27:46all 21 years old is you know 12 years in
27:49the past now yeah you said that they
27:52weren't there wasn't really a band at
27:53the heart of these four people that that
27:55is I think there is a lot of Truth that
27:58there were four people that showed up to
28:00do their job that's that's exactly right
28:03however I I will say that as the tour
28:04progressed and certainly when they hit
28:06the stage at Hammer scene at the end of
28:08the tour I felt as if that had changed a
28:11bit yeah well they were just so
28:13successful and they were so embraced by
28:16their fans
28:17and you know it seemed like there could
28:19possibly be a future together I think
28:23certainly for Dave Joey and Charles
28:25they' kind of rediscovered their Swagger
28:28that's right the rock and roll Swagger I
28:47think this shot coming up here is
28:49actually a great illustration of that if
28:52you wonder what what causes a a group of
28:55four disjointed individuals to
28:56ReDiscover their rock and roll Swagger
28:58all you have to do is look right here
29:00this was done by Jonathan fansy uh
29:03certainly one of the most startling
29:04images in the film I
29:06think the crowds at Brixton were
29:11amazing they had a true Hero's welcome
29:14in London these were the it was the
29:16fastest selling shows in brickton
29:17Academy history and if you don't know
29:19anything about brickton Academy it's got
29:22quite a storied history every band you
29:24could think of is played there
29:29generally speaking um on films that I I
29:32edit I tend not to visit the set if it's
29:35a narrative or anything uh because I
29:37like to sort of take the characters on
29:39the terms that they exist just within
29:41the frame um but I did actually go to
29:44see some of these Pixies concerts
29:46because I felt like it was important and
29:48Matthew and Stephen both felt like it
29:50was important for me to go to the shows
29:52to try to understand the energy of the
29:54crowd and to try to uh kind of get my
29:57finger on the pulse of what the band
29:58felt like on stage because I had been
30:00hearing for some for many months while
30:03they were on the road they would report
30:05back these Tales of this electric energy
30:07that existed when the band took the
30:08stage so um I did go to the shows as a
30:11way to try to inform myself of the
30:13energy that existed there to try to cut
30:15these live performances to try to
30:17reflect that energy and I think it
30:19was uh their tour manager man named
30:23Richard Jones informed us right before
30:25the Brixton shows that the four shows
30:28they played at Brixton Academy outside
30:30of the first show at Minneapolis were
30:32the shows that the band was most nervous
30:34about because this is the city you know
30:37London where they basically broke in '
30:3986 and they were always far bigger there
30:43than they were in the United States and
30:45I think I think the band looks at London
30:48almost more as their home than Boston
30:52and so they were according to him quite
30:55terrified to um you know bring the goods
30:59at Brixton and they certainly did I mean
31:01these were four fantastic shows and
31:03there their first records were put out
31:05on a London based label of
31:07course I actually have the feeling all
31:09through Europe that they were much more
31:11popular in Europe even than in the
31:12United States in Europe the tickets were
31:14selling so fast and they were playing
31:16huge venues and the crowds were just
31:18beyond belief enthusiastic crowds in
31:20Europe are just better I'm I was
31:22slightly disappointed with American
31:24crowds and even when we went to Canada
31:25and crowds in Montreal they were just
31:28just more vocal yeah I find that true of
31:31of of concerts that I've been to all
31:32over the world that the uh the crowds in
31:35in crowds abroad are not afraid to have
31:37fun yeah they really are not afraid even
31:40if they're in their middle 30s to jump
31:42up and down like Mad Men some of the
31:44venues there are more conducive to it
31:45also they just have huge huge open
31:50Arenas there's actually a great shot of
31:52this beautiful venue right
31:55here so gorgeous yeah brickton has a
31:58beautiful
32:00prum here's a loud quiet loud moment
32:03they played a show in Atlanta with where
32:05they actually had seats everyone was
32:07sitting it's kind of like a theater yeah
32:10it felt like a strange place for them
32:12and they don't move around a whole lot
32:13on stage so it it really is all about
32:16the sound and the music and that's not
32:19because they're getting older they never
32:20have moved around much on stage people
32:22used to you know constantly joke when
32:24even when they were 23 years old that
32:26they just didn't move
32:28and they used to just Barrel through
32:30their set list as fast as they possibly
32:33could no breaks during
32:35songs Charles did this thing on tour on
32:38this tour but he used to do it all the
32:40time when they
32:41were you know originally playing he
32:43would just [ __ ] around with the set list
32:45he would alphabetize it or play it
32:47backwards or whatever and about Midway
32:50through the tour he started Toth he
32:52would do a set list before the show and
32:54then unbeknownst to the rest of the
32:57members of the band he would just sort
32:58of throw it out and start calling out
32:59songs during the
33:01show and and he was also very concerned
33:04about his voice he really wanted to make
33:06sure his voice was properly warmed up
33:08and in good shape for the entire tour he
33:11hadn't sung that you know scream to this
33:13level this years and so he would do this
33:16um this vocal warm-up which became got
33:19embedded in our heads he did it so much
33:21we'd always be backstage with him and he
33:22would do the same vocal warm up over and
33:24over again this was the one we decided
33:26to use in the film because he this funny
33:28self-help thing which I think he was
33:30goofing around here goofing on Jonathan
33:32fansy again the shooter who who captured
33:34this footage this was a real turning
33:36point this is a real turning point for
33:38us as far as the filmmakers because this
33:41was this really the first time that
33:42Charles let us in and gave us the real
33:45access that we so wanted I mean at by
33:48this point this is only about a month
33:49into the tour but at this point we were
33:52sort of kept at arms length cuz he
33:54didn't really trust us but
33:58Jonathan got in there and it was great
34:00and from that point on it
34:02was it was pretty
34:05open this is
34:09Charles doing a card check for David
34:11basically taking the piss out of David
34:13right it's pretty funny and this was we
34:16were debating whether to put this in the
34:17film because it didn't have a real
34:20narrative logic at least initially but I
34:23think it's it's quite well in the film
34:25it's an it's a different view on the
34:27three of them I'm
34:29backstage well David was becoming
34:31increasingly withdrawn at this point and
34:33I think everyone didn't quite know
34:36why and as it turns out his father had
34:39very severe cancer which would
34:41ultimately be
34:43terminal I think everyone was kind of
34:46subconsciously trying to cheer him up is
34:47that your
34:52car to keep working
34:56on you the presentation
35:16down you know I I feel like sometimes
35:19that David's sad I look at him and I
35:20think he's sad this guy's uh
35:22representative from their first label 4
35:24ad records that really believed in them
35:26in the beginning and put out their their
35:27first record and turned them into um a
35:30hit band in Europe and is the label for
35:33Kim and Kelly's band The Breeders at
35:35least and they were up until I think
35:37recently I think they're done did a
35:40bunch of amazing bands cocked twins in
35:42Bow
35:44house so David's parents came out to
35:47London to see these shows and he looked
35:51obviously very
35:53illr so David spent most of the week
35:56with his parents
35:58cing them around London and showing them
36:00the sites and I got him I flew him out
36:03and he had enough strength to get out to
36:04London and he went to brickton Academy
36:07second night I did I opened up with my
36:08science show this was one of the Great
36:11Moments of Dave's life I think the pixie
36:13let him open for them with his magic
36:16show and he was able to do this
36:18dedication to his parents my parents
36:20were way up in the balcony where are my
36:21he got everyone to wave to them he's
36:23kind of like a little kid and I think he
36:25just felt so proud of himself to be
36:26standing on that stage
36:29paying tribute to his parents just all
36:32they all said hi I think somewhere
36:34around London the initial excitement
36:36that we felt about just being able to
36:38make a pixie's movie and being in the
36:40same room as them I think somewhere
36:42around here I think it started to wear
36:43off a little bit and we kind of felt
36:47like like strange unwanted guests at a
36:50party where no one was talking to each
36:51other or something we would just stand
36:54in the corner with cameras and watch we
36:57would just watched the
36:59uncomfortableness which made it even
37:01more
37:02uncomfortable but it was interesting for
37:04us to balance being fans of the band and
37:07being documentary filmmakers and making
37:09the film and trying to you know you got
37:11to follow your nose to the story that's
37:14happening and it's it was a tough thing
37:16to
37:22balance P my son is this song we used to
37:27to illustrate Dave's mood cuz his
37:29drumming just seems so somber and
37:33strange while he drums he's kind of
37:34hunched over
37:36and and he he almost looks like he
37:38collapses at the end of the song almost
37:41as if it's the song's taken so much out
37:43of him it's very evocative lighting too
37:45it just seemed to work mood-wise
37:50in the film it it was served to evoke
37:54Dave's mood and I I've always in the
37:56back of my mind kind of regretted that
37:58the lyrics are nimrod's son cuz we
38:00certainly didn't mean to make any
38:01comment on Dave being or Dave's father
38:03being a nimrod or although Nimrod is
38:05actually the name of that's a proper
38:07name but I know what you mean I know you
38:10I know a man named Nimrod and I'm not
38:12kid I'm not kidding I really know a guy
38:14named Nimrod is he British he is
38:17American I think his parents must have
38:18been not happy about having a
38:23baby maybe he was named something else
38:25and they dropped him on his head and
38:26they decided to call him Nimrod after
38:28that and Don um it was the last day
38:32flying back um I got the call from my
38:35mom that he passed away and I was just
38:38finished the last show going back to
38:40Boston to see so Dave I think largely
38:41because of his father was kind of
38:43falling off the Rocks here starting
38:45falling increasingly into substance
38:47abuse and Kim was trying to stay sober
38:49this really that really added to the
38:50tension between the band members started
38:52drinking but we've respected
38:55Kim supposed to be a backstage so he
38:58doesn't Emi but he may ingest not
39:00supposed to drink but you might pop
39:02something in your mouth that's the idea
39:03it wasn't so much that Kim was trying to
39:04stay sober it was just that these were
39:06the very strict strictly enforced rules
39:08at the beginning of the tour that there
39:09was just to be no would no monkey
39:12business back stage calm no no drinking
39:16specifically right
39:18calm he's taking pills and it's just not
39:24good see I don't embibe but I may ingest
39:31all that's a little
39:37joke so this is in Iceland one of the
39:40most incredible places I've ever been
39:42and the crowd cannot Clap the time right
39:45before the europeand people have no
39:46rhythm right before the European tour
39:48Steven and I figured out who was going
39:50to cover which areas and he because he's
39:54at least 6 in taller than I am had the
39:57power and so he chose Iceland and I got
40:00London and I've been jealous ever since
40:03cuz I think the footage is just just
40:05looks like a different planet the be
40:07I'll s you to Iceland Matthew h I'll
40:09send you to Iceland okay yeah the the
40:12combination of geothermal activity and
40:14the glaciers and would you talk about
40:17geothermal
40:19activity would you expound on that the
40:21combination of the geothermal activity
40:23and the glaciers and the small
40:25population and this sort of lunar
40:27landscape it just gives it the most the
40:29strangest most otherworldly look it was
40:31one of the few places where the Pixies
40:33actually like wanted to tour and wanted
40:34to see things and they actually went
40:36places together it's not and the footage
40:38is just staggeringly beautiful this what
40:41time of day was this first one I had
40:44yeah it's bright all the time so this
40:45could have been 11:00 p.m. or 11:00 a.m.
40:47or there are scenes that you know
40:49because I wasn't there there are scenes
40:51that are in the film a bunch of girls
40:53that come up to Kim deal and I always
40:55think it's 3:00 in the afternoon but but
40:57it's actually something like midnight
40:59after the show after midnight or
41:01something yeah there were times we'd be
41:02driving back it would be full bright
41:05sunlight and every restaurant would be
41:07closed because we couldn't get anything
41:08to eat it was too
41:10late very
41:13strange three of us argued about this
41:15stretch for a while as far as including
41:17Beauty shots
41:19and I'm usually resistant to music video
41:22type things and documentaries but Steven
41:24and Trevor prevailed and I think that it
41:27it's actually quite beautiful they don't
41:29the shots don't properly belong there in
41:31terms of the narrative thrust of the
41:33film but that said the b-roll shots they
41:36were so staggeringly beautiful that they
41:38just felt we all felt like they should
41:40have some place in there and it's a it's
41:41a good breath for the
41:47film I just always thought it was kind
41:49of chilling to see Kim being so utterly
41:51human in her day-to-day life and see the
41:53way those girls react to her like a god
41:56just falling all over them themselves
41:57and having them sign her arm and
41:58thinking she is the greatest thing
42:08ever this is the UK surf version of Wave
42:11of Mutilation which they used to play
42:14back in the day it was a 12 in that they
42:16released it's just a quieter slower
42:18acoustic version
42:20of and on this tour they usually meded
42:23it with and having yes and they also
42:26usually played this song Twice they
42:28would play this version and they would
42:30play the faster version right and
42:32towards the end of the tour I think at
42:33the Hammerstein Ballroom they would open
42:36I think they would open the show with
42:38this and close the show with the fast
42:40version at least a couple of times they
42:42did that
42:57this is a lot of people's favorite shot
42:58in the movie this whole sequence I
43:00actually got asked in a Q&A at a film
43:02festival what was the purpose of the
43:03burning car to which I responded it was
43:07became sort of a metaphor for something
43:09I couldn't quite figure out what it was
43:11but I think as tensions in the band were
43:13growing the burning car became symbolic
43:15of
43:17that what is this church where did you
43:19guys find this it looks so small like it
43:21looks like it has the lowest ceiling
43:23this was something that never ever
43:24happened Kim and Charles going on a tour
43:27together this only happened in Iceland
43:29cuz it was just such a striking place
43:30you me going on like a little walk
43:32together like being tourists what is
43:34Charles playing here actually he's
43:35playing in heaven he's playing in heaven
43:37so we were we were walking in Iceland
43:39through the strange landscape and
43:41getting a tour from our tour guide and
43:42there was a church in the distance and
43:44they went in and found that little pipe
43:49organ this scene conveys an enormously
43:52important piece of
43:54information and the dialogue was really
43:57quite low and the coverage was quite
43:59sketchy and it seemed like maybe there
44:01would be a better opportunity to get the
44:03this information in the film that that
44:05Charles's girlfriend had become pregnant
44:07but he just never talked about it again
44:09he told his band mates here one time and
44:12so we were left with no other choice but
44:14to try to use this scene and it's a
44:16great scene it's just diff just
44:17difficult to put together it's
44:19emblematic of how he communicates I mean
44:21it's kind of an amazing moment to see
44:23Charles telling Kim that he's his
44:25girlfriend is pregnant for the first
44:26time he's about to have his first kid of
44:28his own and he mentions it almost in
44:30passing yeah it's a sort of a
44:37throwaway this is my favorite Daniel and
44:40Wu I love the way this sort of settles
44:42into coming back to North America
44:44because it has such an American Quality
44:46this music it does it has that like
44:48petal steel or something I don't know
44:49what it is a guitar that's always a
44:51moment when I watch the film that I just
44:53sort of relax into this groove
44:58I think we sort of by this point I think
45:00we were sort of in a LoveHate
45:02relationship with the band and with our
45:04film and with our whole process finding
45:06it very difficult at times and
45:08having not so much limited access
45:10because they didn't mind our being
45:11around but just so little was happening
45:13so
45:14often it became frustrating for us and
45:17then I think at times we'd have moments
45:18of just capturing just magical moments
45:21and understanding while we were making
45:22the film and this was one of them Kim's
45:24voice Kim's voice here is just
45:26incredibly and you just realize how
45:28talented all four of them are just
45:30absolutely supremely talented
45:32individuals and together as a band
45:34should also mention that um that Kim and
45:36Kelly have their own RV on the tour and
45:40they're traveling separately from the
45:41rest of the band for North America they
45:44were Kim asked for her own vehicle
45:47whether that was because there was
45:49growing tension in the band or she just
45:51wanted her
45:52privacy because she was a woman and she
45:54was traveling with three other men who
45:57who knows but it was this sort of
45:58traveling deal bubble and in any case
46:01you took advantage of the opportunity to
46:03uh work on some breeders demos which is
46:04what we're watching now not a lot of
46:06chain smokers in the world can sing
46:09Acappella and sound this kid yeah it's
46:11amazing I mean she very little vocal
46:13warmup she just has a naturally
46:15fantastic voice for rock music and that
46:18smoke that you see in the reverse shot
46:20there of Kelly it's actually a
46:22humidifier it's actually the RV on
46:25fire back to what stepen was saying
46:28about having a love hate relationship
46:30and you know not knowing always what
46:33kind of footage we were
46:36capturing and certainly being on the
46:38tour it never I shouldn't say never it
46:42often did not feel like we were getting
46:44very intimate stuff and something that
46:47the
46:48film somehow conveys and that people
46:50respond to when watching it is how much
46:52they feel like they're on the inside
46:54with these people and how intimate it
46:56feels and I think if anything that's
46:58credit to
46:59Trevor for pulling the moments out of
47:02all of the footage that feel really
47:05human thank you sort of along that
47:09line we were also asked once at a film
47:12festival I think one of the more
47:13intelligent questions that we were asked
47:15in a Q&A session was how did we choose
47:18which stories to tell because we did
47:20have hundreds of hours worth of footage
47:22and we could have told any number of
47:24stories about the band and how do we
47:26choose to tell these
47:29stories the way I think that we answered
47:31it at the time which I think is true is
47:33that it's really a collaborative process
47:34between the three of us in terms of
47:36going through the footage and seeing
47:38which stories had enough had enough
47:40pieces to make a continuous thread
47:43throughout the film but also one of the
47:45things that struck Us in the beginning
47:47of the process was how and I mentioned
47:49this earlier was how different each of
47:50these band members were one from the
47:52other and how their different lives kind
47:54of carried over into the tour and I
47:57think like that that informed a lot of
47:59the a lot of our decision in terms of
48:01which stories to tell because we did
48:02tell the stories of these band members
48:04as individuals and how they followed
48:07their own dreams and followed their own
48:09aspirations but also worked together as
48:11a band and I think to that end um we
48:14were able with that in mind we were able
48:16to choose a lot of the scenes that
48:17related to that to those particular
48:19trajectories and at the same time we
48:20could step back and look at it from a
48:22large perspective and there was almost a
48:24natural three-act structure to it where
48:26they started off really kind of excited
48:29and then things kind of got
48:30progressively worse and worse and worse
48:32and
48:32then you know hit a real low point and
48:35then towards the end they kind of
48:36rebounded a little so loud quiet loud if
48:40you will and actually I think like the
48:42low point that you mentioned is we're
48:45kind of we're close to it right now in
48:46the film at this sequence here in
48:49particular um is sort of the uh climax
48:53or or or nadier of David's uh story line
48:58here we also I mean we picked we picked
49:00the stories that we had the footage to
49:02support absolutely we did pick the
49:04stories that we had the footage to
49:05support that's true Joey scoring his
49:07film you know it was it was a well
49:10documented occurrence so that informed
49:13us well I guess I guess the real threea
49:15structure story is Dave's story cuz he
49:18kind of starts off in a really low place
49:21and becomes a rock star again gets his
49:24strugles and confidence
49:27rockar almost seems like he's not going
49:29to get it together I don't know if he
49:30struggled I mean he reeled
49:33in the you know the typical I don't
49:36think he would call struggling yeah I
49:38don't think you would call it struggling
49:39I mean there were a lot of stories
49:41actually really I thought interesting
49:43and compelling stories that that we had
49:45a couple of pieces to of of but just
49:47didn't have enough like Charles is
49:49building a home that was fascinating and
49:52Charles is building a family and that
49:53was also interesting but that it really
49:54didn't go anywhere right we had great
49:57footage of him supervising the
49:59construction of his home in Eugene
50:00Oregon and that was really interesting
50:02but it didn't quite go anywhere maybe we
50:03could start we could pitch a home
50:05improvement show that Charles is the
50:07host of Dave falling into the trappings
50:10of rock and roll and taking it to the
50:14fullest extent possible like really
50:16against the wishes of his bandmates I
50:18mean probably if it wasn't for the
50:20resistance of his bandmates he might
50:21have gone even further but he pushed it
50:23as far as he could and this was really
50:24as Trevor was saying this was Rock right
50:30here and if you know the song really
50:33well as a lot of the pixie members in
50:35the audience of this concert do and as
50:38we all do at a certain point in the song
50:40you start to realize that as Charles
50:42does here it's supposed to stop right
50:45here that beat is the end of the song
50:48and David keeps playing and he said
50:51what's going wrong yeah Charles and
50:53they're all just very really confused
50:55and Charles keeps saying what's what's
50:56wrong David and David is just not on the
51:01planet for about a minute I I don't know
51:03where his mind went but it's somewhere
51:05up in the fourth tier and he's just
51:07playing this beat over and over again
51:09this repetitive beat while his uh three
51:11other band mates are conferring right in
51:13front of the stage and he doesn't even
51:14see them you know he's just sort of
51:16looking out over them and it just it it
51:18was only ultimately about 30 seconds or
51:2140 seconds or something but it felt
51:23watching it like it went on for five
51:24minutes and it was incredibly awkward
51:26uncomfortable moment it's remarkable
51:28coverage by our cameraman of these
51:29moments capturing all the little
51:31intricacies between the band members and
51:33all these different angles of Dave we
51:35didn't have that many cameras yeah the
51:38coverage was consistently impressive the
51:41the shooters that were responsible
51:44there's Kim smiling as always there's
51:47actually an an edit of an extended
51:49moment here where Kim actually kind of
51:50strings the audience along with a brief
51:52little kind of monologue some someone in
51:54the audience call out that David looks
51:56like bunny Carlos from jeap trick yes
51:59somebody also shouts out a request to
52:01Kim to do what was the name of the S
52:02with thirst Moore somebody shouts out a
52:05request for her to play that song and
52:07she says I don't know thst's
52:10part uh we scrambled backstage that's
52:14this is actually Paul dua's camera
52:16getting this stuff and Richard Jones is
52:18the man standing right to the left of
52:20David who was their tour manager turned
52:22around at some point during that
52:24conversation and basically just kicked
52:26us out from backstage
52:27cuz at this point we kind of bit the
52:29bullet and said okay we have to do some
52:31interviews so I interviewed David and
52:33Matthew interviewed Joey only two on
52:36camera Charles yeah Charles we managed
52:39to film a lot of interviews that he had
52:40or you guys managed to film a lot of
52:42interviews that he had with newspapers
52:43and magazines and Kim same thing well
52:45yeah the Kim Kim the one interview that
52:47we ever got with Kim was done by a woman
52:50of female journalist at the Boston Globe
52:51named Joan anderman and she did that in
52:54Chicago on the tour and we begged and
52:57begged her to give us the access because
52:58we knew that we didn't have a Kim
53:00interview and so we shot that and that
53:01was it when you it was
53:04enough this at this time I think we
53:06really thought this could be the end the
53:08Pixies could break up right
53:10here that's the door that you see in the
53:12very beginning of the film you know you
53:14know in the beginning of the film it's
53:15imbued with all this excitement of
53:16what's going on behind there and
53:18suddenly it's got a whole new meaning
53:19when you see them come coming out of
53:21that same door and you understand that
53:23what's been going on behind that door is
53:24not all roses at least that was the
53:29intention I think we pull it off
53:35yeah so this girl who you're about to
53:38see let me backtrack uh early one
53:41morning their first day in
53:43Chicago we decided to go to The Venue to
53:46film the load in because the Aragon
53:47Ballroom has this sort of bizarre load
53:49in which is up on the third floor of the
53:51building so they have to truck all of
53:54the gear up on a huge crane
53:57so their Road manager said that's a good
53:59thing to film so we
54:01did and while we were there our uh our
54:05associate producer Matt Lynch was
54:08walking outside I think he went outside
54:09have a cigarette and he saw these two
54:11girls sitting
54:12there uh they were the only people in
54:15the alley and it was about 8:00 in the
54:17morning or something like that and he
54:20came back and he said you should go talk
54:21to these girls and so we went outside
54:23and struck up a conversation with these
54:25two girls who you know they just wanted
54:27to be the first people in line at the
54:28first Chicago show and they were just
54:31fanatical fans especially this girl
54:33named
54:35Carla and she told us that she wants to
54:39start a pixie cover band I mean she had
54:41started one but they were having trouble
54:43finding a second
54:45guitarist so we sort of prodded
54:48her about maybe getting a band practice
54:50together while we were going to be in
54:51Chicago we were there for a couple of
54:53days and she ended up doing it
54:57uh and we went to her mother's basement
55:01and filmed the band practice and you
55:04know if you've already sat through the
55:05film you'll know the payoff at the end
55:06but she was sort of she became the
55:09symbol of fanatical young Pixies fans
55:11and that was the thing that shocked
55:12Stephen and I constantly during this
55:14tour was that the fan I mean she's only
55:1615 years old and she knew every word to
55:18every song and we thought at the
55:21beginning of the tour that it was going
55:22to be 40-year-old balding record store
55:25clerks
55:27you know reliving their Glory Days but
55:29I'd say more than half the crowd was kid
55:31they were kids and they were kids that
55:33were fanatical Pixies fans and that's
55:36almost exclusively because of Kurt
55:38Cain's you know plugging of the band and
55:41Tommy orc's plugging of the band is that
55:43moment staged when she gives her the
55:44pick no absolutely not it was just she
55:47was there every night in the exact same
55:50position she just wanted to be under
55:51Kim's feet so she could choose she was
55:53always first so she could choose any
55:55position exactly every day she was first
55:57ex actually the day that we filmed the
55:59band practice she was worried that she
56:02wouldn't be the first one in
56:03line so she begged us if we could just
56:08make sure that she got into the front
56:09row and so again under Kim under yeah
56:12she just wanted to be in that that was
56:13the last night and so we so she went to
56:16every every Chicago date
56:21everyone it's another instance of the
56:24band just sitting in their hotel rooms
56:26and being by themselves and there's only
56:29so much of that you can film and our
56:31being forced to think outside the box
56:32and Matthew having the wherewithal to go
56:34to the venue and find this girl I think
56:37she did become emblematic of the fans
56:49experience this book Brave by Louisa
56:52Luna a funny little story about this uh
56:56Mika Beardsley who dealt with our rights
56:59and
57:00clearances on this movie reached out to
57:02her because we needed to clear this
57:05book and uh we sent the writer a copy of
57:09the film and she watched it and she
57:10really enjoyed the film and she was
57:11really touched by this
57:13whole passing of the book from Carla to
57:15Kim and so she took it upon herself to
57:18send Carla a new copy of the book which
57:20Carla got and you know loved I mean this
57:24whole experience for Carla has been
57:26sort of sent from the heavens she
57:28actually wrote her college essay on this
57:31experience and got into deal University
57:33and is going in the fall at the very
57:36beginning of our experience Charles took
57:37me out to breakfast and gave me this big
57:39speech about listen we're really
57:40trusting you don't make us look fat when
57:43we got to Iceland he didn't want us to
57:45shoot him in the hot springs cuz he
57:46didn't want us to see him without a
57:48shirt on and kind of as the tour went on
57:50and as his confidence
57:52grew um he became much more comfortable
57:55with it and the next thing you know he
57:57rarely had his shirt on as evidenced by
57:59this footage and in case anybody wonders
58:01whether or not you actually had access
58:03on the road that's that's it there's the
58:12proof this is kind of a Melancholy scene
58:14about him recording his Nashville album
58:17his solo album his solo album which he'
58:19recorded in Nashville which is actually
58:21a really beautiful album which came out
58:22and got great reviews and did really
58:24well this was before it release any big
58:27label
58:29okay well then I would say your best
58:31choice is is New West of all that you
58:33have right now I think once they heard
58:36this record they would say okay and I
58:39guess at the end of the day I don't care
58:40that much well as he says in the
58:42interview just immediately preceding
58:44this he says every everything I do as a
58:46solo artist will be overshadowed by this
58:47other band called The
58:54pixes we're d
58:56hi Joey had a very difficult time I
58:59think being away from his family which I
59:01can relate I took my one-year-old to
59:03Iceland actually on the shoots see
59:07clar's been Iceland and I
59:09haven't Joey was in Virtual constant ey
59:12chat contact with his family someone the
59:15the premiere of this film at South by
59:17Southwest uh was attended by a a
59:20representative from Apple who asked us
59:22if we had some sort of sponsorship deal
59:25on the film because so many Apple
59:27products in this film from Kim's you
59:29know asking to use the iPod to you know
59:32Joey he has the ey chat he's got an
59:34Apple laptop got like an entire Protools
59:36Studio set up around his Apple laptop
59:38that he carts with him from hotel room
59:39to hotel room it's a good sponsor to
59:42have it was very hard it's it's very
59:45hard to be away from your family
59:47particularly his wife had just given
59:49birth to a new
59:51kid it was very hard for him to be away
59:54I love you too it was very hard for me
59:56to be away too why Matthew and I
59:57alternated on
59:58shoots yeah we'll I chat later we'll I
1:00:01chat later okay okay bye cyber talk with
1:00:05a
1:00:062-year-old that's communication 2004
1:00:09style I think the what these scenes are
1:00:12interesting this is actually this is uh
1:00:13John fansy and I we just basically
1:00:16placed cameras in their room set up a
1:00:17frame and left the camera rolling um we
1:00:20just were curious on what kind of
1:00:22footage that would yield and that shot
1:00:24of Kim is a brilliant mistake I think I
1:00:27mean
1:00:28it's just the way she sort of fell into
1:00:30the frame and it's it's a beautiful
1:00:33shot it's one of my favorite pixie
1:00:39songs that's why it's in the film that's
1:00:41right there's a this was a concession to
1:00:44Trevor yes this is another in a long
1:00:46line of um heated discussions about
1:00:50certain scenes and this is a this is a
1:00:52song that I never felt necessarily
1:00:56was tied to anything in particular in
1:00:58the film although Trevor loves the song
1:01:00so we just finally gave in we're getting
1:01:03a lot of criticism for not having
1:01:05included songs like gigantic and debaser
1:01:07right so we're going to send all that
1:01:09criticism your way Trevor thank you
1:01:11taking up one of the slots in our movie
1:01:13with cactus t ristow r i s w
1:01:16earthlink.net you got to cut that one
1:01:21out I miss your bread and I your it
1:01:26doesn't mean you're not
1:01:29D so spill your breakfast and trip your
1:01:33wine
1:01:35just
1:01:44when this is actually uh this was
1:01:47outside steepen where was this
1:01:49Atlanta or Houston maybe this was
1:01:52outside Atlanta yeah um this is to me
1:01:56another example of the Pixies sort of
1:01:58becoming slightly more isolated from
1:02:00their fans and just sort of getting worn
1:02:03down by the road and also the dichotomy
1:02:05between how they perceive themselves and
1:02:07how their fans perceive them these fans
1:02:08are crazed just to be in their presence
1:02:11and yet behind the thin tinted glass
1:02:13windows of that van There's real
1:02:16Melancholy and tension and sadness going
1:02:18on among amongst real
1:02:23people this is a scene we call the inter
1:02:25vention scene because they were just not
1:02:27talking to each other and Dave was
1:02:29really he was falling off the cliff and
1:02:31cracking jokes about doing drugs and
1:02:34finally Charles kind of who is the
1:02:36father of the band kind of became the
1:02:38father here and started to finally broke
1:02:42the ice and he didn't want to be filmed
1:02:44so well that's a beautiful shot of John
1:02:46fans's Knee because Charles pushed the
1:02:49camera down cuz he didn't want I think
1:02:52initially he didn't want this stuff on
1:02:53camera Jonathan had the wherewithal to
1:02:56not turn the camera off and when we
1:02:57showed it to the band I think Charles
1:02:59agreed that this was this is an
1:03:01important moment this was uh you know a
1:03:03true reaching out to someone that you
1:03:07know Charles actually had a great deal
1:03:09of affection for it's amazing that the
1:03:10scene works because there's no sync
1:03:12dialogue at all except for Kim's first
1:03:14line that's the only sync dialogue line
1:03:17it's also amazing because based on
1:03:18what's what is actually said is not
1:03:21particularly dramatic um and yet for
1:03:24this band it it is quite dramatic and
1:03:27noteworthy that that much was
1:03:31said it's funny people have compared at
1:03:35least the intentions of this film to the
1:03:37Metallica documentary some kind of
1:03:38monster and that is like the only I mean
1:03:41that moment that just passed was the
1:03:43only moment that even remotely comes
1:03:45close to the sort of emotional intimacy
1:03:47of that film you know right as far as
1:03:49the way they're communicating with one
1:03:51another it's like this is sort of the
1:03:53opposite it's like the Yang to to that
1:03:54film's Ying
1:04:04yeah Dave did curtail his substance
1:04:06abuse for the duration of the
1:04:09tour and to this day has
1:04:13really cut back significantly the
1:04:16section is Matt Matt galin's brainchild
1:04:19the new morning in
1:04:21America uh I think we all felt at this
1:04:24moment that the film needed a a mood
1:04:28shift sort of hinting at a resolution
1:04:30that was going to be coming up and this
1:04:33was a very late addition into the film
1:04:35actually and I think once again Daniel
1:04:37enois score just really drives it home
1:04:40and this this section uh that indicates
1:04:43or that represents that sort of change
1:04:45in Gears or change in tone it's not it's
1:04:47not artificial it mirrors uh or
1:04:50Parallels um the actual events of the
1:04:53tour one more we're done
1:04:57uh this aquarium scene is actually in
1:04:58New Orleans you can imagine what's
1:05:01happened to the aquarium that was on the
1:05:03water in the wake of Hurricane Katrina
1:05:05it's a sad
1:05:09story I think Charles having become the
1:05:12father of the band was now more open to
1:05:15our filming his being a father to his
1:05:17family and together had told us that
1:05:19he'd be going to the aquarium and we
1:05:20arranged for access to film there just
1:05:23so you know this is like you're going do
1:05:26this is me showing you how much I love
1:05:28you that's his stepson
1:05:31Julian they've got a really wonderful
1:05:33relationship with each other and at this
1:05:34point Violet is probably about five or
1:05:37five months pregnant just go for it just
1:05:41live to help me should I help you okay
1:05:44I'll help
1:05:52you this is a lot of people say this is
1:05:55the most
1:05:56beautiful image of the film I think
1:05:58while we were shooting it we knew it was
1:05:59going to be the most beautiful image of
1:06:00the film was just such a beautifully lit
1:06:02aquarium look at
1:06:04that Paul deits ladies and
1:06:12gentlemen just want to mention uh at
1:06:15this point
1:06:17um that a lot of these live songs were
1:06:22cut by our wonderful talented IND
1:06:25ensable associate editor Christina
1:06:28Fontana and was originally planned that
1:06:31she would pre-cut them and hand them
1:06:33over to me for finishing but I found
1:06:37that the pre-cut versions that I got
1:06:39were were finished in and of themselves
1:06:42and a lot of her uh work made it in here
1:06:45untouched this is the song vamos which
1:06:47actually as they played on tour in fact
1:06:50as the tour went on they just played
1:06:52extended versions of the song where Joey
1:06:54would do a blistering guitar solo that
1:06:56went on and on and on and in the long
1:06:58version of the cut that we were talking
1:07:00about we played the entire version of
1:07:02bamos and it actually stayed in the film
1:07:04for quite a while towards towards our
1:07:06Final Cuts I think in the back of our
1:07:08mind we always knew it wouldn't last
1:07:10yeah this this was the the best I think
1:07:12guitar solo that was captured on the
1:07:15road and actually right when around the
1:07:17beginning of the process um we were
1:07:20looking on the um fan forums to try to
1:07:24kind of get a sense of what the fans
1:07:26were really excited about you know try
1:07:28to get a sense of maybe what could go
1:07:30into the film and time and time again uh
1:07:33I was noticing that the fans were
1:07:35consistently interested in discussing
1:07:38the minutia of Joey's guitar solos
1:07:41during vas which strings did he break
1:07:43what did he use to strike the strings
1:07:45was he on the left side or the right
1:07:47side of the stage which pedals did he
1:07:48use which combination of effects it was
1:07:51uh truly obsessive and so I think we
1:07:53decided fairly early on to put in a
1:07:55guitar solo from vas eventually it did
1:07:57get trimmed down to become part of the
1:07:59Montage of Joey finishing the score of
1:08:01the film but well ultimately we decided
1:08:03to be slaves to making to telling the
1:08:05best story possible and we had to
1:08:06compress time we weren't making a film
1:08:08that was for the pixie fanatics but to
1:08:09really make the best film possible
1:08:11that's right and also those we
1:08:13compressed vamos and Incorporated Joy's
1:08:16finishing scoring his film and in fact
1:08:19Joy's scoring his documentary including
1:08:21the other members of the band there you
1:08:23saw
1:08:24Charles helping out with uh a ukulele
1:08:27and you've already seen Kim contributing
1:08:30vocals but interestingly enough um the
1:08:33the score that Joey was working on on
1:08:35the tour was was actually the only
1:08:37recorded music that all four members of
1:08:39The Pixies contributed to well I guess
1:08:42they did the demo for Shrek but for a
1:08:43long
1:08:48time we get a lot of comments on how
1:08:51beautifully the music in this film was
1:08:55recorded and mixed Matt yelton who was
1:08:58the pixie uh sound mixer on the tour
1:09:01agreed to mix all of the songs for our
1:09:03film
1:09:05and you know we all think he did an
1:09:07absolutely beautiful job in a theater
1:09:09it's really something to
1:09:12hear was the worst [ __ ] recording
1:09:14studio I've ever been to my life I think
1:09:16for for all of us this kind of became
1:09:18the ultimate coming together moment Joey
1:09:20who was the most critical of Dave and
1:09:22the most upset about the direction
1:09:23things were going
1:09:25uh invites Dave into his room and asks
1:09:28him to contribute to his documentary
1:09:30score and to put the finish the most
1:09:32communication they had had with each
1:09:33other sort of a welcoming back into the
1:09:36fold of David people never laugh at the
1:09:39uh when Joey says this is the worst
1:09:41[ __ ] recording studio I've ever been
1:09:42in I don't think anyone gets that I
1:09:43think people actually think that he's in
1:09:45a recording studio but he's actually in
1:09:46his hotel room and this is the way he's
1:09:48been recording the whole score a
1:09:49portable kind of protool setup that he
1:09:52sets up in every summer he sets it up on
1:09:54the ironing table which is what he's
1:09:56using as his mixing console right now
1:09:59certainly within the framework of the
1:10:00film his documentary became sort of
1:10:03emblematic of the pixie's communication
1:10:05when he was doing on his own he was
1:10:06really struggling and then towards the
1:10:08end he invited the band to help him and
1:10:09became the vehicle by which the band
1:10:12began to communicate more with each
1:10:13other must be a pretty good
1:10:17score it's where to live right over here
1:10:20Richard the Pixies are now in Boston
1:10:22driving through downtown and originally
1:10:24we had a very extended
1:10:28sequence which took place uh I think in
1:10:31L between L and Amur is that right or
1:10:34maybe just L where John Murphy who was
1:10:37Kim's ex-husband and a bunch of old
1:10:38friends that the band hadn't really seen
1:10:40since the late 80s were Melissa who is
1:10:42Charles's first girlfriend yeah um they
1:10:45all showed up at a show and there's
1:10:48extended backstage scene where there was
1:10:50you know they went through a lot of old
1:10:51pixie paraphernalia and old recordings
1:10:53of the band and it's a really beautiful
1:10:55scene but it we realized towards the end
1:10:58of this process that it that scene was
1:11:00either all or nothing it's like we
1:11:02either are there for 15 minutes or it
1:11:04just needs to be removed and we ended up
1:11:06making that tough choice of taking it
1:11:08out of the
1:11:09film um for the sake of the overall
1:11:12pacing of the film because at this point
1:11:14I think we all felt like we need to be
1:11:17hurdling towards our
1:11:19resolution but it is a good sequence
1:11:22hopefully some of you out there will get
1:11:24to see that one day
1:11:29this is kind of an intimate
1:11:31moment it always gets a big laugh at the
1:11:33screenings Kelly asked Kim if it's her
1:11:36first John to New York City sober and
1:11:38she says after thinking about it she
1:11:40says yes it is you can just imagine how
1:11:43many times she's been to New York
1:11:44through the
1:11:45years and that's her first trip ever to
1:11:47New York City sober it's actually
1:11:50typical deal sisters interaction where
1:11:52it's actually a very important and
1:11:55intimate and moment but uh they discuss
1:11:58it with each other leavened with a
1:12:02healthy dose of humor they're extremely
1:12:05funny women extremely funny and they
1:12:09have this sense of humor between the two
1:12:11of them they just riff off each other in
1:12:13this way that only sisters can this is
1:12:17pulling into New York this is the last
1:12:18stop in their
1:12:19tour by this point they were all really
1:12:22excited to be going home Joey was like
1:12:25doing all he could do not to be running
1:12:26through the lobby to go see his family
1:12:29here think they were excited to be
1:12:31finishing up and going home for a while
1:12:33this was nearing Christmas time in New
1:12:35York City which is a nice time to be
1:12:38around
1:12:39now I think Valentina looks up and sees
1:12:42our camera and I think doesn't give her
1:12:44father
1:12:45the the hug and kiss he was open for you
1:12:48it's kind of kind of kind of a sad
1:12:50little moment you know he hadn't seen
1:12:52her for months and we ruined it for
1:12:58him Kim and Valentina actually have a
1:13:00great little relationship Valentina
1:13:02loves
1:13:04Kim Joe I'm your dad how you
1:13:14doing this guy Austin skags uh ended up
1:13:17being really great and cooperating with
1:13:19us but he didn't even know what he was
1:13:20walking into I mean we basically were
1:13:22filming Charles and he just showed up to
1:13:24do this interview and we slapped a mic
1:13:26on him and threw him in the room
1:13:27and and it worked I mean it's this ended
1:13:30up being a very fruitful scene and I
1:13:33mean I I personally think that this is
1:13:34probably the most honest emotional
1:13:38interview that we've seen Charles give
1:13:40in the entire
1:13:41film similarly with Kim here Kelly I
1:13:45don't know if she really felt like she
1:13:46was interviewing Kim I think for Kelly
1:13:48was more conversational but for us it
1:13:50really served as being a key end of the
1:13:52tour interview these people they just
1:13:55don't talk about these issues very often
1:13:57you know so with each other Kim and
1:13:59Kelly have a have an easy time talking
1:14:01about it between the two of them I mean
1:14:03the in the in Charles's interview it's I
1:14:05think it's effective because he's saying
1:14:07you know
1:14:09some personal stuff he's obviously
1:14:12expressing that he wishes you know for
1:14:14the Pixies to continue on as a band and
1:14:16to get back in the studio and be a
1:14:19living breathing entity but he doesn't
1:14:20say that to the rest of the band he has
1:14:22to say it to a rolling stone reporter
1:14:25and you get the sense watching the film
1:14:27that while Charles is interested in
1:14:29getting back into the studio and
1:14:31recording another album with the pixies
1:14:32that he hasn't actually proposed that
1:14:36idea to the band in any kind of official
1:14:37capacity that's the sense you get
1:14:39watching the film and I think that's
1:14:41true and in a strange kind of way the
1:14:43film becomes the way that information
1:14:45has been communicated to the band I
1:14:47don't think that necessarily means it's
1:14:48that they're going to make an album but
1:14:49they've all seen the film and that's
1:14:51right but my guess is that the band
1:14:52watching this film it's the first time
1:14:54they've heard Charles so enthusiastic
1:14:55about recording another Pi people
1:14:57actually asked Steven and I about
1:15:00whether they thought whether we thought
1:15:01that the band ended up communicating
1:15:03much better throughout the course of the
1:15:04tour and our answer was we actually
1:15:07think they communicated better after
1:15:09seeing this film because during the
1:15:10course of the tour they were just sort
1:15:11of stuck in the ruts that they always
1:15:13had and I think it was only after seeing
1:15:17this pretty personal intimate portrait
1:15:20of them they realized some of the
1:15:22Dynamics that were always at play Jo
1:15:25came up to me after the band screening
1:15:27and said I feel like we all need group
1:15:30therapy maybe some kind of monster too
1:15:33that seems pretty self-evident though
1:15:35little indirect pressure Charles opened
1:15:37up to this interviewer more than any
1:15:40other of the Dozen maybe or half dozen
1:15:43interviews that they were able to film
1:15:45on the road I think because this guy
1:15:48really knew Charles music he knew all
1:15:50the songs he was really familiar with
1:15:52Charles as yet unreleased solo album and
1:15:54all the songs on them he was very
1:15:56enthusiastic about listening to it he
1:15:57knew all the musicians who had played on
1:15:59it and Charles at heart is the way
1:16:02Matthew is described to me it's really
1:16:03true he's a music fan over and above
1:16:05everything else he is a big fan of Music
1:16:07he just loves lives and breathes
1:16:10music this is the uh pre-show for their
1:16:13last show of the tour their last concert
1:16:15was actually two nights in New York and
1:16:17this is the before the late concert so
1:16:19after this whole tour they did two shows
1:16:20in one night it's hard to hear it in
1:16:22this scene but um they're discussing the
1:16:25set list and Charles says have a good
1:16:26last show Kim and Kim says have a good
1:16:28last show David and despite the fact
1:16:30that they must be absolutely exhausted
1:16:32here they're taking the stage they seem
1:16:34almost giddy yeah the second show it was
1:16:36actually at
1:16:38midnight and this is Jonathan
1:16:41fansy following them and then having the
1:16:45wherewithal to let them walk out of
1:16:46frame this is one of my favorite shots
1:16:48in the film and was actually a little
1:16:50bit of a late Comer to the film again uh
1:16:54they used just go straight into the song
1:16:56and uh Matthew said I think in the
1:16:58editing we we're just lacking some kind
1:17:00of dramatic moment where they take the
1:17:02stage for the final show of the tour and
1:17:04we went back through the scoured through
1:17:06the tapes and found that shot that had
1:17:08been
1:17:10unlocked so I don't know if you remember
1:17:12but in the early rehearsal they struggle
1:17:14through hey this is the one that Kim has
1:17:15to go listen to on our iPod and they do
1:17:19such an incredible version of it here at
1:17:20the end we decided to end on that the
1:17:23sort of show that they completely come
1:17:25full circle and come together as a
1:17:29band it seemed at first to me a strange
1:17:33choice to
1:17:35end the movie on this particular song
1:17:38because it wasn't it's not gigantic and
1:17:40it's not Here Comes Your Man but um it
1:17:42was pointed out to me that it was um
1:17:45very Soulful song and and triumphant in
1:17:48many ways well it has the wonderful
1:17:51lyric we're chained as the chorus and I
1:17:54think
1:17:55they increasingly got to understand that
1:17:57their place in rock history is with each
1:17:59other and that they were really chained
1:18:01together and to illustrate that point
1:18:03this is the only moment that we chose to
1:18:05use old footage of the band I mean I
1:18:08think it really hammers home it's idea
1:18:09that these people have been on this
1:18:11journey together for you know basically
1:18:1320 years uh and they're all looking you
1:18:18know younger
1:18:20happier back then but it it it came full
1:18:23circle this whole experence
1:18:26and also I think um to one degree or
1:18:29another after the pixie split and they
1:18:31all went their separate directions each
1:18:33of the band members struggled a lot in
1:18:36their in their creative lives and when
1:18:39the band got back together I think that
1:18:41they realized and certainly we all as
1:18:43observers realized that that these that
1:18:46this band was more than just the sum of
1:18:48its parts that these four individuals
1:18:50were were never better than when they
1:18:52were together performing as the Pixies
1:18:55it's strange things with a lot of bands
1:18:58they the egos kind of outgrow the band
1:19:00and everyone thinks they can go make it
1:19:02a solo artists but very rarely I think
1:19:04do the solo artists out Shine the magic
1:19:09of the band when that band chemistry
1:19:13works there's nothing like
1:19:21it one of the things that was very
1:19:25fascinating to Steven and me early on in
1:19:29this process was that there's very
1:19:31little documentation of the Pixies in
1:19:33their original run I mean there was
1:19:35almost no video footage very few still
1:19:38photos and for such a heavily
1:19:40influential band to be so
1:19:42underdocumented
1:19:43was fascinating to us I think it's made
1:19:47us feel some pressure in making the film
1:19:49that this is the definitive pixie
1:19:51documentary in all likelihood they will
1:19:52not continue as a band I don't think
1:19:55they'll be recording any new material I
1:19:57think the tour will come to an end right
1:20:00now they're about to go play Eastern
1:20:01Europe but I think that could be the end
1:20:04and this will go down as the definitive
1:20:07Pixies
1:20:08film which is some pressure I guess yeah
1:20:11and it was also very conscious not to
1:20:13pull off all of the layers of the onion
1:20:15you know we wanted to keep intact that
1:20:18sense of mystery about this band and you
1:20:20know I think to varying degrees of
1:20:22success we did that that we don't
1:20:24explain everything there is to know
1:20:27about this band it's it's more of
1:20:29a an observational portrait of four
1:20:33people and that was certainly Our
1:20:35intention from the beginning well you
1:20:37really get a sense that the magic of
1:20:39their togetherness is greater than some
1:20:41of the parts musically but they did get
1:20:44thunderous Ovations after every show and
1:20:46this is occurring at probably 2:15 2:30
1:20:49in the morning in New York which is
1:20:50granted a great late night City but the
1:20:53crowd just stayed and cheered and
1:20:55cheered and nobody left I think at the
1:20:58end of the tour I mean you and I watched
1:21:00what 60 or 70 pixie shows I think this
1:21:03was the best show I have ever seen them
1:21:05play and that was the last show of the
1:21:06tour midnight show and it was just
1:21:09Flawless just kept getting
1:21:13better they just had it down by the end
1:21:16of the tour they were
1:21:18just the consumate
1:21:20professionals my father was sitting with
1:21:22your soon to be wife at this show your
1:21:24father was wearing a tuxedo wearing a
1:21:26tuxedo cuz he just come from his office
1:21:27party my father became a pixie fan in
1:21:30the making of This film I think he had
1:21:32never experien something so electric and
1:21:35energetic
1:21:36before while wearing in tuxedo well they
1:21:39did see Peter Paul and Mary in their
1:21:41Heyday when they went electric
1:21:48right and it's pretty clear that it's
1:21:50over here that they're not going to be
1:21:51playing any more songs and the just
1:21:53nobody Leed I think it's amazing
1:21:54nobody's even making a motion towards
1:22:00Le and our last loud quiet moment of the
1:22:03film is right there so this was the
1:22:05payoff we were talking about before well
1:22:08everyone waits for Monkey Gone to Heaven
1:22:09so most people's favorite pixie song I
1:22:14think so we gave it to him in this
1:22:17strange form at first I was startled at
1:22:19how good this band actually sounded I
1:22:21think a lot of people who see this film
1:22:23are I mean I mean you know for
1:22:2515-year-old
1:22:26kids uh it's not so bad certainly better
1:22:29than my band when I was
1:22:3115 just to finish what I was saying that
1:22:33last s so we so we gave them monkey god
1:22:35to heaven in this kind of unexpected
1:22:37strange form made them wait till the
1:22:40very end and then this is what we gave
1:22:44him Matthew didn't you play drums with
1:22:48this band on a couple numbers that's
1:22:50true I sat in did you do stairway yeah
1:22:53well it was the uh the heavier part of
1:22:55Stairway to Heaven at the the end of the
1:22:57song they they knew this
1:22:59song and they knew G I think they knew
1:23:02the beginning of gigantic and they knew
1:23:04how to place the heavy part of Stairway
1:23:06to Heaven so right you know I'm a big
1:23:09bonom fan right I filled in I sat in I I
1:23:13can't remember the name of this
1:23:16band anyway Trevor this was your idea I
1:23:19think to B these two things together
1:23:20wasn't it yes it was somebody um I think
1:23:23one of you guys said that Carla's band
1:23:26just uh you know couldn't sustain the
1:23:29whole song so we mixed it into the pixie
1:23:32song but I do remember actually the day
1:23:35after you had shot that footage of
1:23:38Carla's band in that basement literally
1:23:40the day after you called me at the stick
1:23:42figure offices where I was editing and
1:23:44you said I think I found the ending to
1:23:47our film um the pixie music has seeped
1:23:52out into the world and is starting bands
1:23:55in garages in suburbs Across America and
1:23:58that's how the film will end and U we
1:24:00actually played with a lot of different
1:24:03endings to the film but finally came
1:24:06back to that idea which was was yours
1:24:09from the beginning oh
1:24:17Trev uh people did this on every every
1:24:21venue every venue every night people all
1:24:24did this hand thing but going back to
1:24:26the basements of America thing what was
1:24:28so funny about that band was that they
1:24:29know two songs Pixies and Lead Zeppelin
1:24:32it's like that basically shows you that
1:24:34the Pixies have now entered the the
1:24:36pantheon of uber successful rock
1:24:41bands well we've managed to talk over
1:24:43the entire film I don't know if anyone's
1:24:45stuck with us through the end my past
1:24:48director's commentaries I've given my
1:24:49email address and said if you listened
1:24:51all the way through you should send me
1:24:52an email so I'll do that again here it's
1:24:54info at Stickfigure productions.com if
1:24:58you listened all the way through let me
1:24:59know I'd be
1:25:05impressed that's it for the show folks
1:25:08thank you very much for listening and uh
1:25:10here just at the very end we have this
1:25:12nice shot of Joey that's a natural shot
1:25:14he just disappears into the black as do
1:25:17we

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