|
24 Hour Party People
|
| 00:00:41 |
(wind whistles) |
| 00:00:44 |
ls it a bird? ls it a plane? |
| 00:00:46 |
No, it's the latest craze |
| 00:00:50 |
To be honest, l'd rather be |
| 00:00:54 |
You're supposed to have |
| 00:00:56 |
Granada Reports don't have |
| 00:00:58 |
..so l'm just going to literally |
| 00:01:02 |
This is very possibly the late |
| 00:01:06 |
Wish me luck. |
| 00:01:10 |
Just pull the bar in |
| 00:01:13 |
Hear it flapping, it's OK. |
| 00:01:15 |
Pull it in till it's flapping again. |
| 00:01:17 |
One, two, three, go. |
| 00:01:19 |
(# Wagner: Ride Of The Valkyries) |
| 00:01:22 |
Whoa- |
| 00:01:24 |
Whoo- |
| 00:01:26 |
(laughs) |
| 00:01:29 |
l'm flying- |
| 00:01:30 |
This is a physical... high. |
| 00:01:34 |
A physical, legal high. |
| 00:01:46 |
This is the most amazing feeling, |
| 00:01:51 |
Ooh. |
| 00:01:53 |
Forward, forward... Whoa- |
| 00:01:57 |
Whoa- |
| 00:01:59 |
Whoo- |
| 00:02:01 |
He-hey- |
| 00:02:03 |
Oof- |
| 00:02:04 |
Help. There's a barbed-wire fence- |
| 00:02:07 |
There's... |
| 00:02:10 |
No- |
| 00:02:13 |
Ohh. |
| 00:02:14 |
Shit. |
| 00:02:19 |
Whoa- |
| 00:02:21 |
Aah- Fucking hell- |
| 00:02:25 |
Well, l'm battered,... |
| 00:02:27 |
..l'm bruised,... |
| 00:02:29 |
..l've done something unfortunate |
| 00:02:32 |
..and l'm utterly elated. |
| 00:02:34 |
l'll definitely be doing it again. |
| 00:02:37 |
This is Tony Wilson, a shadow of |
| 00:02:41 |
Back to the studio. |
| 00:02:42 |
Take care. l'm sure l'll be in touch. |
| 00:02:46 |
- No problem. |
| 00:02:51 |
(sighs) |
| 00:02:56 |
You're, er, gonna be seeing a lot more |
| 00:02:59 |
All of that actually did happen. |
| 00:03:01 |
Obviously it's symbolic, |
| 00:03:04 |
l don't wanna tell you too much, |
| 00:03:06 |
..er, but l'll just say ''lcarus''. |
| 00:03:08 |
lf you don't know what l mean, OK. |
| 00:03:14 |
(# Happy Mondays: |
| 00:03:32 |
# How old are you? |
| 00:03:34 |
# Are you old enough? |
| 00:03:38 |
# Should you be in here watching that? |
| 00:03:46 |
# And how old are you? |
| 00:03:49 |
# Are you old enough? |
| 00:03:53 |
# Should you be in here with |
| 00:04:02 |
# 24 hour party people |
| 00:04:06 |
# Plastic face, can't smile |
| 00:04:09 |
# With the 24 hour party people |
| 00:04:13 |
# Plastic face, can't smile |
| 00:04:16 |
# You can't beat 'em |
| 00:04:19 |
# So why don't youjoin in? |
| 00:04:24 |
# You cannot beat 'em |
| 00:04:27 |
# So why don't youjoin in with |
| 00:04:32 |
# 24 hour party people |
| 00:04:36 |
# Plastic face, can't smile |
| 00:04:39 |
# With the 24 hour party people |
| 00:04:43 |
# Plastic face, can't smile |
| 00:04:58 |
- How's the Birdman of Derbyshire?- |
| 00:05:00 |
Loved the hang-gliding- |
| 00:05:02 |
See? What are you complaining about? |
| 00:05:04 |
He doesn't have to deal with |
| 00:05:07 |
The consequences? |
| 00:05:08 |
- The possibility of death. |
| 00:05:11 |
How's that supposed to be |
| 00:05:14 |
l realise the danger involved... |
| 00:05:16 |
Well, let me tell you, l am not doing |
| 00:05:20 |
- Hello, Tony. |
| 00:05:21 |
- Ooh, Alan... |
| 00:05:23 |
Alan, did you see the hang-gliding |
| 00:05:26 |
- Oh, l did, yeah. |
| 00:05:29 |
- l know people phoned in. |
| 00:05:31 |
l know, but the public, let me |
| 00:05:35 |
l went to Cambridge University, |
| 00:05:37 |
l'm a serious... Hello, love. |
| 00:05:39 |
..in one of the most important |
| 00:05:42 |
- There's no need to swear. |
| 00:05:45 |
The Buzzcocks can't play |
| 00:05:49 |
So it's just the Sex Pistols. |
| 00:05:53 |
(# No Fun) |
| 00:06:21 |
# No fun, my babe |
| 00:06:24 |
# No fun |
| 00:06:28 |
# No fun, my babe |
| 00:06:31 |
# No fun |
| 00:06:35 |
# No fun to be alone |
| 00:06:38 |
# Alone and by myself |
| 00:06:41 |
# No fun to be alone |
| 00:06:44 |
# ln love |
| 00:06:47 |
# With nobody else # |
| 00:06:52 |
June 4th 1976. The Sex Pistols play |
| 00:06:57 |
There are only 42 people |
| 00:06:59 |
..but every single one is feeding on |
| 00:07:04 |
lnspired, they will go out |
| 00:07:07 |
For instance, Howard Devoto, at |
| 00:07:12 |
They organised this gig. |
| 00:07:13 |
They're way ahead |
| 00:07:15 |
They're already the Buzzcocks. |
| 00:07:17 |
# Ever fallen in love? |
| 00:07:19 |
# Ever fallen in love? # |
| 00:07:21 |
Howard later sleeps with my wife. |
| 00:07:23 |
Behind me are Stiff Kittens,... |
| 00:07:25 |
..soon to become Warsaw, |
| 00:07:29 |
..finally to become New Order. |
| 00:07:30 |
- (# World ln Motion) |
| 00:07:33 |
- (crowd) # ln-ger-land |
| 00:07:36 |
Ginger nut: Mick Hucknall. |
| 00:07:39 |
# l can't even qualify |
| 00:07:44 |
That's John the Postman. |
| 00:07:46 |
He's... a postman. |
| 00:07:50 |
And that guy dancing at the front, |
| 00:07:53 |
..the only bona fide genius |
| 00:07:58 |
Well, one of the only two |
| 00:08:02 |
He will later try to kill me. |
| 00:08:11 |
# No fun |
| 00:08:13 |
# My babe |
| 00:08:14 |
# No fun |
| 00:08:18 |
# No fun, my babe |
| 00:08:21 |
# No fun |
| 00:08:25 |
# No fun to be alone |
| 00:08:28 |
# Alone and by myself |
| 00:08:31 |
# No fun to be alone |
| 00:08:35 |
# ln love |
| 00:08:37 |
# With nobody else # |
| 00:08:41 |
Goodnight, Manchester. |
| 00:08:45 |
Thanks for your bullshit. |
| 00:08:51 |
# Louie, Louie |
| 00:08:52 |
# Whoa |
| 00:08:54 |
# We gotta go |
| 00:08:56 |
# Yeah |
| 00:08:58 |
# Louie, Louie |
| 00:09:00 |
# Whoa, they know, they know # |
| 00:09:05 |
Must go. |
| 00:09:08 |
Oh, no, not David. No. |
| 00:09:11 |
He goes. |
| 00:09:15 |
- (sighs) |
| 00:09:18 |
These jeans, they sort of, er,... |
| 00:09:22 |
- (# John Martyn: SolidAir) |
| 00:09:23 |
l'm telling you, they cut... |
| 00:09:27 |
You're not a regular shape, |
| 00:09:31 |
- Pardon? |
| 00:09:33 |
- What do you mean? |
| 00:09:36 |
(laughs) l have not got big hips. |
| 00:09:39 |
Yeah, you have. |
| 00:09:42 |
That's fucking ridiculous... |
| 00:09:45 |
- You've got bigger hips than me. |
| 00:09:48 |
lt's really good stuff, isn't it? |
| 00:09:50 |
Yeah, this is good. |
| 00:09:53 |
Mate of mine brought it back |
| 00:09:57 |
What, Caribbean? |
| 00:09:59 |
Rhyl. The Sun Centre in Rhyl. |
| 00:10:04 |
Right. |
| 00:10:07 |
Right. |
| 00:10:10 |
l would describe it as history. |
| 00:10:12 |
How could it be history? |
| 00:10:14 |
What difference does that make? |
| 00:10:17 |
Er, 1 2. |
| 00:10:18 |
Well, er, 1 3 including Jesus. |
| 00:10:20 |
- Hi, Tony. Have you recovered? |
| 00:10:24 |
ln other words, not many. How many |
| 00:10:27 |
- l don't know, Tony, you tell me. |
| 00:10:31 |
l'm Tony Wilson. |
| 00:10:34 |
On tonight's show l'll be talking to |
| 00:10:38 |
Apparently he'll be hanging a dwarf |
| 00:10:41 |
But, first, two minutes |
| 00:10:44 |
..since Elvis walked into |
| 00:10:47 |
The Sex Pistols and Anarchy ln The UK. |
| 00:10:50 |
# And l am an anarchist |
| 00:10:54 |
# Don't know what l want |
| 00:10:56 |
# l wanna destroy the passer-by |
| 00:10:59 |
# Cos l |
| 00:11:02 |
# l wanna be... # |
| 00:11:06 |
ln 1976 two or three people controlled |
| 00:11:10 |
And they didn't like punk. |
| 00:11:12 |
So, for a year,... |
| 00:11:14 |
..ifyou wanted to see the most |
| 00:11:17 |
..they were on a regional show |
| 00:11:21 |
My show. |
| 00:11:23 |
- (# Make Up 2 Break Up) |
| 00:11:26 |
# Foundation on my face |
| 00:11:29 |
# Shadow on the cheekbones |
| 00:11:32 |
# Hides the gaze of death's face |
| 00:11:34 |
# A death's-head thrown across me |
| 00:11:37 |
# Sitting, sitting, sitting |
| 00:11:40 |
# Sitting out of place # |
| 00:11:43 |
(# The Passenger) |
| 00:11:44 |
# What does he see? |
| 00:11:48 |
# He sees the bright and hollow sky |
| 00:11:52 |
# He sees the stars come out tonight |
| 00:11:55 |
# He sees the city's ripped backsides |
| 00:11:59 |
# And all the winding ocean drive |
| 00:12:02 |
# And everything was made |
| 00:12:06 |
# All of it was made for you and me |
| 00:12:08 |
# lt just belongs to you and me |
| 00:12:12 |
# Let's take a ride... # |
| 00:12:14 |
- (# ln The City) |
| 00:12:17 |
# l wanna say |
| 00:12:20 |
# l wanna tell you |
| 00:12:22 |
# About the young ideas |
| 00:12:25 |
# You'd better listen |
| 00:12:28 |
- (# No More Heroes) |
| 00:12:32 |
# Dear old Lenny? |
| 00:12:35 |
# The great Elmyra?... # |
| 00:12:38 |
The Stranglers. Amazing. |
| 00:12:40 |
- Class act, that. |
| 00:12:42 |
- They're a bunch of wankers. |
| 00:12:45 |
(# Karl Denver: Wimoweh) |
| 00:12:47 |
- This is better. |
| 00:12:49 |
Now, this guy... |
| 00:12:52 |
l fuckin' love this guy. |
| 00:12:54 |
Listen to that voice. |
| 00:12:56 |
# Ah-woo ee-oo-ee-oo |
| 00:13:00 |
- Listen to him. |
| 00:13:03 |
Nah, man, that's part of it, |
| 00:13:06 |
- Oh, no, l don't know about that. |
| 00:13:08 |
# (yodels) # |
| 00:13:11 |
Guy with the handlebar moustache, |
| 00:13:14 |
This is Shaun Ryder |
| 00:13:17 |
Later they become the Happy Mondays |
| 00:13:21 |
- (# Lazyitis) |
| 00:13:24 |
# One child grows up to be... # |
| 00:13:28 |
We'll be hearing more |
| 00:13:30 |
..but right now l'm getting tired |
| 00:13:34 |
..so l'm about to open |
| 00:13:38 |
lt's, er... |
| 00:13:40 |
- lt's a bit of a dump, isn't it? |
| 00:13:42 |
- Go round to the left, Tony. |
| 00:13:46 |
Yeah, well, it's urban, it's exciting. |
| 00:13:49 |
(dogs bark) |
| 00:13:50 |
You don't think those kids |
| 00:13:53 |
- They're not gonna nick the car. |
| 00:13:56 |
- Right, the reason we're here... |
| 00:13:59 |
Because of the explosion of music |
| 00:14:02 |
..there's lots of exciting |
| 00:14:04 |
..and l just think that, culturally, |
| 00:14:07 |
Yeah, to get into a nightclub |
| 00:14:10 |
- Yeah. |
| 00:14:13 |
Well, that's great... |
| 00:14:14 |
..but some people aren't, and they've |
| 00:14:17 |
- l'm Tonay. |
| 00:14:20 |
Sorry, this is Tony. |
| 00:14:21 |
Tonay doesn't believe in, |
| 00:14:24 |
l was just saying, cos it's funny |
| 00:14:27 |
You know what l call television? |
| 00:14:30 |
- ldiot box. |
| 00:14:33 |
We split the door 60/40 to me. |
| 00:14:35 |
The band, they get a crate of ale. |
| 00:14:37 |
- OK. |
| 00:14:40 |
OK. Thank you. |
| 00:14:41 |
Linds. Come on. |
| 00:14:46 |
- lt stinks in here. |
| 00:14:49 |
You never told me he was called Tony. |
| 00:14:52 |
- Who? |
| 00:14:54 |
Tony. There's two Tonys. |
| 00:14:56 |
Yeah? |
| 00:14:57 |
Well, that... that... that... |
| 00:15:01 |
Can you not see |
| 00:15:03 |
He's in charge of the club, l'm in |
| 00:15:07 |
There's two Tonys on equal pegging, |
| 00:15:10 |
- Who's Tony one, who's Tony two? |
| 00:15:12 |
- We'll need some differentiation. |
| 00:15:16 |
He's called Tonay. |
| 00:15:19 |
lt's his fucking surname, Tone. |
| 00:15:21 |
- ls it? |
| 00:15:23 |
lt's a bit grubby. |
| 00:15:25 |
Yeah, l know, but we can get it |
| 00:15:28 |
- Use your scrubbers to clean it up. |
| 00:15:30 |
What is worse, Tony? |
| 00:15:32 |
Well... |
| 00:15:34 |
Sorry to harp on about this, but that |
| 00:15:38 |
- (laughs) |
| 00:15:40 |
Well, there's a hierarchy there |
| 00:15:43 |
Mr Tonay is more important than Tony. |
| 00:15:46 |
''Yes, Mister. No, Mister.'' |
| 00:15:49 |
l've got to have some credibility. |
| 00:15:51 |
Why don't you just call him Don? |
| 00:15:53 |
See if he goes for that. Call him Don. |
| 00:15:57 |
- Don... |
| 00:15:59 |
- (dogs bark) |
| 00:16:02 |
Erm, sort of, er,... New Wave. |
| 00:16:04 |
Kinda indie. |
| 00:16:06 |
- lndian?- |
| 00:16:08 |
(spits) Don't want any of that. |
| 00:16:10 |
- OK. |
| 00:16:12 |
A notion. l'll leave you with this: |
| 00:16:15 |
Get one of them bands in here. They |
| 00:16:19 |
- Leave you with that. |
| 00:16:21 |
- She's thirsty. |
| 00:16:25 |
- l think the name thing went OK. |
| 00:16:28 |
- l was gonna be a don. |
| 00:16:30 |
l was gonna be a Virgil till me mum |
| 00:16:33 |
- No, he means he was gonna be a don. |
| 00:16:36 |
What about a name for the club? |
| 00:16:39 |
Call it Factory. |
| 00:16:43 |
Bit LS Lowry. |
| 00:16:44 |
l just saw a sign on the wall, |
| 00:16:48 |
..and l thought we can have one |
| 00:16:53 |
- (# The Clash: Janie Jones) |
| 00:16:55 |
Mal, when you come down to me,... |
| 00:16:57 |
..can you just make sure |
| 00:17:00 |
Just... OK, if it gets on screen |
| 00:17:03 |
- OK. |
| 00:17:04 |
# He's in love with Janie Jones, |
| 00:17:06 |
That is the Clash, |
| 00:17:08 |
..and, as it goes, so it went. |
| 00:17:11 |
lf you wanna hear good music |
| 00:17:14 |
..and go down to the Factory night |
| 00:17:19 |
Go forth and preach the gospel. |
| 00:17:21 |
# ..how he feels |
| 00:17:23 |
# Pretty bad # |
| 00:17:26 |
There's quite a few. |
| 00:17:29 |
lf they've started letting them in, |
| 00:17:31 |
- Fucking cock- |
| 00:17:33 |
- That's original. |
| 00:17:36 |
- Oh, fuck you. |
| 00:17:37 |
He doesn't care what they say |
| 00:17:41 |
You know that, Alan. |
| 00:17:43 |
- Someone who likes me. Hi. |
| 00:17:45 |
- Yeah. What's your name? |
| 00:17:49 |
- Oh, hello, Mark. |
| 00:17:53 |
Tony, l really miss your programme so |
| 00:17:56 |
Oi, oi. He don't want it to come back. |
| 00:17:59 |
He wants it to be gone forever |
| 00:18:03 |
A man with a grasp of semiotics. |
| 00:18:06 |
- Can l get you half a lager? |
| 00:18:09 |
Right, OK. Right. |
| 00:18:13 |
- Wilson, you fucking cunt- |
| 00:18:16 |
Your drink's coming. |
| 00:18:18 |
- ls he a friend of yours? |
| 00:18:21 |
Out the way, Steve. |
| 00:18:23 |
Hi, Tony Wilson. Pleased to meet you. |
| 00:18:29 |
ls he gonna hit me? |
| 00:18:30 |
- You're quite close to me there. |
| 00:18:33 |
Why? |
| 00:18:35 |
- Cos you're a cunt, mate. |
| 00:18:39 |
- (# You've Heard lt Before) |
| 00:18:42 |
# Taking some time out |
| 00:18:45 |
# Away from the places |
| 00:18:47 |
Got to stop him singing, Tony. |
| 00:18:50 |
lt's avant-garde. |
| 00:18:53 |
lt's very poor. Very poor. |
| 00:18:58 |
- Try and dance to that... |
| 00:19:00 |
Provocatively poor. |
| 00:19:02 |
Appallingly poor. |
| 00:19:04 |
# Oh, you've heard it before # |
| 00:19:06 |
They're not calling you |
| 00:19:09 |
- lt's Brian Epstein. |
| 00:19:13 |
- That's Brian Epstein, you dickhead. |
| 00:19:15 |
- lt's fucking Brian Epstein. |
| 00:19:17 |
lt's George Martin, you knob. |
| 00:19:18 |
Brian Martin the producer, |
| 00:19:21 |
- Come on, let's sit down. |
| 00:19:23 |
(# Digital) |
| 00:19:34 |
The introduction's |
| 00:19:36 |
l think the singer's in the toilet. |
| 00:19:45 |
Where've you been, you twat?- |
| 00:19:55 |
# Feel it closing in |
| 00:19:58 |
# Feel it closing in |
| 00:20:00 |
# A fear of whom l call |
| 00:20:04 |
# Hearing someone call |
| 00:20:06 |
# l feel it closing in |
| 00:20:08 |
# l feel it closing in |
| 00:20:11 |
# Day in, day out |
| 00:20:12 |
# Day in, day out |
| 00:20:14 |
# Day in, day out |
| 00:20:15 |
# Day in, day out |
| 00:20:17 |
# Day in, day out |
| 00:20:18 |
# Day in, day out |
| 00:20:35 |
# l feel it closing in |
| 00:20:38 |
# As patterns seem to form |
| 00:20:40 |
# l feel it cold and warm |
| 00:20:43 |
# As shadows start to fall |
| 00:20:46 |
# l feel it closing in |
| 00:20:49 |
# Feel it closing in |
| 00:20:51 |
# Day in, day out |
| 00:20:53 |
# Day in, day out |
| 00:20:54 |
# Day in, day out |
| 00:20:56 |
# Day in, day out |
| 00:20:57 |
# Day in, day out # |
| 00:21:11 |
(crowd roars) |
| 00:21:20 |
# Louie, Louie |
| 00:21:26 |
- 60/40 to you, we said. |
| 00:21:28 |
There's a pound, get yourself a drink. |
| 00:21:32 |
Yeah. Well... Well... l'm not... |
| 00:21:35 |
Where are we going? |
| 00:21:36 |
Cos,... you know, |
| 00:21:39 |
- Shh. Come on. |
| 00:21:41 |
Let's have a nosh to seal the bargain. |
| 00:21:44 |
- l've eaten, actually,... Don. |
| 00:21:47 |
When the Don's hungry, the Don eats. |
| 00:21:49 |
Wahey- |
| 00:21:51 |
Hello, girls- Your Uncle Don's here. |
| 00:21:53 |
- Come on. Jump in, Tony. |
| 00:21:55 |
- Don't be shy. Come on. |
| 00:21:58 |
- On your knees and eat- |
| 00:22:05 |
Alan, where is he? |
| 00:22:07 |
- Where's who, babe? |
| 00:22:09 |
l think he went out... Aah- |
| 00:22:15 |
- Do you mind if l just... |
| 00:22:17 |
l... You don't mind if l just poke it |
| 00:22:20 |
- (laughs) |
| 00:22:21 |
- Well, that's what l normally do. |
| 00:22:24 |
Come on, Tony, don't be shy- |
| 00:22:25 |
- ls that what you do at home? |
| 00:22:28 |
- (gasps) Feel that. Just have a feel. |
| 00:22:31 |
Oh, aye, yeah. |
| 00:22:32 |
(groans) Do you mind if l touch |
| 00:22:35 |
- Mm-mm. |
| 00:22:37 |
Go on, Tony. |
| 00:22:46 |
Tony? |
| 00:22:47 |
(laughter) |
| 00:22:52 |
Tony. |
| 00:22:53 |
- 'Ey, shut the fuckin' door. |
| 00:22:56 |
- lt's not how it looks, love. |
| 00:22:58 |
What are you doing, Tony? |
| 00:22:59 |
- Come on in, love- Join the party. |
| 00:23:02 |
- Don put me up to it. He made me. |
| 00:23:04 |
- (girl giggles) |
| 00:23:06 |
- lt's not how it seems, right? |
| 00:23:08 |
- lf you're not comin' in, fuck off. |
| 00:23:10 |
- Go on- |
| 00:23:12 |
- What you doing, Tony? |
| 00:23:15 |
That's my wife. |
| 00:23:17 |
- l love you. |
| 00:23:22 |
Can you... Can you finish me off? |
| 00:23:43 |
- God bless. |
| 00:23:52 |
- Hello. |
| 00:23:55 |
You've got the posters?- |
| 00:23:58 |
Yeah, l know. |
| 00:24:00 |
- The gig's over. |
| 00:24:06 |
That's fucking great,... actually. |
| 00:24:08 |
Yeah, it's really nice. |
| 00:24:10 |
lt's beautiful. But useless. |
| 00:24:14 |
..''Nothing useless |
| 00:24:19 |
- You know what? |
| 00:24:21 |
Yeah. |
| 00:24:22 |
- Heather, this is Tony Wilson. |
| 00:24:25 |
You seen Lindsay? |
| 00:24:28 |
She went off with Howard. |
| 00:24:32 |
She, er... |
| 00:24:33 |
She just caught me getting a blow job |
| 00:24:40 |
Better go and get her. |
| 00:24:46 |
- (water runs) |
| 00:24:51 |
(man and woman pant) |
| 00:24:57 |
(clears throat) |
| 00:24:58 |
Excuse me. |
| 00:25:01 |
(Lindsay moans) |
| 00:25:02 |
- Hi, Tony. |
| 00:25:06 |
Erm,... have you got the car keys? |
| 00:25:09 |
- ln me bag. |
| 00:25:12 |
(moaning) |
| 00:25:14 |
l only got a blow job. |
| 00:25:17 |
- (louder moaning) |
| 00:25:20 |
See ya, Tony. |
| 00:25:23 |
All right? |
| 00:25:24 |
(moaning) |
| 00:25:26 |
l definitely don't remember |
| 00:25:29 |
This is the real Howard Devoto. |
| 00:25:32 |
He and Lindsay insisted we made clear |
| 00:25:35 |
But l agree with John Ford. |
| 00:25:37 |
When you have to choose between |
| 00:25:42 |
l thought their name was Warsaw. |
| 00:25:44 |
You can't have a band called Warsaw. |
| 00:25:48 |
People would think |
| 00:25:50 |
Joy Division: |
| 00:25:53 |
lt's when the Nazis, er,... |
| 00:25:57 |
..and, er, had sex with them. |
| 00:25:58 |
Yeah, well, Joy Division, |
| 00:26:01 |
- Well, it's a very Nazi name. |
| 00:26:04 |
Yeah, but it's quite... cheery, |
| 00:26:06 |
- You know: ''joy''. |
| 00:26:08 |
Like a... division of joy |
| 00:26:11 |
- Joy. |
| 00:26:13 |
Let's all say that together. |
| 00:26:15 |
- Joy. |
| 00:26:18 |
Look at that flat-bottomed valley. |
| 00:26:21 |
lt wasn't always crazy |
| 00:26:24 |
Most days we werejust |
| 00:26:26 |
..who wanted all the things |
| 00:26:29 |
Nice house, nice car |
| 00:26:32 |
Enjoy the walk, |
| 00:26:37 |
Would you like a little Tony |
| 00:26:40 |
No, it'd be a nightmare. |
| 00:26:42 |
- l like to be free. |
| 00:26:44 |
OK. All right, that's the last... |
| 00:26:47 |
Two words: body clock. |
| 00:26:50 |
- How are you doing? |
| 00:26:52 |
- Hello, l'm here. |
| 00:26:55 |
That's us. That's us. |
| 00:26:58 |
The majors are the status quo |
| 00:27:02 |
lt's gonna be like a co-op, |
| 00:27:05 |
We pay for the costs and everything |
| 00:27:08 |
50 Factory, |
| 00:27:10 |
Alan's gonna be |
| 00:27:12 |
lt's Red Leb, that. |
| 00:27:15 |
Smell that. |
| 00:27:16 |
l'm giving you total creative freedom. |
| 00:27:19 |
lt's dead fucking simple. |
| 00:27:20 |
You don't like us, you fuck off. |
| 00:27:23 |
l'll write you a contract saying |
| 00:27:26 |
- l'll do it if you want. |
| 00:27:29 |
- Here you are. |
| 00:27:30 |
- You write it... in your own blood. |
| 00:27:33 |
ln the wo... ln the words of |
| 00:27:36 |
- Oh, it ain't legal, this. |
| 00:27:39 |
- Oh, he's done it, he's done it- |
| 00:27:42 |
''l...'' |
| 00:27:44 |
''..Tony...'' |
| 00:27:47 |
How can you read that? |
| 00:27:49 |
l'm not sure that'd stand up in court- |
| 00:27:51 |
What more do you want? He's written |
| 00:28:08 |
Martin?- |
| 00:28:10 |
What you doing?- |
| 00:28:12 |
(coughs) Recording... |
| 00:28:14 |
..silence. |
| 00:28:17 |
You're recording silence?- |
| 00:28:21 |
Now l'm recording Tony fucking Wilson. |
| 00:28:26 |
Erm, we want you |
| 00:28:29 |
Who's us? |
| 00:28:31 |
Er, Factory Records. |
| 00:28:32 |
Right, 50 quid an hour. |
| 00:28:35 |
Plus l wanna be |
| 00:28:38 |
See ya. (coughs) |
| 00:28:41 |
- See ya. |
| 00:28:50 |
Stop, stop, stop. Stop that |
| 00:28:53 |
What's wrong with it? |
| 00:28:56 |
Nothing was wrong |
| 00:28:57 |
..it's just that, erm,... |
| 00:29:00 |
..people have been playing like that |
| 00:29:03 |
..and quite frankly, erm,... |
| 00:29:06 |
Now, let's just try something... |
| 00:29:10 |
Faster but slower. |
| 00:29:14 |
There's logic there somewhere. |
| 00:29:16 |
- (drumming) |
| 00:29:27 |
Right, stop. |
| 00:29:30 |
We're going to have to dismantle |
| 00:29:32 |
You what? |
| 00:29:33 |
How long's that gonna fucking take? |
| 00:29:35 |
l don't fucking know. |
| 00:29:39 |
ls, er.... |
| 00:29:40 |
ls this still costing us |
| 00:29:43 |
We're still workin', aren't we? |
| 00:29:49 |
What l'd like... |
| 00:29:51 |
..is to rebuild it on the roof. |
| 00:29:55 |
On the roof? |
| 00:29:57 |
- Yeah. |
| 00:30:05 |
Bloody hell. |
| 00:30:07 |
(siren) |
| 00:30:11 |
Start playing. |
| 00:30:13 |
How will l know when to stop? |
| 00:30:14 |
Don't worry about stopping. l'll send |
| 00:30:18 |
(plays drum intro |
| 00:30:33 |
Sorry. |
| 00:30:35 |
(softly) Just remember, |
| 00:30:38 |
(# bass intro from She's Lost Control) |
| 00:30:44 |
Right, stop, stop. |
| 00:30:46 |
Hey. |
| 00:30:47 |
Stop- |
| 00:30:48 |
(shouts) Stop- |
| 00:30:50 |
Fucking retard- |
| 00:30:55 |
- You... You wear it very well. |
| 00:30:58 |
You wear it very well, |
| 00:31:03 |
Fucking prick. |
| 00:31:06 |
- Listen to it in the car. |
| 00:31:09 |
We've got to see what it sounds like |
| 00:31:18 |
(# She's Lost Control) |
| 00:31:24 |
# Confusion in her eyes |
| 00:31:27 |
# She's lost control |
| 00:31:30 |
# And she's clinging to |
| 00:31:32 |
l sound like Bowie. |
| 00:31:34 |
- That's good. You like Bowie. |
| 00:31:36 |
ln All The Young Dudes he sings about |
| 00:31:39 |
Do you know how old he is? |
| 00:31:41 |
He's 30, 29, something. |
| 00:31:43 |
Look, it doesn't matter. |
| 00:31:44 |
A lot of great artists produce |
| 00:31:47 |
- You know, WB Yeats... |
| 00:31:49 |
Yeats is the greatest poet since |
| 00:31:53 |
- l would have heard of him, Tony. |
| 00:31:56 |
Listen to it. |
| 00:31:58 |
This is fucking excellent. |
| 00:31:59 |
- Are you listening to it? lt's great. |
| 00:32:01 |
lt is. lt's very good. |
| 00:32:05 |
There's nothing else out there |
| 00:32:08 |
- That's the best thing about it. |
| 00:32:10 |
- You like it? |
| 00:32:11 |
l love what he's done with the drums. |
| 00:32:14 |
Yeah? |
| 00:32:15 |
# And how l'll never knowjust why |
| 00:32:18 |
# She said ''l've lost control again'' |
| 00:32:21 |
# And she screamed out |
| 00:32:24 |
# And said ''l've lost control again'' # |
| 00:32:28 |
Joy Division were a great band |
| 00:32:32 |
l wanted a band ofmy own. |
| 00:32:34 |
A Certain Ratio had all the talent |
| 00:32:38 |
..but better clothes. |
| 00:32:40 |
- You look absolutely fantastic. |
| 00:32:43 |
- lt's great. |
| 00:32:46 |
- You don't say that to Mr Wilson. |
| 00:32:49 |
Have you seen our legs? |
| 00:32:53 |
l wouldn't worry about it, |
| 00:32:55 |
..l must get some chicken drumsticks |
| 00:32:59 |
All right... No, it's all right, |
| 00:33:01 |
lnstant tan: ''Tanfastic''. |
| 00:33:03 |
lt's hedonism, it's shorts,... |
| 00:33:05 |
..it's... it's funk,... |
| 00:33:07 |
..it's... tans. |
| 00:33:09 |
- lt's sexy. |
| 00:33:10 |
(# Flight) |
| 00:33:18 |
# Has this passed? ls that the time? |
| 00:33:22 |
# We need flight to stay in line |
| 00:33:26 |
# Take your time |
| 00:33:27 |
# We'll give our minds to you |
| 00:33:31 |
l like the haircuts, Barney. |
| 00:33:33 |
- No, they look good, don't they? |
| 00:33:35 |
# We'll give our minds to you # |
| 00:33:37 |
- Crap, though. |
| 00:33:43 |
(# Love Will Tear Us Apart) |
| 00:33:44 |
# All my failings exposed |
| 00:33:47 |
# There's a taste in my mouth |
| 00:33:50 |
# As desperation takes hold |
| 00:33:53 |
# ls it something so good |
| 00:33:56 |
# Just can't function no more? |
| 00:34:00 |
# Love |
| 00:34:01 |
# Love will tear us apart again |
| 00:34:06 |
# Love |
| 00:34:07 |
# Love will tear us apart |
| 00:34:10 |
# Again |
| 00:34:11 |
# Love |
| 00:34:13 |
# Love will tear us apart |
| 00:34:16 |
# Again |
| 00:34:18 |
# Love |
| 00:34:19 |
# Love will tear us apart |
| 00:34:22 |
# Again # |
| 00:34:25 |
(crowd roars) |
| 00:34:39 |
What's the worst band name |
| 00:34:43 |
- Worst? |
| 00:34:44 |
The worst one l heard was, a mate of |
| 00:34:47 |
- (laughs) |
| 00:34:49 |
''Who do you want?'' ''Barabbas-'' |
| 00:34:51 |
- (# Transmission) |
| 00:34:53 |
# Live transmission |
| 00:34:57 |
# Radio |
| 00:34:59 |
# Live transmission |
| 00:35:15 |
The National Front took to |
| 00:35:18 |
..in the biggest demonstration |
| 00:35:22 |
# We would have a fine time |
| 00:35:25 |
# Left to blind destruction |
| 00:35:26 |
# Waiting for a sign |
| 00:35:35 |
The Transport |
| 00:35:37 |
..tightened their stranglehold |
| 00:35:40 |
..bringing the country |
| 00:35:42 |
Thousands ofmotorists |
| 00:35:44 |
..amid rumours of fuel rationing |
| 00:35:49 |
# Touching from a distance |
| 00:35:58 |
More chaos in the public services... |
| 00:36:00 |
..as mountains ofrubbish |
| 00:36:03 |
..and nurses bring the hospitals |
| 00:36:06 |
Now grave diggers in Liverpool |
| 00:36:15 |
# Dance, dance, dance, dance, dance |
| 00:36:21 |
# Dance, dance, dance, dance, dance |
| 00:36:27 |
# Dance, dance, dance, dance, dance |
| 00:36:38 |
lan- |
| 00:36:40 |
- (bellowing) |
| 00:36:41 |
- What the hell's the matter with him? |
| 00:36:47 |
Oh, fuckin' hell- lan? lan- |
| 00:36:49 |
Fucking come on, then- |
| 00:36:51 |
What you doing? Fuck this. |
| 00:36:53 |
Rob. What the fuck |
| 00:36:57 |
Come on- Come on, then- |
| 00:37:01 |
- Right, watch his head. |
| 00:37:03 |
- (slurs) |
| 00:37:05 |
Ah, fucking hell. |
| 00:37:08 |
Has someone got a doctor?- |
| 00:37:10 |
- l've just dropped two skinheads. |
| 00:37:13 |
- What you doing? |
| 00:37:15 |
Oh, you fucking twat- |
| 00:37:18 |
- And l need a cigarette. |
| 00:37:20 |
Where's Rob?- |
| 00:37:22 |
- (groans) |
| 00:37:25 |
He's fucking bleedin' here- |
| 00:37:27 |
Tony Wilson, how do you answer |
| 00:37:29 |
What? |
| 00:37:30 |
Your band, Joy Division, |
| 00:37:32 |
..captured by the SS for the breeding |
| 00:37:36 |
Have you never heard of situationism |
| 00:37:38 |
We need a doctor in here- |
| 00:37:39 |
Do you know nothing about |
| 00:37:42 |
Yes, we've got a band |
| 00:37:43 |
We've also got a band |
| 00:37:45 |
l'm sure l don't need |
| 00:37:47 |
What the fuck's going on? |
| 00:37:49 |
We need a doctor. l don't know. |
| 00:37:51 |
Oi. Fuck off. |
| 00:37:53 |
Fuck off or l'll lay one on you. |
| 00:37:55 |
- He will. l've seen him do it. |
| 00:37:57 |
- l'll get a doctor. |
| 00:38:00 |
Don't fucking tell me to calm down- |
| 00:38:04 |
- (chuckles) Fine- |
| 00:38:09 |
You all right there, lan? |
| 00:38:11 |
- Yeah, l'm fine, mate. |
| 00:38:14 |
l said l'm fine, Rob, yeah? |
| 00:38:16 |
All right, then, all right. |
| 00:38:20 |
Not even to tell you |
| 00:38:23 |
- Fuck off. |
| 00:38:24 |
l'm telling you now, straight up, |
| 00:38:27 |
- Nice one. |
| 00:38:29 |
l've just told you, straight up, |
| 00:38:32 |
- Oh, come on- |
| 00:38:35 |
Fucking cheers. |
| 00:38:38 |
Cheers. |
| 00:38:39 |
Can't fucking believe it. |
| 00:38:40 |
l thought you'd like that, boys. |
| 00:38:42 |
Are we gonna be staying in, like, |
| 00:38:44 |
You're in knocking shops |
| 00:38:47 |
- (laughs) |
| 00:38:49 |
l think we did better there, mate. |
| 00:38:51 |
- l think l'd better rework that. |
| 00:38:55 |
Around- |
| 00:38:59 |
(whistles) |
| 00:39:00 |
Go left- Go left- |
| 00:39:03 |
(whistles) |
| 00:39:05 |
(whistles) Go left- |
| 00:39:07 |
(whistles) Come by- (whistles) |
| 00:39:10 |
- (whistles) |
| 00:39:13 |
(whistles) Go left. |
| 00:39:15 |
l am doing, obviously. |
| 00:39:17 |
- No, you're all right. |
| 00:39:19 |
He just started, you know, er,... |
| 00:39:23 |
Ooh, he was... he was... |
| 00:39:26 |
Er, but it... it don't harm 'em, |
| 00:39:29 |
Right, yeah. Extraordinary. |
| 00:39:31 |
- Unbelievable. |
| 00:39:33 |
- Have a go. |
| 00:39:35 |
- What do l do? What do l say? |
| 00:39:39 |
- And then do what? |
| 00:39:41 |
Shout what? |
| 00:39:42 |
- ''Go left.'' |
| 00:39:44 |
Go left- Go left- |
| 00:39:48 |
- See? |
| 00:39:50 |
l've not quite got |
| 00:39:52 |
Whistle. |
| 00:39:54 |
(whistles feebly) |
| 00:39:55 |
Aye. (whistles) |
| 00:39:57 |
- Can't do it that well. Go on, then. |
| 00:40:00 |
Stick to what you're good at. |
| 00:40:07 |
(knock at door) |
| 00:40:17 |
lan. |
| 00:40:19 |
- How are you? |
| 00:40:22 |
- ls he in? |
| 00:40:25 |
l've got a spliff going. |
| 00:40:28 |
Nah. l can't. Gotta get back. |
| 00:40:32 |
Cheers. |
| 00:40:33 |
That's fantastic news about America. |
| 00:40:35 |
Yeah, it's good. |
| 00:40:37 |
l'm really chuffed. |
| 00:40:39 |
l'm bored. You could stay with me |
| 00:40:45 |
No, l've gotta go. |
| 00:40:47 |
All right. l'll tell him you called. |
| 00:40:53 |
Er,... |
| 00:40:54 |
- ..send you a postcard, yeah? |
| 00:40:57 |
''Wish you were here.'' |
| 00:41:06 |
Debbie? |
| 00:41:28 |
(TV.: Werner Herzog's Stroszek) So... |
| 00:41:30 |
..your car's kaput. |
| 00:41:34 |
And your girlfriend is gone. |
| 00:41:37 |
When thine house they have sold... |
| 00:41:45 |
Aber wirklich nicht. |
| 00:41:47 |
Prost. |
| 00:41:49 |
Prost. |
| 00:42:11 |
(# harmonica) |
| 00:42:16 |
(# whooping) |
| 00:42:28 |
- ..all the buildings or whatever. |
| 00:42:30 |
What l'll do is, apart from asking you |
| 00:42:33 |
..l'll say |
| 00:42:35 |
- Tony. |
| 00:42:38 |
- Can l just have a word? |
| 00:42:39 |
- The office have just called. |
| 00:42:41 |
lan Curtis has died. |
| 00:42:45 |
- What d'you... What d'you mean? |
| 00:42:48 |
He was found at his home this morning. |
| 00:42:51 |
- Are you joking? |
| 00:42:54 |
- l'm sorry. |
| 00:42:58 |
He's dead? |
| 00:43:00 |
Yeah. |
| 00:43:04 |
What a stupid bloody bugger. |
| 00:43:11 |
Sorry about this, mate. |
| 00:43:17 |
lt's a... friend of mine. |
| 00:43:21 |
lan Curtis,... |
| 00:43:23 |
..lead singer... |
| 00:43:25 |
..of Joy Division,... |
| 00:43:28 |
..has died... today- |
| 00:43:33 |
Oyez/ |
| 00:43:35 |
(rings bell) Oyez/ |
| 00:43:37 |
- lt's really beautiful. |
| 00:43:40 |
Oyez/ |
| 00:43:43 |
lan Curtis,... |
| 00:43:45 |
..writer of... |
| 00:43:47 |
..Love Will Tear Us Apart,... |
| 00:43:50 |
- ..has died today/ |
| 00:43:53 |
- Do you? |
| 00:43:56 |
Oyez/ |
| 00:43:59 |
lf you listen to lan's music |
| 00:44:02 |
..then you probably imagine |
| 00:44:06 |
A... prophet of urban decay |
| 00:44:09 |
But l have |
| 00:44:12 |
..such as the very last Factory night |
| 00:44:16 |
# Louie, Louie |
| 00:44:18 |
# Whoa |
| 00:44:20 |
# We gotta go |
| 00:44:21 |
# Yeah, yeah, yeah, yeah |
| 00:44:24 |
# Louie, Louie |
| 00:44:26 |
# Whoa |
| 00:44:27 |
# We gotta go |
| 00:44:29 |
# Yeah, yeah, yeah, yeah |
| 00:44:31 |
Pogo like a bastard- |
| 00:44:44 |
(crowd roars) |
| 00:44:50 |
# Louie, Louie |
| 00:44:52 |
# Whoa |
| 00:44:53 |
# We gotta go |
| 00:44:56 |
# Yeah, yeah, yeah, yeah |
| 00:44:58 |
# Louie, Louie |
| 00:45:00 |
# Whoa |
| 00:45:01 |
# We gotta go |
| 00:45:03 |
# Yeah, yeah, yeah, yeah |
| 00:45:05 |
# (bellows) |
| 00:45:09 |
# (bellows) |
| 00:45:14 |
# Louie, Louie |
| 00:45:18 |
# We gotta go |
| 00:45:20 |
# Yeah, yeah, yeah, yeah # |
| 00:45:21 |
Fuck off- |
| 00:45:38 |
Mr Wilson. |
| 00:45:40 |
Tony, hi. |
| 00:45:43 |
..but l've made a tape of me |
| 00:45:46 |
- You probably need a singer... |
| 00:45:49 |
- Tony. Can you give this to him? |
| 00:45:53 |
- l'll make sure he gets that. |
| 00:45:56 |
- All right, mate. |
| 00:45:57 |
lt's not the time for autographs |
| 00:46:00 |
Tony. Tony. |
| 00:46:02 |
Michael. |
| 00:46:03 |
l'm not here as a journalist, |
| 00:46:07 |
Well, you... You are gonna |
| 00:46:09 |
- Oh, l don't think l can. |
| 00:46:11 |
- Come in. lt's good that you're here. |
| 00:46:13 |
Aye, well... |
| 00:46:16 |
(sighs) |
| 00:46:17 |
lt's good that you're here. |
| 00:46:19 |
(grizzles) |
| 00:46:22 |
How you doing? |
| 00:46:23 |
Hello. All right, mate. |
| 00:46:27 |
- How you doing, darling? |
| 00:46:30 |
Good to see you. |
| 00:46:33 |
- l want you to write the book. |
| 00:46:35 |
You're the right person |
| 00:46:38 |
- lt's just so soon, Tony, it's sad. |
| 00:46:41 |
Come on, this is... |
| 00:46:43 |
- Right. |
| 00:46:45 |
All right? |
| 00:46:47 |
- Didn't realise you were here. |
| 00:46:51 |
Er,... this is lan's gran. |
| 00:46:54 |
- Oh. |
| 00:46:56 |
Thanks for all you did. |
| 00:46:59 |
l've seen you on the telly. |
| 00:47:02 |
Come on, let's go and get |
| 00:47:11 |
That is the musical equivalent |
| 00:47:20 |
l'm gonna go. |
| 00:47:23 |
- Why? |
| 00:47:26 |
l'll, erm... l'll speak to you. Bye. |
| 00:47:29 |
- Take it all in. |
| 00:47:32 |
- (# Atmosphere) |
| 00:47:35 |
# Aching to see |
| 00:47:40 |
# Walking on air |
| 00:47:45 |
# Hunting by the rivers, |
| 00:47:49 |
Bye, son. |
| 00:47:51 |
# Abandoned too soon |
| 00:47:55 |
# Set down with due care |
| 00:48:00 |
# Don't walk away |
| 00:48:04 |
# ln silence |
| 00:48:08 |
# Don't walk away # |
| 00:48:51 |
Don't beat about the bush, Lindsay. |
| 00:48:53 |
l'm gonna ask you a straight question |
| 00:48:57 |
Give me the dignity of that. |
| 00:48:59 |
Are you leaving me? |
| 00:49:01 |
Yes. |
| 00:49:03 |
- (car horn) |
| 00:49:05 |
Well, what does that mean, bad energy? |
| 00:49:09 |
Energy? You don't know what energy is. |
| 00:49:11 |
- That is late 20th-century hokum... |
| 00:49:14 |
- ..masquerading... as spirituality. |
| 00:49:20 |
Don't... Don't... Don't touch me. |
| 00:49:23 |
That is the last time |
| 00:49:25 |
- All right. |
| 00:49:28 |
No... All right, that is the last time |
| 00:49:35 |
l'm asking you really nicely. |
| 00:49:38 |
Please... |
| 00:49:41 |
Please don't leave me. |
| 00:49:48 |
Oh, just fuck off. Go. Don't... |
| 00:49:55 |
- Don't. |
| 00:50:06 |
(car horns) |
| 00:50:09 |
(sighs) |
| 00:50:13 |
Right. OK. |
| 00:50:15 |
- Right, thank you, yes. |
| 00:50:18 |
Fuck off. |
| 00:50:20 |
(tyres skid) |
| 00:50:25 |
This is a low point for me, |
| 00:50:27 |
..but, er,... |
| 00:50:28 |
..l think it was Scott Fitzgerald |
| 00:50:32 |
..''American lives |
| 00:50:34 |
Well,... this is Manchester. |
| 00:50:37 |
We do things differently here. |
| 00:50:42 |
This is the second act. |
| 00:50:47 |
(both make bird noises) |
| 00:50:56 |
Two lickle dicky birds |
| 00:50:59 |
..one called Peter |
| 00:51:01 |
Just like you, Louby-Lou,... |
| 00:51:03 |
..Turkey-Lurkey... |
| 00:51:05 |
..Goosey-Loosey, Henny-Penny. |
| 00:51:08 |
No. |
| 00:51:10 |
(whoops) |
| 00:51:11 |
(howls) |
| 00:51:12 |
(yelps, whoops) |
| 00:51:15 |
(# Wagner: Ride Of The Valkyries) |
| 00:51:22 |
The history of popular music |
| 00:51:25 |
That's two waves that intertwine. |
| 00:51:27 |
So one wave... goes like this,... |
| 00:51:31 |
..so you've got two... |
| 00:51:33 |
..waves doing that, OK? |
| 00:51:35 |
Like, one like that and one like that. |
| 00:51:37 |
Basically, when one musical movement's |
| 00:51:40 |
..another one is in the ascendant. |
| 00:51:41 |
Right now we're in a kind of |
| 00:51:45 |
..but the two guys that are gonna be |
| 00:51:47 |
..are Paul and Shaun Ryder. |
| 00:51:50 |
This is a true incident,... |
| 00:51:52 |
..a bit like the hang-gliding, |
| 00:51:55 |
This takes place in 1980,... |
| 00:51:57 |
..when Shaun and Paul |
| 00:51:59 |
- ..and fed it to 3,000 pigeons. |
| 00:52:02 |
- Rick Rastardly, wing-ding,... |
| 00:52:05 |
..forever and ever, amen. |
| 00:52:07 |
Ohhh- Here you go- |
| 00:52:08 |
- Catch it- |
| 00:52:11 |
Ahhh- |
| 00:52:14 |
- (pigeons squawk) |
| 00:52:16 |
Hi-yah- |
| 00:52:17 |
Obviously it's a reconstruction. |
| 00:52:19 |
No... pigeons were harmed |
| 00:52:23 |
Although there are those |
| 00:52:26 |
Rats with wings. |
| 00:52:28 |
- (sound of machine-gun) |
| 00:52:33 |
(machine-gun) |
| 00:52:37 |
(shouts) |
| 00:52:53 |
Fac 51 , aka the Hacienda. |
| 00:52:58 |
Buildings create synergy. |
| 00:53:01 |
When the Victorians built railways, |
| 00:53:06 |
- Jesus Christ. |
| 00:53:08 |
Listen to the reverberations. |
| 00:53:11 |
Sound of... The sound of my voice. |
| 00:53:14 |
Buildings change... |
| 00:53:17 |
That's how it happened |
| 00:53:18 |
Yeah, but this isn't |
| 00:53:20 |
..this is... Dark Ages Manchester. |
| 00:53:23 |
lt's like a fuckin' abattoir. |
| 00:53:26 |
Tony. |
| 00:53:28 |
Tickets for tonight. |
| 00:53:31 |
- Right. Er... |
| 00:53:36 |
l'm sorry they're a bit late, erm,... |
| 00:53:38 |
..thought we might use them |
| 00:53:40 |
Yeah. That's... |
| 00:53:43 |
lt's OK, it doesn't matter. |
| 00:53:45 |
This will be |
| 00:53:47 |
They didn't hand out tickets |
| 00:53:50 |
People just turned up. |
| 00:53:53 |
So how much has come out in total |
| 00:53:56 |
700 grand. |
| 00:53:58 |
(chuckles) |
| 00:54:00 |
Well, goodbye. |
| 00:54:04 |
l'm a genius, you're fucking wankers. |
| 00:54:08 |
You don't deserve to see me again. |
| 00:54:12 |
Martin? |
| 00:54:17 |
- Nice, though, isn't it? |
| 00:54:22 |
- (# A Certain Ratio: Skipscada) |
| 00:54:24 |
# Ra da da da da... # |
| 00:54:26 |
May 21st 1982. |
| 00:54:31 |
Everyone wanted to play.: |
| 00:54:33 |
..Bowie, Queen, the Stones. |
| 00:54:35 |
l chose A Certain Ratio |
| 00:54:38 |
And that was the point |
| 00:54:40 |
lt was a place for people we knew, |
| 00:54:44 |
l can't believe this. |
| 00:54:47 |
What a fucking joke- |
| 00:54:51 |
Oh, l dunno, Rob. |
| 00:54:54 |
Has there ever been |
| 00:54:56 |
- No, there hasn't, thank fucking God. |
| 00:54:59 |
Jazz is the last refuge |
| 00:55:02 |
Jazz musicians enjoy themselves |
| 00:55:06 |
lt's like theatre. |
| 00:55:08 |
lt's what you do |
| 00:55:10 |
lt's one down from Celebrity Squares. |
| 00:55:17 |
Excellent, well done. |
| 00:55:19 |
- So where... So where is everyone? |
| 00:55:22 |
- Erm... |
| 00:55:24 |
You were at the Sex Pistols gig. |
| 00:55:27 |
- There was about 40. |
| 00:55:29 |
Yeah, |
| 00:55:32 |
Exactly, exactly. |
| 00:55:34 |
The smaller the attendance, |
| 00:55:37 |
There were 1 2 people |
| 00:55:39 |
..half a dozen at Kitty Hawk. |
| 00:55:41 |
Archimedes was on his own in the bath. |
| 00:55:44 |
(trumpets) |
| 00:55:46 |
(# Tchaikovsky: |
| 00:55:51 |
Pick on someone your own size/ |
| 00:55:54 |
We're here at Chester Zoo... |
| 00:55:56 |
..to see a bath-time version |
| 00:56:02 |
(trumpets) |
| 00:56:06 |
lt's, er, a bit of a mammoth task... |
| 00:56:09 |
..for, erm,... |
| 00:56:12 |
- Yeah. |
| 00:56:13 |
ls this, er... Now, this isn't |
| 00:56:16 |
No, l'm an entertainer. |
| 00:56:18 |
Right, OK. And, er,... l saw |
| 00:56:22 |
Watch yourself there. |
| 00:56:24 |
There's a... There's a baby elephant. |
| 00:56:28 |
(chuckles) There's people like that |
| 00:56:31 |
Er,... except that... |
| 00:56:34 |
This morning, l was doing a feature on |
| 00:56:38 |
He was... He was a dwarf. |
| 00:56:40 |
- lt doesn't matter. |
| 00:56:42 |
lt's... l... Look, l'm a serious |
| 00:56:44 |
..get me a proper gig |
| 00:56:47 |
Tony, listen. |
| 00:56:49 |
# Shy, shy |
| 00:56:51 |
- What d'you reckon? |
| 00:56:53 |
l'll make you a big star. |
| 00:56:54 |
- Catch you later- |
| 00:56:57 |
You know your problem? |
| 00:57:00 |
Yeah. Yes, l do. |
| 00:57:05 |
All right, what about a feature |
| 00:57:08 |
Fuck off- |
| 00:57:11 |
(# Blue Monday) |
| 00:57:12 |
# How does it feel |
| 00:57:16 |
# When you've laid your hands upon me |
| 00:57:20 |
# Told me who you are |
| 00:57:23 |
# l thought l was mistaken |
| 00:57:26 |
No band ever survives |
| 00:57:30 |
So when Joy Division |
| 00:57:33 |
..no-one expected them to succeed. |
| 00:57:35 |
As you've no visual imagination, |
| 00:57:40 |
- lt's like a floppy disk. |
| 00:57:42 |
lt's fucking brilliant. |
| 00:57:43 |
- lt's pure, workmanlike, poetic. |
| 00:57:46 |
Four-colour printing,... |
| 00:57:49 |
Well, it's fucking beautiful. |
| 00:57:51 |
l never count the cost of beauty. |
| 00:57:53 |
# To say what l need to say |
| 00:57:56 |
- Talk to you about these sleeves? |
| 00:57:59 |
Have you costed it? Cos l have. |
| 00:58:02 |
We lose five pence on every single |
| 00:58:06 |
We're gonna sell fuck-all so... |
| 00:58:09 |
# And l thought l told you to leave me |
| 00:58:12 |
# While l walked out to the beach |
| 00:58:15 |
# Tell me, how does it feel |
| 00:58:19 |
# When your heart grows... # |
| 00:58:20 |
Blue Monday became the biggest-selling |
| 00:58:24 |
..which made loads ofmoney |
| 00:58:27 |
Not that they saw any ofit. |
| 00:58:30 |
Because every penny they earned... |
| 00:58:31 |
..was swallowed up |
| 00:58:34 |
(# Durutti Column: Jacqueline) |
| 00:58:45 |
Thank you. |
| 00:58:47 |
Bravo. |
| 00:58:50 |
(whistles) |
| 00:58:52 |
Vini... |
| 00:58:54 |
- (exhales) |
| 00:58:56 |
Erm,... l'll... l'll have a Coke, |
| 00:58:59 |
Coke, and a... gin and tonic. |
| 00:59:03 |
- How was that? |
| 00:59:07 |
lt's great, it's just... |
| 00:59:09 |
l love it, l love it. |
| 00:59:12 |
- Tuesday night. |
| 00:59:14 |
We need to have a rethink |
| 00:59:17 |
You know, what... whatever... |
| 00:59:20 |
..the important thing to remember |
| 00:59:23 |
..you know, |
| 00:59:26 |
Great. |
| 00:59:29 |
(sighs) |
| 00:59:32 |
Spare 20 pence, mate, please? |
| 00:59:37 |
There you go. Keep that. |
| 00:59:38 |
Ta, mate. |
| 00:59:39 |
l'm Boethius, author of |
| 00:59:42 |
lt's my belief |
| 00:59:46 |
''lnconstancy is my very essence'' |
| 00:59:49 |
''Rise up on my spokes if you like... |
| 00:59:51 |
..but don't complain when you're |
| 00:59:55 |
''Good times pass away |
| 00:59:58 |
''Mutability is our tragedy |
| 01:00:03 |
''The worst of times, like the best, |
| 01:00:09 |
l know. |
| 01:00:12 |
l know. |
| 01:00:14 |
And finally, there were |
| 01:00:16 |
of an unidentified flying object... |
| 01:00:18 |
..over the Little Hulton district |
| 01:00:21 |
Apparently the aliens flew low over |
| 01:00:24 |
..which is... kind of understandable. |
| 01:00:26 |
lf you're listening, spacemen, |
| 01:00:30 |
Just don't land on my house. |
| 01:00:45 |
Fuckin' hell- |
| 01:00:47 |
(# Handel's Messiah.: |
| 01:00:49 |
# Hallelujah |
| 01:00:51 |
# Hallelujah, hallelujah |
| 01:00:54 |
- # Hallelujah |
| 01:00:56 |
# Hallelujah |
| 01:00:58 |
# Hallelujah |
| 01:01:00 |
# Hallelujah, hallelujah |
| 01:01:07 |
Every great band |
| 01:01:10 |
..and Bez was a great chemist. |
| 01:01:12 |
Could l offer anybody, like, the best |
| 01:01:16 |
His favourite chemical was ecstasy. |
| 01:01:19 |
# 24 hour party people |
| 01:01:23 |
# Plastic face, can't smile |
| 01:01:27 |
# With the 24 hour party people |
| 01:01:30 |
# Plastic face, can't smile |
| 01:01:33 |
# You cannot beat 'em # |
| 01:01:34 |
Whoa- Stop- Stop- |
| 01:01:36 |
Shut the fuck... |
| 01:01:39 |
l first saw them at the Battle |
| 01:01:42 |
They came last |
| 01:01:45 |
- All right, lads. |
| 01:01:48 |
No, you're not. |
| 01:01:49 |
Here y'are, get the... |
| 01:01:51 |
lt's dance music and it's rock music. |
| 01:01:55 |
lt's got that indie sound, |
| 01:01:58 |
..and it's got the kind of |
| 01:02:01 |
- Yeah. |
| 01:02:03 |
lt's got the rawness of rock |
| 01:02:06 |
Give him an example of your lyrics. |
| 01:02:10 |
Good, good, good. |
| 01:02:11 |
Good, good, double good. |
| 01:02:13 |
That is fucking horrible. |
| 01:02:15 |
Shaun's lyrics on a good day... |
| 01:02:17 |
..are on... par with... |
| 01:02:23 |
l've got some sweet and sour |
| 01:02:26 |
Shall we do a song, then? |
| 01:02:27 |
- Let's do it, man. Come on, Horse. |
| 01:02:30 |
We've gotta go. |
| 01:02:33 |
- No, stay here. What's the point? |
| 01:02:36 |
He's not in the fucking band. |
| 01:02:38 |
- (# Freaky Dancin') |
| 01:02:39 |
# Because the bones stick out |
| 01:02:42 |
lt's... l think it's top. |
| 01:02:44 |
Someone's out of tune. |
| 01:02:47 |
# My freaky dancing's |
| 01:02:52 |
- Can you stop? |
| 01:02:55 |
- Somebody's outta tune. |
| 01:02:58 |
- Fuckin' not me. |
| 01:03:01 |
- Mark, can you give me an E? |
| 01:03:03 |
He'll sort you out- (cackles) |
| 01:03:06 |
He wants an E. |
| 01:03:08 |
- Yeah, that'll tune you in, Barney. |
| 01:03:12 |
- (# Tart Tart) |
| 01:03:15 |
Come on, Bez- |
| 01:03:17 |
What you fuckin' doin'? |
| 01:03:18 |
That is dance music. |
| 01:03:20 |
Well, no-one's dancing. |
| 01:03:22 |
- Bez, come on, man. |
| 01:03:25 |
What the fuck you doin', man? |
| 01:03:27 |
Shut up, fucking Horse. |
| 01:03:29 |
- This is Bez. |
| 01:03:35 |
# When he came out of the lock-up |
| 01:03:39 |
# Said ''l'm looking for |
| 01:03:43 |
# And he made |
| 01:03:45 |
4,000 years ago, the Egyptians built |
| 01:03:49 |
# ..backed down, backed off |
| 01:03:55 |
The first canal in Britain |
| 01:03:57 |
..the Fosse Dyke in Lincoln. |
| 01:03:59 |
# He said ''l'm wealthy enough |
| 01:04:02 |
# And he made it all known |
| 01:04:04 |
This is the Rochdale Canal, |
| 01:04:07 |
..when Manchester was the greatest |
| 01:04:10 |
# ..palm out |
| 01:04:15 |
# And she said |
| 01:04:18 |
And their neglect mirrors the decline |
| 01:04:23 |
# ..at first it was a yes |
| 01:04:26 |
# And then a no, then yes # |
| 01:04:35 |
Suddenly, everything came together.: |
| 01:04:38 |
..the music, the dancing,... |
| 01:04:39 |
..the drugs, the venue, the city. |
| 01:04:42 |
l was proved right.: Manchester |
| 01:04:47 |
Mike Pickering was right.: |
| 01:04:50 |
Shaun Ryder was right. |
| 01:04:52 |
We all came together. |
| 01:04:54 |
Everyone came to the Hacienda. |
| 01:04:56 |
lt was our cathedral. |
| 01:04:58 |
# He wears a sleeping bag as his vest |
| 01:05:01 |
# And he's getting too bothered |
| 01:05:05 |
# About the spots on his chest |
| 01:05:09 |
# Chest, chest... # |
| 01:05:11 |
Manchester.: |
| 01:05:14 |
..computer,... |
| 01:05:15 |
..the bouncing bomb. |
| 01:05:19 |
And tonight something equally |
| 01:05:23 |
- See? |
| 01:05:26 |
(# A Guy Called Gerald: Voodoo Ray) |
| 01:05:29 |
They're applauding... the DJ. |
| 01:05:32 |
Not the music, not the musician, |
| 01:05:36 |
..but... the medium. |
| 01:05:39 |
This is it. |
| 01:05:40 |
The birth of rave culture. |
| 01:05:42 |
The beatification of the beat. |
| 01:05:45 |
The dance age. |
| 01:05:46 |
This is the moment when |
| 01:05:49 |
Welcome to Madchester. |
| 01:05:52 |
A Guy Called Gerald: Voodoo Ray |
| 01:06:10 |
l have with me |
| 01:06:13 |
..Mr Peter Duff,... |
| 01:06:15 |
..who worked on the canals |
| 01:06:17 |
..but, can you believe it, |
| 01:06:19 |
- Peter... |
| 01:06:21 |
The canals. |
| 01:06:23 |
What... What year was it that you |
| 01:06:28 |
1900. |
| 01:06:29 |
- 1900, right. |
| 01:06:31 |
On the cusp... |
| 01:06:34 |
Mm-hm. |
| 01:06:35 |
What do you remember about, er, |
| 01:06:38 |
Very little. |
| 01:06:41 |
- Very little? |
| 01:06:42 |
Peaceful. |
| 01:06:44 |
- Peaceful? |
| 01:06:45 |
l don't think... l don't think we're |
| 01:06:48 |
D'you want... l mean... |
| 01:06:49 |
The chap's... barely standing. |
| 01:06:53 |
(# Brian and Michael: Matchstalk Men |
| 01:06:56 |
# But Lowry didn't care much anyway |
| 01:06:59 |
- All right, Tony? |
| 01:07:02 |
# They said hejust paints |
| 01:07:05 |
# And matchstalk men |
| 01:07:08 |
# And Lowry said |
| 01:07:13 |
# And he painted matchstalk men... |
| 01:07:15 |
- You all right, Tony? How's it going? |
| 01:07:17 |
Thought we'd get the kids in... |
| 01:07:18 |
This is in the Mondays' video? |
| 01:07:20 |
- Yeah, yeah, this is gonna be it. |
| 01:07:23 |
Yeah, l know, but they've not actually |
| 01:07:24 |
The single was supposed to be done |
| 01:07:26 |
Yeah, but you know what he's like, |
| 01:07:29 |
Why, who... who's producing this? |
| 01:07:31 |
Martin Hannett. |
| 01:07:33 |
Oh, for fuck's sake- |
| 01:07:35 |
Did you not know? |
| 01:07:37 |
No, l didn't know. |
| 01:07:39 |
Well, anyway, must crack on, |
| 01:07:41 |
These are great, the kids are great. |
| 01:07:43 |
- Hello. |
| 01:07:45 |
# And wear the old flat cap |
| 01:07:49 |
# They said |
| 01:07:53 |
# ''And all about... '' # |
| 01:07:54 |
The last time l'd seen Martin |
| 01:07:57 |
The Hacienda was costing New Order |
| 01:08:00 |
None ofus had a clue what to do. |
| 01:08:02 |
You know broccoli? |
| 01:08:03 |
Broccoli, the vegetable? |
| 01:08:05 |
Yeah. |
| 01:08:07 |
That was, er... |
| 01:08:13 |
That was invented by Cubby Broccoli, |
| 01:08:17 |
- (laughs) |
| 01:08:20 |
(coughs) |
| 01:08:28 |
lt's a crossbred vegetable. |
| 01:08:30 |
- lt's half... cauliflower,... |
| 01:08:32 |
- ..half... |
| 01:08:33 |
Half, er,... something... a green... |
| 01:08:35 |
Half... gr... a... a green thing. |
| 01:08:37 |
Half a green thing that l don't know, |
| 01:08:41 |
And the Broccoli... |
| 01:08:44 |
Was inventing... vegetables |
| 01:08:48 |
That's... That was... |
| 01:08:50 |
- l don't believe you, Tony. |
| 01:08:52 |
l don't believe you. |
| 01:08:53 |
lt's a fact. Look it up, er,... |
| 01:08:56 |
- Where am l gonna look that up? |
| 01:09:00 |
Jesus- |
| 01:09:02 |
(laughs wheezily) |
| 01:09:05 |
Thanks, Martin. |
| 01:09:09 |
(microphone) l'm still waiting. |
| 01:09:11 |
- So are we. |
| 01:09:13 |
- All right, Tone? |
| 01:09:15 |
- Try a bit? |
| 01:09:18 |
- Fucking hell. |
| 01:09:21 |
- (microphone) l'm still waiting... |
| 01:09:24 |
(microphone) |
| 01:09:26 |
- He's a mess. He's a fuck... |
| 01:09:28 |
(microphone) l'm gonna stick |
| 01:09:31 |
He's back in his closet. |
| 01:09:35 |
Hello, Hannett, you wanker. |
| 01:09:39 |
- Awesome... |
| 01:09:43 |
l'm trying to get these shower of |
| 01:09:47 |
..to play some fuckin' music,... |
| 01:09:50 |
..which seems to be the greatest, |
| 01:09:52 |
..l've ever had to do |
| 01:09:55 |
Take it down, Mart, sorry, come on. |
| 01:09:56 |
He's calmed down a lot |
| 01:10:00 |
- Martin... |
| 01:10:02 |
Kickin' off, man. Fuck off... |
| 01:10:04 |
You can't threaten me any more, |
| 01:10:06 |
You're a big man |
| 01:10:09 |
Although you could sit on me. |
| 01:10:11 |
l've got something for you. |
| 01:10:14 |
(laughter) |
| 01:10:19 |
- (# Wrote For Luck) |
| 01:10:21 |
# But you're getting dryer |
| 01:10:23 |
# You used to speak the truth |
| 01:10:29 |
# You used to speak the truth |
| 01:10:33 |
# Ah-ah-ah |
| 01:10:35 |
# Ah-ah |
| 01:10:38 |
# Ah-ah-ah |
| 01:10:40 |
# Ah-ah |
| 01:10:42 |
# Ah-ah-ah |
| 01:10:44 |
# Ah-ah |
| 01:10:46 |
# And l wrote for luck |
| 01:10:48 |
# And they sent me you |
| 01:10:50 |
# And l sent forjuice |
| 01:10:52 |
# You give me poison |
| 01:10:55 |
# l ordered a line |
| 01:10:57 |
# You formed a queue |
| 01:11:00 |
# You try anything hard |
| 01:11:04 |
# And you were wet |
| 01:11:05 |
Turn that porn off. |
| 01:11:08 |
No, leave it on. |
| 01:11:10 |
- l think l'm in this one. |
| 01:11:12 |
Go on, Roe- |
| 01:11:13 |
# You used to speak the truth |
| 01:11:18 |
# And when it's hot |
| 01:11:20 |
# You start to melt |
| 01:11:23 |
# Cos you're not made ofcheese |
| 01:11:26 |
Hey- Pull those curtains to- |
| 01:11:30 |
# You tend to crack |
| 01:11:32 |
# You keep on piling out |
| 01:11:35 |
What's up with you? What are you |
| 01:11:38 |
- l'm not lookin' at you. |
| 01:11:40 |
l was lookin' at Bez. |
| 01:11:42 |
You are lookin' at me. |
| 01:11:45 |
Jealous of what? l'm not jealous. |
| 01:11:46 |
lf l wanted you, |
| 01:11:49 |
- (laughter) |
| 01:11:54 |
Tony- Sir Anthony, sir- |
| 01:11:56 |
Can l interest you |
| 01:11:58 |
No, l think cocaine's a suit's drug, |
| 01:12:01 |
No, thank you. |
| 01:12:02 |
We haven't got any fuckin' talent. |
| 01:12:04 |
- That's why it's fine for you. |
| 01:12:07 |
- You're a very giving person, sir. |
| 01:12:10 |
One of us- |
| 01:12:23 |
Never judge a book by its cover. |
| 01:12:27 |
First edition, very collectable. |
| 01:12:28 |
- (laughs) Thank you. |
| 01:12:30 |
- Hello, love. All right? |
| 01:12:32 |
This is Yvette. |
| 01:12:35 |
..but that's not |
| 01:12:37 |
..where they do Stars ln Their Eyes, |
| 01:12:41 |
- Hello, love. You all right? |
| 01:12:43 |
- Nice to see you. |
| 01:12:46 |
- And what do you do? |
| 01:12:48 |
Well... You know, your job,... here. |
| 01:12:51 |
Well, l'm... l'm Tony Wilson. |
| 01:12:54 |
- lt's a bit chilly. |
| 01:12:57 |
- Put that on. |
| 01:12:58 |
You can keep it. lt's cashmere. |
| 01:13:00 |
- Are you sure? |
| 01:13:03 |
l haven't got a tiara so you'll have |
| 01:13:06 |
So, l mean, Granada really |
| 01:13:08 |
Erm, my proper job... |
| 01:13:11 |
- Yeah, l love 'em. |
| 01:13:13 |
- Really? |
| 01:13:15 |
- Er,... New Order? Heard of them? |
| 01:13:17 |
Sometimes see them at the Hacienda. |
| 01:13:20 |
lt's fantastic, yeah. |
| 01:13:21 |
- l own that nightclub. |
| 01:13:22 |
Part-owner. lf you ever want |
| 01:13:25 |
Better still, you get in free |
| 01:13:27 |
- (laughs) OK. |
| 01:13:29 |
You are, yes. |
| 01:13:30 |
- lt's that obvious? |
| 01:13:32 |
Don't judge. Piety is |
| 01:13:35 |
Flirting is a very natural process,... |
| 01:13:37 |
..she's aware of it, |
| 01:13:39 |
..before it was fashionable. |
| 01:13:46 |
- 'Ey up, Tony. |
| 01:13:49 |
Hi. |
| 01:13:52 |
(# Marshall Jefferson: Move Your Body) |
| 01:14:09 |
(crowd roars) |
| 01:14:10 |
(whistles) |
| 01:14:13 |
Being at the Hacienda was like |
| 01:14:16 |
Bliss it was that dawn to be alive. |
| 01:14:20 |
But to be young was very heaven. |
| 01:14:26 |
OK, so l was nearly 40, |
| 01:14:29 |
..but these days |
| 01:14:31 |
..and Yvette said |
| 01:14:35 |
# Gotta have house music |
| 01:14:38 |
# All night long # |
| 01:14:41 |
(cork pops) |
| 01:14:43 |
- (champagne splashes) |
| 01:14:46 |
And, by the way, we're still together. |
| 01:14:49 |
So, whatever you're thinking, |
| 01:14:53 |
D'you know, |
| 01:14:56 |
..on par with WB Yeats... |
| 01:15:01 |
- Really? |
| 01:15:03 |
Everyone else thinks he's an idiot. |
| 01:15:08 |
Shaun- Where the fuck are ya? |
| 01:15:08 |
We can't do anythin' |
| 01:15:11 |
Listen, one of you fuckers |
| 01:15:14 |
- l'll sing. |
| 01:15:17 |
- Come on, you're gonna have to do it. |
| 01:15:19 |
- (# Loose Fit) |
| 01:15:21 |
# ln my household today |
| 01:15:24 |
# Pick him all up |
| 01:15:29 |
# Do what you're doin' |
| 01:15:31 |
# Say what you're sayin' |
| 01:15:34 |
# Go where you're goin' |
| 01:15:36 |
# Think what you think |
| 01:15:37 |
# Sounds good to me # |
| 01:15:42 |
Factory believes in artistic freedom. |
| 01:15:45 |
And Shaun is an artist |
| 01:15:48 |
l knew then that choosing Nathan |
| 01:15:51 |
..was not necessarily a good idea. |
| 01:15:54 |
Nathan's gonna be our new manager. |
| 01:15:56 |
- l'm gonna look after them. |
| 01:15:59 |
But l wanted Shaun to be happy |
| 01:16:03 |
- What you doing? What you doing? |
| 01:16:05 |
Oh, God, you're not that out of it, |
| 01:16:08 |
- l am not a lump of hash. |
| 01:16:10 |
l'm in charge of Factory Records... |
| 01:16:15 |
They're living legends. Here we go- |
| 01:16:17 |
(# KinkyAfro) |
| 01:16:26 |
# None ofit |
| 01:16:27 |
# Got a little bit |
| 01:16:29 |
# Are you full ofshit? |
| 01:16:33 |
# Son, l am 30 |
| 01:16:37 |
# l only went with your mother |
| 01:16:41 |
# And l don't have a decent bone in me |
| 01:16:44 |
# What you get |
| 01:16:48 |
lt's an adventure. lt's the Magical |
| 01:16:51 |
lt's like Scooby Doo, innit? |
| 01:16:54 |
lt is a little bit like Scooby Doo. |
| 01:16:58 |
Manchester became |
| 01:17:01 |
..the best drugs, the best clothes,... |
| 01:17:03 |
..the best women, the best music,... |
| 01:17:05 |
..the best bands, the best club. |
| 01:17:08 |
Suddenly everyone wanted |
| 01:17:12 |
..and ifyou were a Manc, |
| 01:17:15 |
Tone? Tone? Come in the back |
| 01:17:17 |
lt's all right, l've eaten, thanks. |
| 01:17:20 |
- You're looking very beautiful. |
| 01:17:22 |
- l'm the big guy. |
| 01:17:24 |
- Oh, yeah? |
| 01:17:28 |
lt was like being on |
| 01:17:30 |
..centrifugal forces |
| 01:17:33 |
..and it's all right because there's |
| 01:17:37 |
..to bring us back to earth. |
| 01:17:38 |
That was Manchester. |
| 01:17:41 |
Now, imagine the machine breaks. |
| 01:17:44 |
For a while it's even better |
| 01:17:46 |
..but then... you're fucked... |
| 01:17:48 |
..because nobody beats gravity. |
| 01:17:51 |
# You take ten feet back |
| 01:17:54 |
l'm back- |
| 01:17:55 |
What you doin' here? l thought you |
| 01:17:59 |
# So sack all the needy |
| 01:18:01 |
l went to interview Sir Keith Joseph. |
| 01:18:03 |
lt's very important. |
| 01:18:06 |
His knighthood's important to him. |
| 01:18:09 |
They call him the Mad Monk. That's |
| 01:18:12 |
# l had to crucify somebody today |
| 01:18:13 |
l was supposed to get the train, |
| 01:18:16 |
But l didn't, l drove. OK? |
| 01:18:17 |
So l'm driving along, |
| 01:18:19 |
..er, and l end up |
| 01:18:24 |
There you go: a mobile phone. |
| 01:18:27 |
Yeah. l've used 'em before. |
| 01:18:28 |
And l... l make a phone call |
| 01:18:32 |
lt's like listening to |
| 01:18:40 |
And then... |
| 01:18:43 |
..and a train goes roaring past. |
| 01:18:48 |
And l climbed... onto the train. |
| 01:18:50 |
Whoa, whoa- You can't |
| 01:18:53 |
(tyres screech) |
| 01:18:54 |
Er... l... Er... |
| 01:18:57 |
Ernie, we've got one here |
| 01:19:00 |
Only kiddin' you. |
| 01:19:02 |
# Yippee yippee iy-iy ay-ay-ay # |
| 01:19:06 |
Anyway, it was meant to be. |
| 01:19:09 |
God, fate, events conspired... |
| 01:19:12 |
..to transport me to London cos |
| 01:19:16 |
OK, l was late, but it didn't matter |
| 01:19:19 |
l knew what l was gonna do. |
| 01:19:21 |
l was gonna be nice as pie to him, |
| 01:19:23 |
..ask him about the latest |
| 01:19:25 |
..and he was gonna fall apart. |
| 01:19:27 |
- (car horn) |
| 01:19:29 |
Hi. Sir Keith Joseph, |
| 01:19:33 |
l'm Anthony, by the way. |
| 01:19:36 |
(chuckles) Anth-ony. |
| 01:19:39 |
Er, medieval rather than classical. |
| 01:19:42 |
Yes, Anthony of Pa... Padua. |
| 01:19:46 |
- Saint... Saint Anthony. |
| 01:19:48 |
Er, Saint Anthony. Yes, er... |
| 01:19:50 |
He was a monk, funnily enough. |
| 01:19:52 |
Funny? |
| 01:19:54 |
ln what way, funny? |
| 01:19:56 |
Well, you know,... |
| 01:19:58 |
..''Brother Keith.'' |
| 01:19:59 |
You must know. |
| 01:20:01 |
- (pants) |
| 01:20:05 |
l'm not a trade unionist, Mr Wilson. |
| 01:20:08 |
No, no... No, but, you know, |
| 01:20:11 |
(pants) |
| 01:20:12 |
The Mad Monk. That's... |
| 01:20:16 |
Well, you are a mad bastard. |
| 01:20:18 |
Did l say that out loud? |
| 01:20:20 |
You know your trouble,... Tony? |
| 01:20:23 |
You don't know what you are. |
| 01:20:26 |
l fucking know what you are |
| 01:20:31 |
My curiosity's got |
| 01:20:33 |
..tell me, what am l? |
| 01:20:36 |
You're a cunt. |
| 01:20:38 |
(chuckles) |
| 01:20:39 |
Well, l... l knew that, you see. |
| 01:20:42 |
(helicopter blades) |
| 01:20:44 |
Timing is everything. |
| 01:20:46 |
When we built the Hacienda, |
| 01:20:48 |
When we built the Factory office, |
| 01:20:51 |
lt did, however, have a zinc roof, |
| 01:20:55 |
Even though you could only see it |
| 01:20:58 |
At last, Factory has... |
| 01:21:07 |
lt's MDF. |
| 01:21:09 |
(laughs) lt's made of MDF. |
| 01:21:10 |
What are all these about? |
| 01:21:13 |
How much was it? |
| 01:21:14 |
- lt's not the materials, Hooky,... |
| 01:21:17 |
..you're paying for design. |
| 01:21:19 |
Er, l didn't ask about the material, |
| 01:21:22 |
lt was 30 grand... but, er... |
| 01:21:24 |
- Did you pick the shape? |
| 01:21:26 |
No, the shape... |
| 01:21:28 |
- 30 grand? |
| 01:21:30 |
The point is,... |
| 01:21:32 |
- For a fucking table? |
| 01:21:34 |
For a fucking table? |
| 01:21:36 |
- 30 grand for a fucking table?- |
| 01:21:38 |
Are you outta your mind, you dozy... |
| 01:21:40 |
Shall we let go of him |
| 01:21:44 |
- 30 grand for a fuckin' table- |
| 01:21:46 |
- Are you OK? |
| 01:21:49 |
Rob, sit down. |
| 01:21:50 |
- Rob, Rob, Rob... |
| 01:21:52 |
Come on- Rob- |
| 01:21:54 |
30 grand for a fucking table, |
| 01:21:58 |
(shouts) Will you stop?- |
| 01:22:04 |
There was a problem with the Hacienda. |
| 01:22:08 |
There were huge crowds |
| 01:22:11 |
..but it was all fuelled by ecstasy, |
| 01:22:14 |
And we didn't sell E at the bar. |
| 01:22:16 |
Although we did talk about it. |
| 01:22:18 |
We were spending money |
| 01:22:20 |
..the staff, the DJs, |
| 01:22:23 |
..but most ofthe money |
| 01:22:26 |
And guess what? |
| 01:22:29 |
They spent it on clothes, or cars, |
| 01:22:32 |
..or girls, or guns. |
| 01:22:35 |
Especially guns. |
| 01:22:38 |
(helicopter blades) |
| 01:22:50 |
All right, man? |
| 01:22:53 |
(gunshots) |
| 01:22:56 |
Drug dealers are like |
| 01:22:58 |
They like to increase |
| 01:23:01 |
Oi, you little fuckin' pricks, |
| 01:23:03 |
(gunshots) |
| 01:23:05 |
Only suppliers don't tend to |
| 01:23:08 |
..theyjust try and get rid |
| 01:23:10 |
(police radio) |
| 01:23:17 |
- (groans) |
| 01:23:21 |
Soon the violence spread |
| 01:23:24 |
All right, big fella. |
| 01:23:25 |
- Everybody pays, even gang members. |
| 01:23:29 |
- (gunshot) |
| 01:23:33 |
Now, this is bad in itself |
| 01:23:36 |
When you know someone's carrying |
| 01:23:39 |
..so soon there's shootings |
| 01:23:42 |
..as well as on the door. |
| 01:23:44 |
(# Mantronix: King Of The Beats) |
| 01:23:47 |
(gunshot) |
| 01:23:51 |
lfyou've got a lot ofdrugs and guns |
| 01:23:54 |
..you're gonna get shut down, |
| 01:23:58 |
l took advice |
| 01:24:01 |
..where it says ''Keep your friends |
| 01:24:05 |
The problem is often the solution |
| 01:24:08 |
- Tony. |
| 01:24:10 |
(# Orbital: Belfast) |
| 01:24:12 |
ln this case we gave the drug dealers |
| 01:24:16 |
..so now we didn't control the door |
| 01:24:19 |
- And you as well, love. Come on. |
| 01:24:23 |
- lt's not your scene. Come on. |
| 01:24:26 |
- You're on a wind-up, aren't you? |
| 01:24:29 |
According to William Blake,... |
| 01:24:31 |
.. ''The road ofexcess leads |
| 01:24:34 |
l was on my way there... in a Jag. |
| 01:24:44 |
Hello. |
| 01:24:45 |
- Hiya. |
| 01:24:47 |
- Hello. All right, lad? |
| 01:24:50 |
Kiss. |
| 01:24:52 |
There's some |
| 01:24:54 |
..and, er,... grapes. |
| 01:24:57 |
- Thanks. |
| 01:25:03 |
Nice views. |
| 01:25:06 |
Yeah. |
| 01:25:08 |
Beautiful. |
| 01:25:12 |
Trolls- |
| 01:25:14 |
l used to have Trolls |
| 01:25:16 |
- Do they still call them Trolls? |
| 01:25:19 |
- l've got you... a mobile phone. |
| 01:25:22 |
Mum... Mummy's got a phone |
| 01:25:25 |
..so it's like a... |
| 01:25:27 |
lt's like tin cans with string. |
| 01:25:29 |
Remem... Remember when |
| 01:25:32 |
- Yeah. |
| 01:25:34 |
Talk down the end of it. |
| 01:25:37 |
Got to go to Martin Hannett's... |
| 01:25:40 |
- ..funeral. |
| 01:25:42 |
Martin Hannett. |
| 01:25:44 |
Had a heart attack. |
| 01:25:47 |
OK. |
| 01:25:49 |
(sighs) l should have found time |
| 01:25:51 |
..l did have children |
| 01:25:54 |
..and there was a time when l was with |
| 01:25:57 |
..and, no, l've not been |
| 01:26:00 |
..yes, l could have been there |
| 01:26:03 |
..and obviously l've got regrets. |
| 01:26:05 |
But this is not a film about me. |
| 01:26:07 |
l am not Prince Hamlet, |
| 01:26:09 |
l'm a minor character in my own story. |
| 01:26:11 |
This... is a film about the music. |
| 01:26:14 |
And the people who made the music. |
| 01:26:17 |
lan Curtis,... |
| 01:26:19 |
..Shaun Ryder,... |
| 01:26:21 |
..and Martin Hannett. |
| 01:26:23 |
(# organ) |
| 01:26:26 |
Take your time, gentlemen, |
| 01:26:29 |
This coffin's not going to go down |
| 01:26:33 |
- Yes, we'd better leave it on top. |
| 01:26:37 |
OK. Gentlemen, |
| 01:26:40 |
Thank you... very much. |
| 01:26:42 |
Death puts things in perspective. |
| 01:26:45 |
We're all equal in the grave. |
| 01:26:47 |
Except Martin, obviously, |
| 01:26:50 |
So huge, his coffin |
| 01:26:53 |
l remember thinking |
| 01:26:57 |
..strengthen the hope |
| 01:26:59 |
..in those whose bodies |
| 01:27:03 |
We'd been running on empty for months. |
| 01:27:05 |
We survived by shuffling cash |
| 01:27:08 |
..and back again. |
| 01:27:09 |
Tony. |
| 01:27:11 |
- How are you doing? |
| 01:27:12 |
- What can l get you? |
| 01:27:16 |
You know, we do have to... |
| 01:27:19 |
- Mm. |
| 01:27:21 |
- Mm. |
| 01:27:23 |
Mm, yeah, yeah, yeah. |
| 01:27:25 |
We're actually thinking of |
| 01:27:27 |
That's lovely. |
| 01:27:29 |
And l'll see you next week, then. |
| 01:27:31 |
We had to make some money, |
| 01:27:36 |
- New Order want to record an album. |
| 01:27:41 |
ln lbiza. |
| 01:27:43 |
Why... Why lbiza? |
| 01:27:46 |
Why not lbiza? |
| 01:27:47 |
lt's gonna be monsoon season |
| 01:27:50 |
Well, it... it's sunny, actually. |
| 01:27:52 |
New Order went offto lbiza and took |
| 01:27:56 |
The Mondays wanna make another album. |
| 01:27:59 |
That's fantastic news. |
| 01:28:01 |
And the great thing is, |
| 01:28:03 |
- Enjoy. |
| 01:28:05 |
- ..with, er,... |
| 01:28:07 |
- ..like, heroin recently. |
| 01:28:10 |
l've tried to get him off smack onto |
| 01:28:14 |
Both barrels. |
| 01:28:15 |
So l've been readin' about this place |
| 01:28:20 |
Wouldn't be the lsle of Man, |
| 01:28:22 |
No, Tony. Barbados. |
| 01:28:25 |
(chuckles) |
| 01:28:28 |
(# DSK: What Would We Do) |
| 01:28:30 |
Look, they're all mine, |
| 01:28:32 |
lt's my bag, it's my methadone. |
| 01:28:36 |
Nathan had supplied |
| 01:28:38 |
..to keep Shaun going for four weeks. |
| 01:28:40 |
That's how long they were |
| 01:28:43 |
- (shouting) |
| 01:28:46 |
Sorry, man. |
| 01:28:47 |
lt's fuckin' coming out of your wages, |
| 01:28:49 |
lt wasjust bad luck... |
| 01:28:51 |
..that the methadone didn't even |
| 01:28:53 |
X, just snort it, man. |
| 01:28:55 |
Nathan- |
| 01:28:56 |
- Nathan- |
| 01:29:01 |
There was no heroin on the island. |
| 01:29:05 |
Every week, we sent over all the cash |
| 01:29:08 |
..and Nathan used it |
| 01:29:11 |
When the cash ran out, |
| 01:29:14 |
..then they stole the furniture,... |
| 01:29:16 |
..and then they sold their clothes. |
| 01:29:19 |
(# City Of Prague Orchestra: |
| 01:29:22 |
(Shaun) l was stranded |
| 01:29:24 |
..with no shelter nor companionship. |
| 01:29:28 |
Every day l kept watch for rescue... |
| 01:29:30 |
..but no-one came. |
| 01:29:33 |
My only distraction was to write |
| 01:29:37 |
But then l thought... |
| 01:29:39 |
..why the fuck should l?/ |
| 01:29:43 |
Very good. Very good. |
| 01:29:46 |
So, Nathan,... |
| 01:29:50 |
Shaun's kidnapped it. |
| 01:29:52 |
Come again? |
| 01:29:54 |
Shaun's kidnapped the tape. |
| 01:29:56 |
(chuckles) |
| 01:29:57 |
(grunts) |
| 01:29:59 |
Rob, Rob, what you doing? |
| 01:30:00 |
- lt's nothing to do with me. |
| 01:30:03 |
- Yeah, yeah. |
| 01:30:07 |
And now Shaun wants you |
| 01:30:09 |
- You cheeky... |
| 01:30:11 |
Don't- Rob... Rob- |
| 01:30:13 |
He's a fucking kid- |
| 01:30:15 |
Calm down. How do we buy it off him? |
| 01:30:16 |
He wants you to meet him tomorrow. |
| 01:30:19 |
Dry Bar, ten o'clock. |
| 01:30:21 |
This is your fuckin' fault for letting |
| 01:30:23 |
Why is it my fault? |
| 01:30:27 |
But what if he... what if he |
| 01:30:30 |
lf he says 100 grand, |
| 01:30:32 |
lf we mention a figure, |
| 01:30:35 |
- He just wants a gesture. |
| 01:30:38 |
- All right, mate. How you doing? |
| 01:30:41 |
- What the fuck are you doin'?- |
| 01:30:46 |
Shit- |
| 01:30:47 |
Fuck- Really ought to be |
| 01:30:50 |
You could... |
| 01:30:52 |
- Have you got a new toy, mate? |
| 01:30:54 |
Are you man enough for that? |
| 01:30:55 |
- lt's great to see you. |
| 01:30:56 |
lt's great to see you, |
| 01:30:59 |
Erm... Right, l've got... |
| 01:31:02 |
l'm gonna make you an offer. |
| 01:31:05 |
ln my wallet... |
| 01:31:08 |
..is, if l'm not mistaken,... |
| 01:31:09 |
..40... |
| 01:31:10 |
That's 50 quid, that's all l've got. |
| 01:31:13 |
- Nice, Tone. There you go. |
| 01:31:15 |
- Master tapes and DATs. |
| 01:31:19 |
Put that away. |
| 01:31:20 |
- Seven years' bad luck, that. |
| 01:31:23 |
- Fuck off. |
| 01:31:25 |
- Don't talk to any strange men. |
| 01:31:27 |
- What you laughing at? |
| 01:31:30 |
Fucking Tony Wilson... |
| 01:31:33 |
50 pounds. That's, er... |
| 01:31:36 |
You wouldn't get that |
| 01:31:39 |
l have in my hand... a DAT. |
| 01:31:43 |
Which my beautiful assistant Yvette |
| 01:31:45 |
- The Mondays. lt's here, it's here. |
| 01:31:49 |
A total fuckin' nightmare. |
| 01:31:51 |
A total nightmare. |
| 01:31:55 |
Thank you, Barney. |
| 01:31:57 |
(# Sunshine And Love) |
| 01:31:59 |
At least there's something |
| 01:32:10 |
So far, so-so. |
| 01:32:12 |
lt's good. lt's got a good groove. |
| 01:32:24 |
When are the vocals |
| 01:32:34 |
Next break. |
| 01:32:38 |
- (music stops) |
| 01:32:41 |
(music starts) |
| 01:32:46 |
There's no fuckin' vocals on it, |
| 01:32:48 |
- Apparently not. |
| 01:32:51 |
So does that mean you'll have to |
| 01:32:53 |
No, it fucking doesn't mean |
| 01:32:55 |
- All right. |
| 01:32:57 |
And we can't get any credit... |
| 01:32:59 |
..and we are shelling out... |
| 01:33:01 |
..thousands... on this stupid... |
| 01:33:04 |
We have to... |
| 01:33:07 |
..release a record. |
| 01:33:09 |
New Order, with respect, |
| 01:33:11 |
..so we'll have to finish the Mondays. |
| 01:33:13 |
We just... need someone to... |
| 01:33:17 |
- ..distribute the record... |
| 01:33:20 |
- ..and we'll share in the profits. |
| 01:33:21 |
- lt's the Mondays. Lots of people. |
| 01:33:24 |
- Who's gonna pay for that? |
| 01:33:27 |
- Who? |
| 01:33:29 |
- Fucking... |
| 01:33:31 |
The name, for a start. |
| 01:33:32 |
Oh... lt's just a fucking name, Rob. |
| 01:33:35 |
- You've dropped a bollock, ain't you? |
| 01:33:37 |
- Yeah, l don't mind, l've... |
| 01:33:40 |
Yes, l've dropped a big, |
| 01:33:43 |
(sighs) |
| 01:33:46 |
Wheel OfFortune/ |
| 01:33:48 |
(audience cheers) |
| 01:33:52 |
With... Anthony Wilson... |
| 01:33:55 |
and... Teri Seymour/ |
| 01:34:01 |
Welcome to the Wheel ofFortune. |
| 01:34:05 |
There it is, the wheel,... |
| 01:34:07 |
..that throughout the centuries |
| 01:34:09 |
..for the vicissitudes of life. |
| 01:34:12 |
Boethius himself, in his great work |
| 01:34:15 |
..compares history |
| 01:34:17 |
..hoisting us up, |
| 01:34:19 |
''lnconsistency is my very essence'' |
| 01:34:24 |
''Raise yourself up on my spokes |
| 01:34:26 |
..but don't complain |
| 01:34:29 |
Let's spin the wheel. |
| 01:34:31 |
What a load of bullshit. |
| 01:34:33 |
Just go straight from ''Wheel of |
| 01:34:37 |
The guy over there |
| 01:34:39 |
..that's the real Tony Wilson, OK? |
| 01:34:41 |
There's plenty of other real people |
| 01:34:44 |
Tony. |
| 01:34:45 |
- How you doing? |
| 01:34:47 |
- Mark E Smith from the Fall. |
| 01:34:50 |
- Mani from the Stone Roses. |
| 01:34:54 |
lnspiral Carpets: |
| 01:34:56 |
That's one with a table. |
| 01:34:58 |
Mike Pickering. |
| 01:35:00 |
Dave Haslam. |
| 01:35:01 |
And, er, Vini Reilly. |
| 01:35:05 |
Although this scene didn't actually |
| 01:35:09 |
l'm sure it'll be on the DVD. |
| 01:35:12 |
l'm in security now, Tone. |
| 01:35:16 |
That's where the money is. |
| 01:35:18 |
Are you still keeping the pub going? |
| 01:35:20 |
Oh, yeah. You got to. |
| 01:35:22 |
(claps) Boys- |
| 01:35:24 |
Hi, Tony? Have a listen to this. |
| 01:35:27 |
# You know that love |
| 01:35:30 |
# Love will tear us apart |
| 01:35:32 |
- # Again |
| 01:35:34 |
# You know that love |
| 01:35:35 |
lt's an old Joy Division song |
| 01:35:39 |
- Yeah. |
| 01:35:43 |
l've got a big repossession number |
| 01:35:47 |
Massive. |
| 01:35:52 |
Whitworth Street. Hacienda. |
| 01:35:55 |
l'm saying fuck all. |
| 01:35:58 |
# You know that love |
| 01:35:59 |
- Yeah. |
| 01:36:02 |
Can you tell them l've had enough? |
| 01:36:04 |
Yeah. Whoa- |
| 01:36:05 |
Great. Well done, lads. Fantastic. |
| 01:36:13 |
What's the crack with this spread, |
| 01:36:15 |
This is sophisticated food for... |
| 01:36:18 |
- lt's fuckin' leaves- |
| 01:36:20 |
lt's stuffed vine leaves, |
| 01:36:23 |
- ls this what they eat down there? |
| 01:36:25 |
Fuckin' southern food |
| 01:36:28 |
Roger. ls it Roger? |
| 01:36:30 |
Tony, this is Terry. |
| 01:36:33 |
Nice to meet you. |
| 01:36:34 |
- Can l just... see the band? |
| 01:36:36 |
Roger Ames, London Records. |
| 01:36:39 |
- How you doing? OK? |
| 01:36:41 |
What you've done, |
| 01:36:43 |
..if you don't mind me saying, |
| 01:36:46 |
And there's food on it, too, |
| 01:36:49 |
l wouldn't fuckin' eat it |
| 01:36:52 |
We like shaggin' like 'em |
| 01:36:55 |
lf music be the food of deals, |
| 01:36:58 |
Absolutely. |
| 01:37:01 |
Terry, have you met Tony? |
| 01:37:03 |
- Yeah, we said hello. |
| 01:37:05 |
- (# Sunshine And Love) |
| 01:37:07 |
Nice to meet you. |
| 01:37:08 |
We're gonna do a cover |
| 01:37:12 |
Terry, Terry. |
| 01:37:14 |
- Turn it up- |
| 01:37:16 |
- Turn it up- |
| 01:37:18 |
l like that- |
| 01:37:25 |
- This is... That... |
| 01:37:27 |
- l was really into that. |
| 01:37:29 |
Let's hear some lyrics. |
| 01:37:31 |
You'll hear the vocals, Roger, |
| 01:37:34 |
That's the way we do things |
| 01:37:36 |
Shaun, where you going? |
| 01:37:38 |
l'm not eating fuckin' bunny rabbit |
| 01:37:40 |
- Are you coming? |
| 01:37:43 |
- We'll get you a Kentucky. |
| 01:37:45 |
All right, mate, see you later. |
| 01:37:47 |
Yvette? Just keep an eye on them. |
| 01:37:49 |
So, Tony, why don't we listen |
| 01:37:54 |
Erm... |
| 01:37:56 |
Hey, Tony, come on. |
| 01:37:58 |
l do understand that Shaun can be.... |
| 01:38:03 |
Mm, yeah. He's a genius, though. |
| 01:38:06 |
Yeah, you're right, he is a genius. |
| 01:38:09 |
And l've got to say, |
| 01:38:12 |
..and l had signed Shaun to it,... |
| 01:38:15 |
..then l would not be selling him on |
| 01:38:18 |
(makes chicken noises) |
| 01:38:22 |
l'm going to make you an offer. |
| 01:38:25 |
Erm, yes. You've got to be a bit... |
| 01:38:27 |
l'm gonna make you an offer |
| 01:38:30 |
OK. |
| 01:38:34 |
Five million. |
| 01:38:36 |
What do you want for that? |
| 01:38:38 |
- What do l want? |
| 01:38:40 |
l want everything. |
| 01:38:42 |
l want everything: the back catalogue, |
| 01:38:47 |
- OK. |
| 01:38:49 |
Quite right. |
| 01:38:51 |
(clears throat) OK. |
| 01:38:54 |
..terribly flattered that you think |
| 01:38:58 |
..however, what you're... |
| 01:39:02 |
..Factory Records |
| 01:39:04 |
We are an experiment |
| 01:39:07 |
You're labouring |
| 01:39:10 |
..that we actually have... a deal... |
| 01:39:14 |
..with, er,... with our bands,... |
| 01:39:17 |
..that we have any kind of a contract |
| 01:39:20 |
And l'm afraid we... we don't. |
| 01:39:24 |
Because that's the sum total |
| 01:39:27 |
..to do with Factory Records' deal |
| 01:39:31 |
''The artists own all their own work, |
| 01:39:36 |
''Our bands have the freedom.'' |
| 01:39:38 |
''To fuck off.'' |
| 01:39:40 |
Oh, yeah. Quite right. |
| 01:39:42 |
''..the freedom to fuck off.'' |
| 01:39:45 |
(chuckles) |
| 01:39:48 |
Correct. |
| 01:39:53 |
..that l... never literally |
| 01:39:57 |
..sold out. |
| 01:39:59 |
l protected myself |
| 01:40:02 |
..dilemma of having to sell out... |
| 01:40:04 |
..by having nothing to sell out. |
| 01:40:09 |
(clears throat) |
| 01:40:13 |
Tony, you're fucking mad. |
| 01:40:15 |
That's a point of view. |
| 01:40:19 |
- (# Happy Mondays: Hallelujah) |
| 01:40:23 |
# Hallelujah |
| 01:40:25 |
Most ofall, l love Manchester.: |
| 01:40:27 |
..the crumbling warehouses, |
| 01:40:30 |
..the cheap, abundant drugs. |
| 01:40:33 |
That's what did it in the end.: |
| 01:40:35 |
..not the money, not the music, |
| 01:40:38 |
That is my heroic flaw.: |
| 01:40:46 |
(Tony) Ryan- |
| 01:40:48 |
Tony Wilson, is it true |
| 01:40:51 |
Yes, it is. |
| 01:40:52 |
How does it feel |
| 01:40:54 |
Glorious. The Hacienda is dead, |
| 01:40:57 |
Unlike your good self, Tony. |
| 01:40:59 |
l feel like a big dandelion cock... |
| 01:41:01 |
- What? |
| 01:41:03 |
Cock or clock, it doesn't matter, |
| 01:41:06 |
..it's gonna fly off, land, |
| 01:41:09 |
..dozens, thousands |
| 01:41:12 |
..like the biggest ever fuck. |
| 01:41:14 |
And now she wants one |
| 01:41:18 |
Come on. |
| 01:41:20 |
- (horn toots) |
| 01:41:27 |
- Tony- |
| 01:41:29 |
- Tony- |
| 01:41:31 |
Thanks for coming. |
| 01:41:33 |
Vini- All right, mate. Go on in. |
| 01:41:35 |
- OK, love. |
| 01:41:38 |
(# Happy Mondays: Hallelujah) |
| 01:41:47 |
# Hallelujah |
| 01:41:49 |
# Hallelujah |
| 01:41:52 |
# Hallelujah |
| 01:42:07 |
# Hal-le-lu-jah |
| 01:42:11 |
# Hal-le-lu-jah |
| 01:42:16 |
# Hallelujah, hallelujah |
| 01:42:18 |
# We're here to pull ya |
| 01:42:21 |
# Back in to do it all the same |
| 01:42:25 |
# Hallelujah, hallelujah |
| 01:42:28 |
# Not sent to save ya |
| 01:42:30 |
# Just here to spank ya, |
| 01:42:34 |
# Do it long, long |
| 01:42:37 |
# Do fine, fine |
| 01:42:39 |
# Go in, out |
| 01:42:44 |
# Hallelujah, hallelujah |
| 01:42:47 |
# Not here to praise ya |
| 01:42:49 |
# Just here to raise ya |
| 01:42:54 |
# Hallelujah |
| 01:42:56 |
# Hallelujah |
| 01:42:57 |
# Hallelujah |
| 01:43:03 |
# Hal-le-lu-jah |
| 01:43:08 |
# Hallelujah, hallelujah |
| 01:43:10 |
# We're Mr Bitter |
| 01:43:12 |
# We'll take a bit ofthis and that |
| 01:43:17 |
# Hallelujah, hallelujah |
| 01:43:19 |
# When Shaun William Ryder |
| 01:43:21 |
# Will lie down beside ya |
| 01:43:26 |
# Hallelujah |
| 01:43:28 |
# Hallelujah |
| 01:43:31 |
# Hallelujah |
| 01:44:04 |
You couldn't just give us ten minutes, |
| 01:44:07 |
- Fuckin' hell- l'm full of flu- |
| 01:44:09 |
(# Hallelujah continues) |
| 01:44:23 |
- (music stops) |
| 01:44:25 |
Ladies and gentlemen, |
| 01:44:30 |
l'd like now to ask you to leave |
| 01:44:34 |
(whistling, cheering) |
| 01:44:38 |
Before you do... |
| 01:44:40 |
Before you do,... |
| 01:44:42 |
..l want you to invade the offices, |
| 01:44:48 |
..through that door, |
| 01:44:51 |
(whistling, applause) |
| 01:44:56 |
Office equipment, computers, |
| 01:45:00 |
..take it all, use it wisely,... |
| 01:45:02 |
..let a thousand Mancunians bloom. |
| 01:45:06 |
Good night, God bless. |
| 01:45:08 |
(cheering) |
| 01:45:13 |
(music resumes) |
| 01:45:28 |
(sighs) |
| 01:45:30 |
Morning. |
| 01:45:33 |
All right, Tone, |
| 01:45:35 |
- Good, very good. |
| 01:45:37 |
l'm really sorry about what happened, |
| 01:45:40 |
- lt just fuckin'... |
| 01:45:44 |
lt's just... you know... |
| 01:45:54 |
This is fuckin' great, this is. |
| 01:45:57 |
Yeah, Shaun brought it back |
| 01:46:01 |
- Well done, Shaun. |
| 01:46:03 |
So it wasn't a complete waste of time? |
| 01:46:06 |
No, l had a great time, what l can |
| 01:46:20 |
(whooshing) |
| 01:46:24 |
(Tony's voice) |
| 01:46:27 |
Basically, you were right: |
| 01:46:29 |
..Shaun is the greatest poet |
| 01:46:31 |
This is amazing. |
| 01:46:34 |
lt is already written in the sinews |
| 01:46:39 |
lt's a pity you didn't sign |
| 01:46:41 |
..but you were right about |
| 01:46:43 |
His music's rubbish |
| 01:46:46 |
Vini Reilly, by the way,... |
| 01:46:48 |
..is way overdue a revival. |
| 01:46:50 |
You might think about |
| 01:46:52 |
lt's a good idea. |
| 01:46:54 |
lt's good music to chill out to. |
| 01:46:58 |
Yeah, you're right. |
| 01:47:00 |
l usually am. |
| 01:47:04 |
(whooshing) |
| 01:47:06 |
Are you all right, there, Tony? |
| 01:47:10 |
Yeah, l've just seen God. |
| 01:47:12 |
- You did what? |
| 01:47:14 |
- Did you? |
| 01:47:16 |
What did he look like? |
| 01:47:18 |
He looked like me. |
| 01:47:21 |
How d'you mean? |
| 01:47:23 |
He was the double of me. |
| 01:47:28 |
lt's written in the Bible, isn't it? |
| 01:47:30 |
God made man in his own image. |
| 01:47:34 |
Yeah, but not a specific man. |
| 01:47:38 |
No, but... |
| 01:47:40 |
..if you'd have spoken to him, |
| 01:47:43 |
But you didn't. l did. |
| 01:47:46 |
And he looked like me. |
| 01:47:51 |
lt's fucking top gear, man. |
| 01:47:55 |
(# Joy Division: |
| 01:48:18 |
# When routine bites hard |
| 01:48:21 |
# And ambitions are low |
| 01:48:24 |
# And resentment rides high |
| 01:48:27 |
# But emotions won't grow |
| 01:48:30 |
# And we're changing our ways |
| 01:48:33 |
# Taking different roads |
| 01:48:36 |
# Love |
| 01:48:37 |
# Love will tear us apart again |
| 01:48:42 |
# Love |
| 01:48:44 |
# Love will tear us apart again # |
| 01:48:49 |
(# New Order: Here to Stay) |
| 01:49:06 |
# Who is this man |
| 01:49:10 |
# That follows me? |
| 01:49:14 |
# This blue-eyed boy |
| 01:49:17 |
# Who wants to be |
| 01:49:21 |
# This worthy cause |
| 01:49:25 |
# Ofhuman kind |
| 01:49:28 |
# This all set up by time |
| 01:49:35 |
# Like a bright light on the horizon |
| 01:49:38 |
# Shining so bright |
| 01:49:42 |
# He'll drive you away |
| 01:49:45 |
# But down on your move |
| 01:49:49 |
# Like a bright light on the horizon |
| 01:49:52 |
# Shining so bright |
| 01:49:56 |
# He'll get you flying |
| 01:49:58 |
# He'll get you flying |
| 01:50:00 |
# He'll get you flying |
| 01:50:01 |
# Flying, flying |
| 01:50:04 |
# This open book |
| 01:50:07 |
# Yet to be read |
| 01:50:11 |
# This second look |
| 01:50:14 |
# This leap ahead |
| 01:50:18 |
# The hope l held inside |
| 01:50:25 |
# With you was kept alive |
| 01:50:32 |
# Like a bright light on the horizon |
| 01:50:35 |
# Shining so bright |
| 01:50:39 |
# He'll drive you away |
| 01:50:43 |
# But down on your move |
| 01:50:46 |
# Like a bright light on the horizon |
| 01:50:50 |
# Shining so bright |
| 01:50:53 |
# He'll get you flying |
| 01:50:55 |
# He'll get you flying |
| 01:50:57 |
# He'll get you flying |
| 01:50:59 |
# Flying, flying |
| 01:51:29 |
# We're here to stay |
| 01:51:33 |
# We're here to stay |
| 01:51:36 |
# We're here to stay |
| 01:51:40 |
# We're here to stay |
| 01:51:43 |
# We're here to stay |
| 01:51:47 |
# We're here to stay |
| 01:51:50 |
# We're here to stay |
| 01:51:54 |
# We're here to stay |
| 01:51:58 |
# Like a bright light on the horizon |
| 01:52:01 |
# Shining so bright |
| 01:52:05 |
# He'll get you flying |
| 01:52:07 |
# He'll get you flying |
| 01:52:08 |
# He'll get you flying |
| 01:52:10 |
# Flying, flying # |
| 01:52:12 |
Subtitles by Will Mann |
