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Every great century that produces
art is, so far, an artificial century,
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and the work that seems the most
natural and simple of its time
3
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is always the result
of the most self-conscious effort.
4
00:00:25,920 --> 00:00:29,071
RHYS MEYERS: Imagine that
liberation of mind for the first time.
5
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For the first time,
how those kids just went mad.
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"Wow, we can have sex and drugs and..."
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(EXCLAIMS)
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"We can be anything we want to be.
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"We can wear make-up,
and we can wear anything we want to
10
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"and people think we're cool."
11
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It was like a fantasy world, I suppose.
12
00:00:46,160 --> 00:00:49,152
NARRATOR: For once,
there was an unknown land
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full of strange flowers
and subtle perfumes.
14
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A land of which it is
joy of all joys to dream.
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A land where all things are perfect
and poisonous.
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# Well, you' re the grand one
17
00:01:08,320 --> 00:01:11,153
# Have you noticed?
18
00:01:11,680 --> 00:01:16,470
# When you walk in
all the fairy boys are very nervous
19
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# Well, my starship doesn't want me
20
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# And neither does his world #
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Political sensibilities
were being activated.
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There was gay rights,
there was feminism,
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there was a lot of stuff
that was ignored, I think, in the '60s.
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I mean, the '60s had a real misogynist,
homophobic aspect to them.
25
00:01:42,440 --> 00:01:45,318
It was a very brief moment where
26
00:01:45,400 --> 00:01:48,631
suddenly that kind of gender bending
was not only acceptable,
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it was encouraged,
28
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and almost necessary to be successful.
29
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I mean, even bands like The Kinks and
the Stones were wearing feather boas.
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That is me! That's me, that! That's me!
31
00:02:01,840 --> 00:02:04,479
I mean, everybody knows
most people are bisexual.
32
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JERRY: Any more questions?
33
00:02:06,600 --> 00:02:08,477
Yeah, woman with the beret.
34
00:02:08,560 --> 00:02:11,074
I was under the impression
that you were married...
35
00:02:11,160 --> 00:02:13,594
I was born in ' 71,
so I kind of missed it.
36
00:02:15,080 --> 00:02:18,709
I was running around the countryside
in Scotland when this was all going on.
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00:02:19,160 --> 00:02:21,071
# See that cat
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00:02:21,960 --> 00:02:24,269
# Yeah, I do mean you #
39
00:02:25,200 --> 00:02:26,519
McGREGOR: I love all that stuff.
40
00:02:26,600 --> 00:02:29,319
I love the idea of anything going and
of bisexuality being hip.
41
00:02:29,400 --> 00:02:32,153
But at the same time, I think
there was a lot of hypocrisy in it.
42
00:02:32,240 --> 00:02:34,834
People saying that they were gay
and bisexual who weren 't.
43
00:02:34,920 --> 00:02:37,593
And, you know, it was just
a hip scene to be in.
44
00:02:37,680 --> 00:02:41,150
The people that were leading it
were leading it truthfully,
45
00:02:41,240 --> 00:02:44,391
and, "We are gay and we are bisexual,"
and they were the cool people.
46
00:02:46,520 --> 00:02:48,476
# See that cat #
47
00:02:48,560 --> 00:02:50,437
McGREGOR: One of the first times
you see me in the movie,
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00:02:50,520 --> 00:02:53,432
I think, where I'm playing this concert,
49
00:02:53,520 --> 00:02:55,750
and the audience is mainly hippies,
50
00:02:55,840 --> 00:02:57,990
and they're not into
what we're doing at all.
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00:02:58,080 --> 00:03:00,878
I' m d oing my stuff and
they don't like it, and then,
52
00:03:00,960 --> 00:03:03,235
I egg them on and
they like that even less.
53
00:03:03,320 --> 00:03:06,471
# She got TV eye #
54
00:03:06,560 --> 00:03:09,996
I have to dive into the crowd,
and they hold me up and I...
55
00:03:10,080 --> 00:03:13,516
I do a bit of stuff, and they set fire
to me and all that kind of stuff.
56
00:03:13,600 --> 00:03:15,238
It's kind of action-glam.
57
00:03:15,320 --> 00:03:19,632
You know, Schwarzenegger
meets T-Rex, maybe.
58
00:03:29,440 --> 00:03:30,555
Yeah, I love this stuff.
59
00:03:30,640 --> 00:03:32,835
I like the performance
'cause I want to be a rock star really.
60
00:03:36,080 --> 00:03:38,674
So he, you know, performed,
sang the songs live,
61
00:03:38,760 --> 00:03:43,675
and then did these unbelievably
strenuous, outrageous performances
62
00:03:43,760 --> 00:03:46,479
that of course worked through
a great deal from
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00:03:46,560 --> 00:03:49,438
things we've all seen and read
about Iggy Pop.
64
00:03:49,520 --> 00:03:52,239
With a little bit of Lou Reed
thrown in there as well.
65
00:03:52,320 --> 00:03:55,039
But he just blew us all away.
66
00:03:55,280 --> 00:03:56,998
(HOWLING)
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00:03:57,080 --> 00:03:59,196
STIPE: Well, I was 12.
I didn't really understand it.
68
00:03:59,280 --> 00:04:01,874
My grandmother told me...
She saw a picture of Alice Cooper,
69
00:04:01,960 --> 00:04:05,794
who was kind of an American equivalent
to British glam rock,
70
00:04:06,680 --> 00:04:09,478
on the cover of a magazine
when I was 1 1 or 1 2 years old and said,
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00:04:09,560 --> 00:04:10,788
"He's gonna burn in hell."
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00:04:10,880 --> 00:04:14,077
And of course I was intrigued
immediately by this person.
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I wanted to know about him.
74
00:04:15,440 --> 00:04:17,317
I think when punk rock was ushered in,
75
00:04:17,400 --> 00:04:21,598
it was a little bit more of
a sexless musical revolution.
76
00:04:21,680 --> 00:04:24,831
Of course, it was
incredibly sexy in its own way.
77
00:04:25,840 --> 00:04:30,152
I think, politically, things just
changed dramatically in the mid '70s.
78
00:04:30,240 --> 00:04:34,074
This is a period of time
that had great style
79
00:04:34,160 --> 00:04:36,230
and great humour about itself,
80
00:04:36,320 --> 00:04:39,756
and was able, in British words,
to take the piss out of itself.
81
00:04:39,840 --> 00:04:43,753
At the same time, saying something and
having a good time while saying it.
82
00:04:43,840 --> 00:04:45,910
I think that's what
a lot of that is about.
83
00:04:46,000 --> 00:04:49,436
# It's a crime, you're mistaken
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00:04:49,880 --> 00:04:55,796
# Momentary seizure of love #
85
00:04:56,560 --> 00:04:58,118
REPORTER: So you're saying
you're bisexual?
86
00:04:58,200 --> 00:05:00,555
Yeah, I like boys, I like girls.
87
00:05:00,640 --> 00:05:03,518
They're all great.
No difference, is there,
88
00:05:04,720 --> 00:05:05,789
Mr BBC?
89
00:05:12,080 --> 00:05:17,996
I am not really myself
except in the midst of elegant crowds,
90
00:05:18,080 --> 00:05:20,389
at the heart of rich districts,
91
00:05:20,480 --> 00:05:24,792
or amid the sumptuous ornamentation
of palace hotels,
92
00:05:24,880 --> 00:05:28,759
an army of servants
and plush carpet underfoot.
93
00:05:28,840 --> 00:05:31,308
And it's really, truly
a bisexual love story
94
00:05:31,400 --> 00:05:35,678
in that it also very,
sort of, romantically describes
95
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the marriage between
Brian Slade and Mandy Slade initially,
96
00:05:39,520 --> 00:05:41,192
and Brian sort of getting
97
00:05:41,280 --> 00:05:45,478
also completely sort of smitten with
98
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this character from New York
named Curt Wild.
99
00:05:47,640 --> 00:05:50,552
Love is tough
and it takes effort and work.
100
00:05:50,640 --> 00:05:54,155
And I don't think Brian Slade was
into effort and work much.
101
00:05:54,240 --> 00:05:57,994
People generally aren't good
with change, I don't think.
102
00:05:58,920 --> 00:06:02,037
And things are just
constantly changing in this.
103
00:06:03,080 --> 00:06:07,710
# I'll use you and I'll confuse you
104
00:06:08,520 --> 00:06:10,750
# And then I'll lose you
105
00:06:10,840 --> 00:06:13,798
# But still you won't suspect me #
106
00:06:14,400 --> 00:06:17,472
Their relationship is obviously very
strong, one that's based in love.
107
00:06:17,560 --> 00:06:19,835
But like a lot of love affairs,
108
00:06:19,920 --> 00:06:23,117
it's like over
as soon as it's started, you know?
109
00:06:23,200 --> 00:06:26,272
Mandy is a very, very complex character.
110
00:06:27,120 --> 00:06:29,680
She had to be his door kicker.
111
00:06:29,760 --> 00:06:34,754
She also had to watch him
do whatever he wants to do.
112
00:06:34,840 --> 00:06:37,673
They both wanted to, kind of,
be out there.
113
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And he came first,
and she never got her chance.
114
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Her window never opened.
115
00:06:43,520 --> 00:06:46,876
And I don't think
she ever forgave him for that.
116
00:06:46,960 --> 00:06:51,670
Who would you most fancy meeting
in America?
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00:06:52,160 --> 00:06:53,513
Curt Wild.
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00:06:54,960 --> 00:06:57,633
(SATELLITE OF LOVEBY LOU REED PLAYING)
119
00:07:01,680 --> 00:07:04,069
Curt was in love with Brian and
Brian was in love with Curt.
120
00:07:04,160 --> 00:07:06,151
And it just couldn't mix.
121
00:07:06,640 --> 00:07:08,471
Two very, very selfish people.
122
00:07:08,560 --> 00:07:11,791
And massive egos, yeah.
His is bigger than mine though.
123
00:07:11,880 --> 00:07:14,599
In terms of character, you know.
I think.
124
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It's a love story
in a lot of different ways.
125
00:07:16,160 --> 00:07:19,152
And then it's the story of this kid
named Arthur from Manchester,
126
00:07:19,240 --> 00:07:22,915
who I think maybe we can all
identify with the most in the film.
127
00:07:24,920 --> 00:07:27,229
Well, he's sort of the narrator,
in a way.
128
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I mean, he got kicked out of his own
house because of his glam-attraction,
129
00:07:32,840 --> 00:07:34,159
and everything that went with that.
130
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It's the only period of his life
that he can look back on
131
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and really sort of see
as a happy moment.
132
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It was set in the 1 970s. It could be
any era, because it's people.
133
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The movie's just about people
and how about...
134
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Basically, how being true to yourself
135
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was the greatest mask
you could possibly put on.
136
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Because nobody can conceivably believe,
at that point in time,
137
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that you could be anything that
you wanted to be.
138
00:07:56,760 --> 00:08:00,719
England's such a tight,
classist society.
139
00:08:00,800 --> 00:08:03,678
And these people were just like,
"Yeah! Free for all!"
140
00:08:03,760 --> 00:08:07,230
Suddenly there was
this fresh, vibrant, new outlook,
141
00:08:07,320 --> 00:08:09,629
which basically accepted everything.
142
00:08:09,720 --> 00:08:12,314
It was like, be who you want to be
and love it.
143
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So these people had complete freedom.
144
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And they created so many
different personas for themselves.
145
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I wanted to bury the past in the film.
146
00:08:21,760 --> 00:08:23,955
And so there would always be
this nostalgia
147
00:08:24,040 --> 00:08:27,828
and the sense of something dangerous
and exciting that was closed up,
148
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that Arthur as a character
has to sort of dig out.
149
00:08:31,560 --> 00:08:36,588
So from the beginning of the movie,
there's this enormous sense of loss
150
00:08:36,680 --> 00:08:40,355
and of longing for a past that
we've forgotten or that we've buried.
151
00:08:40,440 --> 00:08:43,079
And, yeah, I'm playing it up.
152
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You don't see many great painters
153
00:08:47,800 --> 00:08:50,360
or many great filmmakers
154
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who just make funny happy films.
155
00:08:52,960 --> 00:08:56,270
Or funny happy songs or
funny happy paintings. They don't.
156
00:08:56,680 --> 00:09:01,470
All the best ones
delve into the world of tragedy
157
00:09:01,560 --> 00:09:03,676
because out of tragedy is beauty.
158
00:09:03,760 --> 00:09:07,275
I remember going to the movies when
I was a kid and feeling that thrill
159
00:09:07,360 --> 00:09:10,397
about going on
some unknown trip somewhere.
160
00:09:10,480 --> 00:09:13,392
I would love Velvet Goldmine
to have that feeling about it.
161
00:09:13,480 --> 00:09:16,950
Nothing is ever as simple as
it might seem in his movies,
162
00:09:17,040 --> 00:09:20,430
and that's definitely the case
with Velvet Goldmine.
163
00:09:20,520 --> 00:09:24,513
If you are creating a myth,
initially, artificially,
164
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the best way to really pull it off
is to become the myth.
165
00:09:30,080 --> 00:09:32,594
Because the secret of becoming a star
166
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is knowing how to behave like one.
167
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Action!
168
00:09:37,160 --> 00:09:39,833
(VIRGINIA PLAINBY ROXY MUSIC PLAYING)
169
00:10:06,080 --> 00:10:08,878
What's true about music
is true about life,
170
00:10:08,960 --> 00:10:11,520
that beauty reveals everything
171
00:10:11,600 --> 00:10:13,955
because it expresses nothing.
172
00:10:14,040 --> 00:10:17,635
I'm only 24. I was born in '72, my God.
173
00:10:17,720 --> 00:10:22,430
But I certainly did... I got so into
the music, making the movie. I still am.
174
00:10:22,520 --> 00:10:24,272
Ladies and gentlemen, boys and girls,
175
00:10:24,360 --> 00:10:26,191
and whomever else who may be
in the house this evening,
176
00:10:26,280 --> 00:10:29,829
I give you Brian Slade!
177
00:10:31,240 --> 00:10:36,109
# Oh, I was moved by your screen dream
178
00:10:37,320 --> 00:10:42,394
# Celluloid pictures living
179
00:10:43,400 --> 00:10:48,599
# Your death could not kill
my love for you #
180
00:10:49,720 --> 00:10:52,359
I guess the sound and
the content shared a great deal,
181
00:10:52,440 --> 00:10:56,513
which was extremely ornate and melodic,
182
00:10:56,600 --> 00:10:59,797
and very produced,
183
00:10:59,880 --> 00:11:03,919
but not in a slick way
as much as embellished.
184
00:11:04,640 --> 00:11:06,915
The music was dressed up.
185
00:11:07,000 --> 00:11:10,151
It drew from the hard, sort of,
186
00:11:10,240 --> 00:11:14,392
threatening, anti-hippy sounds of
the Velvet Underground
187
00:11:14,480 --> 00:11:18,109
and The Stooges,
and that kind of violence.
188
00:11:18,200 --> 00:11:20,031
The violence of the music
certainly was there.
189
00:11:20,120 --> 00:11:22,509
The sexual violence that
comes from those groups
190
00:11:22,600 --> 00:11:23,874
was definitely a part of it.
191
00:11:23,960 --> 00:11:29,398
But it wouldn't have happened without
the music hall, vaudevillian tradition,
192
00:11:29,480 --> 00:11:33,917
that seems to me so completely British,
mixing in with that.
193
00:11:34,200 --> 00:11:37,954
# I came down like water
194
00:11:38,040 --> 00:11:42,079
# For the age of solar #
195
00:11:42,600 --> 00:11:44,716
I didn't know the music,
it wasn't what I was brought up with.
196
00:11:44,800 --> 00:11:46,950
So I had to basically backtrack.
197
00:11:47,040 --> 00:11:50,191
And I think now that
maybe it was better,
198
00:11:50,280 --> 00:11:53,113
because people actually used musical
instruments instead of computers.
199
00:11:53,200 --> 00:11:56,158
# We'll take the whole shebang #
200
00:11:56,240 --> 00:11:59,073
Glitter. Even the music
had glitter on it.
201
00:11:59,160 --> 00:12:02,197
Today there's no glitter,
it's all dense bass.
202
00:12:02,680 --> 00:12:06,070
It had glitter, it had make-up.
Music had make-up.
203
00:12:07,200 --> 00:12:09,077
Some of the stuff
they were doing back then
204
00:12:09,160 --> 00:12:12,311
was so radical and
so creative. Really...
205
00:12:14,280 --> 00:12:16,475
Not just musically,
but in terms of production,
206
00:12:16,560 --> 00:12:19,632
in terms of what they were doing
in the studio.
207
00:12:19,720 --> 00:12:21,358
Slamming together and
trying different ideas,
208
00:12:21,440 --> 00:12:23,795
and some of it was abject failure,
209
00:12:23,880 --> 00:12:26,030
but a lot of it was really inspired.
210
00:12:26,400 --> 00:12:29,278
# Friends say it's fine
Friends say it's good
211
00:12:29,360 --> 00:12:32,989
# Everybody says
it's just like Robin Hood #
212
00:12:36,640 --> 00:12:38,392
And the mixture of those elements.
213
00:12:38,480 --> 00:12:43,076
The theatricality mixed in
with the raunchy,
214
00:12:43,160 --> 00:12:48,553
very frank sexuality of it all
is apparent in the music itself.
215
00:12:48,640 --> 00:12:50,153
You don't even have to
listen to the words
216
00:12:50,240 --> 00:12:52,993
or understand them, I think,
to feel that in the music.
217
00:12:53,080 --> 00:12:55,913
# And it's plain to see
You were meant for me, yeah
218
00:12:56,000 --> 00:12:59,436
# I'm your toy
Your 20th century boy #
219
00:13:01,440 --> 00:13:03,237
It's swinging. It's rock.
220
00:13:04,080 --> 00:13:06,992
It's got beautiful
romantic sweeps in it.
221
00:13:08,720 --> 00:13:12,508
It carries you along.
It's a soundtrack to a dream.
222
00:13:15,320 --> 00:13:18,710
# Baby's on fire
223
00:13:18,800 --> 00:13:22,076
# Better throw her in the water
224
00:13:22,840 --> 00:13:26,469
# Look at her laughing
225
00:13:26,560 --> 00:13:30,155
# Like a heifer to the slaughter
226
00:13:30,520 --> 00:13:33,796
# Baby's on fire
227
00:13:33,880 --> 00:13:37,793
# And all the laughing boys are bitching
228
00:13:38,120 --> 00:13:41,590
# Waiting for photos
229
00:13:41,680 --> 00:13:45,434
# Oh, the plot is so bewitching #
230
00:13:45,520 --> 00:13:49,195
I think its aggressive artificiality,
231
00:13:49,280 --> 00:13:53,990
and sort of celebration of artifice and
rejection of the natural in every way,
232
00:13:55,080 --> 00:13:56,513
frightened people off.
233
00:13:57,120 --> 00:14:00,157
And that it's much easier
to sort of revitalise
234
00:14:02,160 --> 00:14:05,470
and kind of reinvent moments
in pop culture
235
00:14:05,560 --> 00:14:09,599
that seem to be about something
raw and truthful and earnest.
236
00:14:10,480 --> 00:14:15,918
Like punk or like, you know, grunge
or like some of '60s music,
237
00:14:17,280 --> 00:14:21,558
than it is to... I think there's
something more prickly and more complex.
238
00:14:21,960 --> 00:14:23,154
Why the make-up?
239
00:14:23,240 --> 00:14:26,357
Why? Because rock and roll's
a prostitute.
240
00:14:26,440 --> 00:14:28,874
It should be tarted up, performed.
241
00:14:28,960 --> 00:14:32,157
The music is the mask,
while I, in my chiffon and taff...
242
00:14:32,240 --> 00:14:34,515
It was high performance
243
00:14:34,600 --> 00:14:37,478
in a way that I think...
You only see certain periods
244
00:14:37,560 --> 00:14:40,757
that pushed it to that extreme
in rock and in popular music.
245
00:14:47,560 --> 00:14:51,348
The first duty in life
is to assume a pose.
246
00:14:51,440 --> 00:14:56,434
What the second duty is,
no one has yet found out.
247
00:14:56,520 --> 00:14:59,717
(NEEDLE IN THE CAMEL 'S EYE
BY BRIAN ENO PLAYING)
248
00:15:01,360 --> 00:15:04,318
It was colourful,
beautiful loud colours,
249
00:15:04,400 --> 00:15:08,154
flamboyant, flares,
lots of material being used.
250
00:15:09,360 --> 00:15:12,989
Playful. People with boas,
the glamour, the glitter.
251
00:15:14,040 --> 00:15:17,635
Innocent, just like a child dressing up.
You know, fantasy, escape.
252
00:15:17,720 --> 00:15:20,075
The look of it, I mean,
everything is recycled.
253
00:15:20,160 --> 00:15:24,153
I mean, people today are, like,
so into the '70s.
254
00:15:25,040 --> 00:15:27,031
And then there are older folk
kind of looking at it and going,
255
00:15:27,120 --> 00:15:29,873
"I was there. You're a fool.
Give it up."
256
00:15:31,600 --> 00:15:33,431
I can make you a star.
257
00:15:34,400 --> 00:15:38,518
I was like a really young teenager
in the sort of early '70s.
258
00:15:39,160 --> 00:15:40,798
And all the stuff I've been able
to produce on this,
259
00:15:40,880 --> 00:15:43,348
is stuff that I wanted to wear then
but couldn't 'cause I was too young.
260
00:15:43,440 --> 00:15:46,910
I kind of did the best I could
and made my own versions,
261
00:15:47,000 --> 00:15:49,798
but I really aspired to be able to wear
all these fantastic things
262
00:15:49,880 --> 00:15:51,108
that I could see other people wearing.
263
00:15:51,200 --> 00:15:53,634
So it's really exciting for me now
to be able to do it.
264
00:15:53,720 --> 00:15:57,633
It was about going out on the street
and pushing it as far as you can.
265
00:15:57,720 --> 00:16:00,678
Almost in a way pushing it
in people's faces a bit
266
00:16:00,760 --> 00:16:04,548
and saying, "I don't care.
and you can just get out of my face
267
00:16:04,640 --> 00:16:06,278
"if you don't like it."
And so on and so forth.
268
00:16:06,360 --> 00:16:09,796
REPORTER: It appears today's youngsters
have fashioned a whole new bent
269
00:16:09,880 --> 00:16:12,758
on the so-called sexual liberation
of the flower power set.
270
00:16:12,840 --> 00:16:16,958
The long hair and love beads have given
way to glitter make-up, platform shoes
271
00:16:17,040 --> 00:16:21,238
and a whole new taste for glamour,
nostalgia and just plain outrageousness.
272
00:16:21,320 --> 00:16:22,799
REPORTER: Is London not shocked?
273
00:16:22,880 --> 00:16:26,350
-London is improving.
-Well, I think it's a disgrace,
274
00:16:26,440 --> 00:16:29,955
parading around all ponced up
like a pack of bleeding woofters.
275
00:16:30,040 --> 00:16:32,110
Bloody hell, what'll they think up next?
276
00:16:32,200 --> 00:16:34,475
It was wanting to really
push and provoke.
277
00:16:34,560 --> 00:16:36,312
And everything was for a reaction.
278
00:16:38,040 --> 00:16:41,350
Tell us, Brian, are the rumours true
when they say you and Curt Wild
279
00:16:41,440 --> 00:16:43,829
have some sort of plans up your sleeve?
280
00:16:43,920 --> 00:16:47,959
Oh, yes. Quite soon, we actually
plan to take over the world.
281
00:16:48,040 --> 00:16:49,758
(ALL LAUGHING)
282
00:16:54,600 --> 00:16:57,592
Everyone says that if you lived
through the '60s, you don't remember.
283
00:16:57,680 --> 00:16:59,033
And it's perfectly true, I'm afraid.
284
00:16:59,120 --> 00:17:00,872
I realised
I actually remembered very little.
285
00:17:00,960 --> 00:17:03,110
And the '60s and '70s
got very mulched together.
286
00:17:03,200 --> 00:17:04,838
So it was quite difficult
to differentiate
287
00:17:04,920 --> 00:17:07,718
the different periods and
make sense of them.
288
00:17:07,800 --> 00:17:13,318
Outrageous, bizarre, freaky,
well, obviously glamorous.
289
00:17:13,960 --> 00:17:17,919
Because a lot of it was inspired
by the ' 30s, Hollywood ' 30s, 1 930s.
290
00:17:18,000 --> 00:17:19,752
Cheers.
291
00:17:21,440 --> 00:17:22,759
Extraordinary.
292
00:17:22,840 --> 00:17:27,038
I think the costumes in the period
automatically tell the audience,
293
00:17:27,120 --> 00:17:28,155
"This is who I am.
294
00:17:28,240 --> 00:17:30,800
"I am Brian Slade. I wear these clothes
and I live in this country.
295
00:17:30,880 --> 00:17:32,757
"And I'm alive at this time."
296
00:17:32,840 --> 00:17:35,479
So immediately
you are sold to the audience.
297
00:17:35,560 --> 00:17:36,629
MEN: Brian, Brian!
298
00:17:36,720 --> 00:17:39,473
Maxwell Demon is the story
of a space creature
299
00:17:39,560 --> 00:17:41,357
who becomes a rock and roll messiah
300
00:17:41,440 --> 00:17:44,113
only to be destroyed by his own success.
301
00:17:44,200 --> 00:17:48,637
Are you saying this is your destiny?
Are you Maxwell Demon?
302
00:17:48,720 --> 00:17:52,349
Man is least himself
when he talks in his own person.
303
00:17:52,440 --> 00:17:55,398
Give him a mask
and he'll tell you the truth.
304
00:17:56,360 --> 00:17:59,432
I mean, I'm lucky because
the stuff I'm doing is, kind of, rock.
305
00:17:59,520 --> 00:18:03,115
# Come on, little stranger
Die a little later
306
00:18:03,200 --> 00:18:06,078
# Swear you're gonna feel my hand
307
00:18:06,960 --> 00:18:09,872
# Swear you're gonna feel my hand
308
00:18:10,640 --> 00:18:13,598
# Swear you're gonna feel my hand #
309
00:18:14,840 --> 00:18:19,550
And I'm the leather-clad, kind of...
I'm the butchest person in it, you know?
310
00:18:20,200 --> 00:18:21,394
And...
311
00:18:22,440 --> 00:18:25,318
So I've got off lightly, but some of it
just drives me up the wall.
312
00:18:25,400 --> 00:18:26,992
I can't stand it.
313
00:18:28,600 --> 00:18:29,715
It was a joke at the time.
314
00:18:29,800 --> 00:18:33,839
I think people looked ridiculous,
but it's really fun.
315
00:18:33,920 --> 00:18:35,956
KING: The whole '70s thing
was about image.
316
00:18:36,040 --> 00:18:38,998
Everyone sort of discovered that
the image was very, very important.
317
00:18:39,080 --> 00:18:40,991
I mean, they had it before
with teddy boys and stuff.
318
00:18:41,080 --> 00:18:44,356
But then thi s really came to the fore
with the Marc Bolans and David Bowies.
319
00:18:44,440 --> 00:18:46,112
And God knows who else.
320
00:18:46,200 --> 00:18:47,679
The New York Dolls,
and all the rest of them.
321
00:18:47,760 --> 00:18:49,239
And all trying to create
their own image.
322
00:18:49,480 --> 00:18:51,914
(HOT ONEPLAYING)
323
00:19:01,040 --> 00:19:04,749
You know, you look back on parts of
being a teenager,
324
00:19:04,840 --> 00:19:06,273
and a lot of it is very embarrassing,
325
00:19:06,360 --> 00:19:08,555
the sort of clothes that
you started wearing and all of that.
326
00:19:08,640 --> 00:19:13,191
And obviously this is not an exception
at all. I mean, look at us all.
327
00:19:13,960 --> 00:19:19,592
But, I mean, what it represented to me
is not sad at all and,
328
00:19:19,680 --> 00:19:21,477
you know,
it was a very important part of my life
329
00:19:21,560 --> 00:19:23,551
and something that I dearly love.
330
00:19:23,640 --> 00:19:24,993
I could remember quite a bit,
331
00:19:25,080 --> 00:19:27,799
but the sort of stuff
I could remember was the stuff
332
00:19:27,880 --> 00:19:30,269
that myself and my contemporaries
were wearing,
333
00:19:30,360 --> 00:19:32,669
so we kind of used that for
the glitter kids.
334
00:19:32,760 --> 00:19:37,231
The young fans, the sort of, like,
1 3 to 1 6-year-olds.
335
00:19:37,320 --> 00:19:41,233
The greatest challenge was really
just making it be believable.
336
00:19:41,680 --> 00:19:42,999
Even though you're dealing
with something
337
00:19:43,080 --> 00:19:45,071
that's quite sort of extraordinary,
338
00:19:46,280 --> 00:19:48,077
you had to make sure it felt real.
339
00:19:48,160 --> 00:19:50,230
So that's when, for instance,
dealing with the audience
340
00:19:50,320 --> 00:19:52,914
and the fans and the kids,
341
00:19:53,000 --> 00:19:55,719
trying to make it look like
they've done it themselves.
342
00:20:00,520 --> 00:20:03,956
As you say, it's all to do with shadows
and illusions.
343
00:20:04,480 --> 00:20:08,189
What's behind the illusion, and is there
anything behind the illusion at all?
344
00:20:08,280 --> 00:20:11,033
# Hail to the monkey
345
00:20:11,120 --> 00:20:14,669
# We're having a funky reunion #
346
00:20:17,840 --> 00:20:19,910
It was a time where anything went.
347
00:20:20,000 --> 00:20:23,197
That's an incredibly powerful
and positive thing.
348
00:20:23,280 --> 00:20:25,396
And now, it's not the case any more,
you know?
349
00:20:25,480 --> 00:20:27,311
We really have jumped backwards,
I think.
350
00:20:27,400 --> 00:20:29,356
Still, we shouldn't all wear flares
351
00:20:29,440 --> 00:20:32,637
and flowery shirts,
'cause we do look ridiculous.
352
00:20:34,160 --> 00:20:35,559
I'm glad we got out of that.
353
00:20:35,760 --> 00:20:39,036
Everybody, I'd like to introduce you
354
00:20:39,120 --> 00:20:42,999
to our lovely new wardrobe mistress.
355
00:20:43,080 --> 00:20:45,640
Erm...
356
00:20:45,720 --> 00:20:47,597
-Shannon.
-Shannon.
357
00:20:47,680 --> 00:20:48,749
ALL: Welcome, Shannon.
358
00:20:57,160 --> 00:21:01,119
The aesthete gives
characteristically cynical evidence
359
00:21:01,200 --> 00:21:05,512
replete with pointed epigram
and startling paradox
360
00:21:05,600 --> 00:21:09,309
while explaining his views
on morality in art.
361
00:21:09,400 --> 00:21:12,153
I am always very interested in topics
362
00:21:12,240 --> 00:21:17,394
in my films that call notions
of identity into question,
363
00:21:17,480 --> 00:21:24,318
and call sort of natural ideas about,
you know, human kind.
364
00:21:24,400 --> 00:21:30,236
That there's sort of a prescribed,
organic way of living in our culture.
365
00:21:30,320 --> 00:21:33,153
And so,
this was a sort of celebration of
366
00:21:33,240 --> 00:21:37,677
very much the Oscar Wilde tradition
played out in pop culture.
367
00:21:38,360 --> 00:21:41,352
Is it your belief
that all dandies are homosexual?
368
00:21:42,120 --> 00:21:45,954
Hah! Nothing makes one so vain
as being told one is a sinner.
369
00:21:46,040 --> 00:21:47,951
(ALL LAUGHING)
370
00:21:48,040 --> 00:21:50,679
Velvet Goldmine,
the title of the film, comes from
371
00:21:50,760 --> 00:21:55,993
a B-side that David Bowie wrote,
a song from '72.
372
00:21:56,080 --> 00:21:59,789
I don't know if it was ever officially
released in the States or not.
373
00:21:59,880 --> 00:22:01,313
It's a wonderful song.
374
00:22:01,400 --> 00:22:02,435
This is a rock and roll movie,
375
00:22:02,520 --> 00:22:08,117
you know, it's a movie about
music stars and rock and roll stars
376
00:22:08,200 --> 00:22:10,316
and parties and the whole band thing.
377
00:22:10,440 --> 00:22:12,556
(BABY'S ON FIREPLAYING)
378
00:22:32,640 --> 00:22:35,518
So many different things, you know.
It's a really multi-layered film.
379
00:22:35,600 --> 00:22:38,034
And a lot of people, when they read
the script, they just didn't get it.
380
00:22:38,120 --> 00:22:40,759
They were just,
"Whoa, what's that about? "
381
00:22:40,840 --> 00:22:43,070
When I first read it, I loved it.
I thought it was brilliant.
382
00:22:43,160 --> 00:22:47,870
I sort of likened it to a pop song
that you really love.
383
00:22:47,960 --> 00:22:50,520
You can't quite explain what it's about.
384
00:22:50,600 --> 00:22:53,194
And you keep... The more you listen
to it, you hear new lyrics.
385
00:22:53,280 --> 00:22:55,236
Maybe you can't quite hear
what the singer is saying,
386
00:22:55,320 --> 00:22:57,550
but you like the sound of his voice.
387
00:22:57,640 --> 00:23:01,599
And you learn new things about it,
the more you go back and delve into it.
388
00:23:02,440 --> 00:23:04,874
Give it here, then. Let's have a look.
389
00:23:04,960 --> 00:23:08,475
Bloody nora!
Our kid's one of them pansy rockers.
390
00:23:08,560 --> 00:23:10,676
He's a fucking puff, that one there.
391
00:23:10,760 --> 00:23:13,593
-No, he's not.
-That's naff. That's naff!
392
00:23:13,680 --> 00:23:16,148
You're disgusting. You know that?
393
00:23:18,360 --> 00:23:21,397
Well, there's the script.
It's an incredible piece of writing.
394
00:23:21,480 --> 00:23:22,833
It's completely brilliant.
395
00:23:22,920 --> 00:23:25,070
It's so fragmented and so...
396
00:23:25,760 --> 00:23:28,832
So representative of the kind of image
we have of the '70s,
397
00:23:28,920 --> 00:23:33,471
'cause it's all over the place.
It's mad and it's exciting and,
398
00:23:33,560 --> 00:23:36,438
you know, it's beyond comprehension
really, some of it.
399
00:23:36,520 --> 00:23:39,239
People talk about scenes and you go,
"Where's that? "
400
00:23:39,320 --> 00:23:41,072
Then you go back and
you read the script,
401
00:23:41,160 --> 00:23:44,436
and there's a whole scene
that just never went in your mind.
402
00:23:44,520 --> 00:23:46,670
GIRL: My career was on the skids, mate.
403
00:23:46,760 --> 00:23:51,436
And you fished me out of the muck.
You got me back on my feet, you did.
404
00:23:51,520 --> 00:23:54,193
It was nothing, chum.
I wanted to help you
405
00:23:54,280 --> 00:23:56,919
make more of that far-out sound.
406
00:23:57,000 --> 00:24:00,709
I love your music, my son, and I love...
407
00:24:05,960 --> 00:24:07,712
You don't have to say it, mate.
408
00:24:10,120 --> 00:24:12,270
I read the script and I thought,
I'm completely wrong for it.
409
00:24:12,360 --> 00:24:14,510
I'm so wrong, but I fucking love it.
410
00:24:14,600 --> 00:24:16,830
I faxed Todd and I...
411
00:24:18,680 --> 00:24:21,956
I just had to do it.
I'm so in love with it.
412
00:24:22,080 --> 00:24:24,799
And I can't wait to see it.
I think it's brilliant.
413
00:24:24,880 --> 00:24:27,678
When you're trying to be truthful
and speak from the heart,
414
00:24:27,760 --> 00:24:32,117
but you are an institution
unto yourself,
415
00:24:32,200 --> 00:24:35,715
and you're making huge amounts of money,
and there's corporations financing you,
416
00:24:35,800 --> 00:24:39,076
the contradictions of that
direct statement from the heart,
417
00:24:39,160 --> 00:24:42,311
by the time it gets into the hands
of the kids out there, whatever,
418
00:24:42,400 --> 00:24:46,279
it's so contradicted, I think,
on so many levels,
419
00:24:46,920 --> 00:24:49,673
that when you set out to tell the truth,
420
00:24:50,920 --> 00:24:53,150
I think you always fail.
421
00:24:53,240 --> 00:24:54,753
The whole film is loaded
422
00:24:54,840 --> 00:24:57,559
with contradictions about itself,
as was the era.
423
00:24:57,640 --> 00:25:00,598
I contradict myself 1 0, 1 5 times a day.
424
00:25:00,680 --> 00:25:02,830
I think one thing and mean the other.
425
00:25:02,920 --> 00:25:04,273
And it's...
426
00:25:05,760 --> 00:25:08,513
I don't know, I think it's confusing.
427
00:25:09,320 --> 00:25:12,756
I think everything is confusing.
I think this EPK is confusing.
428
00:25:12,840 --> 00:25:15,115
I think going back
and thinking about it now
429
00:25:15,200 --> 00:25:17,475
is even more confusing
than before I started it.
430
00:25:17,560 --> 00:25:20,233
Because I'm trying to think,
"Is this part of my past?
431
00:25:20,320 --> 00:25:22,515
"Or is it part of somebody else's?
432
00:25:22,600 --> 00:25:24,556
"Was that really me doing that? "
433
00:25:24,640 --> 00:25:27,154
Because I don't know what's going to
come up on that screen at all.
434
00:25:27,240 --> 00:25:29,196
And it's going to
frighten the shit out of me.
435
00:25:29,280 --> 00:25:30,793
Because I don't know, was it me?
436
00:25:30,880 --> 00:25:34,634
Or was it what things affected me
at that time?
437
00:25:34,720 --> 00:25:38,349
"I knew I should create a sensation,"
gasped the Rocket.
438
00:25:38,440 --> 00:25:39,953
And he went out.
37444
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