All language subtitles for Steven.Tyler.Out.On.A.Limb.2018.1080p.WEBRip.x264.AAC-[YTS.MX]

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[man]:
...a little bit like this.

Real cool like this,
kind of sitting back,

the cigarette right down here
at your chin, right?

[Steven Tyler]: Hi.
You know me.

You probably recognize my voice
on the radio.

But if you see me,
you don't believe me, right?
I look like a bum.

[man]: Okay, now try this.
Put the cigarette right here,

at the bottom of your chin,
like, real cool.

Now, with the other hand,
you kind of take the glasses off
real slow.

"Hi. You know me..."
Try that.

[clears throat]

- Hi. You know me...

[rock music]
[crowd cheering]

[man #2]: ...but sort of
the defining moment

where you're, like: "Fuck it.
I'm gonna go to Nashville,
write a record..."

[Steven]: I feel like I'm doing
something new again.

You know, most people
would rather be certain
or miserable

than take a risk and be happy.

[wild cheering]

I, personally,
would always love to go out

and not be sure of the lyrics,
or not sure of the song,

and hope for a train wreck,
because that's exciting to me.

[music and cheering]

What got me here?
It wasn't a joy ride.

It wasn't, like:
"Let's go on a hay ride,

and then we'll go
win the lottery."

It was fucking hell.
And... marriages,

and arguments with band members.

At the end of all that,

do you look at it
and blame it on Joe Perry?

Or blame it on my ex-wife?
Or do you look at yourself,

and go:
"Maybe I'm my own worst enemy."

[rock music]

[crowd cheering]

[indistinct chatter]

[singing together]

♪ On with the show
this is it-it-it-it ♪

[laughter]

Can you see it right now?

Okay, good.
That's all that matters.

No bats in the cave, right?
Look at this fucking guy.

Let me help you out with that.

So due to the proceeds
of this company,

the press has been shown
to be ineffective...
[indistinct]

when used in the conscientious
and applied program

of all hygiene
and real professional care.

[rock music]
[wild cheering]

[man]: Everybody know the group
Steven Tyler was with.

Aerosmith, that's right.
Aerosmith.

[chuckling]
Yeah, so it's gonna be
a good show tonight.

Y'all come on down
and do a little peeking.

You hear?
[chuckling]

[director]: It's ironic
that after 15 years,
we end up in Nashville.

'Cause I mean,
that's where my first tour

with Aerosmith started,
was Nashville.

I'll never forget that night,
outside a steakhouse,

when one of the guys
that worked for the band
told me...

But we're gonna hold off
on that story for now.

I know what you're thinking,
another ego-maniac director

wants to hear his voice
and see himself in the movie,
but this is different,,

because being a kid
from Boston, growing up,
Aerosmith was everything.

The only thing that I love more than Aerosmith was movies.

And I was hell-bent
on making them,

but that's kind of hard to do
in New England.

When I was 30, that dream was pretty much dead as I was inside.

And you know what happened?
This guy found me.

I heard stories, you know,
he was mean to everybody,

they didn't want
to work for him.

And you know,
I've always waited for the day
that I was, like: "Aha!

Everybody was right!"
But it's never happened.

I mean, he's just become this,
like,

awesome, super-famous,
crazy uncle of mine.

You know,
he had taken me on tour
to film the band,

and eventually, I was directing the live shows, then designing the live shows.

Ended up directing them on things like Davie Letterman.

Then I made a concert film,
did huge-budget music videos.

I mean, Jesus,
we won an Emmy in 2015

for a spot
Steven and I came up with.

I had done everything I could
with Aerosmith.

I'm not sure if it's true,
but I heard Fincher said
he got into movies

'cause he was done
being Madonna's bitch.

I don't know if that's true,
but it sounded funny.
But I knew what he meant.

I love Steven and that band,
but I just wasn't sure

that there was anything else
I could do for them.

So you're wondering:
Okay, ego-maniac,
you're also hypocritical,

because you just said
you would never really work
with these guys again.

And after 15 years, what would drive me to do that?

It's because I can tell you,

during the time he made
this record and did this tour,

I had never, ever seen him
that happy.

[crowd cheering]

[We're All Somebody
From Somewhere]

♪ Sweet Biloxi

♪ To New Orleans

♪ From that fine red wine
of the vine ♪

♪ To cheap brown whiskey

♪ Seattle coffee Memphis blues

♪ Chi-Town wind Miami cruise

♪ There's a thousand stories
between me and you ♪

♪ Give me some love

♪ We're all somebody
from somewhere ♪

♪ Some mama some daddy
some love in the air ♪

♪ Some big some little
some left some in the middle ♪

♪ Some white yellow
black or red ♪

♪ We're all somebody
from somewhere ♪

[vocalizing]

♪ We're all somebody
from somewhere ♪

♪ Yeah we're all somebody
from somewhere ♪

♪ Hollywood to New Orleans

♪ Filet mignon
to black-eyed peas ♪

♪ And cornbread
damn I love that shit ♪

♪ We're all somebody
from somewhere ♪

♪ Some mama some daddy
some love in the air ♪

♪ Some big some little
some left some in the middle ♪

♪ Some white yellow
black or red ♪

♪ We're all somebody
from somewhere ♪

♪ Yeah we're all somebody
from somewhere ♪

♪ We're all somebody
from somewhere ♪

♪ Yeah we're all somebody
from somewhere ♪

♪ Sing it

[warbling]

♪ We're all somebody
from somewhere ♪

♪ Some mama some daddy
some love in the air ♪

♪ Some big some little
some left some in the middle ♪

♪ Some white yellow
black or red ♪

♪ We're all somebody
from somewhere ♪

♪ Some mama some daddy
some love in the air ♪

♪ Some big some little
some left some in the middle ♪

♪ Some white yellow
black or red ♪

♪ We're all somebody
from somewhere ♪

♪ Yeah we're all somebody
from somewhere ♪

♪ We're all somebody
from somewhere ♪

♪ Yeah we're all somebody
from somewhere ♪

♪ Get it get it get it get it

♪ Get it get it
get it get it ♪

♪ Get it get it get it get it

- Come on!

Blow that thing, baby!
[harmonica solo]

Come on!

♪ Thank you for letting me
be myself ♪

♪ Again

[vocalizing]

♪ Thank you for letting me
be myself ♪

♪ Again

[vocalizing]

♪ Thank you
♪ Thank you

♪ For letting me
♪ For letting me

♪ Be myself

♪ Again

- Come on, come on, come on,
come on, come on!

Give me some love...!!

[funky blues music]

[director]: It's a bit strange
when someone close to you
goes outside the comfort zone,

like the jock who comes back
from college with long hair
and a nose ring,

or the friend's wife
who buys a motorcycle.
I mean, it's all cool,

but sometimes,
you can be skeptical
of motivations.

Thankfully, I had been down
in Nashville a ton.

I'd worked
with so many country artists,

I knew there was a magic
to what was going on
down there.

But this is a rock icon,
so I figured
I would do a little digging,

talk to some people
he wrote this record with,

and even talk
to some of his peers

to see what they thought
as well.

- Steven's one of the people
in this industry
that I really admire,

because there's so many of us,
you know, in the music business.

And there's a very small handful

that are genuinely driven
by music,

way into, you know,
past their 50s,

into their 60s.

A lot of guys
who are younger than me
are burnt out on it,

just from the amount of work
that goes into it
and the touring and so on.

- He could make a symphony...
out of a nursery rhyme.

He really could.
I mean, he's so musical,

stepping out of that,
out of the Aerosmith realm,

um, I think it's something
he instinctively...

wanted to do for a while.

- I think you see
a lot of musicians,

once they have a ton of success,
they do start to close up,

mainly because maybe they don't
have that hunger anymore,

because the thing that drives
you to make great music early on

is a hunger to make your mark,

a hunger to create something
that you've never heard before.

And also an actual,
literal hunger to feed yourself,

to make a living doing it.

And I think
when those things go away,
it is hard to keep that spark.

- I have so much more respect
for somebody who's, like:
"This is what I wanted to do.

I'm gonna pour my heart
into this,
put it out to the world.

If you like it, great,
if you don't...

I needed to do it."
And he did it.

- He doesn't have to plead
his case,

he doesn't have to prove
to everybody else

that it can be that amazing.

He just makes it, and it is.

And so there's just a little...
there's less pressure,

uh, to prove himself
to the guys.

- I think he just wanted
to do something different,
even though he has, you know,

his roots come from blues
and country, in the beginning.

I think he really wanted
to explore that side of himself.

- Steven is totally driven by,
you know,

sort of just the passion
for music,
the passion for creating,

the passion
for doing something new.

He's a great example,
he's a good role model,

for other people around him
his age,

or younger, or whatever.

Just to see somebody
who really loves it

and just keeps striving
to do great things.

- He could've rested
on his laurels... years ago.

But to want to go out,

and I've been with him
in the studio
and I see how he works.

I mean, it's...

it's really amazing to watch.

- After all these years
and after all these...

"enormo-dome" shows and tours,

and some of the biggest records
in the world,

some of the most records
ever sold,

he still has the passion
to come to Nashville

and try something
completely different

that's out of his wheelhouse
a little bit.

- If I was set for life
financially
and I'm a huge rock star,

I'm probably gonna be
on an island somewhere.

Not a lot of people
have that kind of drive,
especially at, you know, 69.

- Also, when you're a musician
of his calibre, of his success,

there's probably
a real nervousness,
and it's, like:

I don't wanna tarnish the thing
that came before me
by trying something new.

- It's a great record, man.
He did a great thing, man.

And he finally did a solo album
and I'm proud of him, man,

that he came out here
and did it.

And I think
he just keep doing records.

I think
he should do more records,
do as many as he possibly can.

- Well....!!!

[cheering]

♪ If you wanna rock

♪ I got to be a rockin' horse

♪ Well if you wanna roll

♪ Honey I could roll you
right out the door ♪

♪ We'll shake the world

♪ Yes when it's time to crash

Yeah!

♪ But when I get home tonight

♪ I guess I got to...

♪ Yeah you need some lovin'

♪ You must have the blues

♪ You lovin' on one friend

♪ Well that's a good thing to do
but I do the shake ♪

♪ The Rattlesnake Shake

♪ We'll do the shake

♪ Yes chuck away them blues

Come on, fill that pocket up!

Ooh!

...I believe...
I believe over there.
- Yeah.

[dogs barking]
- Marlon Brando would have...

would have his words up there,
so in the camera, he'd be going,

[imitating Marlon Brando]:
" You know,

I'm not sure if the derivation
of that actuality

is in my line of scope,
but I gotta tell..."

And he's reading this on here.
Then he would look over
and go...

So Marlon Brando's
whole acting prowess was,
he'd look up there and read it,

he'd look down there
and read it, and then,

his last line,
he'd look in the camera.

And that made Marlon Brando -
not all the time, but sometimes.

So I'm glad
that we're on this right now.

It's like how... it's like
if I was doing this for you,
I would say,

"How would you like this

so you could read it
and sell it to the audience?"

[director]:
It's hard to deny the fact

that this guy is one
of the most recognizable face
in the world.

There's just a thing
that happens
when you get around him.

I pride myself on not being
swayed by famous people.

You kinda gotta get over that
as a director.

But the first time I met him,
he invited me up for lunch
at his house,

and there was this huge spread
of stuff to make sandwiches.

And I'm walking
around that table
making this amazing sandwich,

with, like:

And, like,
I'm so nervous talking to him
while I'm making the sandwich

that by the time
I finished making it
and take a bite,

I realize that there's nothing
but bread and mustard
in the sandwich.

So that's
what being around Steven
can kinda be like.

- We've written
with some huge people
in our time,

but I've never waited
at a window
and peaked out the blinds

like Santa Claus was coming
like I did that day.

- I think,
when I got that phone call,
I was completely, like:

"Well, this is obviously
somebody impersonating Steven."

- You know, I get the call
to write with Steven Tyler

and it's like, you know,
what do you say?

It's... the most humbling call
in the world,

'cause you're, like:
"Golly, why would Steven Tyler
want to be writing with me for?"

- I was, like: "Does he look
like he really does on TV?

Is he wearing a fur coat?
What's he driving?"

- And for the first 30
or 45 minutes,

I was just, you know,
completely not myself at all.

You know what I mean?
Like, it was...

- And I mean,
we were a nervous wreck
the whole time.

- I was messing around
on this little mandoline,

and then we took
a 30-minute break

for him to make
this really weird,
crazy-strong coffee

that made my skin crawl.

[chuckling]
Then he played Dream On
on a little toy piano for me,

which was a very cool
experience.

- The day he said, "Oh, yeah,
I'm gonna do a solo record,
it's gonna be a country record,"

the Aerosmith fans,
the whole Blue Army would, like,

burn their jeans or whatever
and be, like: "What the fuck?"

Or just the industry as a whole
would be, like:

"Why is he doing that?
He has no business in country."

No, he's the best
at what he does,
which means he can do anything.

- He walks in
and is just literally...

the coolest, nicest,
down-to-earth, kindest guy
you would every meet.

- Thirteen, 14 years ago,
Evanescence,

we put out our first record,

and we went to the Grammys
in 2004.

Won a couple of Grammys
that night and walked on stage.

So we pull up in a limo
with our suits on to In-N-Out,

and sitting in the corner
of the room is Steven Tyler.

Ten years later,
a hotel bar in Nashville,

Larry Rudolph walked in
and he said,

"Oh, David, I really want you
to meet a friend of mine."

And Larry starts to tell Steven
my background with Evanescence.

And Steven stops and goes:
"Wait a second,

you and I hung out
at an In-N-Out 10 years ago,

right after the Grammys,
right?"

- What a joy, a thrill,
a privilege, to be at the Ryman.

[wild cheering]

I know I speak for Loving Mary
and myself,

this is just nothing
but an honour,

and that we get to rock
your world tonight.

[cheering]

And also play some versions
of country music as I see it,

and some of the guys
I wrote it with are in town.

Thank you, God, for this town.

[cheering]

And do you know that Route 440
runs right through your town?
You know what?

440 is the note A that they tune
all the instruments
on the planet to.

[woman]: I love you!
- I love you more. Aw...

[laughter]
[woman]: I love you!

- I love you too.
- I love you!

- What a sweetheart.
We'll talk about that later.
[crowd cheering]

I love you.

That's too good.

Whoo-wee!

Tell it like it is, baby!

[crowd cheering]

May you bathe in the good sounds
of this band.

Let it wash your soul tonight,

because you're about to hear
something
you ain't never gonna believe.

It's all because of this town,
and I shit you not,

it's really
because of the energy,
what lives in this town.

[cheering]

Marti Frederiksen asked me
to come here.
[cheering]

I'm just a country boy

from Sunapee, New Hampshire;
900 people.

I came here and it was, like:
"What? I'm home."

[cheering]

I'm home.

[soft music]

[rock music]

[director]: I've always admired his acceptance of anybody,

and I reached out
to other rock stars

and their management
for this movie,
and the thing is,

"We don't have the time,"
or some of these guys are
such self-absorbed assholes,

they wanna feel comfortable
with the filmmakers.

Some of them: "We'll have our guys shoot it."

Give me a break.
Like they gotta know me.

The day we shot this
in Nashville,

I was actually
setting up the show

and couldn't be there,
so he wanted a dock crew.

So like most
responsible filmmakers,

I went on craigslist
the night before

and found a crew
that could just have easily

gone to his house,
kidnapped him for a ransom.

But I think you'll see here
how Steven,

compared to other rock stars,
handled that situation.

[Steven]: He's got a device on
around his waist that comes up,

and there's a pole
over his head here.

[indistinct chatter]

What he's not saying is,
in the very, very beginning...

Come sit on my lap,
I'll tell you.

In the very, very beginning...
What's your name?

[man]: Dylan.
- What?
- Dylan.

- Dylan what?
- Hayes.

- In the very, very beginning,
Dylan Hayes,

in order for Casey Tebo
to get him to do anything,

would give him this device
and, right off the end,

instead of hanging a camera,
he hung a hundred-dollar bill.

"Love yaa"!

Can you get the aperture down
to see that through
the bright, shiny window?

- Yeah.
- "Love yaa"!

- Who's that for?
- Uh, just for anybody.

I didn't say the other two guys
get to come in here.

- Oh!
- This is a guy thing, man.

Only women are allowed here.
If ever two men ever,
gotta be a good friend of mine.

So get the fuck outta here,
you guys.

Alexa. Tell me a joke.

[Alexa]:
Why are ghosts bad liars?

Because you can see
right through them.

[laughter]
- Actually pretty damn funny.

- You know, the best thing
about writing with Steven
is his stories. Like, you know,

we'd get, like, one verse done,
then he would tell 10 stories,

and they were all unbelievable,
you know.

- Because no great story

ever started
with somebody eating a salad.

[hooting and cheering]

Right? Right, momma? Come on!

You gots to get in trouble!

You gots to take a risk!

[cheering]

Everybody loves
to be certain and miserable

than take a risk and be happy.

I'd take a risk.
Gotta take a risk.

But one star I know did start
by eating a french fry,

it wasn't a salad,
but I think he dipped it
in a salad dressing.

You know, but I won't get off
on that too much.

So Sunapee, New Hampshire,

where I came from, '70, '69-'70,

this guy named Joe Perry...

[wild cheering]

Thank you, God, for Joe Perry.

Now, I was in these other bands,
in the Bronx and Yonkers

and in New York,
playing these clubs

called The Scene
and The Bitter End.

And, uh... and, uh...
didn't we just play there?

Yeah, we did.
Some never changes, right?
So Joe Perry...

I quit all my bands
and I went up to Sunapee,
New Hampshire,

I mowed the lawn and...

Joe Perry comes driving up
in an MG and he goes:

"Man, I got a band.
What are you up to?"

And I said, "Shoo...
I just broke up
with all my bands and...

that's it."
[wild cheering]

Whoo! So I decided
to mow the lawn in my Gravely,
in my underwear.

[cheering]

How else would I do it?

Now, I can't say I showed up
at the gig like that that night.

Probably should've. Wow.
What was I thinking?

So Joe comes up in his MG,
and I'm mowing the lawn,
he goes,

"We're playing in a club
called The Barn.

You wanna come see us?"
And I say, "Yeah, I'd love to.

I'm down in the dumps.
Let me see what goes on."

So I went and heard him play.
And they played all night.

It was kind of like
the Joe Perry Jam Band
and it was a lot of stuff.

But they played this one song
that just knocked me out.

And the only reason
I bring that up now

is because it's the one song
I heard and I thought:

You know...
they're doing this rock-out,

and I got... No.

[laughter]
I got...

I got all this piano in my head
from growing up in Sunapee.

My father went to Juilliard,
and I got all this music
coming out my ears.

So if we mix the two,
like the chocolate
and peanut butter,

and have Reese's,
but you gotta put it
in the freezer, right?

Reese's in the freezer. Anybody?
[crowd]: Yeah!
- Yeah.

That's my daddy. And so...
[cheering]

So I figured, you know,
I'm gonna go and see this guy,
and, as I say,

he played all night long
and then he played
this last one song.

And in it, I heard, you know,
what later became Aerosmith.

And all them great songs.
[cheering]

[soft country music]

- He could not make
a commitment.
He was just back-and-forth,

back-and-forth
about if he even wanted
to do a solo album.

We ran into Scott Borchetta
at the MusiCares event
in early 2014.

And after that, I talked to him
on the phone and I just said,

"Steven, I really...

I see the fire of you on stage
with Loving Mary,

and I see how country
can be really inspiring to you.

And I think
this could be the next step.

We could get you to Nashville."

And he said okay.
He said, "Let's do it."

So we literally went with him
to Nashville,

found a house
for him to live in,
and, you know,

started working
with all the writers

and the "A-and-R" process
down there.

- There's been a whole bunch
of people that have done it,

that finally
come to their senses.

Well, hold on,
just before I start...

Here you go.
Steven Tyler right here.

[country music playing]

This is the Ernest Tubb
Record Shop.
We've been here for 65 years.

The pictures
that are on the wall,
the costumes that are in here,

are here
because they played in here.

Picture of Hank Williams
playing in here in 1951.

Elvis Presley played here
October 2, 1954.

And this is the very first place
that Patsy Cline played live
in Nashville.

Ernest Tubb,
the founder of the shop,

was the sixth person elected
to the Country Music
Hall of Fame.

And he was
the youngest living person
in the Hall of Fame

at the time that he went
into the Hall of Fame.

Eventually, Johnny Cash
became the youngest at 48.

That happened 36 years ago
and that's still
the youngest living person.

[soft music]

- This city has some
of the nicest people...
I've ever met.

And that's why,
when I came here 20 years ago,

I had planned
to move on to L.A. eventually,

but I just stayed here
because everyone was so nice,
you know.

And still, to this day,

even though the city's blown up
and it's huge,
for the most part,

everyone is still kind
and has that southern charm.

So you get the best
of both worlds.

It's a big city
with southern charm.

- Steven looks great
in a cowboy hat. There's that.

Um, I think...
[chuckling]
I think he, you know,

he's one of those guys,
like you mentioned those songs,

and there's songs like Jaded
and there's, you know,

things like that
that Nashville actually used

when we working
on Carey Underwood's
first record.

So I think
he's influenced this thing,

this beast that Nashville is,

more than I think
he even realized.

- I've never seen
so much talent

pooled in one area...

anywhere.
And for me,

I think that Nashville...
iron sharpens iron,

and there's so much competition,

and there's so many amazing
songwriters and...

- I kind of compare it
to Seattle a lot of the times,

because people...
there is a scene here,

definitely,
and people are drawn to it.

- A lot of people would say
this song really...

celebrates songwriters
more than it does artists.

I don't think
that really is the trick.

I think the trick is this town
really has a great love
for the art that is being made.

And so it equally has admiration

for the writer and the producer
and the singer as well.

Where, in a lot of cities
and a lot of, I think,
what happens in the world now,

is you become
celebrity-obsessed.

So whatever the voice is
that's singing the song,

that's the only thing
people seem to care about.
And a lot of different cities.

I don't think
that's unique to L.A.
I think that just happens.

This town really does have
a unique kind of respect
for the songwriters,

for those creators
and story-tellers,

the people
that are in the rooms

making those songs
out of nothing.

There's something
really kind of beautiful
about being in that place.

- It's just such
a community-driven genre.

And that's just been an amazing,
amazing thing to be a part of.

- I kind of see in the way
country music has changed

and how rock
is kind of coming and going.

Neil Young did
some of his coolest stuff here
back in the day.

It's always been that town
that's been very welcoming,

I think, to outsiders,
so to speak.

I think when Steven came
and a lot of people in town
were, like:

"Well, this is kinda out there.
This is weird."

But the conversations
I had with him, I was, like:

"I think everybody
would love you here
just because..."

He's kind of a redneck.
He's kind of that wild-eyed,

weird guy that looks
like he was raised in the woods,

Indian kind of shit
hanging off his hair.

He fits in pretty good
with, at least the circle
of people that I run with.

So I thought
it was gonna be a cool thing,

and definitely a cool thing
to be a part of.

When Robert Plant came here
and did that cool thing,

my whole thing with Steven,
I was just, like:

"Dude, just make sure you make
the record that you want to make

and don't make a record
that's trying too hard."

And I think that's what he did.

This record,
if you listen to it,
it fits in here,

because everybody
he's working with
grew up listening to Aerosmith,

and half of those songs
could've been Aerosmith hits.

[cheering]

- Yeah, so...

Everybody wants to know why...
why would I go country?

Well, 'cause I grew up
on the Everly Brothers.

And if you really listen
closely,

there was really something
in there

that kinda sounded country.
Like Cryin.

[cheering]

Um, but then,
there was this other one.

How'd it go?

[Steven screaming]

♪ There goes my old girlfriend

♪ There's another diamond ring

♪ And all
them late-night promises ♪

♪ I guess they don't mean
a thing ♪

♪ So baby
what's the story ♪

♪ Did you find another man

♪ Is it easy to sleep
in the bed that we made ♪

♪ When you don't look back

♪ I guess the feelings
start to fade away ♪

♪ I used to feel your fire

♪ But now it's cold inside

♪ Now you're back
on the street ♪

♪ Like you didn't miss a beat
yeah ♪

♪ Tell me what it takes
to let you go ♪

♪ Tell me how the pain's
supposed to go ♪

♪ Tell me how it is
you can sleep ♪

♪ In the night

♪ Without thinking you lost
everything that was good ♪

♪ In your life
to the toss of the dice ♪

♪ Tell me what it takes
to let you go ♪

♪ Girl before I met you

♪ I was F.I.N.E. fine

♪ But your love
made me a prisoner ♪

♪ Yeah my heart's
been doing time ♪

♪ You spent me up
like money ♪

♪ And then you hung me
out to dry ♪

♪ It was easy to keep
all your lies in disguise ♪

♪ 'Cause you had me in deep
with the devil in your eyes ♪

♪ Tell me what it takes
to let you go ♪

♪ Ooh ooh ooh

♪ Tell me how the pain's
supposed to go ♪

♪ Tell me baby
♪ Ooh

♪ Tell me how it is
you can sleep in the night ♪

♪ Without thinking you lost
everything that was good ♪

♪ In your life
to the toss of the dice ♪

♪ Tell me what it takes
to let you go ♪

Guitar.
[guitar solo]

[vocalizing]

♪ Tell me that you're happy
that you're on your own ♪

♪ Yeah yeah yeah

♪ Tell me that it's better
when you're all alone ♪

♪ Tell me that your body
doesn't miss my touch ♪

♪ Tell me that my loving
didn't mean that much ♪

♪ Tell me you ain't dyin'
when you're cryin' for me ♪

♪ Oh oh oh

♪ Tell me what it takes
to let you go ♪

[wailing]

♪ Tell me how the pain's
supposed to go ♪

♪ Yeah yeah yeah
♪ Ooh

♪ Tell me how it is
you can sleep in the night ♪

♪ Without thinking you lost
everything that was good ♪

♪ In your life
to the toss ♪

♪ Of the...

[wild cheering]

Desmond Child,
I know you can hit that note!

♪ Dice...

♪ Tell me who's to blame
for thinking twice ♪

♪ Oh no no no no no

♪ 'Cause I don't wanna burn
in paradise... ♪

[wailing]

♪ Let go
I don't ♪

♪ I don't care what your momma
told you about me ♪

♪ Let it go let it go
let it go let it go let it go ♪

♪ Let it go let it go let it go
let it go let it go ♪

♪ Let it go let it go
let it go let it go

♪ Let it go let it go let it go
let it go ♪

♪ Let it go let it go let it go
let it go let it go let ♪

♪ I don't wanna burn
I don't wanna burn ♪

♪ I lost it all
so many times before baby ♪

[vocalizing]

[cheering]

Desmond Child... in the house!

[cheering]

Thank you, Desmond.

And Joe Perry.

[soft music]

♪ It's a lonely street I walk

♪ And my soul
is all worn off ♪

♪ Here comes

♪ The fear

♪ When you're out here...

[director]: When you work with a band this long as I did, you get to see the guts.

I remember a story
that Joey Kramer, the drummer,
told me.

I think it was in his book.
He said, in the early '70s,

he saw Joe Perry
with his girlfriend
across the street in Boston.

He runs up and: "Hey, what are you guys up to?"

And Joe said,
"Just because we're in a band

doesn't mean
we need to be friends."

And that story there
is kind of where it ends up.

But you know,
Tyler's such a lovable guy.

You can't just mistake him
for wanting to hang
with his posse.

There's an Old West vibe
to these rock bands, you know.

I mean, Joe Perry looks
like a fucking badass cowboy.

So who wouldn't want
to hang out with him
all the time?

So after 40 years,
will these kids
ever replace that band?

No, of course not.
But it's nice to have
a new surrogate family,

for sure, because he thrives in that kind of family atmosphere.

- Yeah, well, I mean,
I talked to him

during that period
when it was...

before he'd actually done it,
when he was just getting it
going.

Uh, and it was something
that he wanted to do.

And I think it was...
a great outlet for him.

I think it really helped
Aerosmith, in a way,

to stay together,
so he didn't have

that sort
of creative frustration

of being pigeon-held
into one thing
and one thing only.

- He's put in a lot of time
with that band.

And those guys are all...
you know, they are a band.

They're... they're a...
they're a branded band.

They've put such an...

...indelible mark on the world.

And, you know,
any one of those guys can...

you know, going off
and doing something else.

Sometimes, being in a band,
you need to do that,

you need to get a certain aspect

that maybe...
those band members

won't get the whole meaning
or perception
of what you want to do.

- To be honest with you,

a lot of the times I'd go
to Aerosmith shows,

and see 'em and hang out
and be with them
after the shows,

it was kind of hard
to be with them sometimes.

And I think he would agree.

- You need to do that
as an artist.
You've gotta go try other stuff.

If you keep doing
the same thing all the time,
you start to kind of resent it,

it doesn't...
fucking light your fire
like it used to.

Even just to have a break
from each other
and go do something else.

And... I love that he did it.

I love
that he did American Idol.

I think it only made Aerosmith
even bigger
because he did do it.

- He'll always go back
to Aerosmith,

because there is a magic
in that band,

and there always will be.

- You know, not to say
that he shouldn't be playing
with Aerosmith,

it's just he should
be having fun with Aerosmith.

And that's what's sad.
I wish he was.

You know, for him.
And for them.

But I understand the politics
and all the people involved
and lives and...

It's just a lot to deal with,
you know.

- But I do think that dealing

with five principal
personalities
in the Aerosmith band

who have all had
so many different relationships
within each other,

maybe with two of them,
with three of them,
with all five of them,

that there's just layers
and layers of things
that always come up

no matter what the decision
is even about.

- It's like being in the circus.

I think, when you first
get together as a band,

you're all united
and you're trying
to make this statement.

As time goes by,

little influences of good or bad
come into your world,

individually.

And it adds to the band
or it takes away from the band.

- It's no secret that he and Joe
have had their... riffs.

And he makes that public
and he's, you know...

I mean,
families fight like that,
you know.

And I think, in the end,
not speaking for him,

but Aerosmith
is probably just like a family,

and some days,
you would rather them
not be your family.

- It's a long time,
and you share something together

that will always be there
and keep on growing and living

even after everyone's apart
or gone.

You know,
it keeps on, it keeps on...

It has a life of its own.

- Maybe this is a bad analogy,
but, you know,

it's like going
from a girlfriend
to an old girlfriend,

or a boyfriend
to an old boyfriend.

How would you feel
if you were, like:

"Hey, you know
your high-school girlfriend?

It's okay... You're gonna spend,
like, a summer with her.

It's gonna be great.

You guys are gonna
just jump back in
right where you started."

And that's what's expected
of them,

and that's really hard,
and people don't realize that.

[cheering]

- Thank you, baby.
Thank you, thank you, thank you.

[cheering]

It should feel
a little more open and free.

[cheering]
Right?

Open and free.
That's what music's
supposed to do.

It's supposed to take you away
like a magic carpet ride. Right?
Open and free.

Take us away
from all the bullshit
and horseshit,

and... and be free.

And I remember
when I was real young,

this hippie chick came along
and she...
she kind of blew me away.

[cheering and screaming]

You know, it wasn't...

it wasn't so much
The Rolling Stones.

I mean, Mick Jagger
was the baddest boy
on the block, but...

and The Beatles and The Kinks
and The Who and Them.

It was this hippie chick.
She had... You know,

all this shit,
all the stuff I wear,
I stole it from her.

And I heard it on the radio.
I heard this song and...

Rebecca Lynn Howard over here...

[cheering]

We've been on tour for a month
and a half now,
and I get up and...

badass... I do this thing.

One day, I lean into her...

Anyway, I'll show you.
So I heard this on the radio...

And you know, way back then,

clock radio
was some kind of thing.

In '68, something like that.

And it went like this.

♪ Oh lord won't you buy me

♪ A Mercedes Benz

- Steven knows who he is.
And he knows,

in the general scheme of things,
what he's contributed
to rock'n'roll.

And... and he knows
what good is and what bad is.

And he has a strong feeling
of where he stands.

But at the same time,
we were doing a thing
at the Grammys.

And so there was a harp part,

and Steven didn't even want
to touch the harp
with Stevie Wonder there.

And it was sort of
a very humble kind of a thing

where he was very adamant
that...

that obviously Stevie Wonder
should do it.

And it was just not a big deal,
but it was one of those things

that I noticed about him
as a person,

where he is a humble guy,
he's not, you know...

like in your face all the time.

[Steven]: ♪ A Mercedes Benz
- Having to be the center
of attention.

♪ My friends
all drive Porsches ♪

♪ I must make amends

[wild cheering]

- Well.

♪ I worked hard...

[cheering]

♪ All my life

♪ So lord I must make amends

But...

♪ Oh...

♪ Lord

♪ Won't you buy me...

♪ A Mercedes Benz...

♪ Ooh...

♪ Come one come on

♪ Yeah
♪ Come on come on

♪ Come on
♪ Didn't I make you feel

♪ Like you were the only girl

♪ Yeah...

♪ Didn't I give you
nearly everything ♪

♪ A man possibly could
Honey you know I did ♪

♪ But each time I tell myself

♪ Well I think I've had enough

♪ I'm gonna show you baby
how a man sure can be tough ♪

♪ I want you to

♪ Come on come on
♪ Yeah

♪ Come on come on
♪ Take it

♪ Take another little piece
of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece
of my heart ♪

♪ Baby baby
♪ Oh oh

♪ Have another little piece
of my heart now baby ♪

♪ You know you got it
if it makes you feel good ♪

♪ Oh yes indeed

♪ Oh yes indeed

♪ When you're out on the street
looking good ♪

♪ And baby deep down
in your heart ♪

♪ You know something
it ain't right ♪

♪ Never never never

♪ Hear me when I cry at night

♪ And baby I cry all the time
♪ Ooh

♪ But each time
I tell myself that ♪

♪ Well I can't stand the pain

♪ I hold you in my arms
I'll sing it once again ♪

♪ I want you to
♪ Come on

♪ Come on come on
Come on come on ♪

♪ Now take it

♪ Take another little piece
of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece
of my heart ♪

♪ Baby baby

♪ Have another little piece
of my heart now baby ♪

♪ You know you got it

♪ If it makes you feel good

[guitar solo]

♪ Ooh...

♪ Ooh

♪ Ah...

♪ I want you to

♪ Come on come on
come on come on ♪

♪ Now take it
♪ Take another little piece
of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece
of my heart baby baby ♪

♪ Have another little piece
of my heart now baby ♪

♪ You know you got it

♪ Oh oh yeah
♪ Take it

♪ Take another little piece
of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece
of my heart baby ♪

♪ Oh oh break it

♪ Have another little piece
of my heart now baby ♪

♪ You know you got it

♪ If it makes you feel good

[cheering]

[interviewer]: What the fuck
is it about this guy

that he just has this sort
of unfettered energy

to fucking do
all this crazy shit...
with no fear?

- Steven's got a passion...
for life.

And, you know...

if he could go to Mars,
he... he would.

You know? He would.

[truck beeping]

- Steven wants to go to space.

[chuckling]

And here we are today
at the Shuttle Landing Facility.

And we couldn't make space
happen quite yet.

It's an endeavour
that we're working on.

And we say, "Well,
what's the next-best thing?"

[beeping]

- That's one small step
for man...

Where's my plane?
- Here we go.
- There it is.

Wow.

[indistinct chatter]
- My name's Rick Svetkoff,

and I'm the owner and pilot
at Starfighters Incorporated,
here at Kennedy Space Center.

- The F-104 is a missile
with a man in it,
is what they call it.

And it's one of the fastest
planes in the world.

It can take you
up to 80,000 feet,
depending on the type or model.

Pretty incredible stuff.

[no audible dialogue]

- The aircraft can zoom-climb
in excess of 100,000 feet.

It's pretty unique.

In top speeds or at altitude,

up over Mach 2.5 or 2.6.

- ...you can see the stars
during the day
if you go high enough.

- Oh, if you go high enough.
- Yeah. You can go as high--

- Trust me, in the '70s,
I saw the stars all the time.
[laughter]

So we're...
Let's talk about this.

We're taking off,
going to 3,000 feet,

doing the turn
and then going straight up,
or... ?

- We'll actually do
a low transition,

we'll turn in the pattern,
at 15,000 feet.

We'll come back down
towards the runway.

- Yeah.
- We'll light the afterburner,
accelerate,

we'll climb vertically
and we'll see what we have
altitude-wise.

We still got high clouds,
so we'll come over the top,

we'll head out east.

Uh, we'll see
what the weather's like.

- It'll be beautiful coming out
of those clouds at, what,
40 000 you think these are?

You must've rode
the Tower of Terror
too many times.

[laughter]

- ...speed and altitude
capability.

Primarily designed
as an interceptor,

it was used
in a multi-role experience

as an all-weather...

air-superiority fighter.

- You feel okay, Steven?
- I feel great.

- Known for its high rate
of climb,

it broke every record
when it first came out -
for time to climb, speed -

and still holds
the low-altitude speed record.

The aircraft can zoom-climb
in excess of 100,000 feet.

It's pretty unique.
And top speeds are,

at altitude,
up over Mach 2.5 or 2.6.

- And his builder is 10 miles.

Sky's... Actually,
the sky's broken at 3,000.

Temperature's 30,
dew point's 24.

Altimeter's 2989.

[indistinct chatter]

♪ You're more than a miracle

♪ An answer to a prayer

♪ Ooh ooh

♪ Ooh
ooh ♪

♪ You heal a broken heart

♪ In need of much repair

♪ Ooh ooh

♪ Ah yeah

♪ Only heaven
could've laid you in my arms ♪

♪ Only heaven could've
brought us where we are ♪

♪ Girl it's heaven
when I'm lying in your bed ♪

♪ 'Cause nothing compares

♪ To the taste of your lips

♪ Only heaven
could ever feel like this ♪

♪ Only heaven

♪ I was down the dusty road

♪ The end nowhere in sight

♪ Uh-huh

♪ Uh-huh

♪ I was dying in the dark

♪ Now I'm living in your light

♪ Uh-huh
♪ Yeah

♪ You know it feels so right

♪ Only heaven
could've laid you in my arms ♪

♪ Only heaven could've
brought us where we are ♪

♪ Girl it's heaven
when I'm lying in your bed ♪

♪ 'Cause nothing compares
to the taste of your lips ♪

♪ Only heaven
could ever feel like this ♪

♪ Only heaven

♪ Yeah it ain't nothing

♪ But a good thing baby

♪ And there ain't
no wonderin' why... ♪

♪ Only heaven
could've laid you in my arms ♪

♪ Only heaven could've
brought us where we are ♪

♪ Girl it's heaven
when I'm lying in your bed ♪

♪ 'Cause nothing compares

♪ To the taste of your lips

♪ Only heaven
could ever feel like this ♪

♪ Only heaven

♪ Ooh

♪ Only heaven

♪ Yeah yeah

♪ Only heaven...

♪ Only heaven...

[cheering]

- You could definitely feel
kind of a weight
off his shoulders.

And I think that, you know,

that came across in the record,
it came across in the music.

It absolutely comes across
in the live show.

- We did a couple other shows,
and I was watching Steven
on stage,

with this Loving Mary band.

The three beautiful girls,
the freedom and just...

you know,
it just felt so fun.

And then we would do
an Aerosmith show,
like, the next week -

it was just a time period
that we were doing both -

and I noticed this kind of...
passionate, free,

really-going-back-to-the-roots,
"country" Steven.

And he would start talking.
And once I got to know him
a little bit better, I realized,

that's actually really authentic
if we kind of do something
more country.

♪ Loving you was so unreal
that I remember ♪

♪ She was just a gypsy girl

♪ I was a chance
I wish she'd take ♪

♪ Got into a lonely world

♪ Trying to belong

[director]: So to get back
to why I did this film,

I really wanted to find out
why he was so happy.

I mean,
I've never seen him like this.

Maybe it was the music,
maybe he had less stress.

And then, one day, it hit me.
After 40 years of bullshit -

lawyers, managers,
contracts, fighting -

this band,
this little country band -

three guys, three girls -

was the surrogate family
he'd been looking for.

Not like his real family.
He has that with his children.

But these kids are giving him
that "gang feel"
that Aerosmith had lost.

These kids love him
unconditionally.

They know
he's the star of the show.

I don't think he gets that
with Aerosmith.

And, look,
this is just my opinion.

Most families revolve
around the leader:

a mother, a father,
a grandfather, what-have-you.

And the other people
in the family know their role.

I think after 40 years
of each guy thinking
that they're just as equal -

which they may be,
I don't think so -

but Steven's just looking
for people to turn to him
and say, "Hey, man.

Thanks for all you've done
for me. And for us."

And the Aerosmith guys
simply won't do that,
and this band will.

- This whole project,
like Loving Mary
and the Steven situation,

came so naturally
that it kind of...
that pretty much blew my mind.

And that's what makes it feel
even better,
'cause it's so right.

You know, I'm sure
other people have said this,

but the fact that
we just put our band together,

and within a couple months,
Steven's calling Marty saying,

"Do you have some players
for me?"

And then, he moves to Nashville
and we're all in Nashville.

And, you know, the fact
that there's three chicks
in the band,

and it's just, like,
so far away from Aerosmith...

- It's funny, 'cause you know,
this is our first thing to do...

It was a big tour for our band,
the Loving Mary band,

but when it first started,
it was kind of big,

and big production
and big screens and cameras
and flash...

It seemed
more like an arena tour.

It felt like that, you know?

And I personally thought
we were
in these little nice theatres,

like the beautiful Ryman here.

I thought it was kinda
over-the-top, to be honest.

And you know,
I like the fact that, right now,

it settled
into just kind of really chill.

- You know, the first couple
rehearsals or shows that we had,

he'd do his amazing vocals...

and the highest: "Ah...!"

And you'd been, like...

And I'd always turn
to my husband, Andrew,

on guitar, and be, like:
"What?!"

- It's just like any bands,
any artist you've worked with,

you just kind of find your...
you get in your groove,
kind of thing.

So mid-tour, I think
we really found the set-list
where everything sits right.

I think him just being able
to be...

his spontaneity
is the best thing
about Steven Tyler,

and I think the crowd reacts
to that.

So giving his background
and his life story,
and some of that,

has really just made this
such a... peculiar,
awesome show.

[up-tempo music]

[director]: It also struck me
as kind of strange

that all the years
I worked for Aerosmith,
they never hung out.

All the times I went to dinner
with Steven on tour,
nobody else came.

We'd get occasional Joey Kramer or Tom Hamilton stop by,
but never the five of them.

I get it,
it's 40 years of marriage,
basically,

but it just struck me as weird.

You see these old couples
married for 50 years,

they still have
that awesome party

or that huge rager barbecue
that everyone wants to go to.

And I felt
like he was missing that.

- Wait, what? You're here?

Anybody invite you to a party,
I'm not going to. Move on.

That's Casey Tebo.

In case you might wanna know,
a bunch of good friends of mine

are playing
at the Bourbon Street...

Blues and Boogie Bar...

tonight!

And tomorrow night
at The Basement East.

And on the drums in that band,

Sarah Tomek.

[crowd cheering]

And on the guitar in that band,

Marti Frederiksen.
[cheering]

And on the bass,
the one-and-only
Rebecca Lynn Howard.

Whoo!
Yeah, and that's a real Hoöfner.

On banjo and mandolin,
Elisha Hoffman!

Look at that.

Guitar tonight:
Andrew Mactaggart.

[cheering]

Jenee Fleenor on the fiddler.

[cheering]

And last but not least,

Suzie McNeil.

- One funny thing that he did
when we first started playing
with him is,

you know,
we're all sort of nervous.

We don't know him that well,
other than Marti.

And we're getting our gear
and pulling it out of the van
into the venue,

and he's, like: "Wait,
give me something!"
And he's grabbing really heavy,

like, speakers and banjos.

But that's just him.

Like, he loves life.
And he, I think, also,

those little things
are important.

I mean, trying to analyze it,
I could be wrong,

but when you have
such extreme fabulousness
around you for so long,

maybe the little things
are important.

And that's another thing,
is he really knows
what's important in life.

And that perspective
is hard to have
when you're anybody,

let alone a rock star.

- Steven's just a sweet guy.

He is a bigger-than-life
personality,

very animated, but he's genuine.

He's not an act.

He's not trying
to impress anybody.

I think he's a lot less
even self-aware

than a lot of people
probably think he is.

- You know, I guarantee,

all the guys
he works with here in town
he still keeps in contact with.

I mean, literally,
even when he's not here,

he texted me
the day our record came out,
FaceTimed me that night,

just to see how we were doing
and where we were.

We happened to be Boston,

and so he was so excited
that we were playing
the Paradise.

You know, I don't know
if he was looking for friends,

but he damn sure found
a whole bunch of new ones
here in Nashville.

- Probably a month later,
I'm sitting in a bar,
next to a friend of mine,

and a text pops up
and he's, like:

"Did Steven Tyler
just text you?"
And I'm, like: "Yeah."

And I look at it and he's, like:
"Hey, man. How's the family?

How's your new baby?"
Like, that kind of thing.

- He's not chasing anything.
He's just, like...

he is who he is,
he knows what he loves.

And he knows
what he wants to do.

And that I think is just such a,
like, if we could all be,
you know...

I've definitely fallen victim
to following...
chasing things sometimes,

but I always try
to be conscious of, like,

not chasing,
but more innovating.

But, golly,
he's such an inspiration,
absolutely.

[pounding beat]
[cheering]

[Steven]: See,
we're in Nashville.

I don't even have to ask you
to do this.
[cheering]

- So everything that we've done
in this project,

from even writing
Loving Mary songs

to performing on a stage
with Steven Tyler,

has felt so right,
in the weirdest way.

Aside from that,
playing with a living legend,

it doesn't get any better
than that.

- It's Svenhelda, ja.
- Ja.

[indistinct "German" chatter]
Ja,thank you.

[indistinct "German" chatter]

- We go after the show
and get fucked up, ja?
- Yes, we do.

[indistinct chatter]

- Come on, you cut.
- You can cut my tie.

[indistinct chatter]

[woman]: Oh, my God.
[laughing]

[Steven]:
Brett and his brother...
[laughter]

...we got to talking
about life and...

you know,
what's really been going on.
Got some great times.

But also,
somehow fell into the outhouse,
I don't know.

And I got to thinking,

maybe...

maybe I'm my own worst enemy.
[cheering]

So we put it
on the front of the album
and it goes like this.

♪ I could blame Jesus

♪ I could blame momma

♪ I could blame Brahma

♪ For all the bull
that's in my head ♪

♪ I could blame Seagram's

♪ For all the whiskey

♪ All the tipsy

♪ That's still here
on my breath ♪

♪ And ain't that why you left

♪ I'm all alone
tongue-tied and twisted ♪

♪ Since I said it ain't you
it's me ♪

♪ And girl you cried
but I insisted ♪

♪ That what could be
would never be ♪

♪ But I was wrong
♪ Ah...

♪ What's wrong with me

♪ I'm my own worst enemy

♪ I can blame midnight

♪ For bad decisions

♪ Blurry vision

♪ For what I did not see

♪ I could blame forever
even though I didn't get it ♪

♪ I could blame the love
even though I up and left it ♪

♪ I could blame goodbye
even though I said it ♪

♪ Or maybe that's just me

♪ That's how it supposed to be

♪ I'm all alone
tongue-tied and twisted ♪

♪ Since I said it ain't you
it's me ♪

♪ And girl you cried
but I insisted ♪

♪ That what could be
would never be ♪

♪ But I was wrong
♪ Ah...

♪ What's wrong with me

♪ I'm my own worst enemy

[panting]

[humming]

[vocalizing]

♪ I'm all alone
tongue-tied and twisted ♪

♪ Since I said it ain't you
it's me ♪

♪ And girl you cried
but I insisted ♪

♪ That what could be
would never be ♪

♪ But I was wrong
♪ Ah...

♪ What's wrong with me
♪ Ah...

♪ And now you're gone
♪ Ah...

♪ And any fool can see

♪ I'm my own worst enemy

♪ My own worst enemy

[cheering]

[cheering]

[wild cheering]

Thank you.

You think so?
[wild cheering]

[soft music]

[director]:
So if you're still watching,

I think the music is enough
to keep people tuned it,

probably not my stories,
but I'm guessing,

unless you're a hardcore
horror fan,

you might see this guy
from time to time,

and be, like:
"What is he doing in there?"

- Adam Green, take one.

[director]: I had met Adam
through mutual friends

and he was nice enough to help me on my first feature, Happy Birthday,

which Steven was in
and helped promote,

and didn't ask for a thing
in return,
'cause that's how he is.

But I knew Adam was a mega-fan
and I asked him to come work

with me, with Steven,
on some character stuff,

and I had no idea
what was going on with him
at that time.

But this story is the epitome
of who Steven is.

[Adam]: Alright,
so we always close with a thing

called the Steven Tyler
Congratulations.

It's a tradition to always end
with a thing

that we call the Steven Tyler
Congratulations.

[laughter]
[man]: Seriously,
I love Steven Tyler, dude.

I hear that story
and I fucking love Steven Tyler.

- Alright, good.
- That's totally fine.

So, dude, thank you so much
for doing this.

We always end
with the Steven Tyler
Congratulations.

Now, you've met Steven Tyler,
of course,
'cause you worked with Liv.

[James Gunn]: I did.
And he hugged me and said,

"Oh, my God, man,
what a beautiful film!

Such a beautiful,
beautiful film!"

[Adam]:
Was this after the super--

[James]:
After the super-premiere.
- So you know what that's like.

- That was the greatest thing
of all time,
'cause I love Steven Tyler.

- Casey was making a movie
that Steven was gonna be in.

- I mean...
What's that supposed
to mean?

- At that time...

I was at the... absolute
lowest point in my life.

Just a few days...

before one of my best friends
and co-stars on my TV show...

had died,

and then my wife left me
eight days after that.

And then the network
that my TV show was on
got swallowed up in a merger.

Every bad thing
that could happen at once.
So I was at rock bottom.

And that was probably
the only thing

that could've gotten me
out of the house at that point.

At least I was smart enough
to go.

And we're sitting there
and he says,

"Hey, you know what, man?

I forgot to say
congratulations."

And I was, like:
"For... for what?"

And he said,
"What do you mean, for what?

Your movies, your TV show,
your studio,
all that you've done.

Has anyone ever said
congratulations?"

And it kind of changed
everything.

And he went on to explain,
he said,
"See, that's the problem, man."

As artists, it's always about:
What didn't go right?

What's next?
How can it be better?

It's about...

You can't ever
become complacent,
but it's never good enough.

And it's such a struggle,
and beat ourselves up.

And every now and then,
it's our job,

we gotta look each other
in the eyes and say,

'No, man,
look what you've done.'"

And for him,
I think it was Robert Plant
who had called him

and just said,
"You know what, Steven?

Congratulations on 40 years
of music,"

where it finally hit him,
like, what he had done.

And in a lot of ways,
he kind of saved my life,

'cause after that moment,
instantly, I felt like I had...

I was worthy of living,

and I had done something
with myself

and it wasn't all over
just because of everything bad
that was happening.

And it started to turn
everything around,

because I started
to take his advice
and pay it forward.

[soft music]

[rock music]

- Come on!

♪ Every time

♪ When I look in the mirror

♪ All these lines on my face
getting clearer ♪

♪ The past is gone...

♪ It went by

♪ Like dusk to dawn

♪ Isn't that the way

♪ Everybody's got the dues
in life to pay ♪

♪ I know nobody knows

♪ Where it comes
and where it goes ♪

♪ I know it's everybody sin

♪ You got to lose to know

♪ How to win

♪ Half my life

♪ Is books written pages

♪ Live and learn

♪ From fools and from sages

♪ You know it's true...

♪ All these feelings

♪ Come back to you

♪ Sing with me
sing for the years ♪

♪ Sing for the laughter
sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow

♪ The good Lord
will take you away... ♪

[vocalizing]

♪ Well

♪ Sing with me
sing for the years ♪

♪ Sing for the laughter
sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow

♪ The good Lord
will take you away... ♪

♪ Because
Dream on ♪

♪ Dream on
♪ Dream on

♪ Dream until your dreams
come true ♪

♪ Dream on

♪ Dream on dream on

♪ Dream until your dreams
come true ♪

♪ Dream on dream on

♪ Dream on
dream on♪

♪ Dream on
♪ Dream on

♪ Dream on dream on
♪ Dream on

♪ Dream on
Dream... ♪

♪ Yeah

♪ Sing with me
sing for the years ♪

♪ Sing for the laughter
sing for the tears ♪

♪ Sing with me just for today
Maybe tomorrow ♪

♪ The good Lord
will take you away ♪

♪ Sing with me
sing for the years ♪

♪ Sing for the laughter
sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow the good Lord
will take you away... ♪

[cheering]

[rock music]

[wild cheering]
[rock music]

Oh...!

You're not even rolling.
See, fucking, this guy.

Casey?!

[rock music]

- If it doesn't work,
that's an experience,

and then
it was really worth doing.

I know it doesn't...
always make sense
when you look at it that way.

"Well, it didn't work.
So it wasn't worth doing."

No, it was definitely
worth doing.

- Really, you have to be honest
and true to yourself.

So whatever the fuck
you wanted to do, you can do.

We can all sit back
and judge him,

because we don't necessarily
relate to it,

or it doesn't fit in
with our image of what Steven
should or shouldn't do.

But it's really about
what he wants to do.

- You know,
for people that talk shit,

there's a lot of people
who thought
it was gonna be weird,

but he came
and he didn't come in looking

for a bunch of weird songs
that didn't fit him.

He came in and wrote it
and did the work.

So that's more worth
than Clay Walker,
or whoever the hell you said,

has done in 20 years.

- He's not just a hero of mine

because I love his music
so much.

He's a hero because
of everything he survived,

everything he's stood for,
his charity work.

Again, different industry
and different level,

but if I could be...

half the man he is
when it comes to that stuff.

He's a true... gem
in an industry

where there's a lot
of rotten things.

And then you got guys like him.

- When you're around Steven,
there's a certain light...

that he... transmits...

that... you can tell...

there's an energy there.

And it's always been there,
whether he's on stage,

or whether you're just...
hanging out with him,

he's got a certain light
that he carries with him

that is...

It's... it's...

contagious.

Definitely contagious.

- I mean, we've been
on this tour together,
there's such love,

and it's way bigger
than just co-workers.

We're communicating
through music and making
this beautiful music together.

And so,
even when we were rehearsing,

I turned to Steven.
I couldn't get through it.
I was bawling.

To have all those elements
coming together,

the band together,
Steven breaking it down,

raw music, feeling it...

was just...
there's nothing like it.

- Good night, baby!
[cheering]

Thank you so much.

Thank you, Nashville.

[director]:
So before we close this thing,

I want to tell you
that steakhouse story.

I'm sitting with my wife, and this guy works for the band comes up and he says,

"Hey, man. How's it going?"
And I said,
"Fuck, are you kidding me?"

I mean, for a kid from Boston,
this is a dream come true.

I'm working with Aerosmith,
Steven Tyler.

He looked me dead in the eye and without any sarcasm at all,

said, "Yeah, well,
just be careful.

Steven's got a way
of leaving bodies in his wake.

You know, he's gonna tell you
he's your friend and he's not.

He's gonna use you
for whatever he can get,
pit you against people,

the entire road crew's
gonna end up hating you

and you'll probably end up
getting fired

like so many people
before you."

Well, that never happened.

And Steven and I
are still really close

and talk
whenever we can find time.

So if he's still "acting"
like he's my friend,

he's done a pretty good job
for almost 15 years.

[crowd cheering]

- We'd like very much to do
a song the old-fashioned way--

[woman]: I love you!
- --the way it used to be done,

without any of this...
amplification and any of that.

Just a good old-fashioned song.

[wild cheering]

[whistling]

[screaming and shouting]

[woman]: Dream on!

- This is a little song...

I wrote with Hillary Lindsey
and the Barlowes.

It was, like,
the first song I wrote.

And the damnedest thing
happened.

We happened to be...

[cheering]

[woman]: I love you!

- We happened to be...

like,
a block around the corner.

I'm telling Hillary Lindsey

how much I love Alison Krauss.

[cheering]
Right?

How much...
how much she got me through...

So she goes: "You know,
she happens to live, like,

right around the corner."
I said, "What?"
So we just finished the song,

I called Allison up, she goes:
"Well, hell, come on over."

And I came over and saw her,

and it was the sweetest,
most beautiful thing in my life.

She had of crock pot on,
and I met her kids,

and it was all so beautiful
and it all went great.

And we wrote this song that day
and it etches in my timeline,

where I was here,

the first song
I wrote in Nashville.

It goes like this.
[cheering]

[whistling]
- Shhh...

[cheering]

[indistinct chatter]

♪ It's a lonely street I walk

♪ And my soul is all worn off

♪ Here comes

♪ The fear

♪ When you're out here
on your own ♪

♪ And everything you loved
is gone ♪

♪ Oh no

♪ Not me

♪ Not meant

♪ To be

♪ It ain't easy...

♪ When you're out there
searching ♪

♪ Trying to find the one

♪ Yeah it ain't easy...

♪ Looking for the hand
that holds the smoking gun ♪

♪ It's like trying to squeeze
a drop of rain out of the sun ♪

[whistling]

♪ Ooh...

♪ Even if I could let go

♪ Of this high-wire
circus show ♪

♪ I'm at fault

♪ All the way

♪ Yeah you're still

♪ Gonna hear me say...

♪ It ain't easy...

♪ When you're out there
searching ♪

♪ Trying to find the one
♪ Ah ha

♪ Yeah it ain't easy...

♪ Looking for the hand

♪ That holds the smoking gun

♪ It's like trying to squeeze
a drop of rain out of the sun ♪

♪ I hear everybody saying
that it's true ♪

♪ When you stop looking for it
it finds you ♪

♪ 'Cause it ain't easy

♪ It ain't easy...

♪ Ah...

- Whoo!
♪ It ain't easy...

♪ When you're out there
searching ♪

♪ Trying to find the one

♪ Yeah it ain't easy...

♪ Looking for the hand
that holds the smoking gun ♪

♪ It's like trying to squeeze
a drop of rain out of the sun ♪

♪ Yeah it ain't easy...

♪ I could say it is

♪ But when it's said and done

♪ It ain't easy...

♪ For no one...

[wild cheering]

- Yay!!

[cheering]
[laughter]
- Whoo!

[cheering continues]

[cheering continues]

[man]: Whoo!

[woman]: Whoo-hoo!!!

[cheering]
- Thank you.

So before I do that,
I wanna show you how...

I watched her do that
and I went:
"I think I can do that."

'Cause my aunt Phyllis
taught me this one.

[strumming guitar]

Cool, huh?
[laughing]
[cheering]

♪ It's not the island fair

♪ That is calling to me

♪ It's not the balmy air

♪ Nor the tropical sea

♪ But it's a little island girl
in a little grass skirt ♪

♪ In a little grass shack
in Hawaii ♪

- Come on!
[cheering]

♪ Ooh ooh ooh

♪ Ooh ooh

♪ Ooh ooh ooh

♪ Ooh ooh ooh ooh

♪ La la la la la la
Yeah ♪

♪ Ooh ooh ooh

♪ Ooh ooh
ooh ♪

♪ Ooh ooh ooh ooh

♪ La la la la la la la la

♪ Everything is wonderful

♪ Everything is great

♪ And I'm as free as a bird
outside my window pane ♪

♪ I got a fresh new start

♪ It's a brand new day

♪ And I got lots of love
to give away ♪

♪ It don't matter
if it's raining ♪

♪ Nothing can phase me

♪ I make my own sunshine

♪ And if you think
you can break me ♪

♪ Baby you're crazy

♪ I make my own sunshine

♪ Ooh ooh ooh

♪ Ooh ooh
ooh ♪

♪ Ooh ooh ooh ooh

♪ I make my own sunshine
Lookit here!

♪ I say hey
let's make a rainbow ♪

♪ Look for a pot of gold

♪ I'll show you how to keep it
nice and easy ♪

♪ Even if a cloud comes falling
on my head today... ♪

Subtitling: CNST, Montreal