All language subtitles for Metallica.Some.Kind.Of.Monster.2004.1080p.BluRay.H264.AAC-RARBG-eng

WOMAN:
Okay.

Go ahead, pull it out.

(indistinct chatter)

WOMAN 2:
Thank you, sir.

ZACH HARMON:
So, uh... what we're gonna do

is we're gonna play back
some of the band's new songs.

There'll be no cameras
allowed in there.

There'll be no video,

no bags in there.

You can only walk in
with paper and a pencil.

MAN".
We're ready.

WOMAN:
Okay. Go ahead.

HARMON:
Are there any questions?

WOMAN:
Okay.

(rock music playing)

Want it so?

Camera
over here.

Hello?
(beeps)

Was there ever a
moment you-you thought

about stopping
with Metallica,

or the whole band
was falling apart?

Was it a kind of a power
struggle between you and him?

REPORTER 3: How did you
manage to solve this crisis?

Where in God's name
are you getting

all this aggression
from on this new album?

Where's it
coming from?

Why did it take so long
to release an album

with the
new songs?

REPORTER 4: After 20
years, is it possible

to retain the fire that,
you know,

you guys once had
at the beginning?

Do you think
the young generation

of met-metal
fans will...

accept the
new album?

85 million records,
22 years...

I think it's 11 albums in
various official releases.

One word...
(Hetfield laughs)

Oh, my God.

One word to span our career?

Uh...

("Seek & Destroy" begins)

♪ Scanning the scene
in the city tonight ♪

♪ We're looking for you
to start up a fight ♪

♪ There's an evil feeling
in our brains ♪

♪ But it's nothing new ♪

♪ You know it drives us insane ♪

♪ Running, on our way ♪

♪ Hiding, you will pay ♪

♪ Dying a thousand deaths ♪

♪ Running, on our way ♪

♪ Hiding, you will pay ♪

♪ Dying a thousand deaths ♪

♪ Searching ♪

♪ Seek and destroy ♪

♪ Searching ♪

♪ Seek and destroy ♪

(grunting)

Thank you!

(cheering, whistling)

After 14 years of head-banging,

Metallica bassist Jason Newsted
has quit the band,

citing “private
and personal reasons

"and the physical damage that
I've done to myself

over the years while playing
the music I love."

Metallica's management had no
comment when asked by MTV News

if there's a replacement waiting
in the wings.

But the band is still scheduled

to begin recording
a new album this spring.

That's the news for now.
Stay tuned for more news...

PHIL TOWLE: I mean, I think
everybody understands

the concept of
trusting instincts.

That's getting to a place where

you don't let egos and let...

stuff get in the way of...

artistic expression.

You know?

So, I mean, this...

I mean, do you want to say
any more about that?

'Cause, I mean, I think
everybody understands that...

I met Metallica through

Q-Prime Management
after having seen me

work with another
band of theirs.

When they called and said

that Metallica...

with Jason, uh,

announcing that he was
exiting the group...

needed to take a look at itself

and say, "Well,
what's going on here?

We've lost touch with our
personal relationships."

And face some of the issues that

I think Q-Prime felt
that they were headed for.

You know, we haven't
really worked together

for almost nine months.

When we were talking a couple
of days ago about whether...

you know, if we wanted
to do this film or not...

I was wondering if

having these guys in here...

would affect that.

Yeah. 'Cause I'm just...

...there's an intimacy
that you get

when it's just a few
people in the room

and I'm just wondering if
that's going to get lost.

If we're gonna go back to
sort of, like,

battling each other

and trying to be,
like, all strong and...

What intimacy?

What the fuck are you
talking about?

(laughs)

TOWLE:
I think, to me,

it's not going to be
a matter of whether

the cameras are in play,

but whether or not

you guys are free enough

to risk being seen
by other people.

(intro playing)

HARMON:
We're here, uh, in the Presidio

in San Francisco,

and this is going
to be the location

where Metallica is gonna start
recording their next album.

BOB ROCK". We decided that we
didn't want to go back

into a studio again
and do kind of like

the same thing
we had done before.

We had to kind of...

change things up.

And this is one of the things
that we talked about,

was to go into a space

that's not a studio,

bring in kind of like
a portable studio,

or a makeshift studio...

That's good.

...and basically make
the situation uncomfortable.

HARMON: You know, don't buy
new furniture,

don't paint the walls.

Don't do anything.

Just keep it Spartan,
keep it crude.

They're such a success
that you can get comfortable.

I don't think they want
to be comfortable.

Well, there's definitely
a vibe in here.

They've got a lot of attitude
and I think

they want it to come out
on this next album.

How did you approach
this record differently?

I mean, did you
talk about things,

did you have ideas,
key words,

things like that
that you wanted to put across

before you
actually started

putting the whole
thing together?

Well, ego was
a big one.

Uh, coming in here

and not bringing
a riff,

not bringing
a song,

not bringing a title.
Nothing.

Uh, me and James

did not meet
somewhere else

and come in here
with material.

With songs.
With music.

This time, we all got in a room

and just started playing.

And that's how we wrote songs.

(playing a riff)

BOB ROCK: The idea is,
it should sound like

a band getting together in
a garage for the first time.

(guitar playing)

Only the band's Metallica.

II'

JAMES HETFIELD:
I really like going fast.

Just go off and meditate
in the wind, you know?

As corny as it sounds,
it-it works,

and it feels good.
It's a good way to...

just let the weight
of the world off

every once in a while.

It is it is kind of
strange being...

you know, like a famous guy.

You know.

This is... this is part of me

that's trying to be unfamous,
I guess.

But it's also
go-against-the-rules attitude.

You know, is this
some big pose?

I mean, yes, this is a pose.

I mean, am I driving
down the street

to not get noticed
in this thing?

I mean, rebellious is
kind of what this says,

(laughing):
I would say.

(engine revs)

II'

Have you got
a plug in here?

Wait, wait, wait, so what
exactly are you doing?

ROCK: Well, you'll just
hold it above the...

the pick ups.
HAMMETT: Oh, okay.

I gotcha.

(guitar wails) HETFIELD: Yeah!

HETFIELD:
♪ Give me fuel, give me fire ♪

♪ Give me that which I desire ♪

♪ Give me fuel, give me fire ♪

♪ Give me that which I desire ♪

♪ Give me fuel, give me fire,
give me that which I desire ♪

ULRICH:
Uh, I got some bad news.

Gonna have to, uh...

HETFIELD:
Change the lyrics?

(Hetfield laughs)

(buzzing)

I like this thing, Bob.

ROCK: What?
I like this thing.

II'

ULRICH:
I used to kid myself that

art was my great escape
away from music.

And I think I've become
increasingly aware

that my interest in art,

music, and Metallica...

is not separate from anything.

You know, what does he feel
that there's enough of that...

kind of gold thing?

How come there isn't...

another 20 strokes

up in that black area up there
where it's...

where it's kind of bare?

Where are the starting points
and where are the end points?

Do you know what I mean?

When's a song done?

What the fuck
does that mean anyway?

"Done."

When's a record done?
(little boy shouting)

You know, when...
where does a record start?

Where does it end?

Urn, where does
the process start?

Where the process end?

All that type of stuff.
Do you know what I mean?

MYLES:
Daddy!

It's really interesting.

Yes, sweetie?

II'

I don't, I don't feel
anything great there.

ROCK
Yeah, he didn't know...

HAMMET: I don't think it's
that great a riff, either.

How do you hear the riff, then?
ROCK I like that

(singing riff)

and then...
Mm-hmm.

(both singing riff)
HAMMETT: Yeah.

(all playing the riff)

(seagull squawks)

HAMMETT:
In nine days,

it'll be my two-year
anniversary of surfing.

It's taken the place of a lot
of bad things in my life.

So I-l basically

stopped doing the drugs
that I was doing

and, uh... cut way back
on my drinking.

You can't surf
when you're hung over.

You can't surf if you've
been up all night...

well, at least I can't.
(laughs)

There's a-a sort of

individualism, also,
about surfing that I like.

I mean...

when it...
when it's your moment, man,

that's your moment
and yours alone.

And no one can help you.

(laughs)

(laughs triumphantly)

(trolley bell clangs)

ULRICH:
For all intents and purposes,

we-we go into this record

completely equal.

Everybody contributing

just as much on the lyric front

as James contributing
with drum parts and...

As soon as you started
talking about that,

I just, like...

(laughs)
HETFIELD: Yeah. Yeah.

You flash back now?

(laughs)
Well...

You want to hear
it with vocals?

BOB ROCK: I said...
Go sing it.

ROCK". You guys had some rules
about that before.

Quite frankly,
I don't give a fuck.

I'm tired of arguing.

ROCK". You couldn't talk
about his lyrics,

therefore, he couldn't talk
about your drumming.

ULRICH:
Right. (laughs)

ROCK: Do you know
what I mean? And...

you and him did the solos...
(Ulrich laughs)

...so you weren't allowed
to comment on the solos.

Do you know
what I mean?

There was, like, rules.
HETFIELD: Oh, definitely.

Are you telling me that...

that those boundaries
are gone now?

(all chuckle)

ULRICH:
In the past, what we did was

started with a bunch of ideas

existing on tape
from everybody.

Then me and James
would sit down

and turn those ideas into songs

and then we would tell
the rest of the band

what to play and when to play
and how to play it.

There was never any...

just other ways of doing it.

HETFIELD:
You know, it's just

a whole new thing for me.

You know, writing
in front of everybody...

'cause I've always just gone
into my own head

and wrote stuff down

instead of taking
things from outside

and putting them down.

ROCK: You know,
I was thinking this is like,

"these are the hands
that da-da-da-da,

this is the face that
da-da-da-da,"

so it's like...

Building a Frankenstein
or something?

Yeah.
Pretty much.

Building what?

A Frankenstein.

This is the top of my
head that's flat...

(laughs)
These are my bolts...

II'

HAMMETT:
We're on the same

stream of consciousness here.

We're just all working

on the same creative
wavelength.

And it's inspiring to me.

Now I can
further express myself

with these lyrics,
now that, you know,

James has opened that door
for-for Lars and I.

This is "clay," right?

HAMMETT: Yeah.
Not "clam"?

Clay-
Okay-

"These hands finger the clam."

♪ These are the eyes
that can't see through me ♪

♪ This is the tongue
that speaks on the inside. ♪

Make sure you really,
like, spit "Can't see me."

HETFIELD: These are the eyes
that can't see me.

♪ These are the eyes
that can't see me ♪

♪ This is the hand
that drop your trust. ♪

This is the...
Yeah.

♪ This is the eye... ♪
Yeah.

♪ This is the eye
that can't see me ♪

♪ This is the hand
that dropped your trust ♪

♪ These are the boots
that kick you around ♪

♪ This is voice
of silence no more. ♪

ROCK
What is this about?

Well, I mean,
when I see Frankenstein,

it's not that far off.

Talking about
pieces of things.

So, I mean mon...
some kind of monster.

"Some kind of monster"?

(laughs)
You know.

BOTH:
"Some kind of monster."

That's awesome!
It is, it is good.

You know what I mean.
I like that.

♪ Some kind of monster ♪

♪ Some kind
of monster ♪

♪ The monster lives ♪

TOWLE".
"We come now

"to create our album of life.

"Throughout our individual
and-and collective journey,

"sometimes through
pain and conflict,

"we've discovered
the true meaning of family.

"As we accomplish
ultimate togetherness,

"we become healers of ourselves

"and the countless

"who embrace us and our message.

"We have learned
and we understand.

Now we must share."

So, that's just, um...

The mission statement.

HETFIELD: A what statement?
Mission statement.

"Mission"? Yeah, a mission.
It's, like, you know,

it sets a-a goal
so you just can, like, just...

always be reminded of,

you know, you know,
what the ultimate goal is.

HETFIELD:
All right.

♪ It's my world,
you can't have it ♪

♪ It's my world, you cannot
have it ♪

♪ It's my world,
you can't have it ♪

♪ It's my world,
my world, my world ♪

♪ You can't have it ♪

♪ Sucker! ♪

MAN:
Let's... Next one.

(Crying)
Come on, little man, let's go.

Skylar, do you
want your purse?

Um...
CHILD: Daddy?

CHILD 2:
I'll come, I'll come.

CHILD:
Come, Daddy! Come, Daddy!

ULRICH:
I don't know how you guys feel.

But it's really awesome
what we're doing.

The four of us can
just go in a fucking room

and roll that kind of
shit out of our sleeves.

Pull it, pull it
out of thin air, man.

It's so exciting.

'Cause that has
just never happened before.

I couldn't get to sleep
last night 'cause I was

kind of still wired from it all.

How do you f-feel?

You don't seem
very psyched about it.

(indistinct chatter)

James! How's it going buddy?
Yeah.

ROCK: Good to see you. HETFIELD: Excellent.
Yeah, thank you.

ULRICH: How many bears
did you kill? Two.

Russia's fucked up.

I mean, it was like...
you put a bottle

of water here on the table--
it was it, that was it.

A bottle of vodka sitting there.

ULRICH: Did you drink vodka?
Hell yeah!

You did?!
What else is there to drink?

Drank the vodka?
As soon as you got there,

it was like...
na zdorovie!

You know?
HAMMETT: Na zdorovie!

That's a pretty big bear.

Is bear edible?
They were no good to eat.

That freaked me out when they
didn't take any meat, you know.

They have been hibernating
for three months,

so they haven't pissed
or shit or nothing, so it's...

Oh, so they're toxic?
Yeah.

Third day, I'd killed my bear
and I was just in camp

for the rest of the time,
it was like, "Oh, my God."

I mean, I didn't...
Worked on lyrics?

Yeah, actually did.
(laughter)

it was a long time, man.

A lot of time.

MAN".
I worked on lyrics in Siberia.

HETFIELD: Kind of drank
vodka and worked on lyrics.

♪ Temptation wreck my head ♪

♪ Temptation
make you dead ♪

♪ Temptation sucks my soul ♪

♪ Temptation fill no hole! ♪

♪ Temptation ah-ha! ♪

♪ Fuck you up ♪

♪ Temptation ♪

♪ No, no, no, I can't say no ♪

♪ Can't say no ♪

♪ No! No! ♪

♪ No, no, no ♪

♪ Can't say no ♪

♪ Oh, no, I can't say no ♪

♪ Go away ♪

♪ Leave me be ♪

♪ Just leave me be. ♪

MAN".
So, what were the reactions

you got from those close?

I mean, how did
the family react?

I'm just,
I don't know, sometimes

I'm a real ass about it,
and just come in,

and say, you know,
"Oh, by the way, I'm going

to Russia for two weeks
right here," you know?

And, "What?" You know.
Right.

Yeah, I'm getting
better at that, you know?

And... 'cause that was
the most I...

I missed my family ever,
you know?

Right.
And it was, you know,

Castor's first birthday
I missed.

Right.
And it was... Well, of course

we had a little... vodka!

To Castor, you know?
Oh, sure.

Did a little shot
for him and everything.

But I, I would've loved
to have been able

to get a hold of home.

(guitar strumming)

Look who's here!

This is Dad working.

This is where Dad works?

Yeah. What does your
dad do for work?

Drums.
Trying to get the drums?

Yeah.
Uh-huh.

Let me play drums.

Daddy, want to play drums?
(Hetfield laughs)

I-I played drums
a lot today already.

I'm okay.
You play for a while.

(singing gibberish)

(laughs)

MAN".
Those guys...

That's very good.

...you know, their plate is
filled with many, many things.

And music is
just one of the things.

Say, "Bye, James."

Bye, James.
Bye, buddy.

I chose to not have children
and do those kind of things.

My music... yeah,
that's my children, you know?

Daddy's gonna stay and work
for a little while.

Yeah, but since I decided
to do it with music,

then that's what I have
to fill my time with.

Echobrain is
one of the projects

that I've been
working on for years.

And now it's come to fruition.

And then when it comes
to the time

where my main cat James

tells me that,

you know, basically
he couldn't be in a band with me

if I did the...
took this other project

to this level.

And after 15 years
of working together

and go on busses
and you know the stories, man.

There was no way
that this thing

that I was doing could affect

the monster of Metallica.
I just don't see how it could.

And so in saying things
like that, I-l couldn't

accept that kind of, urn...

limited...

acceptance.

I also know that this
relationship is not over.

You know, he'll-he'll co...

it'll come around again
at some point.

You guys'll make contact.

NEWSTED:
At that time,

the manager suggested that

we have a psychotherapist
come in.

A man that meets
with pro ball teams, you know,

big ego, big dollar guys
that can't get along

but have to make some kind of

entity flow so everybody else

and everybody
can make their money.

And, uh...

I actually said
I think that this is

really fucking lame...

and weak

that we cannot
get together-- us...

look... we... the biggest

heavy band of all time...

and the things
we've been through

and decisions we've made

about squillions of dollars
and squillions of people.

(stammers)
And this?

We can't get over this?

MAN: Was it more than
just the Echobrain thing?

'Cause that's, like, you know,
what has been discussed.

HETFIELD: He felt like
he wasn't free enough

to do what he needed to do,

uh, since he wasn't getting

his creativity out
enough in Metallica.

He needed to get it
out somewhere else.

And I totally
understand that now.

And, um...

on my side of that was

I didn't want him to enjoy
that more than Metallica.

I didn't want anyone
to leave Metallica.

I didn't want to feel

that we weren't enough

or something like that.

And it was through my...

Oh, I guess the way
I learned how to love things

was just to choke them to death.

(chuckles)
You know?

Don't go anywhere.
Don't leave.

You know?
You have to stay here.

Okay.

I need a pen.

None of this pencil shit.

Check it out, man.

Can't even fucking
spell it right.

"Metllica"

We've only been
together 20 years.

(both imitating drum beats)

I feel guilty

that I'm not inspired
all the time.

You know? Especially
when everyone else is.

It's, like, okay.

We-we kind of get to the point
where the song is looped twice

in the Pro Tools and I know

Bob's gonna hit me up for some

kind of lyric ideas.
Oh, shit.

I was, like,
dreading the whole process.

It's like...
why are you dreading it?

Why don't you just...?

TOWLE: Well, you're dreading
it because of what?

Now, let's get to the fear.

Well, because
I didn't have anything or...

And so if you didn't
have anything...

...wasn't inspired enough
to have something or..

Or letting down the team... And
if you didn't have anything?

Or some vibe like that.
Okay.

One, two, three, five...

r say“:

♪ I'm lonely yeah ♪

♪ Motherfucking in my head ♪

ULRICH:
It's like, I'm almost, like,

racing against time

along with this weird-ass fear

of, like, I got to come up with
something myself really quick

before somebody comes up with
something for me, and then

if I don't like it
or don't 100% embrace it,

then I'm just being a selfish,

you know, insular asshole.

TOWLE: Yeah, it's
a fear response.

When we're up against a fear,

that's the time to move
into it, forward,

because there's gonna be
some kind of genius there

or some kind of
breakthrough.

♪ Hit a wall,
motherfucker, yeah! ♪

(grunts)

♪ Ooh ♪

♪ Yeah! That's right! ♪

MYLES:
Metallica!

Metallica!

(laughing)

HETFIELD:
Kirk?

Kirk?

Kirk?

Kirk?

Kirk?

Kirk?

Kirk?

Kirk?

HAMMETT: Yes?
Kirk?

James is trying
to talk to you.

Sorry, man.

Yeah, it's a, it's a bit stock.

HAMMETT:
Check it out, guys.

HETFIELD:
I don't know how you feel.

I-I'm in a shit mood.

And... I'm not digging it
right now.

Even last night,
I got to tell you

everybody kind of looked--
I hate to tell you--

looked pretty burnt.

I agree.

HETFIELD:
And if we don't start earlier

and end earlier, I'm just...

I'm not gonna be in a good mood
for the rest of this shit.

(laughs):
You know?

(clears throat)

HAMMETT:
That was totally weird for me.

Uh...
You hear that, Bob?

HETFIELD: Why don't you
try getting a more

solid beat?
ULRICH: Regular?

Oh, well, call it regular.

You call it regular.

No, I'm trying not
to call it regular.

'Cause I know it bugs you
when I call it regular.

So a little more solid then.

II'

Fuck!

HAMMETT: Maybe we should talk
about next week.

Well, all next
week is therapy.

Yeah.

HETFIELD:
Do we have to do that?

Can we sack Phil?

ULRICH:
I mean...

we gotta find...

we gotta find
a balance to not...

you know,
the Phil stuffs important,

and I hope we all feel

that that's an investment

in the music.

It's an important
part of the record.

II'

♪ Get all holy again ♪

♪ Yeah... ♪

Come on.
Let's go put one together.

II'

(over playback speaker):
♪ Get all holy again ♪

I don't know, man.

HAMMETT: It's just real
confusing sounding.

HETFIELD: It's just jackin'
the vocals all up.

I mean... I mean it's clever
and everything.

But... I mean, I don't see
what it does to this.

ULRICH: I think that's
how you hear it, dude.

I mean, that's fine.

I'm just trying to do
something different.

I mean, I'm...

I'm used to having
the drummer do the...

beat part.

(laughing):
You know what I mean?

Holding it together.

ULRICH:
Urn...

what I'm hearing is...

Gotta choose my words
carefully here.

Urn...

it's pretty straightforward.

And the guitar
shit, it's...

you know, it's
a little stock.

So I started trying to

introduce some kind of
edge to it, from the drums.

HETFIELD: Those things
we throw out to each other

are complete bullshit.

You know?

"It sounds too stock.

It sounds too normal to me."

That... I mean...

Do you know what I mean?

You're saying this shit... so...

you can get your point across

about doing a drum beat.

I mean...

you know,
it doesn't hold any water.

ULRICH:
To you.

HETFIELD:
It doesn't!

I think it's fucking stock!

What... which part of that
is unclear to you?

I think it sounds stock
to my ears.

I mean, do you want me
to write it down?

I think... HETFIELD: Oh,
yeah, please write it down.

...It feels stock, okay?
HETFIELD: I can't hear you.

So I... HETFIELD:
No, when you say...

you're telling me what
to play, right now.

You're telling me, "You should
play with what's Kirk's doing,"

and I'm telling you it's stock.

Dude... fine.

You know what, you guys?

Why don't we
just go in there

and just hammer
it out, all right,

instead of hammering
on each other?

I mean, we're in shit moods
and we're not going to get

anything done in there today. ULRICH: All
we want to do is pick a fuckin' fight.

And you...
I don't want to pick a fight.

This is... it's so silly.

You're just sitting there going,

"I'm in a really
pissy mood, and..."

HETFIELD:
And I fuckin' told you

straight up that I was.

Right. And what are
you trying to do?

I'm not trying to
do fuckin' shit!

You're just sitting here

being a complete dick.

You're-you're really
helping matters.

You're really good at that.

I was straight up with you,

and I told you
I'm in a shit mood!

And what have you been doing?

Fuckin' picking at me all night.

Come on, guys.

We've got better things to do.

Right?
HETFIELD: Yeah, I do.

.I do.

Metallica front man
James Hetfield

has entered
a rehabilitation facility

to undergo treatment
for alcoholism

and other undisclosed
addictions.

In a statement

posted on Metallica's
official Web site,

the band writes:

"James has entered
an undisclosed facility

"and he will continue
to receive treatment

"until further notice.

"Until then, we have postponed

"all current activities

"including recording sessions

for our new album."

Metallica,
whose hard-partying ways

earned them the nickname

"Alcoholica", have been

working on their follow-up

to the 1998 double disc
collection of covers...

II'

♪ Not only do I
not know the answer ♪

♪ I don't even know
what the question is ♪

♪ God, it feels ♪

♪ Like it only rains on me ♪

♪ God, it feels... ♪

TORBEN ULRICH: I think it's easy
to see that, in those days,

Metallica brought a kind of

physicality to rock 'n' roll.

Let's say the Beatles,
the Rolling Stones,

you know, and all that

inspired some of the British

rock music that then
developed after that.

And, let's say,
the metal music and...

and Led Zeppelin and Black
Sabbath and all of that.

And then,
out of that again,

then, let's say,
then came Lars

and all of that
and being...

So I think that...

that they have certainly, uh,

a place in all of that, I think.

Lars had a very good
vision, at the time,

of where he saw

that particular... you know,
the metal music going,

because he could see

with European
ears and eyes, maybe.

Yes, actually. Don't you
feel that it's great for you

to have your father's
perspective on...

on who you are and
what you're doing?

I think that's
incredible, and it's...

you know, talk about
the lineage...

which we did.

We talked a little bit
about your grandfather...

I mean, it's very
difficult to admit it,

especially with him
standing next to me.

I... it's easier
to talk about

when he's not
in my presence.

But, urn...

of course it is.

Yeah.
What would you...

what would you
say in private?

To who?

To anybody,
without him here.

Say it.

You know, what...
what would it be?

Well, I mean,
I've already said it

to you countless times.

Well, have you
said it to him?

(laughs)
Urn...

TOWLE:
What is it that you...

you-you brought it up.

I didn't bring it up.

What is it you feel you've said

that you're not saying now?

You can... you know... ULRICH:
I think maybe in some ways,

some of the, urn...

TOWLE:
To me, that's...

A fear of status quo

comes a little bit from
this direction over here.

I think that, um...

I mean there's
nothing worse

than when I have to go to him
and play the new record

and know there's something
on there that sucks.

And he can see
right through that

in two and a half
seconds flat.

II'

♪ I... want to live ♪

♪ I... ♪

♪ Want to live... ♪

ULRICH:
Comments on that one?

TORBEN:
I would say...

You know,
if-if you said...

"if you were our advisor,

what would you say?"

Then I would say, "Delete that."

You know?

(chuckles nervously)

I mean...
I mean, I don't know

for you guys.

For-for me, it doesn't cut it.

You know?

Huh.

But, uh...
That's interesting.

I mean, it's interesting,
you know, now... Yeah.

I mean, other than the people
involved here... Yeah...

...the only other people
who've heard

any of this music
is Cliff Burnstein.

Yeah.

When Cliff Burnstein heard that,

he thought that should
open the record.

Yeah?
(laughs)

I mean, that
could well be.

But I...

I'm pretty sure that...

that I really... that...

I really...

I-I really don't think so.

(laughing):
You know?

(both laughing)

I really
don't think so.

Right.

TORBEN:
For me, that...

that doesn't sound
right or something.

You know.

Unless I'm... a guy

that's kind of, uh,

shouting in some...

some kind of echo chamber.
(laughs)

(laughing)

Huh?
It's a joke.

Yeah.

II'

(indistinct talking)

TOWLE: So I think one of
our responsibilities here

is to act like a band

that's still continuing.
We're going on.

We're doing our exploring.

We're exploring ourselves
individually,

we're exploring
our relationships.

And, uh, we
really need to...

get together,
talk about this,

act like the band exists...

because it does exist.

And if we don't do that,

then we are

the co-producers
of the process

slipping off the planet.

It is a bit of
a shit sandwich, though.

What is it...

the unraveling of a band?

(laughs)

And then there were two?

HAMMET: Yeah. You know...
ROCK: So...

Uh... a good friend of mine

phoned me.

And he knew where James was.

ULRICH:
Really?

Yeah. He couldn't
even imagine

James doing anything
for six months.

I'm prepared for the worst.

I'm pretty confident that,
you know,

we will come together
when the time is right.

But...

knowing when that time
will come...

or not knowing
when that time will come

is very, very uncomfortable.

ULRICH: I hope that,
at some point, he will

come back and try and finish

the making of this record.

If...

If he walked away
from Metallica,

I'm not sure that
it would surprise me.

II'

♪ Say your prayers little one,
don't forget, my son ♪

♪ To include everyone ♪

♪ I'll tuck you in... ♪ ULRICH:
I've always felt that James

was a softer, more caring,

compassionate person

than he...

allowed himself
to be to most people.

II'

I can remember from
the Dave Mustaine days,

I mean, when him
and Dave Mustaine--

these guys, they started,
like, right away

with their big,
you know, chest beating

and their mannerisms, and the
whole thing was very much about

this kind of, like,
macho and it was just...

Like, I couldn't deal
with that stuff

and, I mean, looking back on...

I mean, what is that--
18, 19 years ago--

I mean, I just felt so
alienated because it was just

so far removed from the
upbringing that I'd come from.

Well, here's to you, my friends.

ULRICH:
But then, at the same time,

I'm starting to realizing now
that the sort of

depressive things that show up

as a result of the alcohol
and stuff like that.

It was just very difficult

for him to communicate
from the heart.

You want some or not'? Not hide behind
a lot of these different fronts.

Whether it's alcohol,
that gives him

a false sense of strength or...

the front man in Metallica or,

you know, macho bullshit
and all that stuff.

All right, now you guys
are drunk and I'm drunk.

Now this is the fun part, man.

I want to help him.

I want to be there for him.

And I want to do the best I can

to make him the best person
that he can be.

So I-I don't know how the fuck
it's gonna play out.

II'

HAMMETT: It's really healthy
for me to be here.

Without any pressure

or anything related
to the band or...

anyone who would remind me
of-of the band.

And, uh, recognize what's real.

Our sessions with Phil

really stirred up a lot
of things in James that

he felt that
he needed to address.

Mentally, it's really taken...
taken its toll on myself.

You know, it's...
I'm-I'm very worried about him.

And, you know,

whenever you
check yourself into rehab,

they don't...

they don't focus on,
you know,

the fact that
you're an alcoholic.

They go much deeper, you know?

I mean, they go way deep.

They crack you open
and then spill you out

and-and examine all the things
that are on the table.

L-I've spoken to him
a few times,

and, you know, I know he's
having a-a rough trip.

HAMMETT:
No matter how bad it gets...

eventually, things seem to

sort themselves out,

sooner or later.

Whether it's good or bad,

they sort themselves out.

MUSTAINE: I watched people
around the world say,

"What a great guitar player
Kirk is."

And what a piece of shit I am

and that I, uh...

got kicked out of Metallica.

And I wasn't
good enough for them

and that I was a loser and...

(sighs)
...and I've had to

deal with that for...

almost 20 years.

And it's-it's

a dreadful experience.

It's been hard, Lars.

It's been hard to watch

everything that you guys do,

and you touch, turn to gold

and everything that I do,

fucking backfire.

And I'm sure there's

a lot of people that...

they would consider my backfire

a complete success.

You know, and, and
am I happy being number two?

No!

You know?

You're just now
encountering something

I've been going through
13, 14 years.

I've never had a chance

to be able to tell you
without...

talking to Lars,
the guy in Metallica.

I've never talked to my
little Danish friend again.

You know?

I remembered the day
you and I talked about

digging a hole in fucking dirt
and smoking hash

through the ground.

That, to me, is the,

the stuff that's, like...

(chuckles)

You know?

And we've never had...

very many moments like that.

Do I feel some guilt?

Uh, yes, I do.

But at the same time,

it's difficult for me
to comprehend...

that...

the only thing...

that you feel
when you look back

on the last 20 years...

is rooted...

in...
the Metallica thing.

Okay.

Have you ever thought what,

what I've been through?

I think I've had
an awareness

of the pain I caused you, urn...

That's not what I said.

Okay... um...

Do you have any idea...?

Of what I've
put you through...?

What...? No. No. No.

What I went through?

I mean, people hate me
because of you.

You know,
I, I walk down the street

and I hear some
piece of shit say,

"Metallica...!" to me

and they do that to taunt me.

I mean, when I would hear

Metallica on the radio...

I would be like,

"God, I have to turn this off,

"because I just keep thinking,

'I fucked up."'

Right.

I've been waiting

for this day for a long time.

You know?

And by no means

is it done, because...

somebody else very important
is not here.

Right.

Do I wish it was
1982 all over again,

and you guys
woke me up

and say,
"Hey, Dave, you know what?

You need to go to AA"?

Yeah.

I'd give anything
for that chance.

DAVIS:
ls there any last words

you want to say
to everybody out there?

Metal up your ass!

(laughter)

Okay, thank you.

This is Donna Davis

and this is Metallica.

(indistinct conversation)

MAN".
This is, like,

a pretty bitchin' club
just to play

a first fucking gig.

DON KIN:
Yeah.

How're you guys feeling?

(scoffs) Freaking out.
Totally stoked, man.

SAGRAFENA: Freaking out...?
Yeah. Totally.

(laughter)
Totally. Freaking out, man.

It's unfuckin' unbelievable

is really what it comes
down to-- can I say that?

Yeah, you can say
whatever you want.

Great. Great. Yeah, it's
fucking unbelievable.

WOMAN:
Echobrain! Yeah!

I don't know. I-l just...

All of a sudden, this became,
like, such a big production.

I don't understand.

It's, like, all of a sudden,
like, you know,

I get, like, one phone call.

It's like everybody and their
fuckin' brother in town.

I thought it'd be Jason, like,
playing with his new bands...

band for, you know,
like, 20 drunks

down at some bar or something,
and now,

I guess, to my own ignorance
or something, I-l...

That's what... I guess
that's what I wanted it to be.

So, now I'm realizing that...

supposedly, it's a little more
of a big deal than that.

♪ Ooh-ooh, ooh-ooh,
ooh-ooh, ooh-ooh ♪

♪ Ooh-ooh, ooh-ooh,
ooh,ooh,ooh“.I

(instrumental interlude,
featuring guitars)

(song ends, applause,
cheering and whistling)

Hey, man.
What's going on, man?

Thank you, man.
Hey, man.

Thanks. Thanks, man. Thanks.
(indistinct chatter)

Awesome...
Oh, thanks.

Awesome.
Right on.

I'm Lars. Oh, really?
Nice to meet you.

Great to meet you.
Uh, thanks.

Where's Jason?
Oh. Jase?

I don't know. Uh, dude, I
think he went back to...

I think... I think
he went to...

I think he already
fucking bailed.

Think he might have went back to...
Did? Really?

Nice.
Wow...

Go back to say "hey", and
he's, like, fucking gone.

Elvis has left
the building.

There's Zack.

Hey, Zack!

You need help, or
are you all right?

See, he's even
blowing me off.

(laughter)
I know.

Jason blows me off,
Zack blows me off.

How quick we become
yesterday's news.

(laughing):
Yeah. No-no kidding.

See, there's a guy
in an Echobrain T-shirt.

Yeah, that's
Steve over there.

He works at the
studio with us.

(laughing)

Well, he is.
Really?

Yeah.

I remember that guy.
Huh?

I remember that guy.

He worked at the studio.
Which guy?

Over there.
The guy in the red shorts?

No. No, the guy in the black
that's walking across right now.

Really?
Kessel.

Todd? He works
at the studio, too, doesn't he?

Who?
Todd over there.

I'm sure
they're all here, Bob.

I mean, the only two people
in the Bay Area

not working for him
is me and you.

Yeah.
Hetfield's gonna freak.

I'm in fucking

hell.

This whole gig has brought
all of this on, hasn't it?

Yes, it has.
You really want to come clean.

It's made me feel like...

It's made me feel
like such a loser.

I mean, I can't hold my band
together.

You know?

I start records,
I don't finish them.

I fucking... I...

Oh!

(sighs heavily)

Jason is the future,
Metallica's the past.

ROCK". I've never had
a break like this.

In 20 years.

Do you know what I mean?

And just what's been
kind of getting me is...

is just not knowing.

Do-do you know what I mean?

Not knowing, and not hearing--
that's just like...

It just eats away at you.

Kirk talked to him. HAMMETT:
I talked to James today.

Just me and you.
ROCK: Oh, cool.

Yeah.
TOWLE: What did he say?

He basically said that...

you know, he just...

His family's
the priority right now,

and he needs time
to work on his family

before he can reach out
to his other family, being us.

And that he loves us, and...

he just needs for us to...

to understand
that he needs time.

And he also went on about...

how difficult it was
talking to-to you about it,

because he felt pressured.

And you know,
he-he spoke about

how you always need to be in
control of the situation,

or in control of the
schedule, or whatever.

And he said that
this is a time,

he needs complete
control of the situation.

And he said, you know,

all the Marc Reiters, and
the Bob Rocks, all that...

all that stuff,
you know, just has...

I-I can't think
of that right now.

So, you know,
I got the feeling

that he kind of lumps
in your relationship

with the business
side of things,

which was actually
really surprising to me.

But I think that's...

You know, that explains a...

I think that explains a lot,
on why he hasn't spoken to you.

ULRICH:
We're just in limbo, and

the longer James chooses

to stay away
from dealing with us,

the further we drift apart,
and I just

feel... so...

disrespected.

That-That's the key...
the key thing.

MAN".
Was the future of the group

ever in doubt, even when James
went into rehab, do you think?

Lars and I--
uh, we-we were wondering

when James was going

to finally feel

like he was in a situation where
he can come back to the band.

And after a certain amount
of months,

you know,
Lars and I started to think.

Well, is he ever gonna come back
to the band?

And that was a really
big question on our plates.

Whether or not, you know,
he wanted to come back.

II'

ULRICH:
James wrote something

in the new issue
of our magazine, So What.

He wrote a kind of
a little handwritten note.

That note was probably
the most heartfelt thing

I'd ever seen come
from his mind.

Tomorrow is... shaping up,

or is gearing itself up to be,

yes, the first to sit down

with one James Hetfield
post... uh, rehab.

Yeah.

Yeah. Is that...?

Why are we filming this?

I don't know.

We're in very different places.

Or, at least,
I am in a very different place

than I was from the Presidio.

(laughs)

That's a huge understatement.

So...

we just have to find that if,

you know,
if the movie will be as

intense, you know.

To-to me,

there was a lot of intrusion,

and I kind of went with it,
and felt...

I felt uncomfortable.

I felt uncomfortable with it.

You know,
a boom following me around.

And it just felt like

I was in the spotlight
all the time, and I didn't...

I-I guess I don't really
like that feeling.

When we were in the Presidio
filming you guys playing...

Mm-hmm.

Did you feel it then, too?

Yeah. It was...

it was pretty much
all the time.

SINOFSKY:
I mean, do you think

you're in a
better place now?

I mean, we got
to find some...

I'm definitely
in a better place.

Having some place
that makes you feel comfortable.

And the last thing we want
to do is have it impede

on your music,
because that's

more important than anything.
BERLINGER: Right.

You know, one-one answer
may be there...

Maybe there shouldn't
be a film.

I mean, that-that's
the range of possibilities

that we should really
think about, because...

I mean, why do you
guys want to film?

Even you said that you hope
that the film is made.

I mean...
That's a big question,

'cause for me,
it was really just...

it came along with
being in Metallica.

"Hey, we're gonna do this."

"on, okay."

That's part of this,
all of this...

(laughs)

...the bigness of Metallica,
and I'm kind of tired of it.

You might look at it
as a friend; to me, it's...

it's been a beast.

And it's sucked
a lot of me into it.

(Towle clears throat)

You were maybe the keeper
of the beast at one point.

You know, because
you were the champion

of-of that fifth...
that entity.

ULRICH:
And, of course,

you got to just find
the right balance

between what everybody's
personal needs are,

but if Metallica collectively
decides to do this,

then I think
Metallica can make it happen.

I don't know.
That scares me again.

Metallica is...
three individuals.

And three individuals have
to decide if it's good to do.

ULRICH:
But...

I still think that
the priority is the collective

until all the people involved
in the collective say

that the priority
is the individual.

And so far,
you're the only one

that said the priority
is the individual.

I haven't said that,
and he hasn't said that.

I haven't
heard him say that.

So, I feel that,

it's still...

there's still
an unbalance there.

HAMMETT:
We met from, like, maybe--

I don't know--
six or eight weeks

before we actually picked up
the project again.

That was when we came in, and,

it was the first time

we actually used
this studio, HQ.

Anyway, here we are.

HQ.

(laughing quietly)

HETFIELD: Right on.
Well, we're-we're here.

And the cameras are here.

And my friend the boom is here.

(laughing)

ROCK:
Hovering.

Yeah. Cool.

Want me to play the music?

Yeah, let's go. I'm...

I'll put the big
speakers on.

HETFIELD: I was afraid
to pick up a guitar.

And fearful what would happen.

Would I not like it?
Would I love it?

Would I not be able
to write anything cool?

Would I write
just recovery stuff?

James?

It was probably
the best sound

I've ever heard
in my life,

was the fact that you were
playing guitar in here.

MAN:
Hey, Zack.

Right on, brother.

ULRICH:
Play a riff.

(Hetfield playing riff)

(others join in)

ROCK
What?

Nothing.

See? Feels pretty
good, doesn't it?

HETFIELD: Yeah. Feels
like the next day.

(laughter)

A year later, the next day.
Now, that's a stretch.

(chuckles)

It's gonna be interesting
working on-on the schedule,

'cause we really haven't.
It's gonna be great.

HETFIELD:
And kind of the overview is,

you know, the less time you...

we have here, the more
productive we'll be.

In a way. You know?

It's like we're more focused
on getting the stuff done.

ULRICH:
That all

sounds really good.
(chuckles) Okay.

Now, let's revisit it in a week.
(chuckles)

So, um, I think

that... don't talk it,
walk it.

(clears throat)

ROCK: At some point,
we are gonna have

to work a little harder.
ULRICH: Yes.

Yeah. When that feels right.
HETFIELD: What do you mean?

What does that mean?
What does that mean?

HETFIELD: Yeah.
When you say harder,

does that mean more hours?

ROCK
You know, if we can...

go deep real quick.

Be intense.
Uh, I spoke up because

what does that mean?
We have to, you know,

do eight hours now and...
I got fearful right then.

ROCK That's okay. Yeah.

I mean,
it's like... yeah.

To do eight hours?
No.

(Playing guitars)

ULRICH:
Any lyric ideas?

HAMMETT:
I'm searching for uh, uh.

ULRICH:
Searching for doughnuts.

♪ Searching for
doughnuts ♪

♪ Searching for doughnuts,
na, na, na, na, na ♪

What was the whole
thing from yesterday?

The Buddhist...
HAMMETT: Guarantee?

What? No, the Buddhist
thing that you had.

The-the...
Uh, birth is pain.

Life is pain.

Death is pain.

The cycle of suffering.

It's called samsara.

ROCK: Where are you
with this, James?

Somewhere else.

ROCK: Okay.
ULRICH: Where's today's sweat

going?
I've wo... I've worn out

being afraid.

My endless parade

of fear
that I've constantly made...

My lifestyle determines
my death style.

A rising tide that pushes
to the other side.

(laughs)
My death style.

II'

♪ I've worn out being afraid ♪

♪ Endless parade ♪

♪ Of fear
that I've constantly made ♪

♪ Frantic, tick-tick-tick-tock,
I gladly trade ♪

♪ I need to know the answer,
where I'll be laid ♪

♪ I can't find it ♪

(music stops)
It just... it doesn't work.

ROCK: The great... the great...
You did one great thing.

You went... (scatting)
Yay.

You did this one, uh,

syncopated thing.
(scatting)

Do the whole verse like that.

♪ Worn out,
always being afraid ♪

♪ An endless stream of fear
that I've made ♪

♪ Frantic tick-tick-tock,
I'd gladly trade ♪

ROCK: It's weird.
It's weird. You know?

It's. .. ULRICH: But
the-the second time,

you felt really comfortable with it.
HETFIELD: Right.

TOWLE: Oh, uh, by the way,
it's quarter to 4:00.

HETFIELD: I got to get
rolling, guys. Sorry.

II'

♪ Frantic tick-tock ♪

♪ Frantic tick-tock ♪

HETFIELD:
I feel like the bad guy saying

I got to go 'cause it's 4:00.

If we all know--
and we all do know--

that 4:00 is kind of the stop
time then... I don't know,

then I won't feel like
the heel here saying

I got to go eat dinner
with my kids, you know.

'Cause I have a feeling

you know, I'm gonna walk out of
here, and you guys are gonna go

in there and listen to
this stuff, and it's like...

That's not right.
ULRICH: That's not.

I mean, if I want
to listen to it,

I'll go and listen to it.

But we should at least listen to it...
So we should stop earlier.

But I know you'll sit there
and start talking with Bob.

Maybe Bob doesn't want
to sit in there and...

When I'm gone,
things get talked about

and then decisions are made and
I feel I walk into something

that's already
kind of decided.

And it's a total uphill battle
for me a lot of times.

I don't like
that feeling.

Well, that's like...
just like the last 15 years.

- Yeah. -For me.
- Well, let's talk...

let's-let's talk about this
tomorrow then.

Or do you want
to take the time out?

No, I don't have time right now.
Okay.

It's past 4:00.
Okay.

It's hard to introduce structure
into this.

TOWLE: Uh-huh. And I'm trying.

TOWLE:
So what do you think, Lars?

Can we hear the song
from yesterday?

That we all
heard together.

HETFIELD:
How is that different?

Because we all heard
it together already.

TOWLE: Well, what he wants, to be a
part of everything. Was I in there?

He wants to be a part of everything.
Yes, you were.

We all heard it together.
ROCK You came in.

HETFIELD: All right, as long
as you don't talk about it.

You know what I mean. TOWLE: Is that
a way around it or is that just

That is definitely a way around it.
ULRICH: No, it's...

it's interesting to hear
TOWLE: How about if we just

what we're doing. How about if
we just save up the tension.

Seriously. I mean,
it's okay 'cause it's gonna...

Tension produces results.
(door slams)

(motorcycle roaring)

TEACHER".
To the right.

(clapping)

TEACHER:
Above.

Below.

(whispering):
Shh, quiet.

I'm excited to see
what you learned here.

Go up and back.

Up and freeze.

What is this called?

CHILDREN:
Arabesque.

II'

So proud of you,
sweetie.

I'm so glad I got to see it.
I 'm working on... really hard

on being the best dad and
father and husband I can be.

And the best me.
(chuckles)

I don't want to lose any
of the-the stuff I have.

I know it could all go away
at one time.

And that's a tough part
of life.

And, and... it's just...

it's a total rebirth for me.

Looking at life
in a whole new way and, uh...

You know, all the other drinking
and all the other junk

that I was stuck in,
it was so predictable.

So boring.

I'm-I'm out there
looking for excitement

and all this stuff.

The results are the same, man.

I wake up the next day somewhere
in some bed.

I don't know who this person
is next to me and I'm drunk,

completely hungover
and have a show to do.

And the result is the same.

You know?

When life now is

is pretty exciting.

You don't know
what's gonna happen,

when you're kind of clear
and here and in the now,

in the moment.

(music blaring, muffled)

HETFIELD:
♪ My lifestyle determines ♪

♪ My death style,
a rising tide that pushes to ♪

♪ The other side, my lifestyle ♪

♪ Determines my death style ♪

♪ A rising tide that pushes
to the other side... ♪

I think those two
feel the best to me.

It's a tough one to decide.
They all kind of got...

some charm, don't you think? Yeah, and
I'd be interested to hear the first one.

The first pick.
Well, let's play it.

Is it okay?
Are we allowed?

Yeah, we are.
Do we have...

We never really settled that,
did we?

TOWLE:
We didn't settle it.

ULRICH:
Yes, we're allowed.

Well, I'd like
to hear it.

Feel free to
leave the room,

whoever doesn't want
to be part of that.

♪ Do I have the strength
to know how I'll go? ♪

♪ Can I find it inside J' HETFIELD:
I felt like it was an agreement.

We're gonna work
from 12:00 to 4:00.

And then
we would not work.

ROCK
Well, I-if Lars

and I listen to something or go
through the Presidio stuff,

it's not because we want to do
something behind your back.

It's for you.
Right.

And basically what I heard is,
"No, I can't do that."

What the fuck is that? Oh,
my mind, it gets lopsided.

The more it goes in a different
direction, the harder it is.

The harder it is
to get that back.

TOWLE: What is it you have
to get back?

Some control. Some sense of...

involvement in-in the band.

ULRICH: When I was
running this morning,

thinking about seeing you,
saying the word "fuck"

just comes up so much.

Seriously.
It's really true.

HETFIELD:
Is that in a...

anger...
Just... fuck!

Fuck.

I just think you're so
fucking self-absorbed.

And what makes it worse is
that you always talk about...

you always
talk about me.

You use the word "control"
and "manipulation" a lot.

I think you control
on purpose,

and I think you
control inadvertently.

I think you control by
the rules you always set.

I think you control by how
you always judge people.

I think you control
by your absence.

I think you-you contr...

you control all this
even when you're not here.

(sighs)

I don't understand who you are.
I don't understand

the program.

I don't understand
all this stuff, okay?

I realize now

that I barely knew you before.

And all these rules
and all this...

shit, man, this is a
fucking rock-and-roll band.

I don't want fucking rules.

I understand that you
need to leave at 4:00.

I respect it.

Don't tell me I can't sit
and listen to something with Bob

at 4:15, if I want to.

What the fuck is that?

You know, I-l...

I don't want to end up
like Jason, okay?

I don't want to
be pushed away.

I don't want it
to happen twice.

Let's do it and let's
fucking do it full-on,

or let's not do it at all.

Fuck.

See? Fuck.

Fuck!

Fuck!

Yeah!
(whoops)

Yeah!

Metallica, yeah!

Rock and roll.

(indistinct chatter)

(whoops)

(playing bass)

(laughter)

(gong bongs)

(playing bass)

(laughter)

(playing bass)

(fans booing)

(gong bongs)

(playing bass)

(fans cheering)

MAN:
Let's hear it for Elena!

(cheering and applause)

HETFIELD:
♪ Ooh, all right ♪

We're not anywhere near getting
any issues resolved.

TOWLE".
Well, let's get 'em.

That's what we're here to do.

I don't know, I guess the
playing part, being in the room,

and then mainly being
in the room with Lars,

playing music together, I guess
I had higher expectations and...

I don't know, maybe I'm
disappointed in myself.

Maybe... I don't know.

Want to talk about that?
I mean, what does that mean?

I'm not enjoying being
in the room with you, playing.

♪ Searching, you ♪

♪ Seek and destroy ♪

♪ Searching, yeah ♪

♪ Seek and destroy ♪

♪ Searching, yeah ♪

♪ Seek and destroy! ♪

ULRICH:
If you are not having any fun,

let me let it be known to you
that I'm certainly

not having a lot of fun either.

But I've...
I am not interested

in playing music with you if
you're not happy in there.

I just don't want to be a...
become a fucking parody.

Okay? So if you're not happy
playing music with me...

(laughing)

ULRICH: ls there enough that
connects us to hold on

for a...

a way through this?

I don't know.

There are moments
where I really doubt it.

Really doubt it.

I'm glad you said that.

'Cause I really, deep down,

feel sometimes that it's just...

there's just some empty, just...

just an ugly feeling inside.

Just...

I don't know.

How much work are we
gonna put into this?

(soft chuckle)

(clears throat)

Then you're doing the...
Yeah.

Burn, burn, burn, burn.
♪ ♪

ROCK".
Let's do our

little round table thing
right now, quickly.

Everybody's got to participate.

Lars?

Come on.

II'

Hey, Castor,
why don't you look at

all of the boys--
the men, I should say--

and say bye to everybody.

ALL:
Bye, Castor.

ROCK
Thank you for coming.

Is my dad going bye-bye? No,
your dada's staying here, okay?

Oh.

Bye.
See you.

So what's-what's
the deal?

How's everybody feel
about what they heard?

Of course,
lyrics will

definitely work in that fear.
ROCK: Yeah.

That kind of intro bit that's on there.
It's marked. Mm-hmm.

What about you?
What do you think?

Sounds good.

Do you think it's good?
It's a lot of stuff there.

Was there anything
in particular that you...

No, I wasn't paying attention
that detailed.

That's just, it's-it's a lot
of good stuff.

ULRICH: I can take you back,
when me and him

were alone in my room, in 1981,

listening to New Wave
British heavy metal singles.

As soon as there was somebody
else in the room,

it just became this, like...

It just had a very
different energy to it.

Any of that,
that was usable?

Yeah.

That's a fuck...
Maybe let's...

That's a fucking bitch. Let's-Let's
do another version of it, okay?

ULRICH: The first time I-I got
a real awareness of it was when

Mustaine came into the picture.

When James was with Mustaine,

he became like he never
really cared about me.

There was one time
during the recording

of the Ride the Lightning
record where me and him

went out and...
So, 42 beers later, is like,

"Ooh, dude, I love you."

But it could never
have materialized

until it got to that
42-beer point.

And we were alone.

(exhales)

ROCK
That was good.

Are you sure I don't
have to play it again?

Yeah, I'm sure.

It's good practice,
though.

For what?

The road.

When?

Couple years.

HETFIELD: From day one,
it's been competitive.

And, in a way, that's what has
made Metallica what it is.

That's what's
driven us further.

ROCK
What feels good to you?

Uh, b... We'll try a bunch more.

Can you try maybe, like a...

(softly sings melody)

Almost like a strum.

HETFIELD: My parents split
when I was 12 or 13.

And then my mom
passed on when I was 16.

The only thing I felt
that I really had,

at that point, was music.

My wanting to keep
everything under control

and, you know, it's out of a
fear of my abandonment issues.

I'm afraid to get close to
people, 'cause I don't know

how to do it; I don't know
how you're supposed to do it.

ROCK
Cool!

Yeah, that last one
was pretty good. Yes.

That's the first amp
I ever owned.

That right there.

II'

I think we have it.

HAMMETT:
Okay.

ROCK: Okay. Now we got
to talk about it.

ULRICH:
You started talking about

the idea of the guitar solo
as we have known it

maybe being something
that was a little...

outdated, and maybe

reintroducing some
riff-a-rama things.

But can I say something
that I think is bullshit?

This whole fucking solo out...

you know, dates
the whole thing--

that's so bullshit, you know?

If you put a guitar s... Or if
you don't play a guitar solo

in one of these songs,
that dates it to this period.

And that-that's
cemented to a trend

that's happening
in music right now.

I think that's stupid
and I think it's

totally trendy. I know
that's not what I said.

ULRICH: It's always been about,
like, where could it go

that's kind of new
and interesting

instead of just repeating
something from the past?

HAMMETT: I'm not interested
in playing traditional

guitar solos anymore.
You know, that's just...

For me it's... it's just boring, you know.
And you told me that.

ROCK
To me, if you can add

a color to the song
that-that satisfies you

and works for the song,
then that's

what we should
do with it.

But I don't want to
get in the position

where it's like, we put
something down on the tape

to satisfy your ego, my ego,

Lars's ego or James's ego.

I think it should serve
what's going down.

Like, in other words,
there shouldn't be,

like, a rule
of no solos.

There shouldn't be
a rule of solos.

It should be...
And I agree.

I mean, it really is,
to me, all about

serving the song,
and, you know,

I feel much better about that,

because, you know, I-l...

I just don't want to follow
certain trends that I see

other bands following.
We don't

necessarily have to stick
to our traditional way,

but we also don't
have to follow that trend.

II'

I'm actually very,
very comfortable

with my role in the band,
you know?

I've actually always been
very, very comfortable

with my role in the band.

I'm not a really
egotistical person.

(phone rings)

In fact I've... I've spent
a large amount of my time

trying to, like,
downplay my ego,

and get it even smaller
and smaller.

That's part of my beliefs.

I try to be an example

of being egoless
to the other guys.

(drum beat playing)

HAMMETT:
Hi.

This is Kirk from Metallica.

And if you want money,
you'll listen to us.

And then some other guy's
gonna give you some cash.

ULRICH:
20 years'

worth of integrity, and,

you know, credibility
and all that.

The next five minutes
is gonna change all that.

Hey man, uh, keep it
locked right here, and...

What?

"We'll help you
score $1 ,000." Oh.

This is James from Metallica.
Survey says... you need cash.

(laughs)
(laughs)

Your money shot to snatch a
bunch of cash is coming soon.

In order to suck both
nationwide radio chains off,

we, uh, are now
standing here,

having to do this
fucking stupid thing.

Up to 50 motherfucking
grand, goddamn it.

Win a bunch of money.

And walk away.
(laughs)

This is stupid!

Sharpen that
booger-picking finger

and be the 50th...

Hey, it's Lars from Metallica
here. I'm about to stick

50 grand up your ass.
(laughing)

HETFIELD:
One dollar

at a time.
(laughing)

I was telling Lars last night--

that was hard for me to see
you guys squirm like you were.

Yeah. I... Because I
want to say anything,

and it's not my place
to say anything.

I can't imagine,
uh,Bono

or The Edge going
on the radio, saying...

what you guys
are being asked to say.

Dad, can I have one of those?
Go for it.

CLIFF BURNSTEIN: Should we catch
up on all this radio stuff?

ROCK: Yes.
HETFIELD: Uh-huh.

Okay. Now, they're

the biggest chain in America.

You know, it's like 75,
80 stations or something.

And if you guys think
it's crappy,

as a radio thing...
those guys think it's good.

I mean, that's their idea;
we didn't come up with that.

So, strategically... HETFIELD:
Why are we doing it, then?

Just to make... them happy?

Yes. That's exactly
what they're doing.

And they won't say,

"Fuck you, you never
do anything for us.

We're gonna fuck you
on the next record."

People would do that?

Because you didn't give us
something, we're gonna fuck you?

Yes, James. (laughs)

They would.

I'm not saying that they can
always get away with it.

That's so funny.

I'm glad it's your world.

But it wouldn't
stop them from trying.

I understand the "wash your
back, you wash mine" thing.

You know, wash my...

I'll wash your back
so you don't stab mine.

Right.
That's more like it.

Okay. Why don't we
get off the phone then?

MARC REITER: Well you know, we
should have those conversations

some more next week.

Later.
BURNSTEIN: Okay.

REITER: See you.
BURNSTEIN: Bye-bye.

HETFIELD:
That's insanity.

We're gonna hurt you
'cause we didn't get something.

HAMMETT: I wash your back
so you don't stab mine.

TOWLE: Well, that's
a good line for a song.

HETFIELD: I guess
I just want something

to rhyme with "mine" right now.

(Rock laughs)

ROCK
Wash your back so you won't...

Wash your back
so you won't stab mine.

Step on a land mine. I want to
keep you in my back pocket.

ROCK: Blind leading the blind.
You don't...

I'll rip out your
fucking spine.

HETFIELD:
Okay.

II'

♪ Wash your back
so you won't stab mine ♪

♪ Get in bed
with your own kind ♪

♪ Wash your back
so you won't stab mine ♪

♪ Get in bed
with your own kind ♪

That was really good.
Are you pulling my mic?

That was really good.
HAMMETT: It was.

Really good. HETFIELD: Let's do another...
another part.

♪ ♪
Land mine.

Land mine.

No land mines.

♪ No land mines ♪

♪ Rock lobster ♪

♪ Wash your back so
you won't stab mine ♪

♪ Get in bed
with your own kind ♪

♪ Ah ♪

(cackles)

There's a witch
at the foot of my bed.

ROCK: Did you... Did you
hear what Lars said? No.

He says, "Yeah, Kirk stopped
reading and I stopped moping."

(all laugh)

That's what you said.

No, that's not what I said.
What'd you say?

I said I stopped sulking.
Oh, sulking.

II'

ULRICH:
Whoa, whoa, whoa, whoa!

(crash)
Shit.

In the 11 months since he's
parted company with Metallica,

ex-bassist Jason Newsted
has been apparently

more musically active
than his former band mates.

While Metallica drummer
Lars Ulrich was pursuing Napster

and singer James Hetfield
battled alcoholism,

Newsted hooked up in the studio

with legendary
metal band Voivod.

Our own Ian Robinson
got all the answers

on Newsted's new ventures
and the current state

of his relationship
with Metallica.

ULRICH:
A good friend hinted

that Jason would really like
to join the band again.

Man.

I popped his little bubble for
a second, and I don't know, man.

ROCK
I'll be quite honest.

I think the heart

and soul of Metallica,
from this point on,

and has been for a while,
since Cliff died,

is the three of you guys.

I think
you will never, ever, ever

find a permanent bass player.

My opinion.

WOMAN: There was also tragedy
in rock this week.

Metallica's bassist
Cliff Burton was killed

in a bus accident while
the band was on tour in Sweden.

He was 24.

MAN".
Metallica bassist Cliff Burton

was buried on Tuesday
in the San Francisco area.

The remaining members
of the band...

MAN 2".
Jason Newsted.

He replaced Cliff Burton,

who was killed in
an auto accident in September.

Jason told MTV...

it pisses me off
that Cliff left us, because

we'd never have that initial
four guys just going on and on.

And, you know, when I talk
about it, it's, like...

that happened for a reason.

And we're...
we're dealing with that.

TOWLE:
I got to capitalize

on what- what's being said...
Just got to deal with it.

Right here.

The Cliff message that I
get from him to you guys is

that treasure
the three of you.

Treasure every moment
that the three of you have.

And the four of you have.

You know, treasure...

treasure it,
because... you never know.

And one of the sad things
that happens when somebody dies

is that people
have never taken the time

along the way to really

embrace each other
every day, you know?

It's a sin if you...
you know, if you let that go.

(sighs)

HETFIELD:
Phil has been

like an angel for me.

He's been sent to help me.

And, you know, I've got
my own thoughts about all that.

You know, and a father figure,

the dad that never was,
and all of that,

that it makes me comforted;
it comforts me.

But, also, we don't want

to have our hand held
through life.

We'd like to be able to stand
proud ourselves, and...

and-and-and move on.

There'll be a time for that.

And we just have
to discuss when that is.

II'

TOWLE:
You know, there is purpose

behind the way I do it.

I think it's very effective.

I have to decide whether
I'm going to push it, or not.

It sometimes is a distraction.

So, what part of our career
are you going to manage today?

I thought I'd do the
whole thing, Huh?

Since you guys
can't do anything.

I mean, you know,
if you guys could run something,

then it would be easy to step back.
(laughter)

'Cause you can't, you know...
it's... got to be someone.

Is today the first day
you're going to play drums?

I don't want to get into that.
Okay.

You know... I don't think
I'm gonna do the drums.

I think it's time...
Maybe I should.

Uh, yeah, I think it's time.
Yeah?

Although, actually,
I'm kind of...

Well, it's about the only
thing you haven't done.

Mm-hmm. Mm-mm.
I-l haven't sung.

All right. What?

We, um, got to a point where

we sat down and told Phil that
we wanted to scale Phil back,

urn, to, uh, every other week.

And, uh, we were getting ready
to implement that

four weeks
from when the decision was made.

And two weeks
after the decision was made, urn,

we had to sit Phil down and say

that we were not ready
to do that.

Because we got really, urn...

I don't know, uh...
scared, I guess.

There were some things
that were going on at the time

that really
Phil helped with a lot.

ANNOUNCER: Live from the news
leader in Northern California,

news center four, Night Beat.

The Metallica versus Napster
battlefield moved

to San Mateo today.

Metallica drummer Lars Ulrich

delivered a list
of screen names

of people who have downloaded
the band's music online.

MAN".
Metallica is suing Napster,

a Web site
that provides software

which allows people
to download music

on the Internet without paying.

MAN 2".
Metallica drummer Lars Ulrich

testified before a senate
committee earlier this month

that Napster has quote,
"Hijacked

our music without asking."

MAN: The band said
that over 350, 000 people

are downloading
its music for free.

WOMAN: A group of former
Metallica fans staged

a protest at the courthouse.

I don't want anything
to do with Metallica anymore.

I'm going to be crashing
their CDs.

I took all my CDs, and I'm going
to be destroying them.

Are you proud of
what you achieved

with the whole Napster thing?

Are you proud, in hindsight,
of what you pulled off?

Being the most hated man
in rock and roll?

(laughs) Yeah, that was, uh...
that was my goal.

"I got an idea.
I'm kind of bored this summer.

"Everything's going
a little too well.

"Let's see.
Uh, I want to turn myself

into the most hated fucking
asshole in rock and roll." Yeah.

Like, good afternoon.

My name is, you know, like,
Lars Ulrich, from Metallica.

I worked for years
to get where I am today.

Me and my buddy like James
Hetfield here have shed

blood, sweat, and motherfucking
beer to get where we are today.

Beer! Good!

Who do you
think you are?

I mean, just you know,
because you, like, made us rich,

you think you can
get free stuff?

Songs that we spent
upwards of, you know,

like 24 to 48 hours
writing and recording.

Our team of lawyers
and researchers have

your names, and
you Napster users,

we'll see you in jail
getting gang raped.

ULRICH: Some minutes,
I have all this strength,

and I can stand there,
and just go,

"Fuck you! Fuck you! Fuck you!

"I'm bulletproof.
It doesn't matter.

I got Hetfield and Hammett, and
we're a team, and fuck you."

Do you know what I mean?

And then, five minutes later,
it means nothing,

and I just become
really vulnerable.

♪ Yeah, yeah, yeah ♪

♪ Yeah, yeah, yeah, yeah... ♪

ULRICH: You know, we never
sat there and thought about

where Napster was going
to end up.

We never sat there
and talked about

what shots
we were going to take.

We just sat there
and thought about,

this was something
that we had to do.

MAN:
So, wait a second.

(band stops playing)

That was awesome!

It's like I had to stay
on the course that I was on,

and stay to my convictions, but
it was eating away at me inside.

And then, maybe
it could go lyrically to, urn,

"What difference did I,
slash we, actually make?"

It's a great question.
Great.

And if that could...

It's like if that question
could get thrown out there,

but remain unanswered...

Mm.

...I think that's really strong.

♪ All the shots I take ♪

♪ What difference did I make? ♪

♪ All the shots I take ♪

♪ I spit back at you ♪

♪ Oh, oh... ♪

(Spits)

"All the shots
I spit back at you."

T hat's awesome, dude.

Fuck me.
Right on.

And the "What difference
did I make?" fit right in.

Really awesome.
Right on.

These two kicks--
are they the same as...?

GILLIES:
It's different.

Okay.

Go to the master. What...

really gets my dick hard is
boom... starting on "boom boom."

We can do that.

(humming rhythm)

You know, there.

Then these are awesome.

(instrumental interlude,
featuring guitar and drums)

CRAZY CABBIE:
Lars, what I want to know is...

What?
Do the four of you

just go in there and just jam?

You're hearing

excerpts of three-hour jams.

You're hearing... It...

Look at it as a funnel.

You're hearing the very part
at the bottom of the funnel.

Right.

You can almost equate what
we're doing now to arranging.

Right.
ULRICH: Yeah.

CRAZY CABBIE: You're like
Pollack, the painter.

He is-- he's Pollack,
the, uh, funnel arranger guy.

CRAZY CABBIE: It's gonna
sound fucking amazing

at the stadium with
100,000 people,

and fucking raising the
evil horns up to the sky,

and saying,
"Metallica, baby."

(gasps happily)

Oh.
ROCK: Oh, my God.

Can we fast forward
to that right now?

(cheering and chanting):
Metallica! Metallica!

II'

(whistling and cheering)

BURNSTEIN:
I think what I 'd like to do is,

I'd like to talk about this
touring thing that has come up.

We're very cognizant of the fact

that, you know, things have
changed for you guys.

And they've changed

for many, many reasons.

Why can't we figure out

what works best for everybody
in their personal lives,

plus, what works best
as a business?

What if you just do
a stadium tour

where you play Friday,
Saturday and Sunday,

and then, you go home
the rest of the week?

I just want to put
out that, you know,

it might be a kind of
an uncomfortable vibe here,

'cause people might not know

how I'm feeling
about touring,

and I don't really
know, either...

(laughter) you know,
until I get there.

Yeah.
And...

you know, I
I want to tour.

I don't want to fall
off the wagon, you know.

I don't want to
go out there.

I don't know
what it's like.

Doing things for the
first time again--

as I think I've said
before-- it's a little scary.

(applause, cheering
and whistling)

I don't know
about you, uh, but, uh,

it's, like, summertime
and to me,

it's, uh, fuckin'
beer-drinkin' weather, yeah?

Yeah.

Well, I'm gonna
take time right now

and fuckin' have myself one,
and, uh, just want to say cheers

to all you guys and fuckin'
thanks for coming down

and getting nutty with us, man.
Cheers.

(Hetfield singing scales)

(singing scales)

(singing scales with piano):
♪ Mommy, Mommy, Mommy, Mommy ♪

♪ Mommy, Mommy, Mommy, Mommy, Morn.
♪ MAN: Good.

♪ Huckoo, cuckoo, coo ♪

♪ Huckoo,
cuckoo, coo... ♪

I blew my voice out
on The Black Album

doing, uh, "So What?"
the cover song.

And we had a bunch
of Metallica songs

to do after that.

And, uh, I went to this coach.

I didn't I didn't
want to go. I was scared.

Thought he was gonna make me
sing operatic.

(chuckles)

But I went there, and, uh,

we just did warm-up stuff
like this, and this is the tape.

And I've had this same tape
for... since then.

(vocalizing in falsetto range,
then sings down the scale)

REPORTER".
Was there a turning point?

ROCK".
Yeah, I think when

we had accumulated
what we thought to be,

you know, a great
kind of, uh--

I don't know--
cross-section of material,

we took stock, so to speak.

The only songs that are going
to make it to the album

are the songs
that all four of us vote on.

And out of 30-plus songs,

only four songs got
all four votes.

♪ Ooh, sweet Amber... ♪

♪ Ooh, sweet Amber! ♪

(instrumental interlude,
featuring guitar)

♪ Ooh, sweet Amber ♪

♪ How sweet are you? ♪

♪ Ooh, how sweet does it get? ♪

♪ How sweet are you? ♪

♪ How sweet does it get? ♪

Yes.
TOWLE: Yeah, right.

BURNSTEIN: Wow. I mean,
there's some explosive playing.

The shit just takes off.

It's like you guys
have spent all this time

to come back to find yourselves.

That's what
it sounds like to me.

ULRICH:
That's, uh, like, 17 to go.

(laughs)
Yeah.

How are you doing? Do you
want to hear more? Yeah.

Want to hear some more? Yeah,
I'm just getting started.

Yeah.
Okay.

♪ Squeeze all within my hands ♪

♪ Ooh ♪

♪ Choke within my hands ♪

♪ I'm madly in anger with you ♪

♪ I'm madly in anger
with you ♪

♪ I'm madly
in anger with you... ♪

♪ At the world of hurt I'm in ♪

♪ At A' I' Times, times,
times like this I'

♪ My! ♪
♪ God, what's it comin' to? ♪

♪ Self! a' I' Destructive
power we live on... l'

♪ Draw a line
across your spine ♪

♪ So that gets broken, too ♪

♪ Oh, do it... ♪

♪ Temptation, fill no hole ♪

♪ No! ♪

♪ No, no! ♪

♪ Temptation... ♪

BURNSTEIN:
You know, the...

the first four songs
you've played me

all pretty much
knocked me out, okay?

But if you've got it going,

you want it
to hammer all the way through.

You want people

to be able
to really listen and say,

"Jesus Christ, there's no
letting up from these guys.

"There's no fuckin' let-up."

"Fuck ballads." You know?

There definitely is some
Presidio stuff that I felt

maybe... you got to analyze it.

Maybe you're...

watering it down in some way.

That's all.
(chuckles)

It's your call. HETFIELD: Yeah.

HETFIELD: "Temptation," I
remember writing that thing.

It came out...
it flowed totally instantly.

"Temptation"
kind of sums up

all the lyrics that are
in this new...

kind of...

project... so...

And that... And it's cool,
because that was done

long before "Recovery"
and all that,

so... HAMMETT: I mean, I can
tell that you're singing

your-your heart out. You're...

definitely wearing your heart on
your sleeve in... on that song.

ULRICH: To me,
it's more like a jam.

Urn, is there a song
in there? Urn...

potentially. Urn...

You know, there's almost nothing
there that can't be turned into

something better than it is
or something that could...

probably get
pretty fuckin' close

to being something
on a Metallica record.

You know, but then
it just goes away

from what the purpose--

at least what I see the purpose
being today--

which is show up
with what you...

you know,
what are your A-pluses?

You know?

Well, when I hear Lars talk
about we can whip anything

into decent shape, I agree.

And we did that
on Load and Reload.

HAMMETT: Yeah. And
this is us trying

to choose before we take it to those
extremes, you know? ROCK: Exactly.

That makes sense. Yeah.

HETFIELD:
That was a pretty major thing

that I think Lars and I clicked
on together,

that, wow, I'd heard him
and he heard me.

Huh.

It's like, "Oh, okay." It's like
it takes the cutting edge off

of it, or the personal attack
off of it, you know?

Things are a lot less dramatic
than they used to be

within the chemistry
of the four of us.

Less head games, abuse of power

and soap opera bullshit.

But... Can we just do one thing?

For lack of a better word, when
it comes in with the drum...

uh, drums, I just want you
to scream "fuck"

as hard
as you can fuckin' scream.

HETFIELD:
♪ Can you stand up? ♪

Fuck...!

ROCK: Okay.
It should be slower.

It should be more
like... fuck.

Aah!

I want four of them.

Do it again.

STEVEN WIIG:
Lars is selling paintings

because he's ready to move on
to the next...

ten years or next decade

or next phase of his life.

And a lot of what
these paintings and a lot

of what this house represents
is the last ten years,

versus 8...

husband and father of two.

He's getting rid of...

some pretty major
and important pieces

in the majority
of his collection.

He's wiping the slate clean.

ULRICH:
Midnight, New York City.

One last look
at the paintings. Oh, well.

This is a celebration.
It's a celebration.

(chuckles)
Of how far you've come.

It's a celebration.
With Phil Towle.

This is a celebration.
Oh, yeah. Right.

Some paintings have
visited us for a while,

and now we want to share them
with other people. Nice.

Okay? It's a choice.
Right, yeah. That's it.

Okay, cool.

I never looked at it
as an investment,

but I always looked it as...
versus

some of the other guys that may
be, like, taking a big pile

of money and parking it
in the bank.

I would always, like,
take a big pile of money

and park it on my wall.

Wow.

I can just feel some
of the adulation

that other people

have thrown at these paintings,
and that makes me proud.

Wow, I've never been this close
to it.

These are great paintings,

whether they sell for a dollar
or for $100 million.

The only thing that matters is
what pleasure and what feeling

you get out of that moment
you have with that painting.

And it's never been
about dollars and cents.

It's always been about something
greater than that.

But, fuck, they do look awesome.

I mean, fuck.

(laughs quietly)

(grunts)

It's been a good time.

And it will be a good time.
To the future.

I feel better about this than
I thought I would, actually.

It's weird.

I don't know why.
Yeah.

Shit.

AUCTIONEER:
$300,000 on the telephone.

It's two of you in the room.
Selling right,

fair warning, at $300,000.

Jean Paul, $300,000.

21 is the, uh,
to modern, uh,

on the reverse,
the Jean-Michel Basquiat

showing on the screen there
on my right.

All right, here we go.
Be strong, my friend.

At one million...
One-nine, two million.

(sighs)

(laughs) All right. $1,100,000.

$300,000... $680..

ULRICH:
Can we get more cocktails?

25... $200,000..

ULRICH: $600,000...
...go for 580...

AUCTIONEER:
For one million, eight...

ULRICH: 720. $3 million.

Come on. Four.

Or you, sir. $260,000.

$680, 000.

And selling at $5 million.

Brett, yours at $5 million.

All right.
All right.

Whoo!

It went well.

I, urn, got myself drunk
to numb the pain.

Urn...

but it went well.

I'm “EDDY-

TOWLE: Like, let's talk
about the zone for a minute.

There is a way

to help a person get...
persons get in a zone.

To... I mean,
you could

consider seriously doing
some meditative or...

app-apply the meditative
principles to music, all right?

I hope this doesn't sound
too way out, but if you do that,

the four of you are out there
and you do it anyway,

unconsciously, you do a...
you do a musical meditation

by starting to-to jam

with each other.

ROCK
I just think,

no matter
how you look at it--

I've been making records
a very long time--

and it really comes down
to how much work you put in

and how much, you know...

It's just tough.

Sometimes it's just...
it's just tough work.

And I like to stretch
the frontiers

of what people
accept, okay?

And I understand
about that, and I...

I don't want for
my mind to settle...

"The zone...
admission is believing."

Well, I guess I'm not gonna be
playing today then, huh?

Well, I'm gonna go out
and make phone calls.

So everybody's...

TOWLE".
You know, we've had

a fabulous few weeks with a lot
of great productivity,

a lot of really good stuff
going on.

The more we feel good
about ourselves and each other

and the higher we ascend, the
more challenging it will be...

it will be to our psyches.

You-you know, I understand it,
I embrace it and all that stuff,

but someti-sometimes
it just bugs me.

I think the, uh...
that thing was kind of

buggin' me yesterday.
All of them around the studio,

it was just kind of like...

That way of thinking,
it just doesn't work

for me all the time.

And I was a little pissed off,
uh, at it because right now

in my life
it's not really working for me.

L-I'm glad to know that's what you think.
I agree with that.

Wholeheartedly.

And if you feel
that way and wish

to share that more directly,
I'd appreciate that, too...

ROCK: Rather than tearing
the signs down? Yeah.

We pay him $40,000 a month
to be pretty much available

at our beck and call.

So when this record's done,

do we want to
collectively

end the $40,000 a month...

full-on thing?

I'm afraid he's under
the impression that he's, like,

in the band, you know?
HAMMETT: Yeah.

And I see him coming
on the road, maybe, for a week.

But after that,
I don't...

I don't see him...

uh, holding our hand
any further than that.

So is that something we want
to present to him then?

HAMMETT: Yeah. I think, um...
Okay.

I think it's something...
Yeah, I think it's something

we need to do
for our own well-being.

Yeah, 'cause
I'm-I'm feeling uncomfortable.

(playing riff on guitar)

ROCK
Are you there?

Hello. Hello, hello.

Are they on the phone?

ROCK: Yeah, they're on the
phone and they need you now.

Oh, okay.

ULRICH:
James Hetfield is

in the room.
Hey, there.

CLIFF BURNSTEIN:
Hey, James, how you doing?

HETFIELD:
Pretty good.

BURNSTEIN:
I'm gonna let Marc...

do the talking here,
because Marc was the one

who's been talking to MTV.

REITER:
Okay, so, um,

this afternoon, the official
offer came in for Icon.

Assuming you want to do it.

ULRICH: Let's do it. Cool, man.

Right.
Yeah, I'm jazzed about it.

The only thing
that you guys are required to do

is show up for rehearsal
and then show up for the show

on the third, and at the end
of the show, you guys

take the stage
and perform a little bit.

So what's Jason's role in all this?
What? Who?

BURNSTEIN: Okay. REITER: But if I...
I mean...

I don't think
Jason has any role.

BURNSTEIN: He lost his icon
status when he left Metallica.

(laughter)

REITER: Nice one, Cliff.
Thank you.

I think MTV would like the fact
that this would most likely be

the introductory performance
of Metallica

with a new bass player, whether
it's the new member or whoever.

When is it supposed to be?
May what?

REITER:
May 3. Saturday, May 3.

See, that means you'd have to hire
someone by the second. (laughing): Okay.

I think it can happen.

You'd be required to be in Los
Angeles for all of two days...

Because we didn't get
a new bass player,

I think a lot
of people thought maybe

that we were having trouble
finding one.

We never started looking
for a new bass player

until two months ago.

We worked on ourselves,
identified...

what part can we work on,

so when someone else steps in,

it's clean.

They're not stepping
in our shit, you know?

HETFIELD: All right, thinking
about bass players, finally.

So...

we're gonna need
a fourth member.

You know, we know
you're a great bass player.

It's the vibe, you know.
We need to make sure...

TOWLE: Jason kind of
triggered this whole thing

a couple of years ago
and, urn... I can't believe

it's been two years, you know?

And then we've gone through
some...

ULRICH: We realized that we kind
of wanted somebody who was,

like, our age; somebody who had
been around the block

a couple times.
Right, right.

We've-we've grown a lot, man.
These three guys

in this band. Urn...

ULRICH: And last time,
when we did this 14,

15 years ago...
Uh-huh.

16 years ago, I guess it was,

we literally
sat down and...

started auditioning
bass players,

you know, the day after
the funeral Mmm.

For Cliff, so now it's 16 years
later, different circumstances.

When Jason left,
he took his basses with him.

You want four or five?

Uh, whatever.

What-what five-strings
do you have?

This one's five-string...

♪ Keep searching ♪

♪ Keep on searching ♪

♪ This search goes on ♪

♪ This search
goes on ♪

The band... These guys
collectively probably own,

like, 500 to 600 guitars,
so they're not all here.

Wow.

♪ On and on ♪

♪ Frantic, tick, tick, tick,
tick, tick, tock ♪

♪ Frantic, tick, tick,
tick, tick, tick, tock ♪

♪ Frantic, tick, tick, tick,
tick, tick, tock ♪

♪ Frantic, tick, tick,
tick, tick, tick, tock! ♪

(music stops)

You went into another
voice there, dude. Sick.

Which one of me
are you talking to?

ULRICH: I think
that we should just spend

the next two-and-a-half hours
with this guy.

(sniffles)
Don't you?

L-I had a vision of us jamming
with him the last hour.

L-I guess I just feel
this is kind of, like,

weird to keep, like,
just doing our own thing.

It just feels not welcoming.
This morning, I heard him

say he was pretty comfortable.

(all talking at once)

It's not about what he says.

It's about what I feel.

HETFIELD: All right. ULRICH:
Are we cool, James?

Yeah. I-l guess the only
other thing I'd like to say is,

you know, when we leave this up
to just how we're feeling,

a lot of it depends
on how you're feeling.

You know, when you say

those things. ROCK Um, not

that I want to break up
what you guys are discussing,

if you want to go deeper,
you know?

But, I-l think what might be
really good is-is to...

treat this with respect,
go out and do this...

II'

Yeah.

Yeah.

You know any Metallica stuff?

Urn, I could, uh...

I could try "Battery."

"Battery"? Yeah.
HAMMETT: You can play

that fast with your fingers?
Yeah.

HETFIELD:
♪ Battery ♪

II'

(Hetfield cackles)

(chuckles)
ULRICH: That's a fuckin'

pretty mighty bass sound
you got going there.

Yeah, it's working. TRUJILLO: I don't know.
It's the Mesa in the Haiwa.

ULRICH:
ls there anything else you know

as well as that?

II'

II'

ULRICH: Cliff... it was
just, like, you saw Cliff,

and me and James went,

"He's in our band,
there's no question."

He hit it out of the park.

And that's where
it sort of gets interesting.

Because if Cliff Burton
showed up today,

maybe he wouldn't
be the guy, either.

HETFIELD: I mean,
the three guys that I like

all have unique features

that I would love
to Frankenstein, you know?

HAMMET:
Yeah. Definitely.

ULRICH: Like some kind of monster.
HAMMETT: That would be great.

ROCK". I don't think you
should settle.

I think you should
get the right guy.

If you don't hit it out of the
park with one of these guys,

then you're gonna end up,
four years down the road,

in the same situation
you did with Jason.

HAMMETT: A four count and
then ba, da, bup, bup

and into the
solo right away

Just follow us.

(growls)

ULRICH:
He was the first guy

of any of 'em that didn't look
like he was struggling with it.

HAMMETT:
That's what I told Bob.

But do you know what I
mean about, like, it...

you know, with some
of the other guys,

it was sort of ten percent
over their capabilities

Mm-hmm. Yeah. or something like that.
And you don't

feel that
with this guy at all.

It's like, the last
three songs...

Like, "Sanitarium,"
"Nothing Else Matters," and...

What was... There was some, uh...
HAMMETT: Uh...

HETFIELD: "Sad But True."
"Sad But True." I mean,

they were flawless.

I looked over at him during
"Whiplash" and he was just

right in the pocket
and in there.

And then, afterwards,

when he played it alone
with his finger...

it-it hadn't been played
that way since Cliff.

(imitating fast playing)

It's just, like...

Huh? (chuckles) Yeah.

Yeah, his finger's
a pick, you know?

Yeah. Yeah, it's three picks.
(imitates fast playing)

Playing... So you
want to sack Bob now?

(all laugh)

II'

Hey.
(applause, cheering)

(whooping)

HETFIELD: Well, the second time
you came back,

I mean, that was, for me,
when I noticed that

you make us play better, man.

You make the band sound...
Hell, yeah.

...so much better.

Wow. HETFIELD: So solid.

HAMMETT: How do you feel about that, man?
Oh, I feel awesome, man.

You're the chosen one.

You looked coolest.
Yeah.

And we want you to be
a real member of this band

not just a hired hand.
Right. Right, absolutely.

And, um...

Oh, wow. We'd like to
offer you, uh, basically

to give... to show you how
serious we are about this,

offer you a million dollars,
uh, to join our band right now.

(exclaims, laughs)

And, um...
Right, okay.

And as a good... as a kind of
a good faith thing about how

serious we are... HETFIELD: It's an advance.
It's an advance

on some percentage you're gonna
be making with the band. Right.

Here's money up front.
Mm-hmm.

To get you kicked in and inspired.
Right.

And this is a reality,
this is my future.

This is what life can
hold for me... Wow.

With my new family.

Ooh.

(soft laugh)
I can't really talk right now.

(all laugh)

♪ Invisible kid
never see what he did ♪

♪ Got stuck where he hid ♪

♪ Falling through the grid ♪

♪ Invisible kid
got a place of his own ♪

♪ Where he'll never be known ♪

♪ In a word, he's grown ♪

♪ Invisible kid,
never see what he did ♪

♪ Got stuck where he hid ♪

♪ Fallin' through the grid ♪

♪ Invisible kid
got a place of his own ♪

♪ Where he'll never be known ♪

♪ In a word, he's grown! ♪

NEWSTED: There's things that
I miss, and I'm kind of sad

that it couldn't work out and
thing... you know, like that.

But there's way, way, way, way
more times and way more days

and even hours that go by
and I'm reminded, dude...

All right.

You did the right thing.

You know, you did
the right thing for yourself.

II'

HETFIELD: I don't know
if it's the right time

to say this but...

I don't know, I've been
thinking about our... our talk,

about, you know, you and us

and our future and all of that
stuff and... (clears throat)

Uh, you know, when I heard
that you guys were moving here

and all of that,
that brought up a lot

of fear around, "Wow, what is
Phil's perception of, you know,

his, you know, longevity
with Metallica?" You know?

That scared me a little bit.
Well, I appreciate that. I w...

I w... If it scared
you, and that's part

of the-the issue
going forward,

then let me say we haven't
decided we're moving here.

I've tried
to make it clear

that... that, urn,
we're selling...

I think pe... uh, we've told
people we're selling our house

in Kansas City, but that
doesn't mean we're moving here.

Okay?

And we won't likely move
to San Francisco if...

if there's not a future
out there with Metallica,

'cause it you know, that's my...

I want to make sure that the...

the bass player's intact, I want
to be sure that the tour's on,

and I-And I also, as I said,
have performance coach visions

for each of you
and for the band.

And I... to me,
the work isn't over.

Urn, I'd like us
to honor

what we had, and...

if you want to be away from...

you know, on your own
or something,

for the couple months that...
Right.

You're heading back in June, then that's...
(chair scrapes)

Then that's... Keep going back. Okay. I got...
I don't know, I guess I have

a problem sometimes, Phil, with
the "let's see how it works out,

let's see how it happens."
And then,

"No, let's honor
what happened, you know,

six months ago," you know?

That-That's kind of strange
to me, you know?

Because I think that
you use those things

when they're convenient
at times, you know?

Personal stuff
or business things and...

I-I don't know, I don't know,
they're... the boundaries are...

I don't know,
becoming more clear to me.

Urn...

There's-There's that
element of-of...

trust that just kind of
floats with you, with me.

And I... And that...

I-I'm really
sorry about that.

That-That. ..
you know.

L-I been up... swimming uphill
on that one

for a long time with you,
and I'd like...

I'd like for us to be able

to resolve it.
But maybe we can't.

ULRICH: I've got to tell you
that I... You know,

if the client-- either
James or us-- says...

You know, then...

I-I really think that needs
to be respected without...

you know, just, you know,

the old "turn the knife"
thing in there.

You know, it just... it-it...
you know, if the client

says, you know,
"Time out for a while"--

time out. Yeah, I...
That is great.

Although, with our process,
to honor what we usually do,

we take... But then it
should be put on the table

but left on the table.

And should be able to walk away

without what
you're saying right now,

which is now there are
trust issues and stuff.

I don't know how to separate...
separate out

In its simplest form.
I ju... l-l think it's

a conflict of interest
that you tell him

that he needs you around more.
If he has...

If he wants to take a break. No, no, no, no, no .
I'm not saying that.

I'm saying... I just... I see
that as a conflict of interest.

Look, I am saying
you guys

have made a decision.

It's okay for me to say I'm-I'm
not happy with that decision.

The premise is you
guys don't need me.

And-And I... I'm good with that.

Anyway, you're going...
it's, uh...

Anyway...

let's jam.
Great, I'll see you guys.

I'm taking off.
I'll see you, uh...

next week.
Have a good one.

Thanks, man.

♪ Who's in charge
of my head today ♪

♪ Dancing devils
in angel's way ♪

♪ It's my time now... ♪

♪ It's my time now ♪

♪ It's my time right now ♪

♪ It's my time ♪

♪ Look out, motherfuckers,
here I come ♪

♪ I'm going to make
my head my home ♪

♪ The sons of bitches
try to take my head ♪

(reporters shouting)

♪ Try to make me something... ♪

You've been in the band
for five minutes,

and already
you're an icon?

It's such an honor.

And, you know,
I'm stoked, so...

II'

(cheering, whistling)

PATERNO: "Your voting interests
will equal

"your percentage interest
in the new Metallica account,

"while each of our voting
interests will be one-third

of the difference between
100% and your percentage."

This is about
as lawyer as you get.

But it's really...

Sort of.. laying out...

PATERNO: Yeah, it lays out
the deal, okay, so...

For instance,
in the first period,

you have five percent, okay?

TRUJILLO: Uh-huh. PATERNO:
So when we do a vote,

you get 32 votes,
you get 32 votes,

you get 32 votes,
you get five votes.

In any vote, okay?

ULRICH: But this doesn't
mean anything.

HETFIELD:
I think it's crap.

I mean, I-l... ULRICH:
I think in the,

in the spirit of what
we're trying to do,

we've gotta do 25,

and then Q-Prime's
the tie-breaker, that's...

PATERNO:
That works, that's fine.

That's cool.

II'

(audience cheering wildly)

What's up?

II'

PATERNO:
Now here it also says

you will not be required
to fund

any losses in
the new Metallica account,

but we will be entitled
to recover

any losses out of
future profits.

For instance,
buying the-the, uh...

documentary,
it's not your problem.

If the documentary

loses money and the company

never makes
any more money again,

it's these three guys' problem.

ULRICH:
Yeah.

(all laughing)

Well, shit.
"What'd you do with your money?"

I went and bought a new car,
I bought my mom a house,

and we went and bought a documentary.
It was great.

(all laugh) You know, it was just...
trying to

keep in the spirit
of this whole thing...

II'

BURNSTEIN:
By the end of this week,

we're going to have
an album title.

You could say, in three days,

we're not going to have
to agonize about this anymore.

HETFIELD:
Well, the thing that stood out

to me was St. Anger, there's...

it's strong.

I mean, there's iconic
strong, you know?

HAMMETT:
Yeah, I agree.

I hear you.

L-I, I like that
title quite a bit.

It's so easy just to say
"June 17th is St. Anger's Day."

Yeah, no, it's true, that's cool.
You know? I mean, it's...

ULRICH:
I think "Frantic"

is a better album title.

I think that's...

I don't know.

...It's more
about the record.

HAMMETT:
But St. Anger's a good...

REITER:
It's an original statement.

It's an original statement.
St. Anger, St. Anger.

HETFIELD: Well, this is
an angry record...

Right.
...but you read the lyrics,

it's angry in a healthy way.
Right.

Yeah, this is also a frantic record.
Getting stuff out.

BURNSTEIN: Frantic is more like,
they're trying things

that they don't, they don't...

they're not exactly sure of.

They don't know
what they're doing.

They're trying to
climb back up the...

the mountain again.
MENSCH: Right.

They're not sure of themselves.

I mean, we don't have to take it...
I mean, that's a fair...

I mean hello, uh,
that's a fair thing.

I mean, if you
think that "Frantic"

has a negative
connotation to it,

I never thought
of it like that.

If it's St. Anger, they're
going to form an image of

"These guys are angry,
I know it.

"They're angry about Napster,
they're angry about

"the new stuff that's coming in,

"they're angry
about their lives.

I'm angry, too. I get it."

II'

REITER:
I think you guys know

the idea about trying to shoot
a video in San Quentin.

HETFIELD:
Wow.

ROCK".
So let me get this straight:

you're going to go to
a maximum security prison

and Metallica's going to play
"St. Anger" really loud.

HAMMETT:
Yeah!

♪ St. Anger 'round my neck ♪

♪ St. Anger
'round my neck ♪

♪ He never gets respect ♪

♪ St. Anger ♪

♪ 'Round my neck ♪

I've been asked to come out here
and talk a little bit about, uh,

what this song means to us.
Anger's an emotion

that I've-I've struggled with

for pretty much all my life.

♪ St. Anger ♪
♪ You flush it out ♪

♪ 'Round my neck ♪

♪ You flush it out,
you flush it out a'

♪ He never gets respect ♪

HETFIELD:
There's a lot of misspent anger

that has come out sideways
for a lot of people.

Including yourselves.

And if I hadn't have
had music in my life,

it's quite possible

I could be in here
or not even in here, be dead.

And, uh, I'd, uh...

I'd much rather be alive.

♪ Madly in anger with you ♪

♪ I'm madly in anger ♪

♪ With you, I'm madly in anger ♪

M With you r

♪ I'm madly in anger with you ♪

I'm pretty nervous up here.

Don't really know what to say;
I'm just trying

to share some of what's going on
for me-- I'm not here

to sell nothin', that's
for damn sure. Urn...

(inmates cheering)

Everyone is born good.

Everyone's got the same size
soul, and we're here to connect

with that, so we're very proud
to be in your house

and play some music for you.

Thanks.

(cheering, whistling, applause)

HETFIELD:
More than any other record--

I don't know
if you guys feel that--

but, for me,
this is, like, a product of

what we're just doing
hanging out,

you know what I mean?
It's like...

HAMMET". It's almost like a diary.
Yeah, a diary.

It's like, "Here's our memories
on CD, you know?"

ULRICH: It's like we've proven
that you can make

aggressive music without
negative energy.

Yeah. Okay, and I don't
think anybody ever thought

that that would be possible. Do
you know what I mean? Right.

You can make something that's
aggressive and fucked up, okay?

With positive energy between
the people creating it.

HETFIELD:
Yeah.

It hit me, you know?
This...

project's coming to an end
and, I don't know,

I think I'm kind of bummed
about that.

I'm kind of just...

kind of liking the schedule
that happens

or the safeness in that.

Coming here, being
able to talk, creating,

you know? And...

And, uh... I don't know.

I've been kind of...

coming down from this
for about the past month.

I mean, getting up at 5:00
in the morning and just...

pacing my apartment.

Just not really knowing
what the hell I'm doing either.

So I'm with you.

Like, I don't want
to let you go home.

I mean, man, I don't know.

ROCK: (chuckles)
I really appreciate that.

That's really nice
of you to say.

HETFIELD: I don't know.
I could feel myself

kind of protecting myself
with some depression

or something,
wanting to just kind of isolate.

And I don't want to do that.

I want to feel the sadness of...

I mean, I-l didn't feel
depressed, I felt sad.

That's when I knew
it was something different

than just me...
my old stuff, you know?

I mean, there is
some of that, but...

(chuckles)
Sadness

and depression-- I guess I don't
really know the difference.

And, Phil, all the stuff that
you've brought here to, like...

You've set out
all the tools, you know?

And you allowed us to build
what we've built, you know?

With guidance.

I really appreciate
your bringing...

your bringing this forward.

And there is a difference
between sadness and depression.

Clearly.

(sighs)

This is the hugest chapter
in my life.

(sniffles)

(crowd cheering)

(fans whooping,
shouting, whistling)

(fans shouting indistinctly)

(crowd cheering)

♪ Whoa-oh, whoa... ♪

♪ Oh, oh... ♪

All right!

♪ Whoa-oh ♪

♪ Ah-oh, oh! ♪

♪ Whoa-oh, whoa-oh, whoa-oh ♪

♪ Whoa-oh, oh, whoa ♪

♪ Oh, oh... oh, oh... ♪

♪ Whoa-oh, oh-oh ♪

♪ Whoa-oh, whoa-oh-oh, oh, oh ♪

♪ Whoa-oh-oh ♪

♪ Whoa-oh, oh, oh ♪

(crowd cheering)

♪ Whoa-oh, oh... ♪

♪ Whoa-oh, whoa-oh ♪

♪ Whoa-oh... ♪

(audience cheering)

(Hetfield grunts)

♪ If I could have
my wasted days back ♪

♪ Would I use them
to get back on track? ♪

♪ Stop to warm
at Karma's burning ♪

MAN:
Stand back, stand back.

Keep away from the cameras.

L-I love you.
I love you, too.

(all clamoring)

♪ Can I find it inside to deal
with what I shouldn't know? ♪

♪ Can I have
my wasted days back? ♪

♪ Will I use them
to get back on track? ♪

♪ You live it or lie it ♪

♪ You live it
or lie it ♪

♪ You live it or lie it,
you live it or lie it ♪

♪ My lifestyle... ♪

(chuckles)
Whoa!

♪ Determines my death style ♪

♪ Keep searching ♪

♪ Keep
on searching ♪

♪ The search goes on,
on and on ♪

WOMAN: Aw!
MEN: Chug, chug!

♪ Keep searching ♪

♪ Keep
on searching ♪

♪ The search goes on ♪

♪ On and on... Frantic ♪

♪ Tick, tick, tick tock
frantic ♪

♪ Tick, tick, tick, tick,
tick, tick tock ♪

♪ Frantic, tick,
tick, tick, tick, tick ♪

♪ Tock, frantic, tick, tick ♪

♪ Tick, tick, tick tock! ♪

(cheering)

Go!

HETFIELD:
Thank you so much

for supporting Metallica

through all the rough times
and all the great times.

Metallica loves you!

(cheering)

Yeah!

(screaming)

Yeah!

Fuck, yeah!

(audience cheering)

AUDIENCE (chanting):
Metallica! Metallica! Metallica!

♪ These are the eyes
that can't see me ♪

♪ These are the hands
that dropped your trust ♪

♪ These are the boots
that kicked you round ♪

♪ This is the tongue
that speaks on the inside ♪

♪ These are the ears
that ring with hate ♪

♪ This is the face
that I'll never change ♪

♪ This is the fist
that grinds you down ♪

♪ This is the voice
of silence no more ♪

♪ These are the legs
in circles run ♪

♪ This is the beating
you'll never know ♪

♪ These are the lips
that taste no freedom ♪

♪ This is the feel
that's not so safe ♪

♪ This is the face
you'll never change ♪

♪ This is the god
that ain't so pure ♪

♪ This is
the god that is not pure ♪

♪ This is the voice
of silence no more ♪

♪ Some kind of monster ♪

♪ Some kind
of monster ♪

♪ Some kind of monster ♪

♪ This monster lives ♪

♪ This is the face
that stones you cold ♪

♪ This is the moment
that needs to breathe ♪

♪ These are the claws
that scratch these wounds ♪

♪ This is the pain
that never leaves ♪

♪ This is the tongue
that whips you down ♪

♪ This is the burden
of every man ♪

♪ These are the screams
that pierce your skin ♪

♪ This is the voice
of silence no more ♪

♪ Yeah, yeah, yeah ♪

♪ Yeah, yeah,
yeah, yeah ♪

♪ Yeah ♪

♪ This is the test
of flesh and soul ♪

♪ This is the trap
that smells so good ♪

♪ This is the flood
that drains these eyes ♪

♪ These are the looks
that chill to the bone ♪

♪ These are the fears
that swing overhead ♪

♪ These are the weights
that hold you down ♪

♪ This is the end
that will never end ♪

♪ This is the voice
of silence no more! ♪

(growls)

♪ Some kind of monster ♪

♪ Some kind
of monster ♪

♪ Some kind of monster ♪

♪ This monster lives ♪

♪ Are we the people? ♪

♪ Some kind of monster ♪

♪ Some kind
of monster ♪

♪ Some kind of monster ♪

♪ This monster lives! ♪