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[sparse electronic music]
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[narrator] This is a film
about the past,
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00:00:20,625 --> 00:00:23,500
the present and the future.
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00:00:30,542 --> 00:00:33,875
It's the story
of a unique collaboration...
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00:00:37,040 --> 00:00:39,457
between 12 young musicians,
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00:00:42,542 --> 00:00:45,207
a renowned conceptual artist
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00:00:47,750 --> 00:00:51,792
and one of the world's
most truly iconic bands.
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00:00:56,082 --> 00:00:57,457
New Order have always
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00:00:57,542 --> 00:01:01,332
aggressively pursued
the future.
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00:01:01,417 --> 00:01:04,375
[Morris]
It's quite radically different.
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It's never been done before
to my knowledge.
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What this project is,
it's not about nostalgia.
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We're trying to work
on what can be done now.
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00:01:18,000 --> 00:01:20,542
We're trying not
to look backwards.
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[narrator] But for this project
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00:01:21,834 --> 00:01:23,625
New Order
and their collaborators
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00:01:23,709 --> 00:01:27,875
had to reflect on and
deconstruct the band's history
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to create something very new.
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[Sumner] We knew
it was gonna be difficult,
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00:01:34,667 --> 00:01:36,959
but it took us all by surprise.
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[Chapman] Rehearsing, finding
the technology to make it work,
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finding the players
to do the shows.
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[Gillick] It's kind of a concert
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but it's kind of not a concert
at the same time
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and that's, for me,
what's interesting.
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[Saville] What this project
kind of encapsulates
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00:01:58,667 --> 00:02:01,750
is an extraordinarily grand
and long story.
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00:02:01,834 --> 00:02:05,582
The convergence completes
to some extent,
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00:02:05,667 --> 00:02:10,250
a cycle and takes in
an awful lot along the way.
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00:02:10,332 --> 00:02:12,250
[Morris]
It's not entirely been fun.
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A lot of it has been
quite traumatic.
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But most of us are still here.
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00:02:19,667 --> 00:02:22,667
I think it's 'cause
we've worked it out together
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00:02:22,750 --> 00:02:24,750
as a group of people.
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00:02:38,000 --> 00:02:40,000
[narrator] This story
is a celebration
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00:02:40,082 --> 00:02:42,834
of one of the most original
bands in history
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and a rare chance to enter
their private world,
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00:02:47,207 --> 00:02:48,667
their artistic processes
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00:02:48,750 --> 00:02:51,582
and share in the creation
of a collaboration
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00:02:51,667 --> 00:02:54,750
unknowingly decades
in the making.
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00:03:18,332 --> 00:03:21,792
[applause]
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[Sumner] I don't think anyone
can accuse us
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of dwelling in the past.
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We're not that kind of band.
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00:03:34,250 --> 00:03:37,582
The making of this
collaboration,
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00:03:37,667 --> 00:03:40,000
it was a process
of reinvention...
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00:03:41,417 --> 00:03:45,667
that brought us back here
some four decades later
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to what is a notable place
in our history.
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We're at the old Granada TV
building in Central Manchester
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00:03:56,582 --> 00:04:00,959
and this is where we had our
first television performance.
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00:04:01,040 --> 00:04:05,792
On the wall, it says here
"20th September, 1978,
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00:04:05,875 --> 00:04:08,290
Joy Division TV debut,
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00:04:08,375 --> 00:04:11,332
'Love will tear us apart'."
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00:04:11,417 --> 00:04:14,834
But that's wrong,
isn't it, Steve?
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00:04:14,917 --> 00:04:16,875
Strictly speaking
it is incorrect, yes.
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00:04:16,959 --> 00:04:20,000
-Factually incorrect.
-[Sumner] Only slightly wrong.
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00:04:20,082 --> 00:04:23,040
There's two facts there.
It's by implication.
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00:04:23,125 --> 00:04:26,834
The first fact is correct,
20th September, 1978,
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Joy Division TV, you can
put a tick there, correct.
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Second fact,
Love Will Tear Us Apart.
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We'd not even written it
by then, had we?
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No. No.
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It was Shadowplay.
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♪ In the shadowplay
acting out your own death ♪
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♪ Knowing no more ♪
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♪ As the assassins all grouped
in four lines ♪
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♪ Dancing on the floor ♪
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[Sumner] It was less than
two years after that TV debut
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that Ian Curtis, our singer,
took his own life.
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It was extremely tragic,
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00:05:11,791 --> 00:05:14,458
but also a really strange
period for us.
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00:05:14,541 --> 00:05:17,959
Our second Joy Division album
Closer
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00:05:18,040 --> 00:05:20,457
and our single
Love Will Tear Us Apart
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00:05:20,542 --> 00:05:22,250
were climbing up the charts.
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00:05:22,332 --> 00:05:27,332
But the rest of us were trying
to work out what to do next.
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00:05:27,417 --> 00:05:28,500
This is where we got the title
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for Love Will Tear Us Apart
from!
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00:05:30,625 --> 00:05:31,582
Yeah, we looked at it
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and thought that would be
a good title for a song.
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Yeah.
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00:05:35,207 --> 00:05:37,625
When Joy Division
were on television,
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I was away on a geography trip
so I didn't see it at all.
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So I was really annoyed.
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Tell us about
your geography trip.
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Well, it was in Liverpool.
[laughs]
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[producer] Do you remember
it well, Tom?
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00:05:49,875 --> 00:05:53,959
Six years old, not really, no.
No, living in France, no.
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I was four at the time.
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I was ten. Steve was nine.
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[laughter]
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00:06:02,875 --> 00:06:06,125
[Sumner] That Joy Division TV
debut was the fateful outcome
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00:06:06,208 --> 00:06:08,500
of our first meeting
with Tony Wilson,
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00:06:08,583 --> 00:06:10,375
the Granada TV presenter.
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00:06:10,458 --> 00:06:13,000
But more importantly,
he was a passionate advocate
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00:06:13,083 --> 00:06:18,125
of new music and the kind of
youth scene in Manchester.
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00:06:18,207 --> 00:06:19,834
Seeing as how this is
the program
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00:06:19,917 --> 00:06:22,917
which previously brought you
the first television appearances
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00:06:23,000 --> 00:06:25,250
from everything from The Beatles
to The Buzzcocks,
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00:06:25,332 --> 00:06:27,959
we do like to keep our hand in
and keep you informed
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00:06:28,040 --> 00:06:30,582
of the most interesting
new sounds in the North West.
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00:06:30,667 --> 00:06:35,165
We'd done a gig at Rafters,
I think, in Manchester.
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It was like a Battle of
the Bands competition
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and Ian had had a few drinks.
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And he went up to Tony and said,
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00:06:44,500 --> 00:06:47,332
"Wilson, you..."
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00:06:47,417 --> 00:06:51,457
"How come you never play our
records or put us on TV?"
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00:06:51,542 --> 00:06:56,000
Gave him a bit of verbal,
you know, which Tony loved.
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00:06:56,082 --> 00:06:58,000
And then we did the gig
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and apparently it was
a very memorable gig.
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And in fact, Tony liked
that concert so much
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he formed the record company
Factory Records.
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The rest is history.
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It really is history, yeah.
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[Savage] Factory Records was
Joy Division's record label
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and it was a record label
unlike any other.
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It was more of an idea
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than a professional record label
in the early days.
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00:07:30,625 --> 00:07:32,417
Tony Wilson was the impresario.
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00:07:32,500 --> 00:07:36,375
[Saville] Everybody who was
involved were kind of drawn in
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00:07:36,457 --> 00:07:37,542
to this solar system,
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00:07:37,625 --> 00:07:41,582
at the heart of which was Tony,
being...
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00:07:43,082 --> 00:07:44,667
energetic
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00:07:44,750 --> 00:07:46,582
and magnetic as a personality.
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00:07:46,667 --> 00:07:50,165
[Savage] I was fairly major,
I thought, in the music press.
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00:07:50,250 --> 00:07:51,917
I could get big features,
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00:07:52,000 --> 00:07:56,417
so he helped me to get a job
with Granada Television.
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00:07:56,500 --> 00:07:58,709
The kickback was that I would
write about his groups.
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00:07:58,792 --> 00:08:01,750
In some ways,
even at that stage,
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00:08:01,834 --> 00:08:04,416
be a sort of curator
of what was going on.
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00:08:04,500 --> 00:08:07,875
It's part of being
one of these people
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00:08:07,959 --> 00:08:09,916
who are orbiting around Tony.
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00:08:10,000 --> 00:08:11,750
[Sumner] Years later,
we got asked to do
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00:08:11,834 --> 00:08:13,500
the Manchester International
Festival.
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00:08:13,583 --> 00:08:16,750
It seems really fitting
to play here
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00:08:16,834 --> 00:08:20,250
and Granada TV reminds us
of Tony,
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00:08:20,332 --> 00:08:24,834
and it was a kind of, you know,
homage to Tony, really.
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00:08:26,917 --> 00:08:29,290
[Sumner] The choice of venue
for the MIF project
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00:08:29,375 --> 00:08:33,332
might have been an unusual nod
to the past for us,
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00:08:33,417 --> 00:08:36,457
but the concept
was something really new.
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00:08:36,542 --> 00:08:41,457
Part concert, part artwork,
the performance involved us,
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00:08:41,542 --> 00:08:44,875
a visual artist,
an army of technicians
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00:08:44,959 --> 00:08:47,875
and more than a dozen
young musicians.
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The studio where we did it
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00:08:49,375 --> 00:08:53,542
looked a bit more like this,
didn't it, really? Did it?
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00:08:53,625 --> 00:08:54,709
[Saville] Without a doubt,
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00:08:54,792 --> 00:08:57,582
New Order are at the point
in their career
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00:08:57,667 --> 00:08:58,917
where they are afforded
the luxury
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00:08:59,000 --> 00:09:01,833
of going through the motions,
but not with this.
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00:09:01,917 --> 00:09:05,375
This draws them into
the universe
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00:09:05,457 --> 00:09:07,833
of the Manchester
International Festival,
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00:09:07,917 --> 00:09:10,000
which has a criteria,
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00:09:10,082 --> 00:09:13,166
to bring together
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00:09:13,250 --> 00:09:17,457
previously unimaginable
projects
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00:09:17,542 --> 00:09:19,500
and combinations of individuals
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00:09:19,582 --> 00:09:21,542
who had not worked together
before.
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00:09:22,625 --> 00:09:25,166
[Sumner] Manchester
International Festival
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00:09:25,250 --> 00:09:27,082
is a bi-annual event
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00:09:27,166 --> 00:09:29,457
at which they have various kinds
of artists
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from all over the world,
hence the "international".
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00:09:32,959 --> 00:09:36,332
[McGrath]
MIF is first and foremost
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00:09:36,417 --> 00:09:38,332
a festival of entirely new work
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00:09:38,417 --> 00:09:43,125
which is pretty much unknown in
the world of big city festivals.
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00:09:43,207 --> 00:09:46,457
MIF is probably at its best
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00:09:46,542 --> 00:09:48,875
when it's supporting artists
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to do something that they
haven't done before,
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00:09:51,125 --> 00:09:53,417
that might be a new kind
of collaboration,
167
00:09:53,500 --> 00:09:56,332
it might be working
in a different art form,
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00:09:56,417 --> 00:09:59,542
it might be just pushing
the boundaries of what they do.
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00:09:59,625 --> 00:10:01,500
That's the whole point
of the festival:
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00:10:01,582 --> 00:10:02,708
to do something different
171
00:10:02,792 --> 00:10:05,125
and not do a gig which we could
have easily have done
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00:10:05,207 --> 00:10:07,082
and it would have been
a lot easier.
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00:10:10,625 --> 00:10:12,125
[Haslam] The first part
of the process
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00:10:12,207 --> 00:10:15,291
was really just emptying
everyone's minds
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00:10:15,375 --> 00:10:18,457
of what had previously been done
176
00:10:18,542 --> 00:10:21,082
and how these things should work
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00:10:21,166 --> 00:10:25,875
and filling that vacuum
with just a lot of ideas.
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00:10:25,958 --> 00:10:29,542
New Order then came up
with more or less this idea,
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00:10:29,625 --> 00:10:32,290
that they would like to do
a synthesizer orchestra.
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00:10:32,375 --> 00:10:34,332
It was quite a complicated thing
to pull off.
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00:10:34,417 --> 00:10:35,875
Yes, quite complicated.
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00:10:35,959 --> 00:10:38,959
Synth orchestra, what's that?
How's that gonna work?
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00:10:39,040 --> 00:10:42,207
Steve enjoys a technical
challenge anyway.
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00:10:42,290 --> 00:10:43,332
He had a great time doing it.
185
00:10:43,417 --> 00:10:44,917
I had a great time doing it,
yeah.
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00:10:45,000 --> 00:10:47,542
It means you can spend even more
hours in your studio at home.
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00:10:47,625 --> 00:10:52,834
I really, really, really
enjoyed it. Enormously.
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00:10:52,917 --> 00:10:55,417
Well, you like being in
your studio.
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00:10:55,500 --> 00:10:58,290
Yeah. I like being in bed
as well.
190
00:10:58,375 --> 00:10:59,875
[laughter]
191
00:10:59,959 --> 00:11:03,542
Bernard had a rough idea
with the grids, the boxes.
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00:11:03,625 --> 00:11:07,917
[McGrath] The idea at the root
of it very much from Bernard
193
00:11:08,000 --> 00:11:10,166
was the idea of the wall
of synthesizers.
194
00:11:10,250 --> 00:11:13,792
That was the very first thing
that came up with this project.
195
00:11:13,875 --> 00:11:16,625
[Sumner] From a line drawing, it
seemed pretty straightforward,
196
00:11:16,708 --> 00:11:20,291
just build a set and put people
in the cells, you know.
197
00:11:21,332 --> 00:11:23,291
Stick a keyboard in each cell.
198
00:11:23,375 --> 00:11:27,250
But the devil's in the detail
and there was a lot of detail.
199
00:11:27,332 --> 00:11:33,040
[Cunningham] The five original
Manchester concerts in 2017
200
00:11:33,125 --> 00:11:35,082
were apparently a great success.
201
00:11:35,165 --> 00:11:37,290
So now, despite the complexity,
202
00:11:37,375 --> 00:11:39,582
we've decided
to do it all again.
203
00:11:39,667 --> 00:11:43,040
It's a bit nerve-racking. We're
not just leaving our home town,
204
00:11:43,125 --> 00:11:46,125
but we're also taking it
into spaces
205
00:11:46,207 --> 00:11:49,917
that are a lot less
accommodating than a TV studio.
206
00:11:50,000 --> 00:11:52,207
The whole thing is so ambitious
207
00:11:52,290 --> 00:11:56,165
and it doesn't fit
into anyone's category,
208
00:11:56,250 --> 00:12:00,667
so it's not like New Order's
agent could phone up
209
00:12:00,750 --> 00:12:04,457
one of the big rock promoters
in any major city in Europe
210
00:12:04,542 --> 00:12:07,082
and say, "Right, I've got
a New Order gig for you."
211
00:12:07,166 --> 00:12:09,667
But New Order
weren't gonna compromise
212
00:12:09,750 --> 00:12:11,582
so that kind of cut down
213
00:12:11,667 --> 00:12:14,000
the number of venues
and organizations
214
00:12:14,082 --> 00:12:15,958
that would take the project
on board,
215
00:12:16,041 --> 00:12:20,417
so it ends up
being Torino and Vienna.
216
00:12:20,500 --> 00:12:22,750
[Sumner] It's got a freshness
to it, you know,
217
00:12:22,833 --> 00:12:24,750
and it's quite radically
different
218
00:12:24,833 --> 00:12:26,291
from the normal set we do.
219
00:12:26,375 --> 00:12:28,166
So I'm glad we're doing it
again, yeah.
220
00:12:28,250 --> 00:12:30,625
That's the good thing
about the gigs coming up,
221
00:12:30,708 --> 00:12:34,040
that we have done it before
last year, you know.
222
00:12:34,125 --> 00:12:35,875
We've done a lot of the legwork
223
00:12:35,959 --> 00:12:39,332
so we can enjoy it a little bit
more I think this time.
224
00:12:40,542 --> 00:12:41,709
What could go wrong? I mean...
225
00:12:41,792 --> 00:12:44,582
[Morris] Do you want me
to start the list now?
226
00:12:44,667 --> 00:12:47,542
Actually, I don't wanna know
what could go wrong.
227
00:12:47,625 --> 00:12:50,457
I have to charge up
the batteries on the laptops,
228
00:12:50,542 --> 00:12:53,000
make sure they still work
and, you know,
229
00:12:53,082 --> 00:12:55,000
just get them back
from the various people
230
00:12:55,082 --> 00:12:56,667
who've been doing their homework
on them
231
00:12:56,750 --> 00:12:59,125
and get rid of all the porn
and...
232
00:12:59,207 --> 00:13:01,792
[laughter]
233
00:13:01,875 --> 00:13:03,417
...we should be good to go.
234
00:13:03,500 --> 00:13:07,166
It's the things that might
go wrong that make it exciting.
235
00:13:09,332 --> 00:13:11,708
[Cunningham] It's not only us
that have got a load of work
236
00:13:11,792 --> 00:13:12,667
to do for the new gigs...
237
00:13:12,750 --> 00:13:15,250
[McGrath]
Quite often we bring together
238
00:13:15,332 --> 00:13:18,417
people who've not
worked together before.
239
00:13:18,500 --> 00:13:20,000
In this case of course,
240
00:13:20,082 --> 00:13:22,250
bringing Liam Gillick
and the band together
241
00:13:22,332 --> 00:13:25,417
was in some ways
a classic MIF combination.
242
00:13:25,500 --> 00:13:30,082
The stack of synthesizer players
could just have been,
243
00:13:30,166 --> 00:13:33,959
you know, a backdrop
to a concert performance.
244
00:13:34,040 --> 00:13:37,125
What he did was take that idea
245
00:13:37,207 --> 00:13:41,125
and in a way discover
what it was about.
246
00:13:52,207 --> 00:13:53,125
[Gillick] What you've gotta do
is think about
247
00:13:53,207 --> 00:13:56,290
what New York represents.
248
00:13:56,375 --> 00:13:59,582
It's not the capital city,
but it's the productive place.
249
00:13:59,667 --> 00:14:03,125
It's the place of production
of ideas, of music,
250
00:14:03,207 --> 00:14:05,542
of contradictory cultures
251
00:14:05,625 --> 00:14:08,625
and there is something in common
there with Manchester
252
00:14:08,708 --> 00:14:12,166
and this is where I try
and have ideas.
253
00:14:13,375 --> 00:14:15,500
Bernard had lots of ideas
already.
254
00:14:15,582 --> 00:14:18,041
They already had a lot of ideas
structurally
255
00:14:18,125 --> 00:14:20,166
and I wanted to work with those,
256
00:14:20,250 --> 00:14:22,875
I wanted it to be
an actual collaboration.
257
00:14:22,958 --> 00:14:24,792
The focus would still be
that it was a concert,
258
00:14:24,875 --> 00:14:26,291
that it would still be
the music,
259
00:14:26,375 --> 00:14:27,750
that it would be them,
260
00:14:27,833 --> 00:14:32,375
but it would be them in a kind
of slightly skewed way.
261
00:14:33,709 --> 00:14:34,917
I was very keen on the fact
262
00:14:35,000 --> 00:14:36,500
that this would be experienced
as a concert
263
00:14:36,582 --> 00:14:39,792
and not a sort of weird art
event, "with music by..."
264
00:14:39,875 --> 00:14:42,417
It's really in a sense
closest to sculpture.
265
00:14:42,500 --> 00:14:49,332
So even if you're taking a room,
people, an ambience, lighting,
266
00:14:49,417 --> 00:14:50,834
that's still making something,
267
00:14:50,917 --> 00:14:52,542
it's like putting things
together.
268
00:14:52,625 --> 00:14:54,542
It's that feeling
of putting things together,
269
00:14:54,625 --> 00:14:57,834
taking them apart, putting them
together again, that's the key.
270
00:14:57,917 --> 00:15:01,041
[fans chant "New Order"]
271
00:15:11,291 --> 00:15:13,667
This is a song off our
last album, Music Complete.
272
00:15:13,750 --> 00:15:15,792
It's called Plastic.
273
00:16:49,165 --> 00:16:52,290
♪ Got a feeling ♪
274
00:16:53,040 --> 00:16:55,500
♪ In my head ♪
275
00:16:57,082 --> 00:16:59,750
♪ Feels like thunder ♪
276
00:17:00,750 --> 00:17:03,207
♪ Overhead ♪
277
00:17:03,792 --> 00:17:07,916
♪ Intoxicated ♪
278
00:17:08,040 --> 00:17:11,666
♪ I can't stop the flow ♪
279
00:17:11,750 --> 00:17:15,750
♪ This love is poison ♪
280
00:17:15,834 --> 00:17:19,250
♪ But it's like gold ♪
281
00:17:20,040 --> 00:17:22,458
♪ Give me direction ♪
282
00:17:24,040 --> 00:17:26,250
♪ Out of the cold ♪
283
00:17:27,500 --> 00:17:30,916
♪ Show me affection ♪
284
00:17:31,000 --> 00:17:33,458
♪ I'll sell you my soul ♪
285
00:17:35,416 --> 00:17:37,791
♪ It's official ♪
286
00:17:39,290 --> 00:17:41,666
♪ You're fantastic ♪
287
00:17:43,000 --> 00:17:45,500
♪ You're so special ♪
288
00:17:45,583 --> 00:17:46,666
♪ So special ♪
289
00:17:46,750 --> 00:17:51,040
-♪ So iconic ♪
-♪ So iconic ♪
290
00:17:51,125 --> 00:17:53,125
♪ You're the focus ♪
291
00:17:53,208 --> 00:17:54,750
♪ The focus ♪
292
00:17:54,834 --> 00:17:56,959
♪ Of attention ♪
293
00:17:57,040 --> 00:17:58,416
♪ Attention ♪
294
00:17:58,500 --> 00:18:00,541
♪ But you don't want it ♪
295
00:18:00,625 --> 00:18:02,458
♪ You don't want it ♪
296
00:18:02,541 --> 00:18:05,165
♪ 'Cause you're so honest ♪
297
00:18:19,959 --> 00:18:22,125
♪ If you break me ♪
298
00:18:23,625 --> 00:18:25,959
♪ Will you fix me? ♪
299
00:18:27,458 --> 00:18:30,040
♪ If I'm missing ♪
300
00:18:31,125 --> 00:18:33,709
♪ Will you miss me? ♪
301
00:18:35,000 --> 00:18:37,625
♪ And I'll regret it ♪
302
00:18:38,875 --> 00:18:41,666
♪ 'Til the day I die ♪
303
00:18:42,666 --> 00:18:45,541
♪ 'Cause I didn't mean it ♪
304
00:18:46,250 --> 00:18:48,916
♪ It was in my head ♪
305
00:18:51,000 --> 00:18:53,750
♪ Feels like thunder ♪
306
00:18:53,834 --> 00:18:56,458
♪ It's getting cold ♪
307
00:18:57,834 --> 00:19:00,834
♪ This love is poison ♪
308
00:19:01,666 --> 00:19:04,834
♪ But it's like gold ♪
309
00:19:21,416 --> 00:19:24,290
♪ It's official ♪
310
00:19:25,083 --> 00:19:27,583
♪ You're fantastic ♪
311
00:19:28,959 --> 00:19:31,083
♪ You're so special ♪
312
00:19:31,165 --> 00:19:32,875
♪ So special ♪
313
00:19:32,959 --> 00:19:37,208
-♪ So iconic ♪
-♪ So iconic ♪
314
00:19:37,290 --> 00:19:39,333
♪ You're the focus ♪
315
00:19:39,416 --> 00:19:40,583
♪ The focus ♪
316
00:19:40,666 --> 00:19:42,959
♪ Of attention ♪
317
00:19:43,040 --> 00:19:44,290
♪ Attention ♪
318
00:19:44,375 --> 00:19:46,458
♪ But you don't want it ♪
319
00:19:46,541 --> 00:19:47,916
♪ You don't want it ♪
320
00:19:48,000 --> 00:19:50,165
♪ Because you're honest ♪
321
00:19:50,250 --> 00:19:53,083
♪ You don't want it ♪
322
00:20:57,791 --> 00:21:00,125
♪ It's official ♪
323
00:21:01,333 --> 00:21:03,834
♪ You're fantastic ♪
324
00:21:05,208 --> 00:21:07,040
♪ You're so special ♪
325
00:21:07,125 --> 00:21:08,666
♪ So special ♪
326
00:21:08,750 --> 00:21:13,040
-♪ So iconic ♪
-♪ So iconic ♪
327
00:21:13,125 --> 00:21:15,416
♪ You're the focus ♪
328
00:21:15,500 --> 00:21:16,959
♪ The focus ♪
329
00:21:17,040 --> 00:21:19,458
♪ Of attention ♪
330
00:21:19,541 --> 00:21:20,625
♪ Attention ♪
331
00:21:20,709 --> 00:21:22,375
♪ But you don't want it ♪
332
00:21:22,458 --> 00:21:24,583
♪ You don't want it ♪
333
00:21:24,666 --> 00:21:26,458
♪ 'Cause you're honest ♪
334
00:21:26,541 --> 00:21:29,000
♪ You don't want it ♪
335
00:22:06,165 --> 00:22:09,541
♪ One of these days ♪
336
00:22:09,625 --> 00:22:12,250
♪ One of these days ♪
337
00:22:12,333 --> 00:22:14,666
♪ Right when you want me,
baby ♪
338
00:22:14,750 --> 00:22:19,250
♪ I will be gone ♪
339
00:22:21,750 --> 00:22:24,666
♪ 'Cause you're like plastic ♪
340
00:22:24,750 --> 00:22:27,625
♪ You're artificial ♪
341
00:22:27,709 --> 00:22:30,416
♪ You don't mean nothing,
baby ♪
342
00:22:30,500 --> 00:22:35,875
♪ So superficial ♪
343
00:22:46,083 --> 00:22:48,709
[Sumner] The choice of songs
for this collaboration was,
344
00:22:48,791 --> 00:22:51,165
like everything else
in this project,
345
00:22:51,250 --> 00:22:53,375
very carefully considered.
346
00:22:54,375 --> 00:22:56,791
[indistinct chatter over music]
347
00:23:01,083 --> 00:23:02,709
[Sumner]
What we didn't anticipate
348
00:23:02,791 --> 00:23:06,583
was how long
choosing the songs would take.
349
00:23:06,666 --> 00:23:09,583
It did require a certain amount
of mental acrobatics
350
00:23:09,666 --> 00:23:12,208
to try and get you
in the head space
351
00:23:12,290 --> 00:23:13,750
where you could detach yourself
352
00:23:13,834 --> 00:23:16,333
from the normal two-hour set
that we played.
353
00:23:16,416 --> 00:23:18,709
It was weird. But it was good,
354
00:23:18,791 --> 00:23:20,583
'cause you forget about
a load of songs
355
00:23:20,666 --> 00:23:23,125
and it's nice
to bring them back.
356
00:23:23,208 --> 00:23:25,208
I think it took about
three days, didn't it?
357
00:23:25,290 --> 00:23:28,750
About three days of listening
to everything.
358
00:23:28,834 --> 00:23:31,040
I wouldn't say it was enjoyable.
359
00:23:31,125 --> 00:23:34,541
I wouldn't say it was arduous,
it was quite revealing
360
00:23:34,625 --> 00:23:36,791
'cause some of the songs
you'd hear and you go...
361
00:23:36,875 --> 00:23:38,125
[inhales sharply]
362
00:23:38,208 --> 00:23:40,333
You know, "what was I thinking?"
363
00:23:40,416 --> 00:23:43,208
[Chapman] We started
with the first, very first
364
00:23:43,290 --> 00:23:46,500
New Order album
in chronological order
365
00:23:46,583 --> 00:23:49,333
and all of us had sort of
favorites as well
366
00:23:49,416 --> 00:23:50,959
that we wanted to present.
367
00:23:51,040 --> 00:23:53,250
So we sort of made a list up.
368
00:23:53,333 --> 00:23:55,000
There was a lot of lists, yeah.
369
00:23:55,083 --> 00:23:57,375
[Morris] There was easy, hard
and difficult
370
00:23:57,458 --> 00:24:00,416
and we just went for
the most difficult.
371
00:24:01,959 --> 00:24:05,625
It's not a greatest hits show
and I like that about it.
372
00:24:05,709 --> 00:24:08,791
You can revisit some, you know,
corners of the catalogue
373
00:24:08,875 --> 00:24:09,875
and it's a big catalogue now.
374
00:24:09,959 --> 00:24:12,040
Picked the ones
we felt were good,
375
00:24:12,125 --> 00:24:15,625
but also the ones that
we thought would be suitable
376
00:24:15,709 --> 00:24:18,208
for the synthesizer orchestra.
377
00:24:18,290 --> 00:24:22,208
So they had to have a certain
amount of keyboards in them.
378
00:24:22,290 --> 00:24:24,583
Like True Faith being
like the biggest one.
379
00:24:24,666 --> 00:24:26,208
You just have to say,
"Well, right, OK,
380
00:24:26,290 --> 00:24:28,916
well, that's gonna be dramatic
if we don't do that
381
00:24:29,000 --> 00:24:31,541
and it's gonna be dramatic
if we don't do Blue Monday."
382
00:24:31,625 --> 00:24:34,834
"So that's it, OK,
we're not gonna do those."
383
00:24:43,541 --> 00:24:45,916
[Morris] It's a funny one,
Blue Monday,
384
00:24:46,000 --> 00:24:49,625
because it is essentially
what it is.
385
00:24:49,709 --> 00:24:53,541
It's not really a song
and if you try... it's not!
386
00:24:53,625 --> 00:24:58,000
And if you try and make it...
get too musical with it,
387
00:24:58,083 --> 00:25:00,040
it loses something somehow
388
00:25:00,125 --> 00:25:04,834
and then it just gets
a little bit, I dunno...
389
00:25:04,916 --> 00:25:06,208
Too posh for its own good.
390
00:25:06,290 --> 00:25:07,791
I'm sure that they could have
played it.
391
00:25:07,875 --> 00:25:11,959
They could have played it,
but it would have been very hard
392
00:25:12,040 --> 00:25:15,500
because there's not that much
in it,
393
00:25:15,583 --> 00:25:18,583
apart from they could have got
very elaborate
394
00:25:18,666 --> 00:25:20,583
on the string bits, I suppose.
395
00:25:29,666 --> 00:25:31,000
[Gillick]
I think what's good about it
396
00:25:31,083 --> 00:25:33,458
is that they did go for things
which were quite surprising.
397
00:25:33,541 --> 00:25:36,250
What this project is,
it's not about nostalgia,
398
00:25:36,333 --> 00:25:39,000
we're trying to work
at what can be done now.
399
00:25:39,083 --> 00:25:41,290
We're trying not
to look backwards, I think.
400
00:25:41,375 --> 00:25:45,165
I tended to pick some of
the older songs
401
00:25:45,250 --> 00:25:46,333
I wasn't involved with
402
00:25:46,416 --> 00:25:50,333
because you work so much
on the ones you are involved in.
403
00:25:50,416 --> 00:25:54,000
When I was a kid I had that
Unknown Pleasures album
404
00:25:54,083 --> 00:25:57,000
and I listened to it religiously
and, you know,
405
00:25:57,083 --> 00:26:00,666
if you'd have told me
that I'd be playing Disorder
406
00:26:00,750 --> 00:26:02,290
with a couple of members
of Joy Division,
407
00:26:02,375 --> 00:26:03,916
I wouldn't have believed you
back then.
408
00:26:04,000 --> 00:26:08,709
It's, you know... really good
to have that in the set.
409
00:26:08,791 --> 00:26:11,000
OK, let's give it a go.
410
00:26:15,750 --> 00:26:18,165
-OK.
-[Morris] OK.
411
00:26:50,916 --> 00:26:52,875
♪ I've been waiting
for a guide to come ♪
412
00:26:52,959 --> 00:26:55,208
♪ And take me by the hand ♪
413
00:26:56,541 --> 00:26:58,208
♪ Could these sensations
make me feel ♪
414
00:26:58,290 --> 00:27:00,834
♪ The pleasures
of a normal man? ♪
415
00:27:02,458 --> 00:27:06,791
♪ New sensations barely
interest me for another day ♪
416
00:27:08,165 --> 00:27:09,165
♪ I've got the spirit ♪
417
00:27:09,250 --> 00:27:12,416
♪ Lose the feeling,
take the shock away ♪
418
00:27:23,333 --> 00:27:26,165
[Cunningham] I think honestly
it came up purely as,
419
00:27:26,250 --> 00:27:27,416
"That's a really cool song;
420
00:27:27,500 --> 00:27:29,458
why has that one
been forgotten about?"
421
00:27:29,541 --> 00:27:31,208
"Let's get it in the set."
422
00:27:31,290 --> 00:27:35,916
It's been long enough now
hearing Bernard and the guys
423
00:27:36,000 --> 00:27:39,834
talk about it with regards
to Joy Division.
424
00:27:39,916 --> 00:27:42,583
They feel like they can
come back to those songs
425
00:27:42,666 --> 00:27:44,916
and play them
and do them justice.
426
00:27:45,000 --> 00:27:47,208
[gentle piano music]
427
00:27:54,916 --> 00:27:57,916
[producer] Are there moments
where Ian's suddenly in the room
428
00:27:58,000 --> 00:27:59,666
or with you?
429
00:27:59,750 --> 00:28:01,875
Yeah. Um...
430
00:28:01,959 --> 00:28:04,125
Well, certainly singing
that song
431
00:28:04,208 --> 00:28:05,541
and singing any of his lyrics,
432
00:28:05,625 --> 00:28:07,875
I always get an image
of him then,
433
00:28:07,959 --> 00:28:12,250
and obviously he's forever young
in that image.
434
00:28:12,333 --> 00:28:15,791
He's there and he's remembered
and is...
435
00:28:15,875 --> 00:28:18,375
Cherish the thought of him,
all of us I'm sure,
436
00:28:18,458 --> 00:28:20,416
everyone who was involved
with him.
437
00:28:20,500 --> 00:28:23,125
It was terrible what happened
with him,
438
00:28:23,208 --> 00:28:26,709
but he was such a determined,
explosive character,
439
00:28:26,791 --> 00:28:30,583
I don't think there's anything
that we could have done
440
00:28:30,666 --> 00:28:35,791
to change things apart from
locking him up 24 hours a day
441
00:28:35,875 --> 00:28:37,834
and...
442
00:28:37,916 --> 00:28:39,875
you know, stopping him
from doing that.
443
00:28:39,959 --> 00:28:45,000
You can never really deal
with suicide successfully,
444
00:28:45,083 --> 00:28:49,500
because you're inevitably always
going, "What if, what if?"
445
00:28:49,583 --> 00:28:53,208
I do question really how long
Ian Curtis
446
00:28:53,290 --> 00:28:56,375
would have stayed in music.
447
00:28:56,458 --> 00:28:59,959
I don't think that his health
was up to it, to be honest.
448
00:29:01,625 --> 00:29:04,834
And the three surviving members
of Joy Division
449
00:29:04,916 --> 00:29:09,666
made the decision to carry on
because that's who they were.
450
00:29:09,750 --> 00:29:11,666
Between Stephen, Bernard
and Peter Hook
451
00:29:11,750 --> 00:29:13,375
there was a chemistry.
452
00:29:13,458 --> 00:29:15,791
The chemistry that had
underpinned Joy Division.
453
00:29:15,875 --> 00:29:20,750
They did demo sessions and
finally they came to a result
454
00:29:20,834 --> 00:29:23,875
which was the four members
of New Order.
455
00:29:27,040 --> 00:29:29,541
[Morris] It was all
a bit awkward.
456
00:29:29,625 --> 00:29:30,875
-Because...
-When I joined?
457
00:29:30,959 --> 00:29:32,541
-Yeah.
-Yeah, it was very awkward.
458
00:29:32,625 --> 00:29:34,208
It was very awkward.
459
00:29:34,290 --> 00:29:37,375
[Morris] The fact that a lot of
Joy Division fans didn't like it
460
00:29:37,458 --> 00:29:39,375
was a great thing to me,
461
00:29:39,458 --> 00:29:43,125
when they kind of
got quite annoyed. [laughs]
462
00:29:43,208 --> 00:29:45,709
"What the bloody hell
are they doing?"
463
00:29:45,791 --> 00:29:46,875
"They bloody... They look like
464
00:29:46,959 --> 00:29:49,416
-they're enjoying themselves!"
-"Are they going mad?"
465
00:29:49,500 --> 00:29:51,375
-"The fools!"
-"Got a bloody woman in there!"
466
00:29:51,458 --> 00:29:53,125
"They've got a woman in!"
467
00:29:57,333 --> 00:29:59,250
[Gillick] When she started
playing with the band,
468
00:29:59,333 --> 00:30:03,416
I always watched her 'cause
I was curious about this role.
469
00:30:03,500 --> 00:30:05,834
Like where she stood
in relation to the others.
470
00:30:05,916 --> 00:30:07,916
[Sumner] I think just having
a female in the band
471
00:30:08,000 --> 00:30:12,458
adds a level of temperance
to our behavior.
472
00:30:12,541 --> 00:30:16,541
[clears throat] And, um...
473
00:30:16,625 --> 00:30:18,959
Yeah, we all behave
a lot better.
474
00:30:31,000 --> 00:30:35,083
[Cunningham] The reinvention
came after the first album,
475
00:30:35,165 --> 00:30:36,709
after Movement.
476
00:30:36,791 --> 00:30:41,375
Movement was kind of "son of
Joy Division" in a way to me,
477
00:30:41,458 --> 00:30:43,750
to my ears. I'm not very keen
on that album.
478
00:30:43,834 --> 00:30:46,375
[Chapman] I think they all
said to us that, on Movement,
479
00:30:46,458 --> 00:30:49,666
it was pretty much them trying
to work out it for themselves
480
00:30:49,750 --> 00:30:51,791
and going forward.
481
00:30:51,875 --> 00:30:53,458
Bernard
seemed to feel literally...
482
00:30:53,541 --> 00:30:54,333
I think so.
483
00:30:54,375 --> 00:30:56,458
He looked physically
uncomfortable
484
00:30:56,500 --> 00:30:57,791
listening to that album again
485
00:30:57,834 --> 00:31:00,083
and I don't think
he has listened to it
486
00:31:00,165 --> 00:31:01,333
since it was recorded,
487
00:31:01,375 --> 00:31:03,500
because I think he was just
finding his feet
488
00:31:03,541 --> 00:31:05,250
as a singer at the time.
489
00:31:05,333 --> 00:31:10,666
And Bernard gradually,
he starts to find the voice,
490
00:31:10,750 --> 00:31:12,791
a voice that hadn't really
existed before,
491
00:31:12,834 --> 00:31:16,750
which is romantic at times,
very dark at times.
492
00:31:16,834 --> 00:31:20,666
[Sumner] I never in my life
dreamed of being a singer.
493
00:31:20,750 --> 00:31:23,208
Never appealed to me.
494
00:31:23,290 --> 00:31:25,583
I didn't wanna be
the center of attention
495
00:31:25,666 --> 00:31:27,125
and I didn't wanna sing.
496
00:31:27,208 --> 00:31:28,959
There was no alternative.
497
00:31:29,040 --> 00:31:32,791
The alternative
was just to fail
498
00:31:32,875 --> 00:31:36,290
and fall into
a life of nothingness.
499
00:31:42,083 --> 00:31:44,250
But we needed
to break new ground
500
00:31:44,333 --> 00:31:47,916
and the way to do that
was with new technology.
501
00:31:48,000 --> 00:31:52,083
We couldn't really afford
to buy commercial equipment
502
00:31:52,165 --> 00:31:53,458
in the early days,
503
00:31:53,541 --> 00:31:55,625
which is strange
because we could afford
504
00:31:55,709 --> 00:31:58,083
to buy the Hacienda.
505
00:31:58,165 --> 00:32:00,416
And we couldn't afford
to buy these instruments
506
00:32:00,500 --> 00:32:04,541
so we used to beg, borrow
and steal whatever we could
507
00:32:04,625 --> 00:32:10,208
and whatever we couldn't,
I would build it.
508
00:32:10,290 --> 00:32:12,709
You've gotta remember,
you've gotta rewind the clock,
509
00:32:12,791 --> 00:32:15,375
in those days,
like a DMX drum machine
510
00:32:15,458 --> 00:32:18,000
or a 808 or 909 drum machine
511
00:32:18,083 --> 00:32:19,541
or a new sequencer,
new synthesizer
512
00:32:19,625 --> 00:32:22,500
was really pretty
ground-breaking technology.
513
00:32:22,583 --> 00:32:24,208
It's not like it is now.
514
00:32:24,290 --> 00:32:26,916
We took the technology
as far as you could take it
515
00:32:27,000 --> 00:32:29,834
in the first day of ownership.
516
00:32:29,916 --> 00:32:31,625
At first,
Steve was a bit resistant
517
00:32:31,709 --> 00:32:34,666
to both synthesizers
and drum machines,
518
00:32:34,750 --> 00:32:38,959
but when he realized it wasn't
gonna put him out of a job,
519
00:32:39,040 --> 00:32:43,541
he embraced it
and became extremely proficient
520
00:32:43,625 --> 00:32:46,333
at using both of those things.
521
00:32:46,416 --> 00:32:48,458
There really was no need
to worry
522
00:32:48,541 --> 00:32:52,916
because of everybody
that's ever been in New Order,
523
00:32:53,000 --> 00:32:56,458
there's only me who's boring
enough to read the manual.
524
00:32:56,541 --> 00:32:58,083
[laughs]
525
00:32:59,625 --> 00:33:04,666
I could never, ever have written
music for an orchestra,
526
00:33:04,750 --> 00:33:07,250
but I could program a computer
527
00:33:07,333 --> 00:33:10,083
with a bunch of synthesizers
on the end
528
00:33:10,165 --> 00:33:12,875
and achieve something
really similar.
529
00:33:12,959 --> 00:33:14,625
And I listen to all sorts
of music
530
00:33:14,709 --> 00:33:17,416
because I believe that
in every genre of music,
531
00:33:17,500 --> 00:33:19,125
there's something good.
532
00:33:19,208 --> 00:33:21,583
So I had this idea for this kind
of, I don't know,
533
00:33:21,666 --> 00:33:24,333
is it baroque,
the harpsichord bit?
534
00:33:24,416 --> 00:33:27,000
I programmed that
up in a spare bedroom, you know.
535
00:33:27,083 --> 00:33:31,709
Just that bit.
[hums intro to Subculture]
536
00:35:02,333 --> 00:35:04,500
♪ One of these days ♪
537
00:35:10,166 --> 00:35:13,791
♪ One of these days ♪
538
00:35:15,458 --> 00:35:20,666
♪ I like walking in the park ♪
539
00:35:20,750 --> 00:35:24,875
♪ When it gets late at night ♪
540
00:35:24,916 --> 00:35:27,541
♪ I move 'round in the dark ♪
541
00:35:27,625 --> 00:35:28,500
♪ The dark ♪
542
00:35:28,583 --> 00:35:32,041
♪ And leave
when it gets light ♪
543
00:35:33,041 --> 00:35:36,708
♪ I sit around by day ♪
544
00:35:36,791 --> 00:35:39,916
♪ Tied up in chains so tight ♪
545
00:35:40,000 --> 00:35:40,833
♪ Tight ♪
546
00:35:40,916 --> 00:35:44,708
♪ These crazy words of mine ♪
547
00:35:44,791 --> 00:35:47,083
♪ So wrong they could be ♪
548
00:35:47,166 --> 00:35:50,708
♪ What do I get out of this? ♪
549
00:35:50,791 --> 00:35:55,291
♪ I always try, I always miss ♪
550
00:35:55,375 --> 00:35:59,208
♪ One of these days
you'll go back to your home ♪
551
00:35:59,291 --> 00:36:03,083
♪ You won't even notice
that you are alone ♪
552
00:36:03,166 --> 00:36:07,125
♪ One of these days
when you sit by yourself ♪
553
00:36:07,208 --> 00:36:11,500
♪ You'll realize you can't
shaft without someone else ♪
554
00:36:11,583 --> 00:36:14,541
♪ In the end you will submit ♪
555
00:36:14,625 --> 00:36:19,125
♪ It's got to hurt
a little bit ♪
556
00:36:22,458 --> 00:36:25,000
♪ One of these days ♪
557
00:36:30,208 --> 00:36:33,416
♪ One of these days ♪
558
00:36:35,458 --> 00:36:40,791
♪ I like talking in my sleep ♪
559
00:36:40,875 --> 00:36:44,625
♪ When people work so hard ♪
560
00:36:44,708 --> 00:36:48,875
♪ They need
what they can keep ♪
561
00:36:48,958 --> 00:36:53,250
♪ A choice
that leaves them scarred ♪
562
00:36:53,333 --> 00:36:56,833
♪ A room without a view ♪
563
00:36:56,916 --> 00:37:00,833
♪ Unveils the truth so soon ♪
564
00:37:00,916 --> 00:37:04,875
♪ And when the sun goes down ♪
565
00:37:04,958 --> 00:37:07,250
♪ You've lost what you have ♪
566
00:37:07,333 --> 00:37:10,833
♪ What do I get out of this? ♪
567
00:37:10,916 --> 00:37:15,250
♪ I always try, I always miss ♪
568
00:37:15,333 --> 00:37:19,000
♪ One of these days
you'll go back to your home ♪
569
00:37:19,083 --> 00:37:23,500
♪ You won't even notice
that you are alone ♪
570
00:37:23,583 --> 00:37:26,666
♪ One of these days
when you sit by yourself ♪
571
00:37:26,750 --> 00:37:31,500
♪ You'll realize you can't
shaft without someone else ♪
572
00:37:31,583 --> 00:37:34,291
♪ In the end you will submit ♪
573
00:37:34,375 --> 00:37:39,458
♪ It's got to hurt
a little bit ♪
574
00:38:30,500 --> 00:38:33,291
♪ One of these days ♪
575
00:38:46,583 --> 00:38:49,250
♪ One of these days ♪
576
00:38:54,625 --> 00:38:58,083
♪ One of these days ♪
577
00:38:59,708 --> 00:39:02,500
♪ What do I get out of this? ♪
578
00:39:02,583 --> 00:39:07,666
♪ I always try, I always miss ♪
579
00:39:07,750 --> 00:39:08,833
♪ One of these days ♪
580
00:39:08,916 --> 00:39:10,833
♪ You'll go back to your home ♪
581
00:39:10,916 --> 00:39:15,375
♪ You won't even notice
that you are alone ♪
582
00:39:15,458 --> 00:39:18,916
♪ One of these days
when you sit by yourself ♪
583
00:39:19,000 --> 00:39:23,791
♪ You'll realize you can't
shaft without someone else ♪
584
00:39:23,875 --> 00:39:26,333
♪ In the end you will submit ♪
585
00:39:26,416 --> 00:39:31,541
♪ It's got to hurt
a little bit ♪
586
00:39:31,625 --> 00:39:33,500
[all play Subculture]
587
00:39:50,333 --> 00:39:53,583
[Sumner] Manchester isn't just
our home, it's also home
588
00:39:53,666 --> 00:39:56,500
to one of Europe's
leading conservatoires.
589
00:39:56,583 --> 00:39:59,666
The Royal Northern College
of Music was the perfect place
590
00:39:59,750 --> 00:40:03,666
to recruit more than a dozen
keyboard players and vocalists
591
00:40:03,750 --> 00:40:06,708
to form
the synthesizer orchestra.
592
00:40:06,791 --> 00:40:09,916
I made another sound
to add to your original sound.
593
00:40:10,000 --> 00:40:10,916
Right.
594
00:40:11,000 --> 00:40:12,541
To just make it
a bit more synthy.
595
00:40:12,625 --> 00:40:14,416
Who's the four that play it?
596
00:40:15,375 --> 00:40:17,083
Put your hands up, students!
597
00:40:17,166 --> 00:40:18,333
[laughter]
598
00:40:18,416 --> 00:40:20,875
[McGrath] Digging into those
tracks, deconstructing them,
599
00:40:20,958 --> 00:40:22,208
reconstructing them,
600
00:40:22,291 --> 00:40:24,458
re-imagining them
with the synth orchestra
601
00:40:24,541 --> 00:40:29,166
has been a really
in-depth piece of work.
602
00:40:29,250 --> 00:40:31,916
[Saville] The project that
they've embarked upon is brave.
603
00:40:32,000 --> 00:40:35,083
It's brave for Liam and it's
actually brave for New Order.
604
00:40:35,166 --> 00:40:36,458
But of course it's good in that
605
00:40:36,541 --> 00:40:41,041
it's put the group back
into an uncomfortable space.
606
00:40:41,125 --> 00:40:42,875
[synths play]
607
00:40:42,958 --> 00:40:45,208
The early years,
the formative period
608
00:40:45,291 --> 00:40:47,333
was an uncomfortable space.
609
00:40:47,416 --> 00:40:50,708
[Sumner] It's not been done
before, so it was an experiment.
610
00:40:50,791 --> 00:40:52,958
We've never done anything
like it before,
611
00:40:53,041 --> 00:40:55,291
so there's a lot of technical
challenge here,
612
00:40:55,375 --> 00:40:56,583
it's a lot of sounds to make,
613
00:40:56,666 --> 00:40:58,875
a lot of scoring to do.
614
00:40:58,958 --> 00:41:00,166
We knew it was
gonna be difficult,
615
00:41:00,250 --> 00:41:02,375
but it took us all
by surprise.
616
00:41:02,458 --> 00:41:04,416
I think New Order
being New Order
617
00:41:04,500 --> 00:41:07,500
always enjoy a challenge
with technology
618
00:41:07,583 --> 00:41:08,791
and what would be involved
619
00:41:08,875 --> 00:41:11,333
in working
with 12 keyboard players.
620
00:41:11,416 --> 00:41:13,375
[Sumner]
Steve finds it interesting,
621
00:41:13,458 --> 00:41:16,208
the technological side of it,
which is unusual for a drummer.
622
00:41:16,291 --> 00:41:18,708
And a lot of the stuff
for these gigs
623
00:41:18,791 --> 00:41:21,916
he put together
the technical aspect of it.
624
00:41:22,000 --> 00:41:24,250
I think he took on a bit more
than he could chew.
625
00:41:24,333 --> 00:41:26,083
[Cunningham]
I think at one point
626
00:41:26,166 --> 00:41:29,083
Steven was having
about three hours sleep a night.
627
00:41:29,166 --> 00:41:32,041
I was worried for him?
No, he's horrible.
628
00:41:32,125 --> 00:41:35,916
Yeah, you always hurt
the one you love.
629
00:41:36,000 --> 00:41:38,250
He's impossible to live with.
630
00:41:38,333 --> 00:41:41,250
[Duddell] My role with New Order
was to kind of collate
631
00:41:41,333 --> 00:41:46,041
all the MIDI information that's
usually played by computers
632
00:41:46,125 --> 00:41:50,916
and then rearrange that
for 12 synthesizer players.
633
00:41:51,000 --> 00:41:54,333
There's a lot of information
running around.
634
00:41:54,416 --> 00:41:55,958
A hell of a lot of cables.
635
00:41:56,041 --> 00:41:58,583
There's also the music
they have to read
636
00:41:58,666 --> 00:42:01,250
and they also have another
screen which I'm on.
637
00:42:01,333 --> 00:42:03,000
[Cunningham]
Playing this kind of music
638
00:42:03,083 --> 00:42:04,750
you've gotta have a feel
as well.
639
00:42:04,833 --> 00:42:09,208
It's not just about, you know,
being a shit-hot musician.
640
00:42:09,291 --> 00:42:11,625
You've gotta get it.
641
00:42:11,708 --> 00:42:14,083
[Morris] It was great that they
could play stuff that fast,
642
00:42:14,166 --> 00:42:15,875
'cause it hadn't been written
that way.
643
00:42:15,958 --> 00:42:20,125
They'd all been essentially
programmed on a sequencer.
644
00:42:20,208 --> 00:42:22,583
Nobody actually went...
[mimics fast playing]
645
00:42:22,666 --> 00:42:25,833
It was [slowly] ding, ding,
ding, then you speed it up.
646
00:42:25,916 --> 00:42:27,166
[Duddell] Two, three, four.
647
00:42:27,250 --> 00:42:31,000
-[plays intro]
-OK.
648
00:42:31,083 --> 00:42:33,500
I was surprised
that Joe could write down
649
00:42:33,583 --> 00:42:35,333
the way that they should
play them.
650
00:42:35,416 --> 00:42:37,833
[Sumner] If we did it
all on a computer,
651
00:42:37,916 --> 00:42:39,666
there would be less layers.
652
00:42:39,750 --> 00:42:46,500
So the idea with what we're
doing is to split this music off
653
00:42:46,583 --> 00:42:52,291
into more layers
and more sub-components.
654
00:42:52,375 --> 00:42:55,416
But you also get the different
little variance in timing
655
00:42:55,500 --> 00:42:57,875
that gives you
a different quality to it.
656
00:42:57,958 --> 00:42:59,958
[Duddell] So some people,
for instance,
657
00:43:00,041 --> 00:43:01,583
were actual bass players
658
00:43:01,666 --> 00:43:03,875
so they just naturally
found themselves
659
00:43:03,958 --> 00:43:07,125
in the bass department of the
synth orchestra if you like.
660
00:43:07,208 --> 00:43:09,666
Where some of the more classical
players were more suited
661
00:43:09,750 --> 00:43:11,958
to the more flowing
sort of lyrical lines.
662
00:43:12,041 --> 00:43:13,208
We found, you know,
663
00:43:13,291 --> 00:43:15,416
the right sort of place
for everyone, I think.
664
00:43:15,500 --> 00:43:17,416
It was a bit easier for me
665
00:43:17,500 --> 00:43:21,500
'cause, you know, the students
were taking up a few parts,
666
00:43:21,583 --> 00:43:23,541
which I didn't mind.
667
00:43:25,541 --> 00:43:28,500
What this project
kind of encapsulates
668
00:43:28,583 --> 00:43:32,166
is an extraordinarily grand
and long story.
669
00:43:32,250 --> 00:43:37,333
The convergence completes
to some extent a cycle
670
00:43:37,416 --> 00:43:40,375
and takes in an awful lot
along the way.
671
00:43:40,458 --> 00:43:44,208
So the whole journey has just
been a bit surreal so far,
672
00:43:44,291 --> 00:43:45,375
being able to do this.
673
00:43:45,458 --> 00:43:48,375
When the email came round
telling us to apply to this,
674
00:43:48,458 --> 00:43:50,625
we didn't know if it was
gonna be with New Order.
675
00:43:50,708 --> 00:43:54,083
We were just told
it was a high-profile band.
676
00:43:54,166 --> 00:43:56,916
Yeah, it's been extraordinary.
[laughs]
677
00:43:57,000 --> 00:43:59,250
So we just walked in here
and I saw Stephen Morris,
678
00:43:59,333 --> 00:44:01,750
who's one of
my favorite drummers ever,
679
00:44:01,833 --> 00:44:04,958
just sitting here and that was
ridiculous enough in itself.
680
00:44:05,041 --> 00:44:07,750
I dunno, do you find yourself
doing a bit of an act?
681
00:44:07,833 --> 00:44:09,125
[laughs]
682
00:44:09,208 --> 00:44:15,708
You know, you don't like to
disappoint 'em by being too...
683
00:44:18,000 --> 00:44:19,291
[producer] Normal?
684
00:44:19,375 --> 00:44:21,500
Yeah, well, you are. Yeah.
685
00:44:26,250 --> 00:44:27,958
[Haslam] Out of all the bands
I think
686
00:44:28,041 --> 00:44:31,625
who were part of that Manchester
legacy and that history,
687
00:44:31,708 --> 00:44:34,500
I think that a lot of them
688
00:44:34,583 --> 00:44:38,291
reflected Manchester
in the music, you know,
689
00:44:38,375 --> 00:44:43,875
early Smiths did, you know,
Oasis did for a time.
690
00:44:43,958 --> 00:44:47,875
All bands reflect the
environment that they're in.
691
00:44:48,791 --> 00:44:50,500
[Savage] That came out say
692
00:44:50,583 --> 00:44:53,791
in Kevin Cummins's
famous portrait of them
693
00:44:53,875 --> 00:44:55,708
on the Hulme bridge in the snow.
694
00:44:55,791 --> 00:44:57,125
Again, you've got the city.
695
00:44:57,208 --> 00:45:00,208
You haven't got the group
in a studio.
696
00:45:00,291 --> 00:45:01,416
You've got them in the city,
697
00:45:01,500 --> 00:45:04,916
in their environment, which is
reflected in their music.
698
00:45:06,791 --> 00:45:08,625
[Morris] When people
used to say that,
699
00:45:08,708 --> 00:45:10,458
it was, "Blah, blah, blah,
it's rubbish!"
700
00:45:10,541 --> 00:45:14,416
But there's some truth in that,
that you can't help it.
701
00:45:14,500 --> 00:45:16,250
It just seeps.
702
00:45:16,333 --> 00:45:18,416
In the early days
when we were in Joy Division
703
00:45:18,500 --> 00:45:21,166
and early New Order, it wasn't
quite as swish as this.
704
00:45:21,250 --> 00:45:24,833
It wasn't swish at all.
It was post-industrial decay.
705
00:45:24,916 --> 00:45:26,916
In a way,
that wasn't very inspiring,
706
00:45:27,000 --> 00:45:29,166
but in a way,
it was really inspiring,
707
00:45:29,250 --> 00:45:32,041
because in the middle of winter
in Manchester
708
00:45:32,125 --> 00:45:35,625
surrounded by all these
shut-down closed factories
709
00:45:35,708 --> 00:45:36,833
with smashed windows,
710
00:45:36,916 --> 00:45:40,250
I think it affected the type
of music that you made.
711
00:45:40,333 --> 00:45:41,541
You know,
it may have contributed
712
00:45:41,625 --> 00:45:44,291
to the kind of sound
that you had.
713
00:45:44,375 --> 00:45:49,083
[♪ "Atmosphere" by Joy Division]
714
00:45:53,458 --> 00:46:01,208
♪ Walk in silence ♪
715
00:46:01,291 --> 00:46:03,875
♪ Don't walk away ♪
716
00:46:03,958 --> 00:46:08,333
[Saville] That sense of the city
has always been in Joy Division
717
00:46:08,416 --> 00:46:09,458
and then in New Order
718
00:46:09,541 --> 00:46:12,708
and also because New Order
became the biggest group,
719
00:46:12,791 --> 00:46:15,208
Factory became
the biggest label.
720
00:46:15,291 --> 00:46:16,708
Anybody that you talk to
721
00:46:16,791 --> 00:46:19,541
will tell you that it was
pretty chaotic at the time,
722
00:46:19,625 --> 00:46:22,208
but clearly there was
a driving spirit.
723
00:46:22,291 --> 00:46:26,875
Often that spirit is embodied
in the idea of Tony Wilson
724
00:46:26,916 --> 00:46:30,083
but it obviously ran through
a whole bunch of people.
725
00:46:30,166 --> 00:46:33,166
[Savage] Rob Gretton,
who was Joy Division's manager,
726
00:46:33,250 --> 00:46:34,791
was the heart and soul.
727
00:46:34,833 --> 00:46:38,333
He understood the music,
was very involved with the city.
728
00:46:38,458 --> 00:46:43,041
[Sumner] Rob Gretton and Tony
Wilson died far too young,
729
00:46:43,125 --> 00:46:47,000
but their contribution
to Manchester,
730
00:46:47,083 --> 00:46:48,250
to the city,
731
00:46:48,333 --> 00:46:53,375
was incalculable and that is
an incredible legacy.
732
00:46:53,458 --> 00:46:57,000
Both Rob and Tony really,
really loved Manchester,
733
00:46:57,083 --> 00:47:01,625
and try and put something back
into the place where you live
734
00:47:01,708 --> 00:47:03,041
and it'll be a better place
to live
735
00:47:03,125 --> 00:47:04,791
is quite a simple concept,
really.
736
00:47:04,875 --> 00:47:08,375
That's what they wanted to do,
but they didn't tell us
737
00:47:08,458 --> 00:47:09,958
if that's what we wanted to do.
738
00:47:10,041 --> 00:47:11,708
[laughter]
739
00:47:13,625 --> 00:47:15,875
[Saville] And those things
were just, you know,
740
00:47:15,958 --> 00:47:19,333
a kind of naive and idealistic
attempt to do things better.
741
00:47:19,416 --> 00:47:21,625
You know, the Hacienda
was incredibly naive,
742
00:47:21,708 --> 00:47:22,916
but it was a...
743
00:47:23,000 --> 00:47:26,250
Its premise was to do things
in the way
744
00:47:26,333 --> 00:47:28,916
that you would have them done
for yourself.
745
00:47:29,000 --> 00:47:33,291
And Tony had this vision of
Manchester being regenerated.
746
00:47:35,500 --> 00:47:38,083
It happened in '89, '90,
you know,
747
00:47:38,166 --> 00:47:40,416
a lot of which came out
to the Hacienda nightclub
748
00:47:40,500 --> 00:47:41,208
which started in '82
749
00:47:41,291 --> 00:47:43,250
and by '88, '89
750
00:47:43,333 --> 00:47:46,083
was one of the biggest
nightclubs in the country.
751
00:47:47,416 --> 00:47:50,791
And you have this idea of
Manchester as a cultural force.
752
00:47:50,875 --> 00:47:53,916
[Morris] They didn't expect
Manchester to turn into
753
00:47:54,000 --> 00:47:55,166
what it's turned into today.
754
00:47:55,250 --> 00:47:57,916
I mean, it couldn't have got
any worse to be quite honest,
755
00:47:58,000 --> 00:47:59,416
so the only way was up.
756
00:47:59,500 --> 00:48:01,958
But I don't think it had
anything to do with us
757
00:48:02,041 --> 00:48:03,291
being in a band.
758
00:48:03,375 --> 00:48:06,166
It's nice to think that you
could possibly change things.
759
00:48:06,250 --> 00:48:10,083
♪ You're much too young ♪
760
00:48:10,166 --> 00:48:11,666
♪ To be a part of me ♪
761
00:48:11,750 --> 00:48:14,416
It's like New Order
is part of Manchester.
762
00:48:14,500 --> 00:48:18,000
Every corner you turn, there'll
be some kind of reference.
763
00:48:18,083 --> 00:48:22,625
Part of the DNA.
The two go hand in hand, really.
764
00:48:22,708 --> 00:48:24,208
[McGrath] You can't
underestimate
765
00:48:24,291 --> 00:48:26,291
the impact of Factory
on the city
766
00:48:26,375 --> 00:48:28,250
and the impact of Factory
767
00:48:28,333 --> 00:48:34,125
on the reputation and feel of
the city beyond its borders,
768
00:48:34,208 --> 00:48:35,291
across the world.
769
00:48:35,375 --> 00:48:37,041
[Savage] And without a doubt,
770
00:48:37,125 --> 00:48:41,041
it was an inspiration
to the very fabric of the city
771
00:48:41,125 --> 00:48:43,333
and it has continued
to be an inspiration
772
00:48:43,416 --> 00:48:45,916
because it's then
carried on by others.
773
00:48:46,000 --> 00:48:47,708
[Haslam]
The city's regeneration,
774
00:48:47,791 --> 00:48:52,000
the city's reputation
for art and culture,
775
00:48:52,083 --> 00:48:55,375
the Manchester International
Festival itself,
776
00:48:55,458 --> 00:49:01,333
I don't think any of that would
have happened without Factory.
777
00:49:01,416 --> 00:49:03,291
And Factory wouldn't have
happened without
778
00:49:03,375 --> 00:49:05,583
Joy Division and New Order.
779
00:49:08,250 --> 00:49:09,708
[Chapman] I wasn't born
in Manchester,
780
00:49:09,791 --> 00:49:11,958
but it was the music
of Manchester
781
00:49:12,041 --> 00:49:14,916
that made me move
to this city in 1993.
782
00:49:15,000 --> 00:49:18,333
I'd like to think of myself
as an adopted French Manc.
783
00:49:18,416 --> 00:49:21,958
[laughs] Living here
for 24 years,
784
00:49:22,041 --> 00:49:24,000
I just love everything
about this city,
785
00:49:24,083 --> 00:49:27,541
the people, the culture,
the music.
786
00:49:27,625 --> 00:49:30,625
Seamless transition was it,
coming to Manchester?
787
00:49:30,708 --> 00:49:32,500
-Completely seamless,
-Yeah, sure.
788
00:49:32,583 --> 00:49:36,041
-Like joining New Order in fact.
-Absolutely, yeah.
789
00:49:36,125 --> 00:49:39,833
No, it's a tough job coming into
the band, no doubt about it,
790
00:49:39,916 --> 00:49:41,833
because there's
a lot of history.
791
00:49:41,916 --> 00:49:45,125
The focus seemed to be on me,
you know,
792
00:49:45,208 --> 00:49:49,875
replacing Peter Hook
and stepping in his shoes.
793
00:49:52,958 --> 00:49:55,041
[Saville] There was a chemistry
794
00:49:55,125 --> 00:49:57,541
that somehow fitted together,
795
00:49:57,625 --> 00:49:59,250
you know, the friction
of that chemistry
796
00:49:59,333 --> 00:50:03,208
obviously became difficult,
but that's often how it is.
797
00:50:03,291 --> 00:50:06,250
I mean,
chemistry is combustible.
798
00:50:06,333 --> 00:50:11,416
I was encouraged to do
what I do as a bass player.
799
00:50:11,500 --> 00:50:12,666
[Sumner] Tom succeeded.
800
00:50:12,750 --> 00:50:15,750
He's great to get on with,
he can play anything.
801
00:50:15,833 --> 00:50:18,333
On Music Complete,
he came into his own.
802
00:50:18,416 --> 00:50:23,083
Not that the other bass
in our history wasn't great,
803
00:50:23,166 --> 00:50:24,916
it was great.
804
00:50:25,000 --> 00:50:26,416
How can I put it?
805
00:50:26,500 --> 00:50:30,708
It was... It felt like it was
a new band and a new start.
806
00:50:30,791 --> 00:50:32,208
The band means a lot to people,
807
00:50:32,291 --> 00:50:37,458
so all you can do is do your
best and interpret the songs
808
00:50:37,541 --> 00:50:41,250
and play them
how you want to play them,
809
00:50:41,333 --> 00:50:43,750
but respect the history
of it, really.
810
00:50:45,750 --> 00:50:48,583
[Sumner] Joe, we've put
a bit of modulation
811
00:50:48,666 --> 00:50:50,375
on the strings over there.
812
00:50:50,458 --> 00:50:51,875
I know it's just like, hell, no,
813
00:50:51,958 --> 00:50:55,916
but I think it's giving it
a bit of movement.
814
00:50:58,666 --> 00:51:00,041
A-ha!
815
00:51:02,250 --> 00:51:04,083
Hello!
816
00:51:04,166 --> 00:51:05,416
Hello!
817
00:51:06,250 --> 00:51:07,541
Hello!
818
00:51:08,375 --> 00:51:10,000
Hello.
819
00:52:18,291 --> 00:52:20,916
♪ Every time I think of you ♪
820
00:52:21,000 --> 00:52:25,166
♪ I feel shot right through
with a bolt of blue ♪
821
00:52:25,250 --> 00:52:29,875
♪ It's no problem of mine
but it's a problem I find ♪
822
00:52:29,958 --> 00:52:34,208
♪ Living a life
that I can't leave behind ♪
823
00:52:34,291 --> 00:52:37,375
♪ There's no sense
in telling me ♪
824
00:52:37,458 --> 00:52:41,666
♪ The wisdom of a fool
won't set you free ♪
825
00:52:41,750 --> 00:52:43,416
♪ But that's the way
that it goes ♪
826
00:52:43,500 --> 00:52:45,375
♪ And it's what nobody knows ♪
827
00:52:45,458 --> 00:52:50,791
♪ Every day
my confusion grows ♪
828
00:53:06,291 --> 00:53:10,250
♪ Every time
I see you falling ♪
829
00:53:10,375 --> 00:53:14,375
♪ I get down on my knees
and pray ♪
830
00:53:14,416 --> 00:53:18,666
♪ I'm waiting for
that final moment ♪
831
00:53:18,750 --> 00:53:23,041
♪ You say the words
that I can't say ♪
832
00:53:39,375 --> 00:53:43,000
♪ I feel fine and I feel good ♪
833
00:53:43,083 --> 00:53:46,333
♪ I feel like I never should ♪
834
00:53:46,416 --> 00:53:47,833
♪ Whenever I get this way ♪
835
00:53:47,875 --> 00:53:49,833
♪ I just don't know
what to say ♪
836
00:53:49,916 --> 00:53:55,208
♪ Why can't we be ourselves
like we were yesterday? ♪
837
00:53:55,291 --> 00:53:59,250
♪ I'm not sure
what this could mean ♪
838
00:53:59,333 --> 00:54:02,291
♪ I don't think
you're what you seem ♪
839
00:54:02,375 --> 00:54:04,500
♪ I do admit to myself ♪
840
00:54:04,583 --> 00:54:06,666
♪ That if I hurt someone else ♪
841
00:54:06,750 --> 00:54:11,333
♪ Then I'll never see
just what we're meant to be ♪
842
00:54:27,000 --> 00:54:30,541
♪ Every time
I see you falling ♪
843
00:54:30,625 --> 00:54:34,541
♪ I get down on my knees
and pray ♪
844
00:54:34,625 --> 00:54:38,958
♪ I'm waiting for
that final moment ♪
845
00:54:39,041 --> 00:54:43,041
♪ You say the words
that I can't say ♪
846
00:54:43,125 --> 00:54:46,750
♪ Every time
I see you falling ♪
847
00:54:46,833 --> 00:54:51,166
♪ I get down on my knees
and pray ♪
848
00:54:51,250 --> 00:54:55,458
♪ I'm waiting for
that final moment ♪
849
00:54:55,541 --> 00:55:00,000
♪ You say the words
that I can't say ♪
850
00:55:40,708 --> 00:55:44,291
♪ Every time
I see you falling ♪
851
00:55:44,375 --> 00:55:48,708
♪ I get down on my knees
and pray ♪
852
00:55:48,791 --> 00:55:52,875
♪ I'm waiting for
that final moment ♪
853
00:55:52,958 --> 00:55:56,583
♪ You say the words
that I can't say ♪
854
00:55:56,666 --> 00:56:00,291
♪ Every time
I see you falling ♪
855
00:56:00,375 --> 00:56:04,958
♪ I get down on my knees
and pray ♪
856
00:56:05,041 --> 00:56:08,416
♪ I'm waiting for
that final moment ♪
857
00:56:08,500 --> 00:56:13,625
♪ You say the words
that I can't say ♪
858
00:57:05,416 --> 00:57:09,291
Number one here.
Could I have more orchestra?
859
00:57:09,375 --> 00:57:12,125
Only a little bit more,
not, like, loads.
860
00:57:13,791 --> 00:57:17,083
[Gilbert] When you actually do
it on stage with the orchestra
861
00:57:17,166 --> 00:57:19,208
and the lights and everything
and the boxes,
862
00:57:19,291 --> 00:57:23,541
that's what makes me feel,
"God, this is amazing."
863
00:57:24,416 --> 00:57:26,500
[Morris] The stuff
that Liam did,
864
00:57:26,583 --> 00:57:30,625
I mean, that was a real surprise
actually seeing the thing,
865
00:57:30,708 --> 00:57:32,541
because looking at the pictures,
866
00:57:32,625 --> 00:57:37,250
"That's all right, but, I mean,
it's never gonna work is it?"
867
00:57:37,333 --> 00:57:39,291
[laughs]
868
00:57:39,375 --> 00:57:42,333
What you have to remember
of course
869
00:57:42,416 --> 00:57:45,000
is that we're building
a kind of a machine here
870
00:57:45,083 --> 00:57:46,333
and that was always
my intention.
871
00:57:46,416 --> 00:57:49,083
So they're not just standing
there and pressing buttons,
872
00:57:49,166 --> 00:57:50,916
they're reading music
and playing.
873
00:57:51,000 --> 00:57:54,250
So the computer's there for them
to read the music
874
00:57:54,333 --> 00:57:56,041
and it's scrolling.
875
00:57:58,791 --> 00:58:01,250
[Morris] Each player's gotta
have an individual score.
876
00:58:01,333 --> 00:58:03,750
Each player's gotta have
individual sound,
877
00:58:03,833 --> 00:58:06,791
the program changes
throughout the song.
878
00:58:06,875 --> 00:58:09,833
They've got a camera
so they can see the conductor
879
00:58:09,916 --> 00:58:12,500
and they've gotta be able
to communicate with us
880
00:58:12,583 --> 00:58:14,916
and the sound people
by microphones,
881
00:58:15,000 --> 00:58:17,958
so... incredibly complicated.
882
00:58:18,041 --> 00:58:20,125
That's your sheet music.
Every different track,
883
00:58:20,208 --> 00:58:22,083
there's different instruments
you're playing
884
00:58:22,166 --> 00:58:24,708
and you're playing more than one
instrument per track as well.
885
00:58:24,791 --> 00:58:26,208
[Sinclair]
They're like patch changes.
886
00:58:26,291 --> 00:58:28,958
Within one tune, you can have
two, three or four sounds.
887
00:58:29,041 --> 00:58:31,541
But it's just like, you read
that one, you hit that one,
888
00:58:31,625 --> 00:58:35,125
you sing into that one
and you look at that one.
889
00:58:35,208 --> 00:58:40,041
So 12 seemed to work musically
and seemed to work visually
890
00:58:40,125 --> 00:58:42,500
and you start to find
a kind of balance at that point.
891
00:58:42,583 --> 00:58:46,791
And you've got these cells.
892
00:58:46,875 --> 00:58:47,916
[static crackles]
893
00:58:48,000 --> 00:58:49,916
-Don't press it!
-I think that's like
894
00:58:50,000 --> 00:58:51,250
if you want everything to stop.
895
00:58:51,333 --> 00:58:54,291
Like if you got an arm caught
in it and you didn't wanna die.
896
00:58:54,375 --> 00:58:56,041
If you, like, put your arm
through there
897
00:58:56,125 --> 00:58:57,916
'cause you're having
such a good time,
898
00:58:58,000 --> 00:59:01,000
and then it closes
and your arm snaps,
899
00:59:01,083 --> 00:59:03,000
then you'll have to somehow
lean over, hit that
900
00:59:03,083 --> 00:59:05,625
and the whole thing stops.
901
00:59:05,708 --> 00:59:07,500
But why would you put your arm
in there?
902
00:59:07,583 --> 00:59:09,750
-I don't know.
-Just getting so into it.
903
00:59:09,833 --> 00:59:10,958
[laughs]
904
00:59:11,041 --> 00:59:13,208
[McGrath] What Liam did
was really think through
905
00:59:13,291 --> 00:59:14,666
the visual logic of that.
906
00:59:14,750 --> 00:59:17,125
He introduced the idea
of the blinds,
907
00:59:17,208 --> 00:59:19,916
the sense that there was
something about revealing
908
00:59:20,000 --> 00:59:24,666
and not revealing
in this whole visual world.
909
00:59:24,750 --> 00:59:27,666
[Gillick] Conceptually, I was
thinking a lot about the book
910
00:59:27,750 --> 00:59:29,875
Jealousy by Alain Robbe-Grillet
911
00:59:29,958 --> 00:59:31,958
which is really
a book about voyeurism.
912
00:59:32,041 --> 00:59:34,500
In French jalousie
is the same as jalousie
913
00:59:34,583 --> 00:59:36,458
which is the same
as Venetian blind,
914
00:59:36,541 --> 00:59:38,625
like something you can
look through.
915
00:59:38,708 --> 00:59:40,666
So, yeah, I wanted to play
916
00:59:40,750 --> 00:59:43,916
not only with the idea that you
can't always see them properly
917
00:59:44,000 --> 00:59:45,166
or that they'll silhouetted,
918
00:59:45,250 --> 00:59:48,875
I wanted those young players
to have moments in the concert
919
00:59:48,958 --> 00:59:50,000
where they can see the audience,
920
00:59:50,083 --> 00:59:51,916
but the audience
can't really see them.
921
00:59:52,000 --> 00:59:53,875
When you go and stand up
in those things
922
00:59:53,958 --> 00:59:56,500
and when they're all shut,
you've got a little slit,
923
00:59:56,583 --> 00:59:57,500
you can see the whole audience,
924
00:59:57,583 --> 00:59:59,708
'cause they are actually wood
in the end.
925
00:59:59,791 --> 01:00:02,333
But they're fixed to a mechanism
926
01:00:03,250 --> 01:00:05,083
that's connected
to the same computer
927
01:00:05,166 --> 01:00:06,291
that's running the music,
928
01:00:06,375 --> 01:00:09,125
the same computer that's
triggering the lighting,
929
01:00:09,208 --> 01:00:14,416
the same signal that's
triggering the digital effects.
930
01:00:16,000 --> 01:00:17,666
[Duddell]
I think for the players,
931
01:00:17,750 --> 01:00:20,166
it was initially quite weird
932
01:00:20,250 --> 01:00:22,541
being in these kind of
isolated cells.
933
01:00:22,625 --> 01:00:25,166
So, they could all see the band
and the audience and myself
934
01:00:25,250 --> 01:00:27,125
but they couldn't necessarily
see each other.
935
01:00:27,208 --> 01:00:30,250
[Sinclair] It's pretty strange.
You kind of feel...
936
01:00:30,333 --> 01:00:32,333
It's like you're really
connected to everything,
937
01:00:32,416 --> 01:00:34,916
but you're isolated
in this one pod.
938
01:00:35,000 --> 01:00:38,375
Until we poke our heads through
in between tunes to go,
939
01:00:38,458 --> 01:00:39,916
"This is amazing!"
940
01:00:40,000 --> 01:00:42,291
Everyone is slightly autonomous,
941
01:00:42,375 --> 01:00:44,208
everyone's in slightly
their own world
942
01:00:44,291 --> 01:00:50,041
and that also accentuates,
like, the way people behave.
943
01:00:51,166 --> 01:00:52,750
[Haslam]
When you see the students
944
01:00:52,833 --> 01:00:54,333
in the synthesizer orchestra
945
01:00:54,416 --> 01:00:56,916
and they're kind of
indie dancing a little bit
946
01:00:57,000 --> 01:00:58,458
when they're behind there,
947
01:00:58,541 --> 01:00:59,750
and they're having fun.
948
01:00:59,833 --> 01:01:01,708
It's a bit like dancing
in your bedroom,
949
01:01:01,791 --> 01:01:04,833
but 2,000 people are watching.
[laughs]
950
01:01:04,916 --> 01:01:07,291
You'll catch something
out of the corner of your eye
951
01:01:07,375 --> 01:01:10,375
and see one of the players
doing some crazy dancing.
952
01:01:10,458 --> 01:01:11,791
Keyboard dancing.
953
01:01:11,875 --> 01:01:13,666
I feel it's quite liberating,
to be honest.
954
01:01:13,750 --> 01:01:15,625
I probably dance more
in these gigs
955
01:01:15,708 --> 01:01:17,458
than when I'm out and about.
[laughs]
956
01:01:17,541 --> 01:01:21,500
There was a mad Twitter rave
after the first gig last year,
957
01:01:21,583 --> 01:01:24,208
because people were dancing
in the pods
958
01:01:24,291 --> 01:01:28,166
and it was trending more
than New Order. [laughs]
959
01:01:29,583 --> 01:01:31,208
[Duddell] People might think
960
01:01:31,291 --> 01:01:32,916
you can just
do any concert in any venue,
961
01:01:33,000 --> 01:01:35,625
but I think
with the very specific nature
962
01:01:35,708 --> 01:01:37,333
of the installation side
of things,
963
01:01:37,416 --> 01:01:38,875
it's not as easy as that.
964
01:01:38,958 --> 01:01:40,333
[McGrath] There are complexities
965
01:01:40,416 --> 01:01:42,625
about how it will fit
in the different venues.
966
01:01:42,708 --> 01:01:44,875
There's been some tension
around that
967
01:01:44,958 --> 01:01:46,666
because the spaces
are different.
968
01:01:46,750 --> 01:01:48,375
[Gillick] Right from
the beginning I thought,
969
01:01:48,458 --> 01:01:49,625
"This needs to be modular."
970
01:01:49,708 --> 01:01:51,250
It needs to be able
to be reconfigured
971
01:01:51,333 --> 01:01:53,958
because I just know
that from doing exhibitions.
972
01:01:54,083 --> 01:01:56,875
Here, we're kind of like
trying to fix something
973
01:01:56,958 --> 01:02:00,083
that was for one space
into a different kind of space.
974
01:02:00,791 --> 01:02:01,791
Oh, gosh!
975
01:02:01,875 --> 01:02:05,625
Wow. I need to see it
from the front, really.
976
01:02:05,750 --> 01:02:07,083
All right, Liam.
977
01:02:07,166 --> 01:02:08,500
Hello. How you doing?
978
01:02:08,583 --> 01:02:11,333
-Found it all right?
-Oh, it's cool, yeah.
979
01:02:11,416 --> 01:02:12,458
What do you think?
980
01:02:12,541 --> 01:02:15,750
I see what you mean
about height restrictions now.
981
01:02:15,833 --> 01:02:17,458
[Sinclair] The ceiling's
not tall enough
982
01:02:17,541 --> 01:02:19,541
for us to have
two rows of boxes.
983
01:02:19,625 --> 01:02:20,666
So we're twice as long.
984
01:02:20,750 --> 01:02:23,250
[Gillick] I'm secretly happy
that we're in a venue
985
01:02:23,333 --> 01:02:25,291
where we cannot
do what we did before,
986
01:02:25,375 --> 01:02:27,541
because it's too low
in the middle.
987
01:02:27,625 --> 01:02:29,625
[Owen] I wasn't sure
if it was just gonna look
988
01:02:29,708 --> 01:02:33,666
really sort of elongated
in a different structure.
989
01:02:33,750 --> 01:02:36,291
-Actually, it looks good.
-It suits the room.
990
01:02:36,375 --> 01:02:38,000
Being in structures like this,
it's good
991
01:02:38,083 --> 01:02:42,166
because it kinda reflects
what New Order are all about.
992
01:02:42,250 --> 01:02:45,500
[McGrath] One of the things
that's great about this project
993
01:02:45,583 --> 01:02:48,583
is to bring a really strong
visual statement
994
01:02:48,666 --> 01:02:52,333
right back into
the heart of the music.
995
01:02:52,416 --> 01:02:56,375
They haven't worked with a
visual artist in the same way.
996
01:02:56,458 --> 01:03:01,500
In this case, you do have
this kind of creative autonomy
997
01:03:01,583 --> 01:03:02,708
and I tell you why,
998
01:03:02,791 --> 01:03:07,208
because there's a phrase
that isn't used very much,
999
01:03:07,291 --> 01:03:08,666
which is "I want."
1000
01:03:08,750 --> 01:03:12,166
"I like" and "I want" aren't
used that much in this case
1001
01:03:12,250 --> 01:03:15,125
and I like that. [laughs]
1002
01:03:15,208 --> 01:03:18,458
It's about operating
in parallel to something
1003
01:03:18,541 --> 01:03:20,416
and that gives you
a lot of freedom.
1004
01:03:23,833 --> 01:03:26,166
[Haslam] That was
the Factory way,
1005
01:03:26,250 --> 01:03:28,583
you trust somebody
to do something.
1006
01:03:28,666 --> 01:03:32,875
On a bigger scale, that's how
Factory had always dealt with,
1007
01:03:32,958 --> 01:03:34,416
you know, New Order.
1008
01:03:34,500 --> 01:03:38,375
Nobody told New Order
what they should sound like.
1009
01:03:38,458 --> 01:03:40,083
They were given
creative autonomy
1010
01:03:40,166 --> 01:03:41,958
and they wanted
creative autonomy.
1011
01:03:42,041 --> 01:03:45,083
They have also then given
creative autonomy
1012
01:03:45,166 --> 01:03:47,708
to the people that have been
working around them.
1013
01:03:47,791 --> 01:03:52,625
So actually the collaboration
element then becomes stronger,
1014
01:03:52,708 --> 01:03:57,708
because instead of it ever being
a kind of weird compromise,
1015
01:03:57,791 --> 01:04:03,416
people actually follow their own
practice and do it their way.
1016
01:04:03,500 --> 01:04:07,750
Somebody makes a video or
someone does some artwork.
1017
01:04:07,833 --> 01:04:12,625
The same, I mean, very much
applied to me with the covers.
1018
01:04:15,833 --> 01:04:20,083
You've always had this fine art
element of interest in the group
1019
01:04:20,166 --> 01:04:22,750
and of interaction
with the group's music.
1020
01:04:22,833 --> 01:04:24,083
It's not necessarily something
1021
01:04:24,166 --> 01:04:26,791
that the group
are always aware of
1022
01:04:26,875 --> 01:04:30,583
but it does inform them
and sets them apart
1023
01:04:30,666 --> 01:04:34,666
from your run-of-the-mill
'80s electro mob.
1024
01:04:34,750 --> 01:04:37,291
[Gillick] My interest
in Joy Division and New Order,
1025
01:04:37,375 --> 01:04:41,250
at the beginning, influenced
my decision to go to art school.
1026
01:04:41,333 --> 01:04:42,916
They were much more influential
on me
1027
01:04:43,000 --> 01:04:44,958
than any artist
I could think of.
1028
01:04:46,208 --> 01:04:47,208
[Saville] There was
1029
01:04:47,291 --> 01:04:49,708
a fundamentally different
relationship
1030
01:04:49,791 --> 01:04:50,625
between myself and Joy Division,
1031
01:04:50,708 --> 01:04:54,666
to that which then
kind of evolved
1032
01:04:54,750 --> 01:04:57,708
over the next decade
with New Order.
1033
01:04:57,791 --> 01:05:02,208
There was a personality
to Joy Division
1034
01:05:02,291 --> 01:05:03,958
which I could only complement,
1035
01:05:04,041 --> 01:05:08,041
have a kind of a dialogue
with that personality.
1036
01:05:08,125 --> 01:05:10,333
The absence of Ian,
let's be straight about it,
1037
01:05:10,416 --> 01:05:17,500
the absence of Ian leaves
a space around the group.
1038
01:05:17,583 --> 01:05:20,916
The visual work
steps into that space.
1039
01:05:22,375 --> 01:05:25,000
So the covers are not
about the music.
1040
01:05:25,083 --> 01:05:27,500
Nobody wants to talk
about the music,
1041
01:05:27,583 --> 01:05:30,125
nobody wants to say
what any of it is about,
1042
01:05:30,208 --> 01:05:33,208
no one is necessarily that sure
what any of it's about.
1043
01:05:33,291 --> 01:05:36,125
[Gilbert] We didn't want to be
marketed like a product.
1044
01:05:36,208 --> 01:05:37,250
[Morris] The music was good,
1045
01:05:37,333 --> 01:05:40,541
the image that
that record projected
1046
01:05:40,625 --> 01:05:42,875
should be just as good.
1047
01:05:44,250 --> 01:05:48,083
[Sumner] When I was a teenager,
when I bought a piece of music,
1048
01:05:48,166 --> 01:05:50,791
I always thought I was buying
two pieces of art.
1049
01:05:50,875 --> 01:05:52,833
I was buying the album, music,
1050
01:05:52,916 --> 01:05:55,166
and I was buying
the album cover.
1051
01:05:55,250 --> 01:05:58,083
So I wanted a great piece
of music and a great cover
1052
01:05:58,166 --> 01:06:00,208
and sometimes, occasionally,
1053
01:06:00,291 --> 01:06:03,166
I would just buy a record
for the cover.
1054
01:06:03,250 --> 01:06:06,500
I was really disappointed that
someone could come up with
1055
01:06:06,583 --> 01:06:09,791
such a great cover and then
played the record afterwards
1056
01:06:09,875 --> 01:06:11,708
and it was a load of dross.
1057
01:06:11,791 --> 01:06:16,666
That isn't to say
that they are totally hands-off
1058
01:06:16,750 --> 01:06:18,416
and will accept anything,
you know.
1059
01:06:18,500 --> 01:06:23,458
But once they've trusted
somebody with a job,
1060
01:06:23,541 --> 01:06:25,625
then that person is allowed
to express themselves
1061
01:06:25,708 --> 01:06:27,375
in the same way
that they're allowed
1062
01:06:27,458 --> 01:06:28,666
to express themselves.
1063
01:06:28,750 --> 01:06:32,541
[Saville] The covers are
conceived of independently
1064
01:06:32,625 --> 01:06:34,833
based on my own kind of
1065
01:06:34,916 --> 01:06:38,208
tracking of a zeitgeist
through that period.
1066
01:06:38,291 --> 01:06:40,208
There isn't a singular language.
1067
01:06:40,291 --> 01:06:41,458
They're a journey
1068
01:06:41,541 --> 01:06:44,291
through the canon
of 20th-century art and design,
1069
01:06:44,375 --> 01:06:46,250
which was my own journey.
1070
01:06:47,166 --> 01:06:48,333
They never said they liked them.
1071
01:06:48,416 --> 01:06:50,750
I remember calling Rob once
about Blue Monday
1072
01:06:50,833 --> 01:06:52,750
and I said,
"Does anyone like it?"
1073
01:06:52,833 --> 01:06:55,750
And he said,
"They don't much mind it."
1074
01:06:55,833 --> 01:07:02,250
And in fact, there was not
a collective "We like this"
1075
01:07:02,333 --> 01:07:06,250
until the cover of Regret.
1076
01:07:06,333 --> 01:07:08,958
And Bernard said, "I think
you're getting the hang of it."
1077
01:07:09,041 --> 01:07:12,833
His artwork stands in its own
right in the way I look at it.
1078
01:07:12,916 --> 01:07:15,958
It stands on its own merit.
1079
01:07:17,875 --> 01:07:22,875
[Saville] Liam's project
is his dialogue
1080
01:07:22,958 --> 01:07:26,333
with his idea of New Order
1081
01:07:26,416 --> 01:07:29,750
as applies to other people
who they might work with.
1082
01:07:29,833 --> 01:07:34,708
It's those other individuals'
idea of New Order
1083
01:07:34,791 --> 01:07:37,250
that they come to engage with
1084
01:07:37,333 --> 01:07:42,458
and grids are almost autographic
in Liam's work.
1085
01:07:42,541 --> 01:07:44,666
And of course, his project
with New Order is a grid
1086
01:07:44,750 --> 01:07:48,708
and in this instance, the grid
has to accommodate humans
1087
01:07:48,791 --> 01:07:52,958
and actions and performance.
1088
01:07:53,041 --> 01:07:57,166
When you look out in Vienna,
you're gonna see architecture.
1089
01:07:57,250 --> 01:07:59,208
We go back
to the double-decker thing.
1090
01:07:59,291 --> 01:08:03,416
That's in a rather beautiful,
almost baroque theater.
1091
01:08:08,875 --> 01:08:11,541
A lot of art and music
collaborations,
1092
01:08:11,625 --> 01:08:14,083
you really have
like a big stupid art show
1093
01:08:14,166 --> 01:08:15,625
with some music tacked on
1094
01:08:15,708 --> 01:08:18,291
that kind of just uses the music
that way round.
1095
01:08:18,375 --> 01:08:19,667
I wanted to create a frame,
1096
01:08:19,750 --> 01:08:21,708
and here you literally are
in a frame.
1097
01:08:21,792 --> 01:08:24,125
I mean, it's exactly a frame.
1098
01:10:13,542 --> 01:10:16,792
♪ A thought that never changes
remains a stupid lie ♪
1099
01:10:16,875 --> 01:10:21,792
♪ It's never been
quite the same ♪
1100
01:10:21,875 --> 01:10:23,958
♪ No hearing or breathing ♪
1101
01:10:24,041 --> 01:10:25,917
♪ No movement, no colors ♪
1102
01:10:26,000 --> 01:10:28,542
♪ Just silence ♪
1103
01:10:30,500 --> 01:10:34,291
♪ Rise and fall of shame ♪
1104
01:10:34,375 --> 01:10:38,166
♪ A search that shall remain ♪
1105
01:10:38,250 --> 01:10:42,291
♪ We asked you
what you'd seen ♪
1106
01:10:42,375 --> 01:10:46,667
♪ You said you didn't care ♪
1107
01:12:08,166 --> 01:12:12,625
♪ A sound formed in a vacuum
may seem a waste of time ♪
1108
01:12:12,708 --> 01:12:16,875
♪ It's always been
just the same ♪
1109
01:12:16,958 --> 01:12:18,958
♪ No hearing or breathing ♪
1110
01:12:19,041 --> 01:12:21,000
♪ No movement or lyrics ♪
1111
01:12:21,082 --> 01:12:23,332
♪ Just nothing ♪
1112
01:12:24,917 --> 01:12:29,166
♪ The sign that leads the way ♪
1113
01:12:29,250 --> 01:12:33,291
♪ The path we cannot take ♪
1114
01:12:33,375 --> 01:12:37,000
♪ You've caught me
at a bad time ♪
1115
01:12:37,082 --> 01:12:41,708
♪ So why don't you piss off? ♪
1116
01:14:49,708 --> 01:14:52,082
[Sumner] I know the venue
for this show here in Vienna
1117
01:14:52,166 --> 01:14:57,082
is in the most beautiful part
of the city. Museum Quarter.
1118
01:14:59,250 --> 01:15:02,708
But when I'm on tour, I always
like to try and get out
1119
01:15:02,792 --> 01:15:06,417
and see a few new things
in every city I visit.
1120
01:15:12,875 --> 01:15:14,417
I've not been here before
1121
01:15:14,500 --> 01:15:17,332
and I've not got
a great head for heights.
1122
01:15:17,417 --> 01:15:20,958
Um... We're not going up there,
are we?
1123
01:15:21,041 --> 01:15:22,582
We don't have to go up there.
1124
01:15:27,917 --> 01:15:31,625
It's obviously a reference
to the film The Third Man
1125
01:15:31,708 --> 01:15:34,792
which is a film noir,
1126
01:15:34,875 --> 01:15:37,000
I hope we're shooting this
in black and white.
1127
01:15:37,082 --> 01:15:43,582
Yeah, that film encapsulates
the atmosphere of Vienna
1128
01:15:43,667 --> 01:15:48,082
around the time of the Cold War,
just after World War II.
1129
01:15:49,875 --> 01:15:52,291
It's a bit like a Joy Division
song, you know?
1130
01:15:52,375 --> 01:15:57,000
It's got that kind
of odd, weird atmosphere.
1131
01:16:01,041 --> 01:16:05,833
On paper, our survival
shouldn't have happened really.
1132
01:16:05,917 --> 01:16:08,833
We abandoned all the work
that we done in Joy Division
1133
01:16:08,917 --> 01:16:10,875
and never played
any Joy Division songs
1134
01:16:10,958 --> 01:16:12,667
for ten years
after the death of Ian.
1135
01:16:12,750 --> 01:16:16,833
So the odds were stacked
against us anyway
1136
01:16:16,917 --> 01:16:18,000
after Ian died
1137
01:16:18,082 --> 01:16:21,166
'cause we couldn't be
Joy Division Mark II.
1138
01:16:21,250 --> 01:16:26,291
We weren't interested in success
or being famous or any of that.
1139
01:16:26,375 --> 01:16:29,041
We just wanted to travel
round the world having fun
1140
01:16:29,125 --> 01:16:30,457
and that's what we did.
1141
01:16:30,542 --> 01:16:36,542
And as a by-product of having
fun, we became successful.
1142
01:16:36,625 --> 01:16:38,291
[Morris]
It's not entirely been fun.
1143
01:16:38,375 --> 01:16:40,792
A lot of it has been
quite traumatic,
1144
01:16:40,875 --> 01:16:44,542
but most of us are still here.
1145
01:16:44,625 --> 01:16:47,708
I think it's 'cause
we've worked it out together
1146
01:16:47,792 --> 01:16:50,375
as a group of people.
1147
01:16:50,457 --> 01:16:52,625
[Sumner] When there were a lot
of things happening,
1148
01:16:52,708 --> 01:16:54,417
continually happening,
1149
01:16:54,500 --> 01:16:56,207
I was thinking, "Is this normal
1150
01:16:56,291 --> 01:16:59,625
or have we been singled out
as a band
1151
01:16:59,708 --> 01:17:03,166
for all these things
to happen to?"
1152
01:17:03,250 --> 01:17:04,625
You know, like all the deaths...
1153
01:17:04,708 --> 01:17:07,792
You think,
"Has someone cursed us?"
1154
01:17:07,833 --> 01:17:10,207
Things seem to go OK
for other bands.
1155
01:17:10,291 --> 01:17:13,542
Why is it such a bumpy road
for us?
1156
01:17:13,625 --> 01:17:17,166
I have to say, what doesn't
kill you makes you strong.
1157
01:17:19,917 --> 01:17:22,750
These last few years
have been fantastic.
1158
01:17:22,833 --> 01:17:28,082
Just let's please nothing else
go wrong, please. [laughs]
1159
01:17:28,792 --> 01:17:30,542
We're enjoying it now.
1160
01:17:30,667 --> 01:17:34,166
Let it be.
We've had enough shit. [laughs]
1161
01:17:34,207 --> 01:17:37,041
[Haslam] I can't imagine
what happens next.
1162
01:17:37,082 --> 01:17:38,708
I'm already kind of thinking,
1163
01:17:38,792 --> 01:17:40,708
OK, so they're gonna close
this chapter
1164
01:17:40,792 --> 01:17:44,457
and a new chapter's gonna open
1165
01:17:44,542 --> 01:17:49,750
and so it's gonna be different
and it's always different.
1166
01:17:49,833 --> 01:17:53,917
[Chapman] I think it's in
the band's DNA to go forward,
1167
01:17:54,000 --> 01:17:57,958
to always seem
to want to take risks
1168
01:17:58,041 --> 01:18:02,166
and be creative
and try something new.
1169
01:18:04,041 --> 01:18:05,582
Collaboration,
very refreshing for us
1170
01:18:05,667 --> 01:18:09,166
because normally when we're
doing our normal touring
1171
01:18:09,250 --> 01:18:11,000
it's just the band, you know.
1172
01:18:12,166 --> 01:18:15,375
There's been a great deal
of true graft
1173
01:18:15,457 --> 01:18:18,708
to get to where we are now,
but quite enjoyed it.
1174
01:18:18,792 --> 01:18:22,582
Enjoyed working with the
students and the band and Joe.
1175
01:18:22,667 --> 01:18:24,375
I know it's a terrible cliché,
1176
01:18:24,457 --> 01:18:27,291
but we make a good team
and we do.
1177
01:18:30,000 --> 01:18:31,625
[Gillick] Every now and then
someone says,
1178
01:18:31,708 --> 01:18:33,667
"That must be really great
working with New Order."
1179
01:18:33,750 --> 01:18:35,000
And I say,
"It's really something."
1180
01:18:35,082 --> 01:18:36,667
And nothing else
I've ever worked on
1181
01:18:36,750 --> 01:18:41,708
has been really something and
I mean it's really something.
1182
01:18:41,792 --> 01:18:43,207
I don't mean
it's really nothing,
1183
01:18:43,291 --> 01:18:45,291
I mean it's really something.
1184
01:18:45,375 --> 01:18:46,667
I'm prepared for the fact
1185
01:18:46,750 --> 01:18:49,833
that it won't feel good
to go back home.
1186
01:18:51,625 --> 01:18:55,250
They're all going away
to do other things
1187
01:18:55,332 --> 01:18:58,125
and we'll be stuck here,
1188
01:18:58,207 --> 01:19:00,958
playing in the band on our own.
1189
01:19:01,041 --> 01:19:02,332
Yeah.
1190
01:19:02,417 --> 01:19:05,291
[Duddell] I suppose it's been
a rollercoaster of emotions
1191
01:19:05,375 --> 01:19:06,582
like all big projects are
1192
01:19:06,667 --> 01:19:09,207
and it's now reaching
a conclusion,
1193
01:19:09,291 --> 01:19:11,625
the last gig and...
1194
01:19:11,708 --> 01:19:14,332
I think, yeah,
especially the encore,
1195
01:19:14,417 --> 01:19:17,667
will be quite sort of emotional
I think, yeah.
1196
01:19:17,750 --> 01:19:22,833
Decades, it's possibly the most
beautiful song that New Order
1197
01:19:22,917 --> 01:19:25,917
and Joy Division
ever produced, really.
1198
01:19:26,000 --> 01:19:27,667
So to end the show
with that one,
1199
01:19:27,750 --> 01:19:31,958
you know, it's quite...
it gets you. It always gets me.
1200
01:19:32,041 --> 01:19:33,207
I think it was very smart.
1201
01:19:33,291 --> 01:19:35,708
I was a bit surprised, but I
think it was very, very smart.
1202
01:19:35,792 --> 01:19:41,542
So moving, dangerously moving
in a way.
1203
01:19:41,625 --> 01:19:44,332
[Duddell] I remember them when
they were young, very young,
1204
01:19:44,417 --> 01:19:45,875
and I was very, very young
1205
01:19:45,958 --> 01:19:49,332
and here we are with a bunch
of 20-year-olds, 21-year-olds
1206
01:19:49,417 --> 01:19:50,582
playing behind them
1207
01:19:50,667 --> 01:19:53,000
and the words of Decades
are what you have to listen to.
1208
01:19:53,082 --> 01:19:56,500
[man] Here are the young men,
a weight on their shoulders.
1209
01:19:56,582 --> 01:20:02,207
♪ Here are the young men,
the weight on their shoulders ♪
1210
01:20:02,291 --> 01:20:04,500
Written by a young man,
1211
01:20:04,582 --> 01:20:06,041
right, who's no longer with us,
1212
01:20:06,125 --> 01:20:09,250
the words written by a young man
who died young,
1213
01:20:09,332 --> 01:20:11,792
being sung in front of a group
of young musicians
1214
01:20:11,875 --> 01:20:15,542
who are, you know, taking each
part of it and breaking it down
1215
01:20:15,625 --> 01:20:16,625
and bringing it together again.
1216
01:20:16,708 --> 01:20:18,500
It all comes together
in that song.
1217
01:20:19,792 --> 01:20:23,875
[Sumner] It's added a new,
fresh, exciting dimension
1218
01:20:23,958 --> 01:20:27,041
and a little bit of rebirth
as well to New Order
1219
01:20:27,125 --> 01:20:28,958
and it's always good
to occasionally have
1220
01:20:29,041 --> 01:20:33,041
a little reinvention
as time goes by.
1221
01:20:33,125 --> 01:20:34,875
I mean, you can't reinvent
the wheel,
1222
01:20:34,958 --> 01:20:39,207
but you can change the tires.
[laughs]
1223
01:20:39,291 --> 01:20:42,667
[applause and cheering]
1224
01:20:50,792 --> 01:20:53,375
OK, we're gonna end tonight
with a song by Joy Division.
1225
01:20:53,457 --> 01:20:55,332
We don't play it a lot of times
1226
01:20:55,417 --> 01:20:58,750
and it's a really beautiful song
off the album Closer.
1227
01:20:58,833 --> 01:21:00,958
[cheering]
1228
01:21:38,375 --> 01:21:45,041
♪ Here are the young men,
the weight on their shoulders ♪
1229
01:21:47,417 --> 01:21:52,750
♪ Here are the young men,
well, where have they been? ♪
1230
01:21:56,457 --> 01:22:03,125
♪ We knocked on the door
of Hell's darker chamber ♪
1231
01:22:06,125 --> 01:22:11,375
♪ Pushed to the limit,
we dragged ourselves in ♪
1232
01:22:15,291 --> 01:22:21,582
♪ Watched from the wings
as the scenes were replaying ♪
1233
01:22:24,291 --> 01:22:29,375
♪ We saw ourselves now
as we never had seen ♪
1234
01:22:33,417 --> 01:22:40,125
♪ Portrayal of the trauma
and degeneration ♪
1235
01:22:42,457 --> 01:22:47,582
♪ The sorrows we suffered
and never were free ♪
1236
01:23:26,375 --> 01:23:29,750
♪ Where have they been? ♪
1237
01:23:31,000 --> 01:23:34,082
♪ Where have they been? ♪
1238
01:23:35,500 --> 01:23:37,917
♪ Where have they been? ♪
1239
01:23:39,582 --> 01:23:43,417
♪ Where have they been? ♪
1240
01:24:23,792 --> 01:24:29,708
♪ Weary inside,
now our heart's lost forever ♪
1241
01:24:32,667 --> 01:24:38,291
♪ Can't replace the fear
or the thrill of the chase ♪
1242
01:24:41,667 --> 01:24:48,457
♪ Each ritual showed up
the door for our wanderings ♪
1243
01:24:51,375 --> 01:24:56,625
♪ Open then shut
then slammed in our face ♪
1244
01:25:53,625 --> 01:25:56,750
♪ Where have they been? ♪
1245
01:25:57,958 --> 01:26:01,082
♪ Where have they been? ♪
1246
01:26:02,625 --> 01:26:06,542
♪ Where have they been? ♪
1247
01:26:06,625 --> 01:26:10,000
♪ Where have they been? ♪
1248
01:27:28,375 --> 01:27:30,417
[cheering]
1249
01:27:36,708 --> 01:27:38,542
Thank you so much!
1250
01:27:38,625 --> 01:27:40,291
Goodnight, everybody!
1251
01:27:41,291 --> 01:27:42,291
Auf Wiedersehen!
1252
01:27:42,375 --> 01:27:45,417
[cheering]
94473
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