All language subtitles for Metallica Some Kind of Monster (2004).en

MAN: So, what we're gonna do is,
we're gonna play back

some of the band's new songs.

There'll be no cameras allowed
in there.

There'll be no video,
no bags in there.

You can only walk in
with paper and a pencil.

MAN: We're ready.
HARMON: Are there any questions?

["FRANTIC" PLAYING]

You want a single?

MAN:
Camera over here.

[BEEPING]

REPORTER: Was there ever
a moment you thought about stopping

with Metallica or the whole band
was falling apart?

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

REPORTER 2: How did you
manage to solve this crisis?

REPORTER 3: Where in God's name
are you getting this aggression from

on this new album?
Where's it coming from?

REPORTER 4:
Why did it take so long to release

an album with the new songs?

After 20 years,
is it possible to retain the fire

that, you know, you guys once had
at the beginning?

Do you think the young generation of
metal fans will accept the new album?

REPORTER 5:
Eighty-five million records, 22 years.

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

One word.

[HETFIELD LAUGHS]

Oh, my God.

One word to span our career?

[MUSIC PLAYING]

[SINGS] We are scanning the scene
In the city tonight

We're looking for you
To start up a fight

There is an evil feeling in our brains

But it's nothing new
You know it drives us insane

Running, on our way
Hiding, you will pay

Dying, 1,000 deaths

Running, on our way
Hiding, you will pay

Dying, 1,000 deaths

Searching

Seek and destroy

Searching

Seek and destroy

HETFIELD:
Thank you!

[CHEERING]

After 14 years of headbanging,
Metallica bassist Jason Newsted

has quit the band, citing:

"Private and personal reasons
and the physical damage that I've done

to myself over the years
while playing the music I love."

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

if there's a replacement
waiting in the wings.

But the band is still scheduled to begin
recording a new album this spring.

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

MAN: I mean, I think
everybody understands

the concept of trusting instincts.

That's getting to a place where
you don't let egos and let stuff

get in the way of artistic expression.
You know?

Do you wanna say anything more
about that? Everybody understands...

TOWLE: I met Metallica through
Q Prime Management,

after having seen me work
with another band of theirs,

when they called
and said that Metallica,

with Jason announcing
that he was exiting the group,

needed to take a look
at itself and say:

"Well, what's going on here? We've lost
touch with our personal relationships,"

and face some of the issues that I think
Q Prime felt that they were headed for.

You know, we haven't really worked
together for almost nine months.

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

You know, if we wanted
to do this film or not,

I was wondering if having these
guys in here would affect that.

Because I'm just--
There's an intimacy that you get

when it's just a few people
in the room,

and I'm just wondering
if that's gonna get lost,

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

battling each other and trying
to be, like, all strong and--

What intimacy?
What the fuck are you talking about?

[LAUGHING]

TOWLE: I think, to me, it's not gonna
be a matter of whether

the cameras are in play,

but whether or not you guys
are free enough

to risk being seen by other people.

HARMON: We're here in the Presidio
in San Francisco,

and this is gonna be the location
where Metallica

is gonna start recording
their next album.

MAN: We decided that we didn't
wanna go back into a studio again

and do kind of, like, the same thing
we had done before.

We had to kind of change things up.

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

was to go into a space
that's not a studio,

bring in kind of, like, a portable studio
or a makeshift studio,

and basically make
the situation uncomfortable.

HARMON: You know, don't buy
new furniture, don't paint the walls.

Don't do anything.
Just keep it Spartan, keep it crude.

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

I don't think they wanna be
comfortable.

There's definitely a vibe in here.

They got a lot of attitude,
and I think they want it

to come out on this next album.

How did you approach
this record differently?

Did you talk about things, did you
have ideas, keywords, things like that,

that you wanted to put across
before you started

putting the whole thing together?

Well, ego was a big one.
Coming in here

and not bringing a riff,
not bringing a song,

not bringing a title. Nothing.

Me and James did not meet
somewhere else

and come in here with material,
with songs, with music.

This time we all got in a room
and just started playing.

And that's how we wrote songs.

[PLAYING GUITAR]

The idea is it should
sound like a band getting together

in a garage for the first time.

Only the band's Metallica.

HETFIELD:
I really like going fast.

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

As corny as it sounds, it works,
and it feels good.

It's a good way to just let the weight
of the world off every once in a while.

It is-- It is kind of strange being,
you know,

like, a famous guy. You know.

[SIGHS]

This is-- This is part of me
that's trying to be unfamous, I guess.

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

You know, is this a big pose?
I mean, yes, this is a pose.

I mean, am I driving down the street
to not get noticed in this thing?

I mean, "rebellious" is kind of
what this says, I would say.

- Have you got a plug-in here?
- Wait.

So, what exactly are you doing?

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

HAMMETT:
Oh, okay. I got you.

[GUITAR FEEDBACK]

HETFIELD:
Yeah!

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

I got some bad news.
Gonna have to--

Change the lyrics?

I like this thing, Bob.

- What?
- I like this thing.

ULRICH: I used to kid myself that art
was my great escape away from music.

And I think I've become
increasingly aware

that my interest in art, music
and Metallica

is not separate from anything.

You know, where does he feel
that there's enough

of that kind of gold thing?

How come there isn't
another 20 strokes

up in that black area up there,
where it's kind of bare?

Where are the starting points
and the end points,

if you know what I mean?
When's a song done?

What the fuck does
that mean, anyway? Done.

When's a record done?

You know, where does a record start?
Where does it end?

Where does the process start?
Where does the process end?

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

GIRL: Daddy!
- It's really interesting.

Yes, sweetie.

[MUSIC PLAYING]

I don't feel anything great there.

HAMMETT: I don't think
it's that great of a riff either.

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

[IMITATING GUITAR]

And then:

HAMMETT:
Yeah.

[PLAYING MUSIC]

In nine days, it'll be
my two-year anniversary of surfing.

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

So I basically stopped doing
the drugs that I was doing

and cut way back on my drinking.

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

You can't surf if you've been up
all night. Well, at least I can't.

There's a sort of individualism,
also, about surfing that I like.

I mean, when it's your moment, man,
that's your moment and yours alone.

And no one can help you.

[TROLLEY BELL RINGING]

ULRICH: For all intents and purposes,
we go into this record completely equal.

Everybody contributing

just as much on the lyric front
as James contributing

with drum parts and...

As soon as you started talking
about that, I just like...

HETFIELD:
Yeah. Yeah. You flash back now.

Well...

You wanna hear it with vocals?

Go sing it.

You guys had some rules
about that before.

Quite frankly, I don't give a fuck.
I'm tired of arguing.

You couldn't talk about his lyrics,

therefore, he couldn't talk about
your drumming.

ULRICH: Right.
ROCK: Do you know what I mean?

And you and him did the solos,

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

Do you know what I mean?
There was, like, rules.

Are you telling me that
those boundaries are gone now?

[LAUGHING]

ULRICH:
In the past, what we did was

started with a bunch of ideas existing
on tape from everybody.

Then me and James would sit down
and turn those ideas into songs.

And then we would tell the rest
of the band what to play

and when to play
and how to play it.

There was never any,
just, other ways of doing it.

HETFIELD: You know,
it's a whole new thing for me.

You know, writing in front
of everybody,

because I've always just gone
into my own head

and wrote stuff down,
instead of taking things from outside

and putting them down.

ROCK: What I was thinking is, is like--
"These are the hands that--"

"This is the face that--"
So it's, like--

HETFIELD: Building
a Frankenstein or something?

- Yeah. Pretty much.
ULRICH: Building what?

HETFIELD: A Frankenstein.
- "This is the top of my head that's flat."

"These are my bolts..."

HAMMETT: We're on the same
stream of consciousness here.

We're just all working
on the same creative wavelength.

And it's inspiring to me.

Now I can further express myself
with these lyrics

now that, you know, James has
opened that door for Lars and I.

- This is "clay," right?
HAMMETT: Yeah.

- Not "clam."
- Clay.

"These hands finger the clam."

[SINGS] These are the eyes
That can't see through me

This is the tongue
That speaks on the inside

ROCK: Make sure you really, like,
spit "can't see me."

ROCK: These are the eyes
That can't see me!

These are the eyes
That can't see me

These are the hands
That drop your trust

- "This is the--"
- Yeah.

This is the eye--
Yeah.

This is the eye
That can't see me

This is the hand
That drops your trust

These are the boots
That kick you around

This is the voice of silence no more

ROCK: What is this about?
HETFIELD: Well, I mean,

I said Frankenstein. It's not that far off,
talking about pieces of things.

So, I mean, some kind of monster.

Some kind of monster?

- You know?
BOTH: Some kind of monster.

ULRICH: It is-- It is good.
HETFIELD: You know what I mean?

HAMMETT:
I like that.

[SINGS]
Some kind of monster

Some kind of monster

The monster lives

TOWLE: "We come now to create
our album of life.

Throughout our individual
and collective journeys,

sometimes through pain and conflict,

we've discovered the true meaning
of family.

As we accomplish ultimate
togetherness,

we become healers of ourselves

and the countless who embrace us
and our message.

We have learned,
and we understand.

Now we must share."

- So that's just--
- A mission statement.

HETFIELD: A what statement?
HAMMETT: Mission statement.

HETFIELD: Mission?
- Yeah, mission.

- It's like-- You know, it sets a goal,
HETFIELD: Right.

so you just can, like, just always be
reminded of, you know--

You know, what the ultimate goal is.

HETFIELD:
All right.

[MUSIC PLAYING]

[SINGS] It's my world, you can't have it
It's my world, you can't have it

It's my world, you can't have it

It's my world, my world
You can't have it

Sucker!

ROCK:
Excellent.

[BABY CRYING]

HETFIELD:
Come on, little man. Let's go.

FRANCESCA:
Skylar, do you want your purse?

CHILD 1: Daddy.
CHILD 2: I'll come. I'll come.

Come, Daddy. Come, Daddy.

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

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

The four of us can just go
in a fucking room

and roll that kind of shit
out of our sleeves.

Pull it out of thin air, man.

It's so exciting, because
that has just never happened before.

I couldn't get to sleep last night,
because I was still wired from it all.

How do you feel? You don't
seem really psyched about it.

ROCK:
What the hell.

[CHATTER]

- How's it going? Good to see you.
- Yeah, thank you.

ULRICH: How many bears did you kill?
HETFIELD: Two.

Russia's fucked up.
You know, it was like,

you put a bottle of water here
on the table.

That was it, a bottle of vodka
sitting there.

ULRICH: Did you drink vodka?
HETFIELD: Hell, yeah.

ULRICH: You did?
- What else is there to drink?

As soon as you got there,
it was like, "Na zdoroviya!"

Na zdoroviya!

HAMMETT:
That's a pretty big bear.

- Is bear edible?
- They were no good to eat.

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

You know, they have been hibernating
for three months,

so they haven't pissed or shit
or nothing.

HAMMETT: Oh, so they're toxic?
HETFIELD: Yeah.

Third day, I killed my bear,

and I was just in camp
for the rest of the time.

I was like, "Oh, my God."

ULRICH: Worked on lyrics?
- Yeah. I actually did.

That was a lot of time, man.

A lot of time.

ROCK:
I worked on lyrics in Siberia.

HETFIELD: How to drink vodka
and work on lyrics.

[SINGS] Temptation
Wreck my head

Temptation
Make you dead

Temptation
Sucks my soul

Temptation
Fill no hole

Temptation

Fuck you up
Temptation

No, no, no, no
I can't say no

Can't say no
No

No
No, no, no

Can't say no

Oh, no
I can't say no

Go away

Leave me be

Just leave me be

MAN: So, what were the
reactions you got from those close?

I mean, how did the family react?

HETFIELD: I'm just-- I don't know.
Sometimes I'm a real ass about it

and just come in and say,
"Oh, by the way,

I'm going to Russia for two weeks
right here."

You know, and, "What?" You know.

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

because that was the most
I missed my family ever.

- You know?
- Right.

And it was, you know,
Castor's first birthday I missed.

- Right.
- And it was--

Of course, we had a little vodka
to Castor.

Did a little shot for him
and everything.

But I would've loved to have
been able to get ahold of home.

[PLAYING GUITAR]

Who's here?

MYLES:
This is Daddy working.

- This is where Dad works?
- Yeah.

- What does your dad do for work?
- Drums.

HETFIELD: He plays drums?
- Yeah.

- Let me play drums.
HETFIELD: Is he good at it?

- Daddy, wanna play drums?
- I played drums a lot today already.

I'm okay. You play for a while.

[SINGS]

[LAUGHING]

NEWSTED: Those guys,
- That's very good.

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

And music is just one of the things.

- Say, "Bye, James."
- Bye, James.

Bye, buddy.

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

My music, that's my children.
You know?

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

But since I decided to do it
with music,

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

Echobrain is one of the projects
that I've been working on for years.

And now it's come to fruition.

And then when it comes to the time
where my main cat, James,

tells me that basically
he couldn't be in a band with me

if I did the--
Took this other project to this level.

And after 15 years of working
together and going on buses

and, you know, the stories, man...

There was no way that this thing
that I was doing

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

And so-- And saying things like that,

I couldn't accept that kind of

limited acceptance.

I also know that this relationship
is not over.

You know, he'll-- It'll come
around again at some point.

You guys will make contact.

NEWSTED:
At that time the managers suggested

that we have a psychotherapist
come in,

a man that meets
with pro-ball teams,

you know, big-ego, big-dollar guys
that can't get along

but have to make
some kind of entity flow

so everybody else and everybody
can make their money.

And I actually said:

"I think that this is
really fucking lame

and weak that we
cannot get together. Us.

Look, the biggest heavy band
of all time.

And the things we've been through,
and decisions we've made

about squillions of dollars
and squillions of people.

And this, we can't get over this?"

REPORTER: Was it more than
just the Echobrain thing?

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

HETFIELD: He felt like he wasn't free
enough to do what he needed to do.

Since he wasn't getting his creativity
out enough in Metallica,

he needed to get it out
somewhere else.

And I totally understand that now.

And...

On my side of that was,

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

I didn't want anyone
to leave Metallica.

I didn't want to feel
that we weren't enough

or something like that.

[SIGHS]

And it was-- Through my--

I guess the way I learned how
to love things

was just to choke them to death.

You know?
"Don't go anywhere. Don't leave."

You know?
"You have to stay here."

[BAND PLAYING]

WOMAN:
Okay.

Need a pen, none of this pencil shit.

Check it out, man,
he can't even fucking spell it right.

"Metllica."
We've only been together 20 years.

I feel guilty that I'm not inspired
all the time.

You know, especially
when everyone else is.

It's like, "Okay."
We kind of get to the point

where the song is looped twice
in the Pro Tools,

and I know Bob's gonna hit me up
for some kind of lyric ideas.

"Oh, shit." I was, like,
dreading the whole process.

It's like, "Why are you dreading it?
Why don't you just--?"

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

- Let's get to the fear.
- Well, because I didn't have anything.

TOWLE: And so if
you didn't have anything--

Wasn't inspired enough
to have something

or letting down the
team or some vibe like that.

One, two, three, five.

[SINGS]
Say it, I'm lonely, yeah

Motherfucking in my head

It's like I'm almost,
like, racing against time.

There's, like, weird-ass fear of like:

"I gotta come up with something
myself really quick

before somebody else comes up
with something for me."

And then if I don't like it
or don't 100 percent embrace it,

then I'm just being a selfish,
you know, insular asshole.

It's a fear response.
When we're up against a fear,

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

Because there's going to be
some kind of genius there

or some kind of breakthrough.

[SINGS]
Motherfucker, yeah

Metallica. Metallica.

HETFIELD:
Kirk.

Kirk.

Kirk. Kirk!

- Kirk.
ULRICH: Kirk!

- Kirk.
ULRICH: Kirk!

HAMMETT: Yes.
HETFIELD: Kirk.

ULRICH: James is trying to talk to you.
- Sorry, man.

Yeah, it's a bit stock.

Check it out, guys.

HETFIELD: I don't know how you feel.
I'm in a shit mood.

And I'm not digging it right now.

Even last night, I gotta tell you,
everybody kind of looked--

I hate to tell you, looked pretty burnt.

I agree.

HETFIELD: And if we don't start earlier
and end earlier, I'm just--

I'm not gonna be in a good mood
for the rest of this shit, you know?

HAMMETT:
That was totally weird for me.

You hear that, Bob?

Why don't you try getting
a more solid beat.

ULRICH: Regular.
- Oh, well, you can call it regular.

ULRICH: You called it regular.
- No, I'm trying not to call it regular,

because I know it bugs you
when I call it regular.

So a little more solid, then.

Fuck!

HAMMETT: Maybe we should talk
about next week.

HETFIELD:
Well, all next week is therapy.

ULRICH:
Yeah.

HETFIELD: Do we have to do that?
Can we sack Phil?

I mean, we gotta find--
We gotta find a balance to not--

You know, the Phil stuff's important,

and I hope we all feel that that's
an investment in the music.

It's an important part of the record.

[SINGS]
Get all holy again

Let me just go put one together.

[OVER SPEAKERS]
Get all holy again

It's just real confusing sounding.

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

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

But, I mean, I don't see
what it does to the--

I think that's how you hear it, dude.
That's fine.

I'm just trying to do something
different.

I mean, I'm-- I'm used to having
the drummer do the beat part.

You know what I mean?
Holding it together.

What I'm hearing is...

Choose my words carefully here.

Um...

It's pretty straightforward.
And the guitar shit, it's--

You know, it's a little stock.

So I started trying to introduce
some kind of edge to it on the drums.

HETFIELD: Those things we throw out
to each other are complete bullshit.

You know? "It sounds too stock.
It sounds too normal to me."

I mean--

You know what I mean?
You're saying this shit

so you can get your point across
about doing a drum beat.

I mean... You know,
it doesn't hold any water.

ULRICH: To you.
HETFIELD: It doesn't.

I think it's fucking stock. What--?
Which part of that is unclear to you?

I think it sounds stock to my ears.

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

HETFIELD:
Oh, yeah, please write it down.

It feels stock, okay?

HETFIELD: I can't hear you.
- So l--

No, when you say-- You're telling
me what to play, right now.

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

- And I'm telling you it's stock.
- Dude, fine.

You know what, you guys, why don't
we just go in and hammer it out,

all right, instead of hammering
on each other.

We're in shit moods, and we're not
gonna get anything done here today.

ULRICH:
All you wanna do is pick a fight.

I don't wanna pick a fight.

This is so silly.
You're just sitting there going:

"I'm in a really pissy mood and--"

HETFIELD: And I fucking told you
straight up that I was!

- Right.
- And what are you trying to do?

I'm not trying to do fucking shit.

You're just sitting here
being a complete dick.

You're-- You're really helping matters.
You're really good at that.

I was straight up with you,
and I told you, I'm in a shit mood.

And what have you been doing?
Fucking picking at me all night.

Come on, guys.
We've got better things to do.

HETFIELD:
Yeah, I do. I do.

Metallica front man, James Hetfield,
has entered a rehabilitation facility

to undergo treatment for alcoholism
and other undisclosed addictions.

In a statement posted
on Metallica's official website,

the band writes, "James has entered
an undisclosed facility,

and he will continue to receive
treatment until further notice.

Until then we have postponed
all current activities,

including recording sessions
for our new album."

Metallica, whose hard-partying ways
earned them the nickname Alcoholica,

have been working on their follow-up
to the 1998 double disc...

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

Metallica brought a kind of
physicality to rock 'n' roll.

Let's say the Beatles,
the Rolling Stones,

you know, and all that inspired
some of the British rock music

that then developed after that.

And let's say the metal music

and Led Zeppelin and Black Sabbath
and all of that.

And then, out of that again,
then, let's say,

then came Lars
and all of that and being--

So I think that they have certainly
a place in all of that, I think.

Lars had a very good vision
at the time

of where he saw that particular--

You know, the metal music going,
because he could see it

with European ears and eyes maybe.

Don't you feel that it's great for you

to have your father's perspective on
who you are and what you're doing?

I think that's incredible.

You talk about the lineage...
Which we did,

we talked a little bit
about your grandfather.

It's very difficult to admit it,
especially with him standing next to me.

It's easier to talk about it
when he's not in my presence.

But...
Of course it is.

What would you--?
What would you say in private?

- To who?
- To anybody, without him here.

Say it.
You know, what would it be?

Well, I mean, I've already said it
to you countless times.

Well, have you said it to him?

[LAUGHS]

TOWLE:
You brought it up. I didn't bring it up.

What is it you feel you've said
that you're not saying now?

ULRICH: I think maybe
in some ways some of the--

To me that's--

Fear of status quo comes a little bit
from this direction over here.

I think that--
I mean, there's nothing worse

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

and know there's something
on there that sucks.

And he can see right through that
in two and a half seconds flat.

[MUSIC PLAYING OVER SPEAKERS]

TOWLE:
Comments on that one?

TORBEN:
I would say, you know, if you said:

"If you were our adviser,
what would you say?"

Then I would say, "Delete that."

I mean-- I mean,
I don't know for you guys.

For me, it doesn't cut it.
You know?

- But--
- Interesting. I mean, it's interesting.

You know, now-- I mean, other
than the people involved here,

the only other people who've heard
any of this music is Cliff Burnstein.

When Cliff Burnstein heard that, he
thought that should open the record.

TORBEN:
Yeah. I mean, that could well be.

But I'm pretty sure that--

That I really-- That I really--
I really don't think so.

You know?
I really don't think so.

- Right.
TORBEN: For me, that--

That doesn't sound right
or something. You know?

Unless I'm a guy
that's kind of shouting

in some kind of echo chamber.

[LAUGHING]

[SPEAKING INDISTINCTLY]

TOWLE: So I think one
of our responsibilities here

is to act like a band
that's still continuing.

We're going on.
We're doing our exploring.

We're exploring ourselves individually,
we're exploring our relationships.

And we really need to get together,
talk about this,

act like the band exists,
because it does exist.

And if we don't do that,
then we are the coproducers

of the process slipping off the planet.

This is a bit
of a shit sandwich, though.

What does it--?
The unravelling of a band?

And then there were two?

So a good friend of mine
phoned me.

And he knew where James was.

ULRICH: Really?
ROCK: Yeah.

He couldn't even imagine James
doing anything for six months.

I'm prepared for the worst.

I'm pretty confident that, you know,

we will come together
when the time is right.

But knowing when
that time will come,

or not knowing
when that time will come,

is very, very uncomfortable.

I hope that at some point
he will come back

and try and finish the making
of this record.

lf...

If he walked away from Metallica,
I'm not sure

that it would surprise me.

[SINGS]
Say your prayers, little one

Don't forget, my son
To include everyone

ULRICH: I've always felt that James
was a softer, more caring,

compassionate person than he
allowed himself to be to most people.

I can remember
from the Dave Mustaine days,

I mean, when him and Dave Mustaine,
these guys, they started right away

with their big, you know,
chests beating and their mannerisms,

and the whole thing was very much
about this kind of, like, macho--

It was just, like--
I couldn't deal with that stuff.

And looking back on, I mean,
what was that, 18, 19 years ago,

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

from the upbringing
that I come from.

Well, here's to you, my friends.

ULRICH: But then, at the same time,
I'm starting to realizing now

that the sort of depressive things
that show up

as a result of the alcohol
and stuff like that,

it was just very difficult for him
to communicate from the heart.

- You want some or not?
ULRICH: And not hide behind

a lot of these different fronts.

Whether it's alcohol, that gives
him a false sense of strength

or the front man in Metallica

or, you know, macho bullshit
and all that stuff.

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

Now this is the fun part, man.

I want to help him.
I want to be there for him.

And I want to do the best I can

to make him the best person
that he can be.

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

HAMMETT: It's really healthy for me
to be here without any pressure

or anything related to the band

or anyone who would remind me
of the band.

And to recognize what's real.

Our sessions with Phil really stirred up
a lot of things in James

that he thought that he needed
to address.

Mentally, it's really taken--

Taken its toll on myself, you know,
and I'm very worried about him.

And, you know, whenever
you check yourself into rehab,

they don't-- They don't focus on, you
know, the fact that you're an alcoholic.

They go much deeper, you know?
I mean, they go way deep.

They crack you open
and then spill you out

and examine all the things
that are on the table.

I've spoken to him a few times,

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

No matter how bad it gets, eventually
things seem to sort themselves out,

sooner or later.

Whether it's good or bad,
they sort themselves out.

MUSTAINE: I watched the people
around the world say

what a great guitar player Kirk is

and what a piece of shit I am.
And that I got kicked out of Metallica.

And I wasn't good enough for them.
And that I was a loser.

And I've had to deal with that
for almost 20 years.

It's a dreadful experience.

It's been hard, Lars.

It's been hard to watch everything that
you guys do and you touch turn to gold

and everything I do fucking backfire.

And I'm sure there's
a lot of people that

they would consider my backfire
complete success.

You know? And am I happy
being number two? No.

You know? You're just now
encountering something

I've been going
through 13, 14 years.

I've never had a chance
to be able to tell you without

talking to Lars, the guy in Metallica.

Never talked to my little Danish
friend again. You know?

I remember the day you and I talked
about digging a hole in fucking dirt

and smoking hash
through the ground.

That to me is the stuff that's, like--

You know? And we've never had
very many moments like that.

Do I feel some guilt? Yes, I do.

But at the same time,
it's difficult for me to comprehend

that the only thing that you feel

when you look back
on the last 20 years

is rooted in the Metallica thing.

Okay.

Have you ever thought what--?
What I've been through?

I think I've had an awareness
of the pain I caused you.

MUSTAINE:
That's not what I said.

Okay.

Do you have any idea--?

- Of what I put you through.
- No, no, no, what I went through.

I mean, people hate me
because of you.

You know, I walk down the street,
and I hear some piece of shit

say "Metallica" at me,
and they do that to taunt me.

I mean, when I would hear Metallica
on the radio,

I would be like,
"God, I have to turn this off,"

because I just keep thinking,
"I fucked up!"

Right.

I've been waiting for this day
for a long time.

You know? And by no means
is it done because

somebody else very important
is not here.

TOWLE:
Right.

MUSTAINE:
Do I wish it was 1982 all over again,

and you guys woke me up and say:

"Hey, Dave, you know what?
You need to go to AA"? Yeah.

I'd give anything for that chance.

Is there any last words you wanna
say to everybody out there?

Metal up your ass!

Okay, thank you. This is Donna Davis,
and this is Metallica.

REPORTER:
This is, like, a pretty bitchin' club

to play the first fucking gig.

DONKIN: Yeah.
- How do you guys feel?

SAGRAFENA: Stoked.
- Freaking out.

REPORTER: Freaking out?
- Totally. Totally.

It's un-fucking-believable is what
it comes down to. Can I say that?

- You can say whatever you want.
- It's fucking unbelievable.

WOMAN:
Echobrain. Yeah.

I don't know, I just-- All of a sudden
this became such a big production.

I don't understand.
It's like all of a sudden, like--

I get one phone call, it's like everybody
and their fucking brother are in town.

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

in front of, you know, like, 20 drunks
down at some bar or something.

And now, I guess, to my own
ignorance or something, l--

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

So now I'm realizing that supposedly
it's a little more of a big deal than that.

[ECHOBRAIN PLAYING]

- Hey, what's happening, man?
- What's going on?

HAMMETT: Sounded good. Very good.
- Thanks. Thanks, man, thanks.

- Awesome. Awesome.
- Oh, thanks. Right on.

- I'm Lars. How you doing?
DONKIN: Nice to meet you.

Where's Jason?

- Jas?
- I don't know.

I think he went back to--
I think he already fucking bailed.

- He went back to--
- Really?

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

Elvis has left the building.

There's Zach. Hey, Zach.

See, he's even blowing me off.

Jason blows me off.
Zach blows me off.

ULRICH: How quick we become
yesterday's news.

ROCK:
No-- No kidding.

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

ROCK: Yeah, that's Steve over there.
He works at the studio with us.

Well, he is.

ULRICH: Really?
- Yeah.

I remember that guy.

I remember him.
He worked at the studio.

- Which guy?
- Over there.

- The guy in the red shorts?
- No, the guy in the black

that's walking across right now.
Kessel.

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

ULRICH: Who?
- Todd over there.

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

I mean, the only two people
in the Bay Area

not working for him is me and you.

Hetfield's gonna freak.

I'm in fucking hell.

This whole gig has brought
all of this on.

Yes, it has.
It's made me feel like--

- You really wanna come clean.
- It made me feel like such a loser.

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

I start records,
I don't finish them.

I fucking--

[GROANS]

Jason is the future.
Metallica's the past.

I've never had a break like this
in 20 years.

Do you know what I mean? And just--
What's been kind of getting me

is just not knowing.

You know what I mean? Not knowing
and not hearing, it just eats away at you.

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

TOWLE:
What did he say?

He basically said that,
you know, he just--

His family's the priority right now,

and he needs time to work
on his family

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

And that he loves us,
and he just needs for us

to understand that he needs time.

And he also went on
about how difficult it was

talking to you about it,
because he felt pressured.

And, you know, he spoke
about how you always need

to be in control of the situation or in
control of the schedule or whatever.

And he said that this is a time

he needs complete control
of the situation.

And he said, you know, all the
Marc Reiters and the Bob Rocks,

all that stuff, you know, just has--
"I can't think of that right now."

So, you know, I got the feeling that
he kind of lumps in your relationship

with the business side of things,

which was actually
really surprising to me.

But I think that's--
You know, that explains--

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

We're just in limbo, and the longer
James chooses to stay away

from dealing with us,
the further we drift apart.

And I just feel so disrespected.

And that's the key thing.

REPORTER: Was the future
of the group ever in doubt?

Even when James went
into rehab, do you think?

Lars and I, we were wondering

when James was going to finally feel
like he was in a situation

where he can come back
to the band.

And after a certain amount of months,
you know, Lars and I started to think:

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

And that was a really big question
on our plates.

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

ULRICH: James wrote something in the
new issue of our magazine, So What!

He wrote a kind of
a little handwritten note.

That note was probably
the most heartfelt thing

that I'd ever seen come
from his mind.

Tomorrow is shaping up,
or is gearing itself up to be,

yes, the first sit-down
with one James Hetfield post-rehab.

Why are we filming this?

I don't know.

We're in very different places.

Or at least I am in a very different
place than I was from the Presidio.

That's a huge understatement.

So we just have to find that if--

You know, if the movie will be
as intense, you know.

To me there was a lot of intrusion,

and I kind of went with it and felt--

I felt uncomfortable.
I felt uncomfortable with it.

You know, a boom
following me around,

and it just felt like I was
in the spotlight all the time.

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

While we were in the Presidio
filming you guys playing,

- did you feel it then too?
HETFIELD: Yeah.

It was-- It was pretty much
all the time.

SINOFS Y: Do you think
you're in a better place now?

We gotta find some...

HETFIELD:
I'm definitely in a better place.

Some place that
makes you feel comfortable.

The last thing we wanna do
is have it impede on your music,

because that's more important
than anything.

You know, one answer
may be there--

Maybe there shouldn't be a film.

I mean, that's the range of possibilities
that we should really think about,

because, I mean,
why do you guys want a film?

Even you said you hope
that the film is made. I mean--

That's a big question,
because, for me, it was really just--

It came along with being in Metallica.

"Hey, we're gonna do this."
"Oh, okay."

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

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

You might look at it as a friend.
To me, it's been a beast.

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

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

You know, because you were the
champion of that fifth-- That entity.

And, of course,
you gotta find the right balance

between what
everybody's personal needs are,

but if Metallica collectively decides
to do this,

then I think Metallica
can make it happen.

I don't know. That scares me again.

Metallica is three individuals.

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

But I still think that the priority
is the collective

until all the people involved
in the collective

say that the priority
is the individual.

And so far, you're the only one
that said the priority is the individual.

I haven't said that.
He hasn't said that.

I haven't heard him say that.

So I feel that it's still--
There's still an unbalance there.

HAMMETT: We met from, like, maybe,
I don't know, six or eight weeks

before we actually picked up
the project again.

That was when we came in,
and it was the first time

we actually used this studio, HQ.

Anyway, here we are. HQ.

Right on. Well, we're here.

And the camera's here.

And my friend the boom is here.

ROCK: Hovering.
- Yeah. Cool.

Do you want me to play the music?

HETFIELD:
Yeah, let's go. I'm--

ROCK:
I'll put the big speakers on.

HETFIELD: I was afraid to pick up a
guitar and fearful of what would happen.

Would I not like it? Would I love it?

Would I not be able to write
anything cool?

Would I write just recovery stuff?

James.

It was probably the best sound
I've ever heard in my life,

just the fact that you
were playing guitar in here.

MAN: Hey, Zach.
- Right on, brother.

ULRICH:
Play a riff.

ROCK: What?
- Nothing.

See? It feels pretty good, doesn't it?

HETFIELD: Yeah.
- It feels like the next day.

A year later, the next day.

It will be interesting
working on this schedule,

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

HETFIELD: And kind of the overview is,
you know, the less time we have here,

the more productive we'll be,
in a way, you know?

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

That all sounds really good.
Okay. Now, let's revisit it in a week.

So I think that, don't talk it, walk it.

At some point, we are gonna
have to work a little harder.

ULRICH: Yes.
- You know, when that feels right.

HETFIELD: What do you mean?
What does that mean?

- What does that mean?
HETFIELD: Yeah.

When you say harder,
does that mean more hours?

You know, if we can go deep
real quick,

be intense...

I spoke up because,
"What does that mean,

we have to, you know,
do eight hours now?"

- And I got fearful right then.
ROCK: That's okay.

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

HETFIELD: To do eight hours?
ROCK: No.

ULRICH:
Any lyric ideas?

HAMMETT [SINGS]:
I'm searching for--

ULRICH:
Searching for doughnuts.

HAMMETT [SINGS]:
Searching for doughnuts

[SINGS]
Searching for doughnuts

What was the whole thing
from yesterday?

- The Buddhist--
HAMMETT: Guarantee-- What?

No, the Buddhist thing that you had.

Birth is pain, life is pain,
death is pain.

The cycle of suffering.
It's called samsara.

ROCK:
Where are you with this, James?

Somewhere else.

Where's today's sweat going?

"I've worn out being afraid.
My endless parade

of fear that I've constantly made."

"My lifestyle determines
my deathstyle.

A rising tide that pushes
to the other side."

[MUSIC OVER SPEAKERS]

[SINGS] I've worn out being afraid
Endless parade

Of fear that I've constantly made

Frantic tick tick tick tock
I gladly trade

Oh, I need know the answer
Where I'll be laid

I can't find it

- It just-- It doesn't work.
ROCK: The great--

You did one great thing.
You went:

[HUMMING]

You did this one syncopated thing.

Do the whole verse like that.

HETFIELD [SINGS]:
I've worn out always being afraid

An endless stream of fear
That I've made

Frantic tick tick tock
I'll gladly trade

It's weird. It's weird. And it works.

ULRICH: No, but the second time
you felt really comfortable with it.

HETFIELD:
Right.

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

HETFIELD:
I gotta get rolling, guys. Sorry.

HETFIELD: I feel like the bad guy
saying, "I gotta go because it's 4:00."

If we all know, and we all do know,
that 4:00 is kind of the stop time,

then, I don't know, then I won't feel
like the heel here, saying:

"I gotta go eat dinner
with my kids," you know.

Because I have a feeling
I'm gonna walk out of here,

and you're gonna go in there
and listen to this stuff,

- and it's like, that's not right.
ULRICH: That's not.

I mean, if I wanna listen to it,
I'll go and listen to it.

But we should at least listen to it--

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

Maybe Bob doesn't wanna sit
in there, and when I'm gone,

things get talked about
and decisions are made.

And I feel I walk into something
that's already kind of decided.

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

I don't like that feeling.

HAMMETT: Well, that's, like,
just like the last 15 years,

HETFIELD: Yeah.
- for me.

Well, let's talk about this
tomorrow, then, all right?

Or do you wanna take time out--?

HETFIELD:
No, I don't have time right now,

because it's past 4.

It's hard to introduce structure
into this, and I'm trying.

TOWLE:
So, what do you think, Lars?

Can we hear the song
from yesterday?

That we all heard together?

HETFIELD:
How is that different?

Because we all heard it
together already.

TOWLE:
He wants to be part of everything.

HETFIELD:
Was I in there?

Yes, you were.
We all heard it together yesterday.

ROCK: You came in.
HETFIELD: All right.

As long as you don't talk about it.

TOWLE:
Is that a way around it, or--?

HETFIELD:
That is definitely a way around it.

TOWLE: How about if
we just save up the tension?

Seriously. I mean, that's okay,
because tension produces results.

[CLASSICAL MUSIC
PLAYING OVER STEREO]

HETFIELD: I'm excited to see
what you learned here.

TEACHER:
Up and back. Up and freeze.

What is this called?

CHILDREN:
Arabesque.

Super proud of you, sweetie.

I'm so glad I got to see it.

I'm working on--
Really hard, on being

the best dad and father
and husband I can be.

And the best me.

TEACHER:
You worked hard.

HETFIELD: I don't wanna lose
any of the stuff I have.

I know it could all go away
at one time,

and that's a tough part of life.

And then-- And it's just--
It's a total rebirth for me,

looking at life in a whole new way.

You know, all the other drinking and
all the other junk that I was stuck in,

it was so predictable, so boring.

I'm out there looking for excitement
in all this stuff.

The results are the same, man.

I wake up the next day somewhere
in some bed,

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

and I'm drunk, completely hung-over
and have a show to do.

And the result is the same.

You know?
When life now is pretty exciting.

You don't know
what's gonna happen

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

In the moment.

[MUSIC PLAYING
OVER SPEAKERS]

My lifestyle determines
My deathstyle

A rising tide
That pushes to the other side

My lifestyle determines
My deathstyle

A rising tide
That pushes to the other side

I think those two feel the best to me.

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

some charm, don't you think?

ULRICH: Yeah, I'd be interested
to hear the first one.

From the first take.

Well, let's play it.

- Is it okay?
ULRICH: Are we allowed?

- Yeah, we are.
- Do we have--?

- We never really settled that, did we?
TOWLE: We didn't settle it.

ULRICH: Yes. We're allowed.
Well, I'd like to hear it.

Feel free to leave the room, whoever
doesn't want to be part of that.

HETFIELD:
I felt like it was an agreement.

We're gonna work from 12 to 4,

and then we would not work.

ROCK: Well, if Lars and I
listen to something

or go through the Presidio stuff,

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

It's for you.

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

What the fuck is that?

HETFIELD:
I don't know, my mind gets lopsided.

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

The harder it is to get that back.

TOWLE:
What is it you have to get back?

Some control. Some sense
of involvement in the band.

When I was running this morning,
I was thinking about seeing you today,

and the word "fuck"
just comes up so much.

Seriously, it's really true.

- Is that in anger?
- No, just, "Fuck!"

"Fuck."

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

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

You always talk about me.
You use the word "control"

and "manipulation" a lot.
I think you control on purpose,

and I think you control inadvertently.

I think you control by the rules
you always set.

I think you control by how you
always judge people.

I think you control by your absence.

I think you control all of this
even when you're not here.

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

I don't understand all this stuff,
okay?

I realize now that I barely
knew you before.

And all these rules
and all this shit, man,

this is a fucking rock 'n' roll band.

I don't want fucking rules.

I understand that you need
to leave at 4.

I respect it.

But don't tell me I can't sit and listen to
something with Bob at 4:15 if I want to.

What the fuck is that?

You know, I don't wanna end up
like Jason, okay?

I don't want to be pushed away.
I don't want it to happen twice.

Let's do it, and let's fucking do it
full-on or let's not do it at all.

Fuck. See?

Fuck.

Fuck!

Fuck!

MAN 1:
Yeah!

MAN 2: Yeah!
MAN 3: Metallica. Yeah!

MAN 4:
Rock 'n' roll.

[GONGS]

[LAUGHING]

MAN:
Let's hear it for Elena!

HETFIELD: We're not anywhere near
getting any issues resolved.

TOWLE: Well, let's get them.
That's what we're here to do.

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

and then mainly being in the room
with Lars, playing music together.

I guess I had higher expectations,
and I don't know,

maybe I'm disappointed in myself.

Maybe... I don't know.

You wanna talk about that?
I mean, what does that mean?

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

[SINGS]
Searching

Seek and destroy

Searching

Seek and destroy

Searching, yeah

Seek and destroy

ULRICH:
If you are not having any fun,

let me let it be known to you that
I'm not having a lot of fun either.

But I've-- I am not interested
in playing music with you

if you're not happy in there.

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

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

Is there enough that connects us
to hold on

for a way through this?

I don't know.

There are moments
where I really doubt it.

Really doubt it.

HETFIELD:
I'm glad you said that.

Because I really, deep down,
feel sometimes that it's just...

There's just some empty, just...

Just an ugly feeling inside.

Just... I don't know.

How much work
do we gotta put into this?

- Then you're doing the:
HAMMETT: Yeah.

ROCK: Let's do our little
roundtable thing right now, quickly.

Everybody's gotta participate.

Lars, come on.

[MUSIC OVER SPEAKERS]

Hey, Castor, why don't you look at all
the boys-- The men, I should say.

And say bye to everybody.

[IN UNISON]
Bye, Castor.

HAMMETT:
Thank you for coming.

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

- Bye, guys.
HETFIELD: See you.

ROCK: So, what's the deal? How does
everybody feel about what they heard?

The chorus lyrics will definitely work
in that feel.

- Yeah.
- That kind of intro bit that's on there.

- What about you? What do you think?
ULRICH: It's good.

You think it's good? Was there
anything in particular that you...?

No, I wasn't paying
attention that detailed.

That's just-- It's a lot of good stuff.

I can take you back, when me and him
were alone in my room, in 1981,

listening to the new wave of
British heavy-metal singles.

As soon as there was somebody else
in the room,

it just became this, like-- It just had
a very different energy to it.

- Is there any of that that's usable?
- Yeah.

That's a fuck-- That's a fucking bitch.

ROCK:
Let's do another version of it, okay?

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

was when Mustaine came
into the picture.

When James was with Mustaine,

he became like he never
really cared about me.

One time during the recording
of the Ride the Lightning record,

where me and him went out and--
So 42 beers later,

it was like, "Oh, dude, I love you."

But it could never have materialized
until it got to that 42-beer point

and we were alone.

ROCK:
That was good.

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

ROCK: Yeah, I'm sure.
It's good practice, though.

ULRICH: For what?
ROCK: The road.

ULRICH: When?
- A couple years.

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

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

That's what's driven us further.

ROCK:
What feels good to you?

I don't know.
I'm gonna try a bunch more.

Can you try maybe like a:

[IMITATING GUITAR]

Almost like a strum.

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

And then my mom passed on
when I was 16.

The only thing I felt that I really had,
at that point, was music.

My wanting to keep everything
under control,

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

I'm afraid to get close to people
because I don't know how to do it.

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

ROCK: Cool.
- That last one was pretty good.

ROCK:
Yes.

HETFIELD:
That's the first amp I ever owned.

That right there.

I think we have it.

HAMMETT:
Okay.

ROCK:
Okay. Now we gotta talk about it.

You started talking about the idea of
the guitar solo, as we have known it,

maybe being something that was
a little outdated

and maybe reintroducing
some riff-o-rama things.

But can I say something
that I think is bullshit?

This whole fucking solo out,
you know, dates the whole thing.

That's so bullshit. You know?

If you put a guitar-- If you don't play
a guitar solo in one of these songs,

that dates it to this period.

And that cements it to a trend
that's happening in music right now.

I think that's stupid,
and I think it's totally trendy.

ULRICH: I know that's not what
I said. It's always been about,

like, where could it go
that's kind of new and interesting,

instead of just repeating
something from the past.

I'm not interested in playing
traditional guitar solos anymore.

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

It's just boring, you know.

To me, if you can add a colour
to the song

that satisfies you and works
for the song,

then that's what we should do with it.

But I don't wanna get in the position
where it's like,

we put something down on the tape
to satisfy your ego,

my ego, Lars' ego or James' ego.

I think it should serve
what's going down.

Like, in other words, there shouldn't be,
like, a rule of no solos.

There shouldn't be a rule of solos.
It should be--

And I agree.
I mean, it really is, to me,

all about serving the song,
and, you know,

I feel much better about that,

because, you know, I just don't wanna
follow certain trends

that I see other bands following.

We don't necessarily have
to stick to our traditional way,

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

HAMMETT: I'm very comfortable
with my role in the band, you know?

I've actually always been very, very
comfortable with my role in the band.

I'm not a really egotistical person.

[CELL PHONE RINGING]

In fact, I've-- I spend a large
amount of my time trying to, like,

downplay my ego
and get it even smaller and smaller.

That's part of my beliefs.

I try to be an example
of being egoless to the other guys.

Hi! This is Kirk from Metallica.

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

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

Twenty years' worth of integrity,

and, you know,
credibility and all that.

The next five minutes
is gonna change all that.

"Hey, man, keep it locked right here,
and--" What?

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

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

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

In order to suck both
nationwide radio chains off,

we are now standing here
having to do this fucking stupid thing.

Up to 50 motherfucking grand,
goddamn it!

Win a bunch of money.

And walk away.

This is stupid!

Sharpen that booger-picking finger

and be the 50th--

Hey, it's Lars from Metallica. I'm
about to stick 50 grand up your ass.

One dollar at a time.

I was telling Lars last night
that was hard for me to see

- you guys squirm like you were.
- Yeah.

Because I wanted to say anything,
and it's not my place to say anything.

I can't imagine Bono or the Edge
going on the radio,

saying what you guys
are being asked to say.

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

BURNSTEIN [OVER PHONE]: Should
we catch up on all this radio stuff?

Okay. Now, they're
the biggest chain in America.

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

And if you guys think it's crappy, as a
radio thing, those guys think it's good.

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

So strategically--

Why are we doing it, then?
Just to make them happy?

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

And they won't say, "Fuck you,
you never do anything for us.

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

People would do that?

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

BURNSTEIN:
Yes, James. They would.

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

That's so funny.

- It wouldn't stop them from trying.
- I'm glad it's your world.

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

"Wash my--" "I'll wash your back
so you don't stab mine,"

- Right.
- is more like it.

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

REITER: Well, you know,
we should have this conversation

some more next week.

- Later.
BURNSTEIN: Okay.

REITER: See you.
BURNSTEIN: Bye-bye.

That's insanity. "We're gonna hurt you
because we didn't get something."

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

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

HETFIELD:
I guess I just want something

to rhyme with "mine" right now.

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

Wash your back
so you won't stab mine.

Step on a landmine.

Keep you in my back pocket.

ROCK:
Blind leading the blind.

I'll rip out your fucking spine.

HETFIELD:
Okay.

ULRICH:
All right.

[MUSIC PLAYING
OVER SPEAKER]

[SINGS] Wash your back
So you won't stab mine

Get in bed with your own kind

Wash your back
So you won't stab mine

Get in bed with your own kind

- That was really good.
HETFIELD: Are you pulling my mike?

- That was really good.
HAMMETT: It was.

- Really good.
HETFIELD: So then, the part--

SINGS:
Landmine

Landmine

No landmines

No landmines
Rock lobster

Wash your back
So you won't stab mine

Get in bed with your own kind

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

ROCK: Did you--?
Did you hear what Lars said?

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

- That's what you said.
- That's not what I said.

ROCK: What'd you say?
- I said, I stopped sulking.

ROCK:
Oh, sulking.

ULRICH:
Whoa! Whoa! Whoa!

[SPLASHES]

Shit!

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

ex-bassist Jason Newsted has been
apparently more musically active

than his former band mates.

While Metallica drummer Lars Ulrich
was pursuing Napster,

and singer James Hetfield
battled alcoholism,

Newsted hooked up in the studio
with legendary metal band Voivod.

Our own lann Robinson got all the
answers on Newsted's new ventures

and the current state
of his relationship with Metallica.

ULRICH:
A good friend hinted

that Jason would really like
to join the band again.

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

ROCK:
I'll be quite honest.

I think the heart and soul of Metallica,
from this point on,

and has been for a while, since
Cliff died, is the three of you guys.

I think you will never, ever, ever find
a permanent bass player.

My opinion.

WOMAN: There was also tragedy
in rock this week.

Metallica's bassist Cliff Burton
was killed in a bus accident

while the band was on tour
in Sweden. He was 24.

MAN: Metallica bassist Cliff Burton
was buried on Tuesday

in the San Francisco area.
Remaining members of the band...

Jason Newsted.
He replaced Cliff Burton,

who was killed in an auto accident
in September.

Jason told...

It pisses me off that Cliff left us

because we'd never have
that initial four guys

just going on and on.

You know, when I talk about it,
it's like that happened for a reason.

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

TOWLE: I gotta capitalize
on what's being said right here.

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

that treasure the three of you.

Treasure every moment
that the three of you have.

And the four of you have.
You know, treasure--

Treasure it because you never know.

And one of the sad things
that happens when somebody dies

is that people have never
taken the time along the way

to really embrace each other
every day. You know?

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

[SIGHS]

HETFIELD:
Phil has been like an angel for me.

He's been sent to help me.

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

you know, a father figure,
the dad that never was

and all of that, that it makes
me comfort--

It comforts me.

But also, we don't want to have
our hand held through life.

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

There'll be a time for that.

And we just have to discuss
when that is.

TOWLE: You know, there is purpose
behind the way I do it.

I think it's very effective.

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

It sometimes is a distraction.

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

I thought I'd do the whole thing,
since you guys can't do anything.

If you guys could run something,

then it would be easy to step back.
Because you can't, you know...

Is today the first day you're
gonna play drums?

- I don't wanna get into that.
- Okay.

No. I don't think
I'm gonna do the drums.

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

- Yeah. I think it's time.
- Although, actually, I'm kind of...

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

- I haven't sung.
- Right.

We got to a point
where we sat down and told Phil

that we wanted to scale Phil back
to every other week.

And we were getting ready
to implement that

four weeks from when
the decision was made.

And two weeks
after the decision was made,

we had to sit Phil down and say
that we were not ready to do that.

Because we got really...

I don't know. Scared, I guess.

There were some things
that were going on at the time

that, really, Phil helped with a lot.

ANNOUNCER: Live from the
news leader in Northern California.

NewsCenter 4. Night Beat.

The Metallica v. Napster battlefield
moved to San Mateo today.

Metallica drummer Lars Ulrich
delivered a list of screen names

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

REPORTER 1:
Metallica is suing Napster,

a website that provides software

which allows people to download
music on the Internet without paying.

Metallica drummer Lars Ulrich testified
before a Senate committee

earlier this month that Napster has
"hijacked our music without asking."

REPORTER 2: The band said
that over 350,000 people

are downloading its music for free.

REPORTER 3: A group of former
Metallica fans staged a protest

at the courthouse.

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

I'm gonna be trashing their CDs.
I took all my CDs,

and I'm gonna be destroying them.

Are you proud
of what you achieved with Napster?

REPORTER 4: Are you proud in
hindsight of what you pulled off?

Being the most hated man
in rock 'n' roll?

Yeah, that was-- That was my goal.

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

Everything's going a little too well.

Let's see, I wanna turn myself

into the most hated fucking
asshole in rock 'n' roll, yeah.

Like, good afternoon, my name is, you
know, like, Lars Ulrich, from Metallica.

I worked for years to get
where I am today.

Me and my buddy
James Hetfield here

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

Beer, good.

Who do you think you are?
I mean, just, you know,

because you, like, made us rich,
you think you can get free stuff?

Songs that we spent upwards
of, you know,

like 24 to 48 hours writing
and recording.

Our team of lawyers and researchers
have your names,

and you Napster users, we'll see you
in jail getting gang-raped.

CARTOON HETFIELD:
Money, good! Napster, bad!

ULRICH: Some minutes
I have all this strength,

and I can stand there and just go,
"Fuck you, fuck you, fuck you.

I'm bulletproof, it doesn't matter.

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

You know what I mean?
Five minutes later,

it means nothing, and I just
become really vulnerable.

You know, we never sat there
and thought

about where Napster
was gonna end up.

We never sat there and talked about
what shots we were gonna take.

We just sat there and thought about,
this was something we had to do.

ROCK:
So wait a sec.

That was awesome!

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

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

And then maybe it could go
lyrically to:

"What difference did l/we actually
make?" It's a great question. Great.

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

but remain unanswered,
I think that's really strong.

[SINGS]
All the shots I take

What difference did I make?

All the shots I take

I spit back at you

ROCK:
"All the shots I spit back at you."

That's awesome, dude.
Fucking...

ROCK: Fuck me.
- And the "what difference did I make"

- fit right in.
- Really awesome. Right on.

ULRICH: These two kicks,
are they the same as--?

GILLIES: It's different.
ULRICH: Okay.

Go to the master. What really gets
my dick hard is starting on:

- Boom, boom.
GILLIES: I can do that.

[IMITATING DRUMS]

You know, there.
Then these are awesome.

[MUSIC PLAYING]

CRAZY CABBIE:
Lars, what I wanna know is,

do the four of you just go in there
and just jam?

You're hearing excerpts
of three-hour jams.

You're hearing-- Look at it as a funnel.

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

- Right.
ULRICH: You can almost equate

- what we're doing now to arranging.
- Yeah.

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

He is. He's Pollock,
the funnel-arranger guy.

CRAZY CABBIE: It's gonna sound
fucking amazing at the stadium

with 100,000 people
fucking raising the evil horns

up to the sky and saying,
"Metallica, baby."

[LAUGHS]

Oh, can we fast-forward
to that right now?

[CHEERING]

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

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

We're very cognizant of the fact

that things have changed
for you guys.

And they've changed
for many, many reasons.

Why can't we figure out what works
best for everybody

in their personal lives,
plus what works best as a business?

What if you just do a stadium tour,

where you play Friday, Saturday
and Sunday,

and then you go home
the rest of the week?

I just wanna put out that,

you know, it might be a kind
of uncomfortable vibe here

because people might not know
how I'm feeling about touring,

and I don't really know either.
You know? Until I get there.

And, you know, I wanna tour.

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

I don't wanna go out there--
I don't know what it's like.

Doing things for the first time again, as
I think I've said before, it's a little scary.

[CHEERING]

I don't know about you,
but it's, like, summertime.

And to me, it's fucking
beer-drinking weather, yeah?

Yeah. Well, I'm gonna take time
right now and fucking have myself one,

and I just wanna say cheers
to all you guys

and fucking thanks for coming down
and getting nutty with us. Cheers.

[HETFIELD SINGING SCALES]

I blew my voice out
on the "Black Album,"

doing "So What," the cover song.

And we had a bunch of Metallica
songs to do after that.

And I went to this coach. I didn't--

I didn't wanna go. I was scared.

I thought he was gonna make me
sing operatic.

But I went there, and we
just did warm-up stuff like this,

and this is the tape. And I've had
this same tape for-- Since then.

REPORTER:
Was there a turning point?

Yeah. I think when we had
accumulated what we thought to be,

you know, a great kind of...

I don't know,
cross section of material,

we took stock, so to speak.

The only songs that
are gonna make it to the album

are the songs that
all four of us vote on.

And out of 30-plus songs,
only four songs got all four votes.

[OVER SPEAKERS]
Sweet Amber

Sweet Amber

Sweet Amber

How sweet are you?

How sweet does it get?

How sweet are you?

How sweet does it get?

TOWLE: Yeah, right.
BURNSTEIN: Wow.

I mean, there's some explosive playing.
The shit just takes off.

It's like you guys have spent
all this time

to come back to find yourselves.

- That's what it sounds like to me.
ULRICH: All right, 17 to go.

ROCK: Yeah, how are you doing?
Do you wanna hear more?

- Wanna hear more?
BURNSTEIN: I'm just getting started.

[OVER SPEAKER]
Squeeze all within my hands

Choke within my hands

I'm madly in anger with you
I'm madly in anger with you

I'm madly in anger with you

Time, time, times like this

- Boy
- You got what you're coming to

- So
- Destruct the power within all

Across your spine
So that gets broken too

Temptation, fill no hole

No

No, no

Temptation

You know, the first four songs
you've played me,

all pretty much knocked me out.

Okay? But if you've got it going, you
want it to hammer all the way through.

You want people to be able
to really listen and say:

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

There's no fucking letup."

Fuck ballads. You know?

There definitely is some Presidio stuff
that I felt, maybe--

You gotta analyse it. Maybe you're

watering it down in some way.
That's all.

- It's your call.
HETFIELD: Yeah.

BURNSTEIN:
I know that...

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

It came out.
It flowed, totally, instantly.

"Temptation" kind of sums up
all the lyrics

that are in this new kind of project.

So-- And that-- And it's cool
because that was done

long before recovery
and all that, so...

I mean, I can tell that you're singing
your heart out.

You're definitely wearing your heart
on your sleeve on that song.

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

Is there a song in there?

Potentially.

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

into something better than it is
or something

that could probably
get pretty fucking close

to being something
on a Metallica record.

You know, but then it just goes away
from what the purpose--

At least, what I see the purpose
being today,

which is show up with what you--

You know, what are your A-pluses?
You know?

Well, when I hear Lars talk
about "We can whip anything

into decent shape," I agree.

And we did that on
Load and ReLoad.

And this is us trying to choose

before we take it to those extremes,
you know?

ROCK: Exactly.
- That makes sense.

HETFIELD:
That was a pretty major thing

that I think Lars and I
clicked on together,

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

Oh, it's like, "Oh, okay."

It's like it takes the cutting edge
off of it

or the personal attack off of it,
you know?

Things are a lot less dramatic
than they used to be

within the chemistry
of the four of us.

Less head games, abuse of power
and soap-opera bullshit.

But can we just do one thing?

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

I just want you to scream,
"Fuck,"

as hard as you can fucking scream.

[MUSIC PLAYING]

[SCREAMS]
Fuck

ROCK:
Okay. It should be slower.

It should be more like:

I want four of them. Do it again.

WllG:
Lars is selling paintings

because he's ready to move on
to the next ten years

or next decade
or next phase of his life.

And a lot of what these paintings and
a lot of what this house represents

is the last ten years versus
a husband and father of two.

He's getting rid of some pretty
major and important pieces

in the majority of his collection.

He's wiping the slate clean.

ULRICH:
Midnight, New York City.

One last look at the paintings.
Oh, well.

- It's a celebration.
- This is a celebration.

- Of how far you've come.
- It's a celebration.

With Phil Towle.
This is a celebration.

Some paintings have visited us
for a while.

And now we wanna share them
with other people.

- Okay?
- Right, yeah. That's it.

- It's a choice.
- Okay, cool.

I never looked at it as an investment,
but I always looked it as--

Versus some of the other guys
that may be, like, taking

a big pile of money and parking
it in the bank,

I would always, like, take a big pile
of money and park it on my wall.

Wow.

I can just feel some of the adulation
that other people have thrown

at these paintings,
and that makes me proud.

I've never been this close to it.

These are great paintings, whether
they sell for a dollar or for $100 million.

The only thing that matters
is what pleasure

and what feeling you get out of that
moment you have with that painting.

And it's never been
about dollars and cents.

It's always been about something
greater than that.

But, fuck, they do look awesome.
I mean, fuck.

It's been a good time.

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

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

- It's weird, I don't know why.
- Yeah.

[GLASS SHATTERING]

Shit.

AUCTIONEER:
$300,000.

$300,000
on the telephone.

It's two of you in the room,
selling right, fair warning at $300,000.

Jean Paul, $300,000.

[SIGHS]

Twenty-one is the moderna
on the reverse,

the Jean-Michel Basquiat showing
on the screen there on my right.

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

AUCTIONEER:
$900,000. At $1.9 million.

1.9, 2 million.

AUCTIONEER: $1,100,000.
$300,000.

ULRICH: Can we get more cocktails?
AUCTIONEER: $220,000--

- 580.
ULRICH: 600. 4.5.

ULRICH: 720.
AUCTIONEER: $3 million.

- Come on, 4.
AUCTIONEER: For you, sir, $260,000.

$680,000.

And selling at $5 million.
Brett, yours at 5 million.

SKYLAR: All right.
ULRICH: Hi.

It went well.

I got myself drunk to numb the pain.

Um...

But it went well. I'm happy.

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

Because there is a way to help
a person-- Persons get in a zone.

To-- I mean, you could consider
seriously doing some meditative,

or apply the meditative principles
to music, all right?

I don't want this to sound
too way-out,

but if you do that,
the four of you are out there,

and you do it anyway, unconsciously,
you do a musical meditation

by starting to jam with each other.

ROCK: I just think,
no matter how you look at it,

I've been making records a very
long time, and it really comes down

to how much work you put in
and how much...

You know, it's just tough. Sometimes
it's just-- It's just tough work.

And I like to stretch the frontiers
of what people accept, okay?

And I understand about that.
And l--

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

"The zone. Admission is believing."

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

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

So everybody's...

You know, we've had
a fabulous few weeks

with a lot of great productivity,
a lot of really good stuff going on.

The more we feel good
about ourselves and each other

and the higher we ascend,
the more challenging

it will be to our psyches.

You know, I understand it.
I embrace it and all that stuff,

but sometimes it just bugs me.

I think the-- That thing was
kind of bugging me yesterday.

All of them around the studio,
it was just kind of, like--

That way of thinking, it just
doesn't work for me all the time.

And I was a little pissed off at it,

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

TOWLE:
I'm glad to know that's how you feel.

I agree with that wholeheartedly.

And if you feel that way
and wish to share that more directly,

I'd appreciate that too.

ROCK:
Rather than tearing the signs down?

- Yeah.
- We pay him $40,000 a month

to be pretty much available
at our beck and call.

So when this record's done,

do we want to collectively end
the $40,000-a-month, full-on thing?

I'm afraid he's under the impression
that he's, like, in the band, you know?

HAMMETT:
Yeah.

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

But after that I don't-- I don't see him

holding our hand
any further than that.

So is that something we wanna
present to him, then?

HAMMETT: Yeah. I think that--
HETFIELD: Okay.

HAMMETT: I think it's something--
Yeah, I think it's something

we need to do
for our own well-being.

HETFIELD: Yeah, because
I'm feeling uncomfortable.

ROCK:
Yeah, hello? Hello, hello.

Are they on the phone?

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

Oh, okay.

ULRICH: James Hetfield is in the room.
HETFIELD: Hey there.

BURNSTEIN: Hey, how you doing?
HETFIELD: Pretty good.

BURNSTEIN:
I'll let Marc do the talking.

He's the one who's
been talking to MTV.

REITER: Okay, this afternoon,
the official offer came in for ICON.

- Assuming you wanna do it.
ULRICH: Let's do it.

Cool, man.
Yeah, I'm jazzed about it.

REITER: The only thing
that you guys are required to do

is show up for rehearsal
and then show up

for the show on the 3rd,
and at the end of the show

you guys take the stage
and perform a little bit.

HAMMETT:
So, what's Jason's role in all this?

HETFIELD:
What? Who?

REITER: Cliff? I mean,
I don't think Jason has any role.

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

[LAUGHING]

REITER: Nice one, Cliff.
BURNSTEIN: Thank you.

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

the introductory performance
of Metallica with a new bass player,

whether it's the new member
or whoever.

When is it supposed to be?
May what?

May 3rd. Saturday, May 3rd.

See, that means you'd have
to hire someone by the 2nd.

ULRICH: Okay.
- I think it can happen.

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

ULRICH: Because we didn't get a new
bass player, I think a lot of people

thought maybe that we were
having trouble finding one.

We never started looking for a new
bass player until two months ago.

We worked on ourselves,
identified what part can we work on

so when someone else steps in,
it's clean.

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

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

So we're gonna need
a fourth member.

You know, we know you're
a great bass player. It's the vibe.

We need to make sure...

TOWLE: Jason kind of triggered
this whole thing a couple of years ago.

And I can't believe it's been two years.
And now we've gone through some...

ULRICH: We realized that
we kind of wanted somebody

who was, like, our age.

Somebody who had been
around the block a couple times.

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

and this band.

And last time, when we did
this 14, 15 years ago,

16 years ago, I guess it was,

we literally sat down and started
auditioning bass players,

you know, the day after
the funeral for Cliff.

So now it's 16 years later,
different circumstances.

HARMON: When Jason left,
he took his basses with him.

Do you want a four or five?

Whatever.
What five-strings do you have?

This one's a five-string.

SINGS:
Keep searching

Keep on searching

This search goes on

This search goes on

HARMON: The band-- These guys
collectively probably own,

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

Wow.

[SINGS]
On and on

Tick tick tick tick tick tick tock
Frantic

Tick tick tick tick tick tick tock
Frantic

Tick tick tick tick tick tick tock
Frantic

Tick tick tick tick tick tick tock

You went into
another voice there, dude.

Which one of me are you talking to?

ULRICH: Think that we should just
spend the next two and a half hours

with this guy.

Don't you?

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

I guess I just feel this is
just kind of, like, weird to keep,

like, just doing our own thing.
It just feels not welcoming.

HETFIELD: This morning I heard
him say he was pretty comfortable.

It's not about what he says.
It's about what I feel.

All right?
Are we cool, James?

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

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

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

You know,
when you say those things.

Not that I wanna break up
what you guys are discussing,

if you wanna go deeper, you know?

But I think what might be really good
is to treat this with respect,

go out and do this...

Metallica stuff?

- I could try "Battery."
ULRICH: "Battery"?

You can play that fast
with your fingers?

Yeah!

[SINGS]
Battery

That's a fucking pretty mighty
bass sound you got going there.

HAMMETT: Yeah, it's fucking--
- I don't know.

It's the Mesa and the Hiwatt.

Is there anything else you know
as well as that?

Cliff. It was just like you saw Cliff,

and me and James went,
"He's in our band, there's no question."

He hit it out of the park.

And that's where it
sort of gets interesting.

Because if Cliff Burton
showed up today,

maybe he wouldn't be the guy either.

I mean, the three guys that I like
all have unique features

that I would love to Frankenstein,
you know?

- Yeah! Definitely.
- Some kind of monster?

That would be great.

I don't think you should settle.
I think you should get the right guy.

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

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

in the same situation you did
with Jason.

A four count, then...
And into the solo.

Just follow.

He was the first guy of any of them

- that didn't look like he was struggling.
- That's what I told Bob.

Do you know what I mean
about, like, it--?

You know, with some
of the other guys,

it was sort of 10 percent
over their capabilities,

or something like that. You don't
feel that with this guy at all.

It's like the last three songs,

like "Sanitarium," "Nothing Else
Matters" and what was...?

- "Sad But True."
- "Sad But True," they were flawless.

I looked over at him
during "Whiplash,"

and he was just right in the pocket
and in there.

And then afterwards, when he
played it alone with his finger,

it hadn't been played that way
since Cliff.

It's just, like:

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

- Yeah.
- Yeah, it's three picks.

All right, are we
gonna sack Bob now?

Well, the second time
you came back,

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

that you make us play better, man.

You make the band sound
so much better.

- So solid.
- How do you feel about that, man?

Well, I feel awesome, man.

- You're the chosen one.
- You looked coolest.

And we want you to be a real member
of this band, not just a hired hand.

And we'd like to offer you--
Basically, to give--

To show you how serious
we are about this,

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

- And--
- Wait, okay.

And as a kind of a good-faith thing
about how serious we are--

It's an advance.
It's an advance on some percentage

you're gonna be making
with the band.

Here's money up front to get you
kicked in and inspired and:

"This is a reality. This is my future.
This is what life can hold for me

with my new family."

I can't really talk right now.

Invisible kid
Never see what he did

Got stuck where he hid
Falling through the grid

Invisible kid
Got a place of his own

Where he'll never be known
Inward he's grown

Invisible kid
Never see what he did

Got stuck where he hid
Falling through the grid

Invisible kid
Got a place of his own

Where he'll never be known
Inward he's grown

There's things that I miss,
and I'm sad it couldn't work out,

and things, you know, like that. But
there's way, way, way, way more times

and way more days and even hours
that go by and I'm reminded, "Dude,

all right.
You did the right thing."

You know, "You did the right thing
for yourself."

I don't know if it's the right time
to say this,

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

About, you know, you and us and
our future and all of that stuff, and...

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

and all of that, that brought up
a lot of fear around:

"Wow, what is Phil's perception of,
you know, his, you know, longevity

with Metallica?" You know?
That scared me a little bit.

Well, I appreciate that. I was--

If it scared you, and that's part
of the issue going forward,

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

I've tried to make it clear
that we're selling--

I think we've told people we're selling
our house in Kansas City,

but that doesn't mean
we're moving here, okay?

And we won't likely move
to San Francisco

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

because, you know, that's my--

I wanna make sure
that the bass player's intact.

I wanna be sure that the tour's on.

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

for each of you and for the band.
And l-- To me, the work isn't over.

I'd like us to honour what we had,

and if you wanna be away from--

You know, on your own or something
for the couple of months

until we come back in June,
that's okay. I just kind of--

I don't know. I guess I have a problem

with the, "Let's see how it works out.
Let's see how it happens,"

and then, "No, let's honour what
happened, you know, six months ago."

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

Because I think that you use
those things

when they're convenient at times,
you know?

Personal stuff or business things.
And I don't know. I don't know.

They're-- The boundaries are--
I don't-- Becoming more clear to me.

There's that element of-- Of trust that
just kind of floats with you with me.

And l-- And that-- I'm really sorry
about that. That-- You know.

I've been swimming uphill
on that one for a long time with you,

and I'd like for us
to be able to resolve it.

But maybe we can't.

I've gotta tell you that l--
You know, if the client,

either James or us, says:

You know, then I really think that
needs to be respected without,

you know, just, you know,
the old turn-the-knife thing in there.

You know, it's just, you know,
if the client says,

you know, timeout for a while,
timeout.

That is great, although we--
Our process, what we normally do--

Then it should be put on the table,
but left on the table,

and should be able to walk away
without what you're saying right now,

which is now there are trust issues
and stuff.

I don't know how to separate out--

In its simplest form,
I think it's a conflict of interest

that you tell him that he needs
you around more.

- If he has--
- No, no, no, no, no.

I'm not saying that.

I see that as a conflict of interest.

Look, I am saying you guys
have made a decision.

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

The premise is,
you guys don't need me.

And I'm good with that.

Anyway, you go... It's--

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

I'm taking off. I'll see you
next week. Have a good one.

Thanks, man.

Who's in charge of my head today?

Dancing devils in angel's way

It's my time now
It's my time now

It's my time now
It's my time

Look out, motherfuckers
Here I come

I'm gonna make my head my home

The sons of bitches
Try to take my head

Tried to make me
Someone else instead

You've been in the band for five
minutes, and you're an icon?

It's such an honour,
and, you know, I'm stoked. So...

Your voting interest will equal
your percentage interest

in a new account,
while each of our voting interests

will be one-third of the difference

between 100 percent
and your percentage.

This is about as lawyer as you get.
But it's really--

- Sort of laying out--
- Yeah, lays out the deal.

Okay, so, for instance, in the first
period you have 5 percent, okay?

So when we do a vote, you
get 32 votes, you get 32 votes,

you get 32 votes, you get five votes,
in any vote, okay?

- But this doesn't mean anything.
- I think it's crap. I mean, l--

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

we better do 25, and then
Q Prime's the tiebreaker. That's--

That works, that's fine. Cool.

Now, here it also says, "You will not
be required to fund any losses

in the new Metallica account,
but we will be entitled

to recover any losses out
of future profits."

For instance, buying the documentary,
it's not your problem.

If the documentary loses money
and the company never makes

any more money again,
it's these three guys' problem.

Exactly.

"What'd you do with your money?"

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

and we went and bought
a documentary."

It was just-- You gotta keep
in the spirit of this whole thing.

By the end of this week,
we're gonna have an album title.

Because in three days, we won't
have to agonize about this anymore.

Well, the thing that stood out to me
was St. Anger. It's strong.

I mean, there's--
Iconic strong, you know?

HAMMETT: I like that title quite a bit.
- It's so easy

just to say,
"June 17th is St. Anger's Day."

- Yeah, well, it's true. That's cool.
- No, I mean--

I think Frantic is a better album title.

- I think that's--
- I don't know.

- It's more about the record.
- But St. Anger's a good--

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

Well, this is an angry record,

but you read the lyrics,
it's angry in a healthy way.

- It's also frantic.
- Getting stuff out.

Frantic is more like,
"They're trying things that they don't--

They don't--
They're not exactly sure of.

They don't know what they're doing.

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

They're not sure of themselves."

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

I mean, if you think that Frantic
has a negative connotation to it,

I never thought of it like that.

If it's St. Anger,
they're gonna form an image of:

"These guys are angry. I know it.

They're angry about Napster.
They're angry about the new stuff

that's coming in.
They're angry about their lives.

I'm angry too. I get it."

I think you guys know the idea about
shooting a video in San Quentin.

So let me get this straight.

You're gonna go to
a maximum-security prison,

and Metallica's gonna play
"St. Anger" really loud.

- Yeah!
- Yeah!

St. Anger 'round my neck

St. Anger 'round my neck

He never gets respect

St. Anger 'round my neck

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

about what this song means to us.

Anger's an emotion that I've struggled
with for pretty much all my life.

- St. Anger 'round my neck
- You flush it out, you flush it out

He never gets respect

There's a lot of misspent anger

that has come out sideways
for a lot of people.

Including yourselves.

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

it's quite possible I could be in here,
or not even in here, be dead.

And I'd much rather be alive.

Madly in anger with you

I'm madly in anger with you

I'm madly in anger with you

I'm madly in anger with you

I'm pretty nervous up here.
I don't really know what to say.

I'm just trying to share
some of what's going on for me.

I'm not here to sell nothing,
that's for damn sure.

Everyone is born good.

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

So we're very proud to be
in your house

and play some music for you.
Thanks.

More than any other record,
I don't know if you feel that,

but for me, this is like product

of what we're just doing, hanging out.
You know what I mean?

- It's almost like a diary.
- Yeah.

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

It's like we've proven that
you can make aggressive music

- without negative energy.
- Yeah.

Okay, and I don't think anybody ever
thought that that would be possible.

You know? You can make
something that's aggressive

and fucked up, okay?
With positive energy

- between the people creating it.
- Yeah.

It hit me, you know? This project's
coming to an end, and I don't know,

I think I'm kind of bummed
about that.

I'm kind of, just, kind of liking
the schedule that happens,

or the safeness in that.
Coming here, being able to talk.

Creating, you know?
And... I don't know.

I've been kind of coming down
from this for about the past month.

I mean, getting up at 5 in the morning,
and just pacing my apartment.

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

So I'm with you.

Like, I don't wanna let you go home.

I don't know.

I really appreciate that.
That's really nice of you to say.

I don't know, I can feel myself
kind of protecting myself

with some depression or something,
wanting to just kind of isolate.

And I don't wanna do that.

I wanna feel the sadness of--

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

And that's when I knew it was
something different than just me...

My old stuff, you know?

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

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

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

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

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

With guidance.

I really appreciate your bringing
this forward.

And there is a difference between
sadness and depression.

Clearly.

This is the hugest chapter in my life.

[CHEERING]

If I could have my wasted days back

Would I use them to get
Back on track?

Stand back. Stand back.
Keep away from the car.

- I love you.
- I love you too.

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

Could I have my wasted days back
Would I use them to get back on track?

You live it or lie it
You live it or lie it

You live it or lie it
You live it or lie it

My lifestyle determines my deathstyle

Determines my deathstyle

Keep searching
Keep on searching

This search goes on
On and on

Keep searching, keep on searching

This search goes on
On and on

Frantic
Tick tick tick tick tick tick tock

Frantic
Tick tick tick tick tick tick tock

Frantic
Tick tick tick tick tick tick tock

Frantic
Tick tick tick tick tick tick tock

Go!

Thank you so much

for supporting Metallica through all
the rough times and all the great times.

Metallica loves you!

Yeah!

Yeah!

Fucking a!

Metallica! Metallica! Metallica!