All language subtitles for Beyond Pink Floyd (Documentary) (Restored by AI)

Among players, particularly
among British players,

he's incredibly highly
rated, adored I'd say.

And he has a way of putting incredible
feeling into everything that he does.

I suppose technically he's very
good, but that's not the important thing.

The important thing is
the way that he plays.

Dave's got a unique style,
fumbly I think is the word I'd use.

Sorry Dave.

I think, in fact, he does have
a very specific style of his own

and an ability to play in all sorts
of different styles if necessary.

But I think the thing I admire most

is his ability to have a sense
of the music as a whole.

I think, from that point of view,

he's been a very particularly
important influence in the band.

He's had influence.

He's definitely had influence.

I think he's influenced me.

Particularly on the new
album, Working With Him,

the way that he writes,

again, it shows how gracefully and how
naturally you can produce a good record.

You know, it's that.
It's a kind of effortless naturalness to it.

I suppose, It's all about moving people.

I think the job is to move
people and to move their emotions

in one way or another with
different pieces of music.

To try and capture moments of
magic within the music that you do.

That's what I endeavour to do.

I'm not ready to retire yet,

this is what I do for
a living, is make music.

And that involves both being on stages
in front of audiences and making records.

I think you tend to dry up.

I mean, you lose certain aspects of what
you're good at if you don't practice them.

How was that out there, Rick?

Was that a little bit groovy?

Just OK?

OK.

Carry on.

The worst aspect to the rehearsals
was that I had to take out over a week

of my allotted time to make videos.

And having lost over a week of that,

I was quite worried that I wouldn't have
enough time to put the band into shape.

I feel now much less nervous
than I felt a couple of weeks ago,

but the reality is creeping up.

I shall probably be pretty
nervous until I get on stage.

I'm not feeling too bad
about it at all, I don't know.

My confidence has grown
over the last few days.

My throat is a bit rough.

I've had flu for the last couple of days
and it's followed on with a sore throat.

I've got David Gilmour,
the lead guitarist

or ex-lead guitarist with Pink Floyd,
doing a European tour.

I'm a great fan of Pink Floyd and I admire
Dave Gilmour's guitar work tremendously.

I do tend to play
about with the guitar a

bit myself and I try and
emulate him as much

as I can, but without much
success at the moment.

Where am I going to?

Some place called the
Zenith, where we're playing tonight.

We're in Gay Paris, France, and
we're about to do our concert here

in a large, sort of inflatable
building called the Zine.

The Pink Floyd are considered
very highly by the French, yes.

I personally think that we
should have used

the Pink Floyd thing more in our
publicity than we have done.

I told them it was fine to mention it,

because I don't think very many
people, apart from real aficionados,

are aware of the fact that my name
is one of the people in Pink Floyd.

They tell me that it's very hard times
here and that touring isn't going so well,

and we look like we've sold a
reasonable amount of seats tonight.

Well, what we have is an interference
problem between the lighting and my music.

I haven't a vacation for my guitar.

It's very awkward.

It means I have to be
very careful what I do.

I just hope that I don't
have to spend all my evening

juggling around so that
this sound isn't too awkward.

I'm trying to make music.

I don't, you know, the
trend towards

having to leap about at maximum
velocity all the time

has never been something that has
really appealed to me as being necessary.

There are moments when it's fun,

but there are a lot of songs where it really
doesn't apply and you shouldn't do it.

You can become lost in the music at times

when you actually do get high,

if that's what you want to call it.

You certainly sort of drift off into
another space while you're actually playing.

A type of magic happens, and I can feel
it, and I know the audience feel it too.

You just know that everyone is
feeling it at the same time as yourself.

It doesn't happen very often,

but it's great when it does.

The people come and
they will buy my record or

they'll listen to my record
or they'll come to my show

and they will say, oh, well, that was
as good as Pink Floyd or that wasn't

as good as Pink Floyd
and that is what will happen.

There's no doubt about that.

I will be compared to it.

Between what we were doing when I first joined the Floyd

and what I'm doing now, there is quite
a fundamental difference between what.

we were doing as the Floyd during the 70s.

You know, Dark Side of
the Moon period onwards,

there's no real
fundamental difference.

The lyrics on those albums
were written by Roger, not by me.

You'd have to ask him about
just how hard it was for him.

He certainly seemed to have more difficulty

dealing with stresses
and strains than I did.

There are things where discussing

the strains that come on us and
describing them and I feel pretty...

I feel fine about those things, you know.

There are moments when it
seems to me it's got very close to being

complaining and those
are the ones that I don't like.

There have been occasions where I've said

I would rather not sing this
one, you do it, you know.

I hope that I enjoy the touring enough

to want to continue doing more
of the same thing, more albums.

I don't want to get tied down into...

a permanent band lineup
or a permanent bunch of

musicians or a permanent
style of anything, you know.

I want to retain freedom in all areas

to do anything that comes to
mind at any one moment, you know.

So if the next album, if I felt like doing
something completely different to this one

I wouldn't want to feel
committed to having to stick within

certain sort of guidelines
that I've set up for myself.

I don't know how to explain it, I just
like making music and performing it live.

and all the things that go
with it, including the sort

of ego gratification and the
adulation of people out there.

But also, you know, it's a great buzz

when you go for things
that work and it sounds good.

And it's wonderful to have
a bunch of good musicians

around you playing a
song that you've written.

It's great to go and watch
someone else doing it as well.

I've seen lots of them.

I've got to do a sound check.

I don't care how many people there are.

I can't do a conference now.

I've got to do a sound check.

Would you like that same thing again?

Or that would be favourite?

OK.

Yeah, the click on the bass on the tapes
is pretty radical in places there, right?

Well, maybe the others will
do one for you without me.

If that'll help it.

Can I ask what happened?

He's not here?

Who?

The French TV people.
They're just not interested.

What happened, man?

What?

What happened, man?

Well, we all sit around
feeling like turkeys

What would you like me to do?

Watch a bit more
exciting French television.

I've seen the denouement of the...

A stiff drink is in order.

This is the camera in the dressing room.

Hold on, the documentary crew.

It's hard work to begin
with, a lot of nerves

on stage, mine, falling over
my fingers and stuff

all had a heavy night
tonight out on the booze

and I think they've
just got in

and we reready to go again, another day,
- screw you mate, I'm going to drive,
- especially this

it's near bad, give it ten minutes and
it'll be gone, seven o'clock in the morning

without any sleep, it's near
bad, it'll be flat out in ten minutes.

I like going and playing in the places but
the living out of suitcases and travelling

on coaches or
aeroplanes and stuff is not

enormously appealing,
I don't like to be away

from my wife and kids
for long periods of time

but it's a necessary
part of what goes on.

I have to just get on with it
so I don't really think about it.

Hammersmith Odeon is one of the two or
three major London venues that one plays.

And it's the last real thing before we
get over to the States, and we're ready.

It's great if you can do it well.

It's always a bit special
to play in your hometown,

or to play in any of the real big
cities, New York, Los Angeles, London,

the three major cities.

It's usually very difficult in London.

You wind yourself up too much
about it, and it's often disappointing.

And the audiences can
be a bit blasé at times.

If it comes over strongly in
London, and it feels very good,

then it will be an achievement for me.