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C'est parti !
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It's 1976, and this thing called punk rock has just raised its ugly head in London.
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Sting, Henry Padovani, and I have formed a group called The Police.
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We cut our hair, put on shades, and have adopted the hostile posture of the day.
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It's a chaotic scene, so most of our gigs are from cancellations by other bands.
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We're the only guys who know how to hire a truck and get to the show.
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Our fee is 30 pounds sterling, 5 for the truck, 10 for the PA, and a fiver each for the three of us.
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With 400 pounds for my buddy Paul, we recorded our first single and sell it ourselves by the box to record stores around the country.
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I am president of Illegal Records and chief salesperson.
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Sting has his doubts.
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He gets a buzz from the energy of the scene, but pretty much hates the music, including ours.
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So Andy shows up with his harmonic sophistication,
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and Sting starts writing these big songs, the sound of our own beginning to hatch.
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The problem is, the Cognizanti are on to us.
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They know that we're just carpetbaggers.
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I have a dark past with the long hair group curved air.
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And Andy Summers has consorted for years with the enemy generation.
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We are unloved.
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But something strange is happening.
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A mysterious masked American has turned up in London for the couple of songs that got him a modest hit in the English charts.
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He goes under the name of Clark Kent, but no one knows who he is.
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He plays all the instruments, writes, sings, and produces the songs.
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So, since no one can think of anyone else who could do all that, they're starting to point the finger at me.
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Well, it's the first time I've ever been blamed for a hit of any kind, and I'm all for it.
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This is the big time at last.
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But it never would have happened like this for that known charlatan-the-police drummer.
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So the lesson is clear.
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The police needs to regain its virginity, to shed the leprous scab of its wretched history,
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to shake loose the chains and sally forth to the promised land of America,
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where people are kind of anticipating something new out of England.
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We've been together for two years,
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arriving in New York City with our gear as hand luggage,
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we're ready to start all over from scratch.
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My brothers, Miles and Ian, have hatched a scheme
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where they are connecting up a string of clubs across America
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where un-hippie, rebellious youth can be part of a brand new scene.
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It's 1978, and the hippie thing is way old.
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Everybody's looking at this new wave,
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which is actually mainly characterized by a new hairdo.
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Short hair is the dividing line.
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So Ian finds a club in every city
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where we can play to the 50 or 100 kids who have heard of this new thing.
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And Miles makes sure the radio guys are there.
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Out on the road, it's the three of us in a van,
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with my childhood chum, Kim Turner, at the wheel.
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But things are picking up pretty quickly.
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There's a buzz about the van.
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Shows are filling up, and the clubs are getting bigger.
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Best thing about that is roadies.
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Man, I am sick of carrying those dang drums around.
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It also means our sound is better, and we can play fresher.
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We're getting pretty good.
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Something about the way Andy hits those chords,
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and the way Sting pumps that bass just lights me right up.
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And in the winter of 1978,
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just as America is beginning to notice us,
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and with pretty much the first spare change I have in my pocket,
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I got this Super 8 movie camera.
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Super 8 movie camera.
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It's a fine morning to rise up and set off to conquer America.
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English bands are always surprised by how big it is.
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Back home, London bands don't really tour,
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since most cities are close enough that you can drive home after the show.
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In America, you are on the road.
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Big boy heading south.
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This is why we're a three-piece band.
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Plenty of room in the car.
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Some time in the afternoon, we arrive in the next town,
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and a local store is doing a promotion with us signing records.
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We love you!
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They're pretty sparse.
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They're pretty sparse.
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They're stupid without you.
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They're stupid without you.
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All right, we're out in the woods here in Virginia,
76
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in Moyoc, down in the Great Dismal Swamp,
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and the police are raiding the station.
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We have been invaded by the police and Sting, Andy, and...
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We are three Englishmen and one American driving across the land,
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hitting the radio stations and shaking the tree any way we can.
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One of the great things about touring is the series of
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flash motels and chain hotels.
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Even the cheap ones in America are clean.
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The sheets and towels change themselves every day,
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unlike my sweaty London pad.
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All we need to sustain our tour is an average of $300 a day
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to cover gas, food, and two hotel rooms.
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Cheap motels and chain hotels,
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but they provide a kind of revolving sanctuary.
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Check out of one, check into another.
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So we have your attention.
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We are proud to present A&M recording artists,
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the police, in the far corner of the store,
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here to say hello.
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Go on over and meet them,
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and coming on the turntable,
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their fantastic hit new album,
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outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
102
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Outlandos da moor, the police.
103
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Outlandos da moor, the police.
104
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Outlandos da moor, the police.
105
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Outlandos da moor, the police.
106
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Outlandos da moor, the police.
107
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Outlandos da moor, the police.
108
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Outlandos da moor, the police.
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Sous-titrage Société Radio-Canada
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Stuart Copeland taking a film of himself, narcissist.
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We're just bubbling up from the slide.
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Oh, I got the shot already.
120
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But now they have jumped on it, and we have a national support team
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who have adopted our cause with an almost religious fervor.
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Oh, don't we side us. Speak up.
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Oh, my God.
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Speak up or lie down.
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This is New York in 1979, a couple years after we first arrived
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to Starvelings, playing at CBGB's in the Bowery.
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It's the nerve center of the music business.
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Everywhere we go seems to pass through this city,
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so this is where we've set up shop.
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Yeah.
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Well, the Stardust is probably just right for them,
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but the money was what was important,
133
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because the Santa Monica Civic can pay that six grand figure
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that makes the whole tour possible.
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And if they're doing the Stardust, then...
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What's this?
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Are you filming me? Have you got the rights?
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Have you got the rights to film me?
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Have you got a contract?
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You know that there's no filming on me, buddy.
141
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I've always noticed that Andy has this sort of benevolent look about him.
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How do you feel benevolent?
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I've never felt benevolent in my life.
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I've been told it's a genetic...
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What's that mean?
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What's that mean?
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What's that mean?
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What's your fucking benevolent?
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Hello.
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Right here.
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Congratulations.
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Yeah.
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What a level of respect out of you guys.
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Congratulations.
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Oh, this is talks.
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Number one, my favorite Copeland.
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All right.
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You're better off stage than you are in film.
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Let's go, Stuart.
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Kim Turner is the center of our life in a row.
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I was the tour manager of his first pro band, and now he's my tour manager.
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Every band has someone like this.
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Will you get off me?
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Will you get away from my face?
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He's always behind the wheel.
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He's the guy who always knows what we're doing next.
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Listen, I'm the fucking one which says what goes, right?
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And if fucking things don't go right, I get annoyed.
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I get fucking annoyed.
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So just fucking take that.
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Oh, yeah.
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What the fuck have you been?
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What the fuck have you been?
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Really?
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You know, I...
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Listen, man.
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If you're fucking playing in a band, fucking get your shit together.
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You're supposed to be on fucking time.
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You know what I mean?
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Don't be a fucking asshole all your life.
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Oh, God.
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Oh, for fuck's sake.
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Look at the state of this.
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Just look at this guy.
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Fuck you.
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I'm useless.
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I'm a fucking nightmare.
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I salute.
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I kill conversation as I walk into a room.
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I'm a freeline whip.
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I'm a sort of thin neighbor.
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I'm a walking disaster.
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I'm a demolition man.
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This is coming.
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I lose my life away.
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We started out as a band with a cynical plan.
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But our music is just welling up and taking us over.
198
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The excitement we create even surprises us.
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It's better than we deserve.
200
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We've landed on a groove which just seems to light everybody up.
201
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The thing is, you're missing the legs.
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You know, the legs are the most important future.
203
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So now we're back in Europe to do the summer festivals
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and TV.
205
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We're pretty low down on the billet these big shows,
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so we get to do the afternoon slots.
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Big bands get to play under a light show.
208
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New bands play in daylight.
209
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But we're getting less new every day.
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This is the Pink Pop Festival,
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where we're going to bag the whole country with this one show.
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We're going to pretty much conquer all of Europe this summer.
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Wagyu,
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and Ma'am.
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It's heavy house,
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besides espera now.
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Thank you.
218
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Thank you.
219
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I'm the Initiative.
220
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Thank you.
221
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Thank you.
222
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Thank you.
223
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Thanks.
224
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Thank you.
225
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Thank you.
226
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Thank you.
227
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Thank you.
228
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You, really?
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Thank you.
230
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Thank you.
231
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Thank you.
232
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So we're a hit, as a boy band, some kind of teen fantasy pinup thing.
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It's a twisted reward well suited to all our Machiavellian scheming.
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I saw God in a tomato, God spoke to me and said, I am a greenhouse.
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Well, here we are, somewhere in the middle of a police set.
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Pretty flashed, huh?
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Hey, you're just fucking firing!
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Give me this bastard!
239
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Both of them!
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Bit of a fight going on.
241
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Hello, hello!
242
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Goodbye!
243
00:24:41,240 --> 00:25:11,220
C'est parti !
244
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C'est parti !
245
00:25:41,240 --> 00:26:11,220
C'est parti !
246
00:26:11,240 --> 00:26:41,220
C'est parti !
247
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C'est parti !
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The trouble is that I'm on the wrong train, I'm going in the wrong direction, I just don't know what happened, I know they're after me, this is just really serious, I didn't know that I was going to get one ticket, I mean if they'd wind me with the plans like this, it's...
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All right, come on, let's get your ticket, come on, come on, let's have your ticket, come on, we're here, come on, come on, come on, come on, come on, come on, come on, you bastard !
250
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C'est parti !
251
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Tu ne joues pas dans le du jeu!
252
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Léaie!
253
00:27:56,840 --> 00:27:57,840
Aujourd'hui.
254
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Nous sommes en banque d'esquête.
255
00:28:00,840 --> 00:28:02,840
Nous sommes en Amérique du jour.
256
00:28:03,840 --> 00:28:04,840
Ce n'est que c'est le groupe juillet.
257
00:28:05,840 --> 00:28:07,840
Ce n'est pas un paquet de dîner.
258
00:28:07,840 --> 00:28:09,840
C'est un peu plus de deux.
259
00:28:11,500 --> 00:28:13,500
Et ça, c'est un peu plus de deux.
260
00:29:37,840 --> 00:29:42,040
My smile looks lame in photographs, so I've taken to scowling at the camera.
261
00:29:42,660 --> 00:29:44,120
But actually, we're pretty cheerful.
262
00:29:44,120 --> 00:29:48,120
I'm so used to laughing at the things in my heart.
263
00:29:48,780 --> 00:29:51,720
Best of all, I'm sorry, because I'm never asked of this.
264
00:29:52,200 --> 00:29:53,520
You can see I'm not your time.
265
00:29:53,520 --> 00:29:54,520
I'm sorry.
266
00:29:54,520 --> 00:29:55,520
You can see I'm not your time.
267
00:29:55,520 --> 00:29:56,520
I'm not your time.
268
00:29:56,520 --> 00:29:57,520
I'm not your time.
269
00:29:57,520 --> 00:29:58,520
I'm not your time.
270
00:29:58,520 --> 00:29:59,520
I'm not your time.
271
00:29:59,520 --> 00:30:00,520
I'm not your time.
272
00:30:00,520 --> 00:30:01,520
I'm not your time.
273
00:30:01,520 --> 00:30:02,520
I'm not your time.
274
00:30:02,520 --> 00:30:03,520
I'm not your time.
275
00:30:03,520 --> 00:30:04,520
I'm not your time.
276
00:30:04,520 --> 00:30:05,520
I'm not your time.
277
00:30:05,520 --> 00:30:06,520
I'm not your time.
278
00:30:06,520 --> 00:30:07,520
I'm not your time.
279
00:30:07,520 --> 00:30:08,520
I'm not your time.
280
00:30:08,520 --> 00:30:09,520
I'm not your time.
281
00:30:09,520 --> 00:30:10,520
I'm not your time.
282
00:30:10,520 --> 00:30:11,520
I'm not your time.
283
00:30:11,520 --> 00:30:12,520
I'm not your time.
284
00:30:12,520 --> 00:30:13,520
I'm not your time.
285
00:30:13,520 --> 00:30:14,520
I'm not your time.
286
00:30:14,520 --> 00:30:15,520
I'm not your time.
287
00:30:15,520 --> 00:30:16,520
I'm not your time.
288
00:30:16,520 --> 00:30:17,520
I'm not your time.
289
00:30:17,520 --> 00:30:18,520
I'm not your time.
290
00:30:18,520 --> 00:30:48,500
C'est parti.
291
00:30:48,520 --> 00:31:18,500
C'est parti.
292
00:31:18,520 --> 00:31:48,500
C'est parti.
293
00:31:48,520 --> 00:31:50,520
C'est parti.
294
00:32:18,520 --> 00:32:20,520
C'est parti.
295
00:32:20,520 --> 00:32:22,520
C'est parti.
296
00:32:22,520 --> 00:32:24,520
C'est parti.
297
00:32:54,520 --> 00:32:56,520
C'est parti.
298
00:32:56,520 --> 00:32:58,520
C'est parti.
299
00:32:58,520 --> 00:33:00,520
C'est parti.
300
00:33:00,520 --> 00:33:02,520
C'est parti.
301
00:33:02,520 --> 00:33:04,520
C'est parti.
302
00:33:34,520 --> 00:33:36,520
C'est parti.
303
00:33:36,520 --> 00:33:38,520
C'est parti.
304
00:33:38,520 --> 00:33:40,520
C'est parti.
305
00:33:40,520 --> 00:33:42,520
C'est parti.
306
00:33:42,520 --> 00:33:44,520
C'est parti.
307
00:33:44,520 --> 00:33:46,520
C'est parti.
308
00:33:46,520 --> 00:33:48,520
C'est parti.
309
00:33:48,520 --> 00:33:50,520
C'est parti.
310
00:33:50,520 --> 00:33:52,520
C'est parti.
311
00:33:52,520 --> 00:33:54,520
C'est parti.
312
00:33:54,520 --> 00:33:56,520
C'est parti.
313
00:33:56,520 --> 00:33:58,520
C'est parti.
314
00:33:58,520 --> 00:34:00,520
C'est parti.
315
00:34:00,520 --> 00:34:02,520
C'est parti.
316
00:34:02,520 --> 00:34:04,520
C'est parti.
317
00:34:32,520 --> 00:34:34,520
C'est parti.
318
00:34:34,520 --> 00:34:36,520
C'est parti.
319
00:34:36,520 --> 00:34:38,520
C'est parti.
320
00:34:38,520 --> 00:34:40,520
C'est parti.
321
00:34:40,520 --> 00:34:42,520
C'est parti.
322
00:34:42,520 --> 00:34:44,520
C'est parti.
323
00:34:44,520 --> 00:34:45,520
C'est parti.
324
00:34:45,520 --> 00:34:46,520
C'est parti.
325
00:34:46,520 --> 00:34:47,520
C'est parti.
326
00:34:47,520 --> 00:34:48,520
C'est parti.
327
00:34:48,520 --> 00:34:49,520
C'est parti.
328
00:34:49,520 --> 00:34:50,520
C'est parti.
329
00:34:50,520 --> 00:34:51,520
C'est parti.
330
00:34:51,520 --> 00:34:52,520
C'est parti.
331
00:34:52,520 --> 00:34:53,520
C'est parti.
332
00:34:53,520 --> 00:34:54,520
C'est parti.
333
00:34:54,520 --> 00:34:55,520
C'est parti.
334
00:34:55,520 --> 00:34:56,520
C'est parti.
335
00:34:56,520 --> 00:34:57,520
C'est parti.
336
00:34:57,520 --> 00:34:58,520
C'est parti.
337
00:34:58,520 --> 00:34:59,520
C'est parti.
338
00:34:59,520 --> 00:35:00,520
C'est parti.
339
00:35:00,520 --> 00:35:01,520
C'est parti.
340
00:35:01,520 --> 00:35:02,520
C'est parti.
341
00:35:02,520 --> 00:35:03,520
C'est parti.
342
00:35:03,520 --> 00:35:04,520
C'est parti.
343
00:35:04,520 --> 00:35:05,520
C'est parti.
344
00:35:05,520 --> 00:35:06,520
C'est parti.
345
00:35:06,520 --> 00:35:07,520
C'est parti.
346
00:35:07,520 --> 00:35:08,520
C'est parti.
347
00:35:08,520 --> 00:35:09,520
C'est parti.
348
00:35:09,520 --> 00:35:10,520
C'est parti.
349
00:56:09,740 --> 00:56:39,720
We are here in Paradise
350
00:57:09,700 --> 00:57:39,680
We are here in Paradise
351
00:59:09,640 --> 00:59:39,620
We are here in Paradise
352
01:00:09,600 --> 01:00:39,580
We are here in Paradise
353
01:00:39,580 --> 01:01:09,560
We are here in Paradise
354
01:01:09,560 --> 01:01:39,540
We are here in Paradise
355
01:01:39,540 --> 01:02:09,520
We are here in Paradise
356
01:02:09,520 --> 01:02:39,500
We are here in Paradise
357
01:02:39,500 --> 01:03:09,480
We are here in Paradise
358
01:03:09,480 --> 01:03:39,460
We are here in Paradise
359
01:03:39,460 --> 01:04:09,440
We are here in Paradise
360
01:04:09,440 --> 01:04:39,420
We are here in Paradise
361
01:04:39,420 --> 01:05:09,400
We are here in Paradise
362
01:05:09,400 --> 01:05:39,380
We are here in Paradise
363
01:05:39,380 --> 01:06:09,360
We are here in Paradise
364
01:06:09,360 --> 01:06:39,340
We are here in Paradise
365
01:06:39,340 --> 01:07:09,320
We are here in Paradise
366
01:07:09,320 --> 01:07:39,300
We are here in Paradise
367
01:07:39,300 --> 01:08:09,280
We are here in Paradise
368
01:08:09,280 --> 01:08:39,260
We are here in Paradise
369
01:08:39,260 --> 01:09:09,240
We are here in Paradise
370
01:09:09,240 --> 01:09:39,220
We are here in Paradise
371
01:09:39,220 --> 01:10:09,200
We are here in Paradise
372
01:10:09,200 --> 01:10:39,180
We are here in Paradise
373
01:10:39,180 --> 01:11:09,160
We are here in Paradise
374
01:11:09,160 --> 01:11:39,140
We are here in Paradise
375
01:11:39,140 --> 01:12:09,120
We are here in Paradise
376
01:12:09,120 --> 01:12:39,100
We are here in Paradise
377
01:12:39,100 --> 01:13:09,080
We are here in Paradise
378
01:13:09,080 --> 01:13:39,060
We are here in Paradise
379
01:13:39,080 --> 01:14:09,060
We are here in Paradise25597
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