All language subtitles for DOORS - Breaking Through The Lens - Documentary (2013)+

When the album was recorded,

everybody thought that
Break On Through was the single.

l thought it was the single.

lt was the song that sounded most like
what was being heard on radio,

but it was a notch ahead.

Did l think Break On Through
was gonna be a hit?

No.

l didn't think so.

lt was a good radio song.

But l didn't think it was a hit.

Light My Fire, on the other hand,
was a big hit.

But Elektra had never really
had a successful hit single.

And so,
l wanted to give Break On Through its shot,

and l wanted to give it an unusual shot.

So, we always
come up with something different.

Putting The Doors on a billboard
on Sunset Strip was certainly different.

Nobody had done that before.

But the billboard was there because l had
something l wanted to say to Los Angeles,

that we thought this was an important band,

we were now a company
fully engaged with the West Coast,

with the DJs,
with the music of the West Coast.

We were here permanently,
and we just wanted to let you know.

And the billboard is a very close ally
of what we did with the music clips.

And l remembered, from a kid
growing up at the beginning of the war,

there was a thing in America
called Soundies.

And Soundies were 16-millimetre films
with optical soundtracks

which played in a special television console,
rather large.

l thought that was really neat,
and l just filed it away.

So, having seen the Scopitone
and having seen the Soundies,

and that kind of a screen,

that showed you where it could go,
and what the possibilities were.

So, it seemed logical

to make a film for afternoon television,

that kids who watched the Bandstand shows
could see.

When it came time to make the film,

Mark Abramson, who produced Judy Collins
and wanted to direct film,

Jac said,
''We don't have a film department. You're it!''

l thought it was a great idea.

Never thought of doing that before.

Usually, if a group had a single out,

they might get on TV and do it or something,
but they wouldn't have their own film.

So, seemed like a good idea at the time.

l happened to have a 16-millimetre
Bolex camera, which l treasured,

and it was a wind-up,

and they lip-synced it,

and because we had no sets or anything,
we kept it purposefully dark.

So that played into
the coming mythology of The Doors.

They wanted to do it very simply,
kind of like what's behind me.

Black with a little lighting and whatever,

which pleased us, because at the time,

it was flower-power and paisley,

and beads like l'm wearing,
and the Nehru jackets and whatever,

and this was simple and clean,
and we liked that.

Stark.

But it also was visually stunning,
and we liked it.

Everybody liked the idea.

The Doors, when you spoke to them
in a language that they wanted to speak,

which was film...

Because l remember something
that Ray said.

Years later when he was interviewed,
he said, ''When l heard Jim's songs,

''the whole record and what
it was gonna look like, it was in my head.''

So that's why we did Break On Through,
and that's why we did it that way.

And it's really good.

l think it's really good
'cause Jim is really behind it.

He's really pushing,
unlike when you see on Shebang,

and he's just standing there
like a limp noodle

and basically just trying to get through it.

Shebang was like
Hullabaloo and American Bandstand

and all these dance shows.

We did watch it. lt was the only thing on.

lt was our MTV back in the '60s, so...

That and Dick Clark.

l had seen it a few times,
and thought it was pretty silly...

Like Top Of The Pops, right?

But we were trying to get our music out there
and so we said yes.

Shebang was a local show,
Channel 13 l think.

So it wasn't as big of a deal as Dick Clark,
but it was pretty good to get on there.

This is one of our very first performances.

We're clearly nervous.

Jim won't look at the camera or anything.

l'm somehow positioned in the front.

l'm the lead drummer and he's on the side,
ridiculous.

And we're lip-syncing everything.

Meaning we are faking performing live
to a pre-recorded song.

The concept of having to lip-sync
was stupid, l thought,

but that's how they did it.

lf you listen to the audio track on the
Break On Through, the original audio track,

whoever is recording this
decided to sing along with it at one portion,

and you hear this other voice going...

lt's like, ''Huh?''

ln retrospect,
it's so ridiculous that it's kind of cute.

And we also needed to
have a few under our belt,

'cause you can see we're like, you know...

l don't even want to look in that camera.

Just not relaxed 'cause it was new,
and it's like being under a microscope.

This was corny pop TV, but we...

Everybody did it, and so we did it,

and we looked to more sophisticated
programmes later, but we did it.

Okay.

l'm curious.

You mentioned the magic word.

Right as we went into the Bee Gees film,
you said something about The Doors.

Of all of the TV things
that were going on out there,

especially the Bandstand, where
the kids could see themselves dancing,

American Bandstand,
which was Dick Clark's programme,

and Dick Clark was an extremely
intelligent and savvy guy

and he had that show for over 30 years...

Dick Clark
had this persona with this suave look,

but he knew music and loved music.

And he was always on the cutting edge of
what's next and he really cared about music

and so that was very cool.

The thing that was important
about The Doors going live,

that was when l wanted them to be live,

because he would talk to them, and that
would give them a certain credibility,

and maybe Jim would turn on his charm.

But he let them do several songs,
and that said to AM radio,

''This band is important.''

There was two ways
to make a hit record in those days.

You had to get on a radio, AM radio,
and you had to get on TV.

There was no thought of, ''ls this hip?''
or, ''Are we gonna look stupid?''

You just had to look as cool as you could
at the time.

But American Bandstand was an institution
and we were very excited to be on that.

We were nervous, but we were getting
a little less nervous than Shebang.

By the time they were on
American Bandstand,

the band was virtually at number one.

Once we got Light My Fire,
it inched its way into number one.

For a while,
l didn't think it was gonna make it,

because Light My Fire

had, like a forest fire,
started on the West Coast and moved east,

and by the time
it was number one in New York,

it was virtually off the charts
on the West Coast.

But we did squeak through
and we made it to number one.

And the moment l heard from Steve Harris

that Light My Fire was gonna be number one
on Billboard and Cashbox on Monday,

my watch stopped.

We're going down Sunset Boulevard,
headed out to the beach,

the first time
l heard Light My Fire on the radio.

We were driving a little Volkswagen Beetle,

and there, on the radio, came the first time
l ever heard a Doors' song.

Man, oh, man, Light My Fire,

heading down Sunset
just the way that car is going down Sunset,

and there goes Jim and Pam,
off to the beach.

What a time!
l gotta tell you that l had the time of my life.

That has got to be the biggest

most fantastically successful group
of the coming year, The Doors.

We'll be back in just a moment.

Looking at Malibu U,
l've never seen it before yesterday.

And l find it fascinating

because there are these guys on a fire engine

and they portrayed the whole thing
as if it's a house on fire.

lt's about sex.

lt's not about burning a house down
and putting out the fire.

So l'm sure they had to be laughing about it
when they finally saw it,

figured out what it was all about,

because l doubt that
anybody told them what it was gonna be like.

Just show up at the certain time,

record company said,
''Be there and they're gonna do film.''

Steve Harris had set up
the Malibu U appearance.

lt was a short-lived television show.

They had a fire truck out there.

Light My Fire, if you bring a fire truck,
how clever can you be?

We're young.

We don't feel our success and power yet,
and we do what are told.

Even Jim.

And we had ideas about film,

and eventually, we made our own videos
when that became popular.

But so we were victims
of some old codger's corny stuff.

But it was one of our first local TV shows
and we were pretty excited about it.

The day of the shoot, there's no Jim.
Can't find him.

We were going nuts and,
''What are we gonna do?''

So somebody came up with the idea that
my brother Ron should play Jim,

and dress like him or whatever, and...

l think we actually did try to
pass my brother off as the singer

because it was lip-sync anyway.

And if you look, the hair is shorter,

and then when Jim's on camera,

'cause they shot him later
against the sky on top of a building,

and his hair is long.

l think that was the last of
the corny, lip-syncing TV shows.

That was it.

Enough of this silliness.

Oh, my God.

Thank God we eventually
did whatever the hell we wanted.

Right now, one of the most popular music
categories going is the West Coast sound.

And one of the best groups going right now
is a group called The Doors.

Murray the K was a New York disc-jockey,
a real character,

old-school, lot of energy and very popular.

l can remember playing live
on some concert he promoted,

and we were running a little late,

and we started The End,
which is, like, 20 minutes live,

and it's slow, and Murray the K
was on the side of the set, going,

''We're dying! Stop it! Stop it!
Change the song! Get off stage!''

You were grateful to get
whatever TV exposure you could get,

and they made the rules.

But how we ever agreed to stand around...

And we don't even have our instruments.

We're going...

Yeah, that was a weird concept,

but it was People Are Strange
so you gotta be strange, right?

So we went along with it.

They put masks on everybody's face,
so they all look like...

l don't know what. The strangler...

Corny!

Yeah, that was a good idea.

That'll make you look strange.
A pair of pantyhose on your head.

This is before videos became popular

where the artists all started having input
on what they felt their song meant.

Therefore, the visuals made some sense.

We didn't really think ahead

about how silly and corny
some of these old TV directors were.

Yeah.

The Unknown Soldier

came at the time of great
American and international dissatisfaction

with the war in Vietnam.

lt was on TV every night, the atrocities,
and it was terrifying and upsetting,

and people don't really realise the terror

of knowing your country is in the wrong war
and you could go fight it.

And Jim's dad
was in Vietnam commanding battleships.

Mark Abramson
thought it would be good to do a new film

and what better than Unknown Soldier?

We came up with
this little very simple scenario

where Jim was the Christ-like martyr
who is killed in the end.

lt seemed like a thing worth doing.

And so we were going to tie Jim up
with a little coloured rope

and execute him.

And we intercut footage
of atrocities in Vietnam.

We sent it around,
and l don't think it was played very much,

but where it was very effective

was playing on a screen as background
when the band did live shows.

So it had a very successful life out with
the band during their live performances,

and that was another interesting way
which we could take a video and use it.

lt's kind of like what Coppola's father did

in conducting an orchestra to live music.

lt used to be done in the '30s
and they resurrected it and so did we.

And so, there's something visceral about

you're watching a film with canned sound
and then the sound becomes live.

And everybody got goose bumps

and everybody in the audience
stood up and started...

Like they were at the victory parade.

''The war is over! The Vietnam War is over!''

And everybody was dancing and...
What a great moment.

That was quite an ordeal,
to record that song,

because the idea we had was,

''Okay, we've always just recorded our songs

''and then we never know
which one is going to be on the radio.

''We were wrong about Light My Fire.
We should have put that out first.

''Let's record a single,
try to make it as much a single...

''Tailor it for the radio or whatever.

''Just try to get it on the radio.''

And so we studied up on hit singles,

how many beats-per-minute
are most of them and what key are they in,

and, you know, anything we could do
to try to get a hit single.

And to me, that song came out as
the least likely hit single ever in the world,

but they put it out anyway.

Especially at the time of
the Vietnam War and...

We knew they weren't gonna play it

because it was about...
A little anti-war piece.

All the music biz execs said,
''Oh, my God, you guys...''

l think Unknown Soldier got to
number 24 or whatever on the charts,

and they all said,
''lt's just a miracle that it got on at all,''

'cause it was censorship.

And the Green Berets were fine

but we were against
the policies of the Pentagon.

We were on Nixon's hit list,
along with Jane Fonda and whoever else,

and we're proud of it.

The Doors went to Europe
in the spring of 1968 for a European tour.

lt's the only tour that they made in Europe.

Light My Fire wasn't a hit in Europe.

Hello, l Love You was a big hit, the first hit.

And then they went back
and looked back to the first album, and...

Sold a lot of albums with Light My Fire on it.

England maybe knew about The Doors.

But l don't think the other countries
really were into it yet.

The people who came to the show
in Frankfurt were mostly US soldiers.

lt was near the army base.

But they were interested
and they wanted to see...

l don't think they knew anything about
Jim Morrison or that whole thing.

They might have heard
a couple of the songs on a radio is all.

So it was kind of fun
to go over there with that in mind.

So we were doing this
corny German television show.

l don't know what to say about it.

The people behind us
are completely bored to death.

lt's an example of me playing so light

that the sound you're hearing
could never be what l was playing live.

And it was just ridiculous,

but we were trying to
get a toehold in Europe.

And l see Jim looking up and it was just...

There was this beautiful square
and these churches and stuff around there,

and l know he was just looking at
all the cool stuff while he was singing.

And it doesn't show...

l wish they would have panned around us to
show where we were because it was so nice.

But that was a silly show,

just us playing out
in the middle of the square.

And people were around there, just looking.
They didn't know what to think.

Generally, the European tour was successful,
but it had great ups and downs,

and Jim was getting pretty frisky by this time

and there were some moments
that l wished wouldn't have happened.

lt was a successful tour.

Keeping track of Jim was tough
especially with what happened in Holland.

Somebody had given him a block of hashish,
about like that,

which he probably just ate the whole thing.

A couple of hours later, he's not feeling
too well and it's getting time for us to go on.

Actually, he was feeling really well
when Jefferson Airplane was on,

and he ran out there,
when they were on stage, and started...

l don't know what he was doing,
but he stole the show from them a little bit,

and they thought that was pretty funny.

Then he came back
and then he started feeling bad.

And pretty soon, man, he was just out.
He'd passed out.

And they had to call the paramedics
and took him to the hospital.

That was pretty scary.

Jim was always an example of going too far.

l will admit that l dabbled in most things,
but l was careful

because the kamikaze lead singer
was hanging over the edge all the time.

But we had Ray Manzarek
who knew the words,

and so our roadie Vince went out and said,

''Well, we're very sorry,
but Jim Morrison, our singer,

''has taken ill and has to go to the hospital.

''So you can either have your money back
or you can watch the other three Doors play.''

They said, ''We want The Doors!''

And l really don't think
they knew about Jim Morrison at that point.

All they knew was The Doors
and they'd heard the songs.

So, we went out and did the show
and they loved it.

Ray sang the songs, not as good as
Jim would have, but l tried to help out.

lt actually went very well.

Well, The Soft Parade was our opportunity
now to expand upon using other musicians.

Not just a bass player, but bringing in
all kinds of things, horns and strings and...

Of course, who was the guy
who studied classical music in the band,

and so whose big idea was it?

Raise your hand, if you're that guy.
You're looking at him, folks.

l thought, ''Okay, we've done three albums

''in exactly the same setting,
the same configuration.

''Let's bring in the horn players
and the string players, and let's...''

Robby had a perfect song, Touch Me,
which was a big hit single from the album.

Ray and l had talked about, ''Someday,
we will try horns and strings and stuff.

''We'll make our own Sgt. Pepper.''

People gave us shit for that.

We changed the precious Doors' sound.

But before we even recorded our first album,
we were like,

''Gotta experiment someday
when we get the power to do so.''

A lot of people think that might have been a
mistake to have The Doors with an orchestra,

but the Beatles had just done it,
the Stones, l think, had maybe done one.

So we said, ''Why not? Let's try it.''

Smothers Brothers was a little cooler.
Now we're getting cooler.

The Smothers Brothers were at least
very hip in those days, and they...

l used to go see them at the Ashgrove, just
the two of them when they were folk singers,

and they were pretty funny then even
and pretty good singers, too.

They did their songs
and the comedy thing was just thrown in.

lt was secondary.

They were funny, they were political,

they were our politics,
they were against the Vietnam War.

ln fact, they got kicked off the air
due to their politics.

And really,
the stuff they were doing was subtle.

lt wasn't overt.

But the times were so polarised, as l said,
for and against the Vietnam War,

eventually,
the Smothers Brothers got booted off.

But we were very proud to be on their show,
and had the whole orchestra, and...

To get the sound that was recorded
would have been really difficult,

and so we brought a pre-recorded track
and Jim sang live

and it looked like everything was live.

The music part was canned,
but the vocal was live.

You can tell because Jim forgets to

come in on the second verse with,
''Come on, come on, come on.''

He says, ''Touch me...''

And it has that lovely...

l'm gonna love you

lf that isn't a string part, l don't know what is.

For you and l

Then the horns come in doing a samba,

doing a bossa nova...

We brought our own sax player,
Curtis Amy, who had played on the record.

He did the solo.

So everybody's going...

And Curtis is over the top of that...

Doing just a great solo.

What a great man he was.
l just loved his solo.

l just had the time of my life.

''Boy, let's bring in this.
What do we got here?''

Rothchild, our producer, said,
''Let's bring in the bluegrass guys.''

And l think Densmore said,
''Let's get Curtis Amy to blow on it,'' and...

We had some great charts.

Paul Harris wrote the charts for us and...

l had a grand time.
l just thought it was great fun.

Can you hear me, Jim?

Okay, let's hear
that little red catalogue again.

-l really...
-Coming at you.

With a what?

Wild Child
is one of my very most favourite videos.

We're in the studio,

you see us rehearsing
and you get the process.

Yeah, that was a really fun video to make.

Just us in the studio
and how we were recording Wild Child.

What they filmed
was an actual recording session.

Except for when we get into the actual song,
they're playing to a playback.

lt's us in the studio.

lt wasn't staged in any way.

lt was just a guy in the booth shooting
out at end of the studio where we were.

You'll notice in that video that Jim...

There's a microphone hanging on a boom
that he's hanging onto,

and there's also
a microphone that he's holding.

And the one he's holding on,

he got into a thing where he wanted to have
his microphone that he used on the road

so that he could feel comfortable.

Even if it wasn't hooked up to anything,
he had the microphone.

Paul and Bruce are looking
and watching him rehearse

to see if they got the placement.

He's singing here,
but they're getting the sound from here.

Just to make him feel...

And he is relaxed.
lt's just great. He's just wild.

lt's a great take.

So, we're trying to get that,
and Robby's saying...

What's stupid?

And Jim goes, ''What's stupid about it?''

l love the ending, actually.

lt was hard, though.

You can see at the very end of the video,
l'm watching really close

'cause it's up to me to go,
''When we were in Africa,''

and hit that cymbal right at the end.

Paul Rothchild was
a very, very interesting guy.

But he didn't really care for the band
when he saw them.

He thought l was making a mistake.

And l kept looking for alternatives
and nothing was right,

and l finally said to him,

''Paul, you're the only person l can think of
who's right for this band.''

You need to be smarter
or as smart as they are

because if they sense any weakness,
they'll shoot you through with the grease.

Paul taught us how to make records,

and the first few records,
we didn't know that...

Your live sound needs to be honed,

and you can really use the studios
like the fifth Door.

And we learned that from him.

l've always thought that, as a producer,
Paul reminds me a lot of Erich von Stroheim,

only minus the monocle and the neck brace.

He had something of the martinet in him,
but that's exactly what the band needed.

He took them into a rehearsal space,

RSL,

and he rehearsed them for two weeks
with a cassette recorder there

and they would listen to the playback.

He took them almost to concert pitch
and dropped them,

saving the last part for the studio.

He went about this brilliantly.

As Jim drank more,
he had to just pull vocals out of him.

lt got harder and harder to get the vocals.

But he was such a perfectionist that it was
time to say goodbye to him with L.A. Woman,

and then we felt pretty free
and produced it with Bruce Botnick.

And we had this concept of,

''To hell with the mistakes.
Let's just go for it, a couple takes each.''

And it was thrilling, so...

Paul was a great, great lover of music,
great guy to hang with.

Okay, let's cut.

Let's make a record.

Yeah, let's do it this time, let's try it.

l thought there was some really, really cool
live stuff of us actually recording.

lt's probably the only thing
that shows us recording,

except for the Crawling King Snake.

l remember sitting around
in Ray's apartment with Jim,

playing records and saying,
before we ever recorded anything,

l said, ''Man,
we should record Crawling King Snake.

''l wanna do that song
when we get a bunch of hits.''

''l hoped.''

And God,
it took us till the last album to do it,

but we finally did it
and l was very pleased about that.

So, we've been playing Crawling King Snake
forever and forever,

and when we did L.A. Woman
we had a blues day.

We might have even had two blues days
in which Jim gets to sing the blues.

Whatever blues you wanna sing,
you can sing the blues, my man!

Some that you've made up,
Cars Hiss By My Window,

Jim Morrison's blues, Crawling King Snake.

We did two or three other things
that we didn't put on the record.

And it was blues. We just did the slow blues.

Jim, he wanted to make a whole blues album,

so we said, ''Okay, look,
on Tuesday we'll do blues all day, okay?''

Tuesday is blues day.

And so Tuesday rolls around.

Guess what? No Jim.

Couldn't find him anywhere.

So it turned out that
Wednesday was blues day.

Crawling King Snake was photographed
for Australian TV at The Doors' workshop,

which is where we recorded L.A. Woman.

Bruce had the idea, as the co-producer,

to bring in remote equipment
and record us there,

where we were
incredibly at home and relaxed.

lt's tight, but it was our space.

And Jim was sometimes in the bathroom.

That was the echo chamber.

lt's really great because it's live.

lt's not in stereo, it's not in surround.

lt's good ol' American mono.

And you get a chance
to see the room a little bit.

We wanted to have a really live sound
for L.A. Woman, and that's how we did it.

lt's interesting.

lt's the only visual, l think,
we have on that song.

So it's nice to have it
in The Doors' visual catalogue.

L.A. Woman started off as a blues-y song.
Jim was definitely in a blues mood.

He's tired,
he's burning the candle at both ends.

And L.A. Woman started off as...

Well, l just got into town about an hour ago

With Robby playing funky guitar.

Took a look around
See which way the wind blows

And then...

City of night, city of night

No, no, no.

L.A. Woman, L.A. Woman, man, L.A. Woman!

lt's gotta go above the speed limit.

The speed limit is 65.
We've gotta break the speed limit.

We're on the LA freeway.

L.A. Woman means a chick
on the LA freeway, maybe heading north.

She's going up to San Francisco
and she's zooming out of LA.

Or she's coming in to LA.

lt's gotta go like this.

Well, l just got into town about an hour ago

And as soon as l did that, Densmore
was just right there, just cracking that drum.

And the tempo of L.A. Woman
is driving on a freeway.

And everybody went, ''Yeah!''

lt was like the energy level in the room
just went from here to overhead.

We're operating up here. Energy is up here.

Doors operated up there
between the four of us quite a lot.

We'd bring the energy way up here.

And just smoked that song,
smoked right through it.

lt took nothing to create that tune.

Well, videos were happening.

And Ray went to film school
and he wanted to direct.

Yeah, well,
this is Ray at his finest, directing-wise.

We were blessed by Allen Daviau,
this great cinematographer.

He wanted to shoot The Doors,
so we thought, ''Fantastic!''

And we developed this concept
programmatic to the lyrics of the song.

And visually, Daviau,
he really captures the city.

And Ray did a wonderful job.

l'm pretty sure Ray and Rich Schmidlin

had hatched the idea
to do this video for L.A. Woman,

and it was the perfect song for a video,
really,

just the beat and everything
and the fact that it was about LA.

There's this one shot, l said,

''We gotta do this shot of the transition
from the 10 Freeway onto the 405.

''lt's this long curving thing.''

lt looks like a woman's legs opening.

That was actually designed by a woman,
that freeway.

And l thought he captured that very nicely.

Beautiful concept of the city as a woman.

''l see your hair is burning,
hills are filled with fire.''

The fires in LA
happens every once in a while.

Visually, really good.

And the girl that was in it,
Krista Errickson, beautiful girl.

The actress who was in it
looked a little bit like Marlene Dietrich

and so she's standing on the star
when John Doe...

And he's the Manson-esque guy.

Manson was doing his thing around that time
and so Jim wrote about it.

But l'm sure that that's Ray's
crowning achievement as a video director.

And Ray always wanted to be a director.

Ray and Jim,
who were both at the film school,

that's what they had really envisioned
themselves doing before the band.

Ray always wanted to
get his film chops going

and this was the perfect opportunity for him.

And l thought he did a good job.

We loved making American Prayer.

Jim had passed.
He wanted to do a poetry album.

And that's why
we had pre-recorded all this poetry.

And we tried to make it like a movie for
your ears and we put in natural sounds.

And we had a great time doing it.

To me,
that's one of my favourite Doors' records.

lt still is because it was not easy to make

with Jim not being there.

lt was weird

'cause we're in the studio and Jim's in our
headphones but he's not in the vocal booth.

There was a guy named John Haney
who was one of the electro engineers.

And he had the tapes of Jim
that Jim had made on his birthday

of reading the poetry out of his book
Lords And New Creatures.

And they never put it out.

So, we had this poetry and we had to
make songs that fit the poetry.

l still don't know how we did it, but it was...

That's what The Doors always did
is poetry and jazz kind of...

So it was actually pretty easy for us.

l love The Ghost Song.
l love the feel so much.

And Jim really did believe

that some lndians jumped in his body
when he was three and saw this car wreck.

Spirits.

And we were trying to capture
that Native American thing.

Nobody had ever done, l think,
anything like it, and still haven't.

So l'm really proud of that record.

Very proud of that one.

l don't know, l love it. The feel just kills me.

These films are snapshots of history.

And they're really important, good, bad,
or indifferent for future generations.

Most people don't realise how short
the arc of The Doors' career really was.

From 1966 until 197 1,

when doing the final stages
of the mixes of L.A. Woman,

was five to six years.

There's not a lot of film,
and there's not a lot of video.

l think we know
just about every piece that's there.

And yet,
there are some wonderful telling stuff.

And even if you take a look at
who's shooting the Beatles

in these things where
100 photographers are there,

they're all still photographers,

very, very rarely do you see
a motion picture camera

or anything that could be
transferred to video later on.

We've used most of the footage,
but l think it's been used pretty creatively.

lt doesn't seem repetitive
even though some of it is.

Beyond the Hollywood Bowl
and The Doors Are Open

and a few isolated things,

there's no live footage of The Doors.

And what we have
are these funky little videos.

But they're a period of time.

They're when we were
who we were and what we were,

and they're cool.