All language subtitles for Bring.On.The.Night.1985.720p.BluRay.x264.AAC-[YTS.MX]ENGENGENG

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This is Darryl Jones, the bass player.

He normally works with Miles Davis.

This is Branford Marsalis,
the sax player.

Who's that?
That's Kenny Kirkland.

He plays the keyboards
with Wynton Marsalis.

That's Omar Hakim.
He normally works with Weather Report.

That'sJanice Pendarvis.

Next to her is Dolette McDonald,
who worked with the Police.

Is this some attempt
on your part, Gordon, to-

Who's this Gordon character?

Isn't that your name?

Everyone calls me Sting.
My mother-

- My children call me Sting.
- Right.

I wasjust asking you whether this is some
attempt foryou to return to your roots.

In reality, the first rock band
I ever played in was the Police.

Before that, I'd worked...

extensively in different kinds
ofjazz groups.

My first band was a Dixieland
trad group where I played double bass.

So I feel, in many ways,
at home with jazz players.

- Is there gonna be another album?
- Use the microphone.

- It doesn't work?
- I'm sorry.

- Use this one.
- Now it's working.

Yes? Okay.

I just wanted to askyou
ifyou like France...

ifyou would like
to live in France...

and secondly...

ifyou would like to play
with a French director.

I mean, the best one.

I'd like to play with the best French director.
That's a leading question.

I do like France. One ofthe reasons
I came here to do this...

was because I think France
has a certain ambience.

- A certain neutrality, in a way.
- Why are you making a film about this?

What the film is actually about
is the formation ofthis group.

It's about musicians
from different areas...

forming a common language.

Most rock films
are made about bands...

when they're at the peak oftheir career
or when they're finished...

whether it's The Last Waltz or LetitBe

I can't think ofa film that is
about a band starting off, beginning.

Come on!

One of my philosophies
about music is that-

popular music anyway-
is that it's dead.

One ofthe reasons it's dead
is it's become very reactionary...

and racist...

where black musicians
are not really given...

the opportunity to be heard on
white radio or in white publications.

It'sjust as bad the other way.

This band, being made up
racially as it is...

is an open challenge
to that system.

I'm sure some people-

some real purists,jazz people-
don't like the idea of us doing this.

But I have another attitude
about that, you know?

Ifyou're a musician, you should
try to play whateveryou can play.

You should try to cover all music.

Okay.

I think what we should do
at that point-

- With the background vocals?
- Tighten the vocals.

- So it comes on the second one.
- Sing unison with me first ofall.

All right? You sing "You can't control"
and then you do your bit.

- Okay.
- And then sing the next line with me.

- Sing what you can of my part.
- Okay.

In your octave?
In your octave?

There's more than one octave?
This is new.

They talked more and more about
the band and who they were gonna get.

Finally, I chime in again,
"Well, you found your drummer."

He looks at me and goes, "No, you didn't."
I said, "Yes, you did."

He says, "Who?"
and I said, "Me."

So he pulls his fork
out of his mouth.

He hands me a knife and fork and says,
"Go ahead and play something" at the table.

We had a good laugh.

Here I come, here I come.

One ofthe main things
that I did before I was singing...

was I was a junior high school
English teacher.

I guess for me...

the thing that I like about
this music is that it's both...

for me, cerebral and visceral.

It gives you something to think about...

but it also gives you
something that you can feel...

which to me
is the ideal combination.

Tell me about some ofthejobs
you had before this.

I was a receptionist...

in a house of prostitution.

I was what they called
the phone girl.

I got $5 for every man...

that I got to come into this house.

On a good day I made $1 00
for seven hours' work...

which isn't bad,
because there were no taxes taken out.

It was my first real actingjob...

because I had a script
that I worked from.

I had to answer seven phones...

which had call-waiting...

which meant that
I answered 1 2 phones.

I had to explain to each person
what I would do to them...

once they got there.

You sing the third, you sing the fifth,
I'll sing the tonic.

The same with "barbed wire,"
the same with "bridge"...

the same with "chasm" or "chasm. "

- "Chasm."
- "Chasm." It was "chasm" yesterday.

- "On fire."
-Just the last word ofevery line.

- The last part, "around your"-
- "Around your"- Okay.

I'll show you.

Now full voice.
One, two...

three, four.

Okay, let's do it.
Full ensemble.

One, two, three, four.

I was seven and I got a clarinet, right?

Which was cool.

I was big enough to withstand
the "sissy"jokes and "wimp"jokes...

that go with being
a clarinet player.

So I played that till I was 1 4.

Then I finally decided I wanted
to play the saxophone...

because the thing I noticed was that
you could get women with a saxophone.

First time I went on a major tour
was with Art Blakey.

I was 1 9 playing baritone saxophone
in his big band.

I hated it. I hated playing baritone,
not playing with Art Blakey.

Art Blakey's one of
the greatest musicians ofall time.

But playing baritone sax
is the worst.

You can't even imagine.
Carryin' a saxophone is bad...

but the baritone saxophone
is four and a halffeet high.

To carry that thing around-

Right in the middle ofthe tour
the strap on the case broke.

The saxophone hit the ground
in the Frankfurt Airport.

Shit went everywhere.

I was pickin' up pieces
and rubber-banding things together.

We actually did a record,
and I was playing that horn.

Notes didn't work,
and it was all terrible.

I'm not so totally sure yet that...

this is a band...

in that everyone has...

a totally equal say
in what happens.

I am curious...

to know whether it will
eventually become that.

Fade it out.

- You fading with that same chord?
- Yeah.

We finish on the major 7th chord.

One ofthe great things
about my life...

is that I haven't the faintest idea
what I'm gonna be doing...

in a year's time.

One ofthe reasons
I left teaching was that...

it was very easy to see
the next 1 0 years of my life.

I could become
the deputy headmaster.

I could almost see the way
I would look and behave.

Ten years beyond that,
I'd become the headmaster...

in this little school.

That was a nightmare. I much prefer
not knowing what's around the corner.

- You're singing what I sing.
- I'm singing with you.

- Take it from that section.
- A cappella.

- Acapulco?
- I'll sing the low part.

- I'll sing with Sting.
- Then I'll sing with-

- If I hear an 1 1 th, I'll freak out.
- I'm gonna do whatever he does.

I don't know what he's doing yet,
so I'm just kind ofwinging it.

You did the first three down,
and you did the last one up.

You said basic.

You expect me to be consistent as well.
Jesus.

- I'm still not there.
- Let'sjust keep doing it.

- Okay.
- One, two, three, four.

It's really syncopated.

It's right against the beat.

Yeah, there's still some weird harmony.

Can I do that one
and you do the one you were doing?

As long as it obeys the basic rules
of harmony, you can do what you like.

What do you sing, Dolette?

- By the way, this is-
- This is what he gave me.

What effect are these new people
having on Sting?

I think they're having
a tremendous effect on him.

He's very happy.
He's very funny.

He lightened up a lot.

He's not reading so many books.

Were you ever surprised by the way
life has turned out foryou?

Yes and no.

I think I have the kind ofego,
the kind of imagination...

that practiced a lot
as a child and as a teenager.

I almost rehearsed for
this kind of life, in a way.

I didn't feel I...

belonged...

in one place.

I always felt I had to travel,
that I had places to go.

I was born on a street-

At the end ofthe street
was a massive oil tanker.

It was a shipyard, and they would
build the biggest ships in the world.

For nine months ofthe year they'd
build this huge hull above the houses.

They were three times the size
ofthe terraced houses where I lived.

They would launch it into the river.

It would sail off into the world,
never to come to port again...

'cause they were too enormous.

That's a symbol for my life.

When will the baby be born,
do you think?

Halfan hour. No, about the 25th,
but I think it'll be a bit before that.

What happened today with it?

I think the head
has engaged itself.

As I was picking my daughter up,
I suddenly felt this pressure go further down.

I thought, "Soon," I thought.

Mr.Jefferson?

Mr.Jefferson,
are you ready to start?

- Mr. Who?
- This is in the London Mirror.

"Sting- milkman's son
to millionaire pop superstar."

"The festival of Britain
was in full swing.

A general election
was around the corner.

But for Ernie and"-
What's her name? "Audrey Sumner...

the big event in life
was the birth...

oftheir 'ugly' baby boy in 1 951 ,
Gordon Sumner."

-Just wait, Branford.
- Gordon Matthew Sumner.

Over here we have the three houses
of Mr. Sumner...

from birth to middle age
to millionaire success.

GeorgeJefferson ofGreat Britain.

- Movin' on up to the East Side
- As a schoolboy you were hardworking.

- Very good, Gordy.
- Gordy! Oh, no!

- Ladies and gentlemen, GordyJefferson.
- Have we had our fun now?

-Just have your day, Branford.
- Look at this picture.

Right along with the dog-faced boy.

A freak show!
Now, I askyou.

Is this the face...

ofa popular
millionaire superstar?

Verily, I say unto thee, it is not.

I don't think it was really
a black-and-white thing.

There was that there.

The major thing
was the social barrier...

of him being British and white
and us being American and black.

I notice a lot of black British people
are still British, you know?

The things that they say
and the things that they do...

are very, very British.

A British guy will have
a word that describes-

They have their colloquiums
and they're national...

whereas black people,
our colloquiums are very regional...

even inside ofthe black community.

There are things that I say
being from New Orleans.

Things a black guy
from Philadelphia would say-

I wouldn't know what was going on.

- How did you deal with it?
- He tried to hang.

One time I told him,
"Man, your music's a motherfucker."

And he goes...

"My music's a motherfucker?
I've never heard it called that before."

He got kind of pissed.
I don't think he knew I was-

That's like a compliment
in the highest order.

It was little things like that.

The Flintstones was one of my favorites,
though, all the time.

The Flintstones, with the Flintstones
You know that, Sting?

- No. Teach me.
- Yes, you do. All British know The Flintstones.

- That's a lie.
- When you're with the Flintstones

Yeah, I know.
He started singing in the wrong key.

They're the modern Stone Age family

From the town of Bedrock

They're a page right out of history

Let's ride with the family
down the street

When you're with the Flintstones

Have a yabba-dabba-doo time

A dabba-doo time
A dabba- gay, old time

Wilma!

Roll it out.

I've had a piano at my house
since I was about seven years old.

My father had me take piano lessons.
My whole family took piano lessons.

Everybody quit but me.

Actually, he forced me to keep on.

I wanted to quit,
but he forced me to keep on.

My mother and father are responsible
for me being a musician today.

My brother's responsible
for me being a jazz musician.

You know Dolette's
gonna have herpes.

Right. By the time it gets
from me to her, it's over.

I've been living in Chicago-

- I wanna hear it.
- What you wanna be when you grow up?

You know what I wanna do
when I grow up?

I want to be a Las Vegas singer.

That, to me, is the epitome.

This bass stuff isjust
some very primary shit.

This isjust to get me started.

There is nothing I would like more
than to have a 24-piece band...

playin' some great tune like-
Night and day

You are the one

I mean, come on.
That's gotta be a serious rush.

Gotta be a serious rush.

A little red wine, folks.
Enjoyyour dinner.

New York, New York

If I can

Make it there

I'll make it

Anywhere

It's up to you

New York

Okay, we've got two more days
of rehearsal...

before we have to do the show.

Let'sjust do some tightening up.

On "Set Them Free," I'm still not happy
with the first chorus.

Itjust doesn't lift,
doesn't sort of go anywhere.

Same with "Shadows."

- That was pretty good.
- We have to watch Omar for the hit.

The girls are gonna be on this side here.
Sting in the center here.

I think the drums are too far away.

I need some eye contact with him.

What's the limit you can
bring him down to for the lights?

I'll have to have a look.

I'd say two steps.

You go any more than two steps,
you're gonna kill me.

How long does it take you
to refocus the whole lot ofthem?

No light can go in front of
the fire curtain in this building.

Everything has to be behind it,
and the set's behind.

Nowyou want to move everything forward,
which means you're moving out the light.

- We can move a little bit, ofcourse.
- Let's move it two steps.

And if it's-

Ifyou're looking at the drummer,
you're looking straight in the lights.

I'll need a periscope or something.

That's enough.
That was two.

It's only one.

- Believe me, that was two.
- It was one.

- I like it.
- Yeah.

It doesn't fit.

- Trudie, ifyou go into labor-
- Yes, darling?

- at 8:00-
- Yes?

- would you have the baby on that?
- No, I could do it.

- Help! Derrick?
- What?

One, two, three, four.

Yeah?

- Is it still coming up in the same time?
- So it's definitely in G?

The one where he looks great.
The one where I look great.

Who are you exposing for,
me or him? Me.

What he does in pop music-

Sting is the best musician
out there today.

Music is a tremendous social statement.

Musicians are always social critics.

That's the biggest problem
with pop music.

They don't have any more social critics.

They don't have enough people
with the intelligence or the balls...

to stand up and see the world
for what it is and say, "This shit is out."

They're so worried
about making money.

You see very few people now who say,
"I want to be a rock and roll musician."

Sting is a throwback in that sense.
He wants to be a musician.

The fact that he's even trying a project
like this shows a lot ofcredit.

I really respect
his skill as a composer...

so I watch how he pieces
things together.

As a lyricist as well.

You know, how he does
tell a story with lyrics.

I've never heard a song
that was a "nothing" song.

I might've changed
the way they play.

For example...

in jazz, in thejazz club...

a soloist is allowed...

maybe three or four verses
to warm up...

his solo, so he makes
this organic curve.

He's allowed to wander around
and find this avenue...

and then jettison that
and go somewhere else.

In rock music, you have to burn
from the first bar.

One, two, three.

All right.

Yes.

I love him, and that's the problem.

I have to be brutal with the manager
and get heavy with the group...

and say, "Come on, guys.
You're asking for too much.

The money isn't there." They say,
"How much money's on the table?"

I say, "Yeah, but that's Sting's table.
That's not your table."

You argue with somebody
and say, "Look.

We got Madison Square Garden
sold out.

Now, ifyou cancel the show"-
speaking to any one ofthe musicians-

"and you weren't gonna show up
and they bring in a replacement...

how many people are gonna
give their tickets back?

No one. That doesn't mean
you're not a brilliant musician...

and I don't thinkyou're great.

The fact is, your market value
in terms ofthe kid buying the ticket-

He isn't gonna pay to see you.

Now, Sting cancels, but you four guys
are gonna be on the stage...

how many people will cancel?

Every one of'em! How do you relate
your fee at this and Sting's fee?

What's on the table
isn't your table."

- I bet you it comes on the 21 st.
- You in?

- I want to change my day.
- It's a boy.

- The 1 9th.
- That's my day.

- Come on, man.
- That's what you said?

- No, I didn't. Read that paper.
- I said the 1 9th. I'm keepin' it.

Where's your money, honey?

- Whoever's the closest wins, right?
- Schizo.

- Anybody else?
- The 21 st.

I'll payyou tomorrow.

What is wrong with you?

Good look.
Do that again.

The expression.

Max is one ofthese
wonderful madmen...

who'll bring out the fool
in everyone else.

He's the creative fool.

Max works in an interesting way.

It's so disarming
the way he photographs you...

that you're forced,
really, to drop the mask.

When you're photographed,
you have, maybe, three expressions.

There's that one.
There's that one ofthe "nice guy."

In all the front covers I'm on
there's one ofthree expressions.

Max has found a new Sting...

just by disorienting me...

by chasing me through fields
or me chasing him.

All right!
Get in closer.

I think all ofthe band
look boring...

because they are wearing
just drab colors.

They are not drab people.
They should be a bit more flamboyant.

You don't see anybody
walk on stage from Liberace...

to some country singer
who doesn't dress!

We did a show, Synchronicity.
We spent $400,000 filming it.

- I saw it.
- They were wearing white.

The point is
is that there's no contrast.

So far, you've got-
You might as well have a black-

Why don't we film
in black and white?

If I add bits ofcolor to everybody's clothes,
I think it will work.

But something that
your mind can focus on.

You can't focus on a loose suit
the same color as the background.

Our original concept
in meetings with Sting...

were all a very minimal
kind ofthing.

He wanted it to be Brechtian.

The château was very drab.

- The château was not drab.
- Did you see the rushes?

- I've seen every single set of rushes.
- They look pretty drab to me.

- I don't think that's true.
- This should be colorful and exciting.

It's been watered down.
What's ended up here is a watered-down look.

- It's not watered down.
- It's refined till it's lost interest.

- You have to have rough edges.
- I don't want the clothes that way.

You sound like you've forgotten
what the whole basic element is about.

- No, I haven't.
- In my view, this looks boring.

The girls look boring.
Those are colorful girls.

- They're boring.
- No, they're not.

I'm sorry. I'm just a peasant.
But I'm telling you, they look boring.

He's in competition with...

probably the greatest act
in history-

the Police.

That's the risk.

Does that make you nervous?

Yes, a little.

I think the management and the record
company are afraid of him going too far.

I asked one ofthe executives what this
album meant to the record company.

Hejust looked out and said,
"Salvation."

What's riding on opening night?

Sting's career.
No, I don't think it's that much.

But I think what's riding on Wednesday
night isjust the audience...

the first audience that's paid
to see and hear this band...

and Sting perform
these songs with them.

I think they're gonna love it.

Yes, the record company were perturbed.
Yes, my management were perturbed.

The general public
were probably perturbed...

when they heard
this word "jazz" mentioned.

That's not what we've made.
It has nothing to do with jazz.

People talk about
the risk ofthis project.

I don't think the risk
is in the music he's chosen.

The risk is being only on his own.

There's no cocoon.
Every interview has to be done by him.

In the Police, he would only
do a quarter ofthe interviews.

The others would carry the bulk of it.
Everything now is Sting.

The pressure is
the important difference...

between this situation
and when he was in the Police.

I haven'tjettisoned the songs
I wrote for the Police.

I still perform them.

They're still my songs,
and they still have a life.

They've been reinterpreted
for this band.

When people come to the concert,
I wouldn't say to them...

"You're not gonna hear
anything you expect oryou want."

I've given them 50% ofwhat they
wanted to hear, which is the hits...

but also 50% ofthe material
they didn't know.

That is fairly unique for
an established artist to do.

No one goes out
into a concert hall...

and does material
the audience doesn't know.

It's a big risk.

It's right over there.

I don't think we need
the umbrella.

Hey, man.

If I melt out here,
where's the umbrella?

Hey, bro, I heard the news.

- Here's your ride.
- Go for it, man.

- I had to buy something for the suits.
- That's nice.

- This won't fit under a suit.
- It won't?

That suit's so big, I could fit
my mom in that suit with me.

The problem with the costume is that
it was gray and the stage is gray.

It washes out.

Then they tried to get me a shirt
that matches with the suit.

- They changed the stage color to pink.
- They did? Great.

That's one thing I like about
playing with Sting-

We can look like men and play a gig
instead of looking like a bunch offags.

- How's Trudie?
- Trudie's gone into labor.

- So much for that bet, right?
- I won the bet.

- You won the bet?
- We've got a midwife backstage.

This is it.

Where are you going to sit?

- Who's with Omar?
- Right here.

Are you nervous about opening night?

Yeah, always.

I think that's
a good space to be in...

to have some nervous energy.

So many times
that first night is...

the best night
because ofthat nervous energy.

- No, it's not for that reason.
- Can you deal with the saxophones-

- Hey, girl.
- Armistice and all that.

- How're you?
- How're you?

- Good luck, everybody.
- Good luck, Trudie.

- Good luck.
- Breakyour legs!

- Break- Breakyour water, maybe.
- See you later.

- Bye-bye, my love.
- Bye.

If I was Sting, I might be nervous.
But I'm not Sting. I playjazz.

I know what it's like to be shat on.
You know what I mean? I am a jazz musician.

I know what it's like to play
some stuffthat nobody wants to hear.

- Are you nervous?
- About my high heels, but that's about it.

- Let's go.
- It's that time, huh?

Come on.

Come on!

Come on, Kirkland.

Let's hit the notes clean.
No gliss. Right?

Yeah, that's more English.

Too much vibrato.

Okay. I think we've got it.
Two, three, four.

I'm not gonna be a rock star.
It's not gonna be a problem.

This band could be very big,
but I'm not a rock star. I'm a musician.

I'm not star material.
I'm not here to be a star.

I'm not gonna do the things
that are necessary to become a star.

I'm not gonna say the right things.
I'm not gonna have the right smile.

I'm not gonna go to the right functions,
because that's not what my vibe is.

Just from being around Sting
in this short period oftime...

and meeting all those guys
and all these stars walk in-

Oh, man, I wanted to barf.

That's not because I don't have
any respect for some oftheir work.

But there'sjust an attitude that pervades
when they come around...

and that's not my attitude.

That's not what I'm put on the Earth
to be or be a part of.

Omar Hakim!

Thankyou!

D.

F.

A.

I mean, it'd have to be-

Two, three. One, two, three.
One, two, three.

One, two...

three, let it out.

I think that this band
could knock some walls down.

You know what I mean?

Ofjazz, rock, whatever.

And there's no greater feeling
than just blowing other bands away.

Really, it's a good feeling.

This band has a musical impact that
I haven't seen in pop music in a long time.

'Cause everybody can play their instruments
and cream all the other bands...

beat the shit out ofall the other bands,
you know?

Is there any one moment in your life...

when you knew you were gonna get
what you dreamed about?

Yes. It was the first time...

I was lying in bed in a hotel
in the north of England.

We had just done a concert.

And our first record was in the charts.

And a window cleaner...

was whistling "Roxanne."

And that was it.

I almost wept...

because I realized
that he was whistling a tune...

that I'd written...

something that I had composed
in my front room...

for no other purpose
but to amuse myself.

And there was this window cleaner.

And I had a very similar experience
in the hospital...

afterJake had been born...

where one ofthe orderlies...

was whistling "Walking on the Moon"
as he walked past the door.

It was full circle, really.

It's a great privilege
for that to happen to you.

Play the other chord.

What's the other chord?

- And then it changes.
- Yeah.

What did seeing your son born
mean to you?

More than I thought it would.

It made me appreciate...

my other children as well-
what a miracle they are.

It's very easy to come in after the fact
when they're all clean...

and they're all in their nice,
white nightgowns...

and their hair's brushed.

But the reality is much more
bloody and profound.

Want to do it?

- It's a boy.
- Yeah.

Take it away, sir.

Come on, Darryl.

On the saxophone, Branford Marsalis.

On the keyboards, Kenny Kirkland.

On the bass, Darryl Jones.

On the drums, Omar Hakim.

Omar, my man!

Thankyou and good night.

Great, mates.

- All right, man.
- You were great.

You were something out there.

I'll take the next one.

I love you!

I don't know what to say to that.

Good night.