So it's not just a concert movie. Hopefully it will explain how music is made. Most rock films are made about bands at the peak of their career or when they are finished - like 'The Last Waltz' or 'Let It Be'. I can't think of a film that's about a band starting off. It's being shot as a 35mm feature by Michael Apted - the director of 'Gorky Park', 'Coalminer's Daughter', 'Stardust', - and to me some of his best works were his documentaries for Granada.
He did a series called '28 Up' which took children at the age of seven and interviewed them at seven year periods. If we had tested it properly, perhaps we would have realized the movie is more for the to year-old crowd. When a year-old thinks of a documentary, it's usually in terms of a film about aboriginal Indians baking manioc cakes in the South Amazon.
We avoided it. We underestimated the drawing power of the album.
I think it will be a big video cassette seller, but I am disappointed. We wanted to get more juice out of the movie in movie houses. It's about the life of a band in one week. I'm going to be very involved in the editing process of the film.
I won't be just saying my lines. It's being shot as a feature movie, in environments that are meant to look like film sets. So it's a real movie, but there's no script. The thing that's interesting about the movie is that most rock films are about bands after they make it big or when they finish. This is about a band at the beginning. It's quite exciting, fresh.
I've never seen a film like it. Most bands don't have the funds to film the beginning, even though that's the most exciting part.
And it's a character study. I didn't want to do just a concert film - I wanted to know about the people in a band. It's not a glorified look at the album or a puff piece for Sting or an extended MTV video. In fact, you'll notice that not a single song is played all the way through in the film. Wouldn't it be a great idea to do a film about starting a new band. But it became a reality very quickly. Before I could tell everyone it was just a joke, there were people around us and we were spending all this money - somebody else's money.
And I felt responsible, which is why I look so worried in the first part of the film. He decided to document this period with both a live album and a feature length film.
Arguing, quite correctly, that most movies about rock bands were filmed either at their peak or towards the end of their career, and that most live albums were recorded once a band had an established following Sting decided to break the mould. Accompanying him were a film crew, led by director Michael Apted. Apted filmed the band extensively over a nine day period during rehearsals at the Chateau de Courson for the week long series of shows, interviewing all the members of the band, following the set up and lighting of the stage show, press conferences, photo shoots, and finally ample footage of the concerts themselves.
Whilst the movie was released in theatres in October the live album followed in early The reason for this was that the album contained live tracks from the Paris shows but also included tracks recorded seven months later in December in Rome, Arnhem and on a return trip to Paris. It could be argued that the album therefore sounds a little disjointed, especially when the tracks do not follow the format of a live show, but really these are minor quibbles. Whereas the 'Bring On The Night' movie concentrated on recording for posterity the birth of a band, this release should be seen as a valuable companion piece.
Avoiding the temptation to just issue the performances on the video which were filmed in late Spring , only two of the album's 13 tracks date from this period. The others come from shows around Christmas , after the band had played more than eighty shows together. No longer the strangers feeling their way that you see in the movie, this is a well drilled and extremely talented band that were just awesome on stage. In addition to the performance footage, Mr. Apted also includes a few unexpected moments: a visit by a tourist group to the chateau where the musicians happen to be rehearsing one woman keeps her fingers in her ears while walking through the room and a disagreement between the costume designer Colleen Atwood and Miles Copeland, Sting's pushy manager.
Copeland complains noisily about the backup singers. It's a scene straight out of ''This Is Spinal Tap. It contains the above-mentioned childbirth scene, which has been very tactfully filmed. Bode; edited by Robert K.
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