Looks like a doll's house.
lt is a bit like a doll's house.
This is loose, so you can get underneath this.
-This is 5'9''. -Why?
So the back-line guys can get in and out of there.
Look at those balconies.
lt might be nice to get them out there, from... One wide.
You know what l mean, Bob? Hand-held.
Well, that we can do.
l don't know.
l have no idea why the stage is designed in this way.
lf there's any really rhyme or reason to it.
-Which part? -All of it.
-You wanted it. -l never asked for those.
That's Marty that wanted all of those.
l thought he wanted those.
So we got them now. l hope he likes them.
l don't know what's going on.
l did a hundred things over there, but nothing that l needed to do.
I stiII got no answers.
They're aII over the pIace.
That's the set.
What are these?
The camera's arm.
They could come the next week together.
No, the set's gotta be built now.
They're building it.
It worse comes to worst, we change it.
We break it up and we cut it. We saw it in haIt.
We can gIue it to ditterent pieces...
Until they're all in the same place,
we're not gonna ever get a final decision.
Do it again.
My other worry about the cameras was,
Marty, that they whiz around aII the time.
That's very annoying to the audience
and to everyone on the stage.
And it's dangerous.
lt would be good to have a camera that moves,
that swoops down, and in and out.
And tracks us, you know, along the side somehow.
Is that it?
l think so.
Okey-doke, you guys. Nice to chat.
These are the songs that l've prepared, that he said he really wanted to do.
These are the songs that are really strong possibilities
and these are the ones that they're going to rehearse.
But we got six days to go, and he still hasn't given me an idea
of what the set list was gonna be.
Loving Cup we already did.
Shine A Light, Some GirIs, As Tears Go By.
Too Much BIood, he wants to do. She Was Hot.
This is my setlist for Austin and the Beacon.
lt's been a bit of work, you know.
First Time I Met the BIues, possibly.
Getting a good mixture, and then things that everyone likes,
and things that are not so well-known,
and things that kind of work for a theater and things that don't.
Try and avoid those.
Factory GirI, he wants to do. I'm Free, he wants to do.
Categorizations and obsessions.
All be done, Marty.
On the night, you know, an hour before the show.
That cleared my sinuses.
After you guys rehearse, l'll do something with Bob.
You start creeping in.
We'll just warm up and get the feel of the room and the setup.
So it you want to have a specitic conversation with Marty
about a shot when he says "move" in a particuIar song,
because he is extremely precise.
Pat should have a wide of the whole place, if he can.
Even with the cranes in it.
Pat Capone, you shouId be wide ot the whoIe pIace.
Can we know, if at all possible, what they're gonna play?
And if... lt doesn't have to be in order.
lf we know, and it would be nice to know...
lf Mick stands in front of the light for more than 18 seconds, he'll burn.
-What do you mean ''burn''? -He'll burn up. He'll get too hot.
You mean, like flames?
-He might catch on fire. -We can't do that.
We cannot burn Mick Jagger. Very simple.
We want the effect, but we can't burn him.
-What is that for? -We're gonna do some lighting tests.
That's normal movie stuff, is it?
What do you think?
l love movies... Looking at them.
That's the best one.
l've got to show you one other thing.
lf you can get a camera in here.
Where is Charlie Watts? Or somebody else has got to kick.
This is my only view.
Nobody else sees this shit except me.
lt'll be good here when we get people in here,
when we get the live crowd.
And the set list. l can't wait to see what we finally end up with.
What's the matter, Joe?
We got a lot to do.
Communication, that's what l'm onto now, Bob.
Communication systems.
Give me champagne when I'm thirsty
Give me a reeter when I want to get high
Then we go into...
Whatever the set list is gonna be,
the first two are going to be really strong.
Okay, then the problem with...
l really would like to know what the first song's gonna be.
Because if the first song opens on a guitar riff, a guitar intro,
we have to make sure that we're covered which guitar.
lt usually is Keith. We have to know that.
Or if the keyboard begins and then Mick starts singing,
the cameras have to be on Mick. l'm just asking, find out what it is.
-CIinton wiII be here. -What is it? A benetit concert?
For his toundation?
Thank you.
lt's great to see you.
My nephew's coming. He's 10 or 1 1 .
And l've got some friends coming with all their kids.
And they're really excited.
l had all these people in their '60s, calling and begging me for tickets.
So how's the audience gonna be with all these cameras?
Your guys are gonna be in this first balcony.
This is President Kwasniewski. He just left being President of Poland.
This is rock and roll, okay?
Don't be nervous about anything.
So, their guests aren't scheduled to be here until around 6:00 or 6:05.
Whose guests?
The meet and greet guests. Mr. Clinton's.
-We just did it. -You met and greeted the President.
But he's got 30 guests coming.
So we're not gonna do that until 6:05.
Hey, Clinton, l'm bushed.
They said, "I'm waiting tor HiIIary's mother."
You're so nice to wait tor her.
Hi, Mom.
The Rolling Stones have been waiting for you.
Hello. l'm Ronnie. Very pleased to meet you.
Hello. Nice to see you.
Hi, Dorothy.
-And there's Charlie. -Charlie keeps it all going.
-And some inserts of hands and faces. -Right. Yeah, yeah, yeah.
This is one ot my birthday presents.
I get to open tor The RoIIing Stones.
I want to say a speciaI word ot thanks
on behaIt ot HiIIary and CheIsea and myseIt
to The RoIIing Stones tor doing this.
I actuaIIy did open tor The RoIIing Stones once betore.
They did a concert in Los AngeIes in 2001
to raise awareness ot the threat ot cIimate change.
They know as much about these issues as we do.
They care about them as much as we do.
And that's why they're giving us this wonderfuI night.
Thank you and God bIess you aII.
Let's get ready to go. Everyone, get ready to go.
And now, tor their second and tinaI appearance
at the Beacon Theatre, pIease weIcome The RoIIing Stones!
-Set list. -Okay, first song.
Thank you.
How you doing? Okay?
You've been doing this tor how many years?
Two years.
And how much longer do you give yourself doing this,
-going round being a sort of... -l don't know.
l never thought l'd be doing it for two years even.
When we started off, l never thought we'd make it very big anyway.
And now we've been making records for two years
and everybody still calls us quite a new group.
l don't know, quite honestly.
l think we're pretty well set up for at least another year.
Well, if you weren't a music maker, what would you like to be?
-Design. -Design what?
A designer, 'cause l was one.
l'd call myself a designer because l couldn't be a painter.
Because l'm not versed well enough in the language of painting.
l'm not talented enough.
You need talent, surely, and discipline.
No, you need a lot of talent, as well.
What sort of talent?
The talent of knowing.
But knowing comes from discipline.
Not necessarily.
So the talent is to have an imagination?
Yeah.
So do you think you're imaginative with your work?
Yeah.
Maybe it's just an inferiority complex l got.
Maybe l'm great after all.
-Who do you think you are? -Mick Jagger.
You've been on your second tour ot the United States tor two weeks.
-How was it? -lt was very enjoyable. Most enjoyable.
Very successful, too.
Well, that was not true of the first one, was it?
Oh, no. But we only came over here on the first one
so we could get ourselves known, so to speak.
And when we went back, things started happening for us.
Well, why did they start happening?
l don't really know. Some sort of chemical reaction
seemed to happen, somehow.
What would you say happened?
l really don't know quite honestly.
Jack White.
We're gonna do a reaIIy oId song tor you now.
It's one ot the tirst we ever written. In tact, we never did it.
We gave it to someone eIse 'cause we were sIightIy,
sIightIy embarrassed about it the tirst time we wrote it.
Thank you.
LoveIy, isn't it?
Thank you.
Mick Jagger, The RoIIing Stones Ieader, sentenced to jaiI a month ago, is tree.
He has won his appeaI against the prison sentence.
And tonight he tIew by heIicopter to a Iocation 30 miIes trom London
to appear in World ln Action.
PubIicity on the case is spIit between the society
which resents the anarchy ot peopIe Iike The Stones
and that which tavors greater individuaI treedom.
Tonight, World ln Action examines the reasons tor this spIit.
With Mick Jagger are
WiIIiam Rees-Mogg, editor ot The Times newspaper,
Father Thomas CorbishIey, a Ieading British Jesuit,
Lord Stow HiII, who has been Home Secretary and Attorney GeneraI,
and Dr. John Robinson, Bishop ot WooIwich
and author ot the controversiaI reassessment ot Christianity,
Honest to God.
Mick Jagger has been siIent tor three months.
He's read ot peopIe saying he's got what's coming to him
and he read The Times asking "Who breaks a butterfIy on a wheeI?"
l try to keep out of discussions on religion
such as some pop stars try and get into.
Try to set a good example to teenagers by being religious.
We're trying to keep out of that.
Ladies and gentlemen, could l just ask you
to take your pictures as speedily as possible.
l don't think we're being unreasonable.
l don't propagate drug views such as some pop stars do.
This whole sort of thing was pushed upon me.
By whom?
By the mere fact that l've been prosecuted
and also with Keith being prosecuted.
We didn't make a public statement
on religion, on drugs, or anything like that.
Gentlemen, can l interrupt?
lf it continues on that sphere, then l'll have to cut...
RoIIing Stone guitarist Keith Richards was arrested Iast night here in Toronto.
Keith Richards, how wiII this conviction attect you
and your music and The RoIIing Stones?
l just want to get on with it, now that it's over.
Do you think it will have any effect, then?
Might get a song out of it.
Yesterday, atter you arrived,
somebody wrote that on this visit to AustraIia,
you're about as controversial as the local vicar.
Does that particular description offend you or please you?
-Who said that? -A journalist in Sydney. ln a paper.
That's all right. l don't want to be offensive or controversial.
-Mick Jagger. -Hi.
This is noticeably different from Germany.
We're actually in Denmark, not Sweden.
Though you're Swedish, which is confusing for us.
We'd all like to know what kind of joy
or what kind of thing does it bring you on a personal or professional level?
lt was very enjoyable.
-Could l ask you how old you are? -29.
Twenty-nine yesterday.
-You are the same age as me. -Oh, isn't that wonderful?
How long do you want to do it?
Do what? Be on the road?
Be The Rolling Stones.
''And what would you do, Mr. Jagger?
''Please tell us what you will do if you are not Mick Jagger?''
l say, ''Well, l'll be somebody else.''
What do you feel just before you jump onstage
-in front of 100,000 people? -l wake up.
Well, l usually say to myself, ''You better...do a good show.''
That's what l do. That's my last thought. ''This better be good.''
What is the question, Keith, that you've been asked the more often?
That question you just asked me.
''How long do you think you're gonna carry on singing?''
My God, what's up next?
What are you doing with that strange instrument, Ronnie?
Can you drive that reaIIy?
We're gonna do a IittIe bit ot country tor you now.
This one we do is caIIed Far Away Eyes.
Thank you.
Thanks, crackerheads.
Here's a song that was written...
I don't know it it was written by Muddy Waters,
but I tirst heard it done by Muddy Waters.
Champagne and Reefer.
And Buddy Guy is gonna heIp us out.
Thank you. Buddy Guy!
Buddy...Guy.
lt's yours.
Thank you!
You're being wonderfuI.
You've been a...great audience, I teII you.
Lord have mercy.
You're sounding good, you're Iooking good,
you're doing everything you shouId.
I'm going to teII you who's up here tonight,
who's pIaying and singing and carrying on.
First I want to introduce you...
From Queens, a very beautituI Iady, Miss Lisa Fischer!
I tucked up.
She's not trom Queens, she's trom BrookIyn! I'm sorry.
You're trom Queens, right? You're trom Queens.
I got this one.
Right behind her, trom Queens, Mr. Bernard FowIer!
From South Atrica, Mr. BIondie ChapIin.
Tim Ries. MichaeI Davis. Kent Smith.
On the tenor saxophone, Bobby Keys.
On the keyboards, Chuck LeaveII.
On the bass, DarryI Jones.
On the guitar, rocking Ronnie Wood!
They Iove you, Ronnie. They reaIIy Iove you.
On the drums,
Mr. Wang dang doodIe, CharIie Watts.
-Want to say heIIo? -HeIIo.
He speaks.
On the guitar, and now the vocaIs, Keith Richards!
Good evening.
How did that come across? AII right?
It's good to see you aII, you know.
It's good to see anybody.
So it you're aII aII right...
Hey, baby in bIue.
We're gonna go on and You Got The Silver.
Thank you, Ronnie.
CooI, huh?
-Well, how are you physically? -Me? l'm fantastic, baby.
-Are you up for this tour? -Sure.
The other word on the street is that this is the proverbial last tour.
Yeah, so they said in '75, '72, '69, et cetera.
We didn't say it.
How have you survived? All the bad...
The answer is not to keep asking yourself
how you do it as long as you do it.
l don't try and analyze it.
My luck hasn't run out yet.
Onstage, does your mind wander ott or are you aIways in the guitar?
l don't think onstage. l feel.
Up there, you're just who you are. You're not thinking.
When we get up there, we're in our own IittIe zone.
We love what we do.
As a man, what's Keith's best point?
Well, he's very moral and he's very caring, unlike his image.
ln the bad old days or the good old days
was he really as mad as all the books say?
-And were you? -Yeah. And Keith still is.
And so am l, really.
Ronnie says that the hardest thing is keeping up with you.
Generally in life.
And he thinks one of the reasons he got the gig is
'cause he could stay the pace.
-ls he pretty tough? -He's tough, but l wear him out.
ls Ronnie your right hand, your left hand?
ls he your pal, your twin?
Good question. Ronnie and l, we're like that.
And also we're like that.
Who's the best guitarist? You or Keith?
Oh, well, he knows l am.
-How would you answer that question? -Nobody is interested in being the best.
-He said he was definitely the best. -l know he'd say that. Yeah.
But l know the truth, which is like, we're both pretty lousy,
but together we're better than 10 others.
I guess you know the teeIing. GoId rings on you aII. BIess you.
You're sounding good out there.
Thank you, Christina AguiIera.
Thank you very much.
AII right! I Ioved it.
Are you teeIing good?
Come on and say, "Yeah."
Thank you so much, everybody!
Good night, and thank you so much.
August 4th, 1972.
Cavett meets The RoIIing Stones.
ls there ever a temptation
when a whole audience is out there waiting for you to chuck it,
and to just say, ''l can't go on, they're asking too much of me.''
You earn every cent with that performance you give.
The exercise, the energy.
You lose probably 10 pounds a night.
-l can't remember the question. -l can't either.
l've completely lost sight of it.
Yeah, there is a temptation some nights.
When you have a real problem to get there.
Like the other night when we were in jail.
ln jail?
Keith was on one side of this wall and l was on the other.
And l say, ''We're not gonna make it, so let's forget about it
''and not try and make it.''
So Keith says, ''We got to make it.'' So l say, ''Okay, we'll make it.''
So we start yelling, ''We got to make it, we got to make it''.
We didn't have to. They did it all. They got us out.
Can you picture yourself at the age 60 doing what you do now?
-Yeah, easily, yeah. -Really?
Those Iights are burning up my ass!
Thank you so much. Thank you.
Thank you very much.
Put my robe on right.
Go, go, go, go, go.
Up! Up!
Ripped into taiIure.
So how's the audience gonna be with aII these cameras?