On August 3rd, 2006 C&V was given the opportunity to attend a screening of Stewart Copeland’s rock documentary, Everyone Stares: The Police Inside Out, as well as a question and answer session with the drummer afterwards. Copeland’s Everyone Stares is a compilation of home videos he filmed using a Super-8 during the early 1980’s hay day of The Police. In the film, he chronicles the band’s life as hotel nomads and the antics backstage, at music video shoots and recording sessions. Although the film isn’t an in-depth look into the tribulations of The Police, it does illustrate the excitement band members Andy Summers, Sting and Stewart Copeland experienced together as a world-class rock band. Everyone Stares: The Police Inside Out will be released on DVD September 25th. More details here.
Join C&V for an informative Q&A with The Police’s Stewart Copeland as he discusses everything from life with band to obtaining music rights for films.
Q: Please welcome back, the filmmaker, Stewart Copeland.
A: Thank you very much. Does that look like fun?
[applause and cheers]
Well it was. Much more fun than I thought. You know, because there’s the whole thing about The Police that we all hated each other. We fought all the time. I rest my case. Any questions?
Q: When did you first get a movie camera and had you ever played with one as a kid? A Standard 8 or any of those?
A: No. I never played with a movie camera. The first one I got was that one. And the shot of us…the first in-store, the Spinal Tap one with nobody there, just like five…That was the day in Phoenix, Arizona when I got the camera. And immediately it was glued to my face for about the next 4 or 5 years.
Q: What happened? What was [inaudible] to get a camera? I mean if you’ve never had one as a kid.
A: Well, you know, when bands are on the road it’s sort of like being on a pirate ship. You know, the rape and pillage. The pillage part. Well the rape part you can imagine. But the pillage part, the [inaudible] is shocking and when you’re in Minneapolis or Phoenix or something like that there’s nothing to do. And with a few extra dollars in your pocket, that’s what rock bands do, they shop. Not many people know that.
Q: Shopaholics. Most people take home movies and they may be show it when they get home from a vacation or something like that. Did you ever even look at them at the time, or were they just simply thrown in the back a drawer?
A: I did look at them. Eventually it got to the point where you’re on tour and as thing’s got more comfortable and we had more crew and we were living on the road. We had our little project trunks. You know Sting had his various fitness, his boxing kits. And Andy had this kit and that kit and I had my film kit. And we’d be in a hotel where we’re in for two nights. I’d call the film kit and it would arrive in my hotel room with a little editor and a little projector and I’d play with my movies. But, the problem is there’s no negatives. And so every time I’d look at them in my little domestic grade projector, I was scratching them up a little bit. And whenever I’d edit them…This is something for you youngsters that I know will be hard to appreciate. There’s no “undo.” I’ll give you a minute to assimilate that. When I’d actually cut the film you destroy a frame on this end, because you have to cut it in half, and you destroy a frame on that end because you have to cut it in half. Then, you take a little nail file and you shave the film like this on this side and you shave the film like that on that side. Then you get a little piece of glue and clamp it like that and if you didn’t shave enough then it catches in the gate of the projector. And so each edit was a, first of all you’re destroying frames of the film and second of all it’s like there’s no undo. And if you don’t know anything about editing there’s no trial and error, you can’t try, “Oh now let’s move this shot a little bit to the left.” You can’t do any of that. So, very quickly I realized I was destroying this cool footage, so I, fortunately, put it away. Said, “stop looking at it.”
Q: When you were looking at it, was it just you or did you show it to Andy or Sting or were they not interested at that time?
A: Oh, wild party in my hotel room. We’re all looking at this stuff goofing off and laughing at it. That’s what home movies are for. And we enjoyed it the way that home movies were intended to be enjoyed. It’s only years later, you know,…it’s a home movie but it’s on the August body of the selection committee of the Sundance Film Festival that’s decided, otherwise, that it should be a movie that I should send onto the world.
Q: It must have stayed in the closet, so to speak, for quite a long time . What was the spark that first brought it out?
A: Technology. The technology was, you know, at first, this is something else that’s hard to grasp, this is before reviewing. And so, that’s all there was, was this film with no negative. But then they did invent video, and I tried transferring it to video and it just looked really lame on video. So, it went back into the shoe box. And, years later, they invented personal computers. And, more importantly, Final Cut Pro. And, more importantly still, cheap memory. Which sounds kind of poetic, but what I’m talking about is hard drive so that I could put my 50 hours of music on a hard drive smaller than a house. And that’s what, that’s really what made it so possible, that’s why now people are always asking, “Why after all this time, now?” Well, it’s really just technology. Simple answer to that.
Q: But there must be something beyond the technology, there must be some emotional spark that made you think or curious enough to do something with it. Even just for a home movie. Or were you just doing–
A: I don’t know how much of an emotional spark, just a creative spark, I guess. You know? It was really just fun footage kind of made from shots that I had. And the exercise was just editing a movie and having fun doing that. Then, I got a call. It was actually a strange circumstance, I was talking to my buddy, Les Claypool, my Oysterhead chum, and he’s always got good advice for me. [In a Les Claypool Voice] “Hey Stewart!” He’s got a funny voice, “Hey Stewart, you should send it to SunDance.” And so we’re talking to each other on the phone as people does these days, googling this stuff as we talk. So we Google up SunDance, find the application, I fill it out. At that time, I had to think of the name of the movie, which at that time, was called Behind Andy’s Camera, because it really is Andy’s movie. Would you not say that Andy is the star of that movie? [laughter/applause] Andy rocks in this film. And I payed my $35 bucks and sent it off and forgot about it. And then when SunDance called back on Thanksgiving evening. The evening before Thanksgiving, which I found was very classy. They call up everybody who’d been accepted into the festival the day before Thanksgiving. Which was nice, don’t you think?
Q: Right. And you were bemused?
A: Bemused. Yes, I was bemused.
Q: I sensed bemusement. By now you’re thinking, “Well hold on, this is a home movie. I wasn’t expecting…” You know there was a certain air of expectation–
A: Well, no, no, no, immediately the visions, the grandeur, it instantly, immediately was a huge blockbuster film.
Q: There was a moment when you called up Andy, called up Sting and say, “Well, you remember that little home movie footage? I’ve done something more with it.”
A: Yes. So I sent it to Andy and he loved it. Actually I showed it over at my place and Andy, of course, as you can imagine, loved it. And I sent it off to Sting. And it was kind of important, you know, at that point I was thinking, “I hope he likes it because I would like to do something with this.” And, so I sent it off. FedExed at his place in Wilshire. And figured, “Ok, it’d be there next day…10 o’clock…give him 10 minutes to get it out of the mailbox…75 minute movie…10 minutes to let it sink it and maybe 20 minutes so that it really sinks–[excited] Sting! What did you think? What did you think?” And he goes, “Yep. Yeah. Yeah. Yeah. Great. Great. Great. Yeah. Good.” Which was actually all I needed, so, cool. So I finished the movie and I cut it. And I show Andy and he loves it even more. And I send it off to Sting, only now he’s at his palazzo in Italy. And, so, I give FedEx another day, maybe make that 11 o’clock…[mumbling]..”Sting! What did you think?” And he says, “Well, actually, I haven’t seen it. And I’m not going to see it.” Oh man. And he says, well, he’s got this phobia. He doesn’t watch himself on the screen anymore, doesn’t read his press anymore, doesn’t look, does photo shoots and doesn’t look at the shots anymore. Other people choose the shots. Which is different from the old days. Because, in fact, in the old days, he couldn’t walk past a mirror [Stewart pretends to fix his hair. Laughter erupts]. And we’d tease him about it. And he’d say, “Look, it’s our job and, by the way, it’s your job too.” So, okay, alright, so there. But he was a professional about that image thing and it was real important to us, he was our face and he did a pretty good job of looking handsome all the time. Only now, he doesn’t care about it. And so, fortunately, for the film, his kids saw it and they told him, “he looks cool.”
Q: Very cool. Now, so the music, of course, you’ve gained enormous respect over the years for your work as a composer. Rumble Fish, and so on. Do you–
A: But, isn’t it cool? I had forgotten this part. Isn’t it cool that in America we had to work our way up city by city, inch by inch, you know, we paid our dues. I think I can say that we achieved a certain amount of respect for our music and that was kind of the important thing. Okay, three blond heads coming from kind of a gimmick and everything. But mostly, I, my vision of our legacy, if you like, was kinda of respectful. What I had forgotten. What I had this footage of was that we broke through England as a boy band. It was a complete, and we were N’Snyc: [absolute] total devoid of musical credibility. It was just the complete pin-up thing. Which is why that fan stuff that I’ve got in this film is totally different from what, you know, the Foo Fighters get, or Tool, or Led Zeppelin. You get respectful appreciation from their fans. That screaming stuff, that high-pitched shriek, that’s strictly for the boy bands.
Q: I remember, I was there in those days and there it was. It was you and Adam Ant. And it was always like–
A: Fortunately, he got into “Prince Charming” so that took him out of the game right there.
Q: But then you made a transition. Like the Beatles before you started in England. You–
A: Well, no, no, no, no, no. We ourselves considered always to be about music. And we thought of ourselves as a hardcore musical endeavor. Mind you, under the flag of convenience known as punk, which required a hairdo, and the hostile clothes and all that stuff. That was just the uniform. But we took the music really seriously. And when we were kind of broke down suddenly as this boy band, it was kinda of a shock to us. So much so that we were in denial. I forgot all about it till I saw this footage.
Q: What’s interesting looking back on that period, [two inaudible names] trust you when you’re producing a film because it’s never going to be seen by anyone else, of course. But you’re shooting primarily, you’re capturing the happy years, but like all that, you didn’t happen to have the camera rolling when you ended up in a fight?
A: Well, you know, all the footage I have is happy footage, like the film footage you saw. And I had kind of a challenge, you know, come to the part of the movie where I have to say, “Okay, here’s the downside, okay, eventually we start to not get along,” and, you know, have to show that side of the arc. But I didn’t have any shots to support it. I didn’t have shots of us shouting at each other. I just had one shot of Sting looking a little bit grumpy, mostly impatient with himself because he screwed up a take or something like that. But the thing about, the big, slap-down brawls is that, Sting works out. And if you’re trying to throttle him, it takes two hands. And I couldn’t, didn’t have a good hand available for a camera. Andy’s a little fucker. I could throttle him with one hand and shoot with the other, but Sting works out.
Q: I suppose you’ve been, over time you were shooting this, you were right in the middle of the maelstrom. And the last 10, 15 years we’ve seen all those VH1’s “Behind the Music”’s and it almost looks like a predictable plot every time all the bands reach a certain point, then they start [inaudible]. Did you, in the middle of that maelstrom, ever have moments you would call “out of band experience” where you think, “Hang on, is this what happened to the Beatles or the Stones and you start having these fights and you actually try and deal with it, or you just way in the middle of it?
A: Well, we were way in the middle of it, but yes, you’re right, we did actually, we were able to spot the “cliches-ness” of it too. But, it was really a minority of the time and the creative differences that we had with hindsight, we’re illogical. And I think that both sides of the disagreement had a logical point. And I kind of explained it in the movie, but I’ll explain it again. Which was that Sting was a complete songwriter, and like Mozart or Vagner or any other composer of any other kind of music, he would conceive a piece of music in its entirety. Not just the lyrics. Not just the melody. But the whole thing, the whole arrangement. And he happens to be, or by the time we were getting to our third, fourth, and fifth albums, the next one, producer, who knows exactly how to arrange a song for a band and how to record it and what the overdub should be. And, by that time, we all lived in our obligatory rock star’s palaces in the country with recording studies. So, we would show up in Montserrat [, France] for the recordings with fully mastered platinum demos. You know, you change them at you peril. You know, sanctity of composers. And so that was, so Sting had fully realized this material and now he’s got to bring it to the band and negotiate with the other two guys. Okay, that was his point of view. Our point of view is that the band is our vehicle of our expression. We’re not just craftsman session players, we’re members of a band who strove with the bar way up to be a band which is a three-way creative triangle. If I’ve got an idea for how the drums ought to go, I want to be able to do it. But, the guy who wrote the song has already got an idea. Both positions are valid, but, inevitably, we had to part ways. And we very fortunate that Sting was able to endure this for eight long years. Five albums he was able to make these compromises. But, finally, we got to the point when we achieved everything a band could possible achieve. So, we didn’t make those compromises anymore and so we parted.
Q: So things about the film, I saw the tape that you gained enormous respect as a film composer, Rumble Fish and all, and you did some very interesting things here with sound. Because you deconstructed some of the music. So, tell us about that, first of all from a technical, creative point of view , and I presume it was not easy, business-wise because there’s always business involved.
A: Yeah. Some of you all might have noticed the music was not the Police music as it was originally recorded and I called those arrangements. And that was an exercise that came from this other band I play with called Oysterhead which is a jam band. And, we’d jam for hours, then cut it all up in ProTools which is a very fun and creative exercise. And somebody suggested, might have been my brother Miles always looking for the main channel, “Hey, why don’t you try doing that with some Police stuff?” So, I took the “Synchronicity” live album, there’s little a little moment in “Roxanne” in the middle where this kind of riff we get into in this improvised moment. And, I kind of loop it and I found it helped somewhere else and I didn’t have a mosh-up to play for Andy, but, “Hey, that’s really cool.” So, I did a couple more. Sting was in Malibu, so I went over to his place, dragged him out, you know, some one’s going to send him a CD he’s never going to listen. So, I had to go over, drag him physically into my car and he says, “Yeah man. Yeah man. Cool.” And so I go off and I make these seven tracks, but I was foolish and greedy and included my brethren thought in the creative process. And it was a mistake which I deeply regret because they said, “No.” And that was it for that stuff and I could of understand. I mean I know how I would feel if Andy was on the other side of town carving up the Police masters, his own version of it. It’s okay if it’s my version, but I can understand their looking at stance at me doing the stuff. So, they said, “Nope. Mine.” History. Toast. Course I did burn a few copies for my friends, but, you know, went back into the cookie jar. But then came time to make the movie. And, to score the film, that’s actually what I do for a living, I actually know how to score a movie. And I understood immediately that this scoring, as I score a movie, would be just wrong because it’s all about the realism of it, the “Police-ness” of it. The derangements [Copeland's title for the remixes]. The advantage the derangements had over the Police masters was the Police masters were all about songs. All about that. Lyric. All about that. Vocal. And the band around it is just an emblem. It’s all about the song. The movie is about the dialogue, the duration, the through-line, the story. So, the songs kind of were a disctraction in most cases. The derangements actually served the film a lot better and it was a way of resurrecting these tracks. I did think were kind of cool, even though the other two guys didn’t like it. I kind of snuck them in there and so far the other two guys haven’t noticed.
Q: So, first of all, your brother Miles, was that easy being in a band having your brother as manager? That must have lead to the occasional conflict, Miles being a very gentile soul.
A: No, it…Miles is a gentility of spirit. That wasn’t a problem. In fact as Miles bonded with both the other guys he continued to manage Sting long after The Police broke up another 20 years or so. Similarly, my brother Ian, the agent, also represented Sting long after The Police broke up. Both brothers had relationships with all three members of the band that were very deep. We were all there in the beginning, we were all there all the way through the thing. The sibling thing was kind of a good news story, but really it was business that held us together. We were in the same business. It was very fortunate because we were very close as a result in being in business together. It didn’t complicate matters much.
Q: Also, we have our intermission, we’re going to be showing Urgh! which Miles was very involved as producer and several acts in Urgh! are acts that Ian signed. I wanted you to share a few thoughts about Ian [inaudible].
A: Well, he was. I’m a still a little bit raw about my brother who died who died maybe two months ago. I’m not over it. I don’t know how long it’s going to take, but I’m not over it. He…not to go down that road..he was very important in the music industry because of one very important thing that he did which is that he struck together these clubs across America. He’d go to Cincinnati. He’d spot one punkish kid and he’d say, “Hey kid, where do you hang out?” And there would be one club that on Thursday night they’d have punk night or something. He would call up that promoter and say, “Hey, I can bring you this English band, a real punk band.” Okay, we got Cincinnati on Thursday. He’d go to Minneapolis and find the one punk kid in Minneapolis, “Where do you hang out?” “We’ll on Tuesday’s there’s such and such bar and grill they have punk night.” Great, Minneapolis Tuesdays. He built up this circuit and he and Miles bought a truck and a back line: bass amp, guitar amp, couple of guitar amps, and a truck, and a band. Swedes were actually the first band, U.K. Swedes as they’re called here, and they used the truck and the gear. As soon as they were leaving we passed them at Kennedy airport. We arrive. Same thing. We got on the same bus. Plugged into the same amps. Our first show in America was at CBGB’s and The Bowery in New York. Literally, I came the day before, as an American citizen I could come in, but [Sting and Andy] had visa problems. These Brits. So they arrived, literally, from Kennedy airport, straight down to The Bowery, walked on to the stage, see these, they’ve never even seen the brand names of these amplifiers before, plug in, turn around, “Hello America.” That’s were it all began.
Q: And we have Ian to thank a lot for what he did.
A: Yeah, Ian… [inaudible over applause]
Q: Just to round off before we take a couple of questions from the audience, the two Brits, you mentioned two Brits. First of all, Andy of course–
A: The tea bags.
Q: The two tea bags. Lot of people didn’t realize because of his frightningly irratating, youthful appearance that Andy’s actually 10 years older than you and had been touring in America with Eric Burdon and The New Animals–
A: Neal Sedaka.
Q: Neal Sedaka, yes sir. Was there any…Tell you perspective on that, because that’s kind of unusual when you’re in your 20’s that somebody’s 10 years old. That’s quite a gap.
A: Well, we were a punk band with not a ton of money, but we were actually at living room sessions. And there was one session we were on, a guy called Mike Howlitt…I was the drummer, Sting was the bass player, and the guitarist on the session was Andy. So, we met this guy. Mike Howlitt did a show in Paris. We were the band, so we played the show. It was short material, so we did a Police song. After that, we were doing a Police show at the Marquee Club in London and Andy shows up. He’s there. He knows a couple Police songs, he jumps on stage, does a couple songs with us and it’s all very fine. Sting is like, “God, it’s so great to have, like, a real musician.” Because Andy, bless his heart, was not a real musician. He was a real punk, which was important, but he wasn’t a real musician. In fact, before Sting got to our first rehersal I showed Andy all the chords. “That’s an E, that’s a D. No, no, no. Up one. Yeah. Yeah. That’s a D.” So when Sting walks into the room, I was like, “Yeah Andy, that’s an A then a D” and he could play it. Fooled Sting for about 20 seconds. So Sting sees this guitarist who’s actually reall good on stage with us and a couple of days later I run into Andy Summers on, he hates it when I tell this story, but it’s true. I promise. He’s going to have to live with this story because it’s true. I run into him and he says, “Hey Stewart, that band of yours. I think you got something. You’re really great. That bass player. Man. He’s great, but you need me in the band. I accept.” I swear to God, that’s how the conversation went. And, I said, “Andy, look, you’re a triple scale session guitarist, we can’t afford you. You’re going to be in the band for two weeks. We’ve got the record company. Voilà , I am the record company. Management, the high powered management? C’est moi. Road crew? That would be you.” But, he insisted, he wouldn’t take no for an answer, and Sting was freaking out, “He’s in the band, he’s-.” And I said, “Sting, calm down, he’s going to quit after two weeks. We can’t do this. We’ll kick out our guitarist, and the band, and that’ll be it.” But Sting insisted, and so, okay. Musically I could appreciate instantly it was really clear, but as soon as Andy joined the group, that’s when The Police sound happened. That’s when String actually started to write songs. Up to that point it was my two, three chord tricks. Sting was actually able to write chords with ninths in them. Fourths. Stacked fifths. I don’t even know what they are but I hear them talking. That’s really when our sound started to happen, when Andy brought that musicality. It was something Sting could work with as a songwriter. You know, when I first met Sting, he was a bass player. And I saw this incredible bass player. “Now that guy has the thumb that works for me. That’s the bass player for me. ” And, and, he could sing. That’s one less member in the band. That’s one more seat in the car. Incredible. I had no idea. Nobody had any idea that he could write songs, and he never did write songs until Andy joined the group.
Q: A couple of words about that other tea bag. Of course, and an interesting thing, Andy’s got a book coming out, Sting, of course, has written a book. Sting has already written one volume of his autobiography. You read that? And you’re in it. You’re in it.
A: Yeah.
Q: Your thoughts on that other tea bag?
A: Which other tea bag?
Q: Sting.
A: Sting. Well, I enjoyed his book. It was a real eye opener for me. 
It really was. You know, I’m in the public eye and my job puts me into the newspapers. I do read my reviews. The impression you get from somebody who meets you for 20 minutes and writes a story about your professional persona. This book that Sting wrote, was like, he knew me really well. I didn’t see myself like that. I thought that I was just quiet and shy kind of a intospective, sensitive soul, insecure and socially kind of a little slow. And he described this torrent. This force of nature. This loud and incredibly aggresive person and a light when on in my head. That’s why people lean back when I talk to them. That’s why people kind of shrink and look like they’re afraid I’m going to spill my beer on them. I just never had any inkling that that’s the kind of guy, but he knows me, he wrote it. It’s all making too much sense as I’m reading this book. So, Andy’s book, I don’t know, I don’t know. But I have every expectation that it’ll be a fun read. How about you out there, any questions out there?
[At this point, questions from the audience were asked directly to Stewart. The questions are paraphrased.]
Q: [A question was asked about the whereabouts ofThe Rhythmatist, a film Stewart wrote the soundtrack for.]
A:
That’s because I have squashed every copy of it that I could find of it. It’s an abomination. The music I am very proud of. The film is the stupidist film ever made. Well actually, my Oysterhead buddies…we’re on the tour bus and we got a video player, “C’mon Stewart, bring it out, bring it out, bring it out.” And they twisted my arm, twisted my arm, twisted my arm and I, “Okay we bonded now, we’ve played a lot of shows. We’re a band. You know. We’ve toured together. Okay.” So I put it on. They loved it, and I loved showing it to them. It’s totally perposterious. Really dumb. But actually kind of endearing in stupid kind of way. And so maybe if I do a new narration for it or something like that to explain, “Okay folks, none of the stupid stuff is my fault. It was that Beglian director who made me do it. He made me sit in a cage with my drums blasting while I was being attacked by lions…his fiance in front of 400 astonished Pygmies. It was his idea.
Q: [A question was asked about the difficulties of obtaining music rights for film.]
A: Surprisingly, the music in the film…It’s my own band, for God’s sake! I had to pay a fortune for it. Because, although Sting is my buddy, his publisher, EMI, for them, it’s just look, you’ve got 36 Police songs. Each Police song appears in a feature film, that’s a small house in Santa Monica, each time. I had about 36 of them. It was actually a really big deal for me to get the licenses for all those songs and a lot of money had to change hands. Mine. But since this started out as a home movie, I was bankrolling it. It was just supposed to be, you know, maybe a couple thousand dollars to transfer the film, maybe a couple thousand dollars to do this. Okay, $80,000 for the music rights! And that’s just the publishing. It completely blew my mind how difficult it was to get the rights to MY OWN GOD DAMN MASTERS! Universal, who owns the recordings, I mean this in incredibly complicated, but there’s the songwriter, there’s the publisher, who works, who adminsters the songwriter’s writings. Then, there’s the record company who owned the recording of the song and then there’s the band who performed it. All these people got to be paid. Universal and my band were very cooperative. They cut me some slack because we’re all a happy family together. Some of the other players were very difficult and I’ve got hours of footage of all these other bands, Adam Ant, The Specials, you know, all these bands, The B-52’s, Talking Heads, all the bands of that era. I’ve got totally unique footage of those guys because I could go into their dressing room, and unlike MTV crew, I’d walk in. “Hey Stewart, How you doing? Ahhhh.” They’d goof off and they’d clown around in my camera the way they wouldn’t do for an MTV crew. I could walk out on stage with the band and they wouldn’t kick me off, they’d be hamming it up on my camera. So, these shots I have of all these groups nobody else can get these shots, but the rights to get the music is just too frightening to even think about. That was one of the big aspects of this film was securing the rights of all that music. And not only the rights to the music, but every face on that screen, I had to go find them 20 years later. Those two German artists have dissappeared without a trace. They were one-hit-wonders, which is what’s kind of cool about them, and they disappeared without a trace. The show we were on with them vanished. There are no records of who was on the show. The radio, the TV station has been bought and sold six times since then. The artists nobody can remember who they are. And then there’s the singer, there’s the songwriter, there’s the record company, there’s the band. I had to find all these totally anonymous people was only made possible because The Police has these weird clan of fans who take it upon themselves to document every photograph. They put a date on it. Every concert. They’ve got the setlist. One of these guys was a German who…actually he’s got the skills to track these people down and actually found them in the nick of time so I didn’t have to cut–
Q: We have a surprise for you, we actually have them here tonight Stewart.
A: (sarcastically) Oh my God! And that guy was so cool, the snake guy with the microphone down there and the two women behind him. Aaaaahhh, I would have broken my heart to have to cut him out of the movie, he was so cool. Good song. (sings German lyrical nonsense)
Q: We have an abundance of interest to hear more stories, but a lack of time because we have to show Urgh! which we are looking forward to doing. I would just like to say personally, thank you very, very much for making this film. Thank you for showing it to us and sharing your recollections. I don’t know if you’ve noticed, but everyone’s not leaning back, they’re leaning forward. Thank you very much. Stewart Copeland.
A: I remember, and check this out when it comes up. I’ll be watching, but there’s this scene. I can swear that when we shot Urgh!, there was a fight in the audience and they were throwing mud. And, Sting was shouting at them. Keep your eyes peeled, because I think that’s the reverse angle of the shot that I got in my movie where I’m talking to the camera. And you can hear there’s a fight breaking out and Sting’s shouting at them. So, after 20 years, I can’t wait to see whether that’s the same moment. Check out.
Q: Stewart Copeland!
posted on 12:10 am 08/23/2006
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that ole jodie and her photos….
that was a long ass Q&A, amit.
August 23rd, 2006 01:59
[...] Celluloid and Vinyl has a lengthy interview with Stewart Copeland from an August preview screening of Everyone Stares: The Police Inside Out, a film Copeland made by taking hours and hours of Super-8 footage he took when the Police were at the height of their popularity. [...]
October 21st, 2006 15:23
GRANDE THE POLICE !!!!!!!!!!!LOS VI CUANDO TENIA 10 ANOS DE EDADEN EL FESTIVAL DE VINA DEL MAR,ME MARCO PARA TODA MI VIDA SON LO MEJOR QUE HA PASADO POR CHILE,HICIERON HISTORIA ,AUNQUE AL PRINCIPIO NO FUE ENTENDIDO SU ESTILO.PERO AL PASAR LOS ANOS SE DIERON CUENTA ACA EN CHILE DEL TALENTO QUE TENIA ESTA BANDA,OJALA UN DIA SE JUNTEN Y PRODUZCAN UN ALBUN PARA SUS FANS COMO YO,PARA CONTARLES A MIS HIJOS DE LA CALIDAD MUSICAL QUE TENIAN,!!GRANDES!! STEWART,ANDY AND STING,BYE iiioooooooooooooooo
November 18th, 2006 00:35