Shine a Light

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.

-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.