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00:28:49,727 --> 00:28:53,998
>>> YOU PROBABLY KNOW DAVID
BYRNE AS THE LEAD SINGER AND
SONGWRITER OF TALKING HEADS, THE
HUGELY INFLUENTIAL POST-PUNK

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00:28:54,065 --> 00:29:01,039
ROCK BAND OF THE LATE 1970s AND
'80s.
THEY BROKE UP MORE THAN 30 YEARS
AGO, BUT BYRNE HAS BEEN ON HIS

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00:29:01,106 --> 00:29:07,712
OWN ECLECTIC JOURNEY EVER SINCE.
HIS ARTISTIC INNOVATIONS HAVE
BLURRED THE BOUNDARIES OF MUSIC,
THEATER AND ART.

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00:29:07,779 --> 00:29:18,256
HE'S WON AN OSCAR, A GRAMMY AND
A TONY, TOURED WITH SALSA
SINGERS, COLLABORATED WITH
NEUROSCIENTISTS, MADE MOVIES,

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00:29:18,323 --> 00:29:33,605
AND THIS SUMMER HIS MUSICAL
OPENS ON BROADWAY.
DAVID BYRNE IS AS CREATIVE,
ENERGETIC AND UNUSUAL AS HE WAS

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00:29:33,671 --> 00:29:39,010
WHEN HE WAS 23, AN ART SCHOOL
DROPOUT, JUST STARTING TO
PERFORM ONSTAGE WITH HIS FRIENDS
AS TALKING HEADS.

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00:29:39,077 --> 00:29:44,949
>> THE NAME OF THIS BAND IS
TALKING HEADS AND THE NAME OF
THIS SONG IS "PSYCHO KILLER."
>> SO I WANTED TO BE VERY MATTER

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00:29:45,016 --> 00:29:49,320
OF FACT.
IT'S NOT LIKE, "ARE WE HAVIN'
FUN TONIGHT?"
>> THERE'S NONE OF THAT, "HOW

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00:29:49,387 --> 00:29:54,159
ARE Y'ALL DOIN'?"
>> HOW ARE YOU ALL DOIN'?
>> NEW YORK!
♪ I CAN'T SEEM TO FACE UP TO THE

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00:29:54,225 --> 00:30:01,299
FACTS ♪
♪ I'M TENSE AND NERVOUS AND I
CAN'T RELAX ♪
>> THIS IS ONE OF DAVID BYRNE'S

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00:30:01,366 --> 00:30:08,306
FIRST PERFORMANCES.
IT WAS 1975 AT CBGBs, THE
LEGENDARY MUSIC CLUB WHERE THE
RAMONES, PATTI SMITH, AND

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00:30:08,373 --> 00:30:14,245
BLONDIE WERE ALSO JUST GETTING
STARTED.
♪ PSYCHO KILLER
QU'EST-CE QUE C'EST? ♪

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00:30:14,312 --> 00:30:19,150
>> "PSYCHO KILLER" WAS ONLY THE
SECOND SONG DAVID BYRNE HAD EVER
WRITTEN.
AND IT WAS TALKING HEADS' FIRST

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00:30:19,217 --> 00:30:25,123
HIT.
♪ AY-YA-YA-YA-YA-YA, OOH ♪
>> WHEN YOU HEAR IT NOW, WHAT DO
YOU THINK?

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00:30:25,190 --> 00:30:36,534
>> I'M GLAD I DID IT.
BUT I'M ALSO GLAD THAT I DIDN'T
STICK WITH THAT AS MY -- OH,
LIKE, "THIS IS WORKING, LET'S DO

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00:30:36,601 --> 00:30:41,439
MORE LIKE THIS."
I'M GLAD THAT I DECIDED, "NO,
NOW YOU HAVE TO DO THINGS THAT
ARE A LITTLE MORE ORIGINAL

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00:30:41,506 --> 00:30:47,912
MUSICALLY."
♪ AH WATCH OUT, YOU MIGHT GET
WHAT YOU'RE AFTER ♪
>> AND THAT'S EXACTLY WHAT HE

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00:30:47,979 --> 00:30:53,885
DID.
ALONG WITH TINA WEYMOUTH, CHRIS
FRANTZ AND JERRY HARRISON,
TALKING HEADS PUT OUT EIGHT

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00:30:53,952 --> 00:31:02,026
ALBUMS OVER THE NEXT 13 YEARS.
♪ THERE WAS A SHOPPING MALL, NOW
IT'S ALL COVERED WITH FLOWERS ♪
>> THEY WERE EDGY,

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00:31:02,093 --> 00:31:09,067
GROUNDBREAKING, CRITICALLY
ACCLAIMED AND A COMMERCIAL HIT.
♪ HERE WE GO! ♪
>> MELDING ROCK WITH FUNK,

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00:31:09,133 --> 00:31:15,006
DISCO, AFRO-BEAT AND THE
AVANT-GARDE.
♪ THERE'S A CITY IN MY MIND,
COME ALONG AND TAKE THAT RIDE

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00:31:15,073 --> 00:31:20,945
AND IT'S ALL RIGHT ♪
>> THEY'D ALL STUDIED ART IN
COLLEGE, AND IT SHOWED IN THEIR
MUSIC VIDEOS WHICH WERE IN HEAVY

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00:31:21,012 --> 00:31:29,087
ROTATION ON MTV.
♪ LETTING THE DAYS GO BY ♪
♪ LET THE WATER HOLD ME DOWN ♪
♪ LETTING THE DAYS GO BY ♪

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00:31:29,153 --> 00:31:36,160
♪ WATER FLOWING UNDERGROUND ♪
>> BYRNE'S QUIRKY MOVEMENTS AND
MANNER GOT MOST OF THE
ATTENTION...

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00:31:36,227 --> 00:31:41,566
♪ SAME AS IT EVER WAS ♪
>> WHICH WAS NOT ALWAYS EASY FOR
THE INTROVERTED SINGER.
DICK CLARK TRIED TO ASK HIM

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00:31:41,633 --> 00:31:47,005
ABOUT IT ON "AMERICAN BANDSTAND"
IN 1979.
>> ARE YOU A SHY PERSON?
>> I'D SAY SO...

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00:31:47,071 --> 00:31:57,282
[ LAUGHTER ]
>> IT SEEMS CONTRADICTORY TO A
LOT OF PEOPLE, THE INTROVERT WHO
WINDS UP ON A STAGE IN FRONT OF

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00:31:57,348 --> 00:32:04,389
THOUSANDS OF PEOPLE PERFORMING
AND REACHING GREAT HEIGHTS.
>> IT DOES SEEM CONTRADICTORY,
BUT IN RETROSPECT, IT MAKES

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00:32:04,455 --> 00:32:12,530
PERFECT SENSE.
YOUR WAY OF ANNOUNCING YOUR
EXISTENCE AND COMMUNICATING YOUR
THOUGHTS TO PEOPLE IS THROUGH

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00:32:12,597 --> 00:32:19,103
PERFORMANCE, AND THEN I COULD
RETREAT INTO MY SHELL AFTER
THAT.
BUT I'D MADE MYSELF KNOWN TO

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00:32:19,170 --> 00:32:24,976
THESE PEOPLE, WHAT I WAS
THINKING, WHAT I WAS FEELING.
SO WHEN THAT'S YOUR ONLY OPTION,
IT'S A LIFE SAVER.

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00:32:25,043 --> 00:32:29,881
>> DAVID BYRNE'S SHYNESS GOES
WAY BACK.
HE WAS BORN IN SCOTLAND, BUT HIS
FAMILY MOVED TO BALTIMORE WHEN

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00:32:29,947 --> 00:32:35,853
HE WAS 8.
HIS ACCENT WAS SO THICK,
CLASSMATES COULD BARELY
UNDERSTAND HIM.

34
00:32:35,920 --> 00:32:41,926
HE WAS AN OUTSIDER, HAPPIER
MAKING MUSIC AT HOME IN HIS
BASEMENT WITH A REEL-TO-REEL
TAPE RECORDER THAN HANGING OUT

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00:32:41,993 --> 00:32:52,070
WITH OTHER KIDS.
>> MY DISCOMFORT WITH KIND OF
SOCIAL SITUATIONS MEANT AS OFTEN
HAPPENS I WOULD FOCUS INTENTLY

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00:32:52,136 --> 00:33:00,178
ON MY DRAWINGS, OR LEARNING TO
PLAY OTHER PEOPLE'S SONGS, OR
THINGS LIKE THAT.
AND THAT CONTINUED FOR AGES.

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00:33:00,244 --> 00:33:06,751
AND YOU'D KIND OF ULTRA-FOCUSED.
SO THAT BECOMES -- WELL, KIND OF
A SUPERPOWER.
♪ WHAT ABOUT THE TIME YOU WERE

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00:33:06,818 --> 00:33:15,960
FALLING OVER ♪
♪ FALL ON YOUR FACE YOU MUST BE
HAVING FUN ♪
>> ULTRA-FOCUSED MAY BE A

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00:33:16,027 --> 00:33:21,399
SUPERPOWER, BUT IT CAUSED
PROBLEMS BETWEEN BYRNE AND THE
BAND THAT FLARED UP ON TOUR IN
1983.

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00:33:21,466 --> 00:33:26,904
♪ YOU MAY ASK YOURSELF HOW DO I
WORK THIS? ♪
>> I BECAME, I THINK, KIND OF
OBSESSIVE ABOUT GETTING THAT

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00:33:26,971 --> 00:33:32,777
SHOW UP AND RUNNING.
I MIGHT NOT HAVE BEEN THE MOST
PLEASANT PERSON TO DEAL WITH AT
THAT POINT.

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00:33:32,844 --> 00:33:38,716
>> DEMANDING.
>> YES, YES.
♪ I GOT A GIRLFRIEND THAT'S
BETTER THAN THAT ♪

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00:33:38,783 --> 00:33:45,790
♪ AND SHE GOES WHEREVER SHE
LIKES ♪
>> BYRNE COMMANDED CENTER STAGE,
FAMOUSLY WEARING THIS

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00:33:45,857 --> 00:33:51,729
OUTRAGEOUSLY OVERSIZED SUIT.
♪ AS WE GET OLDER AND STOP
MAKING SENSE ♪
>> THE SHOW WAS MADE INTO A FILM

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00:33:51,796 --> 00:33:58,269
BY DIRECTOR JONATHAN DEMME
CALLED "STOP MAKING SENSE."
IT'S CONSIDERED ONE OF THE
GREATEST CONCERT MOVIES EVER.

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00:33:58,336 --> 00:34:05,977
♪ THIS AIN'T NO PARTY, THIS
AIN'T NO DISCO ♪
♪ THIS AIN'T NO FOOLING AROUND ♪
>> TALKING HEADS MADE THREE MORE

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00:34:06,043 --> 00:34:12,517
ALBUMS, BUT BYRNE WAS
INCREASINGLY BRANCHING OUT ON
HIS OWN.
>> AS I BECAME MORE RELAXED AS A

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00:34:12,583 --> 00:34:18,990
PERSON, STARTED WRITING
DIFFERENT KINDS OF SONGS, SONGS
THAT MAYBE WEREN'T QUITE AS
ANGST-RIDDEN AND PECULIAR, SOME

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00:34:19,056 --> 00:34:24,429
FANS WERE PROBABLY DISAPPOINTED,
YOU KNOW?
"WE LIKED THE -- THE REALLY
QUIRKY GUY."

50
00:34:24,495 --> 00:34:30,435
OR, "WE LIKED THE GUY WHO WAS
REALLY STRUGGLING WITH HIMSELF
AND REALLY HAVING A HARD TIME."
AND I THOUGHT, "WHY WOULD YOU

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00:34:30,501 --> 00:34:40,178
WISH THAT ON ME?
FOR YOUR OWN AMUSEMENT, RIGHT?"
♪ I CAN BE YOU AND YOU CAN BE
ME ♪

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00:34:40,244 --> 00:34:46,117
>> IN 1988 HE FOUNDED A WORLD
MUSIC LABEL.
♪ EVERYONE'S HAPPY AND
EVERYONE'S FREE ♪

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00:34:46,184 --> 00:34:53,758
>> THEN RELEASED AN ALBUM OF
LATIN SONGS AND WROTE MUSIC FOR
FILMS, DANCE COMPANIES, AND
EXPERIMENTAL THEATER.

54
00:34:53,825 --> 00:34:59,163
>> I GENUINELY STARTED HAVING
OTHER KIND OF MUSICAL INTERESTS.
>> YOU'D STARTED TO COLLABORATE
WITH A LOT OF ARTISTS FROM

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00:34:59,230 --> 00:35:03,568
DIFFERENT GENRES.
>> YES.
AND I THOUGHT, I WANT TO DO MORE
OF THAT.

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00:35:03,634 --> 00:35:09,574
AND BY THEN IT WAS PRETTY MUCH
OVER.
>> THERE WAS NEVER AN OFFICIAL
ANNOUNCEMENT, BUT EVENTUALLY

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00:35:09,640 --> 00:35:14,979
BYRNE MADE AN OFF-HAND COMMENT
TO A REPORTER THAT TALKING HEADS
HAD BROKEN UP.
HE NEGLECTED, IT SEEMS TO TELL

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00:35:15,046 --> 00:35:19,851
THE BAND.
>> MEMBERS OF THE BAND SAID THAT
YOU NEVER ACTUALLY TALKED TO
THEM AND SAID THAT THE BAND WAS

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00:35:19,917 --> 00:35:24,222
OVER.
THAT THEY READ ABOUT IT IN A
NEWSPAPER.
>> I DON'T KNOW IF THAT'S THE

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00:35:24,288 --> 00:35:29,660
CASE.
BUT, WELL, IT MIGHT BE.
AND I THINK IT IS VERY POSSIBLE
THAT I DID NOT HANDLE IT AS BEST

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00:35:29,727 --> 00:35:37,235
AS I COULD.
♪ JUST SAY HERE LIES LOVE ♪
>> BYRNE NEVER LOOKED BACK, AND
HE'S FOLLOWED HIS OWN BEAT EVER

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00:35:37,301 --> 00:35:43,241
SINCE...NO MATTER HOW OFF-BEAT
IT MAY BE.
♪ PLEASE DON'T ♪
>> TEN YEARS AGO, BYRNE STAGED A

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00:35:43,307 --> 00:35:50,281
POP OPERA IN COLLABORATION WITH
FATBOY SLIM CALLED "HERE LIES
LOVE."
IT'S ABOUT, OF ALL PEOPLE,

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00:35:50,348 --> 00:35:55,720
IMELDA MARCOS, THE WIFE OF THE
FORMER DICTATOR OF THE
PHILIPPINES.
IT'S NOW SCHEDULED TO OPEN ON

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00:35:55,786 --> 00:36:03,394
BROADWAY THIS SUMMER.
>> GIVE IT UP FOR CONTEMPORARY
COLOR!
>> WHEN HE BECAME FASCINATED

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00:36:03,461 --> 00:36:10,434
WITH HIGH SCHOOL COLOR GUARD
TEAMS IN 2015, HE WOUND UP
STAGING ARENA SHOWS COMBINING
THE TEAMS' FLAG SPINNING, WEAPON

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00:36:10,501 --> 00:36:18,142
TOSSING, AND DANCE TO THE POP
MUSIC OF NELLY FURTADO AND ST.
VINCENT.
>> I THOUGHT, OH, THIS IS JUST

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00:36:18,209 --> 00:36:24,549
GONNA BE HIGHLIGHTING THEIR
TALENT AND PUTTING PEOPLE
TOGETHER WHO WOULD NEVER
NORMALLY BE TOGETHER.

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00:36:24,615 --> 00:36:29,987
AND IT WASN'T UNTIL I SAW THE
SHOW AND I REALIZED, THIS IS --
THIS IS NOT ABOUT THAT AT ALL.
WHAT IT'S REALLY DELIVERING IS

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00:36:30,054 --> 00:36:34,892
THIS MESSAGE ABOUT INCLUSION.
THAT'S WHAT THIS IS ABOUT.
THEY KIND OF REVEALED IT.
>> BUT ISN'T THAT EXTRAORDINARY

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00:36:34,959 --> 00:36:41,432
THAT YOU CAN START DOING
SOMETHING WITH ONE THING IN
MIND, AND YET IT HAS A LIFE OF
ITS OWN?

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00:36:41,499 --> 00:36:47,772
>> I TRUST WHAT I DO AND WHAT
OTHER PEOPLE DO THAT WAY THAT
IT'S GOING TO DELIVER WHAT IT
WANTS TO SAY.

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00:36:47,838 --> 00:36:52,243
BUT SOMEONE ELSE LOOKING AT IT
COULD GO, WHAT ARE YOU TALKING
ABOUT?
YOU DON'T KNOW WHAT YOU'RE

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00:36:52,310 --> 00:36:56,547
DOING?
YOU DON'T KNOW WHY YOU'RE DOING
IT?
YOU DON'T KNOW WHERE IT'S GOING

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00:36:56,614 --> 00:37:02,019
TO END UP?
I JUST KINDA TRUST IT, YEAH.
>> HE HAS A SMALL STUDIO IN HIS
NEW YORK CITY APARTMENT WHERE HE

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00:37:02,086 --> 00:37:07,458
TINKERS WITH LYRICS AND NEW
IDEAS.
MUCH LIKE HE DID ALL THOSE YEARS
AGO IN HIS PARENTS' BASEMENT.

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00:37:07,525 --> 00:37:12,396
>> THE FIRST STANZA SOUNDS LIKE
IT MIGHT BE PROMISING.
>> DO YOU STOP AND KINDA
RUMINATE ON THINGS AND COME BACK

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00:37:12,463 --> 00:37:20,504
TO IT AN --
>> YEAH, I MIGHT SEE IF I GET,
LIKE, A CHORUS OR SOMETHING.
I MIGHT TRY, LIKE, A CHORUS.

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00:37:20,571 --> 00:37:26,978
>> STOOD BY ME WHEN DARKNESS
FELL...MY APARTMENT IS MY
FRIEND.
♪

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00:37:27,044 --> 00:37:33,484
THAT'S THE KEY LINE, SO THAT'S
GOTTA BE PRETTY GOOD.
>> BYRNE IS THE QUINTESSENTIAL
NEW YORKER.

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00:37:33,551 --> 00:37:39,991
HE'S LIVED IN THE CITY FOR FIVE
DECADES, AND IT'S NOT UNCOMMON
TO SEE HIM PEDALING AROUND ON
HIS BICYCLE.

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00:37:40,057 --> 00:37:45,963
HE IS, IT SEEMS, ALWAYS ON THE
MOVE...ALWAYS EXPLORING.
>> OH YEAH.
>> HIS DOWNTOWN OFFICE IS LINED

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00:37:46,030 --> 00:37:53,571
WITH BOOKS, RECORDS AND ODD
MEMENTOES HE'S PICKED UP HERE
AND THERE.
>> THIS WONDERFUL WINE FROM

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00:37:53,638 --> 00:37:58,442
TURKMENISTAN.
>> HIDDEN AMID THE CLUTTER,
THERE'S A GRAMMY, AND HIS 1988
OSCAR FOR COMPOSING THE

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00:37:58,509 --> 00:38:03,948
SOUNDTRACK FOR THE FILM "THE
LAST EMPEROR."
>> IT'S NOT ON THE LOWEST SHELF.
>> I MEAN, DAVID, REALLY, DOES

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00:38:04,015 --> 00:38:09,387
THE ACADEMY KNOW ABOUT THIS?
[ LAUGHTER ]
>> YOU KNOW WHEN YOU GO INTO
SOMEBODY'S OFFICE AND THEY HAVE

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00:38:09,453 --> 00:38:14,825
ALL THEIR AWARDS?
>> YES, IT'S --
>> ALL FRAMED ALL AROUND THEM?
>> YEAH, OR MAGAZINE COVERS

88
00:38:14,892 --> 00:38:19,730
OR -- YOU DON'T HAVE AN EGO
WALL.
>> HIS OFFICE IS WHERE HE RUNS
REASONS TO BE CHEERFUL.

89
00:38:19,797 --> 00:38:24,568
>> OH, THAT COULD BE NICE.
>> AN ONLINE MAGAZINE
HIGHLIGHTING CREATIVE SOLUTIONS
TO COMPLEX PROBLEMS...FROM

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00:38:24,635 --> 00:38:29,407
REINVENTING FOOD BANKS IN
CHICAGO TO TURNING FRENCH
PARKING LOTS INTO SOLAR FARMS.
>> SO, ARE THERE REASONS TO BE

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00:38:29,473 --> 00:38:33,744
CHEERFUL?
>> OH, YEAH.
YEAH, YES.
IF YOU GET UP IN THE MORNING AND

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00:38:33,811 --> 00:38:38,649
START DOOM SCROLLING THROUGH
YOUR PHONE OR YOUR TABLET OR
LAPTOP OR WHATEVER, YOU'RE GOING
TO THINK, NO, NO, NO, NO, NO,

93
00:38:38,716 --> 00:38:46,223
WORLD'S GOING TO HELL IN A
HANDBASKET.
BUT THERE ARE PEOPLE AND PLACES,
ORGANIZATIONS DOING THINGS THAT

94
00:38:46,290 --> 00:38:54,899
ARE REALLY MAKING A DIFFERENCE
FINDING SOLUTIONS TO THINGS.
>> WHO AM I?
WHAT DO I WANT?

95
00:38:54,965 --> 00:39:00,871
HOW DO I WORK THIS?
[ LAUGHTER ]
>> THAT OPTIMISM INFUSED A HIT
BROADWAY SHOW BYRNE CREATED AND

96
00:39:00,938 --> 00:39:06,377
STARRED IN CALLED "AMERICAN
UTOPIA."
♪ THEY CALL ME MR. PITIFUL
BUT...♪

97
00:39:06,444 --> 00:39:12,349
>> IT'S ACTUALLY LIKE THE
PERFORMANCE BRANCH OF REASONS TO
BE CHEERFUL.
THIS IS REALLY ABOUT HOPE AND

98
00:39:12,416 --> 00:39:19,356
POSSIBILITY AND WHAT -- HOW WE
CAN WORK TOGETHER AS PEOPLE.
♪ AND YOU MAY GO SAY TO YOURSELF
"MY GOD WHAT HAVE I DONE?" ♪ ♪

99
00:39:19,423 --> 00:39:26,964
LETTING THE DAYS GO BY, LET THE
WATER HOLD ME DOWN ♪
>> HE MIXED HIS OLD SONGS WITH
NEW ONES.

100
00:39:27,031 --> 00:39:33,537
♪ WELL EVERYBODY'S COMING TO MY
HOUSE AND I'M NEVER GONNA BE
ALONE ♪
>> BYRNE WANTED THE MUSICIANS TO

101
00:39:33,604 --> 00:39:42,213
BE COMPLETELY UNTETHERED, ♪
ALLOWING THEM TO MOVE FREELY
AROUND THE STAGE.
IT WAS LESS A BROADWAY

102
00:39:42,279 --> 00:39:48,119
MUSICAL...MORE A RAUCOUS
REVIVAL.
♪ CLOSE ENOUGH BUT NOT TOO FAR ♪
♪ MIGHT BE YOU KNOW WHERE YOU

103
00:39:48,185 --> 00:39:55,726
ARE ♪
♪ FIGHTIN' FIRE WITH FIRE ♪
>> THERE'S THIS AMAZING FEELING
WHEN MUSIC LIKE THAT IS ALL

104
00:39:55,793 --> 00:40:01,165
AROUND YOU, WHEN THERE'S A WHOLE
GROUP OF PEOPLE WHO ARE MAKING
THE MUSIC.
♪

105
00:40:01,232 --> 00:40:07,138
>> IT'S NOT JUST, LIKE, ONE
SOLOIST OR SOMETHING LIKE THAT.
IT'S THIS COLLECTIVE THING THAT
GIVES IT THIS EXTRA ENERGY.

106
00:40:07,204 --> 00:40:19,984
♪ BURNING DOWN THE HOUSE! ♪
[ CHEERS AND APPLAUSE ]
♪
♪

107
00:40:20,050 --> 00:40:24,321
>> BYRNE'S LATEST THEATRICAL
EXPERIENCE MAY BE HIS MOST
UNUSUAL YET.
IT'S AN INTERACTIVE JOURNEY INTO

108
00:40:24,388 --> 00:40:29,193
HIS PAST CALLED THEATER OF THE
MIND...PRODUCED IN COLLABORATION
WITH THE DENVER CENTRE FOR
PERFORMING ARTS.

109
00:40:29,260 --> 00:40:35,966
AUDIENCE MEMBERS GET RANDOM NAME
TAGS AND ARE LED ON A
SEMI-AUTOBIOGRAPHICAL TOUR OF
BYRNE'S MEMORIES...LIKE THIS OUT

110
00:40:36,033 --> 00:40:41,205
OF PROPORTION KITCHEN, THAT
MAKES ANYONE IN IT FEEL LIKE A
CHILD.
>> DO THIS WITH ME...HOLD YOUR

111
00:40:41,272 --> 00:40:47,645
HAND IN FRONT OF YOUR FACE.
>> THE SHOW IS FULL OF SURPRISES
THE AUDIENCE TAKES PART
IN...SOME OF THEM BASED ON

112
00:40:47,711 --> 00:40:54,685
NEUROSCIENCE EXPERIMENTS.
WE AGREED NOT TO GIVE THEM AWAY,
BUT THEY MAKE YOU QUESTION YOUR
OWN PERCEPTION AND PERHAPS YOUR

113
00:40:54,752 --> 00:41:01,725
MEMORIES.
>> IT IS DARK IN HERE...YOU KNOW
WHAT.
>> THEATRE OF THE MIND ENDS IN A

114
00:41:01,792 --> 00:41:08,299
REPLICA OF HIS PARENTS' ATTIC.
LIKE BYRNE'S LIFE, THE SHOW
TELLS A STORY ABOUT HOW OVER
TIME OUR IDENTITIES ARE

115
00:41:08,365 --> 00:41:16,907
MALLEABLE AND HOW WE ALL HAVE
THE CAPACITY TO CHANGE.
>> WE'RE NEVER STUCK...YOU CAN
CHANGE THE STORY ANYTIME.

116
00:41:16,974 --> 00:41:24,548
ISN'T THAT NICE?
>> I LIKE THAT IDEA THAT YOU CAN
CHANGE YOUR STORY.
YOU CAN CHANGE THE NARRATIVE.

117
00:41:24,615 --> 00:41:30,487
>> IT WOULD BE A HORRIBLE WORLD
IF PEOPLE NEVER CHANGED FOR
THEIR ENTIRE LIFE.
OR THEY WERE -- THEY WERE AN

118
00:41:30,554 --> 00:41:35,926
ANGRY PERSON, OR UPSET PERSON,
OR DEPRESSED PERSON AND IT'S,
LIKE, THAT'S YOUR FATE.
BUT THAT'S NOT TRUE.

119
00:41:35,993 --> 00:41:41,365
>> DO YOU THINK YOU'VE CHANGED
THAT MUCH?
>> I FEEL LIKE, YEAH, I'M A VERY
DIFFERENT PERSON THAN I WAS WHEN

120
00:41:41,432 --> 00:41:47,271
I WAS YOUNG.
>> WERE YOU CONSCIOUS OF THOSE
CHANGES?
>> SOMETIMES MY FRIENDS WOULD

121
00:41:47,338 --> 00:41:52,676
SAY, "YOU'RE REALLY DIFFERENT
THAN WHAT YOU USED TO BE WHEN I
FIRST MET YOU.
YOU'RE A REALLY DIFFERENT PERSON

122
00:41:52,743 --> 00:41:57,548
NOW."
>> BY THE WAY, WERE THEY SAYING
THAT IN A NICE WAY?
OR WAS THAT BEING YELLED OUT OF

123
00:41:57,615 --> 00:42:08,959
THE TOP OF THEIR LUNGS?
>> IT WAS A NICE WAY.
IT WAS LIKE, "WOW, YOU'VE REALLY
CHANGED."

124
00:42:09,026 --> 00:42:12,930
>> THE STORIES BEHIND HIT SONGS
FROM TALKING HEADS.
>> IT WAS INSPIRED BY ANALYSIS