1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:11,375 --> 00:00:14,500 [sparse electronic music] 4 00:00:17,625 --> 00:00:20,542 [narrator] This is a film about the past, 5 00:00:20,625 --> 00:00:23,500 the present and the future. 6 00:00:30,542 --> 00:00:33,875 It's the story of a unique collaboration... 7 00:00:37,040 --> 00:00:39,457 between 12 young musicians, 8 00:00:42,542 --> 00:00:45,207 a renowned conceptual artist 9 00:00:47,750 --> 00:00:51,792 and one of the world's most truly iconic bands. 10 00:00:56,082 --> 00:00:57,457 New Order have always 11 00:00:57,542 --> 00:01:01,332 aggressively pursued the future. 12 00:01:01,417 --> 00:01:04,375 [Morris] It's quite radically different. 13 00:01:04,457 --> 00:01:06,875 It's never been done before to my knowledge. 14 00:01:10,917 --> 00:01:14,332 What this project is, it's not about nostalgia. 15 00:01:14,417 --> 00:01:17,917 We're trying to work on what can be done now. 16 00:01:18,000 --> 00:01:20,542 We're trying not to look backwards. 17 00:01:20,625 --> 00:01:21,750 [narrator] But for this project 18 00:01:21,834 --> 00:01:23,625 New Order and their collaborators 19 00:01:23,709 --> 00:01:27,875 had to reflect on and deconstruct the band's history 20 00:01:27,959 --> 00:01:30,582 to create something very new. 21 00:01:32,834 --> 00:01:34,582 [Sumner] We knew it was gonna be difficult, 22 00:01:34,667 --> 00:01:36,959 but it took us all by surprise. 23 00:01:37,040 --> 00:01:41,457 [Chapman] Rehearsing, finding the technology to make it work, 24 00:01:41,542 --> 00:01:44,040 finding the players to do the shows. 25 00:01:44,792 --> 00:01:45,917 [Gillick] It's kind of a concert 26 00:01:46,000 --> 00:01:48,375 but it's kind of not a concert at the same time 27 00:01:48,457 --> 00:01:51,082 and that's, for me, what's interesting. 28 00:01:55,332 --> 00:01:58,582 [Saville] What this project kind of encapsulates 29 00:01:58,667 --> 00:02:01,750 is an extraordinarily grand and long story. 30 00:02:01,834 --> 00:02:05,582 The convergence completes to some extent, 31 00:02:05,667 --> 00:02:10,250 a cycle and takes in an awful lot along the way. 32 00:02:10,332 --> 00:02:12,250 [Morris] It's not entirely been fun. 33 00:02:12,332 --> 00:02:16,000 A lot of it has been quite traumatic. 34 00:02:16,082 --> 00:02:19,582 But most of us are still here. 35 00:02:19,667 --> 00:02:22,667 I think it's 'cause we've worked it out together 36 00:02:22,750 --> 00:02:24,750 as a group of people. 37 00:02:38,000 --> 00:02:40,000 [narrator] This story is a celebration 38 00:02:40,082 --> 00:02:42,834 of one of the most original bands in history 39 00:02:42,917 --> 00:02:47,125 and a rare chance to enter their private world, 40 00:02:47,207 --> 00:02:48,667 their artistic processes 41 00:02:48,750 --> 00:02:51,582 and share in the creation of a collaboration 42 00:02:51,667 --> 00:02:54,750 unknowingly decades in the making. 43 00:03:18,332 --> 00:03:21,792 [applause] 44 00:03:23,417 --> 00:03:25,290 [Sumner] I don't think anyone can accuse us 45 00:03:25,375 --> 00:03:27,332 of dwelling in the past. 46 00:03:28,375 --> 00:03:30,582 We're not that kind of band. 47 00:03:34,250 --> 00:03:37,582 The making of this collaboration, 48 00:03:37,667 --> 00:03:40,000 it was a process of reinvention... 49 00:03:41,417 --> 00:03:45,667 that brought us back here some four decades later 50 00:03:45,750 --> 00:03:49,375 to what is a notable place in our history. 51 00:03:52,250 --> 00:03:56,500 We're at the old Granada TV building in Central Manchester 52 00:03:56,582 --> 00:04:00,959 and this is where we had our first television performance. 53 00:04:01,040 --> 00:04:05,792 On the wall, it says here "20th September, 1978, 54 00:04:05,875 --> 00:04:08,290 Joy Division TV debut, 55 00:04:08,375 --> 00:04:11,332 'Love will tear us apart'." 56 00:04:11,417 --> 00:04:14,834 But that's wrong, isn't it, Steve? 57 00:04:14,917 --> 00:04:16,875 Strictly speaking it is incorrect, yes. 58 00:04:16,959 --> 00:04:20,000 -Factually incorrect. -[Sumner] Only slightly wrong. 59 00:04:20,082 --> 00:04:23,040 There's two facts there. It's by implication. 60 00:04:23,125 --> 00:04:26,834 The first fact is correct, 20th September, 1978, 61 00:04:26,917 --> 00:04:29,875 Joy Division TV, you can put a tick there, correct. 62 00:04:29,959 --> 00:04:32,542 Second fact, Love Will Tear Us Apart. 63 00:04:32,625 --> 00:04:34,792 We'd not even written it by then, had we? 64 00:04:34,875 --> 00:04:36,040 No. No. 65 00:04:36,125 --> 00:04:38,125 It was Shadowplay. 66 00:04:44,125 --> 00:04:47,250 ♪ In the shadowplay acting out your own death ♪ 67 00:04:47,332 --> 00:04:50,875 ♪ Knowing no more ♪ 68 00:04:50,959 --> 00:04:54,332 ♪ As the assassins all grouped in four lines ♪ 69 00:04:54,417 --> 00:04:57,457 ♪ Dancing on the floor ♪ 70 00:04:59,959 --> 00:05:04,666 [Sumner] It was less than two years after that TV debut 71 00:05:04,750 --> 00:05:09,916 that Ian Curtis, our singer, took his own life. 72 00:05:10,000 --> 00:05:11,709 It was extremely tragic, 73 00:05:11,791 --> 00:05:14,458 but also a really strange period for us. 74 00:05:14,541 --> 00:05:17,959 Our second Joy Division album Closer 75 00:05:18,040 --> 00:05:20,457 and our single Love Will Tear Us Apart 76 00:05:20,542 --> 00:05:22,250 were climbing up the charts. 77 00:05:22,332 --> 00:05:27,332 But the rest of us were trying to work out what to do next. 78 00:05:27,417 --> 00:05:28,500 This is where we got the title 79 00:05:28,582 --> 00:05:30,542 for Love Will Tear Us Apart from! 80 00:05:30,625 --> 00:05:31,582 Yeah, we looked at it 81 00:05:31,667 --> 00:05:34,207 and thought that would be a good title for a song. 82 00:05:34,290 --> 00:05:35,125 Yeah. 83 00:05:35,207 --> 00:05:37,625 When Joy Division were on television, 84 00:05:37,709 --> 00:05:42,625 I was away on a geography trip so I didn't see it at all. 85 00:05:42,709 --> 00:05:44,207 So I was really annoyed. 86 00:05:44,290 --> 00:05:46,125 Tell us about your geography trip. 87 00:05:46,207 --> 00:05:48,000 Well, it was in Liverpool. [laughs] 88 00:05:48,082 --> 00:05:49,792 [producer] Do you remember it well, Tom? 89 00:05:49,875 --> 00:05:53,959 Six years old, not really, no. No, living in France, no. 90 00:05:54,792 --> 00:05:55,917 I was four at the time. 91 00:05:56,000 --> 00:05:59,082 I was ten. Steve was nine. 92 00:05:59,165 --> 00:06:01,000 [laughter] 93 00:06:02,875 --> 00:06:06,125 [Sumner] That Joy Division TV debut was the fateful outcome 94 00:06:06,208 --> 00:06:08,500 of our first meeting with Tony Wilson, 95 00:06:08,583 --> 00:06:10,375 the Granada TV presenter. 96 00:06:10,458 --> 00:06:13,000 But more importantly, he was a passionate advocate 97 00:06:13,083 --> 00:06:18,125 of new music and the kind of youth scene in Manchester. 98 00:06:18,207 --> 00:06:19,834 Seeing as how this is the program 99 00:06:19,917 --> 00:06:22,917 which previously brought you the first television appearances 100 00:06:23,000 --> 00:06:25,250 from everything from The Beatles to The Buzzcocks, 101 00:06:25,332 --> 00:06:27,959 we do like to keep our hand in and keep you informed 102 00:06:28,040 --> 00:06:30,582 of the most interesting new sounds in the North West. 103 00:06:30,667 --> 00:06:35,165 We'd done a gig at Rafters, I think, in Manchester. 104 00:06:35,250 --> 00:06:37,834 It was like a Battle of the Bands competition 105 00:06:37,917 --> 00:06:41,417 and Ian had had a few drinks. 106 00:06:41,500 --> 00:06:44,417 And he went up to Tony and said, 107 00:06:44,500 --> 00:06:47,332 "Wilson, you..." 108 00:06:47,417 --> 00:06:51,457 "How come you never play our records or put us on TV?" 109 00:06:51,542 --> 00:06:56,000 Gave him a bit of verbal, you know, which Tony loved. 110 00:06:56,082 --> 00:06:58,000 And then we did the gig 111 00:06:58,082 --> 00:07:00,875 and apparently it was a very memorable gig. 112 00:07:00,959 --> 00:07:05,083 And in fact, Tony liked that concert so much 113 00:07:05,165 --> 00:07:08,709 he formed the record company Factory Records. 114 00:07:08,791 --> 00:07:10,416 The rest is history. 115 00:07:10,500 --> 00:07:13,583 It really is history, yeah. 116 00:07:19,082 --> 00:07:22,582 [Savage] Factory Records was Joy Division's record label 117 00:07:22,667 --> 00:07:25,000 and it was a record label unlike any other. 118 00:07:25,082 --> 00:07:26,750 It was more of an idea 119 00:07:26,834 --> 00:07:30,542 than a professional record label in the early days. 120 00:07:30,625 --> 00:07:32,417 Tony Wilson was the impresario. 121 00:07:32,500 --> 00:07:36,375 [Saville] Everybody who was involved were kind of drawn in 122 00:07:36,457 --> 00:07:37,542 to this solar system, 123 00:07:37,625 --> 00:07:41,582 at the heart of which was Tony, being... 124 00:07:43,082 --> 00:07:44,667 energetic 125 00:07:44,750 --> 00:07:46,582 and magnetic as a personality. 126 00:07:46,667 --> 00:07:50,165 [Savage] I was fairly major, I thought, in the music press. 127 00:07:50,250 --> 00:07:51,917 I could get big features, 128 00:07:52,000 --> 00:07:56,417 so he helped me to get a job with Granada Television. 129 00:07:56,500 --> 00:07:58,709 The kickback was that I would write about his groups. 130 00:07:58,792 --> 00:08:01,750 In some ways, even at that stage, 131 00:08:01,834 --> 00:08:04,416 be a sort of curator of what was going on. 132 00:08:04,500 --> 00:08:07,875 It's part of being one of these people 133 00:08:07,959 --> 00:08:09,916 who are orbiting around Tony. 134 00:08:10,000 --> 00:08:11,750 [Sumner] Years later, we got asked to do 135 00:08:11,834 --> 00:08:13,500 the Manchester International Festival. 136 00:08:13,583 --> 00:08:16,750 It seems really fitting to play here 137 00:08:16,834 --> 00:08:20,250 and Granada TV reminds us of Tony, 138 00:08:20,332 --> 00:08:24,834 and it was a kind of, you know, homage to Tony, really. 139 00:08:26,917 --> 00:08:29,290 [Sumner] The choice of venue for the MIF project 140 00:08:29,375 --> 00:08:33,332 might have been an unusual nod to the past for us, 141 00:08:33,417 --> 00:08:36,457 but the concept was something really new. 142 00:08:36,542 --> 00:08:41,457 Part concert, part artwork, the performance involved us, 143 00:08:41,542 --> 00:08:44,875 a visual artist, an army of technicians 144 00:08:44,959 --> 00:08:47,875 and more than a dozen young musicians. 145 00:08:47,959 --> 00:08:49,290 The studio where we did it 146 00:08:49,375 --> 00:08:53,542 looked a bit more like this, didn't it, really? Did it? 147 00:08:53,625 --> 00:08:54,709 [Saville] Without a doubt, 148 00:08:54,792 --> 00:08:57,582 New Order are at the point in their career 149 00:08:57,667 --> 00:08:58,917 where they are afforded the luxury 150 00:08:59,000 --> 00:09:01,833 of going through the motions, but not with this. 151 00:09:01,917 --> 00:09:05,375 This draws them into the universe 152 00:09:05,457 --> 00:09:07,833 of the Manchester International Festival, 153 00:09:07,917 --> 00:09:10,000 which has a criteria, 154 00:09:10,082 --> 00:09:13,166 to bring together 155 00:09:13,250 --> 00:09:17,457 previously unimaginable projects 156 00:09:17,542 --> 00:09:19,500 and combinations of individuals 157 00:09:19,582 --> 00:09:21,542 who had not worked together before. 158 00:09:22,625 --> 00:09:25,166 [Sumner] Manchester International Festival 159 00:09:25,250 --> 00:09:27,082 is a bi-annual event 160 00:09:27,166 --> 00:09:29,457 at which they have various kinds of artists 161 00:09:29,542 --> 00:09:32,875 from all over the world, hence the "international". 162 00:09:32,959 --> 00:09:36,332 [McGrath] MIF is first and foremost 163 00:09:36,417 --> 00:09:38,332 a festival of entirely new work 164 00:09:38,417 --> 00:09:43,125 which is pretty much unknown in the world of big city festivals. 165 00:09:43,207 --> 00:09:46,457 MIF is probably at its best 166 00:09:46,542 --> 00:09:48,875 when it's supporting artists 167 00:09:48,959 --> 00:09:51,040 to do something that they haven't done before, 168 00:09:51,125 --> 00:09:53,417 that might be a new kind of collaboration, 169 00:09:53,500 --> 00:09:56,332 it might be working in a different art form, 170 00:09:56,417 --> 00:09:59,542 it might be just pushing the boundaries of what they do. 171 00:09:59,625 --> 00:10:01,500 That's the whole point of the festival: 172 00:10:01,582 --> 00:10:02,708 to do something different 173 00:10:02,792 --> 00:10:05,125 and not do a gig which we could have easily have done 174 00:10:05,207 --> 00:10:07,082 and it would have been a lot easier. 175 00:10:10,625 --> 00:10:12,125 [Haslam] The first part of the process 176 00:10:12,207 --> 00:10:15,291 was really just emptying everyone's minds 177 00:10:15,375 --> 00:10:18,457 of what had previously been done 178 00:10:18,542 --> 00:10:21,082 and how these things should work 179 00:10:21,166 --> 00:10:25,875 and filling that vacuum with just a lot of ideas. 180 00:10:25,958 --> 00:10:29,542 New Order then came up with more or less this idea, 181 00:10:29,625 --> 00:10:32,290 that they would like to do a synthesizer orchestra. 182 00:10:32,375 --> 00:10:34,332 It was quite a complicated thing to pull off. 183 00:10:34,417 --> 00:10:35,875 Yes, quite complicated. 184 00:10:35,959 --> 00:10:38,959 Synth orchestra, what's that? How's that gonna work? 185 00:10:39,040 --> 00:10:42,207 Steve enjoys a technical challenge anyway. 186 00:10:42,290 --> 00:10:43,332 He had a great time doing it. 187 00:10:43,417 --> 00:10:44,917 I had a great time doing it, yeah. 188 00:10:45,000 --> 00:10:47,542 It means you can spend even more hours in your studio at home. 189 00:10:47,625 --> 00:10:52,834 I really, really, really enjoyed it. Enormously. 190 00:10:52,917 --> 00:10:55,417 Well, you like being in your studio. 191 00:10:55,500 --> 00:10:58,290 Yeah. I like being in bed as well. 192 00:10:58,375 --> 00:10:59,875 [laughter] 193 00:10:59,959 --> 00:11:03,542 Bernard had a rough idea with the grids, the boxes. 194 00:11:03,625 --> 00:11:07,917 [McGrath] The idea at the root of it very much from Bernard 195 00:11:08,000 --> 00:11:10,166 was the idea of the wall of synthesizers. 196 00:11:10,250 --> 00:11:13,792 That was the very first thing that came up with this project. 197 00:11:13,875 --> 00:11:16,625 [Sumner] From a line drawing, it seemed pretty straightforward, 198 00:11:16,708 --> 00:11:20,291 just build a set and put people in the cells, you know. 199 00:11:21,332 --> 00:11:23,291 Stick a keyboard in each cell. 200 00:11:23,375 --> 00:11:27,250 But the devil's in the detail and there was a lot of detail. 201 00:11:27,332 --> 00:11:33,040 [Cunningham] The five original Manchester concerts in 2017 202 00:11:33,125 --> 00:11:35,082 were apparently a great success. 203 00:11:35,165 --> 00:11:37,290 So now, despite the complexity, 204 00:11:37,375 --> 00:11:39,582 we've decided to do it all again. 205 00:11:39,667 --> 00:11:43,040 It's a bit nerve-racking. We're not just leaving our home town, 206 00:11:43,125 --> 00:11:46,125 but we're also taking it into spaces 207 00:11:46,207 --> 00:11:49,917 that are a lot less accommodating than a TV studio. 208 00:11:50,000 --> 00:11:52,207 The whole thing is so ambitious 209 00:11:52,290 --> 00:11:56,165 and it doesn't fit into anyone's category, 210 00:11:56,250 --> 00:12:00,667 so it's not like New Order's agent could phone up 211 00:12:00,750 --> 00:12:04,457 one of the big rock promoters in any major city in Europe 212 00:12:04,542 --> 00:12:07,082 and say, "Right, I've got a New Order gig for you." 213 00:12:07,166 --> 00:12:09,667 But New Order weren't gonna compromise 214 00:12:09,750 --> 00:12:11,582 so that kind of cut down 215 00:12:11,667 --> 00:12:14,000 the number of venues and organizations 216 00:12:14,082 --> 00:12:15,958 that would take the project on board, 217 00:12:16,041 --> 00:12:20,417 so it ends up being Torino and Vienna. 218 00:12:20,500 --> 00:12:22,750 [Sumner] It's got a freshness to it, you know, 219 00:12:22,833 --> 00:12:24,750 and it's quite radically different 220 00:12:24,833 --> 00:12:26,291 from the normal set we do. 221 00:12:26,375 --> 00:12:28,166 So I'm glad we're doing it again, yeah. 222 00:12:28,250 --> 00:12:30,625 That's the good thing about the gigs coming up, 223 00:12:30,708 --> 00:12:34,040 that we have done it before last year, you know. 224 00:12:34,125 --> 00:12:35,875 We've done a lot of the legwork 225 00:12:35,959 --> 00:12:39,332 so we can enjoy it a little bit more I think this time. 226 00:12:40,542 --> 00:12:41,709 What could go wrong? I mean... 227 00:12:41,792 --> 00:12:44,582 [Morris] Do you want me to start the list now? 228 00:12:44,667 --> 00:12:47,542 Actually, I don't wanna know what could go wrong. 229 00:12:47,625 --> 00:12:50,457 I have to charge up the batteries on the laptops, 230 00:12:50,542 --> 00:12:53,000 make sure they still work and, you know, 231 00:12:53,082 --> 00:12:55,000 just get them back from the various people 232 00:12:55,082 --> 00:12:56,667 who've been doing their homework on them 233 00:12:56,750 --> 00:12:59,125 and get rid of all the porn and... 234 00:12:59,207 --> 00:13:01,792 [laughter] 235 00:13:01,875 --> 00:13:03,417 ...we should be good to go. 236 00:13:03,500 --> 00:13:07,166 It's the things that might go wrong that make it exciting. 237 00:13:09,332 --> 00:13:11,708 [Cunningham] It's not only us that have got a load of work 238 00:13:11,792 --> 00:13:12,667 to do for the new gigs... 239 00:13:12,750 --> 00:13:15,250 [McGrath] Quite often we bring together 240 00:13:15,332 --> 00:13:18,417 people who've not worked together before. 241 00:13:18,500 --> 00:13:20,000 In this case of course, 242 00:13:20,082 --> 00:13:22,250 bringing Liam Gillick and the band together 243 00:13:22,332 --> 00:13:25,417 was in some ways a classic MIF combination. 244 00:13:25,500 --> 00:13:30,082 The stack of synthesizer players could just have been, 245 00:13:30,166 --> 00:13:33,959 you know, a backdrop to a concert performance. 246 00:13:34,040 --> 00:13:37,125 What he did was take that idea 247 00:13:37,207 --> 00:13:41,125 and in a way discover what it was about. 248 00:13:52,207 --> 00:13:53,125 [Gillick] What you've gotta do is think about 249 00:13:53,207 --> 00:13:56,290 what New York represents. 250 00:13:56,375 --> 00:13:59,582 It's not the capital city, but it's the productive place. 251 00:13:59,667 --> 00:14:03,125 It's the place of production of ideas, of music, 252 00:14:03,207 --> 00:14:05,542 of contradictory cultures 253 00:14:05,625 --> 00:14:08,625 and there is something in common there with Manchester 254 00:14:08,708 --> 00:14:12,166 and this is where I try and have ideas. 255 00:14:13,375 --> 00:14:15,500 Bernard had lots of ideas already. 256 00:14:15,582 --> 00:14:18,041 They already had a lot of ideas structurally 257 00:14:18,125 --> 00:14:20,166 and I wanted to work with those, 258 00:14:20,250 --> 00:14:22,875 I wanted it to be an actual collaboration. 259 00:14:22,958 --> 00:14:24,792 The focus would still be that it was a concert, 260 00:14:24,875 --> 00:14:26,291 that it would still be the music, 261 00:14:26,375 --> 00:14:27,750 that it would be them, 262 00:14:27,833 --> 00:14:32,375 but it would be them in a kind of slightly skewed way. 263 00:14:33,709 --> 00:14:34,917 I was very keen on the fact 264 00:14:35,000 --> 00:14:36,500 that this would be experienced as a concert 265 00:14:36,582 --> 00:14:39,792 and not a sort of weird art event, "with music by..." 266 00:14:39,875 --> 00:14:42,417 It's really in a sense closest to sculpture. 267 00:14:42,500 --> 00:14:49,332 So even if you're taking a room, people, an ambience, lighting, 268 00:14:49,417 --> 00:14:50,834 that's still making something, 269 00:14:50,917 --> 00:14:52,542 it's like putting things together. 270 00:14:52,625 --> 00:14:54,542 It's that feeling of putting things together, 271 00:14:54,625 --> 00:14:57,834 taking them apart, putting them together again, that's the key. 272 00:14:57,917 --> 00:15:01,041 [fans chant "New Order"] 273 00:15:11,291 --> 00:15:13,667 This is a song off our last album, Music Complete. 274 00:15:13,750 --> 00:15:15,792 It's called Plastic. 275 00:16:49,165 --> 00:16:52,290 ♪ Got a feeling ♪ 276 00:16:53,040 --> 00:16:55,500 ♪ In my head ♪ 277 00:16:57,082 --> 00:16:59,750 ♪ Feels like thunder ♪ 278 00:17:00,750 --> 00:17:03,207 ♪ Overhead ♪ 279 00:17:03,792 --> 00:17:07,916 ♪ Intoxicated ♪ 280 00:17:08,040 --> 00:17:11,666 ♪ I can't stop the flow ♪ 281 00:17:11,750 --> 00:17:15,750 ♪ This love is poison ♪ 282 00:17:15,834 --> 00:17:19,250 ♪ But it's like gold ♪ 283 00:17:20,040 --> 00:17:22,458 ♪ Give me direction ♪ 284 00:17:24,040 --> 00:17:26,250 ♪ Out of the cold ♪ 285 00:17:27,500 --> 00:17:30,916 ♪ Show me affection ♪ 286 00:17:31,000 --> 00:17:33,458 ♪ I'll sell you my soul ♪ 287 00:17:35,416 --> 00:17:37,791 ♪ It's official ♪ 288 00:17:39,290 --> 00:17:41,666 ♪ You're fantastic ♪ 289 00:17:43,000 --> 00:17:45,500 ♪ You're so special ♪ 290 00:17:45,583 --> 00:17:46,666 ♪ So special ♪ 291 00:17:46,750 --> 00:17:51,040 -♪ So iconic ♪ -♪ So iconic ♪ 292 00:17:51,125 --> 00:17:53,125 ♪ You're the focus ♪ 293 00:17:53,208 --> 00:17:54,750 ♪ The focus ♪ 294 00:17:54,834 --> 00:17:56,959 ♪ Of attention ♪ 295 00:17:57,040 --> 00:17:58,416 ♪ Attention ♪ 296 00:17:58,500 --> 00:18:00,541 ♪ But you don't want it ♪ 297 00:18:00,625 --> 00:18:02,458 ♪ You don't want it ♪ 298 00:18:02,541 --> 00:18:05,165 ♪ 'Cause you're so honest ♪ 299 00:18:19,959 --> 00:18:22,125 ♪ If you break me ♪ 300 00:18:23,625 --> 00:18:25,959 ♪ Will you fix me? ♪ 301 00:18:27,458 --> 00:18:30,040 ♪ If I'm missing ♪ 302 00:18:31,125 --> 00:18:33,709 ♪ Will you miss me? ♪ 303 00:18:35,000 --> 00:18:37,625 ♪ And I'll regret it ♪ 304 00:18:38,875 --> 00:18:41,666 ♪ 'Til the day I die ♪ 305 00:18:42,666 --> 00:18:45,541 ♪ 'Cause I didn't mean it ♪ 306 00:18:46,250 --> 00:18:48,916 ♪ It was in my head ♪ 307 00:18:51,000 --> 00:18:53,750 ♪ Feels like thunder ♪ 308 00:18:53,834 --> 00:18:56,458 ♪ It's getting cold ♪ 309 00:18:57,834 --> 00:19:00,834 ♪ This love is poison ♪ 310 00:19:01,666 --> 00:19:04,834 ♪ But it's like gold ♪ 311 00:19:21,416 --> 00:19:24,290 ♪ It's official ♪ 312 00:19:25,083 --> 00:19:27,583 ♪ You're fantastic ♪ 313 00:19:28,959 --> 00:19:31,083 ♪ You're so special ♪ 314 00:19:31,165 --> 00:19:32,875 ♪ So special ♪ 315 00:19:32,959 --> 00:19:37,208 -♪ So iconic ♪ -♪ So iconic ♪ 316 00:19:37,290 --> 00:19:39,333 ♪ You're the focus ♪ 317 00:19:39,416 --> 00:19:40,583 ♪ The focus ♪ 318 00:19:40,666 --> 00:19:42,959 ♪ Of attention ♪ 319 00:19:43,040 --> 00:19:44,290 ♪ Attention ♪ 320 00:19:44,375 --> 00:19:46,458 ♪ But you don't want it ♪ 321 00:19:46,541 --> 00:19:47,916 ♪ You don't want it ♪ 322 00:19:48,000 --> 00:19:50,165 ♪ Because you're honest ♪ 323 00:19:50,250 --> 00:19:53,083 ♪ You don't want it ♪ 324 00:20:57,791 --> 00:21:00,125 ♪ It's official ♪ 325 00:21:01,333 --> 00:21:03,834 ♪ You're fantastic ♪ 326 00:21:05,208 --> 00:21:07,040 ♪ You're so special ♪ 327 00:21:07,125 --> 00:21:08,666 ♪ So special ♪ 328 00:21:08,750 --> 00:21:13,040 -♪ So iconic ♪ -♪ So iconic ♪ 329 00:21:13,125 --> 00:21:15,416 ♪ You're the focus ♪ 330 00:21:15,500 --> 00:21:16,959 ♪ The focus ♪ 331 00:21:17,040 --> 00:21:19,458 ♪ Of attention ♪ 332 00:21:19,541 --> 00:21:20,625 ♪ Attention ♪ 333 00:21:20,709 --> 00:21:22,375 ♪ But you don't want it ♪ 334 00:21:22,458 --> 00:21:24,583 ♪ You don't want it ♪ 335 00:21:24,666 --> 00:21:26,458 ♪ 'Cause you're honest ♪ 336 00:21:26,541 --> 00:21:29,000 ♪ You don't want it ♪ 337 00:22:06,165 --> 00:22:09,541 ♪ One of these days ♪ 338 00:22:09,625 --> 00:22:12,250 ♪ One of these days ♪ 339 00:22:12,333 --> 00:22:14,666 ♪ Right when you want me, baby ♪ 340 00:22:14,750 --> 00:22:19,250 ♪ I will be gone ♪ 341 00:22:21,750 --> 00:22:24,666 ♪ 'Cause you're like plastic ♪ 342 00:22:24,750 --> 00:22:27,625 ♪ You're artificial ♪ 343 00:22:27,709 --> 00:22:30,416 ♪ You don't mean nothing, baby ♪ 344 00:22:30,500 --> 00:22:35,875 ♪ So superficial ♪ 345 00:22:46,083 --> 00:22:48,709 [Sumner] The choice of songs for this collaboration was, 346 00:22:48,791 --> 00:22:51,165 like everything else in this project, 347 00:22:51,250 --> 00:22:53,375 very carefully considered. 348 00:22:54,375 --> 00:22:56,791 [indistinct chatter over music] 349 00:23:01,083 --> 00:23:02,709 [Sumner] What we didn't anticipate 350 00:23:02,791 --> 00:23:06,583 was how long choosing the songs would take. 351 00:23:06,666 --> 00:23:09,583 It did require a certain amount of mental acrobatics 352 00:23:09,666 --> 00:23:12,208 to try and get you in the head space 353 00:23:12,290 --> 00:23:13,750 where you could detach yourself 354 00:23:13,834 --> 00:23:16,333 from the normal two-hour set that we played. 355 00:23:16,416 --> 00:23:18,709 It was weird. But it was good, 356 00:23:18,791 --> 00:23:20,583 'cause you forget about a load of songs 357 00:23:20,666 --> 00:23:23,125 and it's nice to bring them back. 358 00:23:23,208 --> 00:23:25,208 I think it took about three days, didn't it? 359 00:23:25,290 --> 00:23:28,750 About three days of listening to everything. 360 00:23:28,834 --> 00:23:31,040 I wouldn't say it was enjoyable. 361 00:23:31,125 --> 00:23:34,541 I wouldn't say it was arduous, it was quite revealing 362 00:23:34,625 --> 00:23:36,791 'cause some of the songs you'd hear and you go... 363 00:23:36,875 --> 00:23:38,125 [inhales sharply] 364 00:23:38,208 --> 00:23:40,333 You know, "what was I thinking?" 365 00:23:40,416 --> 00:23:43,208 [Chapman] We started with the first, very first 366 00:23:43,290 --> 00:23:46,500 New Order album in chronological order 367 00:23:46,583 --> 00:23:49,333 and all of us had sort of favorites as well 368 00:23:49,416 --> 00:23:50,959 that we wanted to present. 369 00:23:51,040 --> 00:23:53,250 So we sort of made a list up. 370 00:23:53,333 --> 00:23:55,000 There was a lot of lists, yeah. 371 00:23:55,083 --> 00:23:57,375 [Morris] There was easy, hard and difficult 372 00:23:57,458 --> 00:24:00,416 and we just went for the most difficult. 373 00:24:01,959 --> 00:24:05,625 It's not a greatest hits show and I like that about it. 374 00:24:05,709 --> 00:24:08,791 You can revisit some, you know, corners of the catalogue 375 00:24:08,875 --> 00:24:09,875 and it's a big catalogue now. 376 00:24:09,959 --> 00:24:12,040 Picked the ones we felt were good, 377 00:24:12,125 --> 00:24:15,625 but also the ones that we thought would be suitable 378 00:24:15,709 --> 00:24:18,208 for the synthesizer orchestra. 379 00:24:18,290 --> 00:24:22,208 So they had to have a certain amount of keyboards in them. 380 00:24:22,290 --> 00:24:24,583 Like True Faith being like the biggest one. 381 00:24:24,666 --> 00:24:26,208 You just have to say, "Well, right, OK, 382 00:24:26,290 --> 00:24:28,916 well, that's gonna be dramatic if we don't do that 383 00:24:29,000 --> 00:24:31,541 and it's gonna be dramatic if we don't do Blue Monday." 384 00:24:31,625 --> 00:24:34,834 "So that's it, OK, we're not gonna do those." 385 00:24:43,541 --> 00:24:45,916 [Morris] It's a funny one, Blue Monday, 386 00:24:46,000 --> 00:24:49,625 because it is essentially what it is. 387 00:24:49,709 --> 00:24:53,541 It's not really a song and if you try... it's not! 388 00:24:53,625 --> 00:24:58,000 And if you try and make it... get too musical with it, 389 00:24:58,083 --> 00:25:00,040 it loses something somehow 390 00:25:00,125 --> 00:25:04,834 and then it just gets a little bit, I dunno... 391 00:25:04,916 --> 00:25:06,208 Too posh for its own good. 392 00:25:06,290 --> 00:25:07,791 I'm sure that they could have played it. 393 00:25:07,875 --> 00:25:11,959 They could have played it, but it would have been very hard 394 00:25:12,040 --> 00:25:15,500 because there's not that much in it, 395 00:25:15,583 --> 00:25:18,583 apart from they could have got very elaborate 396 00:25:18,666 --> 00:25:20,583 on the string bits, I suppose. 397 00:25:29,666 --> 00:25:31,000 [Gillick] I think what's good about it 398 00:25:31,083 --> 00:25:33,458 is that they did go for things which were quite surprising. 399 00:25:33,541 --> 00:25:36,250 What this project is, it's not about nostalgia, 400 00:25:36,333 --> 00:25:39,000 we're trying to work at what can be done now. 401 00:25:39,083 --> 00:25:41,290 We're trying not to look backwards, I think. 402 00:25:41,375 --> 00:25:45,165 I tended to pick some of the older songs 403 00:25:45,250 --> 00:25:46,333 I wasn't involved with 404 00:25:46,416 --> 00:25:50,333 because you work so much on the ones you are involved in. 405 00:25:50,416 --> 00:25:54,000 When I was a kid I had that Unknown Pleasures album 406 00:25:54,083 --> 00:25:57,000 and I listened to it religiously and, you know, 407 00:25:57,083 --> 00:26:00,666 if you'd have told me that I'd be playing Disorder 408 00:26:00,750 --> 00:26:02,290 with a couple of members of Joy Division, 409 00:26:02,375 --> 00:26:03,916 I wouldn't have believed you back then. 410 00:26:04,000 --> 00:26:08,709 It's, you know... really good to have that in the set. 411 00:26:08,791 --> 00:26:11,000 OK, let's give it a go. 412 00:26:15,750 --> 00:26:18,165 -OK. -[Morris] OK. 413 00:26:50,916 --> 00:26:52,875 ♪ I've been waiting for a guide to come ♪ 414 00:26:52,959 --> 00:26:55,208 ♪ And take me by the hand ♪ 415 00:26:56,541 --> 00:26:58,208 ♪ Could these sensations make me feel ♪ 416 00:26:58,290 --> 00:27:00,834 ♪ The pleasures of a normal man? ♪ 417 00:27:02,458 --> 00:27:06,791 ♪ New sensations barely interest me for another day ♪ 418 00:27:08,165 --> 00:27:09,165 ♪ I've got the spirit ♪ 419 00:27:09,250 --> 00:27:12,416 ♪ Lose the feeling, take the shock away ♪ 420 00:27:23,333 --> 00:27:26,165 [Cunningham] I think honestly it came up purely as, 421 00:27:26,250 --> 00:27:27,416 "That's a really cool song; 422 00:27:27,500 --> 00:27:29,458 why has that one been forgotten about?" 423 00:27:29,541 --> 00:27:31,208 "Let's get it in the set." 424 00:27:31,290 --> 00:27:35,916 It's been long enough now hearing Bernard and the guys 425 00:27:36,000 --> 00:27:39,834 talk about it with regards to Joy Division. 426 00:27:39,916 --> 00:27:42,583 They feel like they can come back to those songs 427 00:27:42,666 --> 00:27:44,916 and play them and do them justice. 428 00:27:45,000 --> 00:27:47,208 [gentle piano music] 429 00:27:54,916 --> 00:27:57,916 [producer] Are there moments where Ian's suddenly in the room 430 00:27:58,000 --> 00:27:59,666 or with you? 431 00:27:59,750 --> 00:28:01,875 Yeah. Um... 432 00:28:01,959 --> 00:28:04,125 Well, certainly singing that song 433 00:28:04,208 --> 00:28:05,541 and singing any of his lyrics, 434 00:28:05,625 --> 00:28:07,875 I always get an image of him then, 435 00:28:07,959 --> 00:28:12,250 and obviously he's forever young in that image. 436 00:28:12,333 --> 00:28:15,791 He's there and he's remembered and is... 437 00:28:15,875 --> 00:28:18,375 Cherish the thought of him, all of us I'm sure, 438 00:28:18,458 --> 00:28:20,416 everyone who was involved with him. 439 00:28:20,500 --> 00:28:23,125 It was terrible what happened with him, 440 00:28:23,208 --> 00:28:26,709 but he was such a determined, explosive character, 441 00:28:26,791 --> 00:28:30,583 I don't think there's anything that we could have done 442 00:28:30,666 --> 00:28:35,791 to change things apart from locking him up 24 hours a day 443 00:28:35,875 --> 00:28:37,834 and... 444 00:28:37,916 --> 00:28:39,875 you know, stopping him from doing that. 445 00:28:39,959 --> 00:28:45,000 You can never really deal with suicide successfully, 446 00:28:45,083 --> 00:28:49,500 because you're inevitably always going, "What if, what if?" 447 00:28:49,583 --> 00:28:53,208 I do question really how long Ian Curtis 448 00:28:53,290 --> 00:28:56,375 would have stayed in music. 449 00:28:56,458 --> 00:28:59,959 I don't think that his health was up to it, to be honest. 450 00:29:01,625 --> 00:29:04,834 And the three surviving members of Joy Division 451 00:29:04,916 --> 00:29:09,666 made the decision to carry on because that's who they were. 452 00:29:09,750 --> 00:29:11,666 Between Stephen, Bernard and Peter Hook 453 00:29:11,750 --> 00:29:13,375 there was a chemistry. 454 00:29:13,458 --> 00:29:15,791 The chemistry that had underpinned Joy Division. 455 00:29:15,875 --> 00:29:20,750 They did demo sessions and finally they came to a result 456 00:29:20,834 --> 00:29:23,875 which was the four members of New Order. 457 00:29:27,040 --> 00:29:29,541 [Morris] It was all a bit awkward. 458 00:29:29,625 --> 00:29:30,875 -Because... -When I joined? 459 00:29:30,959 --> 00:29:32,541 -Yeah. -Yeah, it was very awkward. 460 00:29:32,625 --> 00:29:34,208 It was very awkward. 461 00:29:34,290 --> 00:29:37,375 [Morris] The fact that a lot of Joy Division fans didn't like it 462 00:29:37,458 --> 00:29:39,375 was a great thing to me, 463 00:29:39,458 --> 00:29:43,125 when they kind of got quite annoyed. [laughs] 464 00:29:43,208 --> 00:29:45,709 "What the bloody hell are they doing?" 465 00:29:45,791 --> 00:29:46,875 "They bloody... They look like 466 00:29:46,959 --> 00:29:49,416 -they're enjoying themselves!" -"Are they going mad?" 467 00:29:49,500 --> 00:29:51,375 -"The fools!" -"Got a bloody woman in there!" 468 00:29:51,458 --> 00:29:53,125 "They've got a woman in!" 469 00:29:57,333 --> 00:29:59,250 [Gillick] When she started playing with the band, 470 00:29:59,333 --> 00:30:03,416 I always watched her 'cause I was curious about this role. 471 00:30:03,500 --> 00:30:05,834 Like where she stood in relation to the others. 472 00:30:05,916 --> 00:30:07,916 [Sumner] I think just having a female in the band 473 00:30:08,000 --> 00:30:12,458 adds a level of temperance to our behavior. 474 00:30:12,541 --> 00:30:16,541 [clears throat] And, um... 475 00:30:16,625 --> 00:30:18,959 Yeah, we all behave a lot better. 476 00:30:31,000 --> 00:30:35,083 [Cunningham] The reinvention came after the first album, 477 00:30:35,165 --> 00:30:36,709 after Movement. 478 00:30:36,791 --> 00:30:41,375 Movement was kind of "son of Joy Division" in a way to me, 479 00:30:41,458 --> 00:30:43,750 to my ears. I'm not very keen on that album. 480 00:30:43,834 --> 00:30:46,375 [Chapman] I think they all said to us that, on Movement, 481 00:30:46,458 --> 00:30:49,666 it was pretty much them trying to work out it for themselves 482 00:30:49,750 --> 00:30:51,791 and going forward. 483 00:30:51,875 --> 00:30:53,458 Bernard seemed to feel literally... 484 00:30:53,541 --> 00:30:54,333 I think so. 485 00:30:54,375 --> 00:30:56,458 He looked physically uncomfortable 486 00:30:56,500 --> 00:30:57,791 listening to that album again 487 00:30:57,834 --> 00:31:00,083 and I don't think he has listened to it 488 00:31:00,165 --> 00:31:01,333 since it was recorded, 489 00:31:01,375 --> 00:31:03,500 because I think he was just finding his feet 490 00:31:03,541 --> 00:31:05,250 as a singer at the time. 491 00:31:05,333 --> 00:31:10,666 And Bernard gradually, he starts to find the voice, 492 00:31:10,750 --> 00:31:12,791 a voice that hadn't really existed before, 493 00:31:12,834 --> 00:31:16,750 which is romantic at times, very dark at times. 494 00:31:16,834 --> 00:31:20,666 [Sumner] I never in my life dreamed of being a singer. 495 00:31:20,750 --> 00:31:23,208 Never appealed to me. 496 00:31:23,290 --> 00:31:25,583 I didn't wanna be the center of attention 497 00:31:25,666 --> 00:31:27,125 and I didn't wanna sing. 498 00:31:27,208 --> 00:31:28,959 There was no alternative. 499 00:31:29,040 --> 00:31:32,791 The alternative was just to fail 500 00:31:32,875 --> 00:31:36,290 and fall into a life of nothingness. 501 00:31:42,083 --> 00:31:44,250 But we needed to break new ground 502 00:31:44,333 --> 00:31:47,916 and the way to do that was with new technology. 503 00:31:48,000 --> 00:31:52,083 We couldn't really afford to buy commercial equipment 504 00:31:52,165 --> 00:31:53,458 in the early days, 505 00:31:53,541 --> 00:31:55,625 which is strange because we could afford 506 00:31:55,709 --> 00:31:58,083 to buy the Hacienda. 507 00:31:58,165 --> 00:32:00,416 And we couldn't afford to buy these instruments 508 00:32:00,500 --> 00:32:04,541 so we used to beg, borrow and steal whatever we could 509 00:32:04,625 --> 00:32:10,208 and whatever we couldn't, I would build it. 510 00:32:10,290 --> 00:32:12,709 You've gotta remember, you've gotta rewind the clock, 511 00:32:12,791 --> 00:32:15,375 in those days, like a DMX drum machine 512 00:32:15,458 --> 00:32:18,000 or a 808 or 909 drum machine 513 00:32:18,083 --> 00:32:19,541 or a new sequencer, new synthesizer 514 00:32:19,625 --> 00:32:22,500 was really pretty ground-breaking technology. 515 00:32:22,583 --> 00:32:24,208 It's not like it is now. 516 00:32:24,290 --> 00:32:26,916 We took the technology as far as you could take it 517 00:32:27,000 --> 00:32:29,834 in the first day of ownership. 518 00:32:29,916 --> 00:32:31,625 At first, Steve was a bit resistant 519 00:32:31,709 --> 00:32:34,666 to both synthesizers and drum machines, 520 00:32:34,750 --> 00:32:38,959 but when he realized it wasn't gonna put him out of a job, 521 00:32:39,040 --> 00:32:43,541 he embraced it and became extremely proficient 522 00:32:43,625 --> 00:32:46,333 at using both of those things. 523 00:32:46,416 --> 00:32:48,458 There really was no need to worry 524 00:32:48,541 --> 00:32:52,916 because of everybody that's ever been in New Order, 525 00:32:53,000 --> 00:32:56,458 there's only me who's boring enough to read the manual. 526 00:32:56,541 --> 00:32:58,083 [laughs] 527 00:32:59,625 --> 00:33:04,666 I could never, ever have written music for an orchestra, 528 00:33:04,750 --> 00:33:07,250 but I could program a computer 529 00:33:07,333 --> 00:33:10,083 with a bunch of synthesizers on the end 530 00:33:10,165 --> 00:33:12,875 and achieve something really similar. 531 00:33:12,959 --> 00:33:14,625 And I listen to all sorts of music 532 00:33:14,709 --> 00:33:17,416 because I believe that in every genre of music, 533 00:33:17,500 --> 00:33:19,125 there's something good. 534 00:33:19,208 --> 00:33:21,583 So I had this idea for this kind of, I don't know, 535 00:33:21,666 --> 00:33:24,333 is it baroque, the harpsichord bit? 536 00:33:24,416 --> 00:33:27,000 I programmed that up in a spare bedroom, you know. 537 00:33:27,083 --> 00:33:31,709 Just that bit. [hums intro to Subculture] 538 00:35:02,333 --> 00:35:04,500 ♪ One of these days ♪ 539 00:35:10,166 --> 00:35:13,791 ♪ One of these days ♪ 540 00:35:15,458 --> 00:35:20,666 ♪ I like walking in the park ♪ 541 00:35:20,750 --> 00:35:24,875 ♪ When it gets late at night ♪ 542 00:35:24,916 --> 00:35:27,541 ♪ I move 'round in the dark ♪ 543 00:35:27,625 --> 00:35:28,500 ♪ The dark ♪ 544 00:35:28,583 --> 00:35:32,041 ♪ And leave when it gets light ♪ 545 00:35:33,041 --> 00:35:36,708 ♪ I sit around by day ♪ 546 00:35:36,791 --> 00:35:39,916 ♪ Tied up in chains so tight ♪ 547 00:35:40,000 --> 00:35:40,833 ♪ Tight ♪ 548 00:35:40,916 --> 00:35:44,708 ♪ These crazy words of mine ♪ 549 00:35:44,791 --> 00:35:47,083 ♪ So wrong they could be ♪ 550 00:35:47,166 --> 00:35:50,708 ♪ What do I get out of this? ♪ 551 00:35:50,791 --> 00:35:55,291 ♪ I always try, I always miss ♪ 552 00:35:55,375 --> 00:35:59,208 ♪ One of these days you'll go back to your home ♪ 553 00:35:59,291 --> 00:36:03,083 ♪ You won't even notice that you are alone ♪ 554 00:36:03,166 --> 00:36:07,125 ♪ One of these days when you sit by yourself ♪ 555 00:36:07,208 --> 00:36:11,500 ♪ You'll realize you can't shaft without someone else ♪ 556 00:36:11,583 --> 00:36:14,541 ♪ In the end you will submit ♪ 557 00:36:14,625 --> 00:36:19,125 ♪ It's got to hurt a little bit ♪ 558 00:36:22,458 --> 00:36:25,000 ♪ One of these days ♪ 559 00:36:30,208 --> 00:36:33,416 ♪ One of these days ♪ 560 00:36:35,458 --> 00:36:40,791 ♪ I like talking in my sleep ♪ 561 00:36:40,875 --> 00:36:44,625 ♪ When people work so hard ♪ 562 00:36:44,708 --> 00:36:48,875 ♪ They need what they can keep ♪ 563 00:36:48,958 --> 00:36:53,250 ♪ A choice that leaves them scarred ♪ 564 00:36:53,333 --> 00:36:56,833 ♪ A room without a view ♪ 565 00:36:56,916 --> 00:37:00,833 ♪ Unveils the truth so soon ♪ 566 00:37:00,916 --> 00:37:04,875 ♪ And when the sun goes down ♪ 567 00:37:04,958 --> 00:37:07,250 ♪ You've lost what you have ♪ 568 00:37:07,333 --> 00:37:10,833 ♪ What do I get out of this? ♪ 569 00:37:10,916 --> 00:37:15,250 ♪ I always try, I always miss ♪ 570 00:37:15,333 --> 00:37:19,000 ♪ One of these days you'll go back to your home ♪ 571 00:37:19,083 --> 00:37:23,500 ♪ You won't even notice that you are alone ♪ 572 00:37:23,583 --> 00:37:26,666 ♪ One of these days when you sit by yourself ♪ 573 00:37:26,750 --> 00:37:31,500 ♪ You'll realize you can't shaft without someone else ♪ 574 00:37:31,583 --> 00:37:34,291 ♪ In the end you will submit ♪ 575 00:37:34,375 --> 00:37:39,458 ♪ It's got to hurt a little bit ♪ 576 00:38:30,500 --> 00:38:33,291 ♪ One of these days ♪ 577 00:38:46,583 --> 00:38:49,250 ♪ One of these days ♪ 578 00:38:54,625 --> 00:38:58,083 ♪ One of these days ♪ 579 00:38:59,708 --> 00:39:02,500 ♪ What do I get out of this? ♪ 580 00:39:02,583 --> 00:39:07,666 ♪ I always try, I always miss ♪ 581 00:39:07,750 --> 00:39:08,833 ♪ One of these days ♪ 582 00:39:08,916 --> 00:39:10,833 ♪ You'll go back to your home ♪ 583 00:39:10,916 --> 00:39:15,375 ♪ You won't even notice that you are alone ♪ 584 00:39:15,458 --> 00:39:18,916 ♪ One of these days when you sit by yourself ♪ 585 00:39:19,000 --> 00:39:23,791 ♪ You'll realize you can't shaft without someone else ♪ 586 00:39:23,875 --> 00:39:26,333 ♪ In the end you will submit ♪ 587 00:39:26,416 --> 00:39:31,541 ♪ It's got to hurt a little bit ♪ 588 00:39:31,625 --> 00:39:33,500 [all play Subculture] 589 00:39:50,333 --> 00:39:53,583 [Sumner] Manchester isn't just our home, it's also home 590 00:39:53,666 --> 00:39:56,500 to one of Europe's leading conservatoires. 591 00:39:56,583 --> 00:39:59,666 The Royal Northern College of Music was the perfect place 592 00:39:59,750 --> 00:40:03,666 to recruit more than a dozen keyboard players and vocalists 593 00:40:03,750 --> 00:40:06,708 to form the synthesizer orchestra. 594 00:40:06,791 --> 00:40:09,916 I made another sound to add to your original sound. 595 00:40:10,000 --> 00:40:10,916 Right. 596 00:40:11,000 --> 00:40:12,541 To just make it a bit more synthy. 597 00:40:12,625 --> 00:40:14,416 Who's the four that play it? 598 00:40:15,375 --> 00:40:17,083 Put your hands up, students! 599 00:40:17,166 --> 00:40:18,333 [laughter] 600 00:40:18,416 --> 00:40:20,875 [McGrath] Digging into those tracks, deconstructing them, 601 00:40:20,958 --> 00:40:22,208 reconstructing them, 602 00:40:22,291 --> 00:40:24,458 re-imagining them with the synth orchestra 603 00:40:24,541 --> 00:40:29,166 has been a really in-depth piece of work. 604 00:40:29,250 --> 00:40:31,916 [Saville] The project that they've embarked upon is brave. 605 00:40:32,000 --> 00:40:35,083 It's brave for Liam and it's actually brave for New Order. 606 00:40:35,166 --> 00:40:36,458 But of course it's good in that 607 00:40:36,541 --> 00:40:41,041 it's put the group back into an uncomfortable space. 608 00:40:41,125 --> 00:40:42,875 [synths play] 609 00:40:42,958 --> 00:40:45,208 The early years, the formative period 610 00:40:45,291 --> 00:40:47,333 was an uncomfortable space. 611 00:40:47,416 --> 00:40:50,708 [Sumner] It's not been done before, so it was an experiment. 612 00:40:50,791 --> 00:40:52,958 We've never done anything like it before, 613 00:40:53,041 --> 00:40:55,291 so there's a lot of technical challenge here, 614 00:40:55,375 --> 00:40:56,583 it's a lot of sounds to make, 615 00:40:56,666 --> 00:40:58,875 a lot of scoring to do. 616 00:40:58,958 --> 00:41:00,166 We knew it was gonna be difficult, 617 00:41:00,250 --> 00:41:02,375 but it took us all by surprise. 618 00:41:02,458 --> 00:41:04,416 I think New Order being New Order 619 00:41:04,500 --> 00:41:07,500 always enjoy a challenge with technology 620 00:41:07,583 --> 00:41:08,791 and what would be involved 621 00:41:08,875 --> 00:41:11,333 in working with 12 keyboard players. 622 00:41:11,416 --> 00:41:13,375 [Sumner] Steve finds it interesting, 623 00:41:13,458 --> 00:41:16,208 the technological side of it, which is unusual for a drummer. 624 00:41:16,291 --> 00:41:18,708 And a lot of the stuff for these gigs 625 00:41:18,791 --> 00:41:21,916 he put together the technical aspect of it. 626 00:41:22,000 --> 00:41:24,250 I think he took on a bit more than he could chew. 627 00:41:24,333 --> 00:41:26,083 [Cunningham] I think at one point 628 00:41:26,166 --> 00:41:29,083 Steven was having about three hours sleep a night. 629 00:41:29,166 --> 00:41:32,041 I was worried for him? No, he's horrible. 630 00:41:32,125 --> 00:41:35,916 Yeah, you always hurt the one you love. 631 00:41:36,000 --> 00:41:38,250 He's impossible to live with. 632 00:41:38,333 --> 00:41:41,250 [Duddell] My role with New Order was to kind of collate 633 00:41:41,333 --> 00:41:46,041 all the MIDI information that's usually played by computers 634 00:41:46,125 --> 00:41:50,916 and then rearrange that for 12 synthesizer players. 635 00:41:51,000 --> 00:41:54,333 There's a lot of information running around. 636 00:41:54,416 --> 00:41:55,958 A hell of a lot of cables. 637 00:41:56,041 --> 00:41:58,583 There's also the music they have to read 638 00:41:58,666 --> 00:42:01,250 and they also have another screen which I'm on. 639 00:42:01,333 --> 00:42:03,000 [Cunningham] Playing this kind of music 640 00:42:03,083 --> 00:42:04,750 you've gotta have a feel as well. 641 00:42:04,833 --> 00:42:09,208 It's not just about, you know, being a shit-hot musician. 642 00:42:09,291 --> 00:42:11,625 You've gotta get it. 643 00:42:11,708 --> 00:42:14,083 [Morris] It was great that they could play stuff that fast, 644 00:42:14,166 --> 00:42:15,875 'cause it hadn't been written that way. 645 00:42:15,958 --> 00:42:20,125 They'd all been essentially programmed on a sequencer. 646 00:42:20,208 --> 00:42:22,583 Nobody actually went... [mimics fast playing] 647 00:42:22,666 --> 00:42:25,833 It was [slowly] ding, ding, ding, then you speed it up. 648 00:42:25,916 --> 00:42:27,166 [Duddell] Two, three, four. 649 00:42:27,250 --> 00:42:31,000 -[plays intro] -OK. 650 00:42:31,083 --> 00:42:33,500 I was surprised that Joe could write down 651 00:42:33,583 --> 00:42:35,333 the way that they should play them. 652 00:42:35,416 --> 00:42:37,833 [Sumner] If we did it all on a computer, 653 00:42:37,916 --> 00:42:39,666 there would be less layers. 654 00:42:39,750 --> 00:42:46,500 So the idea with what we're doing is to split this music off 655 00:42:46,583 --> 00:42:52,291 into more layers and more sub-components. 656 00:42:52,375 --> 00:42:55,416 But you also get the different little variance in timing 657 00:42:55,500 --> 00:42:57,875 that gives you a different quality to it. 658 00:42:57,958 --> 00:42:59,958 [Duddell] So some people, for instance, 659 00:43:00,041 --> 00:43:01,583 were actual bass players 660 00:43:01,666 --> 00:43:03,875 so they just naturally found themselves 661 00:43:03,958 --> 00:43:07,125 in the bass department of the synth orchestra if you like. 662 00:43:07,208 --> 00:43:09,666 Where some of the more classical players were more suited 663 00:43:09,750 --> 00:43:11,958 to the more flowing sort of lyrical lines. 664 00:43:12,041 --> 00:43:13,208 We found, you know, 665 00:43:13,291 --> 00:43:15,416 the right sort of place for everyone, I think. 666 00:43:15,500 --> 00:43:17,416 It was a bit easier for me 667 00:43:17,500 --> 00:43:21,500 'cause, you know, the students were taking up a few parts, 668 00:43:21,583 --> 00:43:23,541 which I didn't mind. 669 00:43:25,541 --> 00:43:28,500 What this project kind of encapsulates 670 00:43:28,583 --> 00:43:32,166 is an extraordinarily grand and long story. 671 00:43:32,250 --> 00:43:37,333 The convergence completes to some extent a cycle 672 00:43:37,416 --> 00:43:40,375 and takes in an awful lot along the way. 673 00:43:40,458 --> 00:43:44,208 So the whole journey has just been a bit surreal so far, 674 00:43:44,291 --> 00:43:45,375 being able to do this. 675 00:43:45,458 --> 00:43:48,375 When the email came round telling us to apply to this, 676 00:43:48,458 --> 00:43:50,625 we didn't know if it was gonna be with New Order. 677 00:43:50,708 --> 00:43:54,083 We were just told it was a high-profile band. 678 00:43:54,166 --> 00:43:56,916 Yeah, it's been extraordinary. [laughs] 679 00:43:57,000 --> 00:43:59,250 So we just walked in here and I saw Stephen Morris, 680 00:43:59,333 --> 00:44:01,750 who's one of my favorite drummers ever, 681 00:44:01,833 --> 00:44:04,958 just sitting here and that was ridiculous enough in itself. 682 00:44:05,041 --> 00:44:07,750 I dunno, do you find yourself doing a bit of an act? 683 00:44:07,833 --> 00:44:09,125 [laughs] 684 00:44:09,208 --> 00:44:15,708 You know, you don't like to disappoint 'em by being too... 685 00:44:18,000 --> 00:44:19,291 [producer] Normal? 686 00:44:19,375 --> 00:44:21,500 Yeah, well, you are. Yeah. 687 00:44:26,250 --> 00:44:27,958 [Haslam] Out of all the bands I think 688 00:44:28,041 --> 00:44:31,625 who were part of that Manchester legacy and that history, 689 00:44:31,708 --> 00:44:34,500 I think that a lot of them 690 00:44:34,583 --> 00:44:38,291 reflected Manchester in the music, you know, 691 00:44:38,375 --> 00:44:43,875 early Smiths did, you know, Oasis did for a time. 692 00:44:43,958 --> 00:44:47,875 All bands reflect the environment that they're in. 693 00:44:48,791 --> 00:44:50,500 [Savage] That came out say 694 00:44:50,583 --> 00:44:53,791 in Kevin Cummins's famous portrait of them 695 00:44:53,875 --> 00:44:55,708 on the Hulme bridge in the snow. 696 00:44:55,791 --> 00:44:57,125 Again, you've got the city. 697 00:44:57,208 --> 00:45:00,208 You haven't got the group in a studio. 698 00:45:00,291 --> 00:45:01,416 You've got them in the city, 699 00:45:01,500 --> 00:45:04,916 in their environment, which is reflected in their music. 700 00:45:06,791 --> 00:45:08,625 [Morris] When people used to say that, 701 00:45:08,708 --> 00:45:10,458 it was, "Blah, blah, blah, it's rubbish!" 702 00:45:10,541 --> 00:45:14,416 But there's some truth in that, that you can't help it. 703 00:45:14,500 --> 00:45:16,250 It just seeps. 704 00:45:16,333 --> 00:45:18,416 In the early days when we were in Joy Division 705 00:45:18,500 --> 00:45:21,166 and early New Order, it wasn't quite as swish as this. 706 00:45:21,250 --> 00:45:24,833 It wasn't swish at all. It was post-industrial decay. 707 00:45:24,916 --> 00:45:26,916 In a way, that wasn't very inspiring, 708 00:45:27,000 --> 00:45:29,166 but in a way, it was really inspiring, 709 00:45:29,250 --> 00:45:32,041 because in the middle of winter in Manchester 710 00:45:32,125 --> 00:45:35,625 surrounded by all these shut-down closed factories 711 00:45:35,708 --> 00:45:36,833 with smashed windows, 712 00:45:36,916 --> 00:45:40,250 I think it affected the type of music that you made. 713 00:45:40,333 --> 00:45:41,541 You know, it may have contributed 714 00:45:41,625 --> 00:45:44,291 to the kind of sound that you had. 715 00:45:44,375 --> 00:45:49,083 [♪ "Atmosphere" by Joy Division] 716 00:45:53,458 --> 00:46:01,208 ♪ Walk in silence ♪ 717 00:46:01,291 --> 00:46:03,875 ♪ Don't walk away ♪ 718 00:46:03,958 --> 00:46:08,333 [Saville] That sense of the city has always been in Joy Division 719 00:46:08,416 --> 00:46:09,458 and then in New Order 720 00:46:09,541 --> 00:46:12,708 and also because New Order became the biggest group, 721 00:46:12,791 --> 00:46:15,208 Factory became the biggest label. 722 00:46:15,291 --> 00:46:16,708 Anybody that you talk to 723 00:46:16,791 --> 00:46:19,541 will tell you that it was pretty chaotic at the time, 724 00:46:19,625 --> 00:46:22,208 but clearly there was a driving spirit. 725 00:46:22,291 --> 00:46:26,875 Often that spirit is embodied in the idea of Tony Wilson 726 00:46:26,916 --> 00:46:30,083 but it obviously ran through a whole bunch of people. 727 00:46:30,166 --> 00:46:33,166 [Savage] Rob Gretton, who was Joy Division's manager, 728 00:46:33,250 --> 00:46:34,791 was the heart and soul. 729 00:46:34,833 --> 00:46:38,333 He understood the music, was very involved with the city. 730 00:46:38,458 --> 00:46:43,041 [Sumner] Rob Gretton and Tony Wilson died far too young, 731 00:46:43,125 --> 00:46:47,000 but their contribution to Manchester, 732 00:46:47,083 --> 00:46:48,250 to the city, 733 00:46:48,333 --> 00:46:53,375 was incalculable and that is an incredible legacy. 734 00:46:53,458 --> 00:46:57,000 Both Rob and Tony really, really loved Manchester, 735 00:46:57,083 --> 00:47:01,625 and try and put something back into the place where you live 736 00:47:01,708 --> 00:47:03,041 and it'll be a better place to live 737 00:47:03,125 --> 00:47:04,791 is quite a simple concept, really. 738 00:47:04,875 --> 00:47:08,375 That's what they wanted to do, but they didn't tell us 739 00:47:08,458 --> 00:47:09,958 if that's what we wanted to do. 740 00:47:10,041 --> 00:47:11,708 [laughter] 741 00:47:13,625 --> 00:47:15,875 [Saville] And those things were just, you know, 742 00:47:15,958 --> 00:47:19,333 a kind of naive and idealistic attempt to do things better. 743 00:47:19,416 --> 00:47:21,625 You know, the Hacienda was incredibly naive, 744 00:47:21,708 --> 00:47:22,916 but it was a... 745 00:47:23,000 --> 00:47:26,250 Its premise was to do things in the way 746 00:47:26,333 --> 00:47:28,916 that you would have them done for yourself. 747 00:47:29,000 --> 00:47:33,291 And Tony had this vision of Manchester being regenerated. 748 00:47:35,500 --> 00:47:38,083 It happened in '89, '90, you know, 749 00:47:38,166 --> 00:47:40,416 a lot of which came out to the Hacienda nightclub 750 00:47:40,500 --> 00:47:41,208 which started in '82 751 00:47:41,291 --> 00:47:43,250 and by '88, '89 752 00:47:43,333 --> 00:47:46,083 was one of the biggest nightclubs in the country. 753 00:47:47,416 --> 00:47:50,791 And you have this idea of Manchester as a cultural force. 754 00:47:50,875 --> 00:47:53,916 [Morris] They didn't expect Manchester to turn into 755 00:47:54,000 --> 00:47:55,166 what it's turned into today. 756 00:47:55,250 --> 00:47:57,916 I mean, it couldn't have got any worse to be quite honest, 757 00:47:58,000 --> 00:47:59,416 so the only way was up. 758 00:47:59,500 --> 00:48:01,958 But I don't think it had anything to do with us 759 00:48:02,041 --> 00:48:03,291 being in a band. 760 00:48:03,375 --> 00:48:06,166 It's nice to think that you could possibly change things. 761 00:48:06,250 --> 00:48:10,083 ♪ You're much too young ♪ 762 00:48:10,166 --> 00:48:11,666 ♪ To be a part of me ♪ 763 00:48:11,750 --> 00:48:14,416 It's like New Order is part of Manchester. 764 00:48:14,500 --> 00:48:18,000 Every corner you turn, there'll be some kind of reference. 765 00:48:18,083 --> 00:48:22,625 Part of the DNA. The two go hand in hand, really. 766 00:48:22,708 --> 00:48:24,208 [McGrath] You can't underestimate 767 00:48:24,291 --> 00:48:26,291 the impact of Factory on the city 768 00:48:26,375 --> 00:48:28,250 and the impact of Factory 769 00:48:28,333 --> 00:48:34,125 on the reputation and feel of the city beyond its borders, 770 00:48:34,208 --> 00:48:35,291 across the world. 771 00:48:35,375 --> 00:48:37,041 [Savage] And without a doubt, 772 00:48:37,125 --> 00:48:41,041 it was an inspiration to the very fabric of the city 773 00:48:41,125 --> 00:48:43,333 and it has continued to be an inspiration 774 00:48:43,416 --> 00:48:45,916 because it's then carried on by others. 775 00:48:46,000 --> 00:48:47,708 [Haslam] The city's regeneration, 776 00:48:47,791 --> 00:48:52,000 the city's reputation for art and culture, 777 00:48:52,083 --> 00:48:55,375 the Manchester International Festival itself, 778 00:48:55,458 --> 00:49:01,333 I don't think any of that would have happened without Factory. 779 00:49:01,416 --> 00:49:03,291 And Factory wouldn't have happened without 780 00:49:03,375 --> 00:49:05,583 Joy Division and New Order. 781 00:49:08,250 --> 00:49:09,708 [Chapman] I wasn't born in Manchester, 782 00:49:09,791 --> 00:49:11,958 but it was the music of Manchester 783 00:49:12,041 --> 00:49:14,916 that made me move to this city in 1993. 784 00:49:15,000 --> 00:49:18,333 I'd like to think of myself as an adopted French Manc. 785 00:49:18,416 --> 00:49:21,958 [laughs] Living here for 24 years, 786 00:49:22,041 --> 00:49:24,000 I just love everything about this city, 787 00:49:24,083 --> 00:49:27,541 the people, the culture, the music. 788 00:49:27,625 --> 00:49:30,625 Seamless transition was it, coming to Manchester? 789 00:49:30,708 --> 00:49:32,500 -Completely seamless, -Yeah, sure. 790 00:49:32,583 --> 00:49:36,041 -Like joining New Order in fact. -Absolutely, yeah. 791 00:49:36,125 --> 00:49:39,833 No, it's a tough job coming into the band, no doubt about it, 792 00:49:39,916 --> 00:49:41,833 because there's a lot of history. 793 00:49:41,916 --> 00:49:45,125 The focus seemed to be on me, you know, 794 00:49:45,208 --> 00:49:49,875 replacing Peter Hook and stepping in his shoes. 795 00:49:52,958 --> 00:49:55,041 [Saville] There was a chemistry 796 00:49:55,125 --> 00:49:57,541 that somehow fitted together, 797 00:49:57,625 --> 00:49:59,250 you know, the friction of that chemistry 798 00:49:59,333 --> 00:50:03,208 obviously became difficult, but that's often how it is. 799 00:50:03,291 --> 00:50:06,250 I mean, chemistry is combustible. 800 00:50:06,333 --> 00:50:11,416 I was encouraged to do what I do as a bass player. 801 00:50:11,500 --> 00:50:12,666 [Sumner] Tom succeeded. 802 00:50:12,750 --> 00:50:15,750 He's great to get on with, he can play anything. 803 00:50:15,833 --> 00:50:18,333 On Music Complete, he came into his own. 804 00:50:18,416 --> 00:50:23,083 Not that the other bass in our history wasn't great, 805 00:50:23,166 --> 00:50:24,916 it was great. 806 00:50:25,000 --> 00:50:26,416 How can I put it? 807 00:50:26,500 --> 00:50:30,708 It was... It felt like it was a new band and a new start. 808 00:50:30,791 --> 00:50:32,208 The band means a lot to people, 809 00:50:32,291 --> 00:50:37,458 so all you can do is do your best and interpret the songs 810 00:50:37,541 --> 00:50:41,250 and play them how you want to play them, 811 00:50:41,333 --> 00:50:43,750 but respect the history of it, really. 812 00:50:45,750 --> 00:50:48,583 [Sumner] Joe, we've put a bit of modulation 813 00:50:48,666 --> 00:50:50,375 on the strings over there. 814 00:50:50,458 --> 00:50:51,875 I know it's just like, hell, no, 815 00:50:51,958 --> 00:50:55,916 but I think it's giving it a bit of movement. 816 00:50:58,666 --> 00:51:00,041 A-ha! 817 00:51:02,250 --> 00:51:04,083 Hello! 818 00:51:04,166 --> 00:51:05,416 Hello! 819 00:51:06,250 --> 00:51:07,541 Hello! 820 00:51:08,375 --> 00:51:10,000 Hello. 821 00:52:18,291 --> 00:52:20,916 ♪ Every time I think of you ♪ 822 00:52:21,000 --> 00:52:25,166 ♪ I feel shot right through with a bolt of blue ♪ 823 00:52:25,250 --> 00:52:29,875 ♪ It's no problem of mine but it's a problem I find ♪ 824 00:52:29,958 --> 00:52:34,208 ♪ Living a life that I can't leave behind ♪ 825 00:52:34,291 --> 00:52:37,375 ♪ There's no sense in telling me ♪ 826 00:52:37,458 --> 00:52:41,666 ♪ The wisdom of a fool won't set you free ♪ 827 00:52:41,750 --> 00:52:43,416 ♪ But that's the way that it goes ♪ 828 00:52:43,500 --> 00:52:45,375 ♪ And it's what nobody knows ♪ 829 00:52:45,458 --> 00:52:50,791 ♪ Every day my confusion grows ♪ 830 00:53:06,291 --> 00:53:10,250 ♪ Every time I see you falling ♪ 831 00:53:10,375 --> 00:53:14,375 ♪ I get down on my knees and pray ♪ 832 00:53:14,416 --> 00:53:18,666 ♪ I'm waiting for that final moment ♪ 833 00:53:18,750 --> 00:53:23,041 ♪ You say the words that I can't say ♪ 834 00:53:39,375 --> 00:53:43,000 ♪ I feel fine and I feel good ♪ 835 00:53:43,083 --> 00:53:46,333 ♪ I feel like I never should ♪ 836 00:53:46,416 --> 00:53:47,833 ♪ Whenever I get this way ♪ 837 00:53:47,875 --> 00:53:49,833 ♪ I just don't know what to say ♪ 838 00:53:49,916 --> 00:53:55,208 ♪ Why can't we be ourselves like we were yesterday? ♪ 839 00:53:55,291 --> 00:53:59,250 ♪ I'm not sure what this could mean ♪ 840 00:53:59,333 --> 00:54:02,291 ♪ I don't think you're what you seem ♪ 841 00:54:02,375 --> 00:54:04,500 ♪ I do admit to myself ♪ 842 00:54:04,583 --> 00:54:06,666 ♪ That if I hurt someone else ♪ 843 00:54:06,750 --> 00:54:11,333 ♪ Then I'll never see just what we're meant to be ♪ 844 00:54:27,000 --> 00:54:30,541 ♪ Every time I see you falling ♪ 845 00:54:30,625 --> 00:54:34,541 ♪ I get down on my knees and pray ♪ 846 00:54:34,625 --> 00:54:38,958 ♪ I'm waiting for that final moment ♪ 847 00:54:39,041 --> 00:54:43,041 ♪ You say the words that I can't say ♪ 848 00:54:43,125 --> 00:54:46,750 ♪ Every time I see you falling ♪ 849 00:54:46,833 --> 00:54:51,166 ♪ I get down on my knees and pray ♪ 850 00:54:51,250 --> 00:54:55,458 ♪ I'm waiting for that final moment ♪ 851 00:54:55,541 --> 00:55:00,000 ♪ You say the words that I can't say ♪ 852 00:55:40,708 --> 00:55:44,291 ♪ Every time I see you falling ♪ 853 00:55:44,375 --> 00:55:48,708 ♪ I get down on my knees and pray ♪ 854 00:55:48,791 --> 00:55:52,875 ♪ I'm waiting for that final moment ♪ 855 00:55:52,958 --> 00:55:56,583 ♪ You say the words that I can't say ♪ 856 00:55:56,666 --> 00:56:00,291 ♪ Every time I see you falling ♪ 857 00:56:00,375 --> 00:56:04,958 ♪ I get down on my knees and pray ♪ 858 00:56:05,041 --> 00:56:08,416 ♪ I'm waiting for that final moment ♪ 859 00:56:08,500 --> 00:56:13,625 ♪ You say the words that I can't say ♪ 860 00:57:05,416 --> 00:57:09,291 Number one here. Could I have more orchestra? 861 00:57:09,375 --> 00:57:12,125 Only a little bit more, not, like, loads. 862 00:57:13,791 --> 00:57:17,083 [Gilbert] When you actually do it on stage with the orchestra 863 00:57:17,166 --> 00:57:19,208 and the lights and everything and the boxes, 864 00:57:19,291 --> 00:57:23,541 that's what makes me feel, "God, this is amazing." 865 00:57:24,416 --> 00:57:26,500 [Morris] The stuff that Liam did, 866 00:57:26,583 --> 00:57:30,625 I mean, that was a real surprise actually seeing the thing, 867 00:57:30,708 --> 00:57:32,541 because looking at the pictures, 868 00:57:32,625 --> 00:57:37,250 "That's all right, but, I mean, it's never gonna work is it?" 869 00:57:37,333 --> 00:57:39,291 [laughs] 870 00:57:39,375 --> 00:57:42,333 What you have to remember of course 871 00:57:42,416 --> 00:57:45,000 is that we're building a kind of a machine here 872 00:57:45,083 --> 00:57:46,333 and that was always my intention. 873 00:57:46,416 --> 00:57:49,083 So they're not just standing there and pressing buttons, 874 00:57:49,166 --> 00:57:50,916 they're reading music and playing. 875 00:57:51,000 --> 00:57:54,250 So the computer's there for them to read the music 876 00:57:54,333 --> 00:57:56,041 and it's scrolling. 877 00:57:58,791 --> 00:58:01,250 [Morris] Each player's gotta have an individual score. 878 00:58:01,333 --> 00:58:03,750 Each player's gotta have individual sound, 879 00:58:03,833 --> 00:58:06,791 the program changes throughout the song. 880 00:58:06,875 --> 00:58:09,833 They've got a camera so they can see the conductor 881 00:58:09,916 --> 00:58:12,500 and they've gotta be able to communicate with us 882 00:58:12,583 --> 00:58:14,916 and the sound people by microphones, 883 00:58:15,000 --> 00:58:17,958 so... incredibly complicated. 884 00:58:18,041 --> 00:58:20,125 That's your sheet music. Every different track, 885 00:58:20,208 --> 00:58:22,083 there's different instruments you're playing 886 00:58:22,166 --> 00:58:24,708 and you're playing more than one instrument per track as well. 887 00:58:24,791 --> 00:58:26,208 [Sinclair] They're like patch changes. 888 00:58:26,291 --> 00:58:28,958 Within one tune, you can have two, three or four sounds. 889 00:58:29,041 --> 00:58:31,541 But it's just like, you read that one, you hit that one, 890 00:58:31,625 --> 00:58:35,125 you sing into that one and you look at that one. 891 00:58:35,208 --> 00:58:40,041 So 12 seemed to work musically and seemed to work visually 892 00:58:40,125 --> 00:58:42,500 and you start to find a kind of balance at that point. 893 00:58:42,583 --> 00:58:46,791 And you've got these cells. 894 00:58:46,875 --> 00:58:47,916 [static crackles] 895 00:58:48,000 --> 00:58:49,916 -Don't press it! -I think that's like 896 00:58:50,000 --> 00:58:51,250 if you want everything to stop. 897 00:58:51,333 --> 00:58:54,291 Like if you got an arm caught in it and you didn't wanna die. 898 00:58:54,375 --> 00:58:56,041 If you, like, put your arm through there 899 00:58:56,125 --> 00:58:57,916 'cause you're having such a good time, 900 00:58:58,000 --> 00:59:01,000 and then it closes and your arm snaps, 901 00:59:01,083 --> 00:59:03,000 then you'll have to somehow lean over, hit that 902 00:59:03,083 --> 00:59:05,625 and the whole thing stops. 903 00:59:05,708 --> 00:59:07,500 But why would you put your arm in there? 904 00:59:07,583 --> 00:59:09,750 -I don't know. -Just getting so into it. 905 00:59:09,833 --> 00:59:10,958 [laughs] 906 00:59:11,041 --> 00:59:13,208 [McGrath] What Liam did was really think through 907 00:59:13,291 --> 00:59:14,666 the visual logic of that. 908 00:59:14,750 --> 00:59:17,125 He introduced the idea of the blinds, 909 00:59:17,208 --> 00:59:19,916 the sense that there was something about revealing 910 00:59:20,000 --> 00:59:24,666 and not revealing in this whole visual world. 911 00:59:24,750 --> 00:59:27,666 [Gillick] Conceptually, I was thinking a lot about the book 912 00:59:27,750 --> 00:59:29,875 Jealousy by Alain Robbe-Grillet 913 00:59:29,958 --> 00:59:31,958 which is really a book about voyeurism. 914 00:59:32,041 --> 00:59:34,500 In French jalousie is the same as jalousie 915 00:59:34,583 --> 00:59:36,458 which is the same as Venetian blind, 916 00:59:36,541 --> 00:59:38,625 like something you can look through. 917 00:59:38,708 --> 00:59:40,666 So, yeah, I wanted to play 918 00:59:40,750 --> 00:59:43,916 not only with the idea that you can't always see them properly 919 00:59:44,000 --> 00:59:45,166 or that they'll silhouetted, 920 00:59:45,250 --> 00:59:48,875 I wanted those young players to have moments in the concert 921 00:59:48,958 --> 00:59:50,000 where they can see the audience, 922 00:59:50,083 --> 00:59:51,916 but the audience can't really see them. 923 00:59:52,000 --> 00:59:53,875 When you go and stand up in those things 924 00:59:53,958 --> 00:59:56,500 and when they're all shut, you've got a little slit, 925 00:59:56,583 --> 00:59:57,500 you can see the whole audience, 926 00:59:57,583 --> 00:59:59,708 'cause they are actually wood in the end. 927 00:59:59,791 --> 01:00:02,333 But they're fixed to a mechanism 928 01:00:03,250 --> 01:00:05,083 that's connected to the same computer 929 01:00:05,166 --> 01:00:06,291 that's running the music, 930 01:00:06,375 --> 01:00:09,125 the same computer that's triggering the lighting, 931 01:00:09,208 --> 01:00:14,416 the same signal that's triggering the digital effects. 932 01:00:16,000 --> 01:00:17,666 [Duddell] I think for the players, 933 01:00:17,750 --> 01:00:20,166 it was initially quite weird 934 01:00:20,250 --> 01:00:22,541 being in these kind of isolated cells. 935 01:00:22,625 --> 01:00:25,166 So, they could all see the band and the audience and myself 936 01:00:25,250 --> 01:00:27,125 but they couldn't necessarily see each other. 937 01:00:27,208 --> 01:00:30,250 [Sinclair] It's pretty strange. You kind of feel... 938 01:00:30,333 --> 01:00:32,333 It's like you're really connected to everything, 939 01:00:32,416 --> 01:00:34,916 but you're isolated in this one pod. 940 01:00:35,000 --> 01:00:38,375 Until we poke our heads through in between tunes to go, 941 01:00:38,458 --> 01:00:39,916 "This is amazing!" 942 01:00:40,000 --> 01:00:42,291 Everyone is slightly autonomous, 943 01:00:42,375 --> 01:00:44,208 everyone's in slightly their own world 944 01:00:44,291 --> 01:00:50,041 and that also accentuates, like, the way people behave. 945 01:00:51,166 --> 01:00:52,750 [Haslam] When you see the students 946 01:00:52,833 --> 01:00:54,333 in the synthesizer orchestra 947 01:00:54,416 --> 01:00:56,916 and they're kind of indie dancing a little bit 948 01:00:57,000 --> 01:00:58,458 when they're behind there, 949 01:00:58,541 --> 01:00:59,750 and they're having fun. 950 01:00:59,833 --> 01:01:01,708 It's a bit like dancing in your bedroom, 951 01:01:01,791 --> 01:01:04,833 but 2,000 people are watching. [laughs] 952 01:01:04,916 --> 01:01:07,291 You'll catch something out of the corner of your eye 953 01:01:07,375 --> 01:01:10,375 and see one of the players doing some crazy dancing. 954 01:01:10,458 --> 01:01:11,791 Keyboard dancing. 955 01:01:11,875 --> 01:01:13,666 I feel it's quite liberating, to be honest. 956 01:01:13,750 --> 01:01:15,625 I probably dance more in these gigs 957 01:01:15,708 --> 01:01:17,458 than when I'm out and about. [laughs] 958 01:01:17,541 --> 01:01:21,500 There was a mad Twitter rave after the first gig last year, 959 01:01:21,583 --> 01:01:24,208 because people were dancing in the pods 960 01:01:24,291 --> 01:01:28,166 and it was trending more than New Order. [laughs] 961 01:01:29,583 --> 01:01:31,208 [Duddell] People might think 962 01:01:31,291 --> 01:01:32,916 you can just do any concert in any venue, 963 01:01:33,000 --> 01:01:35,625 but I think with the very specific nature 964 01:01:35,708 --> 01:01:37,333 of the installation side of things, 965 01:01:37,416 --> 01:01:38,875 it's not as easy as that. 966 01:01:38,958 --> 01:01:40,333 [McGrath] There are complexities 967 01:01:40,416 --> 01:01:42,625 about how it will fit in the different venues. 968 01:01:42,708 --> 01:01:44,875 There's been some tension around that 969 01:01:44,958 --> 01:01:46,666 because the spaces are different. 970 01:01:46,750 --> 01:01:48,375 [Gillick] Right from the beginning I thought, 971 01:01:48,458 --> 01:01:49,625 "This needs to be modular." 972 01:01:49,708 --> 01:01:51,250 It needs to be able to be reconfigured 973 01:01:51,333 --> 01:01:53,958 because I just know that from doing exhibitions. 974 01:01:54,083 --> 01:01:56,875 Here, we're kind of like trying to fix something 975 01:01:56,958 --> 01:02:00,083 that was for one space into a different kind of space. 976 01:02:00,791 --> 01:02:01,791 Oh, gosh! 977 01:02:01,875 --> 01:02:05,625 Wow. I need to see it from the front, really. 978 01:02:05,750 --> 01:02:07,083 All right, Liam. 979 01:02:07,166 --> 01:02:08,500 Hello. How you doing? 980 01:02:08,583 --> 01:02:11,333 -Found it all right? -Oh, it's cool, yeah. 981 01:02:11,416 --> 01:02:12,458 What do you think? 982 01:02:12,541 --> 01:02:15,750 I see what you mean about height restrictions now. 983 01:02:15,833 --> 01:02:17,458 [Sinclair] The ceiling's not tall enough 984 01:02:17,541 --> 01:02:19,541 for us to have two rows of boxes. 985 01:02:19,625 --> 01:02:20,666 So we're twice as long. 986 01:02:20,750 --> 01:02:23,250 [Gillick] I'm secretly happy that we're in a venue 987 01:02:23,333 --> 01:02:25,291 where we cannot do what we did before, 988 01:02:25,375 --> 01:02:27,541 because it's too low in the middle. 989 01:02:27,625 --> 01:02:29,625 [Owen] I wasn't sure if it was just gonna look 990 01:02:29,708 --> 01:02:33,666 really sort of elongated in a different structure. 991 01:02:33,750 --> 01:02:36,291 -Actually, it looks good. -It suits the room. 992 01:02:36,375 --> 01:02:38,000 Being in structures like this, it's good 993 01:02:38,083 --> 01:02:42,166 because it kinda reflects what New Order are all about. 994 01:02:42,250 --> 01:02:45,500 [McGrath] One of the things that's great about this project 995 01:02:45,583 --> 01:02:48,583 is to bring a really strong visual statement 996 01:02:48,666 --> 01:02:52,333 right back into the heart of the music. 997 01:02:52,416 --> 01:02:56,375 They haven't worked with a visual artist in the same way. 998 01:02:56,458 --> 01:03:01,500 In this case, you do have this kind of creative autonomy 999 01:03:01,583 --> 01:03:02,708 and I tell you why, 1000 01:03:02,791 --> 01:03:07,208 because there's a phrase that isn't used very much, 1001 01:03:07,291 --> 01:03:08,666 which is "I want." 1002 01:03:08,750 --> 01:03:12,166 "I like" and "I want" aren't used that much in this case 1003 01:03:12,250 --> 01:03:15,125 and I like that. [laughs] 1004 01:03:15,208 --> 01:03:18,458 It's about operating in parallel to something 1005 01:03:18,541 --> 01:03:20,416 and that gives you a lot of freedom. 1006 01:03:23,833 --> 01:03:26,166 [Haslam] That was the Factory way, 1007 01:03:26,250 --> 01:03:28,583 you trust somebody to do something. 1008 01:03:28,666 --> 01:03:32,875 On a bigger scale, that's how Factory had always dealt with, 1009 01:03:32,958 --> 01:03:34,416 you know, New Order. 1010 01:03:34,500 --> 01:03:38,375 Nobody told New Order what they should sound like. 1011 01:03:38,458 --> 01:03:40,083 They were given creative autonomy 1012 01:03:40,166 --> 01:03:41,958 and they wanted creative autonomy. 1013 01:03:42,041 --> 01:03:45,083 They have also then given creative autonomy 1014 01:03:45,166 --> 01:03:47,708 to the people that have been working around them. 1015 01:03:47,791 --> 01:03:52,625 So actually the collaboration element then becomes stronger, 1016 01:03:52,708 --> 01:03:57,708 because instead of it ever being a kind of weird compromise, 1017 01:03:57,791 --> 01:04:03,416 people actually follow their own practice and do it their way. 1018 01:04:03,500 --> 01:04:07,750 Somebody makes a video or someone does some artwork. 1019 01:04:07,833 --> 01:04:12,625 The same, I mean, very much applied to me with the covers. 1020 01:04:15,833 --> 01:04:20,083 You've always had this fine art element of interest in the group 1021 01:04:20,166 --> 01:04:22,750 and of interaction with the group's music. 1022 01:04:22,833 --> 01:04:24,083 It's not necessarily something 1023 01:04:24,166 --> 01:04:26,791 that the group are always aware of 1024 01:04:26,875 --> 01:04:30,583 but it does inform them and sets them apart 1025 01:04:30,666 --> 01:04:34,666 from your run-of-the-mill '80s electro mob. 1026 01:04:34,750 --> 01:04:37,291 [Gillick] My interest in Joy Division and New Order, 1027 01:04:37,375 --> 01:04:41,250 at the beginning, influenced my decision to go to art school. 1028 01:04:41,333 --> 01:04:42,916 They were much more influential on me 1029 01:04:43,000 --> 01:04:44,958 than any artist I could think of. 1030 01:04:46,208 --> 01:04:47,208 [Saville] There was 1031 01:04:47,291 --> 01:04:49,708 a fundamentally different relationship 1032 01:04:49,791 --> 01:04:50,625 between myself and Joy Division, 1033 01:04:50,708 --> 01:04:54,666 to that which then kind of evolved 1034 01:04:54,750 --> 01:04:57,708 over the next decade with New Order. 1035 01:04:57,791 --> 01:05:02,208 There was a personality to Joy Division 1036 01:05:02,291 --> 01:05:03,958 which I could only complement, 1037 01:05:04,041 --> 01:05:08,041 have a kind of a dialogue with that personality. 1038 01:05:08,125 --> 01:05:10,333 The absence of Ian, let's be straight about it, 1039 01:05:10,416 --> 01:05:17,500 the absence of Ian leaves a space around the group. 1040 01:05:17,583 --> 01:05:20,916 The visual work steps into that space. 1041 01:05:22,375 --> 01:05:25,000 So the covers are not about the music. 1042 01:05:25,083 --> 01:05:27,500 Nobody wants to talk about the music, 1043 01:05:27,583 --> 01:05:30,125 nobody wants to say what any of it is about, 1044 01:05:30,208 --> 01:05:33,208 no one is necessarily that sure what any of it's about. 1045 01:05:33,291 --> 01:05:36,125 [Gilbert] We didn't want to be marketed like a product. 1046 01:05:36,208 --> 01:05:37,250 [Morris] The music was good, 1047 01:05:37,333 --> 01:05:40,541 the image that that record projected 1048 01:05:40,625 --> 01:05:42,875 should be just as good. 1049 01:05:44,250 --> 01:05:48,083 [Sumner] When I was a teenager, when I bought a piece of music, 1050 01:05:48,166 --> 01:05:50,791 I always thought I was buying two pieces of art. 1051 01:05:50,875 --> 01:05:52,833 I was buying the album, music, 1052 01:05:52,916 --> 01:05:55,166 and I was buying the album cover. 1053 01:05:55,250 --> 01:05:58,083 So I wanted a great piece of music and a great cover 1054 01:05:58,166 --> 01:06:00,208 and sometimes, occasionally, 1055 01:06:00,291 --> 01:06:03,166 I would just buy a record for the cover. 1056 01:06:03,250 --> 01:06:06,500 I was really disappointed that someone could come up with 1057 01:06:06,583 --> 01:06:09,791 such a great cover and then played the record afterwards 1058 01:06:09,875 --> 01:06:11,708 and it was a load of dross. 1059 01:06:11,791 --> 01:06:16,666 That isn't to say that they are totally hands-off 1060 01:06:16,750 --> 01:06:18,416 and will accept anything, you know. 1061 01:06:18,500 --> 01:06:23,458 But once they've trusted somebody with a job, 1062 01:06:23,541 --> 01:06:25,625 then that person is allowed to express themselves 1063 01:06:25,708 --> 01:06:27,375 in the same way that they're allowed 1064 01:06:27,458 --> 01:06:28,666 to express themselves. 1065 01:06:28,750 --> 01:06:32,541 [Saville] The covers are conceived of independently 1066 01:06:32,625 --> 01:06:34,833 based on my own kind of 1067 01:06:34,916 --> 01:06:38,208 tracking of a zeitgeist through that period. 1068 01:06:38,291 --> 01:06:40,208 There isn't a singular language. 1069 01:06:40,291 --> 01:06:41,458 They're a journey 1070 01:06:41,541 --> 01:06:44,291 through the canon of 20th-century art and design, 1071 01:06:44,375 --> 01:06:46,250 which was my own journey. 1072 01:06:47,166 --> 01:06:48,333 They never said they liked them. 1073 01:06:48,416 --> 01:06:50,750 I remember calling Rob once about Blue Monday 1074 01:06:50,833 --> 01:06:52,750 and I said, "Does anyone like it?" 1075 01:06:52,833 --> 01:06:55,750 And he said, "They don't much mind it." 1076 01:06:55,833 --> 01:07:02,250 And in fact, there was not a collective "We like this" 1077 01:07:02,333 --> 01:07:06,250 until the cover of Regret. 1078 01:07:06,333 --> 01:07:08,958 And Bernard said, "I think you're getting the hang of it." 1079 01:07:09,041 --> 01:07:12,833 His artwork stands in its own right in the way I look at it. 1080 01:07:12,916 --> 01:07:15,958 It stands on its own merit. 1081 01:07:17,875 --> 01:07:22,875 [Saville] Liam's project is his dialogue 1082 01:07:22,958 --> 01:07:26,333 with his idea of New Order 1083 01:07:26,416 --> 01:07:29,750 as applies to other people who they might work with. 1084 01:07:29,833 --> 01:07:34,708 It's those other individuals' idea of New Order 1085 01:07:34,791 --> 01:07:37,250 that they come to engage with 1086 01:07:37,333 --> 01:07:42,458 and grids are almost autographic in Liam's work. 1087 01:07:42,541 --> 01:07:44,666 And of course, his project with New Order is a grid 1088 01:07:44,750 --> 01:07:48,708 and in this instance, the grid has to accommodate humans 1089 01:07:48,791 --> 01:07:52,958 and actions and performance. 1090 01:07:53,041 --> 01:07:57,166 When you look out in Vienna, you're gonna see architecture. 1091 01:07:57,250 --> 01:07:59,208 We go back to the double-decker thing. 1092 01:07:59,291 --> 01:08:03,416 That's in a rather beautiful, almost baroque theater. 1093 01:08:08,875 --> 01:08:11,541 A lot of art and music collaborations, 1094 01:08:11,625 --> 01:08:14,083 you really have like a big stupid art show 1095 01:08:14,166 --> 01:08:15,625 with some music tacked on 1096 01:08:15,708 --> 01:08:18,291 that kind of just uses the music that way round. 1097 01:08:18,375 --> 01:08:19,667 I wanted to create a frame, 1098 01:08:19,750 --> 01:08:21,708 and here you literally are in a frame. 1099 01:08:21,792 --> 01:08:24,125 I mean, it's exactly a frame. 1100 01:10:13,542 --> 01:10:16,792 ♪ A thought that never changes remains a stupid lie ♪ 1101 01:10:16,875 --> 01:10:21,792 ♪ It's never been quite the same ♪ 1102 01:10:21,875 --> 01:10:23,958 ♪ No hearing or breathing ♪ 1103 01:10:24,041 --> 01:10:25,917 ♪ No movement, no colors ♪ 1104 01:10:26,000 --> 01:10:28,542 ♪ Just silence ♪ 1105 01:10:30,500 --> 01:10:34,291 ♪ Rise and fall of shame ♪ 1106 01:10:34,375 --> 01:10:38,166 ♪ A search that shall remain ♪ 1107 01:10:38,250 --> 01:10:42,291 ♪ We asked you what you'd seen ♪ 1108 01:10:42,375 --> 01:10:46,667 ♪ You said you didn't care ♪ 1109 01:12:08,166 --> 01:12:12,625 ♪ A sound formed in a vacuum may seem a waste of time ♪ 1110 01:12:12,708 --> 01:12:16,875 ♪ It's always been just the same ♪ 1111 01:12:16,958 --> 01:12:18,958 ♪ No hearing or breathing ♪ 1112 01:12:19,041 --> 01:12:21,000 ♪ No movement or lyrics ♪ 1113 01:12:21,082 --> 01:12:23,332 ♪ Just nothing ♪ 1114 01:12:24,917 --> 01:12:29,166 ♪ The sign that leads the way ♪ 1115 01:12:29,250 --> 01:12:33,291 ♪ The path we cannot take ♪ 1116 01:12:33,375 --> 01:12:37,000 ♪ You've caught me at a bad time ♪ 1117 01:12:37,082 --> 01:12:41,708 ♪ So why don't you piss off? ♪ 1118 01:14:49,708 --> 01:14:52,082 [Sumner] I know the venue for this show here in Vienna 1119 01:14:52,166 --> 01:14:57,082 is in the most beautiful part of the city. Museum Quarter. 1120 01:14:59,250 --> 01:15:02,708 But when I'm on tour, I always like to try and get out 1121 01:15:02,792 --> 01:15:06,417 and see a few new things in every city I visit. 1122 01:15:12,875 --> 01:15:14,417 I've not been here before 1123 01:15:14,500 --> 01:15:17,332 and I've not got a great head for heights. 1124 01:15:17,417 --> 01:15:20,958 Um... We're not going up there, are we? 1125 01:15:21,041 --> 01:15:22,582 We don't have to go up there. 1126 01:15:27,917 --> 01:15:31,625 It's obviously a reference to the film The Third Man 1127 01:15:31,708 --> 01:15:34,792 which is a film noir, 1128 01:15:34,875 --> 01:15:37,000 I hope we're shooting this in black and white. 1129 01:15:37,082 --> 01:15:43,582 Yeah, that film encapsulates the atmosphere of Vienna 1130 01:15:43,667 --> 01:15:48,082 around the time of the Cold War, just after World War II. 1131 01:15:49,875 --> 01:15:52,291 It's a bit like a Joy Division song, you know? 1132 01:15:52,375 --> 01:15:57,000 It's got that kind of odd, weird atmosphere. 1133 01:16:01,041 --> 01:16:05,833 On paper, our survival shouldn't have happened really. 1134 01:16:05,917 --> 01:16:08,833 We abandoned all the work that we done in Joy Division 1135 01:16:08,917 --> 01:16:10,875 and never played any Joy Division songs 1136 01:16:10,958 --> 01:16:12,667 for ten years after the death of Ian. 1137 01:16:12,750 --> 01:16:16,833 So the odds were stacked against us anyway 1138 01:16:16,917 --> 01:16:18,000 after Ian died 1139 01:16:18,082 --> 01:16:21,166 'cause we couldn't be Joy Division Mark II. 1140 01:16:21,250 --> 01:16:26,291 We weren't interested in success or being famous or any of that. 1141 01:16:26,375 --> 01:16:29,041 We just wanted to travel round the world having fun 1142 01:16:29,125 --> 01:16:30,457 and that's what we did. 1143 01:16:30,542 --> 01:16:36,542 And as a by-product of having fun, we became successful. 1144 01:16:36,625 --> 01:16:38,291 [Morris] It's not entirely been fun. 1145 01:16:38,375 --> 01:16:40,792 A lot of it has been quite traumatic, 1146 01:16:40,875 --> 01:16:44,542 but most of us are still here. 1147 01:16:44,625 --> 01:16:47,708 I think it's 'cause we've worked it out together 1148 01:16:47,792 --> 01:16:50,375 as a group of people. 1149 01:16:50,457 --> 01:16:52,625 [Sumner] When there were a lot of things happening, 1150 01:16:52,708 --> 01:16:54,417 continually happening, 1151 01:16:54,500 --> 01:16:56,207 I was thinking, "Is this normal 1152 01:16:56,291 --> 01:16:59,625 or have we been singled out as a band 1153 01:16:59,708 --> 01:17:03,166 for all these things to happen to?" 1154 01:17:03,250 --> 01:17:04,625 You know, like all the deaths... 1155 01:17:04,708 --> 01:17:07,792 You think, "Has someone cursed us?" 1156 01:17:07,833 --> 01:17:10,207 Things seem to go OK for other bands. 1157 01:17:10,291 --> 01:17:13,542 Why is it such a bumpy road for us? 1158 01:17:13,625 --> 01:17:17,166 I have to say, what doesn't kill you makes you strong. 1159 01:17:19,917 --> 01:17:22,750 These last few years have been fantastic. 1160 01:17:22,833 --> 01:17:28,082 Just let's please nothing else go wrong, please. [laughs] 1161 01:17:28,792 --> 01:17:30,542 We're enjoying it now. 1162 01:17:30,667 --> 01:17:34,166 Let it be. We've had enough shit. [laughs] 1163 01:17:34,207 --> 01:17:37,041 [Haslam] I can't imagine what happens next. 1164 01:17:37,082 --> 01:17:38,708 I'm already kind of thinking, 1165 01:17:38,792 --> 01:17:40,708 OK, so they're gonna close this chapter 1166 01:17:40,792 --> 01:17:44,457 and a new chapter's gonna open 1167 01:17:44,542 --> 01:17:49,750 and so it's gonna be different and it's always different. 1168 01:17:49,833 --> 01:17:53,917 [Chapman] I think it's in the band's DNA to go forward, 1169 01:17:54,000 --> 01:17:57,958 to always seem to want to take risks 1170 01:17:58,041 --> 01:18:02,166 and be creative and try something new. 1171 01:18:04,041 --> 01:18:05,582 Collaboration, very refreshing for us 1172 01:18:05,667 --> 01:18:09,166 because normally when we're doing our normal touring 1173 01:18:09,250 --> 01:18:11,000 it's just the band, you know. 1174 01:18:12,166 --> 01:18:15,375 There's been a great deal of true graft 1175 01:18:15,457 --> 01:18:18,708 to get to where we are now, but quite enjoyed it. 1176 01:18:18,792 --> 01:18:22,582 Enjoyed working with the students and the band and Joe. 1177 01:18:22,667 --> 01:18:24,375 I know it's a terrible cliché, 1178 01:18:24,457 --> 01:18:27,291 but we make a good team and we do. 1179 01:18:30,000 --> 01:18:31,625 [Gillick] Every now and then someone says, 1180 01:18:31,708 --> 01:18:33,667 "That must be really great working with New Order." 1181 01:18:33,750 --> 01:18:35,000 And I say, "It's really something." 1182 01:18:35,082 --> 01:18:36,667 And nothing else I've ever worked on 1183 01:18:36,750 --> 01:18:41,708 has been really something and I mean it's really something. 1184 01:18:41,792 --> 01:18:43,207 I don't mean it's really nothing, 1185 01:18:43,291 --> 01:18:45,291 I mean it's really something. 1186 01:18:45,375 --> 01:18:46,667 I'm prepared for the fact 1187 01:18:46,750 --> 01:18:49,833 that it won't feel good to go back home. 1188 01:18:51,625 --> 01:18:55,250 They're all going away to do other things 1189 01:18:55,332 --> 01:18:58,125 and we'll be stuck here, 1190 01:18:58,207 --> 01:19:00,958 playing in the band on our own. 1191 01:19:01,041 --> 01:19:02,332 Yeah. 1192 01:19:02,417 --> 01:19:05,291 [Duddell] I suppose it's been a rollercoaster of emotions 1193 01:19:05,375 --> 01:19:06,582 like all big projects are 1194 01:19:06,667 --> 01:19:09,207 and it's now reaching a conclusion, 1195 01:19:09,291 --> 01:19:11,625 the last gig and... 1196 01:19:11,708 --> 01:19:14,332 I think, yeah, especially the encore, 1197 01:19:14,417 --> 01:19:17,667 will be quite sort of emotional I think, yeah. 1198 01:19:17,750 --> 01:19:22,833 Decades, it's possibly the most beautiful song that New Order 1199 01:19:22,917 --> 01:19:25,917 and Joy Division ever produced, really. 1200 01:19:26,000 --> 01:19:27,667 So to end the show with that one, 1201 01:19:27,750 --> 01:19:31,958 you know, it's quite... it gets you. It always gets me. 1202 01:19:32,041 --> 01:19:33,207 I think it was very smart. 1203 01:19:33,291 --> 01:19:35,708 I was a bit surprised, but I think it was very, very smart. 1204 01:19:35,792 --> 01:19:41,542 So moving, dangerously moving in a way. 1205 01:19:41,625 --> 01:19:44,332 [Duddell] I remember them when they were young, very young, 1206 01:19:44,417 --> 01:19:45,875 and I was very, very young 1207 01:19:45,958 --> 01:19:49,332 and here we are with a bunch of 20-year-olds, 21-year-olds 1208 01:19:49,417 --> 01:19:50,582 playing behind them 1209 01:19:50,667 --> 01:19:53,000 and the words of Decades are what you have to listen to. 1210 01:19:53,082 --> 01:19:56,500 [man] Here are the young men, a weight on their shoulders. 1211 01:19:56,582 --> 01:20:02,207 ♪ Here are the young men, the weight on their shoulders ♪ 1212 01:20:02,291 --> 01:20:04,500 Written by a young man, 1213 01:20:04,582 --> 01:20:06,041 right, who's no longer with us, 1214 01:20:06,125 --> 01:20:09,250 the words written by a young man who died young, 1215 01:20:09,332 --> 01:20:11,792 being sung in front of a group of young musicians 1216 01:20:11,875 --> 01:20:15,542 who are, you know, taking each part of it and breaking it down 1217 01:20:15,625 --> 01:20:16,625 and bringing it together again. 1218 01:20:16,708 --> 01:20:18,500 It all comes together in that song. 1219 01:20:19,792 --> 01:20:23,875 [Sumner] It's added a new, fresh, exciting dimension 1220 01:20:23,958 --> 01:20:27,041 and a little bit of rebirth as well to New Order 1221 01:20:27,125 --> 01:20:28,958 and it's always good to occasionally have 1222 01:20:29,041 --> 01:20:33,041 a little reinvention as time goes by. 1223 01:20:33,125 --> 01:20:34,875 I mean, you can't reinvent the wheel, 1224 01:20:34,958 --> 01:20:39,207 but you can change the tires. [laughs] 1225 01:20:39,291 --> 01:20:42,667 [applause and cheering] 1226 01:20:50,792 --> 01:20:53,375 OK, we're gonna end tonight with a song by Joy Division. 1227 01:20:53,457 --> 01:20:55,332 We don't play it a lot of times 1228 01:20:55,417 --> 01:20:58,750 and it's a really beautiful song off the album Closer. 1229 01:20:58,833 --> 01:21:00,958 [cheering] 1230 01:21:38,375 --> 01:21:45,041 ♪ Here are the young men, the weight on their shoulders ♪ 1231 01:21:47,417 --> 01:21:52,750 ♪ Here are the young men, well, where have they been? ♪ 1232 01:21:56,457 --> 01:22:03,125 ♪ We knocked on the door of Hell's darker chamber ♪ 1233 01:22:06,125 --> 01:22:11,375 ♪ Pushed to the limit, we dragged ourselves in ♪ 1234 01:22:15,291 --> 01:22:21,582 ♪ Watched from the wings as the scenes were replaying ♪ 1235 01:22:24,291 --> 01:22:29,375 ♪ We saw ourselves now as we never had seen ♪ 1236 01:22:33,417 --> 01:22:40,125 ♪ Portrayal of the trauma and degeneration ♪ 1237 01:22:42,457 --> 01:22:47,582 ♪ The sorrows we suffered and never were free ♪ 1238 01:23:26,375 --> 01:23:29,750 ♪ Where have they been? ♪ 1239 01:23:31,000 --> 01:23:34,082 ♪ Where have they been? ♪ 1240 01:23:35,500 --> 01:23:37,917 ♪ Where have they been? ♪ 1241 01:23:39,582 --> 01:23:43,417 ♪ Where have they been? ♪ 1242 01:24:23,792 --> 01:24:29,708 ♪ Weary inside, now our heart's lost forever ♪ 1243 01:24:32,667 --> 01:24:38,291 ♪ Can't replace the fear or the thrill of the chase ♪ 1244 01:24:41,667 --> 01:24:48,457 ♪ Each ritual showed up the door for our wanderings ♪ 1245 01:24:51,375 --> 01:24:56,625 ♪ Open then shut then slammed in our face ♪ 1246 01:25:53,625 --> 01:25:56,750 ♪ Where have they been? ♪ 1247 01:25:57,958 --> 01:26:01,082 ♪ Where have they been? ♪ 1248 01:26:02,625 --> 01:26:06,542 ♪ Where have they been? ♪ 1249 01:26:06,625 --> 01:26:10,000 ♪ Where have they been? ♪ 1250 01:27:28,375 --> 01:27:30,417 [cheering] 1251 01:27:36,708 --> 01:27:38,542 Thank you so much! 1252 01:27:38,625 --> 01:27:40,291 Goodnight, everybody! 1253 01:27:41,291 --> 01:27:42,291 Auf Wiedersehen! 1254 01:27:42,375 --> 01:27:45,417 [cheering]