And welcome back to 35,000 watts, the podcast. My name is Michael Miller, and I’m here with Keith Porterfield and Scott Mobley. Today, we are continuing a series we started, two weeks ago about our favorite rock documentaries. So, you know, we have the the doc in ’82 that’s bands that are unsigned and and maybe never will be signed, and they’re basically paying for, like, $10. And then we have Dig, which was shot fifteen years later and is about bands that were kind of in the not at the beginning of their career, but they were still, you know, trying to find their way.
They hadn’t broke big yet or whatever. The last documentary is about a band that is at the height of its power. So it’s a it’s a totally different thing, and that’s Keith’s choice. Yeah. So for this one, I, when this first came up, you know, I I had not seen anywhere near as many, music documentaries as you guys have.
I’m just not a big film buff, in the way that either of you guys are, especially you, Scott. But I did I have seen a few, and so I picked one that I that I like. It’s called New Order Story. So, obviously, about the band New Order, and it came out in 1993, which was right after the album Republic got released. So, they are pretty much at the height of their popularity at at this time.
And then also right on the verge of their first major breakup, you know, they had broken up for a while after technique, but kind of with the knowledge that they were going to get back together. They all just kinda went and did some separate projects and then, you know, reconvened as new order. Soon after this thing gets released, after this movie gets released, they break up and, at that point, didn’t know whether they were gonna get back together. They were apart for several years after that before, their their manager, Rob Gratton, got them back together. If you watch the version that that I have, it is long.
It took over two hours because it’s got, not only a lot of concert footage in it, but it’s also got a lot of their music videos in it. So if you just like New Order music and you wanna hear kinda what they sound like live or see some of their truly bizarre videos because they’ve got some of the most weird, bizarre, just kinda out there videos that you’re ever gonna see in some cases. You could check it out just for that. But their story is very interesting. I mean, this isn’t the band that grew up out of the original band Joy Division.
I think most people that would be listening to this podcast know that story. You know, they put out a couple of albums. They had a lot of buzz behind them. Their senior, Ian Curtis, had personal problems, health issues. He ended up killing himself, before, the band really broke big.
And at that point, you know, a band can do a lot of different things. What they chose to do was to go on to change the name, to recruit in a new member that being Gillian Gilbert, who I don’t know if she was dating Stephen Morris at the time. They end up getting married, and are still, married to this day. But they decided to go on and and forge forward even after he encouraged to kill himself. Bernard Sumner, who played guitar and keyboards, took over as the vocalist.
Their early stuff, the the very first stuff that they do, the first album is kind of like Joy Division lite almost, really kind of follows the path that Joy Division sat down. But after that, you know, they start getting into more dance music, seminal moment form was when they meet the producer Arthur Baker, who helps him, record confusion and several other songs, some of the danceier stuff there. But they’re, you know, into craft work at this time and several other kind of electronic dancey bands. And so that those elements start, making their way in and and Mortar, you know, ends up becoming to my mind the perfect fusion of of electronic dance elements and rock rock and roll elements into one band. I think they’re are better at that than pretty much anything, you know, anyone else has ever done in that kind of genre.
This movie, a lot of it relies on interviews with the band themselves, also with their manager, Rob Gretton, who I mentioned a minute ago, some of their producers. It’s also got some other musicians who weigh in on New Order and their their output. Neil Tennant from the Pet Shop Boys is heavily involved. Bono from YouTube shows up in his his all his Bono, pretentious glory, filming himself with a camcorder rather than letting the, the the actual, you know, filmmaker film and all this kind of stuff. But it’s interesting to hear what guys like that have to say about the band.
They are are universally complimentary of them. But to me, really the most interesting part is listening to the members themselves with their interviews. And they do individual interviews, and then they also do a group interview where they’re all kinda sitting around the table. And then there’s also a section where they are all together, and they’re kinda doing a a fake game show where they’re kinda getting asked questions about their history and or having to answer it, and you get a little bit of, kind of band dynamic with that. But the way the movie is done is a little pretentious.
Like, each of the band members is their solo interviews are done in kind of weird locations. Bernard Summer’s getting a haircut. Peter Hook is surrounded by cross dressers for whatever reason. Jillian Gilbert appears to be by herself out in a forest somewhere. Who knows?
Stephen Morris is in the studio. He’s the one guy who is kind of where you might expect a musician to be. So, you know, it’s got a little kind of pretentious, reach to it, but but it is interesting to hear him talk about the the band and and their output, you know, in their own words. And I think especially when you get to the scene where the all of them are together sitting around the table, it’s either before or after a show, it looks like to me. You also kinda get a a sense of the dynamic of the band among themselves.
Like, Bernard Sumner very much talks over everybody else and kinda takes over and and answers all the questions and kinda steps on everybody else’s toes. And so you can maybe see why there was a little bit of friction in the band that ended up with them breaking up. You know, this one doesn’t do kinda have kind of the overarching story as much as, you know, as the other two do. It’s more just kind of a look at at their history, where they’ve been, where they’re going, a lot of their music in there. If you wanna see some live new order stuff, this is a great place to see a few live songs.
One thing I think on the live songs that’s really interesting is that early in the movie, you get, a live version of temptation before before they have cleaned it up and and gotten it, kind of in its final form that’ll get released on substance. Later in the movie, they play temptation again, and it’s it is the more cleaned up tighter version of it. And I I think it’s kinda neat to get to hear live versions of both of the, both versions of the song. That’s pretty cool. Yeah.
You know what? I don’t really have a whole lot to say about this, movie other than it’s a good introduction to the band, the dynamics within the band. A lot of their music. You get to hear kind of the the biggest hits, see some of the fun videos, some of which are are interesting in just that. There’s one, the video for the perfect kiss, where it’s basically just them in the rehearsal space, playing the song, but it’s directed by Jonathan Demme of all people.
So, you know, they had some pretty big directors behind them on some of those weird videos. But, yeah, this one it came out in ’93. It was originally shown on the British TV network ITV And then where I have it, it got packaged with a collection of their videos in a a set called item that came out in 02/2005. So I didn’t see it until then, until 02/2005. But like I said, it was done and recorded right about the time that Republic was coming out and kind of the band was at the height of their powers, but also just about to break up.
So I think it’s a neat little slice of kind of the the history of the band at this moment in time. So I have a few thoughts on this one. I first of all, as patting yourself on the back in a documentary you’re gonna package with your album or whatever goes, this is a really good version of that. I I really think it really kinda captures their personalities. I think it captures their essence.
Yes. There’s a lot of pretentious stuff going on in here, But overall, I I really enjoyed this. I really I really found it entertaining. So a few of the thoughts I had, you said that that game show thing is fake. Is that right?
Yeah. It was all set up Okay. To kinda get them to answer questions that this guy was throwing at them. Okay. That helps because the whole every time that came on, I was like, what is this?
Like, why and and the other thing is, like, I can’t see at least two of the members of New Order ever agreeing to go on a show like that. You know, you you look at, like, you watch, you know, Peter Hook and and and Bernard Sumner, and you’re like, these guys would never go on a talk show like this. What is this? You know? So I’m glad to know that was fake.
Okay. That makes more sense now. One thing that kind of bugged me a little bit, and I this may just be me being overly sensitive. I don’t know. I did not like the way they talked about Ian Curtis’s death.
They seem almost angry about it. And the little joke about who’s the laziest member of of New Order, it’s Ian Curtis. I that was awful. I mean, what is that? But so that that kinda really rubbed me the wrong way.
Then I wanted to address the Peter Hook thing while he is standing with those those cross dressers. I don’t know this for a fact, but I believe, there is a documentary from 1987 or ’88 or so called The Decline of Western Civilization two, The Metal Years. It’s a documentary about glam metal in LA and stuff like that. In that movie, Paul Stanley of KISS is being interviewed laying on a bed surrounded by women in lingerie. I really think Peter Hook was trying to make fun of that.
I I don’t know if he landed the joke. I don’t know if I’m even right about that. But the second that popped up on the screen, I went, he’s making fun of the kind of western civilization too. So I hope that’s what it is, because if that’s what it is, it’s great. If he just wanted to do that for some other reason, then I don’t know that it works.
But if if that was a stab at, Paul Stanley, then I think it’s chef’s kiss good. And then, yeah, my other takeaway from this was and you kinda mentioned it, Keith. In a lot of people’s minds, I think, you know, Joy Division is is Joy Division, and New Order is this electronic band. I think, you know, most people, if you say New Order, what pops in their head is bizarre love triangle or, you know, something like that. But this really kind of shows what is a very logical and smooth transition from Joy Division to what New Order ended up doing.
It kinda shows, you know, like you said, the the first couple of New Order albums sound like Joy Division with a different singer. They’re maybe a little tighter. They’re maybe a little more, you know, better produced, but that sort of sound and then really that sound is Peter Hook’s bass playing, but it sort of carries through that and then they add in the electronic elements and they add in all this other stuff and, it becomes, you know, what ends up being on technique or or those albums. I think it really does a good job of showing you the progression of that. And then lastly, I just I had forgotten how insane their videos are.
And I I just I just hadn’t thought about it in a while, I guess. And, is it is the one where the people are slapping each other? Is that true faith? Yeah. Yeah.
True faith. Is that okay? I forgot about the video, but, actually, after watching this documentary, I went and watched the True Faith video in its entirety. I was like, I don’t know why. It just kind of flew out of my head that these guys make really bizarre videos, and then I went and watched a bunch of them on on the strength of that.
So, yeah, overall, I really enjoyed this. Like I said, it’s, you know, a lot of times over the years, you’ve bought, you know, some greatest hits package or some mock set that had one of these puff piece documentaries in it. They’re usually pretty bad, but this one was very entertaining and very well done, I thought, even with all its, you know, pretension. It’s interesting that you mentioned the, the, discussion around Ian Curtis and his death. I I thought in particular that Tony Wilson, who was the the founder of Factory Records and and the Hacienda, which is the club that knew it or was involved with, which ended up, you know, kind of bankrupting them or or at least sucking a lot of their money out.
But, anyway, I thought Tony Wilson and Peter Hook in particular seemed really bitter about Ian Curtis’s suicide. I think if you were to ask either of those guys if they were being honest, I think they’d tell you that that they were very upset about it because they both come off as being pretty bitter about the whole thing. And I I think that’s a fair emotion to have, you know, if you if you believe that this band and that and that incarnation was going somewhere, And and many, many, many people think they would have, that Joy Division would have been huge if if he and Curtis hadn’t killed himself. And you’re in that band. I can see a bitterness being there.
But even if I this is just me. Even if I felt that way, if someone pointed a camera at my face, I don’t think I’d say it. And it was just weird to me that they they were so open about the fact that they were they were angry at this guy who, you know, at that time had killed himself almost twenty years ago. Or I don’t know. Like, fifteen years ago.
Yeah. You know, and they’re still so so angry at him. You know, it’s it’s kinda it’s kinda nuts to me, but, that just really I I don’t get irked when I watch movies like that too often, and that really kinda set me back. I was like, why why are they so why are and and to make a joke about it, I think, was was really where where it got me kind of rubbed the wrong way. But it is what it is.
They they obviously feel the way they feel. They’re entitled to that. I hope it’s just me. So, you know, there’s a moment in the film where they’re talking about they don’t do interviews, and the reason they or they’re known for not doing interviews. And the reason they didn’t want to is because they’d be asked two questions, you know, about why did he kill himself and how do you feel about it?
You know? And they didn’t wanna keep talking about it and talking about it. One thing that I thought when I when I heard that joke was just, wow, we’re finally kinda getting to see these guys, like, really come out of the shadow of of this suicide that has been this, like, dark fucking cloud that’s just hung over this band forever, and everybody wanna wants to keep bringing up this this guy who doesn’t exist anymore and who is not part of what this band became. And I and to me and I also think that, you know, these are guys who spend a lot of time together, and and dark humor is kind of a way to deal with stuff. So it didn’t strike me, I think, as as as maybe as rude or as as out of place as as it might.
And I guess it just kinda depends on I’ll it depends on a lot of things. Like, I I think as we’re seeing right now, one person could hear that and just be like, god. What are they? That’s the most out of pocket. Like, why would you ever say that?
To me, it was like, you know, someone who’s kinda talking about their best friend from fifteen years ago and now has kinda got to a place where he can joke about it maybe, and and maybe the humor is is how they dealt with it. And so that was kinda how I took that. I don’t know. I’m gonna I’m gonna say this, and then maybe this is it. I don’t know.
Like, I I kind of agree with you. Like, sometimes, you know, fifteen years later, humor is the way I, you know, to deal with that and stuff like that. And like I said, these guys are way closer to it than I was. I think maybe this is just a psychological thing that’s been in the back of my brain somewhere. When you listen to Joy Division, you can, honest to God, hear the pain in Ian Curtis’ voice and and how what a what a miserable person he was and what a what a depressed person he was.
It it’s so there. It it really it kinda rips through you when you listen to that band. And so I think maybe my brain is putting those things together and going, don’t make fun of the sad little guy, you know, even though he’s been gone for fifteen years. I still hear his voice singing, you know, and I I will give and they some of the clips they showed in that movie, you know, you could just you can just see it. The the guy how could this have gone any other way?
People talk about Nirvana and, you know, in utero being like this kind of long suicide note, and in a lot of ways it is. If you think that’s a suicide note, listen to Closer by Joy Division. That, you know, how those guys you you wanna say, how did those guys not see it coming? But they, you know, hindsight’s 2020, obviously. He’d be they thought he was just really good at writing depressing songs.
But yeah. So maybe I think that’s maybe it, is that in in my mind, because I didn’t know the guy, I didn’t, you know, ever interact with him. My interactions with him are those songs. And when somebody says something like that, it’s kinda dark and and mean. I hear that voice in those songs and go, I don’t do that to that guy, you know.
But but you’re probably right. These guys actually knew him. They had to get over it. Maybe that’s why they’re dealing with it. You know, that that’s fair.
I think that’s hinted at so if you’re in the New Order and Joy Division, for some reason you haven’t seen this, there’s a fictional slash nonfiction movie called twenty four hour party people that’s obviously that’s also based on this the story of Joy Division and and New Order and also, like, happy Mondays and and the factory records. You see a little bit of of the nonstage, non you know, in a studio recording Ian Curtis and a little bit of the interaction theoretically, obviously, fictionalized. But I think maybe that was what helped me contextualize kind of their relationship as being friends from a young age who happen to make these records together. And so that’s how they see Ian, not as as you and I and Keith see and Curtis as this guy who clearly was one of the most depressed people who’ve ever, you know, vocalized on an album. And and it just is is is, like, so obvious in hindsight that something was gonna happen like that, if if not sooner than later.
I you know, I my my guess is those guys don’t didn’t see it that way exactly, you know, because he was someone they spent actual time with just drinking beers and going out and and whatnot. So I kinda tried to contextualize it that way. This documentary is really interesting to me for a couple reasons. One is I think it’s very British. It’s very tongue in cheek, which which is true of New Order in general in a lot of ways.
I think it really does a great job of bringing out, like, those sides of the personalities like you were saying and putting Bernard Sumner in the in the barber’s chair and and whatever was going on with Peter Hook. I I I do see the parallel directly between the Paul Stanley interview and in the cloud of Western civilization. I think also right before they show him for the first time, he mentions being seen as like a a womanizing or a woman chaser. There’s a little line that he says something about that’s the perception of him, and then just like thirty seconds later, you see him for the first time in that setup. Yeah.
So I don’t know. I think it could be both that he I guess maybe all of his interview setups were kinda meant to play up this aspect of the personality that this person that you’re supposed to, you know, know. I’m not exactly sure what the haircut on Bernard Sumner is supposed to represent. The other ones are a little more obvious. I think Peter Hook was trying to play up this, you know, true or not true, this aspect of his personality that has had become legend, if you wanna call it that.
But I think he did it in a way. If he wasn’t trying to mimic the Paul Stanley interview, he he nailed it anyway. So Yeah. Might as well take credit for it because that’s exactly what first thing that came to my mind because that’s just a classic. The other thing about the documentary and and having gone through this process as a director is especially if you have producers and a team that’s working around you, you have all this pressure to kind of, like, to find a solve, as they say, for just we don’t wanna do this rote, you know, head head and shoulder interviews kinda thing.
We how do we make this interesting? How do we make it different? If you’ve seen 35,000 watch, you’ll see that I don’t really give into that temptation, and it’s a very straightforward film because I didn’t wanna make I didn’t feel the need to do that in in my in my film, and I didn’t wanna do that. But I I think in a different situation, I might also, you know, kinda kinda push those boundaries a little bit more for if it was a different topic for a different type of of doc of and so speaking specifically about, like, the game show. Okay.
How can we put these guys in a a different setup that gets them a little off their off their game? They’re not just, you know, it’s not just the q and a. They had an audience that seemed to be made up of people that were kind of in their orbit because, like, Rob is in the audience. Tony Wilson later joins the audience. Like, so it’s hard to tell exactly who the audience is there, but it seemed kinda like part of their entourage and then maybe some people they found on the street.
I don’t know. But, you know, small audience, but that’s a way to get it’s it’s like hot ones on YouTube, you know, where they’re eating the hot chicken wings. It’s a way to get your subject a little bit out of their comfort zone so that they’re willing to say something maybe they wouldn’t say in a q and a. And it it obviously works pretty well because because, you know, Peter Hook makes a really out of pocket joke about the death of his friend that you wouldn’t see coming. And I think that’s kinda what came from that.
I don’t know if if he says that in just a straight ahead, you know, head and shoulders q and a type interview. I think putting them in that situation got them a little more likely to say that just like having them around a table invites more conversation. And like Keith said, it it gives you more insight into their interpersonal dynamic a lot, you know, you notice they’re drinking wine. That’s another way to get your subject to, to kind of open up a little bit. We shot a moment like that with the KTX T crew in Dallas.
So we shot, you know, we have interviews with four guys who proceeded all of us as station managers at KTX, and we actually interviewed them all in the same building at the same time, essentially, back to back to back to back. So then they all came back after their interviews, and we had pizza and beer, and we recorded another hour out on the terrace of this building in Downtown Dallas of the four of them chatting about KTXC and stuff. It’s not in the film because it didn’t fit exactly what I wanted to do, and the sound quality was rough, and the camera shots, camera angles were tougher with what we were trying to do and it just didn’t really work. But, yeah, what you’re seeing, I think, in yours is some really good ideas and some some really well done interplay between the straightforward interviews and these other ways of getting them on their back feet a little bit, getting them out of their comfort zone, getting them to say things maybe they wouldn’t otherwise say. Or, like, Keith was again pointing out, when you see how Bernard Sumner interacts with the other band members, you can kinda see that even in that scenario where he probably was on his best behavior, little prickly, a little, like you said, stepping on toes, maybe just a little bit.
Like, you felt just a little tiny bit of tension there. That’s what I liked about this documentary is they they did it in interesting ways that made the story more interesting. I actually watched it on YouTube, so I also had the benefit of seeing some comments of what other people thought about it. The narrator in the narration is apparently very, very polarizing that so they have a famous actress whose name escaped me. I had it written down, but I don’t have my note right in front of me who does a very theatrical, shall we say, narration.
Yes. She does. It’s almost comical. Like, I I almost thought that was intentionally comical, but maybe not. It’s over the top for sure.
I don’t I don’t think you could watch that without it being over the top. You have to go back to ’93 and that kind of thing maybe wasn’t as overdone. So was it would it have felt that way if we’d seen it at ’93? Maybe because it’s it is pretty over the top. Yeah.
It’s way up. Nowadays, you’d call it ASMR, I think, because she’s, like, right on the mic and she you’re you’re hearing every breath and she’s enunciating every word, but she’s really hitting the drama and the the gravitas of everything. And and that’s juxtaposed with, like, the game show thing. So I think they had to be a little tongue in cheek with that. But maybe I think they were maybe trying to have their cake and eat it too.
Like, maybe they were trying to have a little of that gravitas, but also realizing that no one was really gonna fall for it. I don’t know how much of it was put on or how much of it, but it’s very, among the YouTube commentary, it’s very polarizing to say the least. I’ll have to go back and check that out. Yeah. Yeah.
Not not the greatest group of film aficionados maybe to weigh in on that, but, yeah, people have feelings about it. I’ll put it that way. So that’s another interesting aspect of it. But overall, yeah, super enjoyable. I I must have seen, like, kind of a stripped down version that they did maybe for, TV broadcast or something because it was it came in at, like, fifty four minutes, and it had all the the music, I think, removed because I don’t the version I saw didn’t really have a lot of live stuff or no full videos.
It was just kind of the documentary part of it. So, now I kinda wanna go back and see how maybe it was supposed to be put together or what. But if I don’t know if both versions are available. I I I just I thought I looked a little bit, but I may have just I may have watched the wrong one or, like, a stripped down version of it, but I think it had all the other elements probably still. The one I watched was also fifty four minutes or or something like that.
So I I think that’s I think that’s what’s available out there because I looked for the whole thing too, and I couldn’t find it. So That’s interesting to me because my chief complained about it. I I’ve I’ve enjoyed it, and I’m a big new order fan. So, obviously, I liked hearing all the music. But my chief complained about it was that by incorporating all the music and the music videos and everything, I thought there was a lot of aspects of their story that got a little short shift in it.
You know? Like, you got to talk to Arthur bick Baker for just a little bit, but I don’t think they really went into how much of an influence he was when they were kinda making that shift into electronic music. And you talked to Peter Seville at least a little bit and kinda touch on the obtuse nature of their their covers and and the way that he wanted to fashion an image for them because they weren’t really doing it themselves. But you don’t go in-depth into that. And I I thought that it had a lot of that.
I thought they have got such a unique and kind of interesting story. Same thing with Tony Wilson in the Hacienda. I mean, that is a big chapter of their of their career and their story. But it’s really only touched on in the documentary. And more now that, you know, if you strip all the music out and it and it cuts it down to fifty five minutes or whatever it is, it seems to me like the better choice might have been not to put a lot of that music in there, those videos and that kind of thing.
And it kind of fleshed some of those stories out. And that was my really my only complaint about it is that you’re talking about a band that’s got a very unique, very interesting story and history with a lot of little kind of strange nuggets and aspects in there. And most of that stuff does get touched on, but in one of it really gets fleshed out. And I that would be kind of the one thing about it that that I didn’t really well, I can’t we don’t wanna say I didn’t enjoy it because of that. I I enjoyed it, but I would like to have seen those stories fleshed out a little more than they were.
I could’ve seen definitely more of of the producers that, like you said, steered them, you know, into the the sound that that became the bizarre love triangle blue Monday sound. And then the when they really embraced, like, the Ibiza sound that that kind of informed technique and and to some degree, Republic, like, yeah, those producers are in there, but they’re not they don’t there’s not a lot of time. And then I you could make a whole documentary about Peter Seville and his influence, you know, not just on New Order, but but some other bands as well. But, yeah, the because, I mean, they they kinda like you said, they touch on it, but the iconography of those album and single covers is etched in anybody’s brain that was, you know, in dance into dance music or into 12 inch singles or in college radio because we all had, you know, the all of that on vinyl and, knowing more about kind of that interaction. It it was kinda funny hearing the interaction that Peter Seville did let on of, like, you know, sometimes they would love it and sometimes they wouldn’t.
And sometimes it was like they’d say they hated it, but it was already on sale, so it was way too late, You have to do anything about it. Like, that was that was cool. So I I could have watched, yeah, at least another thirty minutes of of just kind of the vibe they had going, and and I, of course, I didn’t realize that there was a longer version that just had music. But, yeah, I agree. I think twenty, thirty more minutes of that would have played well.
I I agree as well that I think there’s there is a fleshed out version of this that’s maybe gives you a little more insight and stuff like that. I just wanted before we before we wrap up on this one, I wanted to first of all, piggyback your recommendation of twenty four hour party people. People. That’s a fantastic movie. And if you’re interested in this, the the sort of Manchester, scene of the late seventies and stuff like that and, like, you know, these clubs and these promoters and all these people, factory records, all of that, twenty four hour Party People is a fantastic movie.
It’s really good. I think I was trying to look it up, and I couldn’t find it. I think there was a documentary about that as well. I I wanna say twenty four Hour Party People was based on this documentary, but I I I can’t back that up, so don’t quote me on that. The other thing I wanted to throw out there though, if you are interested in this story, particularly the the Joy Division part of it, not the New Order part, there is a narrative film about that called Control.
It came out in 02/2007. It’s the story of Ian Curtis in Joy Division. It is a fantastic movie. I cannot praise it any higher. It’s a wonderful movie.
I don’t know why it didn’t really find an audience here. It was very popular in in Europe, but, didn’t really do that well here. But it’s a great film. And, Sam Riley, the the actor that plays Ian Curtis in it, is just a a magnificent performance. And and if you if you’re like me and you kind of have this vision of Ian Curtis in your head from videos and music or whatever.
I think this guy just really nailed it. And then so that that’s what I would recommend very highly. It’s called Control. Yeah. Very cool.
I’ll have to check that out. Yeah. I don’t think that somehow slipped by me. I don’t think I’ve ever even heard of that. I don’t think it was marketed very well here at all.
And I think they just thought, well, Joy Division was never really a thing in The States. We’re not gonna bother. I think Joy Division of the band had the same problem. Yeah. So they they kinda I think they missed an opportunity here to to kinda push it because it it really is a a great like, if if it if it had been marketed correctly in The States, it would have been, like, an Oscar contender.
It’s that good of a movie. Yeah. Check that out, and for sure, I think all three of us will sign off on twenty four hour party people as well-being just Yeah. Absolutely. Really, really enjoyable.
Very insightful and a ton of fun, that movie. It’s so much fun. Yeah. Steve Coogan plays Tony Wilson and just, like, right from the get go, that first scene where he’s flying in the glider and you kinda are trying to get a feel for what’s going on, and then he breaks the fourth wall about two or three minutes into the film. And from then on, you’re you’re hooked because you’re like, oh my god.
This is this is gonna be good. That movie is a blast. Yeah. And and it’s very, a very interesting story, and it’s well told and all of that stuff too. But, yeah, don’t don’t think you’re gonna be doing any homework on that one.
It’s a fun, fun movie. If you if you have time to watch another doc, you can watch 35,000 Watts, the story of college radio, also a music documentary available now on Amazon Prime Video and Google Play. Thank you, Keith Porterfield. Thank you, Scott Mobley, for joining me on this edition, and come back next time for 35,000 Watts, the podcast.