0:00:04 > 0:00:07We knew and loved him as the flamboyant frontman
0:00:07 > 0:00:11of one of Britain's biggest ever rock bands,
0:00:11 > 0:00:13but Freddie Mercury's private life
0:00:13 > 0:00:16was very different to his self-invented public persona.
0:00:16 > 0:00:20You're about to see director Rhys Thomas' touching portrait
0:00:20 > 0:00:23of Freddie's life and music outside of Queen,
0:00:23 > 0:00:26which is rarely celebrated or explored.
0:00:26 > 0:00:30The story begins in 1985 after Queen have triumphed at Live Aid
0:00:30 > 0:00:33and explores Mercury's personal life,
0:00:33 > 0:00:37someone who never came out as a gay man until the day he died,
0:00:37 > 0:00:40and Freddie's creative life,
0:00:40 > 0:00:45his determination to establish an identity as a solo artist without the band.
0:00:45 > 0:00:47We follow Freddie's solo career,
0:00:47 > 0:00:49through some unexpected collaborations,
0:00:49 > 0:00:53which includes Michael Jackson, and ends, triumphantly,
0:00:53 > 0:00:58with the opera singer Montserrat Caballe and Barcelona.
0:00:58 > 0:01:01Using rare and sometimes unseen interviews,
0:01:01 > 0:01:05what we discovered is the nearest we'll get to the real Freddie Mercury -
0:01:05 > 0:01:08a shy man in search of love,
0:01:08 > 0:01:13and a driven artist living behind the protection of his stage persona.
0:01:13 > 0:01:20This programme contains some strong language
0:01:43 > 0:01:45# I want to break free... #
0:01:45 > 0:01:47You sing it.
0:01:47 > 0:01:51CROWD: # I want to break free
0:01:51 > 0:01:53# I want to break free from your lies
0:01:53 > 0:01:59# You're so self-satisfied I don't need you
0:01:59 > 0:02:02# I want to break free
0:02:04 > 0:02:05# God knows... #
0:02:05 > 0:02:09Queen have been together 13 years or so and you want to do different things.
0:02:09 > 0:02:13I wanted to write a batch of songs that actually came out under the name Freddie Mercury.
0:02:13 > 0:02:16# I want to break free
0:02:16 > 0:02:18# I've got to break free... #
0:02:18 > 0:02:20So ask me about my solo album, then, huh.
0:02:20 > 0:02:23- Yeah, what about your solo album? - Oh, it's great.
0:02:23 > 0:02:25# Dee doh day day # Dee doh day day
0:02:25 > 0:02:28- Do you miss the rest of the guys? - Not at all.
0:02:28 > 0:02:32He was always pushing boundaries, changing tack. Keep them guessing.
0:02:32 > 0:02:34I'm going into opera, you know. Forget rock 'n' roll.
0:02:34 > 0:02:36# Barcelona!
0:02:36 > 0:02:39# Such a beautiful horizon... #
0:02:39 > 0:02:44In his mind, he had to create the best music he could for Barcelona,
0:02:44 > 0:02:47because it might be the last thing that he was ever involved in.
0:02:47 > 0:02:49I was extremely promiscuous.
0:02:49 > 0:02:52I thought sex was a very important thing to me,
0:02:52 > 0:02:53so I lived for sex and everything.
0:02:53 > 0:02:57In those days, since there was no treatment, a lot of people chose not to get tested.
0:02:57 > 0:02:59They didn't want to know.
0:02:59 > 0:03:00And Freddie was one of them.
0:03:00 > 0:03:04You think, "No, it can't happen to our mate. It can't happen to Freddie."
0:03:04 > 0:03:10# Still around. #
0:03:10 > 0:03:13# Ay oh! #
0:03:15 > 0:03:18Why haven't you done any interviews in the past few years?
0:03:18 > 0:03:20- Cos I hate them.- Why?
0:03:20 > 0:03:23I hate talking to people I don't really know.
0:03:23 > 0:03:25# Ay, oh! #
0:03:25 > 0:03:28People do get the wrong impression of me because...
0:03:28 > 0:03:30It's the media, basically, built me up being a real ogre
0:03:30 > 0:03:32and a tyrant on stage because of the way I come across.
0:03:32 > 0:03:35# Ay oh
0:03:35 > 0:03:37CROWD: # Ay oh
0:03:37 > 0:03:38# Ay oh
0:03:38 > 0:03:40# Ay oh
0:03:40 > 0:03:42# Ay oh oh oh oh oh
0:03:42 > 0:03:43# Ay oh oh oh oh oh
0:03:43 > 0:03:45- # Ay oh- # Ay oh
0:03:45 > 0:03:46- # Ay oh- # Ay oh
0:03:46 > 0:03:47- # Ay oh- # Ay oh
0:03:47 > 0:03:53# A-y-y-y-y-y-y-y-y-y-y-y-y oh
0:03:53 > 0:03:58# A-y-y-y-y-y-y-y-y-y-y-y-y oh
0:03:58 > 0:04:00- # Ay oh- # Ay oh
0:04:00 > 0:04:01- # Ay oh- # Ay oh
0:04:01 > 0:04:03# Dee doddy doddy doddy doddy oh
0:04:03 > 0:04:05# Dee doddy doddy doddy doddy oh
0:04:05 > 0:04:06- # Day doh- # Day doh
0:04:06 > 0:04:08- # Day doh- # Day doh. #
0:04:08 > 0:04:09All right!
0:04:09 > 0:04:11'That's the only part they see of me.'
0:04:11 > 0:04:12I don't talk to everybody,
0:04:12 > 0:04:16so they don't really know the real me, and I don't think anybody will.
0:04:22 > 0:04:26I was put in an environment where I had to, sort of, fend for myself at a very early age.
0:04:26 > 0:04:29- Your birthplace is Zanzibar? - Yes, that's right.
0:04:29 > 0:04:32When I was about seven, I was put in boarding school in India,
0:04:32 > 0:04:35so I went from Zanzibar to India for a while and then came back to England.
0:04:35 > 0:04:40A very...upheaval of an upbringing.
0:04:40 > 0:04:44Freddie had whatever you were taught in the choir at school
0:04:44 > 0:04:46and that was it. That was his vocal training,
0:04:46 > 0:04:48everything else came from within him.
0:04:48 > 0:04:50I went through art college.
0:04:50 > 0:04:53I was going to be a graphics illustrator, you know?
0:04:53 > 0:04:56Obviously, I mean, I can paint and do that,
0:04:56 > 0:04:58but when I was going through college,
0:04:58 > 0:05:00I was very interested in music,
0:05:00 > 0:05:04so I joined other bands, and I got to know Brian and Roger.
0:05:04 > 0:05:07And then I realised that through college I spent more time rehearsing
0:05:07 > 0:05:10our songs and things than doing the other thing,
0:05:10 > 0:05:14and I just said, "Look, I'm going to try and make money out of this,
0:05:14 > 0:05:15"or make a life out of it."
0:05:18 > 0:05:22I remember we were in our management offices and Fred just says,
0:05:22 > 0:05:24"Oh, by the way, I'm changing my name.
0:05:24 > 0:05:26And we said, "Really? What to?"
0:05:26 > 0:05:28"I'm going to be Freddie Mercury."
0:05:28 > 0:05:30# Fear me, you lords and lady preachers... #
0:05:30 > 0:05:34He created this umbrella which was like Queen music,
0:05:34 > 0:05:38and underneath that, you could pretty much do anything you wanted.
0:05:38 > 0:05:41We all do different things. They'll leave me to just the wardrobe I guess.
0:05:41 > 0:05:43THEY LAUGH
0:05:43 > 0:05:46They'll leave me to the wardrobe and writing the hits.
0:05:46 > 0:05:47Oh!
0:05:47 > 0:05:48# She's a killer Queen
0:05:48 > 0:05:50# Gunpowder, gelatine... #
0:05:50 > 0:05:54I think when we found we had our first number one in England,
0:05:54 > 0:05:55that was very nice.
0:05:55 > 0:05:58# He's just a poor boy from a poor family
0:05:58 > 0:06:01# Spare him his life from this monstrosity... #
0:06:01 > 0:06:05We were checking in to a hotel and we realised that Bohemian Rhapsody had gone to number one.
0:06:05 > 0:06:06# Bismilla!
0:06:06 > 0:06:08# No, we will not let you go... #
0:06:08 > 0:06:11The four of us were in a lift jumping up and down and the fucking lift stopped.
0:06:11 > 0:06:13So there we were, thought,
0:06:13 > 0:06:17"My God! Here's the number one group in England, going to suffocate in this damn lift."
0:06:17 > 0:06:20# Find me somebody to love
0:06:20 > 0:06:24# Find me somebody to love
0:06:24 > 0:06:26# Find me somebody to love... #
0:06:26 > 0:06:28People can't put us into one category.
0:06:28 > 0:06:33There's a lot of ingredients that make up Queen and you can't put your finger on it, really.
0:06:33 > 0:06:40# No time for losers cos we are the champions
0:06:40 > 0:06:44# Oh, burning through the sky, yeah!
0:06:44 > 0:06:48# 200 degrees - that's why they call me Mr Fahrenheit
0:06:48 > 0:06:50# Travelling at the speed of light
0:06:50 > 0:06:54# I want to make a supersonic man out of you
0:06:54 > 0:06:56# Crazy little thing called love... #
0:06:56 > 0:07:00Now what happens when one of them writes a song that...
0:07:00 > 0:07:02- If I don't like it...- Yeah, that's what I was going to say.
0:07:02 > 0:07:06Well, I'm not going to say, "Yes, the song's good," if it's not good.
0:07:06 > 0:07:09- And they come and tell you that? - Of course. Of course they do.
0:07:09 > 0:07:11- And I tell them to fuck off. - THEY LAUGH
0:07:15 > 0:07:19# Another party's over
0:07:19 > 0:07:21# And I'm left cold sober
0:07:21 > 0:07:25# My baby left me for somebody new... #
0:07:25 > 0:07:29'Well, I don't think the music industry, generally, understood Freddie.'
0:07:29 > 0:07:34He was always pushing boundaries, you know, changing, changing tack.
0:07:34 > 0:07:37Keep them guessing and keep the public interested.
0:07:37 > 0:07:46# Wanna be intoxicated with that special brew... #
0:07:46 > 0:07:47When I first met him,
0:07:47 > 0:07:50he was this guy who was already a bit of a rock star,
0:07:50 > 0:07:53but poised to be a major rock star.
0:07:53 > 0:07:57And the Liza Minnelli Cabaret soundtrack's playing in the house,
0:07:57 > 0:08:00and there's cats everywhere, so I thought,
0:08:00 > 0:08:02"It, kind of, doesn't compute!"
0:08:02 > 0:08:05I'd always known him as someone
0:08:05 > 0:08:09whose personal interests were beyond rock.
0:08:09 > 0:08:13My interests are in what's going on now and so it's, kind of, research.
0:08:13 > 0:08:14So I go to the ballet,
0:08:14 > 0:08:17I go to all the musicals to find out what's happening.
0:08:17 > 0:08:21I want to do interesting things and things I haven't done before.
0:08:23 > 0:08:27I knew Sir Joseph Lockwood, who was the chairman for EMI, quite well,
0:08:27 > 0:08:30and, as he was also the chairman for the Royal Ballet,
0:08:30 > 0:08:35he and Freddie took to each other like ducks to water, it was amazing.
0:08:35 > 0:08:39I think Freddie had a general interest in the ballet,
0:08:39 > 0:08:42but Sir Joseph really got him fired up.
0:08:45 > 0:08:48He was fascinated by the scale.
0:08:48 > 0:08:49I mean, it's quite epic,
0:08:49 > 0:08:52and everything about Freddie's performance was epic.
0:08:58 > 0:09:00In 1979, he said to me,
0:09:00 > 0:09:03"You've got to come to the Coliseum.
0:09:03 > 0:09:05"I'm performing with the Royal Ballet."
0:09:05 > 0:09:07They asked me.
0:09:07 > 0:09:09They actually thought I could dance,
0:09:09 > 0:09:12so they actually asked me to do a charity concert,
0:09:12 > 0:09:14and then I realised how I couldn't dance.
0:09:14 > 0:09:20# Mama, just killed a man
0:09:20 > 0:09:23# Put a gun against his head
0:09:23 > 0:09:27# Pulled my trigger, now he's dead
0:09:27 > 0:09:34# Mama, life had just begun
0:09:34 > 0:09:35# But now... #
0:09:35 > 0:09:39This included that moment when he had his jump,
0:09:39 > 0:09:41where he just goes whoosh.
0:09:41 > 0:09:48- # Momma, ooh, ooh-ooh, ooh - (Any way the wind blows)
0:09:48 > 0:09:51# I don't want to die
0:09:51 > 0:09:57# I sometimes wish I'd never been born at all... #
0:09:57 > 0:09:59He disappeared behind a wall of dancers,
0:09:59 > 0:10:03and about 20 seconds later, they just sort of lifted him up
0:10:03 > 0:10:06and there he was, wearing a silver sequin outfit.
0:10:15 > 0:10:20# So you think you can stone me and spit in my eye?
0:10:20 > 0:10:25# So you think you can love me and leave me to die?
0:10:25 > 0:10:30# Oh, baby
0:10:30 > 0:10:33# Can't do this to me, baby
0:10:33 > 0:10:34# Just gotta get out
0:10:34 > 0:10:38# Just gotta get right outta here...#
0:10:38 > 0:10:40As a ballet dancer, I'd be terrible.
0:10:40 > 0:10:44- INTERVIEWER CHUCKLES - But I can kick my legs up real high.
0:10:44 > 0:10:46CHEERING AND APPLAUSE
0:10:56 > 0:10:57In the early '80s,
0:10:57 > 0:11:01he was living very much in the gay circle in New York.
0:11:01 > 0:11:05He bought a beautiful apartment on about the 52nd floor
0:11:05 > 0:11:09of 52nd Street, actually, East 52nd Street,
0:11:09 > 0:11:11looking over the bridge there,
0:11:11 > 0:11:13And he was really living it up.
0:11:13 > 0:11:16He was in the bars every night.
0:11:16 > 0:11:19He loved Donna Summer,
0:11:19 > 0:11:21and that's where, sort of, musical influence came from.
0:11:24 > 0:11:27We got more publicity from him growing a moustache
0:11:27 > 0:11:30than we would have done if he'd committed suicide, I think.
0:11:32 > 0:11:35It was the height of gay hedonism,
0:11:35 > 0:11:39and I think Freddie lived that life outside of England,
0:11:39 > 0:11:42where he could be a bit more anonymous and,
0:11:42 > 0:11:45you know, he wasn't the only one doing it.
0:11:46 > 0:11:51Everybody was taking drugs, so the combination of all those things,
0:11:51 > 0:11:53and the massive success...
0:11:53 > 0:11:56Well, you know, you start to think you can do anything,
0:11:56 > 0:12:01and lead any kind of life without any consequences.
0:12:01 > 0:12:03# Love kills
0:12:03 > 0:12:07# Drills you through your heart
0:12:07 > 0:12:09# Love kills
0:12:09 > 0:12:12# Scars you from the start
0:12:12 > 0:12:14# It's just a living pastime
0:12:14 > 0:12:16# Ruling your heartline
0:12:16 > 0:12:18# Stay for a lifetime
0:12:18 > 0:12:20# Won't let you go
0:12:20 > 0:12:23# Cos love, love
0:12:23 > 0:12:26# Love won't leave you alone... #
0:12:26 > 0:12:29I like to try different things every time.
0:12:29 > 0:12:32I'm more in to the black kind of thing, I like more the disco.
0:12:32 > 0:12:34That's why on Hot Space, we went off on a limb,
0:12:34 > 0:12:36and I said, "Let's just do some of this black stuff,"
0:12:36 > 0:12:39that I liked, and I sort of forced the other three to do it.
0:12:39 > 0:12:41They hate me for it now cos it didn't sell that much.
0:12:41 > 0:12:44# Staying power... #
0:12:48 > 0:12:51Freddie's particularly looking for a certain sound
0:12:51 > 0:12:53which sounds good in a certain kind of club.
0:12:55 > 0:12:58It was actually quite painful for me to record,
0:12:58 > 0:12:59because it was very intense,
0:12:59 > 0:13:02and it led to some very inspired moments,
0:13:02 > 0:13:06but it also led to some conflicts, which were difficult.
0:13:06 > 0:13:07We still fight like kids.
0:13:07 > 0:13:12- Every time I'm in the same room with Brian, within five minutes we sort of...- Sparks fly?
0:13:12 > 0:13:13Yeah. I haven't hit him yet...
0:13:15 > 0:13:17- ..but there's still time! - I was just thinking...!
0:13:18 > 0:13:20When I got involved with the band,
0:13:20 > 0:13:22one of the first things Freddie said,
0:13:22 > 0:13:25"Well, we need to have a personal, a personal."
0:13:25 > 0:13:27I said, "What's a personal?"
0:13:27 > 0:13:31So I figured out that they needed somebody that's a kind of runner, general dogsbody,
0:13:31 > 0:13:37somebody that I could relate to, so I knew Paul Prenter and I hired him.
0:13:37 > 0:13:42Paul Prenter was an important part of Freddie's life.
0:13:42 > 0:13:46He showed Freddie what he could do,
0:13:46 > 0:13:49and what was available in the nightclubs,
0:13:49 > 0:13:52you know, in the club scene.
0:13:52 > 0:13:54# Let me show it to you... #
0:13:54 > 0:13:57And there was disrupting creative moments
0:13:57 > 0:13:59where something would be actually working,
0:13:59 > 0:14:03and he would sort of pace up and down the control room,
0:14:03 > 0:14:05looking at the watch and, you know,
0:14:05 > 0:14:08it's like 7 o'clock, oh, it's 8 o'clock, it's club time.
0:14:09 > 0:14:13He was scoring guys and scoring coke,
0:14:13 > 0:14:16and scoring opportunities to get debauchery happening.
0:14:16 > 0:14:18You know, less said about him the better, you know.
0:14:18 > 0:14:20# Staying power... #
0:14:20 > 0:14:26I saw him as a very subversive influence in the worst possible sense.
0:14:26 > 0:14:29I don't see Queen touring when they're in their 60s.
0:14:29 > 0:14:31I won't be with them if they are.
0:14:31 > 0:14:33I hope that I'm sleeping, you know.
0:14:33 > 0:14:37What Paul Prenter was to Freddie was his partner in crime.
0:14:37 > 0:14:42If there was criticism of him he didn't attempt to, say,
0:14:42 > 0:14:50curtail or, sort of, just dampen things down at various times,
0:14:50 > 0:14:52and that would have helped a lot.
0:14:52 > 0:14:55The band, sort of, rejected Paul Prenter,
0:14:55 > 0:15:00and so Paul Prenter wanted to take Freddie away from the band, I suppose,
0:15:00 > 0:15:02and, to a degree, he did.
0:15:02 > 0:15:07Freddie took him on his own payroll when the band disagreed
0:15:07 > 0:15:09and didn't want him around any more,
0:15:09 > 0:15:12because they didn't think he was a good influence.
0:15:12 > 0:15:14When we toured America that last time,
0:15:14 > 0:15:16as it turned out to be the last time,
0:15:16 > 0:15:18he was the guy who answered the phone.
0:15:18 > 0:15:22So radio stations would phone up and he would be the intermediary,
0:15:22 > 0:15:25and he was telling everybody that Freddie wasn't interested.
0:15:25 > 0:15:28"Freddie says, 'Fuck off,'" or whatever, you know,
0:15:28 > 0:15:31which really wasn't true most of the time, as far I know.
0:15:31 > 0:15:35But, you know, we know now because that information has come back to us.
0:15:35 > 0:15:40So, basically, this one person, who was a sort of personal assistant,
0:15:40 > 0:15:43managed to piss off the whole of America.
0:15:45 > 0:15:47Being a world-famous rock star,
0:15:47 > 0:15:52does this make it more difficult for you to actually keep a friendship going?
0:15:54 > 0:15:59Yes. Yes, because I think it's harder for other people
0:15:59 > 0:16:01to try and understand me as a normal person.
0:16:01 > 0:16:04There must be times when you do need to turn to someone.
0:16:04 > 0:16:06I don't have that many people to turn to.
0:16:06 > 0:16:09The only one, if you're talking about it, is Mary,
0:16:09 > 0:16:10who's, you know, a long...
0:16:10 > 0:16:14You know, she's been a girlfriend of mine from a long time,
0:16:14 > 0:16:17and even though we're not together right now,
0:16:17 > 0:16:18I, sort of, refer to her a lot.
0:16:18 > 0:16:23When I met him, he was living with Mary, and the cats, and Liza,
0:16:23 > 0:16:29and I think the most difficult thing for him was to not hurt Mary.
0:16:29 > 0:16:34I wasn't around when, you know, they had the talk,
0:16:34 > 0:16:39but he was very conscious of not embarrassing her,
0:16:39 > 0:16:42or putting her in any difficult positions.
0:16:42 > 0:16:45Mary's gone through just about everything.
0:16:45 > 0:16:48She's about the only person I can think about.
0:16:48 > 0:16:53Otherwise I just... I fend for myself and I come... I just...
0:16:55 > 0:16:58You know, I cross my hurdles in my own way.
0:16:59 > 0:17:02# Can...
0:17:02 > 0:17:04CHEERING AND APPLAUSE
0:17:04 > 0:17:09# Can you find me
0:17:13 > 0:17:16# Somebody?
0:17:19 > 0:17:21# Somebody... #
0:17:21 > 0:17:25I'm sure there comes a time when you want to share your life with someone.
0:17:25 > 0:17:27Yes, but nobody wants to share their life with me.
0:17:27 > 0:17:33# Somebody... #
0:17:33 > 0:17:35'The more I open up, the more I get hurt.'
0:17:35 > 0:17:38So I mean, you know, basically what happens is, you know,
0:17:38 > 0:17:42I'm just riddled with scars, and I just don't want any more.
0:17:42 > 0:17:50# ..body to love
0:17:52 > 0:17:55# Can you find me
0:17:57 > 0:18:03# Somebody to love? #
0:18:03 > 0:18:06It's not easy living with me.
0:18:06 > 0:18:10In one way, I think, I think...the more mishaps I have,
0:18:10 > 0:18:13the better the songs are going to be, you know.
0:18:16 > 0:18:17'Once I find somebody,
0:18:17 > 0:18:20'I mean, I can find a long-lasting relationship,
0:18:20 > 0:18:24'bang goes all the research for wonderful songs.'
0:18:24 > 0:18:27At the moment, you know, I'm sort of living on past mishaps.
0:18:27 > 0:18:30And... Well, having said that...
0:18:30 > 0:18:33I don't know. I don't know. I don't know what's in store for me.
0:18:33 > 0:18:36# Oh, oh!
0:18:36 > 0:18:41# Somebody to love. #
0:19:09 > 0:19:11CHEERING AND APPLAUSE
0:19:11 > 0:19:12Action.
0:19:12 > 0:19:16Well, action, Freddie. You have certainly been in action.
0:19:16 > 0:19:20We've come to expect the unexpected from you Freddie,
0:19:20 > 0:19:24and you've certainly done it this time - a solo project, a solo album.
0:19:24 > 0:19:26And a new haircut.
0:19:26 > 0:19:28Well, I think we decided we needed a break,
0:19:28 > 0:19:31but I think it was fuelled by Freddie wanting, you know,
0:19:31 > 0:19:34having a bit of an itch to do something on his own.
0:19:34 > 0:19:35Is it like starting a new career?
0:19:36 > 0:19:41Um, not really, no, no, because to start a career
0:19:41 > 0:19:45I mean, you have to sort of go through all the pitfalls.
0:19:45 > 0:19:49No, it's just, it's just a sort of bit on the side.
0:19:49 > 0:19:52He made it very plain that wasn't a question of leaving Queen or anything like that.
0:19:52 > 0:19:54It was just something he wanted to do and get done.
0:20:08 > 0:20:10He also, typically, Freddie, I think,
0:20:10 > 0:20:13wanted to see how much money he could make out of it as well.
0:20:19 > 0:20:23It's a track called Mr Bad Guy and that's what the album's called, so I'm happy with that.
0:20:23 > 0:20:26- Why is it called Mr Bad Guy? - Because it's me.
0:20:26 > 0:20:28# I'm Mr Bad Guy
0:20:28 > 0:20:32# Yes, I'm everybody's Mr Bad Guy... #
0:20:32 > 0:20:35Do you miss the rest of the guys?
0:20:35 > 0:20:36No.
0:20:36 > 0:20:39# I'm Mr Mercury
0:20:39 > 0:20:41# Whoa, oh
0:20:41 > 0:20:47# Spread your wings and fly away with me... #
0:20:49 > 0:20:53'He liked being in Munich and being away from it all.'
0:20:53 > 0:20:58He said once, "This is so wonderful, I can eat sausage on the street.
0:20:58 > 0:21:02"Nobody bothers me and I'm totally happy.
0:21:02 > 0:21:05"I can be a person just like anybody else."
0:21:05 > 0:21:08Not that he would like that too much, but still!
0:21:08 > 0:21:11What do you think from your stay in Munich?
0:21:11 > 0:21:12I've learnt a lot.
0:21:12 > 0:21:17All I know is all the swear words, like bloder Hund and bloder Affe,
0:21:17 > 0:21:20leck mich am Arsch. That means "lick my arse".
0:21:22 > 0:21:27He took a liking to how we lived together as a family,
0:21:27 > 0:21:30which might have been what he had wished for when he was younger,
0:21:30 > 0:21:34because he was shipped off to school and, you know,
0:21:34 > 0:21:38he wasn't really all that close with his parents for a lot of time.
0:21:38 > 0:21:41Who plays on the album, are there any sort of surprise guests?
0:21:41 > 0:21:42Yeah, me.
0:21:42 > 0:21:46And Michael Jackson was going to do a song, cos I've worked with him before.
0:21:46 > 0:21:49He used to just come and see our shows, at the Forum in LA.
0:21:49 > 0:21:51I guess he likes us and so I got to meet him
0:21:51 > 0:21:54and he kept coming to see us, and then we started talking.
0:21:59 > 0:22:03Michael suggested they might record something together,
0:22:03 > 0:22:06so Freddie went up to Michael's studio
0:22:06 > 0:22:09and they started working on a couple of tracks.
0:22:09 > 0:22:13# There must be more to life than this
0:22:15 > 0:22:20JACKSON: # There must be more to life than this
0:22:21 > 0:22:28- BOTH:- # How do we cope in a world without love?
0:22:28 > 0:22:32# There must be more to life than this... #
0:22:32 > 0:22:34They got on well,
0:22:34 > 0:22:39except for the fact that I suddenly got a call from Freddie saying,
0:22:39 > 0:22:43"Miami, dear, can you get on over here, because you've got to get me out of this studio."
0:22:43 > 0:22:45I said, "Well, what is the problem?"
0:22:45 > 0:22:47He said, "I'm recording with a llama.
0:22:47 > 0:22:50He said, "Michael's bringing his pet llama into the studio every day,
0:22:50 > 0:22:52"and I'm really not used to recording with a llama,
0:22:52 > 0:22:55"and I've had enough and I want to get out.
0:22:55 > 0:22:59I think one of the tracks would have been on the Thriller album, if I'd finished it.
0:22:59 > 0:23:01But, um, I missed out.
0:23:01 > 0:23:06# I was born to love you... #
0:23:06 > 0:23:09By the time I actually got in to recording I found I was doing it all myself.
0:23:09 > 0:23:12Then I turned the other way and said, "I want to do it completely myself."
0:23:14 > 0:23:19# Yes, I was born to take care of you... #
0:23:19 > 0:23:21'I don't like to write message songs.
0:23:21 > 0:23:23'I'm not like a John Lennon or a Stevie Wonder.'
0:23:23 > 0:23:26I'm in to writing songs about what I feel about.
0:23:26 > 0:23:29And, basically, what I feel very strongly about is love and emotion,
0:23:29 > 0:23:31and I think my solo album is filled with that.
0:23:31 > 0:23:35# I want to love you
0:23:35 > 0:23:38# I love every little thing about you
0:23:38 > 0:23:43# I want to love you, love you, love you... #
0:23:43 > 0:23:47'Michael Jackson had just finished the Thriller album and it had sold 25 million copies,'
0:23:47 > 0:23:50and CBS were very much awash with money,
0:23:50 > 0:23:53so I approached Walter Yetnikoff in New York,
0:23:53 > 0:23:57and proposed a deal which Walter accepted.
0:23:57 > 0:24:01# I was born to take care of you... #
0:24:03 > 0:24:06It's actually, I think, the worst deal he ever did.
0:24:06 > 0:24:08CBS - cock, bollocks and satisfaction.
0:24:12 > 0:24:15He underestimated the workload.
0:24:15 > 0:24:19When Michael Jackson has three or four number ones,
0:24:19 > 0:24:25there's probably 60 songwriters and 900 songs involved,
0:24:25 > 0:24:28and he was just doing everything himself.
0:24:28 > 0:24:31# Fooling around with me # You keep foolin'
0:24:31 > 0:24:33# You keep foolin'... #
0:24:33 > 0:24:36I would love my album to be better than the last Queen album,
0:24:36 > 0:24:39because that will set a precedent and then the next Queen album -
0:24:39 > 0:24:43we're going to say, "It had better be better than Freddie Mercury's solo album."
0:24:48 > 0:24:52I was in Munich for a playback of the Mr Bad Guy album,
0:24:52 > 0:24:55and we were all sitting there in Musicland Studios.
0:24:55 > 0:24:59It was a strange playback cos I could tell that Freddie was slightly bored
0:24:59 > 0:25:01and not really listening to it,
0:25:01 > 0:25:04and we were halfway through the album and he suddenly said,
0:25:04 > 0:25:07"Switch it off, switch it off. I want to play you something else."
0:25:07 > 0:25:13And he put on this opera singer singing.
0:25:13 > 0:25:16And he said, "That's the most beautiful voice in the world."
0:25:16 > 0:25:18MONTSERRAT CABALLE SINGING
0:25:18 > 0:25:23Freddie had some of the best ears in the business so maybe he sat there,
0:25:23 > 0:25:26at that early stage, thinking, "This is not going to work."
0:25:26 > 0:25:29Maybe that's why he interrupted playback,
0:25:29 > 0:25:32because he was moving on, I think already,
0:25:32 > 0:25:34sitting in the studios in Munich,
0:25:34 > 0:25:39aware that maybe he'd produced an album which wasn't his greatest work.
0:25:39 > 0:25:42Out of the songs you've put on this album, Freddie,
0:25:42 > 0:25:45which one do you find the most rewarding personally?
0:25:45 > 0:25:48Oh, I don't know, the one that sells the most.
0:25:48 > 0:25:51Unfortunately, the album didn't sell and so,
0:25:51 > 0:25:56from CBS's point of view, it was their worst deal, financially,
0:25:56 > 0:25:58because they paid a lot of money for it.
0:25:58 > 0:26:02Freddie always said, "Money's great. It tells me that I'm successful.
0:26:02 > 0:26:04"It tells me that people like my work."
0:26:04 > 0:26:08Well, this must have been very odd for him, because he had a lot of money, which was the advance,
0:26:08 > 0:26:11but it wasn't real money because the record wasn't selling.
0:26:11 > 0:26:13Freddie didn't like failure.
0:26:14 > 0:26:16And this album was a failure.
0:26:17 > 0:26:20And the fact it was a failure meant that he moved on.
0:26:20 > 0:26:21Instantly.
0:26:21 > 0:26:24So you will be working with Queen again?
0:26:24 > 0:26:25Oh, yes, definitely.
0:26:25 > 0:26:29- Even if...- Otherwise, I'm going to be car mechanic, dear.
0:26:29 > 0:26:34He came back slightly with, I think, his tail between his legs, really.
0:26:34 > 0:26:38The next project will be a Queen album.
0:26:38 > 0:26:41- When will it be?- Soon I hope, soon.
0:26:41 > 0:26:44If we're still talking to each other, that is.
0:26:44 > 0:26:47OK, thanks a lot. Just cut there.
0:27:11 > 0:27:14# Buddy, you're a boy Make a big noise
0:27:14 > 0:27:17# Playin' in the street Gonna be a big man some day
0:27:17 > 0:27:19# Mud on your face Big disgrace
0:27:19 > 0:27:22# Kicking your can all over the place... # Sing it!
0:27:22 > 0:27:25CROWD: # We will, we will rock you! #
0:27:25 > 0:27:27Yeah, do it!
0:27:27 > 0:27:30# We will, we will rock you! #
0:27:30 > 0:27:32I like it! Sing it again!
0:27:32 > 0:27:36# We will, we will rock you! #
0:27:36 > 0:27:37One more time!
0:27:37 > 0:27:40'How does it affect you when you know that you've won an audience?
0:27:40 > 0:27:41'I always win an audience.'
0:27:42 > 0:27:46So how are you affected, then, every night you play to a crowd that big?
0:27:46 > 0:27:49Actually, no, that's, that's, that's part of my role.
0:27:49 > 0:27:54I have to win them over, otherwise it's not a successful gig, you know?
0:27:54 > 0:27:56It's my job to make sure that I win them over
0:27:56 > 0:27:59and make them feel that they've had a good time.
0:28:05 > 0:28:09He was just a natural at communicating with the whole audience.
0:28:09 > 0:28:11An amazing thing to watch, actually.
0:28:11 > 0:28:13HE SCATS
0:28:18 > 0:28:23'On stage, you give this impression that you're quite a formidable individual, Freddie.'
0:28:23 > 0:28:24I am.
0:28:32 > 0:28:35- # Another one bites the dust, yeah! - Another one bites the dust... #
0:28:35 > 0:28:37I'm very frivolous and I like to enjoy myself.
0:28:37 > 0:28:42And what better way to do it than on stage in front of something like 300,000 people?
0:28:42 > 0:28:44'And, you know, I just cook.'
0:28:44 > 0:28:46- Yeah, yeah!- Yeah, yeah!
0:28:46 > 0:28:48- Yeah, yeah!- Yeah, yeah!
0:28:48 > 0:28:50- Yeah, yeah!- Yeah, yeah!
0:28:50 > 0:28:52- Yeah, yeah!- Yeah, yeah!
0:28:52 > 0:28:54# Another one bites the dust
0:28:54 > 0:28:55# Another one bites the dust
0:28:55 > 0:28:58# All right!
0:28:58 > 0:29:01# Yeah, yeah, yeah, yeah! #
0:29:05 > 0:29:08- Yes! - CHEERING AND APPLAUSE
0:29:08 > 0:29:11'The thing about Freddie was that he was so flamboyant on stage,
0:29:11 > 0:29:14'you know, he was like a hurricane.'
0:29:14 > 0:29:17Before that, he was quiet and quite shy,
0:29:17 > 0:29:20and he was always very cautious with new people.
0:29:20 > 0:29:24He was definitely two characters, two people.
0:29:24 > 0:29:28Everybody looks at me on stage and they think that's how I am,
0:29:28 > 0:29:31like arrogant and, you know, that's the way I am.
0:29:31 > 0:29:35And when you look at me now, you know, I'm quite boring, really!
0:29:37 > 0:29:39A lot of people think that you are reclusive.
0:29:39 > 0:29:41I am a bit, actually, yes, yes.
0:29:41 > 0:29:44- Are you?- But not in a Greta Garbo way. It's not alone-alone.
0:29:44 > 0:29:48I like to be alone with my friends and shut myself off, yes.
0:29:48 > 0:29:50I'd hate to be on a desert island.
0:29:50 > 0:29:52I'm petrified of being alone.
0:29:52 > 0:29:56I'm very happy with my relationship at the moment,
0:29:56 > 0:29:58and I couldn't ask for better.
0:29:58 > 0:30:03I've finally found a niche that I was looking for all my life.
0:30:05 > 0:30:09Well, we first met accidentally, I suppose, in a club.
0:30:09 > 0:30:12He offered to buy me a drink and I told him to sling...
0:30:12 > 0:30:14sling his hook, basically.
0:30:14 > 0:30:17- Did you know it was Freddie Mercury? - I didn't know who he was, no. - Really?
0:30:17 > 0:30:21- Total absolute stranger to me, yeah. - So then what happened after that?
0:30:21 > 0:30:26I think some months after that, I was out in a restaurant,
0:30:26 > 0:30:28a friend I was with just happened to mention,
0:30:28 > 0:30:31"Oh, guess who's behind you." I said, "Who?"
0:30:31 > 0:30:32"Freddie Mercury again."
0:30:32 > 0:30:37I didn't see Freddie again for, ooh, gosh, I think about 18 months,
0:30:37 > 0:30:39and I bumped in to him in a club.
0:30:41 > 0:30:43- And that was it, was it? - And that was it.
0:30:43 > 0:30:46Same routine again - "Let me buy you a drink."
0:30:46 > 0:30:49What was he like in real life? What was he like off-stage?
0:30:49 > 0:30:52He was quiet, very reserved.
0:30:52 > 0:30:55Just plain, ordinary Joe Bloggs on the street, really.
0:30:55 > 0:30:57I'm not scared of doing what I want to do.
0:30:57 > 0:30:59Before, I'd sort of hide in my...
0:30:59 > 0:31:01So, like, when I went out, I had to sort of try
0:31:01 > 0:31:05and perform a little as well and, like, in not letting them down,
0:31:05 > 0:31:09cos Freddie Mercury - I don't know what it means -
0:31:09 > 0:31:14but he had to react in a certain way, what the press had told people.
0:31:14 > 0:31:16And a lot of the times I used to do that,
0:31:16 > 0:31:22so that I was actually living, in a way, living a false image of myself.
0:31:27 > 0:31:33# Guilt stains on my pillow... #
0:31:33 > 0:31:35# Blood on my... #
0:31:35 > 0:31:38That party in Munich was really something else,
0:31:38 > 0:31:41but it did feel at the time it was like the last hurrah.
0:31:41 > 0:31:45It felt as though those decadent days were,
0:31:45 > 0:31:47if not over, winding down.
0:31:48 > 0:31:51And it was kind of like Freddie saying goodbye
0:31:51 > 0:31:55to that old hedonistic lifestyle.
0:31:55 > 0:31:59# Success is my breathing space
0:31:59 > 0:32:01# I brought it on myself... #
0:32:01 > 0:32:04Freddie was tiring of the rock 'n' roll lifestyle I think.
0:32:04 > 0:32:09# I can take it or leave it
0:32:09 > 0:32:11# Loneliness is my... #
0:32:11 > 0:32:15It was kind of like the last days of Berlin.
0:32:15 > 0:32:17That was Freddie's last hurrah.
0:32:23 > 0:32:28# Is this the world we created?
0:32:28 > 0:32:30# We made it on our own
0:32:30 > 0:32:35# Is this the world we devastated right to the bone? #
0:32:35 > 0:32:38'I know there'll be a time where I can't run around on stage'
0:32:38 > 0:32:41because it'll be ridiculous, you know.
0:32:41 > 0:32:44I mean, I know when there comes a time when you have to stop.
0:32:44 > 0:32:51# To the world that he created. #
0:32:51 > 0:32:53CHEERING AND APPLAUSE
0:32:59 > 0:33:01I remember the very last gig in Knebworth.
0:33:01 > 0:33:04Freddie said, "Look, I can't fucking do this anymore."
0:33:04 > 0:33:06You'll have to bleep me again, won't you?!
0:33:06 > 0:33:09It's very hard to quote Freddie without swearing.
0:33:09 > 0:33:11It was just part of his vocabulary.
0:33:11 > 0:33:15He said, "I can't do this any more. You have to understand,"
0:33:15 > 0:33:18and we thought, "Oh, that's just Freddie being Fred," you know.
0:33:18 > 0:33:21He was quoted as saying that he can't do this forever,
0:33:21 > 0:33:24that there are going to be different phases to his career,
0:33:24 > 0:33:27because rock 'n' roll is a young man's game,
0:33:27 > 0:33:30and when he's going to be middle-aged,
0:33:30 > 0:33:32he's going to have to do other things.
0:33:32 > 0:33:35You might not have the physical fitness to run around on stage,
0:33:35 > 0:33:37but you can still write songs.
0:33:37 > 0:33:43So one way or another, the music side is always going to be my life.
0:33:43 > 0:33:47# I don't want my freedom... #
0:33:47 > 0:33:51So the rest of the guys have houses in LA - I assume you mean the other members of Queen.
0:33:51 > 0:33:55- Yeah, who did you think I meant? - What are their names again? I'm sorry.
0:33:55 > 0:33:58- Stop that shit! There's Brian, Roger and John.- Roger and John. Yes.
0:33:58 > 0:34:01I sometimes forget them, too, you know.
0:34:01 > 0:34:04- But you don't really hang out with them or anything, do you?- No.
0:34:04 > 0:34:10# Ridi, Pagliaccio... #
0:34:10 > 0:34:14They have very different characters and they like different things,
0:34:14 > 0:34:17I like to go to ballet and opera and things. They don't like all that.
0:34:17 > 0:34:19They just keep going to rock 'n' roll shows.
0:34:19 > 0:34:24# ..pianto... #
0:34:24 > 0:34:28He liked listening to Pavarotti's voice, just for the control,
0:34:28 > 0:34:32for the, you know, the amount of training that that voice had had,
0:34:32 > 0:34:35and just the sound that he was able to produce.
0:34:35 > 0:34:41# ..t'avvelena
0:34:41 > 0:34:46# Il cor. #
0:34:46 > 0:34:49I said, "Look, why don't you hear him live?
0:34:49 > 0:34:51He says, "OK, yeah, that's fine."
0:34:51 > 0:34:54I got tickets. We were in the front of the Grand Tier...
0:34:55 > 0:34:57..and Freddie was...
0:34:57 > 0:35:00"I like that, he's good."
0:35:01 > 0:35:05Act One, Scene Two, the soprano gets her bit in.
0:35:05 > 0:35:07SHE SINGS IN ITALIAN
0:35:15 > 0:35:18From the minute the voice started,
0:35:18 > 0:35:22Freddie's jaw had just sort of fallen open.
0:35:22 > 0:35:26He could not believe what he was hearing.
0:35:26 > 0:35:29SHE SINGS IN ITALIAN
0:35:31 > 0:35:34I was at Covent Garden, the Opera House,
0:35:34 > 0:35:36for a recital by Montserrat Caballe.
0:35:36 > 0:35:39SHE SING IN ITALIAN
0:35:41 > 0:35:45And then out of the corner of my left eye, gesticulating, waving arms,
0:35:45 > 0:35:48and I look over, and there in a box seat is Freddie.
0:35:48 > 0:35:53And he's leaning up like that, and he's pointing at the stage,
0:35:53 > 0:35:54and he's going...
0:35:54 > 0:35:59He was just like a 12-year-old kid seeing the Beatles.
0:35:59 > 0:36:01The grin on his face, he was just...
0:36:01 > 0:36:05You know, he was just so up from that whole show.
0:36:05 > 0:36:09He said, "Look, I have now heard the best voice in the world."
0:36:09 > 0:36:11I think I've done enough with Queen.
0:36:11 > 0:36:14I think maybe the time has come where I'm actually going to...
0:36:14 > 0:36:16In terms of solo projects,
0:36:16 > 0:36:20I mean, I did one solo project and...so it was an album,
0:36:20 > 0:36:22but now I want it to be more than just an album,
0:36:22 > 0:36:26so I think I'm actually thinking of actually trying to do a musical.
0:36:26 > 0:36:30I first met Freddie Mercury at Abbey Road Studios in the mid '80s,
0:36:30 > 0:36:33and it came about because I was musical director
0:36:33 > 0:36:35on a musical called Time.
0:36:37 > 0:36:40Dave Clark and I had worked on the album of Time,
0:36:40 > 0:36:44which featured a wonderful selection of really great artists -
0:36:44 > 0:36:46Dionne Warwick, Stevie Wonder, Cliff - and he told me one day,
0:36:46 > 0:36:49"I think Freddie Mercury's going to do two tunes."
0:36:49 > 0:36:51I said, "Well, that's fantastic."
0:36:51 > 0:36:55I met Freddie. Well, this incredible force of nature hurtled through the door.
0:36:55 > 0:37:00It was just this immense presence,
0:37:00 > 0:37:01enthusiastic, keen...
0:37:01 > 0:37:04Freddie Mercury, for goodness' sakes, you know.
0:37:04 > 0:37:06He contacted me not long after that to say,
0:37:06 > 0:37:11"Look, would you be interested in working on a solo album with me?"
0:37:11 > 0:37:13That was agreed and he said,
0:37:13 > 0:37:15"Well, before we do that,
0:37:15 > 0:37:18"I've really always wanted to record a cover version,
0:37:18 > 0:37:21"something I've never done in my own name,
0:37:21 > 0:37:24and he said, "The song I want to do is The Great Pretender."
0:37:24 > 0:37:29# Oh, yes, I'm the great pretender
0:37:29 > 0:37:31# Ooh, ooh-ooh
0:37:31 > 0:37:36# Pretending I'm doing well
0:37:36 > 0:37:38# Ooh, ooh-ooh
0:37:38 > 0:37:45# My need is such I pretend too much
0:37:45 > 0:37:51# I'm lonely but no-one can tell... #
0:37:51 > 0:37:55I wanted to do a cover version, you know, a long time ago,
0:37:55 > 0:37:57and you can't do that with Queen, you know,
0:37:57 > 0:38:00cos I mean, we just write our own sort of original material,
0:38:00 > 0:38:02and I've always had that in the back of my head.
0:38:02 > 0:38:04And this song was the one I always wanted to do.
0:38:04 > 0:38:07# Ooh, ooh-ooh
0:38:07 > 0:38:12# I seem to be what I'm not, you see... #
0:38:12 > 0:38:14He thought it was appropriate cos he was a "pretender".
0:38:14 > 0:38:17# I'm wearing my heart like a crown... #
0:38:17 > 0:38:20He was certainly the great self-invention.
0:38:20 > 0:38:23# Pretend that you're still... #
0:38:23 > 0:38:28In Freddie, you had a shy person who lived with the protection of his persona.
0:38:32 > 0:38:36Most of the stuff I do, it is pretending, it's like acting.
0:38:36 > 0:38:39So you go on stage, I pretend to be a macho man and all that,
0:38:39 > 0:38:43and then in my videos, you know, you go through all the different characters
0:38:43 > 0:38:45and then you're pretending anyway.
0:38:45 > 0:38:49# Yes, I'm the great pretender... #
0:38:49 > 0:38:52So I think it's a great title for what I do
0:38:52 > 0:38:54and it sort suited to what I was doing.
0:38:54 > 0:38:57All this is a pretence, and it's just fun.
0:38:57 > 0:39:03# Pretend that you're
0:39:03 > 0:39:11# Still around. #
0:39:21 > 0:39:24When we got to the end of The Great Pretender, I said,
0:39:24 > 0:39:27"Fred, one thing we haven't thought about is a B side,"
0:39:27 > 0:39:30and he said, "Look, I'll tell you what.
0:39:30 > 0:39:33"Why don't you go and play some nice little classical thing on the piano?
0:39:33 > 0:39:36"I'll warble over the top and we'll kind of figure something out."
0:39:46 > 0:39:48It became the B side of The Great Pretender.
0:39:50 > 0:39:53I was planning to do a solo project,
0:39:53 > 0:39:56and I wanted it to have some kind of bearing, something different,
0:39:56 > 0:40:00something different from another boring studio album.
0:40:00 > 0:40:04I put the television on and there was the group,
0:40:04 > 0:40:08and Freddie of all, and I said,
0:40:08 > 0:40:11"What do you like more of Spain?"
0:40:11 > 0:40:14And he was answering, "Montserrat Caballe."
0:40:14 > 0:40:17She's the best. That's what I listen to.
0:40:17 > 0:40:20I love very much Freddie,
0:40:20 > 0:40:24but I was surprised he says that on television.
0:40:24 > 0:40:28He said, "You'll never guess! I've had a phone call from Montserrat Caballe. She wants to meet us."
0:40:28 > 0:40:30I said, "Well, she wants to meet YOU."
0:40:30 > 0:40:32He said, "No, no, no. You're coming with me.
0:40:32 > 0:40:34"We're going to Barcelona on Saturday."
0:40:43 > 0:40:46He said, "I think we ought to take something to play her
0:40:46 > 0:40:49"which might make her laugh and cut the ice a little bit."
0:40:49 > 0:40:52He said, "Why don't we take this thing that we did?"
0:40:52 > 0:40:55We built a full concert PA system,
0:40:55 > 0:40:59and we laid out a lunch so that we could have lunch together,
0:40:59 > 0:41:02the plan being that we'd all have a lovely lunch,
0:41:02 > 0:41:04and then play her this song and say,
0:41:04 > 0:41:06"This is the sort of thing we want to do."
0:41:06 > 0:41:10We met here in the Hotel Ritz.
0:41:10 > 0:41:16He was a little shy in the beginning to sing with me.
0:41:16 > 0:41:19He was so nervous that instead of saying,
0:41:19 > 0:41:22"How lovely to meet you. Would you like some lunch?"
0:41:22 > 0:41:26and all the various plans that we had, he just blurted out,
0:41:26 > 0:41:29"I've written a song for you. "Would you like to hear it?"
0:41:38 > 0:41:43And I told him, "But you're sure you want to sing me?"
0:41:43 > 0:41:48And he says, "Yes, I was dreaming of that all my life."
0:41:50 > 0:41:55The only thing I ask him to have the score of Exercise In Free Love.
0:41:55 > 0:41:57I'm saying, "Give it to me, the music,
0:41:57 > 0:42:00"I will learn and, maybe from that, come something."
0:42:00 > 0:42:02But I was tricking him,
0:42:02 > 0:42:05because I wanted to sing that as a vocalise
0:42:05 > 0:42:10in one of my recitals at the Royal Opera House.
0:42:10 > 0:42:11Well, last night I mean,
0:42:11 > 0:42:15she sang one of my songs at the Royal Opera House, so it's amazing.
0:42:15 > 0:42:17I mean, I'm going in to opera, you know. Forget rock 'n' roll.
0:42:17 > 0:42:22And we went after this to his home to have dinner,
0:42:22 > 0:42:28and so we begin to, after the dinner, to work.
0:42:28 > 0:42:31# Mi, mi amor
0:42:31 > 0:42:34# Mi, mi amor
0:42:34 > 0:42:37# Dee dee dah day
0:42:37 > 0:42:39# Ee ee ah ay... #
0:42:39 > 0:42:41She said things like,
0:42:41 > 0:42:44"Only one song? Are you sure you only want to do one song?"
0:42:44 > 0:42:49And I said, "Well, let's see how we get on, you know, if you like more of my music,"
0:42:49 > 0:42:52and she said, "How many songs does a normal rock 'n' roll album have?"
0:42:52 > 0:42:56And I said, "Something like ten." "Oh, we'll do ten songs, then."
0:42:56 > 0:42:57And we knew we were away.
0:42:57 > 0:42:59And then she went on to say,
0:42:59 > 0:43:03"But the song I really want is about my home town.
0:43:04 > 0:43:07"I want a song about Barcelona."
0:43:11 > 0:43:13What drives you on?
0:43:13 > 0:43:16At this very moment, it's Montserrat Caballe.
0:43:16 > 0:43:19It's like a flippant gesture for me to start it off with,
0:43:19 > 0:43:23and I really thought it would never come to any sort of fruition,
0:43:23 > 0:43:26and when she accepted it, I was dumbfounded, so then I thought,
0:43:26 > 0:43:29"My God, I'd better put my money where my mouth is!"
0:43:33 > 0:43:35It's such a challenge, actually.
0:43:35 > 0:43:37I've never thought of writing songs in that way.
0:43:37 > 0:43:40Now she said she wants to do duets with me,
0:43:40 > 0:43:42I have to sort of think in a totally different way.
0:43:53 > 0:43:56I told him when we do an album,
0:43:56 > 0:44:00it has to be an album of friendship,
0:44:00 > 0:44:05and also of understanding musically, both.
0:44:05 > 0:44:08Not like two worlds, everyone singing his way.
0:44:08 > 0:44:11No. Two worlds come together.
0:44:11 > 0:44:14# I had this perfect dream
0:44:14 > 0:44:16# Un sueno me envolvio
0:44:16 > 0:44:19# This dream was me and you
0:44:19 > 0:44:22# Tal vez estas aqui
0:44:22 > 0:44:25# I want all the world to see
0:44:25 > 0:44:27# Un instinto me guiaba... #
0:44:27 > 0:44:30I'm sure the opera critics will, you know, slam it and everything.
0:44:30 > 0:44:32But I mean, this is something that...
0:44:32 > 0:44:35It's a good challenge at this time in life, you know?
0:44:38 > 0:44:43Pavarotti was saying, "That's bad, so bad. You're dumbing down opera."
0:44:43 > 0:44:45# Barcelona!
0:44:45 > 0:44:47# Such a beautiful horizon
0:44:47 > 0:44:49# Barcelona!
0:44:49 > 0:44:52# Like a jewel in the sun... #
0:44:52 > 0:44:54The single, I thought, was fantastic.
0:44:54 > 0:44:57You sometimes think, "Well, is he having us on?"
0:44:57 > 0:44:59but it was so good musically,
0:44:59 > 0:45:01and so intriguing,
0:45:01 > 0:45:04wonderful melody and beautifully sung,
0:45:04 > 0:45:06and Freddie matched Montserrat.
0:45:10 > 0:45:14There's only ever really one Freddie who could do that kind of thing
0:45:14 > 0:45:16and make that kind of record, and make it OK.
0:45:16 > 0:45:19And I think the reason why it was OK is you've got this guy
0:45:19 > 0:45:21standing in front of you going,
0:45:21 > 0:45:23"It's all right, you're safe. You're with me.
0:45:23 > 0:45:24"I know what I'm doing,
0:45:24 > 0:45:29"Even though it's the most ridiculous thing in the entire world, it's OK."
0:45:29 > 0:45:34# Barcelona! #
0:45:56 > 0:46:00When Freddie decided to record his second album,
0:46:00 > 0:46:01I went back to New York
0:46:01 > 0:46:06and said to Walter that we'd come in to discuss the second album.
0:46:06 > 0:46:10Well, the first album had sold about 130,000 copies
0:46:10 > 0:46:14and CBS were reeling from the loss that they made on the first album.
0:46:14 > 0:46:15So he sat there, he said,
0:46:15 > 0:46:19"Well, I understand we've got to do a second album, so what is it?"
0:46:19 > 0:46:20I said, "Well, it's a duet album."
0:46:20 > 0:46:23And he said, "Oh, well, that sounds interesting.
0:46:23 > 0:46:26"That's, that... Might get something in that. Duetting with who?"
0:46:26 > 0:46:31And I said, "It's Montserrat Caballe. She's a Spanish opera singer,"
0:46:31 > 0:46:34and he completely freaked. He said, "You have to be joking.
0:46:34 > 0:46:39"You can't conceivably be delivering me an opera duet album as a second album,"
0:46:39 > 0:46:41and, in the end, he paid us quite a substantial amount of money
0:46:41 > 0:46:45to go away and deliver the album somewhere else, which is what we did.
0:46:45 > 0:46:48I think one of the reasons that Freddie
0:46:48 > 0:46:51put so much of himself into the Barcelona project
0:46:51 > 0:46:57was the fact that he had just found out of his AIDS status.
0:46:57 > 0:47:00He explained to me that, obviously,
0:47:00 > 0:47:02he'd got some rather heavy news for me,
0:47:02 > 0:47:05and, I suppose, like everybody's reaction,
0:47:05 > 0:47:07it was just total disbelief.
0:47:07 > 0:47:10"No, we must get someone else's opinion on this."
0:47:10 > 0:47:13We talked a little about it, but then he just said,
0:47:13 > 0:47:16"Look, these are the top AIDS specialists there are."
0:47:16 > 0:47:18In terms of gay visibility back then,
0:47:18 > 0:47:20you had some people like Jimmy Somerville,
0:47:20 > 0:47:22people like that, who were quite political,
0:47:22 > 0:47:26but there was something quite austere about them and sort of asexual,
0:47:26 > 0:47:28OR you had gay people who were in the closet,
0:47:28 > 0:47:30but Freddie, along with Elton,
0:47:30 > 0:47:32was just quite flippant about his sexuality.
0:47:32 > 0:47:34He didn't have a care in the world about it,
0:47:34 > 0:47:37It was a really great kind of role model, I think.
0:47:37 > 0:47:38He wasn't overtly sexual.
0:47:38 > 0:47:41I mean, he was camp as anything, you know,
0:47:41 > 0:47:43the most camp performer ever. He's got to be.
0:47:43 > 0:47:46But I don't think there was ever anything sexual about it.
0:47:46 > 0:47:48- Hello.- Hello.
0:47:48 > 0:47:53Frejjie, it's true that the song I Want To Break Free
0:47:53 > 0:47:57is dedicated for the gay world?
0:47:57 > 0:48:00No, not at all, not at all.
0:48:00 > 0:48:03That song, to start off with,
0:48:03 > 0:48:06that song was written by John Deacon, you know, and, well,
0:48:06 > 0:48:09he's a very happily married man, you know, with about four children.
0:48:09 > 0:48:13It's got nothing to do with the gay thing. In fact, it's not my song anyway. John wrote it.
0:48:13 > 0:48:15I always feel terrible
0:48:15 > 0:48:20when people are judged on their sexual behaviour in the '70s
0:48:20 > 0:48:24from the perspective of today's knowledge because,
0:48:24 > 0:48:28in fact, while we were going through the '70s,
0:48:28 > 0:48:33it was assumed that there would be no consequences for whatever your sexual actions may be.
0:48:33 > 0:48:37I was extremely promiscuous. It was excess in every direction.
0:48:37 > 0:48:42I want everyone to get fucked all night, every day, just like I do.
0:48:42 > 0:48:47He intentionally didn't get tested for several years.
0:48:47 > 0:48:51Because in those days, since there was no treatment,
0:48:51 > 0:48:55a lot of people chose not to get tested. They didn't want to know.
0:48:56 > 0:48:58And Freddie was one of them.
0:48:58 > 0:49:01I did this big interview with him in Ibiza, Pikes Hotel, Ibiza.
0:49:01 > 0:49:04He had his friends round the swimming pool,
0:49:04 > 0:49:06played a bit of tennis,
0:49:06 > 0:49:08and it was sadly that day
0:49:08 > 0:49:15when I realised something was wrong, that he might possibly have HIV.
0:49:15 > 0:49:21And I brought this up in the interview,
0:49:21 > 0:49:23and he was very, very honest.
0:49:23 > 0:49:27Freddie, how has the AIDS thing affected you?
0:49:27 > 0:49:32Well, I've stopped going out, whatever, and to be honest,
0:49:32 > 0:49:34I tell you, I've almost become a nun.
0:49:34 > 0:49:37I thought sex was a very important thing to me,
0:49:37 > 0:49:39and I lived through sex and everything,
0:49:39 > 0:49:41and now I've just gone completely the other way.
0:49:41 > 0:49:43It's frightened me to death.
0:49:43 > 0:49:45And I just, just... I-I-I have, um,
0:49:45 > 0:49:47I've just stopped having sex, basically.
0:49:47 > 0:49:50- Have you?- Yes. I just like titillation now.
0:49:50 > 0:49:52LAUGHTER
0:49:52 > 0:49:55You know, I'm also an old bird now, dear.
0:49:55 > 0:49:58One of these days in the studio
0:49:58 > 0:50:02I saw two glasses of Champagne,
0:50:02 > 0:50:04and I wanted to take one,
0:50:04 > 0:50:08and he tells me, "Not this one, the other one."
0:50:08 > 0:50:12I said, "I'm sorry, I not knew you have drunk out of this."
0:50:12 > 0:50:18I wanted to make a kiss like we always have done - mwah, mwah - you know?
0:50:18 > 0:50:22And he says, "No, don't kiss me any more."
0:50:23 > 0:50:26And I thought, "You are angry?"
0:50:26 > 0:50:28Because I don't understood.
0:50:28 > 0:50:32And he says, "No, but, Montserrat - Montsi, he called me Montsi -
0:50:32 > 0:50:38"Montsi, I am zero positive,
0:50:38 > 0:50:42"and I don't want to make a kiss to you."
0:50:42 > 0:50:47It was the beginning of this illness.
0:50:47 > 0:50:53And, of course, I said, "But you look so good, you are so strong,
0:50:53 > 0:50:55"and you sing so wonderful."
0:50:55 > 0:50:57He says,
0:50:57 > 0:51:02"Yes, but I know that it will come, one day, that I can't any more.
0:51:07 > 0:51:10Freddie was incredibly loyal to his friends,
0:51:10 > 0:51:15even in the case of Paul Prenter, Freddie supported him, basically.
0:51:15 > 0:51:19He gave him money so that he could get his life together again.
0:51:20 > 0:51:23But then he soon went back to Ireland,
0:51:23 > 0:51:26once he'd sort of got on his feet again.
0:51:26 > 0:51:29He disappeared back and that's where he sold the story.
0:51:29 > 0:51:32When he betrayed him in the newspapers, that was it.
0:51:32 > 0:51:37It was devastating, because I think it really was the first time
0:51:37 > 0:51:40that Freddie had been publicly betrayed,
0:51:40 > 0:51:42and that was a terrible shock.
0:51:42 > 0:51:45If you entrust somebody with all your secrets,
0:51:45 > 0:51:50and then they go and sell it to a newspaper for just £32,000...
0:51:50 > 0:51:52I mean, it was just dreadful.
0:51:52 > 0:51:57# When all the salt is taken from the sea
0:51:57 > 0:52:01# I stand dethroned
0:52:01 > 0:52:04# I'm naked and I bleed
0:52:04 > 0:52:08# But when your finger points so savagely
0:52:08 > 0:52:11# Is anybody there... #
0:52:11 > 0:52:15One of the fascinating things about AIDS,
0:52:15 > 0:52:18which is a fairly long death sentence,
0:52:18 > 0:52:23is that it increases the creativity in artists.
0:52:23 > 0:52:28Freddie was not alone in having an enormous burst of creativity towards the end of his life.
0:52:28 > 0:52:34# How can I go on from day to day?
0:52:34 > 0:52:39# Who can make me strong in every way? #
0:52:39 > 0:52:41As a songwriter,
0:52:41 > 0:52:44do you ever have a fear that your inspiration may dry up?
0:52:44 > 0:52:48I don't wake up every morning and say, "Oh, look, have I dried up?"
0:52:48 > 0:52:53# In this great big world of sadness... #
0:52:53 > 0:52:55He's looking after me.
0:52:55 > 0:52:57# How can I forget... #
0:52:57 > 0:52:59When that happens, I'll, I'll...
0:52:59 > 0:53:01It won't happen! That's all there is to it.
0:53:01 > 0:53:04There you go. I don't think it'll ever happen.
0:53:04 > 0:53:05I'll die first.
0:53:05 > 0:53:09# They're lost and they're nowhere to be found... #
0:53:09 > 0:53:14Every time I saw it, I see his adieu.
0:53:14 > 0:53:17# How can I go on? #
0:53:17 > 0:53:22He took the hand and I wanted to retain him.
0:53:22 > 0:53:24He didn't want it.
0:53:24 > 0:53:27It's significant, if you know,
0:53:27 > 0:53:30every movement, every look,
0:53:30 > 0:53:32everything.
0:53:37 > 0:53:41In his mind, he had to create the best music he could for Barcelona
0:53:41 > 0:53:46because it might be the last thing that he was ever involved in.
0:53:49 > 0:53:54He absolutely immersed himself into this album, completely and utterly.
0:53:54 > 0:53:58It was, for him, possibly the most important work he ever did.
0:54:07 > 0:54:12# How can I go on? #
0:54:12 > 0:54:16It was a huge success and it rode in on the back of Barcelona,
0:54:16 > 0:54:18which was the big track...
0:54:19 > 0:54:22..and it was a very successful album indeed.
0:54:22 > 0:54:27As he looked back at his artistic life, of course he would be most proud of Queen,
0:54:27 > 0:54:29Let's not pretend that he wasn't,
0:54:29 > 0:54:32but, boy, would he be glad that he got this one in!
0:54:32 > 0:54:34# I want it all
0:54:34 > 0:54:37# I want it all
0:54:37 > 0:54:40# I want it all
0:54:40 > 0:54:43# And I want it now... #
0:54:43 > 0:54:46After we took this long, sort of, holiday, doing our solo stuff,
0:54:46 > 0:54:50we decided that we'd only come back together if we really wanted to,
0:54:50 > 0:54:53and we felt that we really wanted to.
0:54:53 > 0:54:56We just came in to the studio and things just evolved naturally,
0:54:56 > 0:54:58straightaway, so we were hungry for it,
0:54:58 > 0:55:00and it felt like the early days.
0:55:00 > 0:55:02And that's why we got very, sort of, excited.
0:55:02 > 0:55:05And out came a whole load of tracks.
0:55:05 > 0:55:07# I want at all
0:55:07 > 0:55:09# I want it all
0:55:09 > 0:55:11# I want it all
0:55:11 > 0:55:14# And I want it now
0:55:22 > 0:55:23# I want it
0:55:25 > 0:55:27# Now! #
0:55:27 > 0:55:32In 1989, the doctors told him that you stop everything,
0:55:32 > 0:55:36the cigarettes, the drink, everything.
0:55:36 > 0:55:39"You stop and you will have a bit more life."
0:55:40 > 0:55:43But they had also told us at that point,
0:55:43 > 0:55:47"Be prepared that Freddie will not see Christmas."
0:55:53 > 0:55:57We were working really flat-out on everybody's ideas,
0:55:57 > 0:55:59and not being kind of possessive about things.
0:55:59 > 0:56:01It was quite a liberation really.
0:56:05 > 0:56:08Actually, we had some fantastic times
0:56:08 > 0:56:11and we were a very close-knit group, like a family,
0:56:11 > 0:56:12and we would work in the studio until,
0:56:12 > 0:56:14really until Freddie got very tired.
0:56:14 > 0:56:16Are we not even taking him?
0:56:25 > 0:56:29'He was having radiation therapy, but he had to do that about 5.30,
0:56:29 > 0:56:30'6 o'clock in the morning,'
0:56:30 > 0:56:32because it had to be done at the hospital.
0:56:32 > 0:56:34It could not be done at home,
0:56:34 > 0:56:40But it had to be done when as few people as possible were around to see him going in there.
0:56:40 > 0:56:42Yet he would still go home,
0:56:42 > 0:56:45have a couple of hours' rest and go and make music.
0:56:45 > 0:56:50When we did discover that Freddie had this terrible AIDS virus in his body,
0:56:50 > 0:56:52there was still a disbelief in us.
0:56:52 > 0:56:54You know, you think,
0:56:54 > 0:56:57"No, it can't happen to our mate. It can't happen to Freddie,
0:56:57 > 0:57:00"There's going to be some way out of this. He's going to be cured."
0:57:00 > 0:57:03And right up to the last minute, I think it was,
0:57:03 > 0:57:05we knew but we didn't know.
0:57:05 > 0:57:07We sort of refused to know, if you like.
0:57:09 > 0:57:17# It's all so beautiful
0:57:17 > 0:57:22# Like a landscape painting in the sky
0:57:22 > 0:57:24# Yeah!
0:57:24 > 0:57:28# Mountains are zooming high
0:57:28 > 0:57:30# Little girls scream and cry... #
0:57:30 > 0:57:34The last time we met was approximately ten days before he died,
0:57:34 > 0:57:37and he and I had a long meeting,
0:57:37 > 0:57:40and I talked to him about preparing a press release,
0:57:40 > 0:57:42which he didn't really want to talk about.
0:57:42 > 0:57:45He said, "Well, whatever you want to do, dear. I don't mind,"
0:57:45 > 0:57:48because what he wanted to talk about was his music, still,
0:57:48 > 0:57:51because, even at that very late stage in his life,
0:57:51 > 0:57:53the music was the one thing that brought him to life.
0:57:58 > 0:58:00# Ooh, it's bliss. #
0:58:03 > 0:58:06The music world has been paying tribute to Freddie Mercury,
0:58:06 > 0:58:09the lead singer of the rock group Queen.
0:58:09 > 0:58:10He died last night,
0:58:10 > 0:58:1424 hours after confirming he was suffering from AIDS.
0:58:14 > 0:58:16The night after he died,
0:58:16 > 0:58:18I went to 1 Logan Place.
0:58:20 > 0:58:22There were probably 100 people there
0:58:22 > 0:58:25and people were just crying and comforting each other.
0:58:25 > 0:58:29And Queen music was blasting out of the house,
0:58:29 > 0:58:34but it was just the saddest, saddest, saddest thing.
0:58:34 > 0:58:35Why did you want to come today?
0:58:35 > 0:58:37Just to pay our last respects to him.
0:58:37 > 0:58:39Just to show what sort of person he was,
0:58:39 > 0:58:42a person that everyone loved and never hurt nobody.
0:58:42 > 0:58:43Why have you come?
0:58:44 > 0:58:47I can't answer any questions.
0:58:47 > 0:58:50'Some say the greatest gift Freddie Mercury left behind
0:58:50 > 0:58:53'was his public acknowledgment that he had AIDS.
0:58:53 > 0:58:55'Just 24 hours before he died,
0:58:55 > 0:58:57'he ended speculation about his health
0:58:57 > 0:59:00'by issuing a statement saying he was HIV positive.'
0:59:00 > 0:59:03I think the press had their final bit of sort of vitriol
0:59:03 > 0:59:05against Freddie at that time, you know?
0:59:07 > 0:59:11Which was amazing, you know, that we had some nasty reports, saying...
0:59:11 > 0:59:14Some of them even saying that he, kind of, deserved to die
0:59:14 > 0:59:16cos he had a promiscuous lifestyle, you know?
0:59:16 > 0:59:18Quite unbelievable things people wrote.
0:59:18 > 0:59:23So Roger and I went on television to just sort of set the record straight, really.
0:59:23 > 0:59:25We do feel absolutely bound to stick up for him
0:59:25 > 0:59:28cos he can't stick up for himself any more, so...you know?
0:59:28 > 0:59:30But I think you can't defend anybody
0:59:30 > 0:59:33in the context of having Paul Daniels sitting next to you.
0:59:33 > 0:59:37Were you a fan of Queen and of Freddie Mercury?
0:59:37 > 0:59:39Well, no, cos I wasn't a fan of any music,
0:59:39 > 0:59:41I just put my head down,
0:59:41 > 0:59:43I should imagine like you did into music,
0:59:43 > 0:59:45I put my head down into magic.
0:59:45 > 0:59:47What a dick.
0:59:56 > 1:00:00Now that we're at the 25th anniversary of the Barcelona song,
1:00:00 > 1:00:02it seemed the right moment to do
1:00:02 > 1:00:06what I'm quite sure Freddie would have wanted to do,
1:00:06 > 1:00:08had he had the balls at the time,
1:00:08 > 1:00:12which was to do the album with full orchestra, and not with keyboards.
1:00:12 > 1:00:16So, we are working with Stuart Morley who's our musical director
1:00:16 > 1:00:19from We Will Rock You in London,
1:00:19 > 1:00:24and he has gone back to the album and orchestrated it, faithfully,
1:00:24 > 1:00:26for a full 80-piece orchestra.
1:00:31 > 1:00:35And then we will put Freddie and Montserrat's voice
1:00:35 > 1:00:38back on to that, and realise the album
1:00:38 > 1:00:40that I think should have been there,
1:00:40 > 1:00:43had we had the balls to do it at the time.
1:00:43 > 1:00:47# Barcelona
1:00:47 > 1:00:50# Barcelona... #
1:00:50 > 1:00:52It turned out to be such a success
1:00:52 > 1:00:57that it sold better after he died than before he died.
1:00:57 > 1:01:00In 1992, the Olympics actually happened in Barcelona
1:01:00 > 1:01:02and the song goes to number two.
1:01:02 > 1:01:05# Viva... #
1:01:05 > 1:01:07It succeeded in its great purpose,
1:01:07 > 1:01:11but its great purpose was after Freddie had died.
1:01:11 > 1:01:14# Barcelona! #
1:01:22 > 1:01:30# A-a-a-a-ah! #
1:01:35 > 1:01:39Freddie was a shy boy who, sort of, worried about his skin
1:01:39 > 1:01:44and his teeth and, you know, how he looked and everything,
1:01:44 > 1:01:47but he overcame everything to become that rock god.
1:01:47 > 1:01:50# Made in heaven
1:01:50 > 1:01:53# Made in heaven
1:01:53 > 1:01:59# It was all meant to be... #
1:01:59 > 1:02:01Do you think you're going to get to Heaven?
1:02:01 > 1:02:03No. I don't want to.
1:02:03 > 1:02:06- You don't want to? - No. Hell's much better.
1:02:06 > 1:02:09Look at the interesting people that you're going to meet down there.
1:02:09 > 1:02:11You're going to be there, too, you know.
1:02:11 > 1:02:15# It was really meant to be
1:02:15 > 1:02:19# So plain to see
1:02:19 > 1:02:21# Everybody, everybody... #
1:02:21 > 1:02:23He really invented this persona
1:02:23 > 1:02:27which he inhabited in public with his outrageous sort of showmanship,
1:02:27 > 1:02:29et cetera, et cetera, but at the heart of it,
1:02:29 > 1:02:32he was a brilliant, brilliant musician,
1:02:32 > 1:02:35and I think that's what people forget about Freddie Mercury.
1:02:39 > 1:02:41# Written in the stars... #
1:02:41 > 1:02:43How would you like to be remembered?
1:02:43 > 1:02:47Oh, I don't know. I don't really think about it, it's up to them.
1:02:47 > 1:02:49When I'm dead, who cares?
1:02:49 > 1:02:50I don't.
1:02:56 > 1:02:58Go on. And again.
1:02:58 > 1:03:00- CLICKS FINGERS - # Yeah! #
1:03:00 > 1:03:02HE HUMS
1:03:03 > 1:03:05# Yeah!
1:03:06 > 1:03:08# Yeah, yeah, yeah!
1:03:08 > 1:03:10# Yeah! #
1:03:10 > 1:03:11HE SCATS
1:03:11 > 1:03:14Your album's been round the world, Freddie.
1:03:14 > 1:03:17Have you anything to say to the stations in Australia?
1:03:17 > 1:03:20I'm looking to actually outrage them with my new costumes.
1:03:20 > 1:03:23Do you have a message for the stations in Brazil?
1:03:23 > 1:03:26I just want them to have a carnival every time they listen to my songs.
1:03:26 > 1:03:29A message for the stations in Japan?
1:03:29 > 1:03:30Japan, you'd better watch out.
1:03:30 > 1:03:34And do you have a message for the stations in Mexico?
1:03:34 > 1:03:37- No. - LAUGHTER
1:03:37 > 1:03:40- Why not?- Because I don't... I don't give a shit!
1:03:40 > 1:03:43And, finally, the stations in Sweden?
1:03:43 > 1:03:45Fuck everybody else, that's it.
1:03:47 > 1:03:48You forgot Tibet.
1:03:50 > 1:03:52Oh, fucking hell! Now, come on, that's enough.