
Browse content similar to It's All Gone Pete Tong. Check below for episodes and series from the same categories and more!
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THIS PROGRAMME CONTAINS VERY STRONG LANGUAGE | 0:00:03 | 0:00:10 | |
# "The Aviator" - Michael A McCann | 0:00:27 | 0:00:32 | |
Thank you, thank you, thank you. | 0:00:32 | 0:00:34 | |
You are my god. My inspiration, my everything. | 0:00:34 | 0:00:38 | |
He's on a different level, how he listens to and plays records. | 0:00:38 | 0:00:42 | |
I think he's very special. Because no other DJ can do that. | 0:00:42 | 0:00:45 | |
I don't know whether he was honing his talents in another direction, | 0:00:45 | 0:00:50 | |
but he disappeared from the scene completely. It was depressing. | 0:00:50 | 0:00:54 | |
He's probably down in South America, still hanging out. | 0:00:54 | 0:00:58 | |
Probably trying to snort up one of the countries. | 0:00:58 | 0:01:02 | |
I don't know, he's just... I like to think he's still out there. | 0:01:02 | 0:01:06 | |
(WAVES CRASHING) | 0:01:28 | 0:01:31 | |
(GULLS CRY) | 0:01:33 | 0:01:36 | |
(SPANISH ACCENT) Frankie, tell me about your flip-flop collection. | 0:01:38 | 0:01:42 | |
I'm a bit of the Imelda Marcos of the flip-flop world. | 0:01:42 | 0:01:47 | |
Flip-flop is, for me, it's perfection. | 0:01:47 | 0:01:50 | |
And sometimes if I'm stuck and I can't mix, I can't... | 0:01:50 | 0:01:54 | |
You know, I'm a creative person. I'm an artist. | 0:01:54 | 0:01:57 | |
Sometimes I just stare at a flip-flop for hours. | 0:01:57 | 0:02:00 | |
-I'm not joking. I'm being serious. -Really? -Yes, I do. | 0:02:00 | 0:02:04 | |
Recently, you've been married, so how is it now be an husband? | 0:02:04 | 0:02:08 | |
-An "ass band"? -An husband. | 0:02:08 | 0:02:11 | |
-Oh, husband. -Husband. -A husband. Yeah, it's very nice. | 0:02:11 | 0:02:15 | |
-It's what I've... (AEROPLANE APPROACHES) -Say hello! | 0:02:15 | 0:02:18 | |
Hello-o-o-o-o-o-o, | 0:02:18 | 0:02:21 | |
-Ibiza-a-a-a-a-a! -Whoo! | 0:02:21 | 0:02:23 | |
(CHANTING) DJ! DJ! DJ! DJ! | 0:02:23 | 0:02:28 | |
# "DJs In A Row" - Schwab | 0:02:31 | 0:02:34 | |
# I used to drink | 0:03:10 | 0:03:12 | |
# I used to smoke Go and have a dance | 0:03:12 | 0:03:16 | |
# I used to drink | 0:03:18 | 0:03:20 | |
# I used to smoke Go and have a dance | 0:03:20 | 0:03:23 | |
# They're all coming for the rhythm In this crowded room | 0:03:26 | 0:03:29 | |
# I need some new religion | 0:03:29 | 0:03:31 | |
# And I need it pretty soon | 0:03:31 | 0:03:33 | |
# Drink | 0:03:33 | 0:03:35 | |
# I love to smoke | 0:03:35 | 0:03:37 | |
# And then a dance | 0:03:37 | 0:03:39 | |
# I used to cuss | 0:03:39 | 0:03:42 | |
# I used to fuss | 0:03:42 | 0:03:44 | |
# But then I danced | 0:03:44 | 0:03:46 | |
# Pleasure based on comfort Better around the thighs | 0:03:47 | 0:03:51 | |
# Angels drawn all over dreams Water to my eyes | 0:03:51 | 0:03:55 | |
# I'm gonna drink | 0:03:55 | 0:03:57 | |
# And smoke, then dance | 0:03:57 | 0:04:00 | |
# All night | 0:04:00 | 0:04:02 | |
# I don't break... dance I don't break... dance | 0:04:02 | 0:04:06 | |
# I don't break... dance, so come on | 0:04:06 | 0:04:09 | |
# I said oh no | 0:04:09 | 0:04:12 | |
# Five DJs in a row, God help us! | 0:04:12 | 0:04:14 | |
# Come on | 0:04:14 | 0:04:16 | |
# Oh no! That DJ's got to go | 0:04:18 | 0:04:21 | |
# Come on, let's go | 0:04:21 | 0:04:23 | |
# Come! | 0:04:25 | 0:04:26 | |
# On! | 0:04:26 | 0:04:28 | |
# Oh! | 0:04:28 | 0:04:31 | |
# Those DJs | 0:04:33 | 0:04:35 | |
# They're always scratching | 0:04:35 | 0:04:37 | |
# Itching | 0:04:37 | 0:04:40 | |
# To tell ya | 0:04:40 | 0:04:42 | |
# Ow! # | 0:04:46 | 0:04:48 | |
This is Pete Tong, you're listening to The Essential Selection. | 0:04:49 | 0:04:53 | |
I'm sitting across from Frankie Wilde. How are you, Frankie? | 0:04:53 | 0:04:57 | |
-Alright, Pete. -11 years in Ibiza playing some of the best clubs. | 0:04:57 | 0:05:01 | |
-How do you feel about it this year? -What, mate? | 0:05:01 | 0:05:05 | |
It's your 11th year playing in Ibiza. You must be thrilled. | 0:05:05 | 0:05:09 | |
It's been fucking hot, innit, here, the last week? Cor! | 0:05:14 | 0:05:18 | |
I mean, think about... You're old. | 0:05:18 | 0:05:22 | |
Like me, you're an old geezer. | 0:05:22 | 0:05:25 | |
Remember that Martini campaign in the 70s? | 0:05:25 | 0:05:28 | |
Martini is... dot, dot, dot, dot. Remember that? | 0:05:28 | 0:05:32 | |
When I was a kid, that wound me up, man, big time. | 0:05:32 | 0:05:36 | |
Is what? What the fuck is it? What the fuck is Martini? | 0:05:36 | 0:05:40 | |
But I was young, and I didn't really understand. | 0:05:40 | 0:05:45 | |
And now I'm mature. | 0:05:45 | 0:05:48 | |
And I've lived 38 years, | 0:05:48 | 0:05:51 | |
and I can confidently say, | 0:05:51 | 0:05:53 | |
Ibiza is... dot, dot, dot, dot. | 0:05:53 | 0:05:57 | |
Know what I mean? That's really nice. | 0:05:57 | 0:06:00 | |
It's nice to be able to feel that. | 0:06:00 | 0:06:02 | |
There's spunk everywhere on this island. Everyone's done it. | 0:06:04 | 0:06:08 | |
They've been free with it. They haven't done it to make babies. | 0:06:08 | 0:06:12 | |
They've fucking swung out and spun a bit out. | 0:06:12 | 0:06:15 | |
It's hit a plant, and that's grown. | 0:06:15 | 0:06:18 | |
Wall, and there's vines and ivy and shit. It's all spunk. | 0:06:18 | 0:06:22 | |
Look at this lot out here. Look at them. They all love it. | 0:06:22 | 0:06:26 | |
They fucking love it. Oi! Who out there likes to fucking party? | 0:06:26 | 0:06:30 | |
-(ALL) Yeah! -I can't hear you! | 0:06:30 | 0:06:33 | |
Who out there likes to fucking party? | 0:06:33 | 0:06:35 | |
-Who likes to fucking party? -Yeah! | 0:06:35 | 0:06:38 | |
-# "Plastic Dreams" - Jaydee -(ALL CHEER) | 0:06:38 | 0:06:41 | |
'Frankie was one of the best.' | 0:06:50 | 0:06:52 | |
'He had his very own style, his own momentum with the crowd.' | 0:06:52 | 0:06:56 | |
I don't think anyone else did it his way. | 0:06:56 | 0:06:59 | |
He's a showman as much as he is a musician. | 0:07:01 | 0:07:05 | |
'He controlled the crowd musically and physically.' | 0:07:05 | 0:07:09 | |
'He was a born natural behind the turntable. There's no doubt.' | 0:07:10 | 0:07:14 | |
I was jealous of that. I always had to try a bit harder. | 0:07:14 | 0:07:17 | |
(MIXES SONGS) | 0:07:28 | 0:07:30 | |
-# Let me hear you say yeah! # -(ALL) Yeah! | 0:07:39 | 0:07:43 | |
Frankie Wilde... (SPEAKS SPANISH) | 0:07:50 | 0:07:54 | |
Super, super, super loco. | 0:07:54 | 0:07:55 | |
(SPEAKS FOREIGN LANGUAGE) | 0:07:55 | 0:07:58 | |
# "Back To Basics" - Shapeshifters | 0:07:58 | 0:08:01 | |
# Oh, so long together | 0:08:01 | 0:08:04 | |
# I forgot how you make me feel | 0:08:04 | 0:08:06 | |
# Tired of each other | 0:08:06 | 0:08:08 | |
# We're drifting further afield... | 0:08:08 | 0:08:10 | |
'Frankie was cruising along, doing his thing, | 0:08:10 | 0:08:13 | |
getting all the attention he needed. Then he met Max.' | 0:08:13 | 0:08:17 | |
No. Hey, tell him it's like a wasp just stung my clit, yeah. | 0:08:17 | 0:08:21 | |
I don't give a fuck if he's religious. Tell him. | 0:08:21 | 0:08:24 | |
Fuck him. Bye. Anyway... | 0:08:24 | 0:08:26 | |
A bit of a tosser. Not my sort of person, | 0:08:26 | 0:08:28 | |
but absolutely took him to the next level. | 0:08:28 | 0:08:31 | |
(BOTH GIGGLE) | 0:08:31 | 0:08:33 | |
# Bring it back to basics | 0:08:33 | 0:08:36 | |
# You and I... I love you, Max! | 0:08:36 | 0:08:39 | |
# ..will make it right | 0:08:39 | 0:08:41 | |
# Take it back # | 0:08:41 | 0:08:43 | |
'Max first brought Frankie to my attention.' | 0:08:43 | 0:08:46 | |
'I knew he had what it took behind the decks.' | 0:08:46 | 0:08:49 | |
It turned out that Frankie really understood | 0:08:49 | 0:08:52 | |
the music production side. Knew his way around a studio. | 0:08:52 | 0:08:56 | |
Oi! Do you think we're making a jazz album? | 0:08:58 | 0:09:02 | |
I was in the middle of going all the fucking way. | 0:09:02 | 0:09:05 | |
Should we swap them over for some brushes? A little... Yeah? | 0:09:05 | 0:09:09 | |
Start fucking hitting those drums. Start banging those drums | 0:09:09 | 0:09:13 | |
like you bang your fucking sister! Clear, Siegfried? | 0:09:13 | 0:09:17 | |
That's, erm, that's the first one. | 0:09:19 | 0:09:22 | |
So I signed him straight away. | 0:09:24 | 0:09:26 | |
And Frankie delivered. | 0:09:26 | 0:09:30 | |
# "Rise Again" - Frankie Wilde | 0:09:30 | 0:09:32 | |
'It was massive. It came out of car windows, in the supermarket.' | 0:09:36 | 0:09:40 | |
Even my grandmother would whistle that tune | 0:09:40 | 0:09:43 | |
when I went to see her in the nursing home. | 0:09:43 | 0:09:46 | |
'Frankie met Sonya when they were on the video shoot to Rise Again.' | 0:10:10 | 0:10:15 | |
Oh, man. Everybody knew she'd been about. But he seemed to like that. | 0:10:15 | 0:10:19 | |
I mean, that was his thing. You know, I mean, even I'd had a go. | 0:10:19 | 0:10:24 | |
15-love. | 0:10:33 | 0:10:35 | |
You know how Paul Newman's got his salad dressings and that? | 0:10:37 | 0:10:41 | |
-So, why not Frankie Wilde hummus? -That's a good idea, Frankie. | 0:10:41 | 0:10:46 | |
People come to the gigs and say, "Fuck, great set, Frankie." | 0:10:46 | 0:10:49 | |
I'll say, "Cheers. Want some hummus?" | 0:10:49 | 0:10:52 | |
-You know, just as a thing. -Yeah. | 0:10:52 | 0:10:54 | |
-Quite a good name for an album. -How's that? | 0:10:54 | 0:10:58 | |
Frankie Wilde, Hummus. | 0:10:58 | 0:11:00 | |
-What, call my album Hummus? -Yeah. | 0:11:00 | 0:11:03 | |
-I don't think so. -I've got good ideas. You should listen to me. | 0:11:03 | 0:11:07 | |
If I've got a hummus brand and my album's called Hummus, | 0:11:07 | 0:11:10 | |
-it's getting a bit much. -It's a good name. | 0:11:10 | 0:11:13 | |
-And change my name to Frankie Hummus? -No, it sounds good. Yeah. | 0:11:13 | 0:11:17 | |
'People tolerated her because she was Frankie's wife, | 0:11:17 | 0:11:21 | |
partying with everyone else.' | 0:11:21 | 0:11:23 | |
I didn't like her. I didn't think she was good for him. | 0:11:23 | 0:11:27 | |
-I fucking hate you. -I fucking hate you. | 0:11:27 | 0:11:30 | |
And did I fuck her? Ohh! (CHUCKLES) | 0:11:30 | 0:11:33 | |
Whoo! | 0:11:33 | 0:11:34 | |
Yeah, I fucked her. (CHUCKLES) | 0:11:34 | 0:11:38 | |
Legend has it that Frank's problems started quite undramatically. | 0:11:42 | 0:11:46 | |
The simplest thing kicked it off. | 0:11:46 | 0:11:49 | |
Years and years of noise was the basis of the problem. | 0:11:49 | 0:11:52 | |
'But the very beginnings of it, in his life, started very plainly.' | 0:11:52 | 0:11:56 | |
(TV PLAYS) | 0:11:56 | 0:12:00 | |
(HIGH-PITCHED RINGING) | 0:12:02 | 0:12:05 | |
(HIGH-PITCHED RINGING CONTINUES) | 0:12:14 | 0:12:17 | |
(HIGH-PITCHED RINGING CONTINUES) | 0:12:25 | 0:12:28 | |
(SPANISH GUITAR STYLE MUSIC) | 0:12:32 | 0:12:35 | |
(HIGH-PITCHED RINGING) | 0:12:38 | 0:12:40 | |
(SPANISH GUITAR STYLE MUSIC) | 0:12:40 | 0:12:43 | |
(HIGH-PITCHED RINGING) | 0:12:45 | 0:12:47 | |
(VOLUME INCREASES / HIGH-PITCHED RINGING) | 0:12:47 | 0:12:50 | |
'Frankie's problem was a common problem amongst DJs. | 0:12:50 | 0:12:54 | |
'An occupational hazard working in clubs.' | 0:12:54 | 0:12:57 | |
The noise just takes its toll. | 0:12:57 | 0:13:00 | |
(DANCE MUSIC BLARES) | 0:13:00 | 0:13:02 | |
Someone like Frankie, having a problem like that, | 0:13:02 | 0:13:06 | |
I thought, "This geezer's gonna go. He'll lose it." | 0:13:06 | 0:13:09 | |
And he did lose it. I watched him lose it, slowly but surely. | 0:13:09 | 0:13:13 | |
(PANTS) | 0:13:24 | 0:13:26 | |
(COOING) | 0:13:52 | 0:13:55 | |
(COOING) | 0:13:56 | 0:13:59 | |
(PANTS) | 0:13:59 | 0:14:01 | |
(COOS / SNORTS) | 0:14:08 | 0:14:11 | |
(SNARLS) | 0:14:14 | 0:14:16 | |
Fucking come on, then! | 0:14:20 | 0:14:22 | |
(HUMS) | 0:14:22 | 0:14:25 | |
Hah! (SNIFFS) Ah! | 0:14:25 | 0:14:28 | |
(WHEEZES) | 0:14:28 | 0:14:30 | |
(COUGHS) | 0:14:30 | 0:14:32 | |
(PANTS) | 0:14:35 | 0:14:37 | |
(COUGHS) | 0:14:49 | 0:14:51 | |
(BURPS) | 0:14:53 | 0:14:56 | |
We could have the Spanish look, I like this colour for the water. | 0:15:04 | 0:15:09 | |
Perhaps maybe that one, Japanese. | 0:15:09 | 0:15:11 | |
Frankie. | 0:15:11 | 0:15:13 | |
Morning, honey. Oh, Frankie! | 0:15:13 | 0:15:16 | |
(HIGH-PITCHED RINGING / MUFFLED SPEECH) | 0:15:16 | 0:15:19 | |
Come here. I want to ask you something. | 0:15:25 | 0:15:29 | |
# "Moonlight Sonata" - Graham Massey | 0:15:29 | 0:15:31 | |
-Morning. -Morning. Oh. | 0:15:31 | 0:15:33 | |
You alright? Erm. | 0:15:34 | 0:15:37 | |
-If we go for the Spanish look,... -(HIGH-PITCHED RINGING) | 0:15:37 | 0:15:42 | |
(MUFFLED SPEECH) | 0:15:42 | 0:15:44 | |
It's for the garden. | 0:15:54 | 0:15:57 | |
-A bit of both! -OK. A little bit of both. | 0:16:04 | 0:16:07 | |
-We can do that. -Yeah. -(MOTOR WHIRS) | 0:16:07 | 0:16:10 | |
-Fuck! Fucking hell! -(LAUGHS) | 0:16:10 | 0:16:13 | |
(HIGH-PITCHED RINGING / MUFFLED LAUGHTER) | 0:16:13 | 0:16:16 | |
Ahh! | 0:16:22 | 0:16:24 | |
You alright? (GROANS) | 0:16:24 | 0:16:26 | |
'His hearing was fucked.' | 0:16:26 | 0:16:29 | |
'But he tried to keep working and plough through.' | 0:16:29 | 0:16:33 | |
Put the horse blinkers on. Ignore the problem, and it'll go away. | 0:16:33 | 0:16:37 | |
You know, always works for me. | 0:16:37 | 0:16:40 | |
(STOPS PLAYING GUITAR) | 0:16:47 | 0:16:49 | |
(GUITAR WAILS) | 0:16:56 | 0:16:58 | |
(GUITAR ROARS) | 0:17:00 | 0:17:02 | |
(HIGH-PITCHED RINGING) | 0:17:10 | 0:17:13 | |
'Can you tell us what's happening with the new album?' | 0:17:13 | 0:17:16 | |
(HIGH-PITCHED RINGING) | 0:17:16 | 0:17:19 | |
Have I got a spot? Have I? | 0:17:19 | 0:17:21 | |
-No. -It's fine. -You're perfect. You're perfect. | 0:17:21 | 0:17:24 | |
Your fans are curious about the new album. They have to know. | 0:17:24 | 0:17:28 | |
It's good. It's going really well. | 0:17:28 | 0:17:31 | |
Been bending the sound sort of. I've been forging it. | 0:17:31 | 0:17:36 | |
-Erm,... with a lyrical smelter. -Mmm-hmm. | 0:17:36 | 0:17:41 | |
Yeah. | 0:17:41 | 0:17:43 | |
-Not as beautiful as you. -Thank you. | 0:17:45 | 0:17:48 | |
And I got these two, erm, like, Austrian mates who, erm, | 0:17:49 | 0:17:54 | |
are stoking the fires. | 0:17:54 | 0:17:56 | |
Everybody should have at least two Austrian mates. | 0:17:56 | 0:18:00 | |
Everybody should have at least two. | 0:18:00 | 0:18:03 | |
-When can we expect the new album to come out? -Soon. Ish. | 0:18:03 | 0:18:08 | |
(SINGS SCALES) | 0:18:08 | 0:18:10 | |
# When the clouds are filled | 0:18:10 | 0:18:12 | |
# With your fantasy | 0:18:12 | 0:18:14 | |
# Rain it down on me, on me! | 0:18:14 | 0:18:17 | |
# When the whirlwind says | 0:18:17 | 0:18:18 | |
# That's it's time to say | 0:18:18 | 0:18:20 | |
# Whirl it down on me, whirl it down on me | 0:18:20 | 0:18:24 | |
# I am | 0:18:24 | 0:18:27 | |
# Fantasy | 0:18:27 | 0:18:29 | |
# Fantasy | 0:18:29 | 0:18:31 | |
# Words like nightmares, daggers staring | 0:18:31 | 0:18:34 | |
# Witches brewing, eyes are glaring! # | 0:18:34 | 0:18:37 | |
Oi. Can I have a word? Can I have a word? | 0:18:37 | 0:18:41 | |
What's this? Yeah. It's good? | 0:18:41 | 0:18:43 | |
I took a call before, a couple of hours ago. | 0:18:43 | 0:18:46 | |
I forgot to mention it, but I need to... | 0:18:46 | 0:18:49 | |
The album people, they want the lyrics for the sleeve. | 0:18:49 | 0:18:54 | |
I just need you to write them down. We can pop them off. Get them off | 0:18:54 | 0:18:58 | |
-and we don't have to worry about it. -No, no, we never write them down. | 0:18:58 | 0:19:02 | |
That's it. | 0:19:05 | 0:19:07 | |
What else did you sing after that? | 0:19:09 | 0:19:11 | |
< Frankie. | 0:19:12 | 0:19:14 | |
Frank. | 0:19:16 | 0:19:18 | |
-Frank! -What? | 0:19:18 | 0:19:21 | |
-Have you got a condom? -Hey? -Have you got a condom? | 0:19:21 | 0:19:25 | |
No, I'm not gonna fuck her. I'm knackered. I'm gonna have a nosh. | 0:19:25 | 0:19:29 | |
# "Need To Feel Loved" - Reflekt ft Delline Bass | 0:19:29 | 0:19:33 | |
(CROWD CHANTS) Frankie! Frankie! Frankie! | 0:19:46 | 0:19:50 | |
(CHANTING CONTINUES) | 0:20:11 | 0:20:14 | |
'Well, denial is a river in Frank, and it runs deep.' | 0:20:16 | 0:20:20 | |
'And his sets were... shambolic on times.' | 0:20:20 | 0:20:25 | |
Clearly, could only be the work of a man... who couldn't hear. | 0:20:25 | 0:20:29 | |
# "Musak" - Trisco | 0:20:30 | 0:20:33 | |
(MIXES MUSIC OUT OF SYNCH) | 0:20:42 | 0:20:44 | |
# "Electronika" - Vada | 0:21:01 | 0:21:06 | |
Whoo! | 0:21:09 | 0:21:11 | |
It wasn't pretty, but, you know, | 0:21:14 | 0:21:17 | |
for me, for someone that has gone through something like that, | 0:21:17 | 0:21:21 | |
to still get up there and give it a go is a big thing. | 0:21:21 | 0:21:24 | |
(CROWD BOOS / CHANTS) Off! Off! Off! Off! | 0:21:24 | 0:21:30 | |
(CHANTING CONTINUES) | 0:21:35 | 0:21:38 | |
# "Up & Down" - Scent | 0:21:39 | 0:21:42 | |
(RECORD SCRATCHES) Yaaaah! | 0:22:15 | 0:22:17 | |
(ALL CHEER) | 0:22:22 | 0:22:25 | |
Yah! (ELECTRIC CRACKLING) | 0:22:25 | 0:22:27 | |
Yaaaarh! | 0:22:27 | 0:22:30 | |
Let go, fuckers! | 0:22:32 | 0:22:35 | |
Fuckers! (GRUNTS) | 0:22:36 | 0:22:39 | |
# "Richter Scale Madness" - And You Will Know Us By The Trail Of Dead | 0:22:39 | 0:22:43 | |
(LAUGHS) | 0:22:44 | 0:22:47 | |
Yaaarh! | 0:22:47 | 0:22:49 | |
Fucking fuckers! | 0:22:49 | 0:22:52 | |
# OK, this is a song about killing everybody | 0:22:52 | 0:22:54 | |
# Let's all sing along now | 0:22:54 | 0:22:56 | |
# Dream machine | 0:23:07 | 0:23:09 | |
# John and exene | 0:23:09 | 0:23:11 | |
# Smear campaign and a SWAT team | 0:23:11 | 0:23:13 | |
# Let's have a feudal lord | 0:23:19 | 0:23:21 | |
# Let's have a facist regime... # | 0:23:21 | 0:23:23 | |
(PANTS) | 0:23:23 | 0:23:26 | |
(INDISTINCT CHATTER) | 0:23:28 | 0:23:32 | |
..because they dangle when they're cold. | 0:23:32 | 0:23:35 | |
Yeah. Now, listen very carefully, OK? | 0:23:35 | 0:23:39 | |
It's very important. This is very important. I have cancer, OK? | 0:23:39 | 0:23:43 | |
And I'm very delicate. So they have to be very gentle. | 0:23:43 | 0:23:48 | |
-Ciao. Hey, Frank. -Alright? -How are you? -Alright. | 0:23:48 | 0:23:52 | |
-Attaboy. -How you doing? -Good, good. Motherfucker. | 0:23:52 | 0:23:56 | |
Listen, I had that dream again. I was sucking my own cock. | 0:23:56 | 0:23:59 | |
But this time, I don't have a huge cock. I have a normal-sized cock. | 0:23:59 | 0:24:04 | |
No spine. My spine disappears. So my head, it just flops down onto my... | 0:24:04 | 0:24:09 | |
-Anyway... -You alright? -Yeah. Sit down, sit down, sit down. | 0:24:09 | 0:24:13 | |
Look, I was just talking to the label | 0:24:13 | 0:24:17 | |
and they'd like to see a couple of tracks. | 0:24:17 | 0:24:21 | |
Erm, the label would like a couple of tracks, Frank. | 0:24:22 | 0:24:25 | |
-It's coming. It's coming. -Yeah. -The tracks are coming, man, relax. | 0:24:25 | 0:24:30 | |
-Don't worry, it's fine. It's alright. -I saw your show last night. | 0:24:30 | 0:24:34 | |
-I really fucked up last night, man. -Yeah. | 0:24:34 | 0:24:37 | |
-I picked the wrong set. -It stunk. It stunk like shit, Frank. | 0:24:37 | 0:24:41 | |
-It stunk like you shit your pants. -Eh? -And you sat in it for a week. | 0:24:41 | 0:24:46 | |
Then you shit yourself again. That's how fucking bad it stunk. | 0:24:46 | 0:24:49 | |
-It was shit, yeah? -It was shit, Frank, it was shit. | 0:24:49 | 0:24:53 | |
The fucking monitors at that place. | 0:24:53 | 0:24:55 | |
I'm fucking mixing my heart out. I can't hear a fucking thing! | 0:24:55 | 0:24:59 | |
Have words with them, get this sorted out, otherwise blow that place out. | 0:24:59 | 0:25:03 | |
-I couldn't hear a fucking thing. -Right. You might be deaf, Frank. | 0:25:03 | 0:25:07 | |
-What's that? -You could be deaf, Frank. | 0:25:07 | 0:25:10 | |
-What you saying? -You are deaf. -Can't hear you, Max. | 0:25:10 | 0:25:13 | |
You're fucking deaf, asshole! | 0:25:13 | 0:25:16 | |
Who the fuck you fooling, Frank? | 0:25:16 | 0:25:19 | |
Eh? You're talking like a 95-year-old war vet. | 0:25:19 | 0:25:22 | |
Frank, you need professional help. | 0:25:22 | 0:25:25 | |
I'm thinking about getting some professional help. | 0:25:26 | 0:25:31 | |
Yeah. | 0:25:32 | 0:25:34 | |
Yeah. | 0:25:34 | 0:25:36 | |
Fuck it. | 0:25:44 | 0:25:46 | |
# "It's Over" - Beta Band | 0:25:46 | 0:25:49 | |
# Who could find him, the side-winding Indian? | 0:26:05 | 0:26:09 | |
# Why do they miss him, the overpaid simpleton? | 0:26:09 | 0:26:13 | |
-# She jumped in the river... -Come in, Frank. | 0:26:13 | 0:26:15 | |
# ..of the tears that I cry | 0:26:15 | 0:26:17 | |
# Those are left alone are left outside... | 0:26:17 | 0:26:19 | |
FRANK! | 0:26:19 | 0:26:21 | |
# ..where did you run to? | 0:26:21 | 0:26:23 | |
# I only asked your name, never meant to hurt you | 0:26:23 | 0:26:26 | |
# She wrote me a letter on the back of the road | 0:26:26 | 0:26:30 | |
# I was travelling away... (LOW HUMMING) | 0:26:30 | 0:26:33 | |
(HUMMING VOLUME INCREASES DRAMATICALLY) | 0:26:37 | 0:26:40 | |
# Please reassure me that I'm doing alright | 0:26:43 | 0:26:46 | |
# No more calls on the telephone | 0:26:46 | 0:26:49 | |
# She's been turned off and I'm all alone | 0:26:49 | 0:26:53 | |
# She's been switched off inside my head | 0:26:53 | 0:26:56 | |
# An imaginary friend | 0:26:56 | 0:26:58 | |
# Sitting by my bed | 0:26:58 | 0:27:01 | |
# Taking pictures of my soul | 0:27:01 | 0:27:03 | |
# All the angles no-one could know | 0:27:03 | 0:27:06 | |
# I thought an eagle was seeing through my eyes | 0:27:06 | 0:27:11 | |
# I thought everybody turning into spies | 0:27:11 | 0:27:14 | |
# Reassures the only aim of my life | 0:27:14 | 0:27:17 | |
# Please reassure me that I'm doing alright | 0:27:17 | 0:27:21 | |
# No more calls on the telephone | 0:27:21 | 0:27:24 | |
# She's been turned off and I'm all alone | 0:27:24 | 0:27:28 | |
(INSTRUMENTAL) | 0:27:28 | 0:27:31 | |
# So alone, so alone | 0:27:34 | 0:27:37 | |
# So, so, so alone # | 0:27:37 | 0:27:41 | |
I don't want you to panic, Frank. | 0:27:47 | 0:27:50 | |
I've got some bad news for you. You're going deaf. Completely deaf. | 0:27:50 | 0:27:55 | |
As you know, your right ear is completely shot. | 0:27:58 | 0:28:02 | |
Your left ear, that's this one, has got 20 percent left. | 0:28:02 | 0:28:06 | |
You were born with little holes in them | 0:28:06 | 0:28:09 | |
and slowly the fluid pressure is dropping. | 0:28:09 | 0:28:12 | |
Can't you plug it up with some ear putty or something? | 0:28:12 | 0:28:15 | |
The ear organism is too sensitive and delicate. Surgery doesn't work. | 0:28:15 | 0:28:20 | |
Cochlear implant doesn't work. Stop exposing yourself to so much noise. | 0:28:20 | 0:28:25 | |
-What do you mean by that? -It means that | 0:28:25 | 0:28:28 | |
if you listen to absolute silence, your ears will last a bit longer. | 0:28:28 | 0:28:32 | |
They're crumbling as we speak. | 0:28:32 | 0:28:35 | |
Stop the drugs. Stop the drinking. Go to bed at a decent hour. | 0:28:35 | 0:28:41 | |
We can give you a hearing aid temporarily, | 0:28:41 | 0:28:43 | |
but that damages the ear further. | 0:28:43 | 0:28:46 | |
-Speak up. -These are the facts, Frank. | 0:28:46 | 0:28:49 | |
These are the facts, Frank. We can't change them. | 0:28:49 | 0:28:52 | |
You are deaf, man. | 0:28:52 | 0:28:54 | |
You are a deaf man. | 0:28:54 | 0:28:57 | |
Oi, oi, oi! This is costing me 2,000 fucking euros an hour. | 0:28:57 | 0:29:01 | |
Chuck me a fucking bone! | 0:29:01 | 0:29:03 | |
This is your hearing aid, Frank. Use it only when you have to. | 0:29:03 | 0:29:08 | |
Only when you have to. | 0:29:08 | 0:29:10 | |
-Only when I have to. -Right. | 0:29:10 | 0:29:13 | |
Only when you have to. | 0:29:13 | 0:29:15 | |
Got that? No exceptions. | 0:29:15 | 0:29:18 | |
# "Cloud Watch" - Lol Hammond | 0:29:18 | 0:29:21 | |
Can you keep on gigging? | 0:29:23 | 0:29:26 | |
Frankie? | 0:29:26 | 0:29:27 | |
Can you keep on gigging? | 0:29:27 | 0:29:30 | |
Can you keep on gigging? | 0:29:31 | 0:29:33 | |
I love them both, you know? | 0:29:37 | 0:29:40 | |
I love hearing, and I love DJing. | 0:29:42 | 0:29:44 | |
I was thinking this morning maybe I should write a book. | 0:29:48 | 0:29:52 | |
That's a brilliant idea. | 0:29:52 | 0:29:56 | |
That might take years, though, so... | 0:29:56 | 0:29:58 | |
Perhaps, like, a pamphlet. A sort of brochure thing. | 0:29:58 | 0:30:02 | |
Frankie, I... | 0:30:02 | 0:30:04 | |
I want to tell you that whatever your decision | 0:30:05 | 0:30:09 | |
I will support it wholeheartedly. | 0:30:09 | 0:30:11 | |
You, and me, and little Kingie. | 0:30:11 | 0:30:14 | |
That's all that matters to me. | 0:30:14 | 0:30:17 | |
Deaf, dumb or blind, baby, we will get through this. | 0:30:18 | 0:30:22 | |
It's brilliant to almost hear that. | 0:30:23 | 0:30:26 | |
'Fair play to the guy.' | 0:30:26 | 0:30:28 | |
'I have no idea what I would have done in that situation.' | 0:30:28 | 0:30:32 | |
I mean, there he is. He's between a rock and, you know, another rock. | 0:30:32 | 0:30:38 | |
Which is harder and bigger. | 0:30:38 | 0:30:41 | |
(SIGHS) | 0:30:51 | 0:30:53 | |
(PANTS) | 0:31:25 | 0:31:28 | |
(COOING) | 0:31:29 | 0:31:32 | |
(COOS) | 0:31:33 | 0:31:36 | |
Hi. | 0:31:37 | 0:31:38 | |
(BABBLES) | 0:31:38 | 0:31:41 | |
I'm actually thinking about giving it a bit of a break. | 0:31:41 | 0:31:45 | |
Blagh! (BABBLES ANGRILY) | 0:31:45 | 0:31:47 | |
Of course I fucking love you! | 0:31:47 | 0:31:50 | |
How can you say that? | 0:31:50 | 0:31:52 | |
I just think we don't necessarily bring out the best in each other. | 0:31:52 | 0:31:57 | |
-(COOS) -Not always the best thing for me. | 0:31:57 | 0:32:00 | |
It's my problem. It's not your problem. | 0:32:00 | 0:32:03 | |
You know what I mean? Why can't we just be mates for a little bit? | 0:32:03 | 0:32:07 | |
-I could just give you a ring every few weeks, you know? -(COOS) | 0:32:07 | 0:32:10 | |
Just make it a little bit more casual. Couldn't we do that? | 0:32:10 | 0:32:14 | |
(GROWLS MENACINGLY / ROARS) | 0:32:14 | 0:32:18 | |
(GROWLS / BABBLES) | 0:32:20 | 0:32:23 | |
(GROWLS) | 0:32:23 | 0:32:24 | |
(GRUNTS) | 0:32:24 | 0:32:27 | |
Oh! | 0:32:27 | 0:32:28 | |
(BABBLES ANGRILY) | 0:32:30 | 0:32:32 | |
You're fucking hooked! (BABBLES) | 0:32:32 | 0:32:35 | |
(HUMS LULLABY) | 0:32:37 | 0:32:39 | |
(COOS) | 0:32:39 | 0:32:42 | |
-(DANCE MUSIC) -# I am | 0:32:42 | 0:32:45 | |
# I am | 0:32:46 | 0:32:48 | |
# I am | 0:32:50 | 0:32:52 | |
# Fantasy | 0:32:52 | 0:32:55 | |
(MUSIC DROWNED OUT BY LOUD HUMMING) | 0:32:58 | 0:33:01 | |
(MUSIC RESUMES) | 0:33:01 | 0:33:03 | |
(LOUD HUMMING) | 0:33:07 | 0:33:09 | |
(LOUD HUMMING) | 0:33:10 | 0:33:13 | |
# Fantasy # | 0:33:13 | 0:33:15 | |
It sounds like the caca. | 0:33:22 | 0:33:24 | |
No. | 0:33:24 | 0:33:27 | |
Is Frank there? | 0:33:27 | 0:33:29 | |
Is this Frank standing in front of me? | 0:33:29 | 0:33:32 | |
No, this is a drunken baboon drooling on the mix board. | 0:33:32 | 0:33:37 | |
What in all of the heavens are you on, Frank? | 0:33:37 | 0:33:41 | |
Scheise! | 0:33:41 | 0:33:42 | |
Are you fucking deaf or something? | 0:33:46 | 0:33:48 | |
What's your fucking problem? | 0:33:51 | 0:33:53 | |
They would laugh you out of Austria. | 0:33:56 | 0:33:59 | |
I can hear them laughing now. | 0:33:59 | 0:34:02 | |
Where is Frankie fucking Wilde, Frankie? | 0:34:03 | 0:34:06 | |
Is he fucking gone? | 0:34:06 | 0:34:09 | |
And the fucking, "Go away. Stay, stay, stay," huh? | 0:34:09 | 0:34:13 | |
So you're deaf? | 0:34:29 | 0:34:31 | |
You're deaf? | 0:34:33 | 0:34:36 | |
Almost. | 0:34:38 | 0:34:40 | |
Fuck! (YELLS) | 0:34:40 | 0:34:43 | |
This is like all the terrors and the horrors of the world | 0:34:43 | 0:34:47 | |
raining down on your skull. | 0:34:47 | 0:34:49 | |
Last three months, it's really rapidly accelerated. | 0:34:53 | 0:34:57 | |
But I've got... I've got this. | 0:34:57 | 0:34:59 | |
And I really thought I could do this job, man. | 0:34:59 | 0:35:03 | |
I'll show you. | 0:35:03 | 0:35:06 | |
Hello, Mr Drum! Drummer! | 0:35:06 | 0:35:09 | |
(DANCE MUSIC PLAYS) | 0:35:10 | 0:35:12 | |
The left ear, there's still a little bit left. | 0:35:12 | 0:35:16 | |
And this little fella is a fucking lifeline, man. | 0:35:16 | 0:35:20 | |
But I can use it only when I have to. | 0:35:20 | 0:35:23 | |
Long as I'm careful, I can hear more. | 0:35:23 | 0:35:26 | |
(FEEDBACK / CRASHING) | 0:35:31 | 0:35:34 | |
(GUITAR WAILS) | 0:35:34 | 0:35:37 | |
(GUITAR WAILS) | 0:35:42 | 0:35:44 | |
(GROANS) | 0:35:48 | 0:35:50 | |
Was passiert? | 0:35:57 | 0:36:00 | |
-What? -What has happened? -What? | 0:36:00 | 0:36:03 | |
Oh, no. Oh, no. | 0:36:04 | 0:36:07 | |
(SILENCE) | 0:36:07 | 0:36:09 | |
(CLATTERS) | 0:36:49 | 0:36:52 | |
(SILENCE) | 0:36:52 | 0:36:54 | |
# "Troubles" - Beta Band | 0:37:04 | 0:37:07 | |
# It's about time that we fell in love | 0:37:12 | 0:37:15 | |
# You know that I've been trying | 0:37:15 | 0:37:18 | |
# It's about time that we had a laugh | 0:37:18 | 0:37:21 | |
# You know that I've been crying | 0:37:21 | 0:37:24 | |
# Too many people, too many troubles | 0:37:25 | 0:37:28 | |
# Too many mouths are lying | 0:37:28 | 0:37:31 | |
# If everybody laughed for just one day | 0:37:31 | 0:37:34 | |
-# You know that'd make me happy... -'He was stone-fucking deaf.' | 0:37:34 | 0:37:38 | |
'There's not much you can do as a DJ if you can't hear.' | 0:37:38 | 0:37:42 | |
Generally the field of music, other than the obvious example, | 0:37:42 | 0:37:48 | |
has been dominated by people who can hear. | 0:37:48 | 0:37:52 | |
He was never gonna hear again. It was... It was as simple as that. | 0:37:52 | 0:37:56 | |
It was... gone. | 0:37:56 | 0:37:59 | |
# Too many troubles, too many troubles | 0:37:59 | 0:38:03 | |
# Don't know why we live so long | 0:38:03 | 0:38:06 | |
# Too many troubles, too many troubles | 0:38:06 | 0:38:09 | |
# It's time for us to live and laugh, and laugh | 0:38:09 | 0:38:13 | |
# And laugh, and laugh, and laugh, and laugh, and laugh, and laugh... | 0:38:13 | 0:38:17 | |
-(GENERAL CHATTER) -Frankie! | 0:38:17 | 0:38:19 | |
# It's about time that I said hello | 0:38:22 | 0:38:25 | |
# To all those lonely people | 0:38:25 | 0:38:27 | |
# When I was at the back who could never talk back | 0:38:27 | 0:38:31 | |
# Through all the tears and sadness | 0:38:31 | 0:38:35 | |
# You never really know who's there beside you | 0:38:35 | 0:38:38 | |
# Who will be your comfort | 0:38:38 | 0:38:40 | |
If everybody laughed for just one day | 0:38:40 | 0:38:44 | |
# You know that'd make you happy | 0:38:44 | 0:38:47 | |
# Too many troubles, too many troubles | 0:38:47 | 0:38:51 | |
# Don't know how we live so long | 0:38:51 | 0:38:54 | |
# Too many troubles, too many troubles | 0:38:54 | 0:38:56 | |
# It's time for us to live and laugh | 0:38:56 | 0:39:00 | |
# And laugh, and laugh, and laugh | 0:39:00 | 0:39:03 | |
# And laugh, and laugh, and laugh, and laugh, and laugh | 0:39:03 | 0:39:07 | |
# And laugh, and laugh, and laugh, and laugh # | 0:39:07 | 0:39:10 | |
(WIND WHISTLES) | 0:39:10 | 0:39:13 | |
(YELLS) | 0:39:20 | 0:39:22 | |
(CONTINUES TO YELL) | 0:39:24 | 0:39:27 | |
(VOICE GOES HOARSE) | 0:39:27 | 0:39:30 | |
(HISSES) | 0:39:30 | 0:39:32 | |
(TV PLAYS) | 0:39:37 | 0:39:40 | |
Hey, you alright, Frankie? | 0:39:48 | 0:39:50 | |
Alright? | 0:39:50 | 0:39:52 | |
Oi. | 0:39:52 | 0:39:53 | |
Blink! | 0:39:53 | 0:39:56 | |
-Alright, mate. -Alright? -Alright. | 0:39:56 | 0:40:00 | |
Good game? | 0:40:00 | 0:40:03 | |
-Is it a good game? -Yeah, it's alright. Pretty good. | 0:40:03 | 0:40:07 | |
It's decent. | 0:40:07 | 0:40:09 | |
Sonya in? Sonya in? | 0:40:12 | 0:40:16 | |
Yeah, she's here. She's upstairs. | 0:40:16 | 0:40:19 | |
-She's packing, mate. -She alright? | 0:40:19 | 0:40:21 | |
She's leaving you, Frank. She's leaving you. | 0:40:21 | 0:40:24 | |
For me. | 0:40:24 | 0:40:26 | |
-Get in there! -Did you see that? -Fucking hell! | 0:40:31 | 0:40:35 | |
Fucking, how was that one, eh? | 0:40:35 | 0:40:37 | |
Ter-fucking-rific! | 0:40:37 | 0:40:39 | |
Phwoar! | 0:40:39 | 0:40:41 | |
-Brilliant, wasn't it? -Want a line? -Not right now, thanks. | 0:40:41 | 0:40:45 | |
Frankie. | 0:40:49 | 0:40:52 | |
(COUGHS) | 0:40:54 | 0:40:56 | |
-You alright? -Yeah. -(CHUCKLES) | 0:41:01 | 0:41:04 | |
I'm leaving you. | 0:41:09 | 0:41:12 | |
I'm gonna take the tiger. That's mine. | 0:41:13 | 0:41:16 | |
And I want those ones, obviously, because they're mine. | 0:41:16 | 0:41:20 | |
And you can have the sculpture that your mother bought us. | 0:41:20 | 0:41:23 | |
Aren't you upset, Frankie? | 0:41:26 | 0:41:29 | |
Do you wanna say anything to me? Anything at all? | 0:41:30 | 0:41:33 | |
(THUNKS) | 0:41:34 | 0:41:36 | |
(THUNKS) | 0:41:40 | 0:41:42 | |
Frankie! | 0:41:53 | 0:41:55 | |
Where the fuck's the album, Frank? | 0:42:05 | 0:42:08 | |
Where the fuck is the album, Frank?! | 0:42:10 | 0:42:13 | |
Where the fuck is the album?! | 0:42:15 | 0:42:18 | |
(GROANS) | 0:42:19 | 0:42:21 | |
It smells like shit in here, Frank. What the fuck's happened to you? | 0:42:29 | 0:42:34 | |
What the fuck happened to you, Frank? | 0:42:34 | 0:42:37 | |
I don't know what this is. I don't. | 0:42:37 | 0:42:39 | |
This is bullshit, Frank. This isn't how you take on things, huh? | 0:42:39 | 0:42:43 | |
(SIGHS) Listen. | 0:42:43 | 0:42:45 | |
Maybe this isn't the worst thing in the world. Take some time off. | 0:42:47 | 0:42:52 | |
Go in the sun for fuck's sakes, huh? | 0:42:52 | 0:42:55 | |
Huh? Eat a lot of fruit, get some fucking vitamins in you. | 0:42:55 | 0:42:59 | |
Vegetables and greens and shit. I can't... | 0:42:59 | 0:43:02 | |
You know, there's... | 0:43:02 | 0:43:05 | |
I was reading yesterday, there's a fish, it's called a zebra fish. | 0:43:05 | 0:43:09 | |
Has little hairs on it. | 0:43:09 | 0:43:12 | |
And somehow, they can implant that, erm,... | 0:43:12 | 0:43:15 | |
(SIGHS) I don't know. | 0:43:16 | 0:43:19 | |
It's too fucking hot. | 0:43:19 | 0:43:23 | |
It's always too fucking hot. | 0:43:23 | 0:43:26 | |
I can't help you. | 0:43:28 | 0:43:30 | |
I don't know how to... I don't know how to fucking help. | 0:43:30 | 0:43:35 | |
I don't want to help you. I can't help you. | 0:43:35 | 0:43:38 | |
'I didn't want a deaf DJ on the label.' | 0:43:39 | 0:43:45 | |
'I didn't want the company to be touched with the deaf stamp.' | 0:43:45 | 0:43:49 | |
Business is tough and sometimes you have to make awkward decisions. | 0:43:49 | 0:43:53 | |
And I've made harder decisions than dropping the deaf DJ. | 0:43:53 | 0:43:57 | |
# "Parlez Moi D'Amour" - Lucienne Boyer | 0:43:57 | 0:44:00 | |
(COOING) | 0:44:51 | 0:44:53 | |
(COOING CONTINUES) | 0:44:56 | 0:44:58 | |
'Frank locks himself up, didn't come out of his villa for a long time.' | 0:44:58 | 0:45:02 | |
'His theory was he'd get his hearing back by having complete silence.' | 0:45:02 | 0:45:06 | |
'He wanted to rest his ears.' | 0:45:06 | 0:45:08 | |
'He hired people to bring in supplies for him to the villa.' | 0:45:08 | 0:45:11 | |
The only accounts we have of Frank during this period | 0:45:11 | 0:45:14 | |
come from various drug dealers. He was in a very dark place. | 0:45:14 | 0:45:18 | |
(MUSIC CONTINUES) | 0:45:18 | 0:45:21 | |
(PUFFS) | 0:45:24 | 0:45:26 | |
(GASPS) | 0:45:34 | 0:45:36 | |
# "More Intensity" - Pete Tong and Chris Cox | 0:46:53 | 0:46:57 | |
(SIZZLES) | 0:47:06 | 0:47:09 | |
(GRUNTS) | 0:47:33 | 0:47:35 | |
Aaaaarh! | 0:47:45 | 0:47:48 | |
(FEEBLE SPLASH) | 0:47:48 | 0:47:51 | |
(SIZZLING CONTINUES) | 0:47:51 | 0:47:53 | |
(PANTS) | 0:48:30 | 0:48:32 | |
(WIND WHISTLES) | 0:48:47 | 0:48:49 | |
(TOILET FLUSHES) | 0:49:05 | 0:49:08 | |
(COOING) | 0:49:08 | 0:49:10 | |
(COOS) | 0:49:13 | 0:49:16 | |
(GROWLS) | 0:49:22 | 0:49:24 | |
(BABBLES FURIOUSLY) | 0:49:25 | 0:49:28 | |
(CACKLES) | 0:49:32 | 0:49:34 | |
(GROWLS) | 0:49:34 | 0:49:36 | |
(PUNK MUSIC) | 0:49:36 | 0:49:40 | |
(BABBLES) | 0:49:42 | 0:49:45 | |
(GRUMBLES) | 0:49:46 | 0:49:49 | |
Eh? | 0:49:53 | 0:49:55 | |
-(GROANS) -(MUSIC STOPS) | 0:50:01 | 0:50:04 | |
(COOS) | 0:50:04 | 0:50:06 | |
-(CHUCKLES) -(GUN CLICKS) -(COOS) | 0:50:07 | 0:50:11 | |
(BABBLES / COOS) | 0:50:11 | 0:50:15 | |
(BABBLES) | 0:50:15 | 0:50:17 | |
I love you too. | 0:50:17 | 0:50:19 | |
(GASPS / WHIMPERS) | 0:50:20 | 0:50:22 | |
(REVERBERATING GUNSHOT) | 0:50:45 | 0:50:47 | |
Where is Frankie Wilde today? | 0:50:47 | 0:50:50 | |
Well, I haven't... I haven't talked to him in almost a year now. | 0:50:50 | 0:50:55 | |
Erm, I've heard some stories. | 0:50:55 | 0:50:57 | |
This guy supposedly saw him in New York wearing a garbage bag for a hat | 0:50:57 | 0:51:02 | |
and shoeboxes on his feet. | 0:51:02 | 0:51:04 | |
And he... And he had a rock | 0:51:04 | 0:51:07 | |
and he was trying to eat it like a sandwich. | 0:51:07 | 0:51:10 | |
I don't think Frankie would do that. He looked like a bum. | 0:51:10 | 0:51:15 | |
He always looked like a bum. He had a special bond with the homeless. | 0:51:15 | 0:51:19 | |
# "Al Sharp" - Beta Band | 0:51:19 | 0:51:23 | |
# Is it because I'm beside myself with love | 0:51:43 | 0:51:47 | |
# That I can say these things to you, honey? | 0:51:47 | 0:51:52 | |
(WIND CHIME JINGLES) Hello? | 0:51:52 | 0:51:55 | |
# Or is it because I'm beside myself with guilt? # | 0:51:55 | 0:51:59 | |
Hola! | 0:51:59 | 0:52:01 | |
Hello? Hello. | 0:52:01 | 0:52:04 | |
Is this where you come if you want to learn how to read lips? | 0:52:05 | 0:52:10 | |
Of course. You want to learn? | 0:52:10 | 0:52:12 | |
I've got no idea what you're saying, darling. | 0:52:14 | 0:52:18 | |
I can't hear anything. This is the place, yeah? | 0:52:19 | 0:52:22 | |
They look like a couple of cunts. | 0:52:32 | 0:52:36 | |
I don't know how to lip read. | 0:52:44 | 0:52:47 | |
Maybe you should write something down. | 0:52:47 | 0:52:51 | |
I can't hear you. I can't read lips. | 0:52:51 | 0:52:53 | |
We need to get started. Maybe write something down. | 0:52:53 | 0:52:56 | |
Temper, temper. | 0:53:15 | 0:53:18 | |
Watch. | 0:53:18 | 0:53:20 | |
Concentrate. | 0:53:20 | 0:53:22 | |
Watch my lips. | 0:53:23 | 0:53:26 | |
Watch. | 0:53:26 | 0:53:28 | |
Lips. | 0:53:28 | 0:53:30 | |
Tongue. | 0:53:34 | 0:53:36 | |
Jaw. | 0:53:38 | 0:53:40 | |
One's facial expression. | 0:53:41 | 0:53:44 | |
Gesture. | 0:53:44 | 0:53:47 | |
Lip reading... is about seeing, | 0:53:47 | 0:53:51 | |
feeling. | 0:53:51 | 0:53:53 | |
(SILENCE) | 0:53:53 | 0:53:56 | |
Fill in the blanks, Frank. | 0:54:01 | 0:54:04 | |
# "Learning To Lip-Read" - Graham Massey | 0:54:07 | 0:54:12 | |
Sta. | 0:54:17 | 0:54:19 | |
Step-dad. (GIGGLES) | 0:54:19 | 0:54:22 | |
Hu. | 0:54:24 | 0:54:25 | |
Husband. | 0:54:25 | 0:54:27 | |
Wa. | 0:54:29 | 0:54:30 | |
The quick... brown... fox. | 0:54:33 | 0:54:37 | |
-The. -The. | 0:54:37 | 0:54:40 | |
-Quick. -Quick. | 0:54:40 | 0:54:42 | |
-(MOUTHS) -Brown. | 0:54:42 | 0:54:44 | |
-(MOUTHS) -Fox. | 0:54:44 | 0:54:47 | |
(MOUTHS) | 0:54:47 | 0:54:49 | |
Over... the lazy... dog. | 0:54:49 | 0:54:52 | |
Faster. | 0:54:52 | 0:54:54 | |
The quick brown fox | 0:54:54 | 0:54:57 | |
jumps over the lazy dog. | 0:54:57 | 0:54:59 | |
Good! Good! | 0:54:59 | 0:55:02 | |
-Fucking good. -Great! | 0:55:03 | 0:55:06 | |
They all speak English here. | 0:55:08 | 0:55:11 | |
Don't worry. | 0:55:11 | 0:55:13 | |
Scotch neat, please, mate! | 0:55:19 | 0:55:21 | |
Double scotch neat. | 0:55:22 | 0:55:25 | |
-Is that OK? -It's very good. | 0:55:26 | 0:55:29 | |
-We'll see what he comes back with. -(LAUGHS) | 0:55:29 | 0:55:32 | |
To my lips. | 0:55:36 | 0:55:38 | |
Cheers. | 0:55:38 | 0:55:41 | |
You and me got the same hobby. | 0:55:48 | 0:55:50 | |
Another one? | 0:55:54 | 0:55:56 | |
(COUGHS) | 0:55:56 | 0:55:59 | |
What can I get you? | 0:55:59 | 0:56:01 | |
Erm,... scotch neat, please. | 0:56:02 | 0:56:06 | |
Double scotch again. | 0:56:07 | 0:56:09 | |
In England, it means "fuck off". Very similar gesture. | 0:56:10 | 0:56:14 | |
Fuck off. | 0:56:14 | 0:56:17 | |
-Double. -Double fuck off. | 0:56:17 | 0:56:20 | |
Waiter! | 0:56:20 | 0:56:21 | |
Double scotch, please, mate. | 0:56:22 | 0:56:25 | |
(SILENCE) | 0:56:26 | 0:56:29 | |
No, more. | 0:56:38 | 0:56:41 | |
What do you want to drink to? Do you want to drink to something? | 0:56:43 | 0:56:46 | |
(MOUTHS) | 0:56:46 | 0:56:49 | |
Who's Simon? | 0:56:49 | 0:56:51 | |
Silence. | 0:56:51 | 0:56:53 | |
-Who is he? -Not Simon, silence. | 0:56:53 | 0:56:56 | |
-Are you finished with him? -Good. -Great. | 0:56:56 | 0:57:00 | |
-(RADIO PLAYS DANCE MUSIC) -(SPEAKS SPANISH) | 0:57:07 | 0:57:11 | |
Comprende? | 0:57:16 | 0:57:18 | |
(LAUGHS) | 0:57:19 | 0:57:21 | |
(LAUGHS) | 0:57:38 | 0:57:40 | |
(SPEAKS SPANISH) | 0:57:45 | 0:57:48 | |
I know what I could do. I know what I could do. | 0:57:55 | 0:57:59 | |
Fuck the DJ lark. | 0:57:59 | 0:58:01 | |
You know on TV, you got a little ugly bird, bottom right-hand corner, | 0:58:01 | 0:58:05 | |
doing all this business? I could do that. | 0:58:05 | 0:58:08 | |
I could be a cool little fucker in the corner of the box. | 0:58:08 | 0:58:11 | |
I could. Think positively. | 0:58:11 | 0:58:15 | |
Yeah. "Are you going down to Pacha tonight?" "Oh, no, mate." | 0:58:15 | 0:58:19 | |
"No, I'm staying in. Frankie Wilde's at the bottom corner | 0:58:19 | 0:58:23 | |
of the TV tonight doing the fucking hand jive. It'll be brilliant." | 0:58:23 | 0:58:27 | |
You finished? | 0:58:33 | 0:58:36 | |
You finished? | 0:58:41 | 0:58:43 | |
There's nothing wrong with being deaf. I'm deaf. | 0:58:45 | 0:58:50 | |
Trust your other senses. | 0:58:50 | 0:58:53 | |
Your sight, your smell and touch. | 0:58:53 | 0:58:55 | |
Just relax. | 0:58:55 | 0:58:58 | |
It will come. | 0:58:58 | 0:59:00 | |
It just takes time. | 0:59:00 | 0:59:02 | |
It will come. | 0:59:02 | 0:59:04 | |
(FLAMENCO MUSIC) | 0:59:04 | 0:59:08 | |
(MUSIC CONTINUES) | 0:59:41 | 0:59:43 | |
-Hey! -(SINGS IN SPANISH) | 0:59:56 | 1:00:00 | |
(FLAMENCO MUSIC CONTINUES) | 1:00:00 | 1:00:02 | |
(DANCE MUSIC) | 1:00:34 | 1:00:38 | |
(MUSIC WINDS DOWN) | 1:02:16 | 1:02:18 | |
(DANCE MUSIC PLAYS) | 1:02:56 | 1:02:59 | |
(HEAVY BASS) | 1:03:04 | 1:03:07 | |
(DANCE MUSIC WITH PROMINENT BASS LINE) | 1:03:10 | 1:03:15 | |
(HEAVY BASS) | 1:03:18 | 1:03:20 | |
(DANCE MUSIC WITH PROMINENT BASS LINE) | 1:03:22 | 1:03:25 | |
(HEAVY BASS) | 1:03:29 | 1:03:32 | |
(DANCE MUSIC WITH PROMINENT BASS LINE) | 1:03:32 | 1:03:35 | |
(GUITAR MUSIC) | 1:03:36 | 1:03:40 | |
(MOUTHS) | 1:03:40 | 1:03:42 | |
Well, Frank's system was ingenious, and with the weight of his sight, | 1:03:56 | 1:04:00 | |
he proclaims that he began to see a rhythm in everything, | 1:04:00 | 1:04:04 | |
a pattern in the visual world around him. You know, could see music. | 1:04:04 | 1:04:08 | |
(SQUEALS) | 1:04:52 | 1:04:54 | |
'Frankie had worked with this all his life and then he realised | 1:05:28 | 1:05:33 | |
he was able to piece together those sets that he used to do.' | 1:05:33 | 1:05:38 | |
And hey, presto, you know, four to the floor, returneth. | 1:05:38 | 1:05:43 | |
(MIXES DANCE MUSIC) | 1:05:43 | 1:05:46 | |
(MUSIC STOPS) | 1:06:13 | 1:06:14 | |
I once stole 500 quid from your wallet, in the studio. | 1:06:29 | 1:06:34 | |
Well, it's only money, eh? No big deal. | 1:06:34 | 1:06:39 | |
It was me who stuck that scaff bar through the windscreen of your Merc. | 1:06:39 | 1:06:42 | |
It wasn't that Asian kid. | 1:06:42 | 1:06:44 | |
Well, he's probably out now anyway so no harm done. | 1:06:44 | 1:06:49 | |
I shagged Twila. | 1:06:50 | 1:06:53 | |
For three years. | 1:06:56 | 1:06:59 | |
But cos you're a mate, yeah,... | 1:07:13 | 1:07:16 | |
..I only ever made love to her bum. | 1:07:17 | 1:07:21 | |
She doesn't like it in the bum. | 1:07:22 | 1:07:25 | |
Have a listen to this. | 1:07:25 | 1:07:28 | |
Tell me what you think. Yeah? | 1:07:28 | 1:07:30 | |
(BANGING) | 1:07:39 | 1:07:41 | |
Open the door! Frank! Frank! Open the fucking door! | 1:07:43 | 1:07:47 | |
Open the door! Frank! Frank! Open the fucking door! | 1:07:47 | 1:07:52 | |
Do you want some more coffee? | 1:07:52 | 1:07:55 | |
Frank! Frank! Open the door. Open the fucking door. | 1:07:57 | 1:08:00 | |
-So? -Oh, Frank. Oh, God! | 1:08:00 | 1:08:02 | |
-Yeah? -Oh, God, it's good. Fucking good. | 1:08:02 | 1:08:05 | |
-It's good? -OK, it's fucking hot. | 1:08:05 | 1:08:08 | |
First off, did you...? Who's this? | 1:08:08 | 1:08:11 | |
-Max, this is Penelope. Penelope, this is Max. -Hi, Max. | 1:08:11 | 1:08:15 | |
Hi. | 1:08:15 | 1:08:17 | |
(MOUTHS) | 1:08:17 | 1:08:19 | |
Forget it. Look. | 1:08:19 | 1:08:21 | |
-Did you mix this? -Yeah. | 1:08:21 | 1:08:24 | |
-Did you produce this? -Yeah. -Oh, fuck. | 1:08:24 | 1:08:27 | |
Fuck it, Frank. It's gold. Fucking gold. | 1:08:28 | 1:08:31 | |
-(GRUNTS) It's beautiful. -Tell me! I haven't heard it. | 1:08:31 | 1:08:35 | |
Gets in your chest. Never heard nothing like it. | 1:08:35 | 1:08:38 | |
Hurh! Like a fucking heart. | 1:08:38 | 1:08:41 | |
It changed... What do you mean you haven't heard it? What do you mean? | 1:08:41 | 1:08:46 | |
-Well, I haven't heard it. -Why? | 1:08:46 | 1:08:49 | |
I'm completely deaf, Max. | 1:08:52 | 1:08:55 | |
Completely? | 1:08:58 | 1:09:00 | |
Yeah. | 1:09:00 | 1:09:03 | |
Nothing. | 1:09:03 | 1:09:05 | |
To the handicapped. | 1:09:06 | 1:09:09 | |
# "You Can't Hurry Love" - The Concretes | 1:09:09 | 1:09:12 | |
# Oh, do you hear me say | 1:09:12 | 1:09:15 | |
-# Do you hear me say now... -Sorry. | 1:09:15 | 1:09:18 | |
# And oh... | 1:09:18 | 1:09:21 | |
The first time I heard Hear No Evil, I was like, you know, whatever. | 1:09:21 | 1:09:27 | |
But then Max told me Frankie's story. | 1:09:27 | 1:09:31 | |
'And the penny dropped.' | 1:09:31 | 1:09:34 | |
# You can't hurry love | 1:09:34 | 1:09:37 | |
# You can't hurry love... | 1:09:41 | 1:09:44 | |
'People love a good tragedy.' | 1:09:46 | 1:09:49 | |
People love handicaps, frankly. | 1:09:49 | 1:09:51 | |
It gets them emotional, you know. | 1:09:51 | 1:09:55 | |
So I'll get on that deaf train with a wheelchair ramp. No problem. | 1:09:55 | 1:09:59 | |
First-class ticket, please. | 1:09:59 | 1:10:02 | |
# ..done mine | 1:10:02 | 1:10:04 | |
# Oooooh, but you can't hurry love | 1:10:04 | 1:10:07 | |
# Oooooh, you can't hurry love | 1:10:11 | 1:10:14 | |
# Boy | 1:10:17 | 1:10:19 | |
# Do you hear me say | 1:10:19 | 1:10:21 | |
# Do you hear me say now | 1:10:21 | 1:10:24 | |
# Love # | 1:10:24 | 1:10:26 | |
'I don't see why we should limit ourselves to deaf people, really.' | 1:10:26 | 1:10:30 | |
I don't want to reveal too much either about where we're going. | 1:10:30 | 1:10:34 | |
But it's gonna be big. It's gonna be big, and it's gonna be handicapped. | 1:10:34 | 1:10:38 | |
Imagine all the deaf people, all the deaf people in the world. | 1:10:38 | 1:10:42 | |
They need a fucking hero. They don't have a fucking hero. No deaf hero. | 1:10:42 | 1:10:46 | |
It's you, Frank. You're, like, the fucking link. | 1:10:46 | 1:10:50 | |
You're drawing all the deaf kids that are screaming, with no hearing. | 1:10:50 | 1:10:54 | |
They're yelling out. Who's gonna listen? Not other fucking deaf kids. | 1:10:54 | 1:10:58 | |
They can't hear, huh? You. You're the fucking voice, eh? | 1:10:58 | 1:11:02 | |
And wait. Wait. You're gonna love this. | 1:11:02 | 1:11:05 | |
Huh? Huh? | 1:11:05 | 1:11:08 | |
Can you hear me? "No, I can't, Max. Are you trying to make me money?" | 1:11:08 | 1:11:12 | |
Yes. I'm making you money. OK. Huh? Fuck, look. | 1:11:12 | 1:11:15 | |
That is just the fucking beginning. | 1:11:15 | 1:11:18 | |
(INSTRUMENTAL # "YOU CAN'T HURRY LOVE") | 1:11:20 | 1:11:25 | |
(RATTLES) | 1:11:26 | 1:11:28 | |
I wouldn't put my name to any old product. | 1:11:34 | 1:11:38 | |
If I could describe it as bad speed in a can. | 1:11:38 | 1:11:41 | |
We've all had bad speed, haven't we? | 1:11:41 | 1:11:44 | |
I'm just gonna have a sip. I can't resist. Oh, fuck. Wow. | 1:11:44 | 1:11:49 | |
He made disabilities cool. | 1:11:50 | 1:11:53 | |
What's with the fucking ear? | 1:11:54 | 1:11:56 | |
The ear, that represents your deafness, OK. | 1:11:56 | 1:12:01 | |
Deaf people hate their ears, see. Don't they? See? | 1:12:01 | 1:12:04 | |
It's symbolic. You'll smash it. The deaf kids will go fucking nuts. | 1:12:04 | 1:12:07 | |
Don't hit the ear. I'll put some glass on that | 1:12:07 | 1:12:10 | |
and turn that into a table. | 1:12:10 | 1:12:13 | |
It's wank. I'm sucking deaf cock for you, mate. | 1:12:13 | 1:12:17 | |
And... (GAGS) I'm fucking choking on it. | 1:12:17 | 1:12:20 | |
Alright, first off, you're sucking showbiz cock. | 1:12:20 | 1:12:23 | |
Look, this is gonna be good money. This is all about cash. | 1:12:23 | 1:12:27 | |
Shitloads of cash. Better than that, | 1:12:27 | 1:12:29 | |
Sonya can't get her grubby fingers on this money, understand? | 1:12:29 | 1:12:33 | |
-This is Sonya-free cash. -He's not a whore! | 1:12:33 | 1:12:36 | |
Look, Frank, OK? | 1:12:41 | 1:12:43 | |
You're not giving me any fucking positive feedback. | 1:12:43 | 1:12:47 | |
You know what fucking bothers me? | 1:12:47 | 1:12:49 | |
The fact that you think art just fucking happens. It's just free. | 1:12:49 | 1:12:53 | |
These people just took out time from their day to come here | 1:12:53 | 1:12:57 | |
and do shit for nothing. You gotta realise you're a fucking hero. | 1:12:57 | 1:13:01 | |
That's what the yellow's about. You make fun of me and that jacket. | 1:13:01 | 1:13:04 | |
I picked it! Deaf kids worldwide will see that yellow. | 1:13:04 | 1:13:07 | |
They'll buy that jacket. | 1:13:07 | 1:13:10 | |
Two, maybe 300. They'll run around, proudly deaf, | 1:13:10 | 1:13:13 | |
-all yellow, fluorescently deaf... -(SILENCE) | 1:13:13 | 1:13:17 | |
(REPORTERS SHOUT) | 1:13:21 | 1:13:23 | |
-Sit down. -Charlize Bondo! | 1:13:30 | 1:13:33 | |
Charlize Bondo! Ibiza Beat. | 1:13:33 | 1:13:35 | |
Frankie, can you really DJ as a deaf man? How is that possible? | 1:13:35 | 1:13:39 | |
-(ALL MURMUR) -They murmuring? -Yeah, quite a bit. | 1:13:40 | 1:13:44 | |
I'm an honest man. I can tell you | 1:13:44 | 1:13:47 | |
that this album was made... | 1:13:47 | 1:13:49 | |
..completely without the aid of me ears. | 1:13:51 | 1:13:54 | |
And at Pacha next week, | 1:13:54 | 1:13:56 | |
I'll be DJing as a deaf man. | 1:13:56 | 1:13:59 | |
And if you don't believe me,... | 1:13:59 | 1:14:03 | |
you know, fuck you. | 1:14:04 | 1:14:06 | |
Because I've got nothing, | 1:14:06 | 1:14:09 | |
nothing to prove | 1:14:09 | 1:14:12 | |
-to you sluts at all. -OK. OK. -(ALL GROAN) | 1:14:12 | 1:14:16 | |
Role model. | 1:14:16 | 1:14:18 | |
-Nothing. -Wait a minute. OK, role model. | 1:14:18 | 1:14:21 | |
Listen. Listen to me. No. No. | 1:14:21 | 1:14:23 | |
He loves sluts. Frank loves sluts. | 1:14:23 | 1:14:26 | |
Now, I think what he's trying to say is, | 1:14:26 | 1:14:29 | |
even though he feels he has nothing to prove to you, | 1:14:29 | 1:14:33 | |
he'd be happy to prove, erm, anything you want, to you. | 1:14:33 | 1:14:38 | |
It's important that we all realise | 1:14:38 | 1:14:41 | |
that this is a major comeback from a rock. | 1:14:41 | 1:14:44 | |
You know, what he's accomplished in the last few months is astonishing. | 1:14:44 | 1:14:48 | |
He'll be at the Pacha nightclub. You can come down | 1:14:48 | 1:14:52 | |
and watch him mix yourself. And watch the miracle happen, OK? | 1:14:52 | 1:14:57 | |
Because, you know, I realise that there are doubters in this room, | 1:14:57 | 1:15:01 | |
which fucks me up. | 1:15:01 | 1:15:03 | |
Because, you know, why would someone pretend to be deaf? | 1:15:03 | 1:15:07 | |
I mean, that's retarded. | 1:15:07 | 1:15:09 | |
It's not like he's fucking benefiting from this. | 1:15:09 | 1:15:12 | |
It's a fucking obstacle. | 1:15:12 | 1:15:15 | |
He can't hear. Your mom's a cunt. Nothing. Zero. Blank. | 1:15:15 | 1:15:18 | |
This man, what he's done, fucking... | 1:15:18 | 1:15:21 | |
It gets me in my fucking heart, what he's done. | 1:15:21 | 1:15:24 | |
And you, you come down here, and you put on this big fucking show | 1:15:24 | 1:15:28 | |
-like he's gonna make shit up! -Hey, hey, hey. Relax. Relax, man. | 1:15:28 | 1:15:32 | |
Alright. Next question. | 1:15:32 | 1:15:35 | |
-(ALL SHOUT) -One more! One more! | 1:15:35 | 1:15:39 | |
# "Can You Hear Me Now" - Double Funk ft Paul Kaye | 1:15:39 | 1:15:43 | |
I thought it was amazing, you know, that somebody that's deaf | 1:15:48 | 1:15:52 | |
can actually... can actually, you know, be a DJ. | 1:15:52 | 1:15:56 | |
-Frankie Wilde, good luck. -Good luck. | 1:15:56 | 1:15:58 | |
I think that guy is so fantastic. | 1:15:58 | 1:16:01 | |
He has a gift that no-one else has. And somehow, he is gonna do it. | 1:16:01 | 1:16:05 | |
# "Messa da Requiem" - Riccardo Muti/La Scala Milan | 1:16:05 | 1:16:10 | |
(SPEAKS SPANISH) | 1:16:11 | 1:16:14 | |
(ALL CHANT) Frankie! Frankie! Frankie! Frankie! | 1:16:18 | 1:16:21 | |
'The vibe that night was incredible.' | 1:16:29 | 1:16:32 | |
All the memories had come back. | 1:16:32 | 1:16:35 | |
He'd hit the depths then he was just back. | 1:16:35 | 1:16:39 | |
Pacha, Frankie Wilde, comeback. Take this. Check this out. | 1:16:53 | 1:16:57 | |
I've never seen an atmosphere like it. It was amazing. | 1:16:57 | 1:17:00 | |
(ALL CHANT) Frankie! Frankie! Frankie! Frankie! | 1:17:00 | 1:17:04 | |
Frankie! Frankie! Frankie! Frankie! | 1:17:04 | 1:17:08 | |
Frankie! Frankie! Frankie! | 1:17:08 | 1:17:11 | |
Frankie! Frankie! Frankie! Frankie! | 1:17:11 | 1:17:15 | |
Frankie! Frankie! | 1:17:15 | 1:17:17 | |
Frankie! Frankie! Frankie! | 1:17:17 | 1:17:21 | |
(MESSA DA REQUIEM CONTINUES) | 1:17:21 | 1:17:23 | |
# "Rock Your Body, Rock" - Ferry Corsten | 1:17:54 | 1:17:59 | |
(MIXES MUSIC) | 1:18:12 | 1:18:15 | |
(HEAVY BASS) | 1:18:24 | 1:18:27 | |
# I wanna rock, I wanna rock your body # | 1:18:36 | 1:18:40 | |
(ALL CHEER) | 1:18:43 | 1:18:45 | |
He probably never thought he'd ever feel that again. | 1:18:58 | 1:19:02 | |
To come back and actually feel that and more, it was a great experience. | 1:19:02 | 1:19:07 | |
'Everybody there shared the same experience. It was really special.' | 1:19:07 | 1:19:11 | |
'It was what dance music's about.' | 1:19:11 | 1:19:14 | |
(MIXES MUSIC) | 1:19:15 | 1:19:17 | |
# "Musak" - Trisco | 1:19:17 | 1:19:20 | |
He had club land sparking big time. | 1:19:21 | 1:19:23 | |
He took the roof off. It was like he was an even better DJ as a deaf man | 1:19:34 | 1:19:38 | |
than he'd been before. It was incredible. | 1:19:38 | 1:19:42 | |
Frankie! Frankie! We won it! Listen! | 1:19:49 | 1:19:53 | |
Fuck! We're the fucking champions! We got the fucking award! Mwah! | 1:19:53 | 1:19:58 | |
This is it. This is our... fucking moment! | 1:19:58 | 1:20:01 | |
(GURGLES) There's nothing... I can't... Fuck. | 1:20:01 | 1:20:05 | |
What do you wanna do, buy the moon? We'll buy the moon! | 1:20:05 | 1:20:08 | |
You don't understand, it's huge. Hold on. | 1:20:08 | 1:20:11 | |
(INHALES) | 1:20:11 | 1:20:14 | |
(EXHALES) | 1:20:15 | 1:20:18 | |
They're gonna come in. 15 minutes. They all wanna talk to you. | 1:20:18 | 1:20:21 | |
15 minutes. 15 minutes, Frank. This is the big moment. | 1:20:21 | 1:20:25 | |
15 minutes. That's all they need. Tomorrow, big press conference. | 1:20:25 | 1:20:29 | |
That's what we're gonna do. Very important. | 1:20:29 | 1:20:32 | |
-You have to watch. -Max? -What? What? | 1:20:32 | 1:20:35 | |
-Can you do me a favour, mate? -Anything. Anything. | 1:20:35 | 1:20:38 | |
-Leave us alone for ten minutes? -No. See, you're not listening. | 1:20:38 | 1:20:42 | |
OK, listen. Look at my lips. They come in for 15 minutes of your life. | 1:20:42 | 1:20:46 | |
-15 minutes. 15 fucking minutes. -Shhh. | 1:20:46 | 1:20:49 | |
Frank. No, no, no, no. Frank, no. | 1:20:49 | 1:20:52 | |
-Shh. -No. Frank. Frank, 15 minutes. | 1:20:52 | 1:20:54 | |
(SILENCE) | 1:20:54 | 1:20:57 | |
Ten minutes. | 1:20:57 | 1:21:00 | |
Alright. | 1:21:01 | 1:21:03 | |
(MUTTERS) Sure. Yeah. Fucking sure. What the fuck do I know? | 1:21:05 | 1:21:09 | |
OK, alright. Calm down. OK, you're getting in. Don't worry. | 1:21:25 | 1:21:29 | |
You I used to like. Alright. You could do with some cheering up. | 1:21:29 | 1:21:32 | |
Alright. OK. Hold on. OK. | 1:21:32 | 1:21:35 | |
Frankie? | 1:21:37 | 1:21:39 | |
# "Music For A Found Harmonium" - The Penguin Cafe Orchestra | 1:21:39 | 1:21:42 | |
Frankie! | 1:21:42 | 1:21:44 | |
Jesus Christ. | 1:21:55 | 1:21:57 | |
Frankie! | 1:22:08 | 1:22:10 | |
Frank! Fuck. | 1:22:15 | 1:22:17 | |
It was like a flat line. | 1:23:07 | 1:23:10 | |
It was... | 1:23:10 | 1:23:12 | |
Still, to this day, I'm... | 1:23:13 | 1:23:16 | |
That was it, gone. Frankie Wilde, bye-bye. Gone. | 1:23:17 | 1:23:21 | |
Everybody was like that, holding the baby. | 1:23:21 | 1:23:24 | |
(MUSIC FOR A FOUND HARMONIUM CONTINUES) | 1:23:24 | 1:23:27 | |
'I've heard a story that he's running a record shop in Oxford.' | 1:23:50 | 1:23:54 | |
There's a story that he went to Fiji and then died of syphilis. | 1:23:54 | 1:23:58 | |
But nobody knows. You know, I don't know where he is. | 1:23:58 | 1:24:02 | |
He was another deaf guy with a deaf guy's needs. | 1:24:02 | 1:24:06 | |
And he went off to... a quiet place. | 1:24:06 | 1:24:10 | |
Although, I suppose that wouldn't make much difference. | 1:24:10 | 1:24:13 | |
# "Good Vibrations" - Beach Boys | 1:24:13 | 1:24:16 | |
# I... I love the colourful clothes she wears | 1:24:16 | 1:24:20 | |
# And the way the sunlight plays upon her hair | 1:24:20 | 1:24:25 | |
# I hear the sound of a gentle word | 1:24:27 | 1:24:32 | |
# On the wind that lifts her perfume through the air | 1:24:32 | 1:24:37 | |
# I'm picking up good vibrations | 1:24:40 | 1:24:43 | |
# She's giving me excitations | 1:24:43 | 1:24:47 | |
-# I'm picking up good vibrations -# Oom bop bop, good vibrations | 1:24:47 | 1:24:50 | |
-# She's giving me excitations -# Oom bop bop, excitations | 1:24:50 | 1:24:53 | |
-# Good, good, good -# Oom bop bop -# Good vibrations | 1:24:53 | 1:24:57 | |
-# She's giving me excitations -# Oom bop bop, excitations | 1:24:57 | 1:25:00 | |
-# Good, good, good, good vibrations -# Oom bop bop | 1:25:00 | 1:25:03 | |
-# She's giving me excitations -# Oom bop bop, excitations | 1:25:03 | 1:25:06 | |
# Close my eyes | 1:25:06 | 1:25:08 | |
# She's somehow closer now | 1:25:08 | 1:25:11 | |
# Softly smile, I know she must be kind | 1:25:12 | 1:25:16 | |
# When I look in her eyes | 1:25:18 | 1:25:23 | |
# She goes with me to a blossom world | 1:25:23 | 1:25:28 | |
# I'm picking up good vibrations | 1:25:30 | 1:25:34 | |
# She's giving me excitations # | 1:25:34 | 1:25:37 | |
# "Need To Feel Loved" - Reflekt # Come and catch a fire | 1:25:37 | 1:25:41 | |
# Don't let me fade away | 1:25:41 | 1:25:45 | |
# Come and catch a fire, baby | 1:25:45 | 1:25:48 | |
# Don't let me fade away | 1:25:48 | 1:25:51 | |
# Come and catch a feeling | 1:25:53 | 1:25:55 | |
# It's electrifying me | 1:25:55 | 1:25:59 | |
# With eyes wide open | 1:26:00 | 1:26:03 | |
# I'm dreaming | 1:26:03 | 1:26:06 | |
# Breathe for me, baby | 1:26:07 | 1:26:10 | |
# Don't wake before I'm down | 1:26:10 | 1:26:13 | |
# Free falling, baby | 1:26:15 | 1:26:17 | |
# Don't wake before I'm down | 1:26:17 | 1:26:21 | |
# Come and touch me, baby | 1:26:22 | 1:26:25 | |
# I need to be loved | 1:26:25 | 1:26:28 | |
# Come and hold me, baby | 1:26:28 | 1:26:33 | |
# I need to feel loved | 1:26:33 | 1:26:36 | |
# I'm in love, in love, in love | 1:26:36 | 1:26:39 | |
# I'm in love, in love, in love | 1:26:39 | 1:26:43 | |
# I'm in love | 1:26:43 | 1:26:46 | |
# I'm in love | 1:26:46 | 1:26:48 | |
# I'm in love, in love, in love | 1:26:50 | 1:26:54 | |
# I'm in love, in love, in love | 1:26:55 | 1:26:58 | |
# I'm in love | 1:26:59 | 1:27:01 | |
# I'm in love | 1:27:01 | 1:27:04 | |
# Come and touch me, baby | 1:27:06 | 1:27:09 | |
# I need to be loved | 1:27:09 | 1:27:13 | |
# Come and hold me, baby | 1:27:13 | 1:27:17 | |
# I need to feel loved | 1:27:17 | 1:27:20 | |
# I need to feel loved | 1:27:20 | 1:27:24 | |
# I need to feel loved | 1:27:24 | 1:27:28 | |
# I need to feel loved | 1:27:28 | 1:27:32 |