Super Furry Clasurol
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Transcript
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|---|---|---|---|
-888 | 0:00:00 | 0:00:00 | |
-888 - -888 | 0:00:00 | 0:00:02 | |
-Rarely are you given -the opportunity to witness... | 0:00:08 | 0:00:11 | |
-..the development of a work of art -from its inception. | 0:00:12 | 0:00:17 | |
-The Super Furry Animals is a group -of lively and incredible musicians. | 0:00:17 | 0:00:23 | |
-A pop group in the most -sweeping description of the word. | 0:00:23 | 0:00:26 | |
-A beast filled with imagination, -creative and musical ability. | 0:00:26 | 0:00:31 | |
-Their intention is to compose -a film soundtrack. | 0:00:32 | 0:00:35 | |
-The film doesn't exist yet... | 0:00:35 | 0:00:37 | |
-..but it will explore -the essence and sense... | 0:00:37 | 0:00:40 | |
-..of the mass of water, -fire and rock that we call Earth. | 0:00:41 | 0:00:45 | |
-To reach the summit -of this ambitious mountain... | 0:00:48 | 0:00:52 | |
-..they will need assistance. | 0:00:52 | 0:00:54 | |
-That aid comes from the prominent -musical Sherpa - Charles Hazlewood... | 0:00:54 | 0:00:59 | |
-..principal conductor -of the National Concert Orchestra. | 0:01:00 | 0:01:04 | |
-Good to see you. Are you well? | 0:01:08 | 0:01:10 | |
-The Super Furries visit Hazlewood's -home for the first time... | 0:01:10 | 0:01:16 | |
-..near the ancient and mythical -Avalon in south-west England. | 0:01:16 | 0:01:21 | |
-Hey, man, how are you? -Good to see you. | 0:01:22 | 0:01:25 | |
-Hazlewood is a musical explorer - -a modern-day Madog... | 0:01:25 | 0:01:29 | |
-..in a ship -crafted from sound, music and song. | 0:01:29 | 0:01:33 | |
-To aid the discussions... | 0:01:38 | 0:01:41 | |
-..he shares exotic spices and fiery -water amongst the band members. | 0:01:42 | 0:01:46 | |
-Have some - it's really good. -It's like petrol. | 0:01:46 | 0:01:50 | |
-The Super Furries have put -their faith in Charles for this job. | 0:01:50 | 0:01:55 | |
-PIANO MUSIC | 0:02:01 | 0:02:04 | |
-In the sense -of a movie soundtrack... | 0:02:09 | 0:02:11 | |
-..you can rearrange it -and slow it down. | 0:02:12 | 0:02:14 | |
-There's one big idea which spends -the whole film being expressed. | 0:02:15 | 0:02:20 | |
-Once Upon A Time In The West - -there's only three tracks. | 0:02:20 | 0:02:25 | |
-Yeah, God, and Vertigo. | 0:02:25 | 0:02:27 | |
-It's like four notes. | 0:02:28 | 0:02:30 | |
-That's all it is - the whole film. | 0:02:30 | 0:02:33 | |
-Played on different tempos. | 0:02:33 | 0:02:35 | |
-And different harmonies -morphing around. | 0:02:35 | 0:02:38 | |
-You could find a central theme... | 0:02:38 | 0:02:42 | |
-..and then play it in gunpowder... | 0:02:42 | 0:02:44 | |
-..and strings. | 0:02:46 | 0:02:49 | |
-To create an orchestral soundtrack -for an imaginary film... | 0:02:49 | 0:02:54 | |
-..they need to assemble -a real orchestra. | 0:02:54 | 0:02:57 | |
-Charles assembles a group -of gifted classical musicians... | 0:03:04 | 0:03:10 | |
-..each one a member of the country's -most highly renowned orchestras. | 0:03:10 | 0:03:15 | |
-Spain | 0:03:15 | 0:03:18 | |
-Curiously, -since the Super Furry Animals... | 0:03:25 | 0:03:29 | |
-..have spent so much time together -over the years... | 0:03:29 | 0:03:33 | |
-..they've developed an almost -invisible synchronized energy. | 0:03:34 | 0:03:39 | |
-It allows ideas -and inspiration to flow... | 0:03:40 | 0:03:44 | |
-..from one member to another. | 0:03:44 | 0:03:47 | |
-It will be difficult -to find a way... | 0:04:02 | 0:04:05 | |
-..to share the invisible flow -with musical strangers. | 0:04:05 | 0:04:09 | |
-Despite the remarkable creativity -of the classical musicians... | 0:04:09 | 0:04:14 | |
-..the balance of this journey -will be fragile from the outset. | 0:04:14 | 0:04:19 | |
-The first sessions will be an -attempt to find the common ground. | 0:04:19 | 0:04:24 | |
-Unfortunately, not everyone speaks -the same musical language. | 0:04:25 | 0:04:29 | |
-The band discusses verses, choruses, -bridges and middle eights... | 0:04:30 | 0:04:34 | |
-..the essential building blocks -of pop music. | 0:04:34 | 0:04:38 | |
-The classical interlopers -discuss the same elements... | 0:04:39 | 0:04:43 | |
-..with terms more classical -in origin - A1, B1 and so on. | 0:04:43 | 0:04:47 | |
-Where did you get it? | 0:04:56 | 0:04:57 | |
-Where did you get it? - -In a furniture shop. | 0:04:57 | 0:04:59 | |
-A furniture shop! | 0:04:59 | 0:05:00 | |
-BIRDSONG | 0:05:11 | 0:05:13 | |
-Italian horror. Italian horror. | 0:05:20 | 0:05:23 | |
-Zoe started doing it. | 0:05:24 | 0:05:25 | |
-Zoe started doing it. - -She's started? | 0:05:25 | 0:05:27 | |
-Cian tries -to catch the notes he needs... | 0:05:29 | 0:05:32 | |
-..but like butterflies, -they flutter away from his grasp. | 0:05:32 | 0:05:36 | |
-You started mimicking it. | 0:05:37 | 0:05:38 | |
-It seems the classical interlopers -are chained to their training... | 0:05:39 | 0:05:44 | |
-..unable to grasp his simple vision. | 0:05:45 | 0:05:47 | |
-Sneering. | 0:05:48 | 0:05:50 | |
-That's the face. | 0:05:50 | 0:05:52 | |
-It sounds like -the death of Buster Keaton to me. | 0:06:00 | 0:06:03 | |
-UPBEAT ELECTRIC GUITAR MUSIC | 0:06:10 | 0:06:12 | |
-EERIE HUMMING | 0:06:32 | 0:06:34 | |
-It's different every time - -the gaps between every beat. | 0:07:16 | 0:07:19 | |
-A different chord every time. | 0:07:20 | 0:07:22 | |
-The most useful word is "iawn". | 0:07:27 | 0:07:30 | |
-What's no? | 0:07:30 | 0:07:31 | |
-What's no? - -Na. | 0:07:31 | 0:07:33 | |
-"Iawn" means OK. | 0:07:33 | 0:07:35 | |
-We can use it as an answer -or a question. | 0:07:38 | 0:07:41 | |
-Iawn? Iawn. | 0:07:41 | 0:07:43 | |
-Iawn? Iawn. Iawn! | 0:07:43 | 0:07:47 | |
-Depending on your mood. | 0:07:47 | 0:07:49 | |
-You can get it down to... uh! | 0:07:50 | 0:07:52 | |
-Once you get fluent, you can -get it down to almost nothing. | 0:07:52 | 0:07:57 | |
-Voyage | 0:08:00 | 0:08:04 | |
-PIANO AND STRINGS | 0:08:05 | 0:08:07 | |
-# Ba-ba-ba-ba # | 0:08:23 | 0:08:24 | |
-OK. | 0:08:25 | 0:08:26 | |
-Cian, that's that. -We've got your left hand here... | 0:08:28 | 0:08:32 | |
-As the old adage goes, -nobody trips over mountains. | 0:08:32 | 0:08:38 | |
-It is the small pebble -that causes you to stumble. | 0:08:38 | 0:08:41 | |
-Pass all the pebbles in your path... | 0:08:41 | 0:08:46 | |
-..and you will find -you have crossed the mountain. | 0:08:47 | 0:08:51 | |
-The language differences between the -band and the classical musicians... | 0:08:59 | 0:09:03 | |
-..are but pebbles -on this journey upwards. | 0:09:04 | 0:09:07 | |
-Aren't they? | 0:09:08 | 0:09:10 | |
-The drums are in and it starts -to get more rhythmical. | 0:09:10 | 0:09:13 | |
-We need that quaver thing. | 0:09:13 | 0:09:15 | |
-Bunf tap-tap-tapping the dulcimer... | 0:10:02 | 0:10:05 | |
-..wooden birds hop across a drum... | 0:10:05 | 0:10:08 | |
-..Italian horror films -and the death of Buster Keaton. | 0:10:08 | 0:10:13 | |
-Signposts to guide the musicians... | 0:10:14 | 0:10:16 | |
-..to a destination not yet known... | 0:10:17 | 0:10:20 | |
-..as Cian's raindrops fall. | 0:10:21 | 0:10:23 | |
-Cian's raindrops fall. | 0:10:23 | 0:10:26 | |
-. | 0:10:29 | 0:10:30 | |
-888 | 0:10:32 | 0:10:32 | |
-888 - -888 | 0:10:32 | 0:10:34 | |
-Gradually, -in this new musical galaxy... | 0:10:40 | 0:10:43 | |
-..the paths -of the Super Furry Animals... | 0:10:43 | 0:10:46 | |
-..and the classical interlopers -begin to merge. | 0:10:46 | 0:10:49 | |
-PSYCHO-ESQUE VIOLIN | 0:10:58 | 0:11:01 | |
-As they work on the track Killer... | 0:11:01 | 0:11:03 | |
-..the focus is on Gruff's remark -about Italian horror films. | 0:11:04 | 0:11:08 | |
-They start -to forge a unified sound... | 0:11:10 | 0:11:13 | |
-..turning the rehearsal room -into a cacophony of amazing sound. | 0:11:14 | 0:11:18 | |
-# Once I was a killer | 0:11:30 | 0:11:34 | |
-# I killed time | 0:11:36 | 0:11:38 | |
-# Once I was a killer | 0:11:40 | 0:11:43 | |
-# I killed time | 0:11:44 | 0:11:47 | |
-# Once I was a killer | 0:11:49 | 0:11:51 | |
-# I killed time | 0:11:54 | 0:11:56 | |
-# Once I was a killer | 0:11:58 | 0:12:00 | |
-# I killed time # | 0:12:03 | 0:12:06 | |
-You've got to think horror. | 0:12:21 | 0:12:23 | |
-Think of a horror film. | 0:12:26 | 0:12:28 | |
-Screams. | 0:12:31 | 0:12:32 | |
-SHE SCREAMS | 0:12:32 | 0:12:34 | |
-VIBRATING CHIME | 0:13:16 | 0:13:18 | |
-Cheers. | 0:13:22 | 0:13:24 | |
-SCREECHING | 0:13:25 | 0:13:28 | |
-It's amazing. | 0:13:29 | 0:13:31 | |
-I'll take a bit of water out of it. | 0:13:37 | 0:13:39 | |
-Is there water inside? | 0:13:39 | 0:13:41 | |
-Yes, that's what makes the... -that's what makes the bend in it. | 0:13:42 | 0:13:45 | |
-But some pebbles are larger -than others on that winding path... | 0:13:52 | 0:13:57 | |
-..towards creative and musical unity. | 0:13:58 | 0:14:00 | |
-To avoid stumbling is difficult. | 0:14:00 | 0:14:03 | |
-Sometimes, a grimace can reveal more -than a thousand words would. | 0:14:05 | 0:14:11 | |
-As Gruff and Daf -step into the shadows... | 0:14:12 | 0:14:16 | |
-..eye contact is avoided -and musicians gaze at the floor. | 0:14:17 | 0:14:21 | |
-But sometimes, the land is fertile. | 0:14:59 | 0:15:03 | |
-The Super Furry Animals -and the classical interlopers... | 0:15:03 | 0:15:06 | |
-..are in harmony... | 0:15:07 | 0:15:09 | |
-..with sounds like a babbling brook -trickling downstream. | 0:15:09 | 0:15:13 | |
-Yes indeed. Yes indeed. | 0:15:17 | 0:15:20 | |
-Everyone and everything is good. | 0:15:22 | 0:15:26 | |
-It's going on the E Minor, yeah? | 0:15:34 | 0:15:37 | |
-One, two, three, four. | 0:15:37 | 0:15:39 | |
-But then, suddenly, the interlopers -strike out on their own... | 0:15:39 | 0:15:45 | |
-..leaving the band -scratching their heads. | 0:15:45 | 0:15:48 | |
-Where can they be going? | 0:15:52 | 0:15:53 | |
-Where can they be going? - -C Minor. | 0:15:53 | 0:15:55 | |
-This isn't the route -we all agreed upon. | 0:15:58 | 0:16:01 | |
-F minor! | 0:16:09 | 0:16:11 | |
-C minor. | 0:16:12 | 0:16:13 | |
-F minor. | 0:16:13 | 0:16:15 | |
-G. | 0:16:16 | 0:16:17 | |
-Stick that modulation right -at the end when it's really steamy. | 0:16:31 | 0:16:36 | |
-There's a while -between drums and percussion. | 0:16:37 | 0:16:40 | |
-Gruff tries to relieve -the tension with a game. | 0:16:41 | 0:16:44 | |
-Drums versus percussion. | 0:16:44 | 0:16:47 | |
-It's an excuse to make a racket. -I have the world's loudest whistle. | 0:16:49 | 0:16:54 | |
-WHISTLE | 0:16:54 | 0:16:55 | |
-WHISTLE | 0:16:59 | 0:17:01 | |
-WHISTLE | 0:17:03 | 0:17:05 | |
-Once again, -everyone and everything is good. | 0:17:06 | 0:17:10 | |
-Gruff, have you got a guitar run -we can work on? | 0:17:11 | 0:17:14 | |
-Good morning, how are you today? | 0:17:15 | 0:17:18 | |
-Uh, yeah. | 0:17:18 | 0:17:19 | |
-# Doo-doo-doo-doo-doo-doo-doo-doo | 0:17:20 | 0:17:22 | |
-# Doo-doo-doo-doo-doo-doo # | 0:17:23 | 0:17:25 | |
-Sometimes, it's worthwhile -reaching out to the fringes... | 0:17:26 | 0:17:30 | |
-..to search -for something different... | 0:17:31 | 0:17:34 | |
-..if only to confirm -and highlight... | 0:17:35 | 0:17:38 | |
-..the value -of what you already have inside. | 0:17:38 | 0:17:41 | |
-This realization may well be the -desired outcome of these sessions. | 0:17:44 | 0:17:49 | |
-If so, maybe it's all been -a roaring success. | 0:17:50 | 0:17:54 | |
-Maybe. | 0:17:56 | 0:17:57 | |
-# Ba-ba-ba-ba-ba # | 0:18:06 | 0:18:09 | |
-Charles Hazlewood and the Super -Furries meet up in Cardiff Bay. | 0:18:09 | 0:18:14 | |
-They meet up with Costas... | 0:18:18 | 0:18:21 | |
-..a notator and keeper of the books -of inspiration and innovation. | 0:18:21 | 0:18:26 | |
-Carefully, he's recorded -every note and chord... | 0:18:27 | 0:18:31 | |
-..played during the sessions -at the Urdd Centre. | 0:18:32 | 0:18:35 | |
-Now, all together, they try -to re-arrange the sessions... | 0:18:36 | 0:18:41 | |
-..to create -some kind of unified composition. | 0:18:41 | 0:18:45 | |
-I don't know how soon -the A3 should come in... | 0:18:49 | 0:18:52 | |
-..if there should be -an A1 before the A3... | 0:18:53 | 0:18:56 | |
-..or if the other arrangement -in A1... | 0:18:56 | 0:18:59 | |
-..should... | 0:19:00 | 0:19:01 | |
-My thinking is you would need -another A1 before the A3. | 0:19:02 | 0:19:06 | |
-During the process of trying to -create an orchestral arrangement... | 0:19:06 | 0:19:13 | |
-..the language barrier -is once more a problem. | 0:19:13 | 0:19:16 | |
-A1, B again and then A3. | 0:19:16 | 0:19:19 | |
-A1, B1, A2 and so on. | 0:19:19 | 0:19:23 | |
-It should be a simple process. | 0:19:24 | 0:19:26 | |
-A sound is a sound -and an ear is an ear. | 0:19:26 | 0:19:29 | |
-Everyone play the main riff -to start with... | 0:19:32 | 0:19:35 | |
-..and then splinter off. | 0:19:35 | 0:19:37 | |
-Is that the plan? Everyone -in unison to start and then... | 0:19:38 | 0:19:42 | |
-HE SINGS A MELODY | 0:19:42 | 0:19:44 | |
-STRINGS REPLICATE HIS MELODY | 0:19:47 | 0:19:49 | |
-Sax and violin and everything. | 0:19:53 | 0:19:55 | |
-It's better with two. | 0:19:56 | 0:19:58 | |
-The birth of Morocco -is a slow struggle. | 0:20:06 | 0:20:09 | |
-Every breath is a battle as it -struggles to form a personality. | 0:20:10 | 0:20:14 | |
-The classical interlopers... | 0:20:41 | 0:20:43 | |
-..proceed with gusto, -chasing Cian's whirling dervish. | 0:20:44 | 0:20:50 | |
-But all attempts prove futile... | 0:20:50 | 0:20:53 | |
-..and Morocco is laid to rest. | 0:20:53 | 0:20:56 | |
-In time, it will be -resurrected and reshaped... | 0:21:04 | 0:21:08 | |
-..for the Super Furry Animals' -next album... | 0:21:08 | 0:21:11 | |
-..Dark Days/Light Years... | 0:21:12 | 0:21:13 | |
-..remodelled into -The Very Best Of Neil Diamond. | 0:21:14 | 0:21:17 | |
-# Radio cassette plays on | 0:21:22 | 0:21:25 | |
-# As the kitchen crushed | 0:21:26 | 0:21:29 | |
-# Just the very thought | 0:21:31 | 0:21:32 | |
-# Trust but verify... | 0:21:33 | 0:21:35 | |
-# Bap-ba-ba-ba | 0:21:39 | 0:21:41 | |
-# Bap-ba-ba-ba # | 0:21:43 | 0:21:46 | |
-Where next? | 0:22:06 | 0:22:07 | |
-Maybe, somewhere in the future, -you'll be walking in Carmarthen... | 0:22:10 | 0:22:14 | |
-..Bethesda, or even Cardiff... | 0:22:15 | 0:22:17 | |
-..and you'll hear someone -whistling a chorus... | 0:22:17 | 0:22:21 | |
-..which sprouted -from the roots of these sessions. | 0:22:22 | 0:22:26 | |
-Who knows? | 0:22:27 | 0:22:29 | |
-Who really knows? | 0:22:29 | 0:22:32 | |
-Let's have a cup of tea, cup of tea! | 0:22:35 | 0:22:38 | |
-No! | 0:22:38 | 0:22:40 | |
-S4C Subtitles by Simian 04 Cyf. | 0:23:13 | 0:23:15 | |
-. | 0:23:15 | 0:23:16 |