INTERVIEW AND PICTURES BY MARKO SYRJALA
Anvil is a Canadian heavy metal band formed originally in Toronto in mid 70’s. Anvil’s debut album HARD’N HEAVY was released in 1979 followed by classic METAL ON METAL in 1982 which is their most successful album to date. They have released fourteen studio albums, including the latest JUGGERNAUT OF JUSTICE (2011). Although Anvil was never a big commercial success they have been cited as having influenced many notable heavy metal groups like Metallica and Anthrax. In 2008 Anvil was the subject of documentary film ANVIL! THE STORY OF ANVIL. Upon its release, the film garnered critical acclaim from many major publications, and has since brought the band renewed recognition, including opening slot with AC/DC’s on their BLACK ICE tour. The band has also done appearances at many major heavy metal festivals, including Download, Swedenrock and Loud Park. Anvil is back and when the band visited in Finland on last August to play in Porisphere festival it was time to sit down with bands founding member Lips and Robb Reiner and discuss about various Anvil topics. Read on !!
JUGGERNAUT OF JUSTICE
I just bought this new Anvil album JUGGERNAUT OF JUSTICE and it’s a great one. If you ask me it’s much better than THIS IS THIRTEEN, do you agree with that?
We agree too. Everybody agrees. It’s obvious. We’re just taking it to the next level. Why not?
And the frame of mind that we ran in creating it was much better than it was earlier. I mean obviously with THIS IS THIRTEEN we were really trying but there was no real success. We were still really hacking on it. But once the movie gave us that kind of success we were like, “Well it’s right now. Okay, now we can really write.” It kind of sparked us right up, you know?
I would also say that the producer Bob Marlette did a great job with the album. I mean it does sound that did bring a lot of fresh elements to the whole thing?
Yeah, he was great to the whole character of the sound and everything. Working with it, you know, also a great thing that he did for me vocally was to make sure that the rhythmical counter rhythm of the vocals was really, really worked well with the music. So you take out ends and bugs and you make everything fit. So it fits perfect. Not that it’s pushed inward on a weird and not the same note or your range and just make sure that it’s really…
I would say that’s new. I mean it sounds more like natural in a way. THIS IS THIRTEEN, it was kind of pushed in some places I would say and somehow the album does sound better in very level.
Right and the vocals – the vocals are very smooth.
Yeah, the vocals are smoothed out. They even got these screeching notes that… do you know what I mean and the way that the words all fall on music there’s not like a weird jump or weirdness in any way that it’s just really smooth and it all works. Probably it brought a lot of freshness to the whole production. That’s the root of it. That’s all. And we needed that.
So do you have plans to work with Marlette again in the future?
We hope so?
He wants to. He would. I mean that’s an important thing. It’s one thing to want to work with somebody, but they have to want to work with you. And this producer is a big time producer. So it’s not like you pick and choose that stuff. You do, but you don’t because, you know, you can approach one of these producers and they would go, “No, I’m not interested.” And we got very fortunate. Our manager asked him if he wanted to work with the band and he went, “Well.” And then his wife got into it. “You got to go work with them. You got to see their movie” And he watched the movie. And he went like, “Yeah, I really want to work them.” He came up to – he came up to Toronto and did pre-production with us. We had 17 songs and only one song got mixed from getting recorded. He thought it was all really, really great like musically. And it was really interesting because he had no clue as to what we were going to do vocally. But then the real truth is either did I but that was why I hired him. I wanted a producer there for me to produce the singing to create it as we make – as we do it rather than going in with set of ideas. In that way the producer can have something to shape and form, right? If you go in there with – if you go in there completely planned there’s not much you can do about it. You’re going to be going, “No, I want to do this.” And it turns into a not as smooth, do you know what I mean? The producer has set you in the right direction. You know with song “On Fire”, I’d go, “I don’t know what, I don’t know what we’re going to do with this. I have no clue. What are we going to call this?” And through thick and bouncing stuff finally he says, “On Fire” and I went, “Okay.” Okay and I went in the evening, it was at the end of the night, I went back to my hotel and I wrote the lyrics. I went in the next day and sang it. But the most – these are very important things, you know. You got to be set in the right direction and otherwise it could be anything. And what’s right, you got to do what’s right. And his job is to tell you what’s right.
Yeah, but that’s what he gets paid for… “laughs”
That’s what he’s getting paid for. It’s not – I’m not paying him to write my songs. I’m asking him what he thinks if, “What do you think of this title?” Another example, the song “Turn it Up”. Originally I wanted to call it “Going Deaf” because I am, right? I didn’t do fucking write it. You know, I like to write about what – if that’s my life and so forth. And he goes – the first thing he says, “Take 40 years of that title, Lips.” And I said, “What do you mean?” And he goes, “Instead of singing and going deaf, you say turn it up.” And I went and it worked out. You know, you can’t be you own boss. You can’t do that not with music because music is something that you put out and people listen to. So it’s perceived. So you need somebody to sit there, to be Mr. Audience. Like Bob, he’d sit there – he sat there during the – during the bet, you know, we’re playing the songs for the first time and he goes, “I’m Mr. Audience, man. Play for me.” And when you – when you don’t go like fucking – keep that fucking solid, I’m fucking losing it, man. I can’t pound my hand. Give me something I can pound my hand to. And we’d go, “Okay, okay.” We got to keep it steadier; we’re going a little bit weird. And you know what it’s – these are – you need an objective view.
So what Mr. Audience likes if then you go, “Okay, you must be good because he likes it now. It’s working.” We follow Bob’s direction. We knew that he was going in the right direction. He’s probably the best that we’ve ever had.
Yeah like with song “Turn it Up”, it was amazing because I didn’t even have to rewrite the lyrics. I just changed the title because saying “Going Deaf” is the same thing as saying “Turn it Up”. I can’t hear. The opening line of it says “Turn it up, turn it up, make it loud so we all can hear”, you know. It’s saying exactly the same thing. It just like how you’re saying it. I’m just trying to explain here how Bob fit in and what he did and how it worked. And it worked great because he was on the same page, you know. He knew exactly…
He brought a lot of clarity through all those stuff.
Yeah clarity, we were playing.
Plus, you know, using Dave’s Grohl’s studio didn’t hurt either. ”Laughs” You know we went to his studio and it was a very nice place. We had a great sound over there. So did help a lot.
ANVIL THE MOVIE
How many years has it been since the Anvil movie first came out, three, four years?
Four years. It seems that the movie is still very much “alive”, I would say?
The movie shadows us forever and it will forever because it’s a movie. The movie is about living, breathing entity amble. So we continue so does it and it just follows the movie as we go.
Yeah, and as we just continue, we are being discovered by new people, and that will never stop.
And not only – not only that, people it becomes somewhat cult in the sense that particularly among metal fans because what it represents is the same – it’s really a reflection of the audience. I’m as much a fan of the music as I am a musician that makes the music, okay? So I don’t love metal any less. I love it and I will love till I’m dead. And that’s what people – that’s what people gravitate to. That’s what the metal crowd gravitates to. They all feel that way. We all feel that way. It’s our music. And thank goodness that there are guys like Lips or Raven or fucking the endless list of guys that will never give up.
You mean people like Lemmy Kilmister?
Or like Lemmy, exactly, old man metal, it doesn’t matter. There’s no such thing as old men. It doesn’t matter when it’s timeless music. Metal is timeless music. “Iron Man” is still a fucking heavy song and it came out in 1970.
It will never go away, it won’t go away. It won’t.
You have had some good years with the band since the film came out and…
It opened some doors for us, okay, but let’s look at it – let’s look at it from this perspective. Anvil meant something to begin with okay? I mean music made a difference. And it made so much of a difference that I was able to record 12 albums. I was doing albums every two years since I have started recording. That’s success. Not really many bands can say that.
In fact I have been following your career since ’83, ’84, I know the history. But I mean, the movie did help the masses, you know, the new people to find Anvil, right?
But there are masses are now discovering and heard about. And, you know, we’re putting out the best of album September, and it’s a retrospective covering almost all the albums. And people are going to get to check out more of our music. And it’s all about the music now. That’s all we care about. The movie will shadow us forever. Like I said, it’s being discovered. It’s going to be in German TV tomorrow night. And that’s just actually going on in thousands and thousands of people discovering us on every day. We get letters from people every day. And it’s mostly – it’s mostly people wishing that they’ve made the right choices in their own lives. The movie – the movie churns up the – all the inner emotion about what you’ve done with your life. That’s a very unusual thing for a movie to do. Never mind for other musicians, but just for the general public, you watch that movie and you go, “Am I happy with my life? Did I make the right choices? Why did I turn my back or “Boy I’m glad – you’re right Lips, you should never give up what you love” Do you know what I’m saying? It’s either, or, either you have regrets or you have none. But it still churns up the feeling to question for yourself “Have I done the right thing?” We give what most people would have probably given up most. Well… I don’t know if that’s completely true because what might have seen dismal to the – to the outside world looking in, it was not that way to us.
We love what we do so much we couldn’t – we couldn’t – it wasn’t – it might be rotten on the outside like you know what I mean? Like you haven’t got the business, but the inside is fresh, clean, and ready to rock. That’s the thing, man.
THE DIFFICULT TIMES
In the mid 80’s you kind of get lost from the picture for many years. What did happen there?
You know the music – listen the music business fail their band years ago. That’s the fucking end of the story right there. We’ve got it, you know, but they go back to it. We go break in the link. It happened between our third album and fourth album. That’s where the break in the link kind of though. When did that happen? There were no albums out between 1983 and 1987. We’re fucked. That’s why we got fucked, okay? It was as simple as that.
That’s all that happens. But that – for that reason I’m not going to quit. I mean what the fuck? Who’s going to keep…
We had no choice during that time. We had to gather our own momentum and pay for everything and keep going. We didn’t have support. Everything went away, you know. We got picked up by big major manager. Big major manager got a struck from a record label and didn’t give us a new label. So we have no label. We’ve got nothing. No support, no managers. The managers stop booking us. Nothing, nothing and so we had to start all over again. After we’ve made a huge impact, you’re fucking starting all over again.
That’s what happens. You know that’s it. But I always knew that one day we would get to where we would go. I always knew that sooner or later we would get this somehow. Some people when they ask us, like a lot of people ask all the time, “Hey, man, did you think the movie would be the big ticket?” Well none of us did. How the fuck, you know, how can we do that?
Yeah, we could never call that. But going back like if we go back to – I remember our old conversations. We had old conversation, the whole ticket, always be ready. That’s what we always talk about. We can’t go – keep going and just hoping. We got to always be ready. In other words always have – always have to start it right at there. Always put a new album. Always go on a tour. Always be ready and don’t make – and don’t bug yourself down like, “Yeah, I could have gone work for my brother. But then I’d be responsible to him and I wouldn’t be able to have the band.” So what do I do? Work half days at the delivery place. We do what’s necessary so I could be ready. That’s what it was all about. Everything was a focal. It’s a focus. You got to stay focus and stay at it and be ready. Now we had the guy come in with the camera, when he did and if we weren’t ready, it wouldn’t have been much of a movie. There wouldn’t have been music to have recorded. There wouldn’t have been a tour to film. You have to be ready. You got to be in the midst of thing. You know 99 percent of life is being there.
The 90’s, that was difficult time for all metal band. How that time was for you?
You’re talking’ about the dark years. I call that the dark years.
You weren’t doing too many headlines at that at that time, right?
No because the media was talking about us we were shitting ourselves.
Because first of all – first of all we were doing metal that was not death metal or trash. We weren’t doing poseur stuff like Poison and all the fucking shits. So we got lost in that.
You get lost because you weren’t playing mainstream or extreme stuff. How you would categorize you musical style overall?
It’s the middle, the middle metal, but it is the place. It’s the place. It’s everything really because that’s where everything came from to begin with. That’s where you got commercial shit from. That’s where you got the fucking fashion from. It’s the middle stuff, Motorhead, Anvil, all that. That middle genre. Yeah, it got overshadowed in the ’90s. No doubt about it. It didn’t mean it’s going to disappear. There’s an audience for that shit. And there are always will be. It’s timeless music. That is the timeless music of all – all the mighty timeless music. Its stuff that’s still has viable singers.
During the past four years, we are just being discovered by all the new people. And then they love it. People love it. They find it even more attractive than the stuff that they play like Metallica was their gods. And some people are realizing, “Hey, I like these guys.” We hear them all the time.
You know, there are great, a great amount of it. I mean there’s so much out there. There is so much out there. And more than 99 percent of it is all underground. And there’s just tons of it. So thank goodness. And it won’t go away. There are a million guys with a million dreams and they’re all fighting to get to that same place. And thank goodness because otherwise there’d be no music.
Yeah the real metal – the middle line metal is all those bands. You know even Iron Maiden in a certain sense. They never had – they never had the success that Bon Jovi did. They’re absolutely massive and probably the top of the food chain as far as – as far as the genre of heavy metal is concerned, but still Bon Jovi was bigger.
There were many bands in the the 80’s who got forgotten for reason or another and…
Oh, there are dozens of them…When I think about the bands that… I think – you know what I don’t think it’s really positive to say should have because if it should have it would have because in a way to me …
Like Raven, those guys have their shot back in the ’80s.
And they got fucked up. They got fucked up because they blew it. So to me, you know, they have that shot a long time ago. Most bands hope to get one shot. We’re lucky we’re given two shots. We kind of got – we got like 1.5, the movie would give us the real chance, the first time through when it’s only a half a chance and that’s why it didn’t work. We never got record deals in the most important market in the world, the United States. And everything got held and pulled away from us after the first three records. That’s half a chance. Do you know what I’m saying? We weren’t really given that, you know. But when you get a major label and you’re living in the States and you’re touring all over the place, that’s a chance. That’s a chance and that’s what I’m saying, I’m having a chance. I’m getting to see that now, 30 fucking years later. I’m actually – can you believe that I’ve been to Germany and Europe more times than I’ve been to the United States? And I live in fucking Canada.
You’ve been playing more in Europe that U.S in your career. Really?
Yeah, well that’s what the reality is. That’s the reality. And it took me 30 years to break that barrier down. I mean we do a handful of show in the United States, every 10 years, like that. Like in Europe, we’ve been coming here all through the ’90s.
So Europe is always been a kind of stronghold for Anvil even during more difficult times?
It is. It is our stronghold. It is where – it is what has made Anvil survive.
It’s what kept us alive all through the years.
Our record deal, the long standing record deal was with Massacre Records. They did six albums with us. That’s half our fucking – that’s half of our career. I mean that – there’s a lot to be said about that. It’s not like one or two albums. It’s like half of the fucking – half of our existence as a result of having a record company in Europe. And a following in Europe that’s the only – that’s why we had a record deal in Europe is because there were people to sell the CD to. I mean it’s all like really – that’s why when we say should have, look at what happened – what happened to us, you could say we should have made it then. Well no. We weren’t equipped. We got signed to an independent Canadian label. You’re not going to. That’s why it was only half a chance. It was done before it started. Do you know what I’m saying? It wasn’t – it was not – that’s not what was meant to be. What was meant to be is what’s happened now that we had to actually live and go through all the evolution and years the way that we have in order for the impact to have – to have its impact today, do you know what I’m saying? That movie wouldn’t mean anything if there was not 12 other albums on history. If there was no history – it’s all about the history. It’s all about our – it’s all about our journey.
Like our friends told me in Italy in 1985, “Hey man, it’s all about history, man. You guys got the history.” This fucking guy was telling me that like old crazy, but I don’t know what the fuck he’s talking about “laughs”
SOME ANVIL ALBUM FAQ AND GUITARIST PROBLEMS
I have heard that all the old Anvil albums are going to be re-mastered and re-released now?
Yes, I believe so.
That’s great because some of those albums are almost impossible to find nowadays, like STRENGTH OF STEEL.
Oh, yeah. Well STRENGTH OF STEEL is being – and you know what’s really interesting is that’s the most sought after. And that was… in its day such a fucking bomber. The way some people perceived it and the way that the letdown and the way that it went out with what labels and how it just flat. It was really a great album. That’s the real truth. But at that time, the society kind of missed the greatness.
That’s a shame.
But the reality is it has a real substance. It has a real substance.
No it’s true. It’s true. And its day everyone said “They went commercial. They went commercial” It’s like, “What?”
Well we didn’t go commercial.
But we didn’t because none of the music ever ended up on the radio. So how commercial was it? What are they talking about? “Laughs”
Another great album which didn’t get attention deserved was WORTH THE WEIGHT. On that album you had a guitarist called Sebastian Marino who had replaced the original string man Dave Allison?
Yeah that was an interesting project. But, you know, people are WORTH THE WEIGHT. You’re going to find it soon. It’s all coming out “laughs”
We tried hard with that album. But he, Marino, got – he got an offer to play with Overkill and that’s what made him leave the band. Otherwise he may very well been here to this day. But that wasn’t his destiny. Do you know what I’m saying? And I don’t – I don’t think – so he didn’t – the reason he didn’t stay is because he didn’t have what we have. There’s a brotherhood and an understanding that we are working towards a success not “where’s my money, where’s my money, where’s my money”, okay? So this guitar player was the type of person that needed – well we all need to make money, but it was more about these guys are offering. You’re just offering me a future. I think I’ll go with the money. And that’s what exactly what he turned into. He went through the money. He didn’t have a future because they weren’t going to give it to him in a sense that you’re not going to getting writing royalties. You’re not going to get a piece of any of the real action, like merchandise or whatever. Do you know what I’m saying? He was not – it was no real future. It was a pay check. So in other words, when they pull the plug he was gone. And there’s no – and that’s basically what happened. I mean these are the – these are the – what did that do? Well I got a replacement guy which was Ivan. He did the job adequately but no real deep interest and also lacked what we have in a sense that we are working as a focused group and we’re working for the future. He didn’t care enough. He didn’t – he didn’t put in. He just expected out. That doesn’t work. So eventually I just – I just won’t bother with the guy. And, you know, six months went by, he calls me and he goes, “I think I ought to come pick up my equipment?” “Yeah, you’d do that. Come and get your guitar.” I didn’t, you know, like we got back from Japan and I’m not calling him to come to rehearsal. So I just decided I’m not going to even tell him where we’re even rehearsing. I don’t fucking care. I didn’t even speak to him for six months. And then he calls me saying that it’s not like I never told him his fired. He never told me he quit. Do you know what I’m saying? He calls me up under the blue six months later I’m going to come and pick up my equipment. Yeah there was no question about it. It was over.
He knew he wasn’t needed?
He knew he wasn’t needed.
So you guys you have a plan to keep this line up like three piece in the future?
Oh, yeah absolutely. I didn’t want to go – I didn’t want to start going back down that road. We’ve been writing as a three piece for probably six or seven albums with just the three of us. That’s what I’m saying. Ivan, this guy was not a contributing member. He was just a guy who comes to play guitar with us. Well why? This is like… this is no fucking good. Yeah, so we just got rid of it.
Once you decided to carry on with just one guitar it must still have been quite different to play live as three some?
Well no it made a huge difference. And it was actually – it became really weird after a while because when we go out and we play and we were kind of like “What’s this guy doing here?” That’s what it did start feeling like. That’s not… I’m saying that having another guitarist became redundant. So when we did become a really, really become a three piece, we started – of course we came – we came to the realization this is where we got in trouble. Yeah, I know we have to. That’s a different approach. And there has to be a mindset that that’s what you want to do. Up until now this guy has been coming here so we always are alleviating in the way that we play that this guy is going to be playing a part. But once that part got removed, that means that we’re going to have to do a couple in a few places. We’re going to have to rearrange how we play so that it still sounds the same without him. Well that wasn’t a problem. That only took about a week.
How much you had to re-arrange the old stuff because of that?
Not much really. It wasn’t a lot. There were a couple of things – there are a couple of things – yeah, a couple of things that Glenn had to do in order to – because like the entry in “666”, right, like when it was just – there’s just a couple of places where you got to keep…
Yeah like in “This Is Thirteen”, I’m doing the guitar riff and the bass at the same time. In “Forged In Fire” in the middle I’m doing the whole notes as well as playing the notes.
Yeah. It was more work under for Glenn for sure.
It’s just that’s an adaptation to what we are already doing anyway. But, you know, we are mentally three piece is not just physically.
You know, basically it’s always been a three piece. All of the records are recorded through us like everything for years.
Yeah and all the other guy did was play the lead guitar over dubs and that was it.
He never played really loud. It was a waste of fucking time and this is the best.
And even going back to the early ’80s when Dave Allison, it was still marginal the amount that it added. We needed it because we lacked in the bass guitar too. So that’s what kind of made up for that rhythm section of the band. But we now got a bass player that can play 10 times better than the original bass player and he can sing. Bye, bye guys. I got a tooth for one deal here. This is a way more reasonable to work and he’s better than both of them put together.
THE TOURING PLANS, MANAGERS AND MOVIE STUFF
Okay after this summer tour, I heard that you are doing a tour with Saxon in Europe. What else is going to be in the map?
We got a show with Alice Cooper when we get back. We did a bunch of shows with him earlier. So it’s a part of it. Then we got a Swedenrock cruise and we got…
We’re going to do our own tour once we reach America. Then we come back to Europe for the Saxon –tour for four months and then we’ll probably go back to America and then we’ve got probably going to have South America?
And then we also have Japan and Australia to do and … we have to play Keep It True –festival on next year and we’re playing the Maryland Death Festival in Baltimore and..
You know, we now have a manager. Thank goodness after all these years. And that’s why we’re beginning to really make a living at doing this. Actually all the stuff that he was talk about, he could have just summarized it by saying, if you don’t have a manager, a real manager, forget about being here in this business. Just forget about it, okay? That’s the bottom line because if you’ve got people who are connected, you go fucking all the way. They just put you there. They put you there. And if you’re a good band, you win the people over.
And it’s expensive. It’s expensive. It is. These guys don’t work for nothing.
Yeah, but they give you something back, I think?
Yes, but they take their carpet. I’m just saying that. It’s not the key but… and you know that’s – it might be true that we were saving a whole lot of money by not having a manager, but what money were we saving if we weren’t making any?
I never look at it that way. I was the only guy that was telling Lips for years that we do need a manager.
That’s so true, “Lips, we need a manager. Lips, I know man, I know. But who’s got a manager” “laughs”
And we got a really heavy duty manager. We got Rick Sales. He manages later Slayer so he knows what the fuck he’s doing.
And it was the manager that I really had hoped that we would have grasped the interest of because if I wanted a real manager and he was the guy I wanted. And part of the reason of that he understands metal. It’s not about radio play and being a pop man like Bon Jovi. He understands metal. He worked with Slayer who is anything but commercial. Perfect. That’s the guy I want to work with. This guy knows how to make heaviness rock. That’s what you need, the right manager, the right band for the right people. You got to get that guy. And it was like, “God bring me a good manager like that.” And it happened.
And he’s been doing really well. For three year he’s been doing a great work with us in rebuilding the band like what we’re saying earlier. You know we’re building it up. And the more we play in front of like I mean so many people… like the four thousand people today… The more we do this maybe a new more people now are really liking our band.
The new Anvil generation!
“Wow, those guys are cool,” do you know what I mean? And the more you hear that that’s how you build your followers. And we get a chance to play for lots of people. And we’re a good band so you got to win the people over.
It’s a hard fucking fly. There are no jumping steps. No fucking – no leaps and bounce here. You firmly and hardly all the way up and it’s a hard – it’s a long staircase.
You know, Rick, our manager told us three years ago, “Boys, this is what we got to do.” And he said to us, “I hope you guys can survive it.” I remember him saying that. But if we can survive it, then we would reach our goal. And that’s how it goes. You know the guy calls me up – he calls me up I’m getting on the airplane to – I’m getting on the airplane to come here. I got a call from him and he goes like “I hope you’re okay with one week off in two months”. And I said, “Bring it on. Come on, are you kidding me?” And he’s going, “Okay, yeah.” But that’s the way he approach it because when he says that to Slayer they’re going, “What are you offering, fucking two months? What the fuck are you talking about?” That’s what happens with most bands because they’ve been doing it for 25 fucking years and in fact they don’t like travelling. They don’t like fucking each other. And the only thing they like is give me the money. That’s all they want, give me the fucking money and you can see it when they go on stage. It’s just, give me my money. Fucking see you the next day. Bye. It’s sad for many ’80s bands.
I know. I have seen that thing happening for many 80’s bands.
You know what’s really interesting I went and did an interview with Nikki Sixx for his Sixxt’h Sense and he told me – they all watched the Anvil movie and when they went into rehearsal, the whole feeling in the room is all different. That’s what he told me. He said they all realized why there were there and why they should be there and that they should be happy to be there. He said it was the first rehearsal that they’ve ever had.
I can actually believe that.
Which is that’s good because it’s what we talked about earlier. In the sense that the movie digs into your… into the human psyche, into the sense that you evaluate what you’re doing with your life. Are you happy? Are you content? Have you done what you wanted? Are you doing it the way you want to do it? It does that. Like that’s what – it’s amazing.
It’s a cool therapy movie I would say.
THE LAST WORDS ABOUT THE MOVIE
Is there anything in the movie that you would like to change, any parts you would like to cut off or add now afterwards?
Yeah my – the naked pictures “laughs”
Overall, how much material you did tape overall for the movie?
We did film something like close to 320 hours. So, most of it was useless fucking shit. But, you know… “laughs”
It’s a stuff that wasn’t perfect to what they’re doing, you know, like to what… You know what I think it wasn’t – it’s something that was going on. They put in a deep – the movie… the things he cut together was the best thing. Like as an example and it’s in the extra clips on – in the DVD is the trip to my older brother’s place in Birmingham Alabama. He was dying. And when that was included in the movie, you find out my brother is dying and the next thing you see is me celebrating on the stage in Japan and that’s the reality of it. But it doesn’t need – you don’t need to introduce it in that way in the movie that you’d be going off fuck Lips, man, even though this is so great, but poor fucking guy. It’s not – it’s not…
That kind of material might not look good for many people?
That’s… exactly. And it’s in the extra edition. And you can figure it out for yourself what the outcome of that was. So, you know, there are balances in life. I accept everything. There’s nothing I can do and things are out of your – out of your ability to change, you can’t do anything about it. He got sick and he died man. What are you going to do? I can’t bring him back but I don’t look at it – I don’t look at it – see the thing is the way that I think that I’m able to deal with all I don’t look at death as being the end just a transition. You’re around, but not physically. But you’re around and it’s – there’s something about it, the energy does not go away. They’re always around and that’s the way I look at it.
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