June 6, 2025 • 42 mins
This week in the world we live in and life in general w/ host Jon Justice
- Snippet of In The End
- Depeche Mode “M” movie Reviews
- Post debut film interview
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OR YOU CAN SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICEAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70’s - 1990’s
EMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!
EMBARK Battle Planet (Book 7) is now available!
https://www.amazon.com/dp/B07K7LLFZY
Latest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfU
Email: TalkShowNerd@gmail.com
@X @JonJustice
Instagram TheJonJustice
Facebook Jon Justice
Join the mailing list! TalkShowNerd@gmail.com
- Snippet of In The End
- Depeche Mode “M” movie Reviews
- Post debut film interview
SUPPORT JON JUSTICE THRU KO-FI: https://ko-fi.com/jonjustice
OR YOU CAN SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICEAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70’s - 1990’s
EMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!
EMBARK Battle Planet (Book 7) is now available!
https://www.amazon.com/dp/B07K7LLFZY
Latest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfU
Email: TalkShowNerd@gmail.com
@X @JonJustice
Instagram TheJonJustice
Facebook Jon Justice
Join the mailing list! TalkShowNerd@gmail.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hello, this is Martin Gold from depeche Mode.
Speaker 2 (00:07):
Alright, this is died Gombe from depeche Mode, and you
are listening to.
Speaker 3 (00:10):
My word Ros depeche Mode the podcast. I'm your host,
John Justice with this bonus episode. Depeche Mode m the
new cinematic experience directed by Fernando Freest, debuted at the
Tribeca Film Festival in New York City yesterday. At the
(00:33):
time of my recording of the show this week, a
lot of obviously depeche Mode fans there in the audience.
Friend of the show, and the individual who runs the
global depeche Mode fan group, Rob Rahm, was there. I've
been communicating with him throughout the day and the evening
tonight as he gives me his first impressions of the film. Now,
(00:57):
if you have not heard, there is a brand new song,
one of the four unreleased fully produced tracks from Memento
Moriy that actually plays during the credits of the film.
So here's what we're gonna do on this relatively short
podcast this week.
Speaker 4 (01:14):
I'm not gonna keep you waiting.
Speaker 3 (01:15):
I do have the audio of the new song recorded
from the audience there at the screening, so the quality
obviously isn't great, but it gives you an idea of
what In the End sounds like. And just from my
personal perspective, as I suspected those four unreleased tracks. If
In the End is representative of the quality of those
(01:36):
four tracks that did not make it on the official
Memento Moriy release, then we are really in for a treat.
In the End sounds absolutely fantastic. Now we know the
title of another track that hasn't been released, like two
point zero, the other two songs are excuse me, still
a bit of a mystery. This is addressed at the
(01:56):
beginning of the interview that took place after this, so
Martin talks a bit about when those tracks may or
may not come out. We don't get a lot more details.
I'll share with you my further thoughts on and expectations
of what I think is going to play out later
this year when the film gets its official release. So
I'm gonna play the song so you can hear In
(02:18):
the End again recorded from the audience, I will share
with you Rob Rahm's review of the film. Also, I
grabbed another review from the home forum Depeche dashmode dot
com and another individual who was there at the screening
giving their thoughts on the film. And then I pulled
the audio taken from the crowd at the Q and
(02:39):
A after the debut of the movie with Martin and
Dave and the director for Nando Frius. The audio is
a little bit hard to hear because it was recorded
from the audience, and so I did my best to
go in and clean it up.
Speaker 4 (02:53):
So here is the new song, which.
Speaker 3 (02:55):
Is kind of an old song even though it hasn't
been released from the last album that didn't make an
armamento Maury in the end, and then I'll come back
on the backside and we'll talk a little bit about
the film itself.
Speaker 2 (03:08):
But I know.
Speaker 4 (03:12):
You song You's ung.
Speaker 5 (03:17):
Who scream the Cracks spread awes ohschools s.
Speaker 6 (05:02):
S S.
Speaker 3 (05:28):
Six And you can tell, even with the poor audio quality,
(06:10):
the production on that song sounds absolutely fantastic. I was
shocked when Rob had reached out to me. Rob Rahm
had reached out to me and said, Hey, they're playing
a new song at the end credits of the of
the movie. So my expectation and then we'll get to
Rob's review here is based off of what Rob said.
I think there's a good possibility that when we get
(06:31):
a physical release, and we will get a physical release
that will get the entire show. That being said, this
being more of a concert film, perhaps it'll be something
as I had suspected and speculated on previous podcasts, more
akin to what we received with one oh one, where
we got the one oh one movie in the box
set and then included was a handful of songs to
(06:53):
further round out the entirety of the show. Even though
we'd never got an official from beginning to the end
encore release of the one oh one show in video form,
of course, we got the album one oh one. So
this is what Rob had to say to me his
initial reaction to the film, and hopefully we're gonna get
(07:15):
him on the show where we can talk more at
length about his trip his further thoughts on the movie
next week on the podcast. But Rob had this to say.
He said, a great concert film. The cinematography and audio
were phenomenal. I expected it to be more of a documentary,
but it felt more like the strange release with little
segments between videos. It was a great capture of the
(07:38):
momento Morey tour, and it felt like a good capture
of that tour more than necessarily a documentary about Mexico. Overall,
it was great in everyone that I've spoken to thought
so as well. He goes on to mention in the
end was used in the credits. There is only one
Martin song in the movie that he sang. He did
(07:59):
not which track that was Ghosts Again was actually in
the credits and not in the movie itself, which is
a bummer for me because that's my favorite song off
of Memento.
Speaker 4 (08:10):
Moriy I asked him whether or not.
Speaker 3 (08:15):
He felt that we would get a full concert release
along with this, or because it was more of a
concert film, if he felt like this would be the
actual concert release, and he says, it is more true
to the set and the order of the set with
some omissions. So again, it kind of feels a bit
(08:36):
like maybe one oh one's not the right example. I
was gonna say that with one O one, we got,
you know, a lot of songs from the tour, although
recorded at different different venues. This sounds like the baseline
of the movie was the concert and then they were
spiking in segments relating to the documentary aspect and life
(08:57):
in Mexico. Relating to death, he did say that he
found it a little annoying that the song title and
the album the song was from was actually shown on
screen before the beginning of each song, so as a
bit of an intro, so Policy of Truth pops up
and you know they're playing Policy of Truth and it
(09:18):
says Policy of Truth from Violator up on the screen. Now,
what's interesting about that, and this is just rampant speculation
on my part, and that is that I was told initially,
even though there's a perhaps a different reason now, but
I was told initially that there were some licensing issues
relating to getting the film done. Now, over the course
(09:41):
of the decades that depeche Mo has been making music,
I can't help but wonder what the current licensing agreements
are relating to older tracks and what labels actually own
those tracks at the moment, and whether or not the
inclusion of the song in which album from might have
(10:01):
been a way to deal with licensing issues. Either way,
I'm curious to see, like what kind of font they used,
how prominent is it.
Speaker 4 (10:09):
On the screen.
Speaker 3 (10:10):
But for more casual fans to go out and see
this film, and Dave actually mentions in the Q and A,
you'll hear that they had to trim back the entire
set list because he was saying that nobody wants to
stay in a movie theater for two and a half hours.
You know, I would have for a Depeche Mode show
Bee that is in May, and so you wonder if,
(10:31):
in an attempt to sort of bridge the gap with
the more casual fans that may not be as familiar
with the songs, that this was a way to go
and do that.
Speaker 4 (10:38):
Now.
Speaker 3 (10:39):
The other review I wanted to share with you is
from Jazz. As I mentioned from the home forum, he said,
as for the film itself, I enjoyed it, though I
was expecting more about the fans in Mexico, but that's
down to my own misunderstanding of what this was going
to be about. Ninety minutes long, mostly concert footage with
a good song selection, nicely some thoughtful poem like pieces
(11:02):
here and there about life and death and its significance
in Mexican culture. He goes on to say, hopefully we
get a home release with all of the Mexican concert
tracks from that show. Something I found amusing was that
the majority of the audience didn't seem to realize that
(11:22):
in the end that was playing during the credits was
the premiere of that song.
Speaker 4 (11:26):
They were talking over the credits by then while it.
Speaker 3 (11:29):
Went really silence, and I said to people sitting next
to me, oh my gosh, you realize what this is.
I'm surprised how little fanfare there was about it, wrapping
up saying I thought it was fantastic lyrically beautiful, tempo wise,
reminiscent of Newborn for me talking about in the end
the track, but I don't know if that opinion will
hold after I listened to it again. David Martin share
(11:51):
vocals and this one, and this was one of the
Butler Gore tracks, so there's a little bit of inside
information too. I can see why it was Momento Morey,
since I don't think it would have fit. But it's
a beautiful B side and I really hope we get
to hear an official recording soon. So again, just a
smattering of views from Rob Brahm and Depeche Mode fan
(12:13):
a devote on the home forum.
Speaker 4 (12:15):
Listen.
Speaker 3 (12:15):
I'm probably more excited for the film now than I
was before, being that it really is going to be
more of a concert film. We've had the documentary style.
When it comes to Spirits in the Forest, and of
course we got the full show with that release and
one oh one. And when you go back to the
description the interstitial moments the way it was described in
(12:38):
the press release, I suppose now we understand a little
bit more of what that was. This was more of
a straightforward concert film with a splicing in of Mexico's
culture within the film.
Speaker 4 (12:50):
And again I'm.
Speaker 3 (12:52):
Really excited, and you can hear Dave and Martin sort
of share their views on it.
Speaker 4 (12:57):
And there's an interesting moment with.
Speaker 3 (12:58):
Martin Gore when you hear this Q and a h
wherein he talks a little bit about the poetry that
was in the film and having to go and talk
with the man's longtime manager, Jonathan Kessler about tracking down
who the poets were.
Speaker 4 (13:10):
It's really fascinating.
Speaker 3 (13:12):
The only complaint that I have as Martin didn't speak,
didn't have a lot to say, which is not, you know,
untypical of Martin Gore during the Q and A session.
So so here is that Q and a session, and
then I'll wrap up afterwards with just a few more thoughts.
Speaker 7 (13:28):
I actually the first question I wanted to ask was actually.
Speaker 6 (13:31):
About the song we just heard at the end of
the d there. I got to see this film a
little early.
Speaker 7 (13:38):
When I first heard that song, I was like, say,
I man it looking up with.
Speaker 4 (13:41):
The lyrics, who is this song?
Speaker 7 (13:42):
And I realized, Oh, this isn't song right.
Speaker 8 (13:46):
Tell So.
Speaker 1 (13:50):
I think we mentioned a long time ago that there
were four extra tracks that we were cool.
Speaker 7 (13:54):
With you during the lay of men Mai seeing these
people have been asking me all.
Speaker 9 (14:02):
The time, where are they coming out?
Speaker 7 (14:03):
Where are they whit why? Well that's one of them.
Speaker 1 (14:12):
The far from Your all the other three don no clue.
Speaker 10 (14:21):
I love being.
Speaker 11 (14:25):
I actually when we were watching various and this is
a movie I mean, but I was put on quite
like in the credits and I first sort of credits for.
Speaker 10 (14:37):
Every los like, I know this song. I really it's
a minute. Oh yeah, we did that.
Speaker 7 (14:48):
It's a beautiful song.
Speaker 6 (14:50):
We were talking a little bit with Fernanda earlier about
how this project came about. But tell me from your
perspective sort of how we decided to actually make a
movie this comes He's.
Speaker 12 (15:05):
Right, Well, it's something we really like to the leader
to be honest around the point of view, like two.
Speaker 10 (15:15):
You know, we always.
Speaker 2 (15:18):
Historically have recorded the shows a certain.
Speaker 10 (15:22):
Point of the tour somewhere and this.
Speaker 9 (15:27):
Opportunity came up to do this in Mexico City, And.
Speaker 13 (15:33):
I mean, really this is for an another concept to
an idea and everything behind you, and in a way
where even though there's a lot of boat songs in
there and not all of just said if you would
be bored out of your.
Speaker 2 (15:45):
Mind, and it was, you know, through two hours something
two hours and fifteen minutes, had the film would be
too long, I would.
Speaker 10 (15:53):
Walk out anyway.
Speaker 9 (15:56):
But so there was a lot of stuff taken out,
but he kind of you know, it's a constant.
Speaker 8 (16:02):
So much like the songs, they were everything performance wise,
they are a sort of compliment to the concept.
Speaker 7 (16:13):
How does it feel like? How does it feel watching this?
Speaker 6 (16:16):
Because this is I mean you're watching yourselves obviously, but
also this is another artist interpretation of your work to
a certain extent.
Speaker 9 (16:22):
Also, I mean other.
Speaker 6 (16:23):
Artists, because there are other artists involved in the film.
Speaker 7 (16:27):
What did it feel like watching it?
Speaker 1 (16:31):
It's I loved it the first time I saw it.
Really I learned a lot. Yeah, I really liked the
poems in it.
Speaker 14 (16:42):
And I never I had no clue who those poets were,
and I had to get Jonathan and managed to reach
out to Fernando to inform me on all this.
Speaker 7 (16:53):
So I think it was a journey really very educational.
Speaker 6 (17:00):
For now, tell us about how you assemble these ideas,
these people, these poets.
Speaker 15 (17:07):
Yeah, I think like in every project, you finding that
you go right, and more so with the documentary, so
we knew the elements, you know, we knew that we
didn't want to work with interviews or we didn't want
to feature fans as it had.
Speaker 9 (17:24):
Been done before.
Speaker 16 (17:25):
You know.
Speaker 15 (17:26):
Also like I was listening to the songs and I
put together you know, like, yeah, a document with the
inspiration taken from the music.
Speaker 9 (17:37):
And I mean.
Speaker 15 (17:39):
There's so many things, but like the most important thing
was like it's a sort of memento money, you know,
and and mement money.
Speaker 17 (17:45):
Meaning remember you would die, and and.
Speaker 18 (17:49):
Thinking well, life as we know, it's something lidid.
Speaker 9 (17:55):
So so I was inspired.
Speaker 18 (17:57):
I was inspired by it by imitations, right, like by
the but that's.
Speaker 9 (18:01):
Why we're using these old formats.
Speaker 15 (18:02):
Even to kind of branding people and the audience or
for my friend's kids, you know, or different ways of
playing with it. And and yeah, like working around those.
Speaker 9 (18:15):
Limitations of.
Speaker 18 (18:18):
And trying to find you know, metaphors or so like
this lividifying that the idea of.
Speaker 9 (18:23):
Like Mexico and Day of the Day.
Speaker 15 (18:24):
You know, they kind of take issues with wanting to
actually really go a little deeper or open the discussion
about like why are those connections m pain you know,
And so.
Speaker 9 (18:35):
It was a very very long process, and.
Speaker 19 (18:37):
I have to say we were finding it on the
way and one of the most enjoyable things was like
the editing process of the Stones, right, each song has
we decided to have some sort of like.
Speaker 18 (18:50):
Style of personality to, you know, and it was really
hard to decide which ones to leave behind.
Speaker 9 (18:54):
So we were like communicating and and navigating that.
Speaker 15 (19:00):
Yeah, we had a lot of fun, you know, like
reaching the leavings of the format, like the editing and
kind of playing around like the inexactitude, you.
Speaker 10 (19:08):
Know, like because of I don't know.
Speaker 17 (19:11):
We feel like we leave in the days where everything
needs to be more calculated than exactly and Mile itself
is nothing like that.
Speaker 10 (19:16):
So I wanted to.
Speaker 15 (19:17):
Play with those concepts and representing like just the energy
of the music.
Speaker 9 (19:24):
What we were talking we were talking.
Speaker 20 (19:34):
Earlier about the challenge of this film.
Speaker 7 (19:38):
I mean the shooting the concert.
Speaker 6 (19:40):
You were talking about, you know, recording the sounds of
the concert. I mean, you mind the crowd. Tell me
a little bit about how.
Speaker 15 (19:47):
The Yeah, like there were three shows and intu a
much different a little bit, and I mean we had
like three.
Speaker 21 (19:54):
Chances, and we were learning as we went to So
for example, with the cameras, you know, like the cameras
and are used.
Speaker 9 (19:59):
For show, we didn't want to interfere with.
Speaker 15 (20:02):
That because they're used for the CDDV, right, So so
we have to play around help with.
Speaker 9 (20:09):
Ways of how we use it, you know.
Speaker 17 (20:10):
And actually we kind of record from televisions and all that.
Speaker 9 (20:13):
And the same with the we really wanted all of
the audience because they were like singing all throughout.
Speaker 15 (20:19):
But also in the end we were like finding that
we wanted to be really intimate and on stage with them,
you know, and and earn that you know, like collective
experience and open up in the second to last.
Speaker 10 (20:30):
Song, you know.
Speaker 9 (20:31):
But of course there's so many complications.
Speaker 15 (20:33):
Because like the moment they want to like listen to
the crowd singing in the mind of concessor for the crowd,
you can listen to the music coming in there.
Speaker 9 (20:41):
So that affects the mix of the music. So it's
a complicated balance.
Speaker 15 (20:45):
So so yeah, it's it's it's like a little bit
of a complexus.
Speaker 6 (20:49):
Well. I think it worked really well because the I
mean we feel that crowd throughout the film. I mean,
it really does feel like right content and thank you
for so beautiful.
Speaker 10 (20:59):
Every people in Europe.
Speaker 6 (21:11):
It's not though most of the film, most of the
concerts as you guys performing, it really does feel like
such a collective experience.
Speaker 7 (21:20):
The quality pardience.
Speaker 6 (21:22):
They're part of the experiences, they're part of our experience.
Speaker 9 (21:26):
It's very hard to I think it's really hard to capture.
Speaker 22 (21:30):
I mean, I think my really pleased with our friend
did in the in the end because.
Speaker 16 (21:40):
From our perspective when we're on the stage.
Speaker 8 (21:43):
You know, one of the things that about Depeche Mode
concept is it is a it's a communal experience, and
it's I.
Speaker 10 (21:54):
Think it's really difficult to capture that.
Speaker 2 (21:56):
There's only very few kind of like films I've seen,
and I've seen a lot of films.
Speaker 23 (22:04):
I'm a fan of watching films and music and bands
and stuff like that, but there's only very few I
think that really managed to capture that well, certainly from.
Speaker 24 (22:14):
Our perspective, how that translates, and it is a fine
line watching ourselves.
Speaker 10 (22:23):
Of course, you know he is.
Speaker 24 (22:25):
Kind of playful, right, But it's I can't I can't
really explain.
Speaker 10 (22:33):
What happens when you actually are performing. It is a.
Speaker 2 (22:38):
Strange kind of spiritual experience, to be honest, that happens.
Speaker 19 (22:45):
Together.
Speaker 2 (22:46):
It's more we're communicating somehow through music.
Speaker 9 (22:52):
You know, it's an incredible thing.
Speaker 6 (22:54):
Has that experience changed for you over the years. Is
your relationship to the crowd changed?
Speaker 7 (23:00):
And when you've flit performing for so long, it's quite bigger.
Speaker 9 (23:06):
We used to be twenty three pople, you know, like
if we were King Made.
Speaker 10 (23:10):
A Dog or something like that.
Speaker 2 (23:13):
Yeah, I mean, just the sheer size of the stadium
there was overwhelming.
Speaker 10 (23:20):
Actually, there's a.
Speaker 9 (23:21):
Couple there's a couple of shots which Frananda.
Speaker 16 (23:24):
Bery cleverly put in almost at the end of the
where you kind of get the scale of the and
the amount of people that were in there.
Speaker 9 (23:36):
And you know, at that moment I actually got kind
of hairs.
Speaker 10 (23:40):
On my arm stood up and I was like wow,
because and then what it feels.
Speaker 7 (23:44):
Like, Yeah, it looks like all Mexicokine. The crowd is
so huge.
Speaker 10 (23:52):
I just I was just gonna say that.
Speaker 1 (23:54):
I think that there were some lucky things as well, because.
Speaker 9 (23:58):
You know, we played in mexic Go.
Speaker 7 (24:00):
City after a month off, so.
Speaker 9 (24:03):
We all came back a little bit fresher. We played
in Mexico City right around the Day of the Dead.
Speaker 7 (24:09):
I don't think, you know, I don't think somebody thought
about that a lot, did you, Donathan, That must have.
Speaker 10 (24:17):
Been luck.
Speaker 6 (24:23):
So to go back to your relationship with the crowd.
I mean, Dad, your performance style is so energetic, so
flann Wye.
Speaker 7 (24:32):
Has it always been like that?
Speaker 25 (24:33):
You have?
Speaker 7 (24:33):
You have you opened up over the years.
Speaker 10 (24:46):
I think.
Speaker 2 (24:49):
I just I tried to just become the song, become
the performance, and I've learned or that's.
Speaker 12 (24:58):
What's happened over the you and it's quite natural. But
you know, if I really embody the character that is
up there performing.
Speaker 10 (25:07):
The songs.
Speaker 22 (25:12):
And with with the response of course from from everybody
in the audience, it's just easier for me to do
it like that. When it when it's flowing, and when
it's really good, I really enjoy the performance.
Speaker 6 (25:32):
Yeah, I was taking notes trying to figure out who
you reminded me of themselves, like Mick Jagger, James around
and the.
Speaker 10 (25:40):
Leaves a little bit from everybody.
Speaker 6 (25:41):
So well, the one I finally realized, but you reminded
me of the world of dervishes of Konyne Turkey who
are carried away by.
Speaker 7 (25:50):
The spirit family the music, and it was just, you know.
Speaker 12 (25:55):
There's an expos it's a bit, it's a bit of
I mean, life and death is so close.
Speaker 26 (25:59):
It's a close thing. We just it's just so fleeting,
you know. But when you're performing on stage and a
drawing and increase, it's it's a moon and you're really
in the moment, you know, and you know at the
end of the.
Speaker 10 (26:13):
Day, that's what we really did have that.
Speaker 7 (26:17):
And I think the film captures that really well. I
mean not you know, both the concerts, would it, but
also these other works that you've interspurts throughout.
Speaker 9 (26:24):
There is this sense of, you know, we're.
Speaker 7 (26:27):
All kind of covering between life and death, and the
music captures that. And that's been the and that's been
the special thing about your music for so long. I mean,
you've you guys seen about you know, dark subjects very often,
but we dance.
Speaker 20 (26:45):
Darkness and I think it's help that that's when.
Speaker 6 (26:47):
Connection with the dead.
Speaker 9 (26:49):
I think it could really.
Speaker 12 (26:50):
Really reinforced that there's a playful aspect to death.
Speaker 10 (26:53):
Yeah, of course.
Speaker 21 (26:55):
And of course, like many of like you know, like
like they were saying like it's hard to capture, right, so,
and there's some elements about being paid book with darker
stare right.
Speaker 9 (27:05):
So, for example, the idea of.
Speaker 15 (27:08):
Like you know, the artists who says like, oh, bringing
out something from the screen had to make it look
at the.
Speaker 9 (27:12):
Bids for life.
Speaker 17 (27:13):
So we knew that we were, you know, like trying
to capture the end of that answer and putting the screen.
Speaker 9 (27:19):
And then how do we kind of embrace that.
Speaker 15 (27:21):
And make it even like somehow meta, you know, to
kind of project the idea of like we wanted to
become alive again.
Speaker 9 (27:26):
So it's that kind of of things. And also at
the same time, we knew that this is I knew
that it was a concert zone, you know, so we.
Speaker 27 (27:38):
Had to build those segments very careful so they didn't
take over or you know, it is de find the
balance between those, you know. So so and I had
like different perspectives or voices or some are more poetic,
some a little bit more playful.
Speaker 28 (27:52):
Some are a little bit more informative, you know. But yeah,
because at the end of the fact, that day was
it was really hard to figure out like how some
which should be like let's lead out you.
Speaker 6 (28:02):
Know, you know them did did Did you find those
are those segments after you shot concert?
Speaker 7 (28:10):
After the concert?
Speaker 10 (28:12):
No so much?
Speaker 20 (28:13):
Had you know, like somebody like.
Speaker 15 (28:16):
Using footage from like like I don't know from one
that I shot myself like.
Speaker 9 (28:21):
Twenty five years ago, you know, and annoying.
Speaker 15 (28:24):
We paid a lot with like analog versus digital technology
and finding like you know, like those accidents and bringing
them in and then.
Speaker 9 (28:34):
We opened the segments and we knew what we wanted.
Speaker 10 (28:36):
Them to be about.
Speaker 9 (28:37):
Some we were like we really put them together easily.
Speaker 17 (28:40):
Some others we we invited the poets, for example, and
then when once Danian human catch up, who does the
voice over read it? Like, they became something different, So
we we had to go and get some other images
or you know something.
Speaker 7 (28:54):
It was just like five and did you and you
found some fans in the audience too, right?
Speaker 10 (28:59):
Yeah?
Speaker 7 (29:00):
Yeah, I mean you did? How did that?
Speaker 10 (29:02):
What was that process?
Speaker 6 (29:03):
Like?
Speaker 15 (29:04):
Well, we knew that we didn't want that there were
other documents already documentaries have already learned about.
Speaker 9 (29:10):
Like fans not really there there their experience, and we
wanted to take.
Speaker 17 (29:14):
It away from like the dead person. So we wanted
to keep like the collective spirit of the concert.
Speaker 15 (29:19):
So that's why you're listening to someone but then watching
the face of other one, you know.
Speaker 6 (29:22):
And and.
Speaker 9 (29:24):
Yeah, I mean what we really found so many pantom
there helpful and a lot of them came in from
next it.
Speaker 20 (29:30):
Go right now, Yeah, let's talk a little bit more about,
you know, the analog.
Speaker 7 (29:42):
Aspects of the filming with the analog TVs.
Speaker 20 (29:44):
And I mean that was you know, we I've always
thought of.
Speaker 6 (29:50):
The depesion oders a very technologically forward and very technological
because studiand but obviously you've been performing, you've been around
for so long, and so you know when I think of,
you know, my own cassette, you.
Speaker 7 (30:04):
Know, or the LPs are the CDs now you.
Speaker 6 (30:06):
Know, which which you know a lot of people think
are obsolete. I mean it is fascinating to think about, you.
Speaker 20 (30:12):
Know, all the old formats that we saw you in
and now we can watch it here.
Speaker 7 (30:17):
And then the way the film kind of reflects all
that back to us. I thought it was fascinating.
Speaker 20 (30:24):
What did it feel like.
Speaker 7 (30:24):
Watching that stuff for you guys.
Speaker 4 (30:29):
As well?
Speaker 10 (30:29):
And I have to be something that we you know,
obviously are very aware of.
Speaker 9 (30:35):
We you know, we've been around a long time, so
everything's changed.
Speaker 7 (30:40):
Many times.
Speaker 6 (30:46):
The momentum word toward, I mean, this was this was
an immense tour you toured for I believe over a year.
I have this number, one hundred and twelve shows. Sounds
up right, I guess how do you keep your energy
up during a tour like that? I mean, given how
energetic you are, how do you how do you keep
(31:07):
it going?
Speaker 2 (31:25):
Anyway?
Speaker 7 (31:26):
You have to get.
Speaker 10 (31:33):
A little bit.
Speaker 20 (31:39):
You've talked about how you you know, if.
Speaker 6 (31:42):
You watched other concert films, you know, your connoisseur of
music and films. Were there other ones though, that you've
been inspired by over the years.
Speaker 9 (31:53):
There's a lot.
Speaker 2 (31:53):
There's lots from different all different kinds of things for
different reasons really, I mean for sigur Ross to the
rolling stares, you know, some of the old stone stuff.
Speaker 10 (32:06):
I was sort obsessed with a lot of that old.
Speaker 7 (32:09):
Stuff, like old blue.
Speaker 10 (32:10):
Skies and stuff like that.
Speaker 2 (32:13):
I think one of the best concert films was the
you know, the Last the band you know, the.
Speaker 24 (32:21):
Last Month, which is sag But it's just so brilliantly
done and I think it captures chaos somehow, pulling him off.
Speaker 9 (32:36):
You know.
Speaker 12 (32:38):
You know, we have a lot more technology in these
days to be able to do things and create you know, illusions.
Speaker 20 (32:44):
And you know so so.
Speaker 10 (32:48):
But but I think the like I.
Speaker 9 (32:50):
Said before, it thinks a hard things to capture.
Speaker 22 (32:53):
I think I think it really is performance, like real performance,
you know, and that's what we try to do.
Speaker 29 (33:01):
And it changes a little bit every night and all
those things. I know, we stick to the plan. It
really depends how you feel. I mean, you change every
day and of course of a year and a half
of appointment and tour.
Speaker 6 (33:15):
So are you always aware of the cameras when they're
being when you're being.
Speaker 9 (33:19):
Shot like that?
Speaker 2 (33:19):
A few of them this time because there were drums.
You know, there's a couple that got a little close.
Speaker 25 (33:29):
I see, so m.
Speaker 7 (33:35):
But there was cameras everywhere.
Speaker 12 (33:36):
I mean, we it was one of the things we
wanted to have, uh this to be able to capture
all these different things and to captures.
Speaker 10 (33:46):
All the bands.
Speaker 9 (33:47):
What was happening between us on stage because we.
Speaker 10 (33:50):
Have we have a lot of fun, you know, when
it's working.
Speaker 30 (33:53):
It's it's we have really have fun together, and it's
you're you're in sync with each other, you know you basically,
and it's humanly too as well, which you know that's
not easy to do.
Speaker 7 (34:07):
That that really comes across the film. I think, you know,
like it's almost it's it's almost like we're watching.
Speaker 6 (34:13):
A buddy comedy about the two of you, you know,
I mean the interactions.
Speaker 9 (34:18):
It really doesn't mean like I'm on the size.
Speaker 7 (34:24):
You know, boy, you've been quiet for a little while.
Speaker 9 (34:30):
Sorry at fool.
Speaker 7 (34:37):
Fernando, I wanted to.
Speaker 9 (34:38):
Ask you about this.
Speaker 6 (34:40):
I don't know how familiar you folks are with Toernando's
other work. He's one of the most exciting filmmakers working today.
Speaker 20 (34:48):
And there are two of his films that one.
Speaker 7 (34:51):
Called I'm No Longer Here and then the other one.
I don't expect.
Speaker 9 (34:53):
Anyone to believe it.
Speaker 7 (34:54):
They're both available on Netflix.
Speaker 25 (34:56):
You can watch something and put up Yeah, it was
very connected to the musical subcultures of Mexico.
Speaker 7 (35:06):
I mean, I'm I'm No Longer Here is all about Cumbia,
he directed the first season.
Speaker 9 (35:12):
Of Boss Spookies.
Speaker 7 (35:15):
And tell us a little bit about Depeche Mode and Mexico.
Speaker 10 (35:21):
Well, that's a.
Speaker 9 (35:23):
I mean, there's there's a when when I first.
Speaker 15 (35:26):
Started talking about this product, I knew, you know, like
the peche Mode.
Speaker 9 (35:29):
It's it's it's a fan in Mexico, you know, like everybody,
everybody knows and everybody loves it.
Speaker 10 (35:35):
And I mean it's not a there's.
Speaker 9 (35:38):
A written for which we've decided to should this film there.
Speaker 15 (35:42):
Right, it was like three years old, out eighty thousand
stadium capacity and and for me what what impresses me
the most.
Speaker 9 (35:51):
About the band is like how well it worked with
so many.
Speaker 15 (35:55):
Different sectors of the population in Mexico, where like like
some other thing you were talking about, like sub culture,
they have like their identity anchor to one specific music kind,
the legacy and the sound of the pet Mode like
in Mexico all throughout it.
Speaker 17 (36:11):
For me, it was very, very very interesting because of
course I was directing the concert, and then I have
a very different group of friends from friends who love like,
I don't know, hardcore, to other friends who are like
now listening to what their kids are listening to and
when we were shading, like it was very very exciting
because everyone came.
Speaker 9 (36:30):
Together, you know, and everyone I was like, hey, we
want to be there, we want to help you, you know.
Speaker 15 (36:34):
And I was super funny because I like all of
the spectrum of my friends like and I think all
of the spectrum of Mexican society kind of like see
themselves in like in the petrodel Also because of the
of the amount of time and you know, like the
songs that have a company that for so long.
Speaker 9 (36:49):
You know, I can relate to a very specific period
of time.
Speaker 19 (36:52):
With just getting off, you know, and now of course
I will always remember my mentor money has the opportunity
and to make.
Speaker 9 (37:00):
It's gone, you know, which has been an incredible process.
So it's something that keeps lasting, you know, and and
building such a strong length. And I think Mexican has
gone very much with that kind of like.
Speaker 15 (37:12):
Nostalgic aspect of like things that represent a particular moment
in your life.
Speaker 9 (37:17):
And I think that's also something that all their music
had income ye.
Speaker 7 (37:25):
Are like much for some of them.
Speaker 9 (37:28):
I mean there's literally hundreds of people.
Speaker 10 (37:31):
That are involved in making a film anything.
Speaker 12 (37:36):
But in its maney in particular and you are trying
to capture something over a few nights and it's you know,
it's it's like a military operation.
Speaker 2 (37:47):
I mean just that crew mom, and it's a one
hundred plus strong. But then there's all the people that workforce.
When you hit a city, there's.
Speaker 9 (37:56):
All the people from Mexico, people that were involvement and
other people have.
Speaker 10 (38:00):
Know, I mean, it's it's a right thing. You know,
it's a really communional thing.
Speaker 9 (38:06):
And also like with the fans because you know, like
and then the first day I'm seeing the show is
the first day I'm shooting, so we're learning a lot.
Speaker 15 (38:13):
But you guys took up a month, so that was
enough for like someone like someone went online.
Speaker 9 (38:19):
And stitched together the whole show. I don't know where
is Europe on YouTube?
Speaker 17 (38:23):
By finding like you know, like pieces of little videos
and that's where recorded on their iPhone.
Speaker 9 (38:28):
But that's such like a you know, like a work
you know, that's how I was able to watch the.
Speaker 21 (38:34):
Who So you stole it?
Speaker 9 (38:40):
That's where somebody else?
Speaker 10 (38:43):
What's you? We've always done that one thing as well.
Speaker 7 (38:50):
When I'm a mentor mentioned the last.
Speaker 31 (38:52):
Time, you know, we've put out many, many, many films
over the years, and the majority of the live live
films have been been recorded in Europe and some have
been recorded in America.
Speaker 7 (39:11):
And I think it was really important and great that
we've got to do this in Mexico. So much from
Mexico over the years.
Speaker 9 (39:29):
Do you love You're going to speak up.
Speaker 7 (39:40):
Mexico. So we're working time.
Speaker 10 (39:57):
I just wanted the film is.
Speaker 9 (39:59):
Coming out later here, right.
Speaker 6 (40:00):
I don't think there's a specific release that said, yeah,
but it's going to be. I guess it's a fall sometimes.
I mean, this is the world prepare so everyone should
at least feel free.
Speaker 7 (40:10):
To everyone you know all about it.
Speaker 20 (40:13):
Don't And.
Speaker 6 (40:17):
Before thank these guys, I want to thank all of
you that came out. I had seen this film in
the basement of my house because I want to see.
Speaker 7 (40:26):
It, you know, because I was going to be doing
the moderation seeing any years. It was like a religious experience.
Speaker 10 (40:33):
You know.
Speaker 7 (40:33):
It was like watching two thousand and one. It was
incredible and you both had.
Speaker 20 (40:38):
A lot to do with it.
Speaker 7 (40:38):
Thank you, Thank you guys, Thank you so much, you know.
Speaker 3 (40:48):
And of course there's no talk of the future within
that interview. I thought the guy that did the interview whoever.
I don't know who he was, but I thought the
individual who conducted the interview did a decent enough job.
It was and quite as trite as what we've heard
from other interviews, and certainly not the interview that was
done for the launch of Memento Mori, which was just
(41:08):
one of the worst interviews I think I'd heard of
the band, especially after everything that had transpired.
Speaker 4 (41:14):
Be that as it may.
Speaker 3 (41:15):
If you've seen the photos from the event, Martin, especially
Dave look absolutely fantastic. Dave looked like he's aged. You know,
he's he looks ten years younger. Let's see, he's aged
less than a decade. But that's what I'm trying to
say is he looks ten years younger in those photos.
They both look absolutely fantastic, and I don't know, this
(41:36):
has me excited for the future.
Speaker 4 (41:39):
I just got a vibe.
Speaker 3 (41:40):
Watching Dave and Martin and watching that interview that this
certainly was not the end by any stretch. I mean,
this seemed like a band that with a band that
was still in motion, not a band that was getting
ready to wrap it up. So we'll see what other
information comes out, if there's any Quinn interviews done with
(42:01):
Martin and Dave in the wake of this debut at
the Tribeca Film Festival, and of course you know the
interviews in the promotion that will come later on this
year in the fall. We've heard that the documentary should
be officially released sometime in November. So all right, that's
your bonus podcast. I'm going to get out to my weekend.
The show will be back again Wednesday or Thursday next week,
(42:22):
and hopefully we'll be talking with Rob Rahm from the
Global Depeche Mode fangroup. Has always dropped me an email
justice on the that's my work email address, Sorry, talkshow
Nerd at gmail dot com. Talkshow Nerd at gmail dot com.
That's where you can find me there, or if you're
enjoying this up on YouTube, leave a comment there and
we'll share those on the next week's show. As always,
(42:44):
I hope wherever you are, you're happy, you're healthy, and
you're safe. God bless and I'll talk to you next week.
Speaker 4 (42:50):
Bye.
Hello, this is Martin Gold from depeche Mode.
Speaker 2 (00:07):
Alright, this is died Gombe from depeche Mode, and you
are listening to.
Speaker 3 (00:10):
My word Ros depeche Mode the podcast. I'm your host,
John Justice with this bonus episode. Depeche Mode m the
new cinematic experience directed by Fernando Freest, debuted at the
Tribeca Film Festival in New York City yesterday. At the
(00:33):
time of my recording of the show this week, a
lot of obviously depeche Mode fans there in the audience.
Friend of the show, and the individual who runs the
global depeche Mode fan group, Rob Rahm, was there. I've
been communicating with him throughout the day and the evening
tonight as he gives me his first impressions of the film. Now,
(00:57):
if you have not heard, there is a brand new song,
one of the four unreleased fully produced tracks from Memento
Moriy that actually plays during the credits of the film.
So here's what we're gonna do on this relatively short
podcast this week.
Speaker 4 (01:14):
I'm not gonna keep you waiting.
Speaker 3 (01:15):
I do have the audio of the new song recorded
from the audience there at the screening, so the quality
obviously isn't great, but it gives you an idea of
what In the End sounds like. And just from my
personal perspective, as I suspected those four unreleased tracks. If
In the End is representative of the quality of those
(01:36):
four tracks that did not make it on the official
Memento Moriy release, then we are really in for a treat.
In the End sounds absolutely fantastic. Now we know the
title of another track that hasn't been released, like two
point zero, the other two songs are excuse me, still
a bit of a mystery. This is addressed at the
(01:56):
beginning of the interview that took place after this, so
Martin talks a bit about when those tracks may or
may not come out. We don't get a lot more details.
I'll share with you my further thoughts on and expectations
of what I think is going to play out later
this year when the film gets its official release. So
I'm gonna play the song so you can hear In
(02:18):
the End again recorded from the audience, I will share
with you Rob Rahm's review of the film. Also, I
grabbed another review from the home forum Depeche dashmode dot
com and another individual who was there at the screening
giving their thoughts on the film. And then I pulled
the audio taken from the crowd at the Q and
(02:39):
A after the debut of the movie with Martin and
Dave and the director for Nando Frius. The audio is
a little bit hard to hear because it was recorded
from the audience, and so I did my best to
go in and clean it up.
Speaker 4 (02:53):
So here is the new song, which.
Speaker 3 (02:55):
Is kind of an old song even though it hasn't
been released from the last album that didn't make an
armamento Maury in the end, and then I'll come back
on the backside and we'll talk a little bit about
the film itself.
Speaker 2 (03:08):
But I know.
Speaker 4 (03:12):
You song You's ung.
Speaker 5 (03:17):
Who scream the Cracks spread awes ohschools s.
Speaker 6 (05:02):
S S.
Speaker 3 (05:28):
Six And you can tell, even with the poor audio quality,
(06:10):
the production on that song sounds absolutely fantastic. I was
shocked when Rob had reached out to me. Rob Rahm
had reached out to me and said, Hey, they're playing
a new song at the end credits of the of
the movie. So my expectation and then we'll get to
Rob's review here is based off of what Rob said.
I think there's a good possibility that when we get
(06:31):
a physical release, and we will get a physical release
that will get the entire show. That being said, this
being more of a concert film, perhaps it'll be something
as I had suspected and speculated on previous podcasts, more
akin to what we received with one oh one, where
we got the one oh one movie in the box
set and then included was a handful of songs to
(06:53):
further round out the entirety of the show. Even though
we'd never got an official from beginning to the end
encore release of the one oh one show in video form,
of course, we got the album one oh one. So
this is what Rob had to say to me his
initial reaction to the film, and hopefully we're gonna get
(07:15):
him on the show where we can talk more at
length about his trip his further thoughts on the movie
next week on the podcast. But Rob had this to say.
He said, a great concert film. The cinematography and audio
were phenomenal. I expected it to be more of a documentary,
but it felt more like the strange release with little
segments between videos. It was a great capture of the
(07:38):
momento Morey tour, and it felt like a good capture
of that tour more than necessarily a documentary about Mexico. Overall,
it was great in everyone that I've spoken to thought
so as well. He goes on to mention in the
end was used in the credits. There is only one
Martin song in the movie that he sang. He did
(07:59):
not which track that was Ghosts Again was actually in
the credits and not in the movie itself, which is
a bummer for me because that's my favorite song off
of Memento.
Speaker 4 (08:10):
Moriy I asked him whether or not.
Speaker 3 (08:15):
He felt that we would get a full concert release
along with this, or because it was more of a
concert film, if he felt like this would be the
actual concert release, and he says, it is more true
to the set and the order of the set with
some omissions. So again, it kind of feels a bit
(08:36):
like maybe one oh one's not the right example. I
was gonna say that with one O one, we got,
you know, a lot of songs from the tour, although
recorded at different different venues. This sounds like the baseline
of the movie was the concert and then they were
spiking in segments relating to the documentary aspect and life
(08:57):
in Mexico. Relating to death, he did say that he
found it a little annoying that the song title and
the album the song was from was actually shown on
screen before the beginning of each song, so as a
bit of an intro, so Policy of Truth pops up
and you know they're playing Policy of Truth and it
(09:18):
says Policy of Truth from Violator up on the screen. Now,
what's interesting about that, and this is just rampant speculation
on my part, and that is that I was told initially,
even though there's a perhaps a different reason now, but
I was told initially that there were some licensing issues
relating to getting the film done. Now, over the course
(09:41):
of the decades that depeche Mo has been making music,
I can't help but wonder what the current licensing agreements
are relating to older tracks and what labels actually own
those tracks at the moment, and whether or not the
inclusion of the song in which album from might have
(10:01):
been a way to deal with licensing issues. Either way,
I'm curious to see, like what kind of font they used,
how prominent is it.
Speaker 4 (10:09):
On the screen.
Speaker 3 (10:10):
But for more casual fans to go out and see
this film, and Dave actually mentions in the Q and A,
you'll hear that they had to trim back the entire
set list because he was saying that nobody wants to
stay in a movie theater for two and a half hours.
You know, I would have for a Depeche Mode show
Bee that is in May, and so you wonder if,
(10:31):
in an attempt to sort of bridge the gap with
the more casual fans that may not be as familiar
with the songs, that this was a way to go
and do that.
Speaker 4 (10:38):
Now.
Speaker 3 (10:39):
The other review I wanted to share with you is
from Jazz. As I mentioned from the home forum, he said,
as for the film itself, I enjoyed it, though I
was expecting more about the fans in Mexico, but that's
down to my own misunderstanding of what this was going
to be about. Ninety minutes long, mostly concert footage with
a good song selection, nicely some thoughtful poem like pieces
(11:02):
here and there about life and death and its significance
in Mexican culture. He goes on to say, hopefully we
get a home release with all of the Mexican concert
tracks from that show. Something I found amusing was that
the majority of the audience didn't seem to realize that
(11:22):
in the end that was playing during the credits was
the premiere of that song.
Speaker 4 (11:26):
They were talking over the credits by then while it.
Speaker 3 (11:29):
Went really silence, and I said to people sitting next
to me, oh my gosh, you realize what this is.
I'm surprised how little fanfare there was about it, wrapping
up saying I thought it was fantastic lyrically beautiful, tempo wise,
reminiscent of Newborn for me talking about in the end
the track, but I don't know if that opinion will
hold after I listened to it again. David Martin share
(11:51):
vocals and this one, and this was one of the
Butler Gore tracks, so there's a little bit of inside
information too. I can see why it was Momento Morey,
since I don't think it would have fit. But it's
a beautiful B side and I really hope we get
to hear an official recording soon. So again, just a
smattering of views from Rob Brahm and Depeche Mode fan
(12:13):
a devote on the home forum.
Speaker 4 (12:15):
Listen.
Speaker 3 (12:15):
I'm probably more excited for the film now than I
was before, being that it really is going to be
more of a concert film. We've had the documentary style.
When it comes to Spirits in the Forest, and of
course we got the full show with that release and
one oh one. And when you go back to the
description the interstitial moments the way it was described in
(12:38):
the press release, I suppose now we understand a little
bit more of what that was. This was more of
a straightforward concert film with a splicing in of Mexico's
culture within the film.
Speaker 4 (12:50):
And again I'm.
Speaker 3 (12:52):
Really excited, and you can hear Dave and Martin sort
of share their views on it.
Speaker 4 (12:57):
And there's an interesting moment with.
Speaker 3 (12:58):
Martin Gore when you hear this Q and a h
wherein he talks a little bit about the poetry that
was in the film and having to go and talk
with the man's longtime manager, Jonathan Kessler about tracking down
who the poets were.
Speaker 4 (13:10):
It's really fascinating.
Speaker 3 (13:12):
The only complaint that I have as Martin didn't speak,
didn't have a lot to say, which is not, you know,
untypical of Martin Gore during the Q and A session.
So so here is that Q and a session, and
then I'll wrap up afterwards with just a few more thoughts.
Speaker 7 (13:28):
I actually the first question I wanted to ask was actually.
Speaker 6 (13:31):
About the song we just heard at the end of
the d there. I got to see this film a
little early.
Speaker 7 (13:38):
When I first heard that song, I was like, say,
I man it looking up with.
Speaker 4 (13:41):
The lyrics, who is this song?
Speaker 7 (13:42):
And I realized, Oh, this isn't song right.
Speaker 8 (13:46):
Tell So.
Speaker 1 (13:50):
I think we mentioned a long time ago that there
were four extra tracks that we were cool.
Speaker 7 (13:54):
With you during the lay of men Mai seeing these
people have been asking me all.
Speaker 9 (14:02):
The time, where are they coming out?
Speaker 7 (14:03):
Where are they whit why? Well that's one of them.
Speaker 1 (14:12):
The far from Your all the other three don no clue.
Speaker 10 (14:21):
I love being.
Speaker 11 (14:25):
I actually when we were watching various and this is
a movie I mean, but I was put on quite
like in the credits and I first sort of credits for.
Speaker 10 (14:37):
Every los like, I know this song. I really it's
a minute. Oh yeah, we did that.
Speaker 7 (14:48):
It's a beautiful song.
Speaker 6 (14:50):
We were talking a little bit with Fernanda earlier about
how this project came about. But tell me from your
perspective sort of how we decided to actually make a
movie this comes He's.
Speaker 12 (15:05):
Right, Well, it's something we really like to the leader
to be honest around the point of view, like two.
Speaker 10 (15:15):
You know, we always.
Speaker 2 (15:18):
Historically have recorded the shows a certain.
Speaker 10 (15:22):
Point of the tour somewhere and this.
Speaker 9 (15:27):
Opportunity came up to do this in Mexico City, And.
Speaker 13 (15:33):
I mean, really this is for an another concept to
an idea and everything behind you, and in a way
where even though there's a lot of boat songs in
there and not all of just said if you would
be bored out of your.
Speaker 2 (15:45):
Mind, and it was, you know, through two hours something
two hours and fifteen minutes, had the film would be
too long, I would.
Speaker 10 (15:53):
Walk out anyway.
Speaker 9 (15:56):
But so there was a lot of stuff taken out,
but he kind of you know, it's a constant.
Speaker 8 (16:02):
So much like the songs, they were everything performance wise,
they are a sort of compliment to the concept.
Speaker 7 (16:13):
How does it feel like? How does it feel watching this?
Speaker 6 (16:16):
Because this is I mean you're watching yourselves obviously, but
also this is another artist interpretation of your work to
a certain extent.
Speaker 9 (16:22):
Also, I mean other.
Speaker 6 (16:23):
Artists, because there are other artists involved in the film.
Speaker 7 (16:27):
What did it feel like watching it?
Speaker 1 (16:31):
It's I loved it the first time I saw it.
Really I learned a lot. Yeah, I really liked the
poems in it.
Speaker 14 (16:42):
And I never I had no clue who those poets were,
and I had to get Jonathan and managed to reach
out to Fernando to inform me on all this.
Speaker 7 (16:53):
So I think it was a journey really very educational.
Speaker 6 (17:00):
For now, tell us about how you assemble these ideas,
these people, these poets.
Speaker 15 (17:07):
Yeah, I think like in every project, you finding that
you go right, and more so with the documentary, so
we knew the elements, you know, we knew that we
didn't want to work with interviews or we didn't want
to feature fans as it had.
Speaker 9 (17:24):
Been done before.
Speaker 16 (17:25):
You know.
Speaker 15 (17:26):
Also like I was listening to the songs and I
put together you know, like, yeah, a document with the
inspiration taken from the music.
Speaker 9 (17:37):
And I mean.
Speaker 15 (17:39):
There's so many things, but like the most important thing
was like it's a sort of memento money, you know,
and and mement money.
Speaker 17 (17:45):
Meaning remember you would die, and and.
Speaker 18 (17:49):
Thinking well, life as we know, it's something lidid.
Speaker 9 (17:55):
So so I was inspired.
Speaker 18 (17:57):
I was inspired by it by imitations, right, like by
the but that's.
Speaker 9 (18:01):
Why we're using these old formats.
Speaker 15 (18:02):
Even to kind of branding people and the audience or
for my friend's kids, you know, or different ways of
playing with it. And and yeah, like working around those.
Speaker 9 (18:15):
Limitations of.
Speaker 18 (18:18):
And trying to find you know, metaphors or so like
this lividifying that the idea of.
Speaker 9 (18:23):
Like Mexico and Day of the Day.
Speaker 15 (18:24):
You know, they kind of take issues with wanting to
actually really go a little deeper or open the discussion
about like why are those connections m pain you know,
And so.
Speaker 9 (18:35):
It was a very very long process, and.
Speaker 19 (18:37):
I have to say we were finding it on the
way and one of the most enjoyable things was like
the editing process of the Stones, right, each song has
we decided to have some sort of like.
Speaker 18 (18:50):
Style of personality to, you know, and it was really
hard to decide which ones to leave behind.
Speaker 9 (18:54):
So we were like communicating and and navigating that.
Speaker 15 (19:00):
Yeah, we had a lot of fun, you know, like
reaching the leavings of the format, like the editing and
kind of playing around like the inexactitude, you.
Speaker 10 (19:08):
Know, like because of I don't know.
Speaker 17 (19:11):
We feel like we leave in the days where everything
needs to be more calculated than exactly and Mile itself
is nothing like that.
Speaker 10 (19:16):
So I wanted to.
Speaker 15 (19:17):
Play with those concepts and representing like just the energy
of the music.
Speaker 9 (19:24):
What we were talking we were talking.
Speaker 20 (19:34):
Earlier about the challenge of this film.
Speaker 7 (19:38):
I mean the shooting the concert.
Speaker 6 (19:40):
You were talking about, you know, recording the sounds of
the concert. I mean, you mind the crowd. Tell me
a little bit about how.
Speaker 15 (19:47):
The Yeah, like there were three shows and intu a
much different a little bit, and I mean we had
like three.
Speaker 21 (19:54):
Chances, and we were learning as we went to So
for example, with the cameras, you know, like the cameras
and are used.
Speaker 9 (19:59):
For show, we didn't want to interfere with.
Speaker 15 (20:02):
That because they're used for the CDDV, right, So so
we have to play around help with.
Speaker 9 (20:09):
Ways of how we use it, you know.
Speaker 17 (20:10):
And actually we kind of record from televisions and all that.
Speaker 9 (20:13):
And the same with the we really wanted all of
the audience because they were like singing all throughout.
Speaker 15 (20:19):
But also in the end we were like finding that
we wanted to be really intimate and on stage with them,
you know, and and earn that you know, like collective
experience and open up in the second to last.
Speaker 10 (20:30):
Song, you know.
Speaker 9 (20:31):
But of course there's so many complications.
Speaker 15 (20:33):
Because like the moment they want to like listen to
the crowd singing in the mind of concessor for the crowd,
you can listen to the music coming in there.
Speaker 9 (20:41):
So that affects the mix of the music. So it's
a complicated balance.
Speaker 15 (20:45):
So so yeah, it's it's it's like a little bit
of a complexus.
Speaker 6 (20:49):
Well. I think it worked really well because the I
mean we feel that crowd throughout the film. I mean,
it really does feel like right content and thank you
for so beautiful.
Speaker 10 (20:59):
Every people in Europe.
Speaker 6 (21:11):
It's not though most of the film, most of the
concerts as you guys performing, it really does feel like
such a collective experience.
Speaker 7 (21:20):
The quality pardience.
Speaker 6 (21:22):
They're part of the experiences, they're part of our experience.
Speaker 9 (21:26):
It's very hard to I think it's really hard to capture.
Speaker 22 (21:30):
I mean, I think my really pleased with our friend
did in the in the end because.
Speaker 16 (21:40):
From our perspective when we're on the stage.
Speaker 8 (21:43):
You know, one of the things that about Depeche Mode
concept is it is a it's a communal experience, and
it's I.
Speaker 10 (21:54):
Think it's really difficult to capture that.
Speaker 2 (21:56):
There's only very few kind of like films I've seen,
and I've seen a lot of films.
Speaker 23 (22:04):
I'm a fan of watching films and music and bands
and stuff like that, but there's only very few I
think that really managed to capture that well, certainly from.
Speaker 24 (22:14):
Our perspective, how that translates, and it is a fine
line watching ourselves.
Speaker 10 (22:23):
Of course, you know he is.
Speaker 24 (22:25):
Kind of playful, right, But it's I can't I can't
really explain.
Speaker 10 (22:33):
What happens when you actually are performing. It is a.
Speaker 2 (22:38):
Strange kind of spiritual experience, to be honest, that happens.
Speaker 19 (22:45):
Together.
Speaker 2 (22:46):
It's more we're communicating somehow through music.
Speaker 9 (22:52):
You know, it's an incredible thing.
Speaker 6 (22:54):
Has that experience changed for you over the years. Is
your relationship to the crowd changed?
Speaker 7 (23:00):
And when you've flit performing for so long, it's quite bigger.
Speaker 9 (23:06):
We used to be twenty three pople, you know, like
if we were King Made.
Speaker 10 (23:10):
A Dog or something like that.
Speaker 2 (23:13):
Yeah, I mean, just the sheer size of the stadium
there was overwhelming.
Speaker 10 (23:20):
Actually, there's a.
Speaker 9 (23:21):
Couple there's a couple of shots which Frananda.
Speaker 16 (23:24):
Bery cleverly put in almost at the end of the
where you kind of get the scale of the and
the amount of people that were in there.
Speaker 9 (23:36):
And you know, at that moment I actually got kind
of hairs.
Speaker 10 (23:40):
On my arm stood up and I was like wow,
because and then what it feels.
Speaker 7 (23:44):
Like, Yeah, it looks like all Mexicokine. The crowd is
so huge.
Speaker 10 (23:52):
I just I was just gonna say that.
Speaker 1 (23:54):
I think that there were some lucky things as well, because.
Speaker 9 (23:58):
You know, we played in mexic Go.
Speaker 7 (24:00):
City after a month off, so.
Speaker 9 (24:03):
We all came back a little bit fresher. We played
in Mexico City right around the Day of the Dead.
Speaker 7 (24:09):
I don't think, you know, I don't think somebody thought
about that a lot, did you, Donathan, That must have.
Speaker 10 (24:17):
Been luck.
Speaker 6 (24:23):
So to go back to your relationship with the crowd.
I mean, Dad, your performance style is so energetic, so
flann Wye.
Speaker 7 (24:32):
Has it always been like that?
Speaker 25 (24:33):
You have?
Speaker 7 (24:33):
You have you opened up over the years.
Speaker 10 (24:46):
I think.
Speaker 2 (24:49):
I just I tried to just become the song, become
the performance, and I've learned or that's.
Speaker 12 (24:58):
What's happened over the you and it's quite natural. But
you know, if I really embody the character that is
up there performing.
Speaker 10 (25:07):
The songs.
Speaker 22 (25:12):
And with with the response of course from from everybody
in the audience, it's just easier for me to do
it like that. When it when it's flowing, and when
it's really good, I really enjoy the performance.
Speaker 6 (25:32):
Yeah, I was taking notes trying to figure out who
you reminded me of themselves, like Mick Jagger, James around
and the.
Speaker 10 (25:40):
Leaves a little bit from everybody.
Speaker 6 (25:41):
So well, the one I finally realized, but you reminded
me of the world of dervishes of Konyne Turkey who
are carried away by.
Speaker 7 (25:50):
The spirit family the music, and it was just, you know.
Speaker 12 (25:55):
There's an expos it's a bit, it's a bit of
I mean, life and death is so close.
Speaker 26 (25:59):
It's a close thing. We just it's just so fleeting,
you know. But when you're performing on stage and a
drawing and increase, it's it's a moon and you're really
in the moment, you know, and you know at the
end of the.
Speaker 10 (26:13):
Day, that's what we really did have that.
Speaker 7 (26:17):
And I think the film captures that really well. I
mean not you know, both the concerts, would it, but
also these other works that you've interspurts throughout.
Speaker 9 (26:24):
There is this sense of, you know, we're.
Speaker 7 (26:27):
All kind of covering between life and death, and the
music captures that. And that's been the and that's been
the special thing about your music for so long. I mean,
you've you guys seen about you know, dark subjects very often,
but we dance.
Speaker 20 (26:45):
Darkness and I think it's help that that's when.
Speaker 6 (26:47):
Connection with the dead.
Speaker 9 (26:49):
I think it could really.
Speaker 12 (26:50):
Really reinforced that there's a playful aspect to death.
Speaker 10 (26:53):
Yeah, of course.
Speaker 21 (26:55):
And of course, like many of like you know, like
like they were saying like it's hard to capture, right, so,
and there's some elements about being paid book with darker
stare right.
Speaker 9 (27:05):
So, for example, the idea of.
Speaker 15 (27:08):
Like you know, the artists who says like, oh, bringing
out something from the screen had to make it look
at the.
Speaker 9 (27:12):
Bids for life.
Speaker 17 (27:13):
So we knew that we were, you know, like trying
to capture the end of that answer and putting the screen.
Speaker 9 (27:19):
And then how do we kind of embrace that.
Speaker 15 (27:21):
And make it even like somehow meta, you know, to
kind of project the idea of like we wanted to
become alive again.
Speaker 9 (27:26):
So it's that kind of of things. And also at
the same time, we knew that this is I knew
that it was a concert zone, you know, so we.
Speaker 27 (27:38):
Had to build those segments very careful so they didn't
take over or you know, it is de find the
balance between those, you know. So so and I had
like different perspectives or voices or some are more poetic,
some a little bit more playful.
Speaker 28 (27:52):
Some are a little bit more informative, you know. But yeah,
because at the end of the fact, that day was
it was really hard to figure out like how some
which should be like let's lead out you.
Speaker 6 (28:02):
Know, you know them did did Did you find those
are those segments after you shot concert?
Speaker 7 (28:10):
After the concert?
Speaker 10 (28:12):
No so much?
Speaker 20 (28:13):
Had you know, like somebody like.
Speaker 15 (28:16):
Using footage from like like I don't know from one
that I shot myself like.
Speaker 9 (28:21):
Twenty five years ago, you know, and annoying.
Speaker 15 (28:24):
We paid a lot with like analog versus digital technology
and finding like you know, like those accidents and bringing
them in and then.
Speaker 9 (28:34):
We opened the segments and we knew what we wanted.
Speaker 10 (28:36):
Them to be about.
Speaker 9 (28:37):
Some we were like we really put them together easily.
Speaker 17 (28:40):
Some others we we invited the poets, for example, and
then when once Danian human catch up, who does the
voice over read it? Like, they became something different, So
we we had to go and get some other images
or you know something.
Speaker 7 (28:54):
It was just like five and did you and you
found some fans in the audience too, right?
Speaker 10 (28:59):
Yeah?
Speaker 7 (29:00):
Yeah, I mean you did? How did that?
Speaker 10 (29:02):
What was that process?
Speaker 6 (29:03):
Like?
Speaker 15 (29:04):
Well, we knew that we didn't want that there were
other documents already documentaries have already learned about.
Speaker 9 (29:10):
Like fans not really there there their experience, and we
wanted to take.
Speaker 17 (29:14):
It away from like the dead person. So we wanted
to keep like the collective spirit of the concert.
Speaker 15 (29:19):
So that's why you're listening to someone but then watching
the face of other one, you know.
Speaker 6 (29:22):
And and.
Speaker 9 (29:24):
Yeah, I mean what we really found so many pantom
there helpful and a lot of them came in from
next it.
Speaker 20 (29:30):
Go right now, Yeah, let's talk a little bit more about,
you know, the analog.
Speaker 7 (29:42):
Aspects of the filming with the analog TVs.
Speaker 20 (29:44):
And I mean that was you know, we I've always
thought of.
Speaker 6 (29:50):
The depesion oders a very technologically forward and very technological
because studiand but obviously you've been performing, you've been around
for so long, and so you know when I think of,
you know, my own cassette, you.
Speaker 7 (30:04):
Know, or the LPs are the CDs now you.
Speaker 6 (30:06):
Know, which which you know a lot of people think
are obsolete. I mean it is fascinating to think about, you.
Speaker 20 (30:12):
Know, all the old formats that we saw you in
and now we can watch it here.
Speaker 7 (30:17):
And then the way the film kind of reflects all
that back to us. I thought it was fascinating.
Speaker 20 (30:24):
What did it feel like.
Speaker 7 (30:24):
Watching that stuff for you guys.
Speaker 4 (30:29):
As well?
Speaker 10 (30:29):
And I have to be something that we you know,
obviously are very aware of.
Speaker 9 (30:35):
We you know, we've been around a long time, so
everything's changed.
Speaker 7 (30:40):
Many times.
Speaker 6 (30:46):
The momentum word toward, I mean, this was this was
an immense tour you toured for I believe over a year.
I have this number, one hundred and twelve shows. Sounds
up right, I guess how do you keep your energy
up during a tour like that? I mean, given how
energetic you are, how do you how do you keep
(31:07):
it going?
Speaker 2 (31:25):
Anyway?
Speaker 7 (31:26):
You have to get.
Speaker 10 (31:33):
A little bit.
Speaker 20 (31:39):
You've talked about how you you know, if.
Speaker 6 (31:42):
You watched other concert films, you know, your connoisseur of
music and films. Were there other ones though, that you've
been inspired by over the years.
Speaker 9 (31:53):
There's a lot.
Speaker 2 (31:53):
There's lots from different all different kinds of things for
different reasons really, I mean for sigur Ross to the
rolling stares, you know, some of the old stone stuff.
Speaker 10 (32:06):
I was sort obsessed with a lot of that old.
Speaker 7 (32:09):
Stuff, like old blue.
Speaker 10 (32:10):
Skies and stuff like that.
Speaker 2 (32:13):
I think one of the best concert films was the
you know, the Last the band you know, the.
Speaker 24 (32:21):
Last Month, which is sag But it's just so brilliantly
done and I think it captures chaos somehow, pulling him off.
Speaker 9 (32:36):
You know.
Speaker 12 (32:38):
You know, we have a lot more technology in these
days to be able to do things and create you know, illusions.
Speaker 20 (32:44):
And you know so so.
Speaker 10 (32:48):
But but I think the like I.
Speaker 9 (32:50):
Said before, it thinks a hard things to capture.
Speaker 22 (32:53):
I think I think it really is performance, like real performance,
you know, and that's what we try to do.
Speaker 29 (33:01):
And it changes a little bit every night and all
those things. I know, we stick to the plan. It
really depends how you feel. I mean, you change every
day and of course of a year and a half
of appointment and tour.
Speaker 6 (33:15):
So are you always aware of the cameras when they're
being when you're being.
Speaker 9 (33:19):
Shot like that?
Speaker 2 (33:19):
A few of them this time because there were drums.
You know, there's a couple that got a little close.
Speaker 25 (33:29):
I see, so m.
Speaker 7 (33:35):
But there was cameras everywhere.
Speaker 12 (33:36):
I mean, we it was one of the things we
wanted to have, uh this to be able to capture
all these different things and to captures.
Speaker 10 (33:46):
All the bands.
Speaker 9 (33:47):
What was happening between us on stage because we.
Speaker 10 (33:50):
Have we have a lot of fun, you know, when
it's working.
Speaker 30 (33:53):
It's it's we have really have fun together, and it's
you're you're in sync with each other, you know you basically,
and it's humanly too as well, which you know that's
not easy to do.
Speaker 7 (34:07):
That that really comes across the film. I think, you know,
like it's almost it's it's almost like we're watching.
Speaker 6 (34:13):
A buddy comedy about the two of you, you know,
I mean the interactions.
Speaker 9 (34:18):
It really doesn't mean like I'm on the size.
Speaker 7 (34:24):
You know, boy, you've been quiet for a little while.
Speaker 9 (34:30):
Sorry at fool.
Speaker 7 (34:37):
Fernando, I wanted to.
Speaker 9 (34:38):
Ask you about this.
Speaker 6 (34:40):
I don't know how familiar you folks are with Toernando's
other work. He's one of the most exciting filmmakers working today.
Speaker 20 (34:48):
And there are two of his films that one.
Speaker 7 (34:51):
Called I'm No Longer Here and then the other one.
I don't expect.
Speaker 9 (34:53):
Anyone to believe it.
Speaker 7 (34:54):
They're both available on Netflix.
Speaker 25 (34:56):
You can watch something and put up Yeah, it was
very connected to the musical subcultures of Mexico.
Speaker 7 (35:06):
I mean, I'm I'm No Longer Here is all about Cumbia,
he directed the first season.
Speaker 9 (35:12):
Of Boss Spookies.
Speaker 7 (35:15):
And tell us a little bit about Depeche Mode and Mexico.
Speaker 10 (35:21):
Well, that's a.
Speaker 9 (35:23):
I mean, there's there's a when when I first.
Speaker 15 (35:26):
Started talking about this product, I knew, you know, like
the peche Mode.
Speaker 9 (35:29):
It's it's it's a fan in Mexico, you know, like everybody,
everybody knows and everybody loves it.
Speaker 10 (35:35):
And I mean it's not a there's.
Speaker 9 (35:38):
A written for which we've decided to should this film there.
Speaker 15 (35:42):
Right, it was like three years old, out eighty thousand
stadium capacity and and for me what what impresses me
the most.
Speaker 9 (35:51):
About the band is like how well it worked with
so many.
Speaker 15 (35:55):
Different sectors of the population in Mexico, where like like
some other thing you were talking about, like sub culture,
they have like their identity anchor to one specific music kind,
the legacy and the sound of the pet Mode like
in Mexico all throughout it.
Speaker 17 (36:11):
For me, it was very, very very interesting because of
course I was directing the concert, and then I have
a very different group of friends from friends who love like,
I don't know, hardcore, to other friends who are like
now listening to what their kids are listening to and
when we were shading, like it was very very exciting
because everyone came.
Speaker 9 (36:30):
Together, you know, and everyone I was like, hey, we
want to be there, we want to help you, you know.
Speaker 15 (36:34):
And I was super funny because I like all of
the spectrum of my friends like and I think all
of the spectrum of Mexican society kind of like see
themselves in like in the petrodel Also because of the
of the amount of time and you know, like the
songs that have a company that for so long.
Speaker 9 (36:49):
You know, I can relate to a very specific period
of time.
Speaker 19 (36:52):
With just getting off, you know, and now of course
I will always remember my mentor money has the opportunity
and to make.
Speaker 9 (37:00):
It's gone, you know, which has been an incredible process.
So it's something that keeps lasting, you know, and and
building such a strong length. And I think Mexican has
gone very much with that kind of like.
Speaker 15 (37:12):
Nostalgic aspect of like things that represent a particular moment
in your life.
Speaker 9 (37:17):
And I think that's also something that all their music
had income ye.
Speaker 7 (37:25):
Are like much for some of them.
Speaker 9 (37:28):
I mean there's literally hundreds of people.
Speaker 10 (37:31):
That are involved in making a film anything.
Speaker 12 (37:36):
But in its maney in particular and you are trying
to capture something over a few nights and it's you know,
it's it's like a military operation.
Speaker 2 (37:47):
I mean just that crew mom, and it's a one
hundred plus strong. But then there's all the people that workforce.
When you hit a city, there's.
Speaker 9 (37:56):
All the people from Mexico, people that were involvement and
other people have.
Speaker 10 (38:00):
Know, I mean, it's it's a right thing. You know,
it's a really communional thing.
Speaker 9 (38:06):
And also like with the fans because you know, like
and then the first day I'm seeing the show is
the first day I'm shooting, so we're learning a lot.
Speaker 15 (38:13):
But you guys took up a month, so that was
enough for like someone like someone went online.
Speaker 9 (38:19):
And stitched together the whole show. I don't know where
is Europe on YouTube?
Speaker 17 (38:23):
By finding like you know, like pieces of little videos
and that's where recorded on their iPhone.
Speaker 9 (38:28):
But that's such like a you know, like a work
you know, that's how I was able to watch the.
Speaker 21 (38:34):
Who So you stole it?
Speaker 9 (38:40):
That's where somebody else?
Speaker 10 (38:43):
What's you? We've always done that one thing as well.
Speaker 7 (38:50):
When I'm a mentor mentioned the last.
Speaker 31 (38:52):
Time, you know, we've put out many, many, many films
over the years, and the majority of the live live
films have been been recorded in Europe and some have
been recorded in America.
Speaker 7 (39:11):
And I think it was really important and great that
we've got to do this in Mexico. So much from
Mexico over the years.
Speaker 9 (39:29):
Do you love You're going to speak up.
Speaker 7 (39:40):
Mexico. So we're working time.
Speaker 10 (39:57):
I just wanted the film is.
Speaker 9 (39:59):
Coming out later here, right.
Speaker 6 (40:00):
I don't think there's a specific release that said, yeah,
but it's going to be. I guess it's a fall sometimes.
I mean, this is the world prepare so everyone should
at least feel free.
Speaker 7 (40:10):
To everyone you know all about it.
Speaker 20 (40:13):
Don't And.
Speaker 6 (40:17):
Before thank these guys, I want to thank all of
you that came out. I had seen this film in
the basement of my house because I want to see.
Speaker 7 (40:26):
It, you know, because I was going to be doing
the moderation seeing any years. It was like a religious experience.
Speaker 10 (40:33):
You know.
Speaker 7 (40:33):
It was like watching two thousand and one. It was
incredible and you both had.
Speaker 20 (40:38):
A lot to do with it.
Speaker 7 (40:38):
Thank you, Thank you guys, Thank you so much, you know.
Speaker 3 (40:48):
And of course there's no talk of the future within
that interview. I thought the guy that did the interview whoever.
I don't know who he was, but I thought the
individual who conducted the interview did a decent enough job.
It was and quite as trite as what we've heard
from other interviews, and certainly not the interview that was
done for the launch of Memento Mori, which was just
(41:08):
one of the worst interviews I think I'd heard of
the band, especially after everything that had transpired.
Speaker 4 (41:14):
Be that as it may.
Speaker 3 (41:15):
If you've seen the photos from the event, Martin, especially
Dave look absolutely fantastic. Dave looked like he's aged. You know,
he's he looks ten years younger. Let's see, he's aged
less than a decade. But that's what I'm trying to
say is he looks ten years younger in those photos.
They both look absolutely fantastic, and I don't know, this
(41:36):
has me excited for the future.
Speaker 4 (41:39):
I just got a vibe.
Speaker 3 (41:40):
Watching Dave and Martin and watching that interview that this
certainly was not the end by any stretch. I mean,
this seemed like a band that with a band that
was still in motion, not a band that was getting
ready to wrap it up. So we'll see what other
information comes out, if there's any Quinn interviews done with
(42:01):
Martin and Dave in the wake of this debut at
the Tribeca Film Festival, and of course you know the
interviews in the promotion that will come later on this
year in the fall. We've heard that the documentary should
be officially released sometime in November. So all right, that's
your bonus podcast. I'm going to get out to my weekend.
The show will be back again Wednesday or Thursday next week,
(42:22):
and hopefully we'll be talking with Rob Rahm from the
Global Depeche Mode fangroup. Has always dropped me an email
justice on the that's my work email address, Sorry, talkshow
Nerd at gmail dot com. Talkshow Nerd at gmail dot com.
That's where you can find me there, or if you're
enjoying this up on YouTube, leave a comment there and
we'll share those on the next week's show. As always,
(42:44):
I hope wherever you are, you're happy, you're healthy, and
you're safe. God bless and I'll talk to you next week.
Speaker 4 (42:50):
Bye.
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