The Police - Everyone Stares: The Police Inside Out
by Stewart Copeland
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DVD Cover Information
Actor: Dave Gregory, Ian Copeland, Miles A. Copeland III, Stewart Copeland, Terry ChambersDirector: Stewart Copeland
Brand: Uni
Producer: Miles A. Copeland III
Cinematographer: Stewart Copeland
Producer: Stewart Copeland
Editor: Mike Cahill
Producer: Brit Marling
Producer: Derek Power
Producer: Stevo Glendinning
DVD: Region Code 1
Audio: English (Original Language); German (Subtitled); English (Subtitled); Spanish (Subtitled); Portuguese (Subtitled); French (Subtitled)
Format: AC-3, Color, Dolby, DTS Surround Sound, DVD-Video, NTSC, Widescreen
Picture Format: 1.33:1
Running Time: 74 minutes
DVD Release Date: 2006-09-12
Audience Rating: NR (Not Rated)
Studio: Hip-O Records
Movie Reviews of The Police - Everyone Stares: The Police Inside Out
Movie Review: ETERNALLY GRATEFUL, STEWART...
Summary: 5 Stars
Since I was only 5 years old in 1977, I don't have any recollection of The Police in the early days. As a `tween' I was hooked on the popular MTV videos ("Every Little Thing She Does Is Magic", etc.), and in college I bought a cd of their `Greatest Hits'.
The point is I was NOT a die-hard Police fan--that is, until I bought the `Certifiable' DVD/CD from the re-union tour. And then that was it. I had to hear more, know more, see more. I had a LOT of catching up to do.
I've always listened to Sting. But the music by The Police was entirely different.
And the primary reason is Stewart Armstrong Copeland.
Thanks, to `You Tube', I began watching snippets of old Police concerts and footage and it's clear that this band was extraordinary. Their music is NEVER the same twice. Stewart modifies the drum patterns, Sting changes up the vocals and bass, and Andy plays around with the guitar riffs. So I recently bought "Message in a Box", a few live concerts, Stewart's studio albums and a few of his film scores. And after finally appreciating and understanding the depths of this band's sheer and raw talent, I had to get this film, too.
And it was worth every penny. Any Police fan should have this in their collection. PERIOD. This footage is priceless.
Some memorable scenes include (SPOILER ALERT):
1) Sting lugging around his bags and gear to cheap motels
2) Andy `trashing' the candy store
3) Andy getting his makeup done
4) Stewart recording himself jamming during a live concert (MY ABSOLUTE FAVORITE SCENE--WATCHED REPEATEDLY)
Throughout the film, Stewart's narration and the scrolling captions are witty and humorous. And the live concert footage and music, of course, makes a wonderful background.
I really tried to find something wrong with this film, but I couldn't.
I was just the right length (although I wouldn't have complained if it was longer).
The technology was what it was, so you can't find fault with the grainy-ness of the film.
This film is part of music history and part of these talented musicians' lives and I am eternally grateful that Stewart recorded and shared these memories with us.
And if I should ever be lucky enough to run into Stewart, say at a book-signing for his memoir this fall, I'll try not to stare.
Summary of The Police - Everyone Stares: The Police Inside Out
Everyone Stares: The Police Inside Out, the directorial debut of five-time Grammy Award-winning composer and drummer Stewart Copeland, is a first-person account of The Police's ascent from obscurity to worldwide fame as well as an astute and sometimes hilarious commentary on the pop culture of the late 1970s and early 1980s. Culled from over 50 hours of Super 8 movies he shot during the acclaimed trio's heyday, the film offers an insider's perspective on touring, the other band members and the adoring fans that puts the audience in the drummer's seat. Copeland's kinetic and artful camerawork forms a visual ode to the rhythm of the road: a surreal swirl of hotel rooms, bus rides, press conferences and record signings punctuated by nightly flashes of electrifying on-stage exhilaration.Formed in 1977 and marked by Sting's keening vocal style and driving bass, Copeland's intricately syncopated Caribbean-influenced drumming and Andy Summers' lush guitar harmonies and The Police delivered a bracing, sophisticated alternative to the head-banging punk rock of the day. Shortly after the release of their first album, Outlandos d'Amour, the band's fresh sound caught fire with audiences in the U.S. and Europe. In a few short years, these 20-something rock virtuosos went from touring grungy clubs in a beat-up car to flying between arena gigs in a private plane. But despite the sudden, intoxicating and sometimes terrifying rush of fame, The Police remained a remarkably close-knit unit throughout the early 1980s, sustained by a rare musical compatibility, a shared sense of humor and the knowledge they had succeeded beyond their wildest dreams largely on their own terms. Copeland's breezy narration and onscreen annotations provide a wry, sometimes self-mocking perspective on the group's high jinks, from a lip-syncing session on skis for an early music video to their later travels throughout the Third World. Edited with a percussionist's precision timing and a composer's ear for the inherent pulse of each scene, Copeland scores the film using a pastiche of de-constructed studio and live versions of The Police's extensive and memorable repertoire."As soon as I raised the camera to my eye and started filming, amazing things began to happen," Copeland recalls. "A thrill ride began that took our group to the tippy-top of the music ziggurat. It was such an unreal experience that it seemed to make the most sense when I watched it through the lens of my camera. It was literally like watching a movie as the band sparked a fire that lit up the world for us. Everyone Stares is that movie." Copeland is an award-winning film and television composer who has written scores for Francis Ford Coppola's 1983 film Rumblefish, for which he received a Golden Globe nomination, Oliver Stone's Wall Street and Talk Radio, John Hughes' She's Having a Baby, John Waters' Pecker and Bruno Barretto's Academy Award-nominated Four Days in September. His television credits include scores for Desperate Housewives, Dead Like Me, for which he received an Emmy nomination, and The Amanda Show.He was recently nominated for a Grammy Award for Best Rock Instrumental Performance for "Birds of Prey" from his 2005 CD Orchestralli. Copeland won five Grammys for his work with The Police. Everyone Stares: The Police Inside Out is directed, produced, written and edited by Stewart Copeland. He is also the film's cinematographer, music editor and narrator."We're done," says Stewart Copeland near the end of Everyone Stares: The Police Inside Out, his homemade documentary about the rise and eventual fall of the group that ruled the planet during their '70s-'80s heyday. "When you get to where you're going, the ride is over." Yeah, but what a ride it was. Some 20 years after the Police (Copeland, Sting, and Andy Summers) disbanded for good, the drummer, now a film composer, edited the 50-plus hours of Super 8 footage he shot way back when, compiled a new soundtrack, wrote some voice-over commentary, and put together a film that, while considerably less than perfect, provides genuine insight into the chaotic, ultimately deadening world of rock superstardom. It all starts in '76, when the original band formed in England; by 1978, Copeland narrates, "we were ready to shed the leprous scab of (our) wretched history. and sally forth to the promised land of America." Fame and fortune ensued, and along the way, Copeland filmed everything--not just the inevitable scenes inside their tour van and backstage, but pre-gig sound checks, recording sessions, in-store promo appearances . Hell, he even recorded the band while they were making their videos, and there's one remarkable sequence in which he sets up his camera on a tripod behind his drum kit, then turns to address the viewer in mid-performance ("There's a little fight going on in front of the stage," he tells us). The camera work is often pretty shaky, and the performance footage is primitive, not to mention loud and distorted, but somehow that fits Copeland's fly-on-the-wall approach; and the soundtrack, live and studio versions of familiar tunes that Copeland "lobotomized" and "de-arranged," is revelatory. Perhaps best of all, the film offers Copeland a chance to tell us how it all went wrong. By the time of Ghost in the Machine, Sting (who comes off as his usual standoffish, mostly-humorless self) was no longer collaborating with other musicians in the studio. What's more, "(the) adulation started to feel like obligation," and while being rich and famous was swell, the price they paid was "our vibe, our essence." Part documentary, part travelogue, part video diary/confessional, Everyone Stares helps capture that essence again. --Sam Graham
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