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It was later noted that they'd received the Presidential Medal of Freedom and attended the Kennedy Center Honors together. Norton began by asking Springsteen about Western Stars , which its co-director described as "a meditation on men and women and love. Springsteen said that he wrote his voiceovers in a two-hour session in front of the TV one night and later composed a musical score to accompany them.

Having shown a trailer, Norton declared, "You're brilliant at this.

Some grainy honeymoon clips are featured, which Springsteen apparently "stumbled across" in the search for appropriate archive footage. He and Patti put a camera on the hood of their car "and did our little shtick. When asked the location of the barn where the live performance takes place, Bruce replied that "it's on my property in the great state of New Jersey," which elicited a loud cheer from the lively audience.

Springsteen concluded by suggesting that Western Stars defies categorization. There's not a genre for it. From there, the subject matter predictably moved into familiar territory, including the regular habit of Springsteen's audiences to chant his name and sound like they're booing him. Next up was the topic of his marathon concerts, with Norton stating that "four hours is not uncommon.

Those are the only four hours that I actually get to be Boss. Norton addressed Springsteen's working-man image and attire. That was a big part of my studies. Springsteen's failed attempt to meet Elvis Presley by climbing over the wall at Graceland in was next on the agenda. For you young folks, they were magazines! That's as close as I ever got to Elvis Presley. Regarding his difficult relationship with his father and whether he ever understood the significance of his son's success, he replied, "Once the money's comin' in, it breeds respect — and it bred some respect from him.

The show ended with a live performance by James Blunt, who joined the others on the sofa and talked about his disastrous attempts at crowdsurfing. After the recording, the guests posed for group photos while the audience was still present. While it was fascinating to see Springsteen on the show, attendees have estimated that "approximately half" of his interview ended up on the cutting room floor.

The missing material includes stories about the hype surrounding his Hammersmith Odeon gigs in , crashing gears while driving to California before he had a licence, performing cover versions onstage by audience request, and how they preferred his ass to his face on the Born in the U.

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Springsteen also plugged his wife Patti Scialfa's three solo albums and recalled her answering his advert in the Asbury Park Press for a singer, at the age of 17 in the early '70s. He advised her to go back to school and finish her studies. Many years later, before their relationship became public, he revealed that they used to meet on a bench in Manhattan to talk, drink bottles of beer in brown paper bags, and carve their initials in the wood.


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He proposed to Patti on the bench, and they later took their son Evan there. Springsteen eventually tried to buy it as an anniversary gift, but the bench had been removed. Finally, for anyone thirsting for news of his future plans, Springsteen confirmed that he would be recording with the E Street Band next month and that there would be shows next year.

At which point someone in the audience cheered, and Bruce said, "That's one ticket sold! The theatre is a temporary, state-of-the-art facility in Embankment Gardens, beside the River Thames at Charing Cross, that only exists for the duration of the two-week annual festival.

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Tickets to this sold-out event were initially made available online to BFI members only, and then to the general public on September A batch of industry returns were snapped up on September 26, and a handful more were sold on the night. Springsteen, Thom Zimny, George Travis, Jon Landau, and Barbara Carr arrived around 45 minutes before the start, shortly after a heavy downpour had tested the resilience of the comparatively small fan contingent almost outnumbered by press photographers who'd been patiently waiting outside, huddled under their umbrellas.

Before heading for the warmth and comfort of the cinema, Springsteen again wearing black, with a white shirt spent several minutes working his way down the red carpet, signing whatever was thrust in front of him, while cellphones and cameras captured his every move.

Kicking off proceedings, the evening's MC spoke excitedly about the film before bringing Springsteen onstage to introduce it. After reminding the audience to stay in their seats after the credits had rolled, he added, "Should you be moved to applaud any individual performance, please don't do that. The film works as a meditation and a tone poem.

If you like it, give it a shout at the end, thanks a lot. Immediately after the film had ended, the MC brought Springsteen and Zimny onstage to a standing ovation from the crowd and began a minute, in-depth conversation about Western Stars , which was a refreshing contrast to Graham Norton's more frivolous interview the previous night.

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However, he did reveal a surprising lack of research when he asked how difficult it was finding the right location for the concert. Springsteen gave credit to musical director Rob Mathes for pulling the band and orchestra together. George Travis and his production crew were also acknowledged for "gettin' all that shit up there" with the use of a crane.

As for his credit as co-director, Springsteen explained that was down to "the graciousness of Thom Zimny," and that he just provided some ideas. Photograph by Mike Saunders, October 11, Among the other subjects discussed were how the two men first came to work together, their collaborative process, the challenges they faced, the filming of the concert and the interstitial material, how they discovered the archive footage, the editing process, and the influence of Western geography on Springsteen's work. Describing John Wayne walking into the sunset alone, he'd wondered how it was possible to make the "human journey" from there to "love and family and faith and hope.

The film is a meditation on those ideas. They were all contained on the record, but we got to make them explicit through the scriptwriting and the scoring. The film enhances the record to a great degree for my fans. During the session, Springsteen revealed that he'd written in the region of 40 songs for the Western Stars album and gradually whittled them down to the final He joked that they played "Rhinestone Cowboy" at the end because "this shit is too depressing," and they needed a more upbeat number. I didn't think about it too much. Photograph by Carole O'Callaghan, October 11, Zimny remembered that the "game changed" when he watched Springsteen record his voiceovers and between-song score, and the project developed from a straight concert film into something else entirely.

When asked what they'd like audiences to take away from the movie, Zimny replied that he hoped they would enjoy "the journey that Bruce takes us on," while Springsteen added, "It's one of those pictures where people come in, they're sittin' at the end of the night, film's gettin' to its close, they're holdin' hands. When asked if he saw himself returning to the director's chair, Springsteen replied, "I don't think so. All these things I've been doing recently are one of a kind.

I don't plan to be writing any more books; I don't know if I'll be doing any more plays or making any more movies. I will, however, be touring with the E Street Band. I can always depend on that. Soon afterwards, the audience rose to their feet for a second time as Springsteen and Zimny left the stage.

Western Stars was subsequently screened at the seat Odeon Luxe cinema in Leicester Square home of major film premieres throughout the year on Saturday, October 12, and at the seat Screen One at the nearby Empire Haymarket on Sunday, October Both showings were virtually sold out, although some tickets were still available on the day. Ireland's Hot Press saw the film as a love letter to Patti Scialfa. We bring all of that the minute we lean in. Oh my Lord, there's the whole 30 years of emotional life together between us.

She's wonderful. If you dig deep down into the center of the film, she's there.


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  4. RTE published the following quote: "You're getting to that age where you're summing up a lot of what you've learned and what your life has been. Writing a book was the first chapter, then the Broadway play came out of the book, and in a funny way this film came out of the play. I've had a really good run over the past five years as far as feeling really inspired and being really creative.

    I've done things I've never done before. I'm a man of many talents. I'm going to be an astronaut next. I'll let you know how that goes. To start its third leg, the band regrouped for a concert in Phoenix before rolling into Los Angeles for four shows. That run served as the inaugural event at L.


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    Today's archive release features October 23, , the stand's fourth and final night. It marks the last time to date that Springsteen played a show at Staples Center. More on that shortly. The stand got off to a strong start, with standards "The River" one night, alternates "Point Blank" the next. The third show was seasoned with numbers from the Darkness on the Edge of Town era: outtake "Don't Look Back" and "Adam Raised a Cain" in the opening slots, and a stunning version of "Racing in the Street" later.

    Also notable: no songs from Born in the U. The show was a monster, so expectations were high for the final night. Being Los Angeles, famous faces dotted the audience. Legend has it that actor Ed Norton, a well-known fan, had lobbied Bruce that summer to open with "Backstreets" which he did for the first time, in New Jersey. On this night, according to a member of his party, he had seen Bruce backstage and made three song requests: "Incident on 57th Street," "For You," and "The Promise" — Bruce would grant them all.

    From the first note, the October 23 show was a barn burner, opening revival-style with the "Meeting in the Town Tonight" intro into the rare River outtake "Take 'Em as They Come. Springsteen continued a thread he'd been on all week: how much he disliked the arena. On the first night, he singled out its multi-level sky-boxes "too many of 'em, and they're too low," he said and their bifurcating effect "the idea is, you have to come out of your room to see a rock show". Springsteen didn't like the water pressure in his dressing room, either, saying that if you were going to spend that much on an arena, you should at least be able to take a decent shower.

    And then there was the building's corporate name. Staples," Springsteen said, looking in vain in history books for a Governor or Mayor Staples. It's still called Los Angeles, but to this day, Springsteen has never booked another Staples show, choosing other venues on every subsequent visit. But for his final night at Staples, what a performance: the band was on fire, and the show, already on track to be the best of the week, played out as one of the better ones of the entire Reunion tour.

    Following "Tenth Avenue Freeze-out," he launched into a gorgeous version of "Incident on 57th Street," only its second performance since Springsteen's solo at the end was sublime: Los Angeles crowds have a laid-back reputation, but the roar at the song's conclusion was anything but.

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    People knew they had just witnessed something special. Another shock for those who hadn't made the request came when Bruce sat down at the piano and said he was "going to try something [he] hadn't done in a long time" — "The Promise. It worked perfectly, and the tape captures the emotion of the moment.

    And it wasn't over. A storming version of "Ramrod" kicked off an encore that went through the Reunion tour staples before closing with "one more for L. And for the second straight night, no song from Born in the U. Collectors know this show through several iterations. These include Crystal Cat's Los Angeles Night an audience recording ; a wireless recording which featured some instruments, but lacked others ; and the matrix versions that combined the better elements of both which circulated as Searching for Mr.

    Staples and Prodigal Son in the City of Angels.

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