Transcription of Talking Heads SMS Q&A NYC, 2023.09.13 at Brooklyn Academy of Music (Converted to txt file from https://www.reddit.com/r/talkingheads/comments/16r3vxr/transcription_of_talking_heads_sms_qa_nyc/)

John Heilemann (MSNBC): Bring out here, Mr. Chris Frantz. Number 2, the lead bassist and singer for Tom Tom Club, and also the bassist for Talking Heads, Tina Weymouth. Number 3, the man the myth the legend, the musical beating heart of Talking Heads, Jerry Harrison. And last but not least, the man not wearing a big suit tonight or any suit at all, Mr. David Byrne. Alright, I’m gonna say this for the record, even though it’s been said many times. But I’m gonna say it one more time, The name of this band is Talking Heads!

I was about this close to wearing a Stop Making Sense T Shirt here but I was warned by my friends that that would be a totally goofy thing to do, but that didn’t stop me from bringing this. Anybody out here who cares about this movie or this record, get this, it’s the new vinyl, the complete concert, remastered totally restored it’s got everything in it, an incredible book inside that’s got a lot of good research material for someone who’s doing an interview in Talking Heads.

I will only speak about myself to say this, in December of 1983. I was a kid growing up in Los Angeles, I had just started my first year of college, and came home Christmas break, for most of December. There was this show going on at the Pantages theater, who I really liked. And I didn’t go, I didn’t go to these shows. Biggest fucking mistake I’ve made in the history of my life.

Fall of 1984 when the movie comes out of the theaters. I’m in Chicago, where I went to Northwestern University. I went to the buyback theater on opening night and saw the first evening screening of, when the movie first opened in cinemas. People went fucking crazy. The next year, I'm going to philosophy class and a professor walks in, walks in with a boom box. Puts it on the first day of class. Puts it on the thing, and does a perfect imitation of Girlfriend is Better. And he gets through the song and says that's what this class is going to be about. The class is about phenomenology and that is what Stop Making Sense is all about.

And I was like so stoned, I was like, wow! I think he played every song from the all of Talking Heads’ five albums at that point. And then, Now what? Next year at the big huge student talent competition at Northwestern. The people who won was a group that did a perfect imitation of Once in a Lifetime, and a kid named Kevin Moore, who looked exactly like you, and did not sing quite as well, but it was really something. I thought at that point man this thing has staying power. It's been with me for four years of college and it might stick with me forever. It I'll tell you this, there's probably no movie I watch more than this. You can't watch it narrative movie 57 times. Well, some people can. Yeah, but I have seen this movie dozens and dozens and dozens times, and I still will tell you as much as I loved it then I love it now. It never occurred to me that, sort of in the vain of legal weed and gay marriage, that 40 years later, Stop Making Sense would be a phenomenon again all around the country.

So, people ask about the origin of this movie. David, I'll start with you and ask this question because of course before you get to it, how does Stop Making Sense The movie happen? There's the tour. The Speaking in Tongues Tour like, which was a departure for you, and everything. And that you've said in a couple of these interviews done around this movie, that this is basically what you were doing on the Speaking in Tongues tour. This is what we see here was the show. And you had an idea for how this tour was going to be different from other previous Talking Heads tours. Talk about what you had in mind in making the tour before we get to the movie.

David Byrne: The previous tour, we already had an expanded lineup beyond the four of us. And we did a thing where the four of us came out and started with the core band and then other people joined. So it's time to do another tour, another record, and I thought can we take that further? How far can we take that? Can we start with say, just me and then add members of the core band and all these other people little by little? Could we do it on an empty stage? So it's not just us coming out one time, but the whole everything kind of coming out that makes a show. It was a question. Yeah, and we decided to try and find out the answer.

MSNBC: Jerry talked about this, about the, you know, again before you get to the movie, there's the music. And this band is just the fucking greatest live band that has ever been assembled, I would say. Very good but I'll say all their names again Bernie Worrell, Steve Scales, Alex Weir and of course the amazing backing singers Lynn Mabry and Ednah Holt. So just talk about putting the band together and how you how you did that, how you put this band together and what you got?

JH: Well, it started with the Remain in Light band, because when we recorded Remain in Light, we realized that we really couldn't play all of the parts at the same time. We had done such a lot of layering. And we had the opportunity to play Central Park and the Heat Wave festival in Mosport, outside of Toronto. And we were being paid more money because these were bigger gigs and so we said, let's see if we could try and find a way to play this. And I remember sitting down, we were still mixing Remain in Light, David and I were like we’re gonna need a background singer, percussion, maybe another keyboard player, a guitar player, oh my god, and on that tour we maybe needed another player bass player. And I had been hanging in New York with a guy named Busta Jones and I had met Bernie and they knew Dolette, so I started with them. And Adrian had played on the record, so I called Adrian. We came back in the afternoon with this most amazing band. Then we found Steve the next day. Then Adrian went off and after working with Tom Tom Club, and The Red and Black and the Catherine Wheel, he joined King Crimson. And we met Alex Weir, actually through Quincy Jones. And then I think Dolette went off to play with Sting or The Police or something like this, and so Lynn had been in the Brides of Funkenstein so from Bernie knew her and she knew Ednah.

MSNBC: So you're making this you got this tour, Chris, and you guys are kicking ass. Do you remember the first time anybody here before we get to Jonathan, like the first time anybody of these of these four key band members here said, hey, maybe there’s a movie in this?

CF: Well, you know we love movies and, yes I think we thought, this is really good we should document it. We didn't know we were going to end up with a director as great as Jonathan Demme at the time, but Jonathan came backstage one day and he said to all of us, I'd like to make a movie of this, I think it would be really cool. And we had seen his movie Melvin and Howard.

MSNBC: Yeah, sure.

CF: And I think maybe some other movies, like Caged Heat.

MSNBC: Yeah I was gonna say, lotta Caged Heat fans here? Roger Corman fans in the audience?

CF: And to be honest, I can't remember any other directors expressing interest. But Jonathan did, and we were happy with that. It was just like a really good match he gave us confidence. We all agree that he was a really good cheerleader for the band and he was also a consummate artist in his own right, and he understood us, he got the whole schtick. He got that we were sometimes awkward and

MSNBC: Then your trademark

CF: Yeah I mean, we've made a lot of money being awkward.

MSNBC: I was going to say like a bunch angst ridden white people making money. Tina, I want to ask, you to pick this up, this story because Demme showing up backstage you told this story, I mentioned this booklet in the re-release of the album you told the story about sitting down, you and Chris with Jonathan, you had a conversation with him about what this movie should be or could be, and more importantly, what it shouldn't be. It's interesting all the things that you were like, we don't want this, we don't want that tell that story.

TW: Yes, well, we had enjoyed a lot of other rock concert movies, but one of the things that I thought was a real mistake was interviews because we wanted our music to speak for itself, because our music was the star of the show, I mean the suit comes in second.

MSNBC: Supporting cast.

TW: Yeah, one of the things that I kept thinking in the back my mind was no split screens, none of that hippie stuff. Let the camera feel like a sensitive eye, that doesn't call attention to itself, but allows the viewer to really be a member of the audience, and not be conscious of it. So those were some of the things. And then he was just so wonderful because we had a team, a great team and we had a great crew that worked as a team with us, and then he brought in an amazing team. Really amazing, I think one or two of them might even be here.

MSNBC: Wherever you are out there, you deserve it! You guys have made music and though visually, and you made music that was well suited to visual expression. This is the dawn of the video era, David, and you guys had the Once in a Lifetime video on MTV in 1980 got a ton of play, it was really avant-garde then, by which I mean really fucking weird and so was Burning Down the House, which has elements in it that are very similar to what we see as like and there's things that you bring in that video that are very reminiscent of certain kind of motifs here. You directed those video, you directed a lot of bands videos those two were particularly were huge hits. What is it that you saw in Jonathan that you thought he's going to bring something different to this than, well anyone, but then what we've had in our previous small screen visual expressions?

DB: I assume that somebody who'd done features can take a long view of whatever it is in this case our concert and see if they might see a story there. That there's a progression from the beginning to the end. Whereas with the video you're looking for 3 minute chunks and you can just throw a lot of surreal of whatever things in there. It doesn't have to tell a long story and I said yes, a proper film director would think more in those terms, which is yeah.

MSNBC: You made this point the other day about how he saw the ensemble nature of it, about that there was a there was this is a group of people, and that you're building this kind of portrait of a family in some way, and that you couldn't see that yourself from the world you lived in on stage.

DB: I know for myself I was too much inside the show, but when I started to see the editing taking shape and what Jonathan and the editor Lisa Day were doing. They were paying a lot of attention to the interactions between the band members and as if it was a kind of ensemble film with a cast and as each person comes out, you get to know them a little bit. You get to know their kind of character and their quirks and what they do. And then you see how they interact with everybody else and I thought, I take all that for granted and I’m just you know I didn't see that, and I thought he brought something really special to it.

MSNBC: Chris, you said the other day this bit about sweet Jonathan was. He was kind of this purity, you know I think about the Demme career, the word that always comes to my mind is like humanism, he was just this profoundly humanistic director. There were with things like Silence of the Lambs, where it was hard to be humanistic when you’re making a movie about a serial killer, but was. And whether it was Melvin and Howard or Something Wild or Swimming to Cambodia, take your pick, they have the thread the through line of Jonathan Demme’s movies is this intense awareness of the humans in the frame and how they're relating to each other. Could you think about ways in which his purity, his sweetness, kind of informed your experience of working with them, I think it would be cool to kind of think about that in a specific way.

CF: Well, I immediately I think we all felt that we could trust Jonathan to do a good job. He did have a very pure spirit, he was capable of being very serious, but also, he preferred, I think, to be light hearted. And we all developed a friendship with him, sort of like just like that. And one big talent Jonathan had was knowing how to delegate different responsibilities to people that were really at the top of their game, such as Jordan Cronenweth, the director of photography. But let me just say he got a lot of help from Sandy McLeod! Are you here tonight Sandy? Where are you? Take a bow!

And the whole team was, I always felt like everybody was at the top of their game and really devoted, like to their craft and Jonathan surrounded himself with those kind of people,

MSNBC: Tina, you mention this, we were just talking about this, this topic a second ago. I think about, you know, there's this the trailer for this release as the greatest concert film ever made. And Spike Lee the other night and in Toronto said this was the greatest concert film ever made, I say well, yeah, of course, but also one of the great timeless works of art of our time, but it's kind of a weird comparison. It's like comparing this movie with The Last Waltz, or heaven forbid something like The Song Remains the Same, it’s like comparing an apple and a Volkswagen! Is this a concert movie, is this performance art? Is there acting? Did you conceive of this as a conceptual piece or just, hey, we're up here like we’re the band, we're playing our songs?

TW: Well, of course we're a band playing the music and we have a riveting front man, and he is an actor and it's something that is hard to put your finger on, but we think of it as pop art, entertainment, not really fine art. But I think Jonathan almost, like kind of raised it to that level.

MSNBC: Did you do jerry, did you think about this that way? Do you do you think you were, I mean, I was just wondering about the moments like this, where someone produces something that has turned out to be as timeless as this whether you're just, you know, like I said, you get a lot of this false humility from some great bands that says, hey, we were working band we were cranking out songs out, we’re, you know, trying to make a living. This seems to be something we were like, well, we employed the techniques of Robert Wilson and we did this and we this, this is a more intellectual higher kind of a higher art aspiration, it feels like to me and so here's like how do you categorize this piece of film?

JH: We’ll let’s start with that, I felt that when we recorded the film, then we were if not amongst the best band in the world. There are lots of great musicians and great bands, but there was people having to follow us were like “oh boy!”

MSNBC: That’s how I feel right now!

JH: And I think that the great thing about the film and when you were trying and I think that what you were pointing out is that, and David’s conception that's sort of the narration of building it, it's not just the concert it, it has a conceptual arc it has a narrative arc, and therefore it sort of becomes more than any one of those things. That becomes something as a whole, and therefore that's why we grasp the words trying to describe it.

MSNBC: David, you said that this in addition to the thing that I said earlier was that this is what the show we were doing that you collaborated with Jonathn on the shoot. You've also said this is kind of the story of the band up to this point, you guys had made five records at that point, each one you could argue better than the previous. If this, and I think it's a quote in this, in this essay, and I’ve seen you say this in other places, you said if this is the story of the band up to this point, and the narrative part that Jerry is talking about, what is that story? What's the story that's being told in Stop Making Sense?

DB: Part of it is, you see this kind of a very intense awkward guy in the beginning.

MSNBC: Who's that guy?

DB: He’s a guy.

MSNBC: The Psycho Killer, you mean, that guy?

DB: Maybe that guy, he's trying to figure things out. Himself, and in the world. And he's joined by these other people and little by little he starts to kind of feel himself in the little community, he starts to let go and feel like he actually starts to have some fun. And I can see him smiling once in a while. So just from that point of view there's a whole story of this person, kind of finding it. A kind of salvation or release or surrender…

MSNBC: Family? Community?

DB: Yeah, all of that yeah. Yeah, through music through the other people and through, yes we surrender to the music for sure .

MSNBC: Yes well, I want to come back to that in a second, but I want to ask Jerry, ask you, so fast forward to today here we are unfortunately, this crowd everybody here now because it's Stop Making Sense again because unfortunately we don't have the in this in this space, we don't have the IMAX version. I saw the IMAX version at IMAX headquarters this summer. I will tell all of you that there are sometimes when you make something much bigger, it's no, it's not just bigger, it's different, it's a different experience. I've seen the movie a lot of times I came in thinking I couldn't love this movie more. And I watched the movie and I said fuck man! It's a different movie than I've ever experienced before. You were very involved in the both the musical and the video, the reimagining and the reconstructing of it and tell that story how that all happened there was this. How that all happened.

JH: Well the one thing that was difficult, was it took a long time, for instance, to find the original negative which was I think in the MGM library.

MSNBC: In like Nebraska or something?

JH: Why would it be in the MGM library? It was fortunately, hats off to James Makowski, he found it. And then we had all these tapes and we will be playing them and then they would drop out of synch, what's going on and so there was a lot of work that went into just making sure we have the right material but then the opportunity for both, this was a, you know, some downplay the theater we just saw it in, that, this is, having multi-channel audio in a theater, you know we now go to the films and hear effects coming all around, we're not used to this, and so for a for a music film was like there's an expanded palette that we can deal with, but we have to be very careful not to go overboard and take too much advantage. One thing was I was talking about is that Jonathan doesn't go out into showing the audience until quite late in the movie, so it's really us on stage and when we were mixing this it was very important to keep that, bands up there, not you know, we use it when Lynn is singing you know heavenly and ethereal material, we were judicious about it.

MSNBC: When you saw the IMAX version of this, you thought what?

CF: I thought goddamn! It was, you know, there's an intensity that and it snowballs, it starts off at a fairly high level, I would say, with Psycho Killer, but from then on it just grows and grows and rolls and gets bigger and more powerful and it's also a lot of fun to watch for me. I mean, my wife, she looks so great!

MSNBC: I won’t get you get you into trouble there, don’t put it in past tense! Tina, when you see this movie now, and especially when you see it in that giant format. Which is like I said, there really is a different experience to see it the way it's really big, like all the things that Demme does with light and it's like the staging and the costume, the things you guys wore maybe weren’t necessarily costumes. But it's on that scale, it changes it and I guess, it’s hard to imagine what it must be like to watch it, to like having seen that of all, like 40 years later to see it in this kind of enhanced form, when you look at it, does it feel like you're looking at a very, very large, like high school yearbook? Like it's a long like it's a very long time ago and it's kind of seen, it's like covered in nostalgia? or does it feel like all this shit just happened yesterday?

TW: It’s now-stalgia, now-stalgia is a word I’m going to borrow from a friend of ours. But it still feels fresh, I’d say, that's just my opinion.

MSNBC: I never really thought about it until I saw that version of it, David, I kept thinking that you know, if you look at movies that were made in 1983/84, all of them look incredibly like 1983/84 they're all anachronistic. This movie has felt from 1983 to 1984 to 1994, 2004, 2014 now we're hearing it in 2023, I think if you played this movie to someone who had never seen it before and was just like it's basically like you just dropped them off on Earth, they would say what that was made yesterday. There's nothing about this that seems screams 80s to me and that's there's a number of elements of timelessness in this movie but that is one of them. It feels very contemporary. Jerry was talking the other day with Spike Lee about how much he loves Life During Wartime, the paranoia in that song, some of the politics of that song, could be referring to the Trump Era. It feels that the tension, that kind of febrile kind of tension of it, the things that people are wearing, if you took a picture of these things and all these things that were representing, which you guys are wearing right now and you put them out in a fashion magazine now people would say, oh, that's The Row, that's, you know, Quiet Luxury, that's Fear of God, you know, they look, these things look real like the height of runway fashion now. How the fuck did you do that? Make this thing feel modern in any era? I know it's not, it's like a direct question, I think I’m going for something a little more subtle. But I don’t understand it, was that on your mind, the idea of timelessness in your mind at all?

DB: No, not at all not at all. We knew that there was certain things in say like in the lighting. There's certain kind of flashy lighting, things that were pretty common in rock concerts at the time and we thought no, we're not going to do that. Other people do that, and they maybe do it really well. So we thought, no, we're not going to do that we're going to come up with our own kind of thing, whether it's the lighting and the or the way we the way we dress and present ourselves and I think by doing that, we kind of pulled it out of that all the stuff that was current at that particular moment and we kind of avoided a lot of it.

MSNBC: I feel like that we watched this feel like you're going like this is a group of kind of earthlings, who at some point escaped the apocalyptic earth, went off to another solar system, and learned the wisdom of the things you talked about before. About surrender and moving your body not thinking, stop making sense, and they've come back to teach us how to live and love and grab hold each other. I’ve now speech-ified, and am not question-izing here, so I don’t know what the question here is. Except that the way I saw it in the large format I just really had this feeling of, it's just, it has that kind of that is like where some of the timelessness comes in. Jerry, you have another idea, I think about where the timelessness comes from here like what it is that helps it keep it going

JH: Well, I think that that what David touched on is that most of the lighting effects probably could have been done 30s or 40s, and so there's nothing that speaks of that particular time period that feels. You've seen old movies with handheld lights are off lighting and things like this. And so it was just imagery that that really David, and I guess Beverly Emmons, is that correct? We're able to draw on things and create this kind of hold that had little reference points, but still just was coherent to this film.

MSNBC: I was talking about the look of the film, how all these people up there dressed in these in some combination of like North Korean workers outfits, and the Fear of God fashion runway fashion, One Exception, your husband, apparently, David says hey, everybody is looking at where muted colors and he's like trying to be all look the same all we'll all look like, and this one is if they're not in a like a turquoise Polo Shirt. So how did that happen?

TW: I think it had to do with the laundry. It's really hard to get your clothes clean on tour.

MSNBC: That's a real story, right? Your clothes were dirty this is all you had, so you have

CF: You know, I can't remember what was I thinking! The second-half of the show, I’m in a muted neutral tone, I always just wore what I could find in my bag, you know? And then when I did it once I had to do it every night for continuity, you know, you’re on TV!

MSNBC: Yeah, I'm often in a turquoise Polo shirt, but I’m also not a rockstar. I wanna stay with, because you, you did say this thing that I was really getting that kind of like what this movie was really about, on some level right. And you said that that when you guys are playing at the Pantages, is that you felt one thing during this period of time which was joy. Just unmitigated, unbridled joy to the point of transcendence.

CF: Yes

MSNBC: Talk about what that felt like then, and does it still feel that way now watching it?

CF: It does still feel that way! When I see it, I get happy. And you know play music is supposed to elevate people, and you know the musicians like to feel like they're being elevated themselves. With Talking Heads from the very beginning, but particularly at this point in time, it was… I don't think I'm going too far to say that, for me, it was like a religious experience. I was transported to a to a place where, you know, I really enjoyed being. I'm out of my own skin, really, I'm like, where am I? Right? Am I on the astral plane or what? Just please keep, don't stop the playing the drums, man keep going! At some point I would get like a terrible cramp in my arm, but I would keep smiling, like everything is great. And I would see that in the audience, I would see the joy in the audience and the feedback they were giving us and as I looked around the stage I would see it and David, Jerry, Tina, Bernie, Ednah, Lynn, Steve and Alex, you know, I would see it in their faces and it was just it was like a musical fever!

MSNBC: Do you guys all feel that way?

JH: Yes, I think that we were having such a great time on stage, it was impossible for the audience not to join us.

MSNBC: They wouldn't let me, they won’t let me take questions from the audience. But I do have a couple of questions from the outside, one of them is from my friend Cameron Crowe, the director, who's a huge Talking Heads fan. And it is a very Cameron kind of question, I’ll ask you, David, because of your role here, but he said that one of the best music is music that's personal, a lot of the best songs are personal. Are any of these songs personal to you or are these all songs in which you're playing a character?

DB: I never thought of myself as a Psycho Killer.

MSNBC: Not yet

DB: There's still a chance there.

MSNBC: There’s still time!

DB: But I think with something like Once in a Lifetime, we've all that's not just give it to me own experience, we've all had that kind of experience of wondering how did I end up here? How did that happen?

MSNBC: I'm feeling that right now.

DB: We have a song for you!

MSNBC: Jerry, this movie comes out, I said something about it influence on a lot of people, people love this, and it achieves a kind of Pantheon status, and you just said you were if not be best live band in the world you were at least one of them, and after this you'd never tour again. And you and you made this point in the New York Times last week, you said, you know, that was, you expressed. I'll read the quote because I wanted to ask more about it, you said I also think that we had the ability to become one of the biggest bands in the world at that point, touring bands, I think it was a lost opportunity they were stopping for all of us. Do you have regrets about not at that time, having taken this to the next level this, what we see here tonight?

JH: Well, I love playing live, so sure. I would like to have continued that. I mean, I was disappointed that we were not a part of Live Aid. I was actually in London and was in the office when Bob Kilgore was working on the line up, and I thought we should do this. But, I think that David creatively was already at that point starting to work towards True Stories and Little Creatures, so he was like in a different headspace. But there is an element of like, well, how do you top this and things like that. So there was a little bit of trepidation that everybody felt. Once it's been captured on film like this, that's ok we really have to kind of conceive of something new and that might take a little while, but I love playing live, so, sure.

MSNBC: Another really close friend of mine asked the question to all of you because it's a question that any artist that makes any piece of art has if not conflicting motives, but many motives and is driven by many things. I wonder when you when you were making this, this tour, this this this movie, team Tina I'll start with you, were you making this for yourself? Or were you making this for us?

TW: I mean definitely for the fans, I mean really.

MSNBC: In your mind, when you were doing all of this, you had no sort of sense of like, I’m doing some, some sort of personal kind of objectives, some goals, something that was you were kind of driving yourself, that was, the answer was to be both by the way, it doesn’t have to be one or the other. But if you had thought about like what you hope to get out of this. Like, we’re putting this thing out into the world, these hopes for this thing, what would that look like? And what would you have said at the time and what do you feel like you've gotten out of it now 40 years later? I know, I didn't even get stoned before the interview. I knew this was going to get to be a stoney interview at some points, but here it is.

TW: I mean, I share, Jerry's regret. It was really sad to just say, ok, the movie is going tour for us, that’s it. I thought we could go on, we could go back to being a quartet. I thought we could do a million things. I thought we had a lot in us. I mean, we were so young, you know, to be retired at age 32! But now that's in the past and we don't care anymore. We're not dead, blessedly we're all alive. We've lost some people, all of us have.

MSNBC: Including some of the musicians in the show.

TW: Yes, but we go on and they remember and as long as we have memories of them, they live on, and so do we through them and through each other.

JH: You know, there is one upside for this. It’s that all of us have done a lot of other art, lotta other things, and a lot of those projects might not have happened. So sometimes you exchange one good thing for another good thing, so, I think we could have done these things, but we, I'm proud of the things that we did do.

MSNBC: I’m kind of going back to this thing and ask you this question which isn’t a false binary, this is not going to be either or but, when you were making this, first this conceiving it and then executing the movie, are you doing this for us? Are you doing this for yourself? Are you doing for both? Or neither?

DB: It's hard for me to imagine or remember, I seem to recall, it just seemed like a natural progression like based on what we've done before, from where could it go next, and it just seems like well, yeah, this is what we should do now, this is what we should do next, we should try this show and see if it works. Now there was a chance that it wouldn't work, that people would go, you know, when I come out and then Tina comes up and they go where's the band? We didn't pay for the for this kind of artist thing, we're ready to rock out here.

MSNBC: I’ll ask this question and then one last question for the rest of the band. When you see yourself up here doing the things you're doing, the you’re incredibly charismatic, magnetic, but you know also, in some cases like we didn’t see anything like that before in this performance. When you look at yourself now 40 years ago when you think of that guy up there?

DB: I think that guy, and the whole band were an incredibly tight unit, incredibly creative, really incredible what we could do at that point. I'm still surprised by some of the choices I made, like falling down and running in circles or whatever it might be.

MSNBC: When are we gonna get a Tom Tom Club movie?

CF: Oh, it's coming!

MSNBC: Oh ok, well it is time, and I’m gonna use my moderator privileges to just say one last thing. I think that I don't speak only for myself, but I think I maybe speak to the audience, like, you guys could let me know that I think most people who would love to see Talking Heads play again together.

It's basically every band that's ever existed has done a reunion tour, a lot of them a lot worse than Talking Heads, a lot less consequential some of them, absolutely inconsequential, some of them. I know you guys have all said within the various formats, it's not going to happen not going to not going to happen, but the rapturousness of this response, this movie that people are so the devotion of what they're showing the way people are like in love with this movie and the love this pouring forward and Spike Lee was talking about the love yesterday. Love, love, love, love love on this screen, there's a lot of love for this band, there's a lot of love for the music. I just, I opened this thing this is jumbled, to everyone is there any chance that. The experience of putting this out, going through this and seeing the way that people are reacting to it, could this open the door again, to all of us getting our honest wishes, that you guys do a little more music together.

CF: You know, speaking personally, I'm just very happy, I have a feeling of great gratitude to be here tonight with my bandmates, to have a fabulous audience watching the movie in a great theater with a great MC interviewing us, I'm just happy right now in this moment.

MSNBC: That will be the band’s, the former bands, the bands, whatever you call you guys, Talking Heads, that will be the final Talking Heads statement of this matter tonight, but everyone should keep begging, because maybe there's still a chance.