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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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[♪♪♪]
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NEWSCASTER:
The woman who inspired
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the songwriter
and poet Leonard Cohen
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to write some of his
best-known work has died.
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"So Long, Marianne"
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and "Bird on a Wire"
were written decades ago
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for Cohen's then-lover
and muse, Marianne Ihlen.
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They split up,
but when Marianne grew ill
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and near death with leukemia,
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her close friend
Jan Christian Mollestad
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contacted Leonard Cohen.
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Less than two hours later,
a message came back,
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which Jan read to her.
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MOLLESTAD [ON RECORDING]:
"Dearest Marianne.
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I'm just a little behind you.
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Close enough
to take your hand.
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I've never forgotten
your love and your beauty.
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But you know that.
I don't have to say more.
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Well, safe travels, old friend.
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See you down the road.
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Endless love and gratitude,
your Leonard."
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[CROWD CHEERING, APPLAUDING]
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I wrote this for Marianne.
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I hope she's here.
Maybe she's here.
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I hope she's here.
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Marianne.
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This song is called
"So Long, Marianne."
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And a girl called Marianne
that I know very well,
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she came to me after I sang it
for her first, and she said--
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She's a Norwegian.
She said, uh,
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"I'm certainly glad that song
wasn't written for me."
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I said, "Oh, uh, yeah?"
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And she said, "Yeah,
'cause my name is 'Marionn-eh.'"
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[AUDIENCE APPLAUDING]
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♪ Come over to the window ♪
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♪ My little darlin' ♪
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♪ I'd like to try
To read your palm ♪
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♪ I used to think I was
Some kind of gypsy boy ♪
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♪ Before I let you
Take me home... ♪
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[♪♪♪]
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BROOMFIELD:
This is Marianne,
filmed on the island of Hydra
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in the early '60s.
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She said the song
"So Long, Marianne"
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was originally called
"Come On, Marianne"
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and was not
her favorite song.
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She said it was not originally
intended as a goodbye,
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but came, in actuality,
to foreshadow the end
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of Marianne and Leonard's
relationship as lovers.
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This is Little Axel,
Marianne's 7-year-old son.
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Film it.
COHEN: It looks like
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some kind of a lobster.
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It has all kinds of...
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It was the '60s, and the time
of free love and open marriage,
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including
Leonard and Marianne's.
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I was a rather lost 20-year-old
visiting the island of Hydra
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when Marianne
befriended me.
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For a short while,
I became one of her lovers.
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She encouraged me
to follow my dreams,
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and she played me
Leonard's songs
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under the Greek moon and stars.
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Her smile and enthusiasm
were one-of-a-kind,
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and I felt
completely intoxicated
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by the beauty
of their relationship.
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COHEN:
I just left one day.
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And, uh, I won a prize
for a book that I wrote.
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And they gave me some money,
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and I got on a plane.
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I came eventually to, uh--
To Greece
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and got on a boat.
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And I just saw this island that
was so beautiful, you know?
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I'd come from a country
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that's covered with snow
half the year.
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And I saw this island,
you know, completely shining.
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I just got off,
met a girl there,
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and I stayed.
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There were just a few
foreigners there in those days.
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And the Johnstons were,
um, central figures.
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They were older,
they were doing
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what we all wanted to do,
which was to write
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and to make
a living out of writing.
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And they were there,
and they were very wonderful,
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colorful, hospitable people.
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And they helped me settle in.
They really helped me out.
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WOMAN:
That was first what made him
an outcast in Montreal.
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It was the journey
into the dark,
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because nobody
wanted to go there.
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And I remember
my mother writing me
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some horrible things
about him.
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He knew the dark.
He knew the struggle
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from moment to moment.
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You were supposed to
find a mate
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and get married
and live in Westmount.
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They all stayed in Westmount.
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So we... We left.
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We had our own way of being.
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We found our own lives,
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but they turned out
to be synchronistic.
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[INDISTINCT CONVERSATION]
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IHLEN [IN NORWEGIAN]:
When I first went to Hydra,
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I was running away
because I couldn't cope.
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And in many ways Leonard
was also looking
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for something different.
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So there we were, two refugees,
running away from something
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I knew I'd eventually
have to face.
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[IN ENGLISH]
Can I have a sip?
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You'll have to even
all of them.
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When I first saw Leonard,
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I was standing in the shop
with my basket.
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He was standing in the doorway
with the sun behind him.
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I could only see
his silhouette.
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Then he said,
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[IN ENGLISH]
"Would you like to join us?
We're sitting outside."
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[IN NORWEGIAN]
I remember
my eyes met his eyes.
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I felt it
throughout my whole body.
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It was incredible.
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The first year
on Hydra was fantastic,
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and he just wrote and wrote.
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I ran and did the shopping
and brought food.
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And I was his Greek muse,
who sat at his feet.
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He was the creative one.
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COHEN:
The days were
very, very ordinary.
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We'd get up early
and have breakfast,
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and I'd go to work.
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And, uh, a sandwich
would be brought to me.
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I think I was on speed too,
so I wasn't eating very much.
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And, uh, that's-- The day
would proceed like that.
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I had a quota. I think
it was three pages a day.
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IHLEN [IN NORWEGIAN]:
Those years were really good.
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We sat in the sun, lay in
the sun, walked in the sun.
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We listened to music,
we bathed.
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We played,
we drank and discussed.
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There was writing
and lovemaking.
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It was absolutely fabulous.
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I never felt
I was much to look at.
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I didn't believe Leonard
when he said,
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[IN ENGLISH]
"You are the most beautiful
woman I've ever seen."
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[IN NORWEGIAN]
I always thought
my face was too round.
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So I was walked looking down.
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But I did have
sun-bleached hair.
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And in Greece,
I was so very blond.
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Skinny, almost no boobs.
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[CHUCKLES]
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To my big regret.
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Leonard was beautiful.
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But he never thought it.
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We both had that problem.
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We'd often look in the mirror
before going out
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and wonder who we were today.
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How strange we could be.
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MOLLESTAD:
She was beautiful.
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But she didn't really
enjoy being beautiful
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before she met Leonard,
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and he made her love living.
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She felt that not only
did Leonard see her,
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but he really loved her
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and he really made her
feel beautiful.
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[♪♪♪]
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I think if you should really
understand Marianne,
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you have to understand
her first husband, Axel.
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Axel could get so angry.
So he would throw out, uh,
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the furniture from the window
and out in the street.
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I don't think
he ever hit her,
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but he was violent.
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Leonard was the one who
came into Marianne's life,
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who had watched
the relationship breaking down.
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Leonard saved her life,
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and he went into a kind of role
as a kind of helping hand.
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He helped with Little Axel,
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and he helped her with talking
and practical things.
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He was the father,
in a real sense.
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And Little Axel still
is talking about Leonard
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as a very good force.
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BROWN:
He was a very smart kid.
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He was very quiet.
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Maybe a bit shy, even.
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Axel and I would just...
We would roam the hills.
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We would find fossils and...
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GOLDMAN:
I lived there from the time
that I was 3 months old.
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We used to run around
barefoot,
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with the slightly powdery
feeling
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of the dried seawater
on the stones.
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Every part of it
is beautiful in every season,
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anytime of the day
or night.
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The freshly baked bread
and things like that.
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I mean, I've never experienced
those things anywhere else.
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Even the air has a kind of--
You can sort of feel the air,
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especially in the evening.
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It feels like sort of
you're wrapped in something
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silky and velvety.
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There was
so much freedom there
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that people just went
too far with it.
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So there was always that danger
hanging over people.
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BROOMFIELD:
I was mesmerized
by the island's beauty
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and had never before met so
many golden, sun-kissed people
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of either sex
having so much fun together.
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It felt like
anything was possible.
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Marianne gave me
my first acid trip,
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which she said had come
from a friend of Leonard's
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in London called Malcolm,
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and she took these pictures
of me the morning after.
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I had no intention
of leaving,
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but then one
of Marianne's other lovers
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unexpectedly showed up
on the island,
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and I found myself
hastily boarding
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00:12:01,360 --> 00:12:04,360
the next boat back to Athens.
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00:12:04,360 --> 00:12:08,520
My enthusiasm for Hydra,
however, remained undiminished.
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00:12:08,520 --> 00:12:11,800
I suggested to Rick,
my best friend from school,
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that he go there as a break
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00:12:13,240 --> 00:12:15,800
from a hectic career
as a journalist.
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00:12:15,800 --> 00:12:18,080
Rick intended to go
for two weeks
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00:12:18,080 --> 00:12:21,520
but ended up staying
for 14 years.
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I came to Hydra,
which he recommended, and, um,
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suddenly this enormous
sense of relief,
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because it was a combination,
I think, of beauty,
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00:12:30,360 --> 00:12:33,320
the beauty of the place,
the simplicity of the place,
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and the genuineness
of the environment there.
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It was just
a small group of artists
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00:12:38,720 --> 00:12:41,840
who were either refugees
of some kind or another,
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00:12:41,840 --> 00:12:44,080
and you could live
so cheaply then.
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00:12:44,080 --> 00:12:46,760
Leonard didn't have
much money back then.
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00:12:46,760 --> 00:12:48,680
And there was
a sort of unwritten rule,
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00:12:48,680 --> 00:12:50,960
certainly back
when I was first on Hydra,
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00:12:50,960 --> 00:12:53,320
that if you saw someone
like Leonard at a table,
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00:12:53,320 --> 00:12:55,880
you didn't assume
you could go and sit with him.
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00:12:55,880 --> 00:12:58,920
They were there to be alone
and remain alone,
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00:12:58,920 --> 00:13:01,040
and they were doing
their writing.
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00:13:21,560 --> 00:13:24,920
IHLEN [IN NORWEGIAN]:
Leonard had the idea
that he needed to live
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00:13:24,920 --> 00:13:27,280
part of the year in Montreal
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00:13:27,280 --> 00:13:30,880
to see real life
and get inspired.
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00:13:30,880 --> 00:13:35,640
Leonard was very vulnerable
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00:13:35,640 --> 00:13:38,360
in his creativity.
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00:13:38,360 --> 00:13:42,640
COHEN:
A large part of my life
was escaping. Whatever it was.
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00:13:42,640 --> 00:13:45,880
Even if the situation
looked good, I had to escape,
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00:13:45,880 --> 00:13:48,240
because it didn't
look good to me.
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00:13:48,240 --> 00:13:51,480
So it was a selfish life,
and, uh...
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00:13:51,480 --> 00:13:53,560
But, uh, it didn't
seem so at the time.
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00:13:53,560 --> 00:13:56,720
It just seemed
a matter of survival.
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00:13:56,720 --> 00:13:58,720
You know,
I guess the kids suffered
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00:13:58,720 --> 00:14:01,360
and people
close to me suffered
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00:14:01,360 --> 00:14:03,520
because
I was always leaving.
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00:14:03,520 --> 00:14:06,160
I was always
trying to get away.
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00:14:08,160 --> 00:14:10,320
I was very much encouraged
245
00:14:10,320 --> 00:14:13,360
by a friend of mine
by the name of Irving Layton.
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00:14:13,360 --> 00:14:15,880
Influenced by his manner.
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00:14:15,880 --> 00:14:19,000
After he'd ask me what
I'm doing, he'd always say,
248
00:14:19,000 --> 00:14:22,000
"Leonard, are you sure
you're doing the wrong thing?"
249
00:14:22,000 --> 00:14:26,200
And that really struck home.
That really sounded right.
250
00:14:26,200 --> 00:14:28,360
And Cohen's concern
is my renunciation
251
00:14:28,360 --> 00:14:30,240
of the Canadian public.
Is this true,
252
00:14:30,240 --> 00:14:32,000
or do you have
some other concern, Mr. Cohen,
253
00:14:32,000 --> 00:14:34,560
that you'd like to get
off your chest right now?
254
00:14:34,560 --> 00:14:36,800
COHEN:
When I get up in the morning,
255
00:14:36,800 --> 00:14:39,040
my real concern
is to discover
256
00:14:39,040 --> 00:14:41,160
whether or not
I'm in a state of grace.
257
00:14:41,160 --> 00:14:45,080
BROOMFIELD:
What do you think Leonard
loved so much about Irving?
258
00:14:45,080 --> 00:14:46,920
LAYTON:
He loved his intellect,
259
00:14:46,920 --> 00:14:49,680
he loved his imagination,
and he felt that
260
00:14:49,680 --> 00:14:53,600
Irving was the real thing
in terms of poetry.
261
00:14:53,600 --> 00:14:56,600
And the very first time
I saw Leonard,
262
00:14:56,600 --> 00:14:59,160
Irving said, "I'm gonna
ask this man to come round,
263
00:14:59,160 --> 00:15:01,080
this boy-man to--"
264
00:15:01,080 --> 00:15:02,800
I think he was 19, 20--
265
00:15:02,800 --> 00:15:06,080
And I said, "Who is he?" And he
said, "He's the real thing."
266
00:15:06,080 --> 00:15:10,400
They each thought of each other
as the real thing.
267
00:15:10,400 --> 00:15:12,680
They also had a very strong
Jewish connection.
268
00:15:12,680 --> 00:15:15,240
That was a very strong thing
in Irving's life,
269
00:15:15,240 --> 00:15:17,600
a very strong thing
in Leonard's life.
270
00:15:17,600 --> 00:15:20,120
Leonard was
an aristocratic Jew.
271
00:15:20,120 --> 00:15:23,080
Leonard came
from a wealthy family,
272
00:15:23,080 --> 00:15:26,920
very well-rooted
in Canadian culture.
273
00:15:26,920 --> 00:15:28,960
He came
from an educated family,
274
00:15:28,960 --> 00:15:30,760
highly educated family.
275
00:15:30,760 --> 00:15:33,080
I never knew
Leonard's father, of course,
276
00:15:33,080 --> 00:15:35,120
who died
when Leonard was young,
277
00:15:35,120 --> 00:15:37,320
but his mother, Masha,
278
00:15:37,320 --> 00:15:42,040
was as mad as a hatter.
279
00:15:42,040 --> 00:15:43,440
Really mad.
280
00:15:43,440 --> 00:15:44,800
She had a thing about Irving--
281
00:15:44,800 --> 00:15:46,600
I wouldn't be
at all surprised...
282
00:15:46,600 --> 00:15:48,520
Leonard and I
would laugh about it.
283
00:15:48,520 --> 00:15:50,280
...whether
Irving and Masha ever
284
00:15:50,280 --> 00:15:51,920
actually went
to bed together.
285
00:15:51,920 --> 00:15:53,960
Irving went to bed
with everybody.
286
00:15:53,960 --> 00:15:55,440
Why not Leonard's mother?
287
00:15:55,440 --> 00:15:57,680
I mean...
And she was--
288
00:15:57,680 --> 00:16:00,920
She was
very attracted to Irving.
289
00:16:00,920 --> 00:16:05,720
And Irving might have--
She was very beautiful, but mad.
290
00:16:05,720 --> 00:16:10,680
I think really great writers
have to have mad,
291
00:16:10,680 --> 00:16:13,440
Oedipally mad mothers.
292
00:16:13,440 --> 00:16:16,480
And if that's the case,
then that's what he had.
293
00:16:16,480 --> 00:16:18,240
[CHUCKLES]
294
00:16:18,240 --> 00:16:20,720
[INAUDIBLE DIALOGUE]
295
00:16:20,720 --> 00:16:22,680
COHEN:
I mean, I know that, uh,
296
00:16:22,680 --> 00:16:26,280
a lot of my love of music
comes from my mother,
297
00:16:26,280 --> 00:16:28,800
who, uh, had a lovely voice.
298
00:16:28,800 --> 00:16:32,360
She was Russian, and she
sang songs around the house.
299
00:16:32,360 --> 00:16:33,720
And I know that those--
300
00:16:33,720 --> 00:16:35,600
Those changes, those melodies,
301
00:16:35,600 --> 00:16:36,880
touched me very much,
302
00:16:36,880 --> 00:16:38,880
and that's certainly
an influence.
303
00:16:38,880 --> 00:16:40,240
She would sing with us.
304
00:16:40,240 --> 00:16:41,400
I'd take my guitar
305
00:16:41,400 --> 00:16:43,040
to a restaurant
with my friends,
306
00:16:43,040 --> 00:16:44,440
and my mother would come,
307
00:16:44,440 --> 00:16:47,120
and we'd often sing all night.
308
00:16:47,120 --> 00:16:49,800
[♪♪♪]
309
00:16:51,160 --> 00:16:53,160
[PEOPLE CHATTERING]
310
00:16:53,160 --> 00:16:55,440
[PLAYING MELODY]
311
00:17:06,320 --> 00:17:08,320
[LAUGHS, SPEAKS INDISTINCTLY]
312
00:17:10,360 --> 00:17:14,080
[INDISTINCT CONVERSATION
AND PEOPLE LAUGHING]
313
00:17:14,080 --> 00:17:15,840
COHEN:
We're having fun!
314
00:17:17,280 --> 00:17:19,280
We're winning!
We're winning!
315
00:17:19,280 --> 00:17:21,040
We're winning
the internal battle!
316
00:17:21,040 --> 00:17:23,080
We're keeping a party going!
317
00:17:24,400 --> 00:17:26,720
We're keeping the party going.
318
00:17:26,720 --> 00:17:29,080
[PLAYING MELODY]
[GIGGLING]
319
00:17:30,480 --> 00:17:34,240
BACAL:
He loved women.
No question about it.
320
00:17:34,240 --> 00:17:39,160
But he needed to be
his own person in his own way.
321
00:17:39,160 --> 00:17:43,440
So he could love women
from a distance...
322
00:17:43,440 --> 00:17:46,400
and love them when they
came through and make them--
323
00:17:46,400 --> 00:17:50,520
He could make women
feel good about themselves.
324
00:17:50,520 --> 00:17:53,600
And that's how he loved them.
325
00:17:53,600 --> 00:17:55,800
That's how he loved them.
326
00:17:55,800 --> 00:17:58,840
But he couldn't
give himself to them
327
00:17:58,840 --> 00:18:02,600
because he couldn't
give himself away.
328
00:18:02,600 --> 00:18:06,240
[♪♪♪]
329
00:18:06,240 --> 00:18:09,360
IHLEN [IN ENGLISH]:
I was not satisfied
with my life at all.
330
00:18:09,360 --> 00:18:11,400
I didn't know what to do.
331
00:18:11,400 --> 00:18:14,320
I was the only one
who didn't paint,
332
00:18:14,320 --> 00:18:17,000
write, sculpt.
333
00:18:17,000 --> 00:18:19,800
So everybody was artists.
334
00:18:19,800 --> 00:18:23,720
Lots of people came
off the boat to Hydra.
335
00:18:25,080 --> 00:18:27,800
Jacqueline Kennedy was there.
336
00:18:27,800 --> 00:18:30,840
Princess Margaret was there.
337
00:18:30,840 --> 00:18:33,040
So, what could I say?
338
00:18:33,040 --> 00:18:36,080
So finally, I would say,
339
00:18:36,080 --> 00:18:38,520
"I am an artist.
340
00:18:38,520 --> 00:18:42,120
Life is an art. I'm living."
341
00:18:42,120 --> 00:18:44,480
Not very original.
342
00:18:44,480 --> 00:18:46,480
I was looking at myself
and saying,
343
00:18:46,480 --> 00:18:49,560
"Oh, everything is wrong
with me," you know? So...
344
00:18:50,520 --> 00:18:52,400
it's a pity.
345
00:18:54,200 --> 00:18:57,000
BROOMFIELD:
Marianne had been
the one to support Leonard
346
00:18:57,000 --> 00:18:59,680
through the nightmare
of writing his last novel,
347
00:18:59,680 --> 00:19:02,040
Beautiful Losers,
on Hydra.
348
00:19:03,360 --> 00:19:05,240
COHEN:
I wrote
a lot of books there,
349
00:19:05,240 --> 00:19:06,600
and a lot of songs.
350
00:19:06,600 --> 00:19:08,640
I published a novel,
Beautiful Losers,
351
00:19:08,640 --> 00:19:12,320
but I really couldn't
pay the rent.
352
00:19:12,320 --> 00:19:14,320
LAYTON:
Oh, yeah. He went quite crazy.
353
00:19:14,320 --> 00:19:17,160
I mean, you'd have to be crazy
to write Beautiful Losers.
354
00:19:17,160 --> 00:19:21,800
It's like-- It's like
a hallucinogenic madness.
355
00:19:21,800 --> 00:19:25,800
He used to stay out there
under that hot Greek sun,
356
00:19:25,800 --> 00:19:27,880
and Marianne would make him
357
00:19:27,880 --> 00:19:30,320
little baskets
of food and water
358
00:19:30,320 --> 00:19:33,040
and drop them over
to him, and--
359
00:19:33,040 --> 00:19:36,320
I mean, he wrote
that book in a fever.
360
00:19:36,320 --> 00:19:38,800
So he would never
have been able to do that
361
00:19:38,800 --> 00:19:42,040
anywhere else except
on that island.
362
00:19:43,200 --> 00:19:45,560
VICK:
Leonard had always used acid.
363
00:19:45,560 --> 00:19:48,120
It just gave you
that extra whoosh.
364
00:19:48,120 --> 00:19:52,120
It was never just like taking
it to get out of oneself.
365
00:19:52,120 --> 00:19:55,880
It was very much to do with
part of the spiritual search.
366
00:19:55,880 --> 00:19:58,320
It allowed him to go
into his madness, I think,
367
00:19:58,320 --> 00:20:00,800
which he probably couldn't
have done anywhere else.
368
00:20:00,800 --> 00:20:03,280
It allowed him to sit
in his terrace in the sun,
369
00:20:03,280 --> 00:20:06,400
take acid and speed.
370
00:20:06,400 --> 00:20:09,320
Marianne, I mean,
she used to say, you know--
371
00:20:09,320 --> 00:20:10,760
She was there to sort of--
372
00:20:10,760 --> 00:20:12,800
Not pick up the pieces,
but just sort of
373
00:20:12,800 --> 00:20:18,160
to hold the man that had driven
himself to the Beautiful Losers
374
00:20:18,160 --> 00:20:21,200
and writing those extraordinary
pages day after day,
375
00:20:21,200 --> 00:20:24,000
in the sun,
lunatic that he was.
376
00:20:25,280 --> 00:20:27,320
COHEN:
To find something
377
00:20:27,320 --> 00:20:29,480
that really addresses
my attention,
378
00:20:29,480 --> 00:20:32,280
I have to do a lot
of endless versions.
379
00:20:32,280 --> 00:20:36,160
Anything I can bring to it.
I try everything.
380
00:20:36,160 --> 00:20:39,200
Try to ignore it.
Try to address it.
381
00:20:39,200 --> 00:20:41,720
Try to get high.
382
00:20:41,720 --> 00:20:45,560
Try to get intoxicated.
Try to get sober, you know?
383
00:20:45,560 --> 00:20:49,080
All the versions of myself
that I can summon
384
00:20:49,080 --> 00:20:53,720
are summoned to participate
in this-- This workforce.
385
00:20:53,720 --> 00:20:57,120
So, uh, I try everything.
I'll do anything.
386
00:20:58,640 --> 00:21:02,160
IHLEN [IN NORWEGIAN]:
When Beautiful Losers came out,
387
00:21:02,160 --> 00:21:04,440
it was hardly read.
388
00:21:04,440 --> 00:21:06,160
I didn't understand any of it.
389
00:21:06,160 --> 00:21:11,360
Many intellectuals reading it
tried to understand it.
390
00:21:11,360 --> 00:21:14,200
But even they were left
bewildered.
391
00:21:15,720 --> 00:21:17,880
But listen to what
some of the critics said
392
00:21:17,880 --> 00:21:19,040
about his latest book.
393
00:21:19,040 --> 00:21:22,040
[MAN READING ON-SCREEN TEXT]
394
00:21:34,360 --> 00:21:36,560
[♪♪♪]
395
00:21:38,120 --> 00:21:40,120
COHEN:
After I finished
Beautiful Losers,
396
00:21:40,120 --> 00:21:42,960
I thought that I would
go into music.
397
00:21:42,960 --> 00:21:45,960
I wasn't really making
a living as a writer.
398
00:21:45,960 --> 00:21:49,240
It was very hard
to support and feed the--
399
00:21:49,240 --> 00:21:52,880
The hungry mouths
that I was obliged to do.
400
00:21:52,880 --> 00:21:54,480
So I came back to America,
401
00:21:54,480 --> 00:21:56,720
and I didn't know
what had been happening
402
00:21:56,720 --> 00:22:00,720
in New York in, uh--
In folk music.
403
00:22:00,720 --> 00:22:03,400
I was completely unaware
of people like Phil Ochs
404
00:22:03,400 --> 00:22:06,240
or Dylan or Joan Baez.
405
00:22:07,440 --> 00:22:09,200
COLLINS:
Leonard found me,
406
00:22:09,200 --> 00:22:11,640
and he came
to my apartment,
407
00:22:11,640 --> 00:22:14,600
and he came in
and we had some coffee.
408
00:22:14,600 --> 00:22:18,360
I said, "So?" And he said,
"Well, I can't sing.
409
00:22:18,360 --> 00:22:19,800
And I can't play the guitar.
410
00:22:19,800 --> 00:22:22,280
And I don't know
if this is a song."
411
00:22:22,280 --> 00:22:23,800
And then he played me:
412
00:22:23,800 --> 00:22:29,120
♪ Suzanne takes you down
To her place by the river ♪
413
00:22:29,120 --> 00:22:32,200
So I said,
"Leonard, that is a song!
414
00:22:32,200 --> 00:22:36,280
That's a song, and I have
to record that immediately."
415
00:22:36,280 --> 00:22:38,080
So he and I--
416
00:22:38,080 --> 00:22:41,840
Of course,
I recorded it right away.
417
00:22:41,840 --> 00:22:43,960
We became friends.
418
00:22:43,960 --> 00:22:47,080
He was quite clear
that he never,
419
00:22:47,080 --> 00:22:49,120
ever wanted to sing in public.
420
00:22:49,120 --> 00:22:51,320
So about a year went by,
421
00:22:51,320 --> 00:22:54,200
and "Suzanne"
was a big song by then.
422
00:22:54,200 --> 00:22:57,840
And I was doing
a big fundraiser in New York,
423
00:22:57,840 --> 00:23:00,280
and I said,
"You have to come with me.
424
00:23:00,280 --> 00:23:01,760
I want to put you on-stage
425
00:23:01,760 --> 00:23:04,000
and I want you
to sing 'Suzanne.'
426
00:23:04,000 --> 00:23:06,480
Everybody is dying to
hear you sing this song."
427
00:23:06,480 --> 00:23:09,160
He said, "I can't sing.
I have a horrible voice."
428
00:23:09,160 --> 00:23:11,240
I said, "You don't have
a horrible voice."
429
00:23:11,240 --> 00:23:14,080
So he came out, and he stood
in the middle there
430
00:23:14,080 --> 00:23:16,400
and began singing the song.
431
00:23:16,400 --> 00:23:18,520
And I knew that he was
shaking like a leaf
432
00:23:18,520 --> 00:23:22,640
because I had seen him,
seen his hands on the guitar.
433
00:23:22,640 --> 00:23:26,120
In the middle of "Suzanne,"
he broke down and began to sob,
434
00:23:26,120 --> 00:23:29,360
heh, and walked off the stage.
435
00:23:29,360 --> 00:23:32,360
He was dying of fear.
436
00:23:32,360 --> 00:23:37,200
He was having what we know
as a great, massive attack
437
00:23:37,200 --> 00:23:39,200
of-- Of stage fright.
438
00:23:40,640 --> 00:23:42,480
So he came off the stage,
and I said,
439
00:23:42,480 --> 00:23:44,560
"Leonard,
this just will not do.
440
00:23:44,560 --> 00:23:47,480
You have to go back.
I'll go back with you,
441
00:23:47,480 --> 00:23:49,360
and we can
do the song together."
442
00:23:49,360 --> 00:23:51,120
He said-- Finally he said okay.
443
00:23:51,120 --> 00:23:52,560
So meantime, the whole audience
444
00:23:52,560 --> 00:23:55,280
is continuing to clap
and scream and carry on,
445
00:23:55,280 --> 00:23:57,520
'cause they'd gotten a taste.
446
00:23:57,520 --> 00:24:01,000
They could hear him sing.
They knew.
447
00:24:01,000 --> 00:24:03,240
So we went out together,
he finished the song,
448
00:24:03,240 --> 00:24:07,160
and by the time we finished,
he was a convert.
449
00:24:07,160 --> 00:24:12,120
Total convert to
his own magical impression.
450
00:24:12,120 --> 00:24:15,840
I would like to introduce
to you Mr. Leonard Cohen.
451
00:24:15,840 --> 00:24:17,400
[AUDIENCE APPLAUDING]
452
00:24:18,760 --> 00:24:22,520
♪ Suzanne takes you down ♪
453
00:24:22,520 --> 00:24:26,120
♪ To her place near the river ♪
454
00:24:26,120 --> 00:24:29,600
♪ You can hear
The boats go by ♪
455
00:24:29,600 --> 00:24:33,120
♪ You can spend the night
Beside her ♪
456
00:24:33,120 --> 00:24:36,560
♪ And you know
She's half crazy ♪
457
00:24:36,560 --> 00:24:40,040
♪ But that's why
You want to be there ♪
458
00:24:40,040 --> 00:24:43,600
♪ And she feeds you
Tea and oranges ♪
459
00:24:43,600 --> 00:24:46,560
♪ That come all the way
From China... ♪
460
00:24:46,560 --> 00:24:49,200
COLLINS:
It was one of
the most important moments
461
00:24:49,200 --> 00:24:52,480
of his life and mine.
462
00:24:52,480 --> 00:24:54,640
And of course,
then he was off to the races.
463
00:24:54,640 --> 00:24:59,040
Columbia signed him up
and was his label forever.
464
00:25:00,920 --> 00:25:04,360
IHLEN [IN NORWEGIAN]:
He often had
to cross the "great dam."
465
00:25:04,360 --> 00:25:08,680
Both to search
inspiration and...
466
00:25:08,680 --> 00:25:11,400
[IN ENGLISH]
become a little
more miserable again, heh.
467
00:25:11,400 --> 00:25:14,680
[IN NORWEGIAN]
We couldn't afford
all three of us to travel.
468
00:25:14,680 --> 00:25:18,600
So I was often alone on Hydra.
469
00:25:18,600 --> 00:25:20,200
And I got to the point
470
00:25:20,200 --> 00:25:22,720
where I didn't want
to be alone anymore.
471
00:25:22,720 --> 00:25:24,680
I was sad.
472
00:25:26,040 --> 00:25:28,840
It wasn't long
before I received a telegram.
473
00:25:29,960 --> 00:25:32,160
[IN ENGLISH]
"Have house.
474
00:25:32,160 --> 00:25:36,080
All I need
is my woman and her son.
475
00:25:36,080 --> 00:25:37,720
Love, Leonard."
476
00:25:38,760 --> 00:25:40,640
[IN NORWEGIAN]
And that was it.
477
00:25:40,640 --> 00:25:43,720
I went to him.
478
00:25:43,720 --> 00:25:46,480
COHEN:
I remember her
arriving at the airport.
479
00:25:46,480 --> 00:25:50,240
She had two heavy valises
in each hand.
480
00:25:50,240 --> 00:25:51,760
She couldn't wave to me
481
00:25:51,760 --> 00:25:55,240
because she couldn't
lift the suitcases up,
482
00:25:55,240 --> 00:25:57,560
but she didn't want
to drop them-- She was moving.
483
00:25:57,560 --> 00:26:00,760
So she waved to me
with her foot.
484
00:26:00,760 --> 00:26:02,640
I remember that
very, very clearly.
485
00:26:02,640 --> 00:26:04,360
[CHUCKLES]
486
00:26:04,360 --> 00:26:07,200
LAYTON:
Yeah, boy,
that was a mistake.
487
00:26:07,200 --> 00:26:10,840
You know, and said famously--
You know, the famous thing.
488
00:26:10,840 --> 00:26:13,400
"I want my woman."
I mean, that was Leonard, yeah?
489
00:26:13,400 --> 00:26:17,480
"I want my woman and my child
to come to Montreal."
490
00:26:17,480 --> 00:26:19,760
And that was
this wonderful thing.
491
00:26:19,760 --> 00:26:22,280
And of course, the minute
he said it, he didn't--
492
00:26:22,280 --> 00:26:24,960
He wouldn't have--
He didn't need it anymore.
493
00:26:24,960 --> 00:26:27,040
He needed to say it, but--
494
00:26:27,040 --> 00:26:31,120
And Marianne, who was
deeply in love with him,
495
00:26:31,120 --> 00:26:33,480
did come
and brought Little Axel.
496
00:26:33,480 --> 00:26:35,880
We always used to call him
"Little Axel."
497
00:26:35,880 --> 00:26:38,240
And, um, it was a disaster.
498
00:26:38,240 --> 00:26:41,440
It was very unhappy.
A very unhappy time.
499
00:26:41,440 --> 00:26:44,640
Axel would come
and stay with us.
500
00:26:44,640 --> 00:26:48,840
He used to take a pencil
and pencil his name
501
00:26:48,840 --> 00:26:52,800
over every wall
in our apartment.
502
00:26:52,800 --> 00:26:55,240
He'd write,
"Axel, Axel, Axel."
503
00:26:55,240 --> 00:26:58,840
That was a very unhappy time.
504
00:26:58,840 --> 00:27:03,040
Poets do not make
great husbands, do they?
505
00:27:03,040 --> 00:27:05,280
Do you know of a poet
who's ever made
506
00:27:05,280 --> 00:27:09,000
an absolutely splendid husband?
507
00:27:09,000 --> 00:27:10,920
Or a filmmaker?
508
00:27:10,920 --> 00:27:13,440
Or an artist?
509
00:27:13,440 --> 00:27:15,720
No. You can't own them.
510
00:27:15,720 --> 00:27:18,800
You can't even own
a bit of them.
511
00:27:18,800 --> 00:27:23,160
They're--
They're just elusive creatures
512
00:27:23,160 --> 00:27:27,800
who are married to their...
To their muse.
513
00:27:27,800 --> 00:27:31,600
That sounds so pretentious
to say that, but it's true.
514
00:27:32,640 --> 00:27:37,160
But the irony is,
a man like that
515
00:27:37,160 --> 00:27:42,280
is a man who every woman
wants to have...
516
00:27:42,280 --> 00:27:44,320
and can't have.
517
00:27:46,160 --> 00:27:49,960
COLLINS:
Marianne came up to me,
and she said,
518
00:27:49,960 --> 00:27:53,280
"We were very happy
living in Hydra.
519
00:27:53,280 --> 00:27:55,800
And we were walking
on the beach
520
00:27:55,800 --> 00:27:57,880
and we were swimming
in the nude
521
00:27:57,880 --> 00:28:01,240
and drinking a lot of retsina,
and we were very happy.
522
00:28:01,240 --> 00:28:03,640
And then one day,
he came to me and he said,
523
00:28:03,640 --> 00:28:06,520
'Marianne,
I'm going to New York
524
00:28:06,520 --> 00:28:09,440
to play my songs
for Judy Collins.'
525
00:28:09,440 --> 00:28:11,480
And you recorded
all of his songs.
526
00:28:11,480 --> 00:28:16,600
And I just wanted to tell you
that you ruined my life."
527
00:28:16,600 --> 00:28:20,000
Certainly their dream life
in Hydra
528
00:28:20,000 --> 00:28:22,960
had a big interruption,
which was that
529
00:28:22,960 --> 00:28:26,480
Leonard discovered himself
as a singer.
530
00:28:26,480 --> 00:28:29,280
[♪♪♪]
531
00:28:31,920 --> 00:28:36,480
BROOMFIELD:
I took this picture of Marianne
in the autumn of 1968,
532
00:28:36,480 --> 00:28:40,000
when she came to the U.K.
and contacted me.
533
00:28:40,000 --> 00:28:43,200
She had come to bring
Little Axel to boarding school
534
00:28:43,200 --> 00:28:45,120
and needed a lift.
535
00:28:47,040 --> 00:28:48,600
We drove down to Suffolk,
536
00:28:48,600 --> 00:28:50,960
to Summerhill,
the A.S. Neill school,
537
00:28:50,960 --> 00:28:53,640
where children didn't
have to attend class
538
00:28:53,640 --> 00:28:55,520
if they didn't want to.
539
00:28:58,280 --> 00:29:00,320
Axel was 8, and I remember
540
00:29:00,320 --> 00:29:03,080
how upset he was
when we drove away.
541
00:29:05,280 --> 00:29:08,520
Axel would write to Marianne
nearly every day.
542
00:29:18,160 --> 00:29:20,320
Marianne was in tears too,
543
00:29:20,320 --> 00:29:22,600
but believed it was
the best thing for him
544
00:29:22,600 --> 00:29:24,840
because she was
always traveling.
545
00:29:26,240 --> 00:29:28,360
Marianne came
and stayed for a while
546
00:29:28,360 --> 00:29:31,400
in my less-than-chic squat
in Kentish Town,
547
00:29:31,400 --> 00:29:34,120
where she took this photo.
548
00:29:34,120 --> 00:29:37,320
She introduced me to the world
of protest movements
549
00:29:37,320 --> 00:29:41,680
and artists using their art
to achieve incredible things.
550
00:29:41,680 --> 00:29:44,280
She was close
to Julie Felix, the singer,
551
00:29:44,280 --> 00:29:46,400
an old friend
of hers and Leonard's,
552
00:29:46,400 --> 00:29:49,000
and working with Julie
as her muse,
553
00:29:49,000 --> 00:29:51,320
encouraging her
to write her own songs
554
00:29:51,320 --> 00:29:54,120
for the very first time.
555
00:29:54,120 --> 00:29:56,680
Julie had originally
met Leonard on Hydra,
556
00:29:56,680 --> 00:29:59,920
before either of them
were singers.
557
00:29:59,920 --> 00:30:02,760
I'm very happy and proud
to have him here on the show
558
00:30:02,760 --> 00:30:05,000
and introduce him
to the English public.
559
00:30:05,000 --> 00:30:07,800
Here is the writer,
the poet, the songwriter.
560
00:30:07,800 --> 00:30:10,720
He's a friend, but he says
he's a stranger in this song.
561
00:30:10,720 --> 00:30:14,040
Ladies and gentleman,
Leonard Cohen.
562
00:30:14,040 --> 00:30:16,000
[AUDIENCE APPLAUDING]
563
00:30:20,200 --> 00:30:23,640
♪ It's true that
All the men you knew ♪
564
00:30:23,640 --> 00:30:27,680
♪ Were dealers who said they
Were through with dealing ♪
565
00:30:27,680 --> 00:30:32,280
♪ Every time
You gave them shelter ♪
566
00:30:32,280 --> 00:30:36,440
♪ I know that kind of man
It's hard to hold the hand ♪
567
00:30:36,440 --> 00:30:39,800
♪ Of anyone who's reaching
For the sky... ♪
568
00:30:39,800 --> 00:30:41,600
FELIX:
Leonard was always searching.
569
00:30:41,600 --> 00:30:45,280
And this feeling of
never belonging anywhere,
570
00:30:45,280 --> 00:30:48,440
and even in a relationship,
you know, eventually--
571
00:30:48,440 --> 00:30:50,680
With Marianne, I think
that was the longest.
572
00:30:50,680 --> 00:30:55,160
But after that, he went from
relationship to relationship.
573
00:30:55,160 --> 00:30:56,560
And at the end of the song,
574
00:30:56,560 --> 00:30:59,920
there was
just a tear in his eye.
575
00:30:59,920 --> 00:31:02,960
He was an emotional man.
576
00:31:02,960 --> 00:31:06,400
[AUDIENCE APPLAUDING]
577
00:31:06,400 --> 00:31:10,040
Well, at that time they were
already having a few problems.
578
00:31:10,040 --> 00:31:12,880
Marianne and I hung out
together for quite a while,
579
00:31:12,880 --> 00:31:14,320
and we became very close.
580
00:31:14,320 --> 00:31:17,680
And, um, we went on
a couple of trips together,
581
00:31:17,680 --> 00:31:21,560
and she was the muse and said,
you know, "Why don't you write?"
582
00:31:21,560 --> 00:31:23,960
And the first song I wrote
was "Windy Morning,"
583
00:31:23,960 --> 00:31:28,600
which is a song that
she kind of guided me through.
584
00:31:28,600 --> 00:31:31,000
BROOMFIELD:
She was a great muse,
wasn't she?
585
00:31:31,000 --> 00:31:33,200
Absolutely. Absolutely.
586
00:31:33,200 --> 00:31:37,120
And, uh-- And I think Leonard
honored that, you know?
587
00:31:37,120 --> 00:31:41,600
He said that she was,
you know, when... When...
588
00:31:41,600 --> 00:31:44,240
When he was speaking of her.
589
00:31:44,240 --> 00:31:46,200
BROOMFIELD:
She was so encouraging.
590
00:31:46,200 --> 00:31:49,240
Yeah. She was so nurturing,
you know.
591
00:31:49,240 --> 00:31:51,920
It's-- It's, uh...
592
00:31:51,920 --> 00:31:57,120
Yeah, it's that, you know,
the... woman power,
593
00:31:57,120 --> 00:32:01,200
the ability
to nurture and love and--
594
00:32:01,200 --> 00:32:04,600
And, uh, encourage, you know?
595
00:32:04,600 --> 00:32:06,720
It's something the world needs.
596
00:32:06,720 --> 00:32:08,120
That's why I think it's good
597
00:32:08,120 --> 00:32:10,320
that we're getting
to women's time finally,
598
00:32:10,320 --> 00:32:12,920
with all the "Time's Up."
599
00:32:12,920 --> 00:32:16,840
And Leonard was a great, uh...
600
00:32:16,840 --> 00:32:20,200
He was a feminist, you know?
He really, uh...
601
00:32:20,200 --> 00:32:23,320
He said to me once, 'cause
I was talking about something--
602
00:32:23,320 --> 00:32:25,720
He said, "I can't wait
till women take over."
603
00:32:25,720 --> 00:32:28,920
So that was kind of nice
to hear from him.
604
00:32:28,920 --> 00:32:31,720
[♪♪♪]
605
00:32:40,280 --> 00:32:44,040
SIMON:
Leonard's imagery
came from the poets,
606
00:32:44,040 --> 00:32:48,640
from Shakespeare,
from Keats, from Marlowe.
607
00:32:48,640 --> 00:32:51,840
So I found certain lines
in his guitar playing
608
00:32:51,840 --> 00:32:54,200
that I could enrich.
609
00:32:54,200 --> 00:32:57,080
And I decided not to do it
with instruments
610
00:32:57,080 --> 00:33:00,400
but to do it
with female voices,
611
00:33:00,400 --> 00:33:02,200
since so much of his writing
612
00:33:02,200 --> 00:33:06,160
was about his relationships
with women.
613
00:33:06,160 --> 00:33:09,520
There was a very female presence
in all of his songs,
614
00:33:09,520 --> 00:33:11,960
even though he was a man.
615
00:33:11,960 --> 00:33:13,760
So my girlfriend at the time
616
00:33:13,760 --> 00:33:16,280
had a very nice
pure, soprano voice,
617
00:33:16,280 --> 00:33:19,520
and so I started,
you know, fooling around,
618
00:33:19,520 --> 00:33:22,200
asking her,
"Sing this, sing this,"
619
00:33:22,200 --> 00:33:24,240
over Leonard's song.
"What do you think?"
620
00:33:24,240 --> 00:33:27,040
And, uh, some of it
sounded really great.
621
00:33:27,040 --> 00:33:29,240
BROOMFIELD:
You can't sort of
imitate it slightly?
622
00:33:29,240 --> 00:33:30,440
[LAUGHS]
623
00:33:30,440 --> 00:33:32,240
I'm not a singer,
and I'm not a girl.
624
00:33:32,240 --> 00:33:35,240
She was singing,
♪ So long, Marianne ♪
625
00:33:35,240 --> 00:33:37,080
She added that little "--anne"
on the top.
626
00:33:37,080 --> 00:33:39,400
♪ It's time that
We began to laugh ♪
627
00:33:39,400 --> 00:33:43,000
♪ And cry
And laugh and cry ♪
628
00:33:43,000 --> 00:33:44,680
♪ About it all again ♪
629
00:33:44,680 --> 00:33:47,240
So she sort of aped
what he was doing,
630
00:33:47,240 --> 00:33:49,600
but it gave it
a little harder...
631
00:33:49,600 --> 00:33:52,120
Put a little harder edge
on it, you know?
632
00:33:52,120 --> 00:33:54,760
♪ So long, Marianne ♪
633
00:33:54,760 --> 00:33:57,600
♪ It's time that we began ♪
634
00:33:57,600 --> 00:34:00,800
♪ To laugh and cry ♪
♪ To laugh and cry ♪
635
00:34:00,800 --> 00:34:06,720
♪ And cry and laugh
About it all again ♪
636
00:34:06,720 --> 00:34:09,600
♪ So long, Marianne ♪
637
00:34:09,600 --> 00:34:16,240
IHLEN [IN NORWEGIAN]:
There are aspects of our life
in that song.
638
00:34:16,240 --> 00:34:19,960
And when you mention the lyric,
639
00:34:19,960 --> 00:34:24,320
[IN ENGLISH]
"Fine spider-web fastening
my ankle to a stone,"
640
00:34:24,320 --> 00:34:29,320
[IN NORWEGIAN]
it reminds me of something
that he told me.
641
00:34:29,320 --> 00:34:33,280
It was
his record release party.
642
00:34:33,280 --> 00:34:36,080
Leonard was
the center of attention.
643
00:34:36,080 --> 00:34:40,280
So he went to the top floor
of the apartment,
644
00:34:40,280 --> 00:34:43,120
on the roof terrace.
645
00:34:43,120 --> 00:34:47,200
He just had
to get away from it all,
646
00:34:47,200 --> 00:34:50,160
and he told me very seriously
647
00:34:50,160 --> 00:34:52,760
[IN ENGLISH]
if this was part of the game,
648
00:34:52,760 --> 00:34:55,480
he didn't know
how long he would last.
649
00:34:57,680 --> 00:34:59,960
The very first time
I met Leonard Cohen,
650
00:34:59,960 --> 00:35:01,240
he opened the door,
651
00:35:01,240 --> 00:35:04,520
and he's absolutely naked
as a jaybird.
652
00:35:04,520 --> 00:35:08,560
Right? So me, coming out of
where I come out of, I go,
653
00:35:08,560 --> 00:35:12,360
"This is pretty damn weird,"
you know? "This is..."
654
00:35:12,360 --> 00:35:15,720
Later, of course, throughout
the time I spent with Leonard,
655
00:35:15,720 --> 00:35:19,040
the years
that we worked together,
656
00:35:19,040 --> 00:35:21,680
uh, when I look back
on all that,
657
00:35:21,680 --> 00:35:25,200
and if I'd have been
evolved enough
658
00:35:25,200 --> 00:35:29,160
at that moment, it wouldn't
have been weird to me at all.
659
00:35:29,160 --> 00:35:31,080
All the time I knew Leonard,
660
00:35:31,080 --> 00:35:35,440
he was very, very conscious
of his body.
661
00:35:35,440 --> 00:35:38,120
Leonard used to say
that when we're on tour,
662
00:35:38,120 --> 00:35:40,720
and you get--
We're at the hotel,
663
00:35:40,720 --> 00:35:42,640
take all your clothes off.
664
00:35:42,640 --> 00:35:45,200
You're going
to be passing by
665
00:35:45,200 --> 00:35:48,640
these things
called mirrors, right?
666
00:35:48,640 --> 00:35:51,080
And when you pass by a mirror,
667
00:35:51,080 --> 00:35:53,360
you're gonna notice
that little...
668
00:35:53,360 --> 00:35:55,960
"Hey, I need to be doing
a few more sit-ups."
669
00:35:57,720 --> 00:36:01,160
Leonard swam,
like, all the time.
670
00:36:01,160 --> 00:36:03,800
Any hotel we were in,
you would find--
671
00:36:03,800 --> 00:36:07,400
If they had-- If they had
a pool, he was in it.
672
00:36:07,400 --> 00:36:09,360
And he would get up
early in the morning
673
00:36:09,360 --> 00:36:11,440
so he didn't
have to run into anybody.
674
00:36:11,440 --> 00:36:13,680
He'd be down there
at 5:00 in the morning,
675
00:36:13,680 --> 00:36:15,240
and he'd be doing laps.
676
00:36:15,240 --> 00:36:17,760
And if they would
let him swim nude,
677
00:36:17,760 --> 00:36:19,640
he would swim nude.
678
00:36:19,640 --> 00:36:22,760
I don't know why.
That was just him.
679
00:36:24,280 --> 00:36:26,440
BROOMFIELD:
Didn't you write
a song with him?
680
00:36:26,440 --> 00:36:30,000
CORNELIUS:
I did. Yeah, I wrote
"Chelsea Hotel" with him.
681
00:36:30,000 --> 00:36:32,680
We boarded an airplane
in LaGuardia,
682
00:36:32,680 --> 00:36:36,960
and me and Leonard sat there
and worked on this song.
683
00:36:38,400 --> 00:36:41,480
I had no idea
who he was talking to
684
00:36:41,480 --> 00:36:43,840
in his writing at the time.
685
00:36:43,840 --> 00:36:48,160
It came out later
that it was about Janis Joplin.
686
00:36:48,160 --> 00:36:50,680
And, you know, it's like,
687
00:36:50,680 --> 00:36:53,360
"Remember you well
at the Chelsea Hotel,
688
00:36:53,360 --> 00:36:56,000
uh, talking so brave
and so sweet,
689
00:36:56,000 --> 00:36:57,680
giving me head
on the unmade bed
690
00:36:57,680 --> 00:36:59,920
while the limousines
wait in the street."
691
00:36:59,920 --> 00:37:01,400
That's all still there.
692
00:37:01,400 --> 00:37:03,480
Nobody knows that
the second verse was,
693
00:37:03,480 --> 00:37:06,280
"I remember you well
at the Chelsea Hotel
694
00:37:06,280 --> 00:37:08,920
in the winter of 1967.
695
00:37:08,920 --> 00:37:12,320
My friends of that year,
they were all turning queer,
696
00:37:12,320 --> 00:37:15,480
and me, I was just
getting even."
697
00:37:15,480 --> 00:37:18,800
♪ I remember you well ♪
698
00:37:18,800 --> 00:37:22,200
♪ In the Chelsea Hotel ♪
699
00:37:22,200 --> 00:37:25,400
♪ You were talkin' so brave ♪
700
00:37:25,400 --> 00:37:27,600
♪ And so sweet ♪
701
00:37:30,480 --> 00:37:32,720
♪ Giving me head ♪
702
00:37:32,720 --> 00:37:35,720
♪ On an unmade bed ♪
703
00:37:35,720 --> 00:37:38,400
♪ While the limousines ♪
704
00:37:38,400 --> 00:37:40,920
♪ Wait in the street... ♪
705
00:37:43,640 --> 00:37:48,120
IHLEN [IN NORWEGIAN]:
I moved to New York
to be with Leonard.
706
00:37:48,120 --> 00:37:52,800
He was living between our home
and the Chelsea Hotel.
707
00:37:54,280 --> 00:37:56,440
He took me to a concert
708
00:37:56,440 --> 00:38:00,400
to see
the fantastic Janis Joplin.
709
00:38:00,400 --> 00:38:03,600
[♪♪♪]
710
00:38:09,200 --> 00:38:11,640
I didn't join them
after the concert.
711
00:38:11,640 --> 00:38:15,160
Leonard was always protective
of that life.
712
00:38:15,160 --> 00:38:17,400
I was grateful for that.
713
00:38:20,240 --> 00:38:23,080
I didn't really have
anything to do there.
714
00:38:26,560 --> 00:38:30,840
Whatever he did
while he was in New York,
715
00:38:30,840 --> 00:38:34,760
whether I was there or Hydra...
716
00:38:34,760 --> 00:38:36,840
he never shared that with me.
717
00:38:36,840 --> 00:38:40,040
It was a very hard time.
718
00:38:42,760 --> 00:38:44,400
MOLLESTAD:
At that time,
719
00:38:44,400 --> 00:38:47,720
Leonard had some experiences
with Janis Joplin,
720
00:38:47,720 --> 00:38:49,760
all these things.
721
00:38:49,760 --> 00:38:53,480
And Marianne
was living separately
722
00:38:53,480 --> 00:38:56,320
in her apartment
with Little Axel.
723
00:38:56,320 --> 00:39:01,920
That must've been, uh...
very strange.
724
00:39:01,920 --> 00:39:04,640
But she was still the muse.
725
00:39:04,640 --> 00:39:07,360
And the interesting thing
is that
726
00:39:07,360 --> 00:39:11,920
she has read for me
the telegrams...
727
00:39:11,920 --> 00:39:13,880
from Leonard.
728
00:39:13,880 --> 00:39:16,600
First telegrams to...
729
00:39:17,640 --> 00:39:19,840
"Marianne Cohen."
730
00:39:21,000 --> 00:39:24,400
It was just like
they had been married.
731
00:39:24,400 --> 00:39:27,480
Telegrams going to Hydra
and then to London
732
00:39:27,480 --> 00:39:30,200
and then to New York,
733
00:39:30,200 --> 00:39:31,720
first it's in the period
734
00:39:31,720 --> 00:39:34,120
when they are together
as a couple.
735
00:39:34,120 --> 00:39:36,680
But the beautiful thing is,
736
00:39:36,680 --> 00:39:38,560
when they're not
a couple anymore,
737
00:39:38,560 --> 00:39:40,640
he's still sending money,
738
00:39:40,640 --> 00:39:46,840
he's still asking
how Axel is doing.
739
00:39:46,840 --> 00:39:49,760
And so he continues to send
740
00:39:49,760 --> 00:39:53,520
his, uh, small...
741
00:39:53,520 --> 00:39:55,360
uh...
742
00:39:55,360 --> 00:39:57,720
love messages,
743
00:39:57,720 --> 00:39:59,840
even if they're not together.
744
00:39:59,840 --> 00:40:01,840
[♪♪♪]
745
00:40:01,840 --> 00:40:05,320
CORNELIUS:
Leonard said he was
suffering from depression
746
00:40:05,320 --> 00:40:08,360
that he fought
for so many years.
747
00:40:10,080 --> 00:40:13,080
So Leonard decided,
he thought, well, it'd be, uh,
748
00:40:13,080 --> 00:40:16,840
a nice thing for us
to do is that
749
00:40:16,840 --> 00:40:19,240
we blow in--
Say we blew into London
750
00:40:19,240 --> 00:40:20,920
to play the Royal Albert Hall.
751
00:40:20,920 --> 00:40:23,000
"Well, uh, we got
three or four days here.
752
00:40:23,000 --> 00:40:25,200
Why don't we, one evening,
go out and play
753
00:40:25,200 --> 00:40:28,200
at a mental institution,"
right?
754
00:40:28,200 --> 00:40:30,520
Okay, so of course
that went over
755
00:40:30,520 --> 00:40:33,080
like a fart in a diver's helmet
with me,
756
00:40:33,080 --> 00:40:37,640
'cause I wasn't about
to go out to any...
757
00:40:37,640 --> 00:40:41,320
I was not going. No way.
758
00:40:41,320 --> 00:40:45,680
He said, you know,
"Just go one time."
759
00:40:45,680 --> 00:40:47,920
He said, "If you go one time
760
00:40:47,920 --> 00:40:50,760
and don't want to play
any more of these,
761
00:40:50,760 --> 00:40:53,120
then you don't have
to do it," right?
762
00:40:53,120 --> 00:40:55,520
So I said okay. So I went.
763
00:40:55,520 --> 00:40:57,680
Well, I'm gonna tell you this.
764
00:40:57,680 --> 00:41:01,760
By the time
that night was over...
765
00:41:01,760 --> 00:41:05,400
you couldn't drive me
away from that idea.
766
00:41:05,400 --> 00:41:08,400
And we ended up
playing a lot of them.
767
00:41:08,400 --> 00:41:11,320
He had a grandfather
or something like that
768
00:41:11,320 --> 00:41:16,080
that I think died in
one of those institutions.
769
00:41:16,080 --> 00:41:19,760
COHEN:
There are a number of reasons
why I played mental hospitals.
770
00:41:19,760 --> 00:41:25,400
When you play for somebody
who has really been defeated--
771
00:41:25,400 --> 00:41:27,040
And it was my feeling
772
00:41:27,040 --> 00:41:29,400
that the elements
of this defeat corresponded
773
00:41:29,400 --> 00:41:33,240
with certain elements
that produced my songs
774
00:41:33,240 --> 00:41:36,320
and that there would be
an empathy.
775
00:41:36,320 --> 00:41:38,560
I mean, I feel
that I also have an empathy
776
00:41:38,560 --> 00:41:41,440
with this experience.
777
00:41:41,440 --> 00:41:45,240
When I told them I was
coming out here, they said,
778
00:41:45,240 --> 00:41:47,800
"They're a tough bunch
of young nuts."
779
00:41:47,800 --> 00:41:50,080
[AUDIENCE CHUCKLING]
780
00:41:51,480 --> 00:41:53,880
This song is about a girl
I used to live with.
781
00:41:53,880 --> 00:41:58,560
I lived with her
for about, uh, eight years.
782
00:41:58,560 --> 00:42:01,160
Her name was Marianne.
783
00:42:01,160 --> 00:42:04,560
And, uh, I used
to live with her
784
00:42:04,560 --> 00:42:07,360
you know,
for six months of the year,
785
00:42:07,360 --> 00:42:09,360
and then the other six months
of the year
786
00:42:09,360 --> 00:42:11,480
I would spend
with someone else.
787
00:42:11,480 --> 00:42:15,440
Then I found myself living with
her four months of the year.
788
00:42:15,440 --> 00:42:17,240
Then two months of the year.
789
00:42:17,240 --> 00:42:20,520
Then by the eighth year,
I was living with her
790
00:42:20,520 --> 00:42:23,360
a couple of weeks of the year.
791
00:42:23,360 --> 00:42:24,760
But I thought it was time
792
00:42:24,760 --> 00:42:28,360
to write
this particular song for her.
793
00:42:28,360 --> 00:42:31,120
I still live with her
a couple of days of the year.
794
00:42:31,120 --> 00:42:33,000
[AUDIENCE LAUGHS]
795
00:42:34,200 --> 00:42:37,720
♪ For I love you
In the morning ♪
796
00:42:37,720 --> 00:42:41,280
♪ Our kisses deep and warm ♪
797
00:42:41,280 --> 00:42:44,360
♪ Your hair upon the pillow ♪
798
00:42:44,360 --> 00:42:48,600
♪ Like a sleepy
Golden storm... ♪
799
00:42:52,280 --> 00:42:56,960
CORNELIUS:
That was a moment in my life
that I would never forget.
800
00:42:58,160 --> 00:43:00,800
And this guy, he stands up
801
00:43:00,800 --> 00:43:03,360
and starts screaming,
you know,
802
00:43:03,360 --> 00:43:06,320
"Hey, shut it down.
Stop. Shut it."
803
00:43:06,320 --> 00:43:08,680
Well, we, you know,
804
00:43:08,680 --> 00:43:13,000
being musicians and have
played a million shows,
805
00:43:13,000 --> 00:43:14,760
we steam right on, right?
806
00:43:14,760 --> 00:43:16,720
We're not gonna let that--
Well, no.
807
00:43:16,720 --> 00:43:21,840
This guy shut it down.
He shut it down.
808
00:43:21,840 --> 00:43:24,360
And then,
Leonard finally said,
809
00:43:24,360 --> 00:43:28,440
"Okay, you talk then," right?
So this guy said, "Look."
810
00:43:28,440 --> 00:43:32,240
He said, "You come in here,
811
00:43:32,240 --> 00:43:35,800
and you got all these shiny
guitars and you got all--
812
00:43:35,800 --> 00:43:38,000
And you got
the pretty girls there
813
00:43:38,000 --> 00:43:41,000
singing background and stuff,
and everything like--"
814
00:43:41,000 --> 00:43:43,880
He said, "I wanna know,
what do you think about me?
815
00:43:43,880 --> 00:43:46,560
That's what I wanna know about.
816
00:43:46,560 --> 00:43:50,400
I wanna know
what you think about me."
817
00:43:52,560 --> 00:43:56,200
You could hear
a pin drop in that place.
818
00:43:56,200 --> 00:43:59,240
And Leonard just walked
past me and Charlie,
819
00:43:59,240 --> 00:44:02,520
walked down the stairs,
walked right out in the crowd
820
00:44:02,520 --> 00:44:05,600
and just hugged him like
you wouldn't have believed.
821
00:44:05,600 --> 00:44:08,800
He almost broke his ribs,
he hugged him that hard.
822
00:44:08,800 --> 00:44:12,360
[♪♪♪]
823
00:44:12,360 --> 00:44:14,880
IHLEN [IN NORWEGIAN]:
I wanted to put him in a cage,
824
00:44:14,880 --> 00:44:19,200
lock him up
and swallow the key.
825
00:44:19,200 --> 00:44:23,200
He was always
sought after by everyone.
826
00:44:23,200 --> 00:44:27,480
People loved how entertaining
and compassionate he was.
827
00:44:27,480 --> 00:44:29,400
That's the way it goes
828
00:44:29,400 --> 00:44:34,480
when you choose those
strong, dark, handsome men.
829
00:44:34,480 --> 00:44:37,240
All the girls
were panting for him.
830
00:44:38,520 --> 00:44:43,280
It hurt me so much.
It destroyed me.
831
00:44:43,280 --> 00:44:48,040
I was on the verge of killing
myself because of it.
832
00:44:49,680 --> 00:44:51,600
I wanted to die.
833
00:44:55,560 --> 00:44:58,160
I came to see you because it's--
You don't sing anymore?
834
00:44:58,160 --> 00:44:59,880
COHEN: Pardon?
[SPEAKS INDISTINCTLY]
835
00:44:59,880 --> 00:45:02,160
Well, we go to Geneva.
No, I mean now.
836
00:45:02,160 --> 00:45:04,640
Now? No. Why are you--?
No, tonight.
837
00:45:04,640 --> 00:45:07,560
Would you like to listen?
Yes. Yeah.
838
00:45:08,920 --> 00:45:11,000
Um, I don't
have any plans, but--
839
00:45:11,000 --> 00:45:13,440
You don't have any place?
No, I don't have any place.
840
00:45:13,440 --> 00:45:17,760
Do you have somewhere for me?
Yes. A lot.
841
00:45:17,760 --> 00:45:19,560
Okay.
842
00:45:19,560 --> 00:45:21,560
[CHUCKLES]
843
00:45:21,560 --> 00:45:24,080
It's hard to come on to a girl
in front of the camera.
844
00:45:24,080 --> 00:45:26,400
What?
845
00:45:26,400 --> 00:45:29,080
COHEN:
I was obsessed by, uh,
846
00:45:29,080 --> 00:45:32,440
gaining women's favors
at a certain point in my life.
847
00:45:32,440 --> 00:45:37,360
And, um, way beyond
any, uh, reasonable,
848
00:45:37,360 --> 00:45:40,240
uh, activity.
849
00:45:40,240 --> 00:45:42,520
It became the most important
thing in my life,
850
00:45:42,520 --> 00:45:45,760
and it led me into
very obsessive, uh, behavior
851
00:45:45,760 --> 00:45:47,680
and some very
interesting things,
852
00:45:47,680 --> 00:45:50,920
and probably most of the things
I learned about myself
853
00:45:50,920 --> 00:45:53,120
and about other people
854
00:45:53,120 --> 00:45:56,160
were gained from
this period of obsessive--
855
00:45:56,160 --> 00:45:58,920
This blue movie
that I threw myself into.
856
00:45:58,920 --> 00:46:02,200
But we know that blue movies
are not romantic.
857
00:46:02,200 --> 00:46:04,800
[AUDIENCE APPLAUDING]
858
00:46:07,280 --> 00:46:11,240
DONOVAN:
It was a show.
It was more women than men.
859
00:46:11,240 --> 00:46:13,040
It was like,
you'd look out there,
860
00:46:13,040 --> 00:46:14,400
and there were some couples,
861
00:46:14,400 --> 00:46:17,320
and it was mostly just women.
862
00:46:17,320 --> 00:46:19,400
They've read his poetry, right?
863
00:46:19,400 --> 00:46:21,600
And then they see him
sing these songs,
864
00:46:21,600 --> 00:46:23,600
and they're all just down there
865
00:46:23,600 --> 00:46:27,400
crying and all that,
watching him.
866
00:46:28,600 --> 00:46:31,520
There was no problem
with women.
867
00:46:31,520 --> 00:46:34,720
You know, I'll tell you
a funny story. One day,
868
00:46:34,720 --> 00:46:38,120
I'm down in the lobby
of the Mayfair Hotel,
869
00:46:38,120 --> 00:46:41,120
and he comes walking in
out of the cab
870
00:46:41,120 --> 00:46:44,520
with this really
nice-looking woman.
871
00:46:44,520 --> 00:46:48,440
And they disappear,
come down a couple hours later,
872
00:46:48,440 --> 00:46:52,040
and they're having drinks
in the lobby,
873
00:46:52,040 --> 00:46:54,280
this bar there.
874
00:46:54,280 --> 00:46:58,680
And she leaves,
and then he makes a phone call.
875
00:46:58,680 --> 00:47:00,080
About a half hour later,
876
00:47:00,080 --> 00:47:02,120
he comes back
with a different woman. Ha!
877
00:47:02,120 --> 00:47:05,840
And they go up. They're gone.
This is in one afternoon.
878
00:47:05,840 --> 00:47:07,480
[CHUCKLES]
879
00:47:08,680 --> 00:47:11,120
Hello. How are you?
880
00:47:11,120 --> 00:47:13,840
DONOVAN:
He had to have
a woman all the time.
881
00:47:13,840 --> 00:47:17,240
This guy traveled the world.
He knew, uh,
882
00:47:17,240 --> 00:47:20,800
women and people
in Paris and London
883
00:47:20,800 --> 00:47:23,320
and all those places, right?
884
00:47:23,320 --> 00:47:26,080
He'd go,
"Let me just call so-and-so."
885
00:47:27,920 --> 00:47:30,720
Yeah, there was
no problem there.
886
00:47:30,720 --> 00:47:33,240
In fact, everybody
was doing pretty good.
887
00:47:33,240 --> 00:47:35,160
Even me.
888
00:47:35,160 --> 00:47:36,880
Oh, yeah.
889
00:47:39,840 --> 00:47:41,960
[AUDIENCE CHEERING]
890
00:47:52,080 --> 00:47:56,480
COHEN:
I had a great appetite
for the company of women
891
00:47:56,480 --> 00:48:00,600
and for the sexual expression
of friendship.
892
00:48:00,600 --> 00:48:05,240
And I was very fortunate,
because it was the '60s,
893
00:48:05,240 --> 00:48:10,640
and that possibility
was very, very present.
894
00:48:10,640 --> 00:48:14,320
And for a tiny moment
in social history,
895
00:48:14,320 --> 00:48:16,080
there was
a tremendous cooperation
896
00:48:16,080 --> 00:48:21,360
between men and women
about that particular item.
897
00:48:21,360 --> 00:48:23,600
And so I was very lucky that--
898
00:48:23,600 --> 00:48:29,200
That my appetite coincided
with this very rare--
899
00:48:29,200 --> 00:48:30,880
What, religious? Social?
900
00:48:30,880 --> 00:48:32,840
I don't know
what you'd call it.
901
00:48:32,840 --> 00:48:35,080
Some kind of phenomenon,
you know,
902
00:48:35,080 --> 00:48:39,160
that allowed men and women...
Boys and girls, we were.
903
00:48:39,160 --> 00:48:41,480
...to come together
in that kind of union
904
00:48:41,480 --> 00:48:44,760
that satisfied
both the appetites.
905
00:48:48,440 --> 00:48:50,880
[AUDIENCE CHEERING]
906
00:48:54,400 --> 00:48:59,080
♪ Like a bird ♪
907
00:48:59,080 --> 00:49:02,120
♪ On the wire ♪
908
00:49:02,120 --> 00:49:04,440
♪ Like a drunk in some ♪
909
00:49:04,440 --> 00:49:08,040
♪ Old midnight choir ♪
910
00:49:08,040 --> 00:49:10,960
♪ I have tried ♪
911
00:49:10,960 --> 00:49:14,200
♪ In my way ♪
912
00:49:14,200 --> 00:49:18,400
♪ To be free ♪
913
00:49:18,400 --> 00:49:21,240
IHLEN [IN ENGLISH]:
I felt much more
that "Bird on a Wire"
914
00:49:21,240 --> 00:49:25,480
had something to do with me,
because I was there.
915
00:49:25,480 --> 00:49:30,080
When you see it in the light
of how it began,
916
00:49:30,080 --> 00:49:34,480
it was when the new electricity
came to Hydra.
917
00:49:34,480 --> 00:49:37,120
I gave him a guitar.
We looked out of the window.
918
00:49:37,120 --> 00:49:40,120
We saw the birds
landing on the wires.
919
00:49:40,120 --> 00:49:43,320
And he had not been able
to create or write or sing
920
00:49:43,320 --> 00:49:44,920
or do anything for weeks,
921
00:49:44,920 --> 00:49:49,040
and he was in a very,
very deep, deep depression.
922
00:49:51,520 --> 00:49:53,920
And it also was
a period in my life
923
00:49:53,920 --> 00:49:55,920
where I had to...
924
00:49:57,240 --> 00:50:00,280
make a decision
that was pretty hard.
925
00:50:02,200 --> 00:50:07,280
And that was following
my intuition...
926
00:50:07,280 --> 00:50:09,440
and decide that Leonard and I
927
00:50:09,440 --> 00:50:14,000
was not going to have
any children together.
928
00:50:16,600 --> 00:50:18,560
Yeah.
929
00:50:18,560 --> 00:50:20,240
[SNIFFLES]
930
00:50:27,040 --> 00:50:29,920
BROOMFIELD:
Marianne came
and visited me in Cardiff,
931
00:50:29,920 --> 00:50:33,360
where I was a student
living down by the docks.
932
00:50:33,360 --> 00:50:35,600
I was concerned
she might get bored,
933
00:50:35,600 --> 00:50:39,120
but Marianne was naturally
interested in everyone.
934
00:50:39,120 --> 00:50:41,680
She regarded being
receptive and open
935
00:50:41,680 --> 00:50:43,800
as the highest of qualities.
936
00:50:43,800 --> 00:50:46,560
Marianne made friends with
all the kids in the street,
937
00:50:46,560 --> 00:50:48,840
who followed her
around all day,
938
00:50:48,840 --> 00:50:51,520
and she encouraged me to
make my very first film
939
00:50:51,520 --> 00:50:53,040
on slum clearance,
940
00:50:53,040 --> 00:50:56,920
as the whole community
was being torn down.
941
00:50:56,920 --> 00:50:59,520
Marianne liked to throw
the I Ching every day
942
00:50:59,520 --> 00:51:01,080
and get stoned.
943
00:51:01,080 --> 00:51:03,800
She talked
about Leonard a lot:
944
00:51:03,800 --> 00:51:07,400
his favorite salt-beef
sandwich shop in Piccadilly,
945
00:51:07,400 --> 00:51:09,200
his spiritual search,
946
00:51:09,200 --> 00:51:12,640
even dabbling
in Scientology and est.
947
00:51:12,640 --> 00:51:15,760
Marianne, too, was on
her own spiritual search,
948
00:51:15,760 --> 00:51:19,200
and Leonard was,
in many ways, her teacher.
949
00:51:19,200 --> 00:51:22,720
One day she asked me
to drive her to Bath.
950
00:51:22,720 --> 00:51:26,800
She said she was pregnant
with Leonard's child.
951
00:51:26,800 --> 00:51:29,280
I think she was preg--
She was pregnant.
952
00:51:29,280 --> 00:51:31,720
But she knew that Leonard
didn't want children,
953
00:51:31,720 --> 00:51:34,120
and she had abortions
even though she would have--
954
00:51:34,120 --> 00:51:38,120
If anyone should have had
Leonard's children,
955
00:51:38,120 --> 00:51:39,880
she deserved to have them.
956
00:51:39,880 --> 00:51:42,840
But she didn't,
for Leonard's sake.
957
00:51:42,840 --> 00:51:47,200
But, you know,
she wanted what I wanted.
958
00:51:47,200 --> 00:51:50,400
She wanted to...
959
00:51:50,400 --> 00:51:52,320
She wanted to be with him.
960
00:51:52,320 --> 00:51:56,360
And you cannot be
with Leonard...
961
00:51:57,800 --> 00:52:00,560
in that sense.
962
00:52:00,560 --> 00:52:03,440
Although you could say
that I'd rather have one day
963
00:52:03,440 --> 00:52:05,000
or one night with Leonard
964
00:52:05,000 --> 00:52:06,680
than a lifetime
with somebody else.
965
00:52:06,680 --> 00:52:09,080
That would be easy to say,
but it's not--
966
00:52:09,080 --> 00:52:10,840
It's not so easy, you know?
967
00:52:10,840 --> 00:52:13,960
I could have said that
with Irving, just to be--
968
00:52:13,960 --> 00:52:16,920
I was with Irving
for over 20 years.
969
00:52:16,920 --> 00:52:19,440
Whatever the ups and downs,
how wonderful it was--
970
00:52:19,440 --> 00:52:24,440
And it was, but most
of that time was anguish.
971
00:52:24,440 --> 00:52:26,080
You can't--
BROOMFIELD: Anguish?
972
00:52:26,080 --> 00:52:29,880
Well, you know, it was
the days of open marriage,
973
00:52:29,880 --> 00:52:31,440
whatever the hell that was,
974
00:52:31,440 --> 00:52:35,760
and I don't think it ever
was successful with anybody.
975
00:52:35,760 --> 00:52:39,000
One of the partners
was always jealous
976
00:52:39,000 --> 00:52:41,960
and angry
and hurt and confused.
977
00:52:41,960 --> 00:52:44,560
I don't know any child
who came out of it
978
00:52:44,560 --> 00:52:46,480
not damaged
by that period of time.
979
00:52:46,480 --> 00:52:48,840
We just wanted to
do it all: take drugs
980
00:52:48,840 --> 00:52:51,240
and fuck around
and do whatever we liked,
981
00:52:51,240 --> 00:52:55,120
and the children were just--
They came along on the ride.
982
00:52:55,120 --> 00:52:58,320
They didn't want to
come along on that ride.
983
00:52:58,320 --> 00:53:00,200
BROWN:
There are a lot of us
984
00:53:00,200 --> 00:53:03,240
who grew up
very quickly on the island.
985
00:53:03,240 --> 00:53:05,480
There was also a lot of acid
on the island.
986
00:53:05,480 --> 00:53:08,000
Like, people were
actually dropping acid
987
00:53:08,000 --> 00:53:09,440
into people's drinks.
988
00:53:09,440 --> 00:53:12,440
And I remember
hearing reports of people
989
00:53:12,440 --> 00:53:14,480
um, having donkeys--
990
00:53:14,480 --> 00:53:18,000
They were riding donkeys
that, like, started tripping
991
00:53:18,000 --> 00:53:20,120
and getting into all kinds
of trouble,
992
00:53:20,120 --> 00:53:21,880
you know,
and accidents, uh, riding--
993
00:53:21,880 --> 00:53:23,760
BROOMFIELD:
They gave acid to donkeys?
994
00:53:23,760 --> 00:53:25,640
BROWN:
Yeah, as well as to people.
995
00:53:25,640 --> 00:53:29,000
I got-- Someone put acid
in one of my drinks
996
00:53:29,000 --> 00:53:30,880
when I was about 13,
997
00:53:30,880 --> 00:53:33,600
and I had no idea
what was happening.
998
00:53:35,120 --> 00:53:37,160
Also a lot
of casualties happened.
999
00:53:37,160 --> 00:53:41,320
I think Marianne and,
um, a lot of other women
1000
00:53:41,320 --> 00:53:45,320
were not as nurturing
to their children, perhaps,
1001
00:53:45,320 --> 00:53:48,560
or as present with them
as they could have been.
1002
00:53:48,560 --> 00:53:52,800
Axel was really
a casualty of that.
1003
00:53:52,800 --> 00:53:56,000
Marianne was going from one
love to another, to another,
1004
00:53:56,000 --> 00:53:59,360
and often he wasn't with her.
1005
00:53:59,360 --> 00:54:02,440
You know, so who was he with?
And Leonard--
1006
00:54:02,440 --> 00:54:05,480
You know,
he wasn't Leonard's kid.
1007
00:54:05,480 --> 00:54:08,280
He started wearing long, um,
1008
00:54:08,280 --> 00:54:10,720
you know,
flowing Moroccan robes,
1009
00:54:10,720 --> 00:54:13,240
and he was silent for years.
1010
00:54:13,240 --> 00:54:17,480
And then later he became
institutionalized.
1011
00:54:17,480 --> 00:54:20,640
But I've always felt very sad
that he's been, you know,
1012
00:54:20,640 --> 00:54:24,520
institutionalized for most
of his adult life.
1013
00:54:26,360 --> 00:54:30,240
Those who could work
with Hydra did really well.
1014
00:54:30,240 --> 00:54:32,360
And there weren't many,
quite frankly.
1015
00:54:32,360 --> 00:54:34,880
I saw so many artists who came
1016
00:54:34,880 --> 00:54:37,520
and either just found
their creativity
1017
00:54:37,520 --> 00:54:40,840
just wasn't strong enough
to sustain them,
1018
00:54:40,840 --> 00:54:44,920
or the booze, the sex,
the beauty of the landscape
1019
00:54:44,920 --> 00:54:47,280
was all too much,
and they just gave up.
1020
00:54:47,280 --> 00:54:50,280
But Leonard was one
of those who-- Who somehow--
1021
00:54:50,280 --> 00:54:54,040
The whole environment,
I think, sort of coalesced
1022
00:54:54,040 --> 00:54:56,720
and worked for him,
and he worked with it.
1023
00:54:56,720 --> 00:54:58,640
Heh. Still, we have to go.
1024
00:54:58,640 --> 00:55:02,400
COHEN:
♪ I've got a home
In glory land ♪
1025
00:55:02,400 --> 00:55:07,880
ALL:
♪ That outshines the sun ♪
1026
00:55:07,880 --> 00:55:12,640
♪ I got a home in glory land ♪
1027
00:55:12,640 --> 00:55:17,360
♪ That outshines the sun ♪
1028
00:55:18,600 --> 00:55:22,560
♪ I got a home in glory land ♪
1029
00:55:22,560 --> 00:55:27,680
♪ That outshines the sun ♪
1030
00:55:27,680 --> 00:55:32,280
♪ Must be the hand ♪
1031
00:55:32,280 --> 00:55:34,640
♪ Of the Lord ♪
1032
00:55:35,800 --> 00:55:39,240
♪ Oh, do Lord, Oh, do Lord... ♪
1033
00:55:39,240 --> 00:55:42,720
GOLDMAN:
He was a real success story.
He really was.
1034
00:55:42,720 --> 00:55:46,600
He wasn't damaged
by that place, I think, at all.
1035
00:55:46,600 --> 00:55:51,280
Many other people seemed
to come away from that place
1036
00:55:51,280 --> 00:55:55,560
sort of irreparably damaged.
1037
00:55:55,560 --> 00:55:58,280
And it was terrible
on marriages.
1038
00:55:58,280 --> 00:56:01,800
Very few marriages
lasted at that place,
1039
00:56:01,800 --> 00:56:03,520
including my parents'.
1040
00:56:03,520 --> 00:56:06,000
[♪♪♪]
1041
00:56:09,160 --> 00:56:11,240
BROOMFIELD:
I remember Marianne telling me
1042
00:56:11,240 --> 00:56:13,440
of the tragedy
of the Johnstons,
1043
00:56:13,440 --> 00:56:17,440
the family that Leonard had
originally stayed with in 1960,
1044
00:56:17,440 --> 00:56:21,600
who left the island
after nine years.
1045
00:56:21,600 --> 00:56:25,200
GOLDMAN:
This family of such
amazing talent and promise,
1046
00:56:25,200 --> 00:56:27,920
and they just kind of
all fell to bits
1047
00:56:27,920 --> 00:56:29,880
shortly after
leaving the island.
1048
00:56:29,880 --> 00:56:31,080
It's my birthday today,
1049
00:56:31,080 --> 00:56:32,840
and this is
a wonderful homecoming.
1050
00:56:32,840 --> 00:56:34,840
And that was a photograph,
a family one,
1051
00:56:34,840 --> 00:56:37,920
taken on my birthday
last year on the island.
1052
00:56:37,920 --> 00:56:40,360
[BOTH SPEAKING IN GREEK]
1053
00:56:43,000 --> 00:56:45,440
They always speak Greek
among themselves.
1054
00:56:45,440 --> 00:56:47,760
I think it comes
more naturally to them.
1055
00:56:47,760 --> 00:56:50,920
And they've done all their
schooling in Greece, ten years.
1056
00:56:50,920 --> 00:56:54,920
GOLDMAN:
When they left,
almost penniless,
1057
00:56:54,920 --> 00:56:58,960
she killed herself, like,
a couple years later.
1058
00:56:58,960 --> 00:57:01,200
He died a year after that
1059
00:57:01,200 --> 00:57:04,040
of tuberculosis,
probably greatly compounded
1060
00:57:04,040 --> 00:57:07,760
by cigarettes and alcohol.
1061
00:57:07,760 --> 00:57:10,560
And then the children that--
That had--
1062
00:57:10,560 --> 00:57:13,040
That seemed
so, you know, glorious
1063
00:57:13,040 --> 00:57:15,760
and beautiful and bright
and wonderful on the island,
1064
00:57:15,760 --> 00:57:17,600
they, one by one, died early
1065
00:57:17,600 --> 00:57:20,160
of alcoholism,
suicide, drugs.
1066
00:57:20,160 --> 00:57:21,960
There's only one that's alive.
1067
00:57:21,960 --> 00:57:25,760
[♪♪♪]
1068
00:57:25,760 --> 00:57:27,960
SLATER:
Numerous other children
1069
00:57:27,960 --> 00:57:30,080
from families
that had lived on Hydra
1070
00:57:30,080 --> 00:57:35,120
have had a hard time
re-entering the real world.
1071
00:57:35,120 --> 00:57:38,440
I think there is
a depression that sets in
1072
00:57:38,440 --> 00:57:40,160
if you've spent any time there.
1073
00:57:40,160 --> 00:57:41,760
I've certainly felt it.
1074
00:57:41,760 --> 00:57:44,440
There's not a day that goes by
that I don't wake up
1075
00:57:44,440 --> 00:57:47,360
and wish that I were there,
you know?
1076
00:57:47,360 --> 00:57:50,040
Literally.
I never wanted to be
1077
00:57:50,040 --> 00:57:52,720
any other place
in the world, you know?
1078
00:57:54,120 --> 00:57:56,720
It's just the place.
1079
00:57:56,720 --> 00:57:58,880
It's just the place, you know?
1080
00:57:58,880 --> 00:58:03,560
Uh, you--
It gets in your bones.
1081
00:58:03,560 --> 00:58:05,560
I don't know
how to describe it,
1082
00:58:05,560 --> 00:58:08,080
but it's just the place.
1083
00:58:08,080 --> 00:58:11,160
Just stepping off
the boat, every time,
1084
00:58:11,160 --> 00:58:14,240
it's, uh, coming home.
1085
00:58:16,560 --> 00:58:18,960
[AUDIENCE CHEERING]
1086
00:58:33,000 --> 00:58:35,400
CORNELIUS:
That was a very weird,
weird night.
1087
00:58:35,400 --> 00:58:38,640
There were 660,000 people
out there.
1088
00:58:40,160 --> 00:58:42,680
It was a disturbing night.
1089
00:58:45,960 --> 00:58:48,480
They even caught
the stage on fire.
1090
00:58:48,480 --> 00:58:52,000
Had to put the stage out
before we went on.
1091
00:58:52,000 --> 00:58:54,520
"Maybe we out to get
out of here, you know?
1092
00:58:54,520 --> 00:58:56,600
Somebody's gonna get hurt."
1093
00:58:57,680 --> 00:58:59,560
Leonard embraced it.
1094
00:58:59,560 --> 00:59:01,720
He got into it.
1095
00:59:01,720 --> 00:59:03,240
Like I was saying before,
1096
00:59:03,240 --> 00:59:05,840
you either get 'em
or you don't.
1097
00:59:05,840 --> 00:59:07,760
He got 'em.
1098
00:59:12,560 --> 00:59:14,920
COHEN:
I was on Mandrax at the time.
1099
00:59:14,920 --> 00:59:18,400
They used to call me
Captain Mandrax.
1100
00:59:18,400 --> 00:59:21,360
I think it-- It had--
It was like a Quaalude.
1101
00:59:21,360 --> 00:59:26,520
I was relaxed beyond
any reasonable state.
1102
00:59:26,520 --> 00:59:29,320
I hope she's here, Marianne.
1103
00:59:29,320 --> 00:59:31,440
I hope she's here.
Maybe she's here.
1104
00:59:31,440 --> 00:59:33,960
[AUDIENCE CHEERING]
1105
00:59:33,960 --> 00:59:37,960
I hope she's here. Marianne.
1106
00:59:39,640 --> 00:59:43,440
[BAND STARTS PLAYING
"THE PARTISAN"]
1107
00:59:43,440 --> 00:59:47,160
♪ An old woman
Gave us shelter ♪
1108
00:59:47,160 --> 00:59:50,600
♪ Kept us hidden
In the garret ♪
1109
00:59:50,600 --> 00:59:54,560
♪ Then the soldiers came... ♪
1110
00:59:54,560 --> 00:59:58,400
IHLEN [IN NORWEGIAN]:
How long could we stay in love
1111
00:59:58,400 --> 01:00:01,440
before we had
to address our problems?
1112
01:00:01,440 --> 01:00:05,560
I recognized
the situation we were in.
1113
01:00:05,560 --> 01:00:10,520
We couldn't communicate
together any more.
1114
01:00:10,520 --> 01:00:13,120
We were getting nowhere.
1115
01:00:13,120 --> 01:00:16,400
We couldn't understand
what the other was saying.
1116
01:00:16,400 --> 01:00:18,760
Leonard naturally
immersed himself
1117
01:00:18,760 --> 01:00:20,800
in his writing and music.
1118
01:00:20,800 --> 01:00:22,840
We tried and we tried.
1119
01:00:22,840 --> 01:00:25,960
Neither of us wanted
to give up completely.
1120
01:00:29,480 --> 01:00:33,360
CORNELIUS:
And Marianne was--
Was, uh, one woman
1121
01:00:33,360 --> 01:00:36,040
that didn't seem to me
1122
01:00:36,040 --> 01:00:38,680
all starstruck over Leonard.
1123
01:00:40,280 --> 01:00:43,400
Kind of held her own.
Put it that way, you know?
1124
01:00:45,200 --> 01:00:48,480
She would join us sometimes
for a week at a time
1125
01:00:48,480 --> 01:00:51,800
or maybe ten days
at a time and be gone.
1126
01:00:51,800 --> 01:00:55,640
There was other ladies
that Leonard had on tour.
1127
01:00:55,640 --> 01:00:58,000
But when Marianne was in town,
1128
01:00:58,000 --> 01:01:00,360
he was out of the picture.
1129
01:01:00,360 --> 01:01:04,440
She carried with her
a different feel than any woman
1130
01:01:04,440 --> 01:01:07,040
that I ever saw around Leonard.
1131
01:01:07,040 --> 01:01:09,480
[AUDIENCE CHEERING]
1132
01:01:15,400 --> 01:01:19,080
There was a, uh--
A need for
1133
01:01:19,080 --> 01:01:22,400
such a connection between
Leonard and his audience
1134
01:01:22,400 --> 01:01:25,640
that would actually
have blown your mind.
1135
01:01:25,640 --> 01:01:27,720
One night he had, uh,
1136
01:01:27,720 --> 01:01:30,520
so many people
come up on stage with him
1137
01:01:30,520 --> 01:01:34,400
that it was like
this big love-in
1138
01:01:34,400 --> 01:01:37,200
right in the middle
of our concert.
1139
01:01:41,920 --> 01:01:45,320
Like, a pile of people
making love
1140
01:01:45,320 --> 01:01:47,040
without taking
their clothes off.
1141
01:01:47,040 --> 01:01:50,000
But if we could've
stuck around a while longer,
1142
01:01:50,000 --> 01:01:52,720
who knows
what would've happened?
1143
01:01:59,800 --> 01:02:02,400
Can you imagine?
We're playing Amsterdam,
1144
01:02:02,400 --> 01:02:06,040
and he invites
the entire audience
1145
01:02:06,040 --> 01:02:10,040
to come home with us
to his hotel.
1146
01:02:10,040 --> 01:02:11,920
And they did it.
1147
01:02:15,920 --> 01:02:20,160
We took a lot of acid
on those trips. A lot.
1148
01:02:20,160 --> 01:02:22,160
Leonard had a buddy in London,
1149
01:02:22,160 --> 01:02:25,680
and he had a thing
called desert dust.
1150
01:02:25,680 --> 01:02:28,840
And if you took a needle...
1151
01:02:29,760 --> 01:02:31,680
and touched it to your tongue,
1152
01:02:31,680 --> 01:02:34,320
and the tiniest little speck
1153
01:02:34,320 --> 01:02:37,040
that you could pick up
with that needle
1154
01:02:37,040 --> 01:02:39,440
on your tongue, gone.
1155
01:02:39,440 --> 01:02:42,240
I mean, gone for 14 hours,
1156
01:02:42,240 --> 01:02:45,280
with no reentry, none.
1157
01:02:45,280 --> 01:02:48,440
One time we took
that damn desert dust
1158
01:02:48,440 --> 01:02:50,360
23 nights in a row,
1159
01:02:50,360 --> 01:02:54,240
playing the Royal Albert Hall
and the Vienna Opera House
1160
01:02:54,240 --> 01:02:56,440
and all the fine places on the--
1161
01:02:56,440 --> 01:03:00,320
I mean, I gotta tell you,
there's no way I could--
1162
01:03:00,320 --> 01:03:02,200
I could ever even survive
1163
01:03:02,200 --> 01:03:04,480
one of those nights
at this point.
1164
01:03:04,480 --> 01:03:06,640
Wanna see my text here?
1165
01:03:07,600 --> 01:03:10,480
BAND MEMBERS:
Hey!
1166
01:03:10,480 --> 01:03:12,880
[WOMAN SPEAKS INDISTINCTLY]
1167
01:03:15,440 --> 01:03:17,560
MAN:
This is the way
it's gotta be done.
1168
01:03:17,560 --> 01:03:19,600
COHEN: Think that still works?
MAN: I don't know.
1169
01:03:19,600 --> 01:03:22,400
I'll be in serious trouble
if it works or doesn't work.
1170
01:03:22,400 --> 01:03:24,080
Right.
[LAUGHS]
1171
01:03:24,080 --> 01:03:25,720
CORNELIUS:
Leonard used to say
1172
01:03:25,720 --> 01:03:28,080
you have to be in the zone.
1173
01:03:28,080 --> 01:03:31,720
Well, we stayed in the zone.
A lot of people would think,
1174
01:03:31,720 --> 01:03:34,280
well, if you burn it down
really strong tonight,
1175
01:03:34,280 --> 01:03:37,440
tomorrow morning you got
that hangover and all that.
1176
01:03:37,440 --> 01:03:40,160
Uh-uh. We stayed in the zone...
1177
01:03:40,160 --> 01:03:42,800
day after day after day.
1178
01:03:42,800 --> 01:03:44,720
There was only one night,
1179
01:03:44,720 --> 01:03:46,920
we were playing in Jerusalem,
1180
01:03:46,920 --> 01:03:50,160
when he wasn't getting 'em.
1181
01:03:50,160 --> 01:03:53,480
Now look, uh,
if it doesn't get any better,
1182
01:03:53,480 --> 01:03:57,120
uh, we'll just end the concert
and I'll refund your money.
1183
01:03:57,120 --> 01:03:59,560
Some nights...
1184
01:03:59,560 --> 01:04:02,480
one is raised off the ground.
1185
01:04:02,480 --> 01:04:06,280
And some nights, you just
can't get off the ground.
1186
01:04:06,280 --> 01:04:08,560
And there's no point
in lying about it.
1187
01:04:08,560 --> 01:04:11,280
And tonight we just haven't
been getting off the ground.
1188
01:04:11,280 --> 01:04:13,560
DONOVAN:
So anyway, we're backstage,
1189
01:04:13,560 --> 01:04:15,640
and we're going,
"Well, what's gonna happen?"
1190
01:04:15,640 --> 01:04:18,560
And Marty Machat, his manager,
is trying to talk to him.
1191
01:04:18,560 --> 01:04:23,000
And Leonard's just zinging,
right? I knew that. And, uh--
1192
01:04:23,000 --> 01:04:24,720
BROOMFIELD:
How do you mean, "zinging"?
1193
01:04:24,720 --> 01:04:26,960
I mean, like on LSD.
1194
01:04:26,960 --> 01:04:30,680
Like, his eyes are blacked out,
like they get, right?
1195
01:04:30,680 --> 01:04:34,280
And, uh, he's just feeling--
1196
01:04:34,280 --> 01:04:38,240
And so all of a sudden
he says to me, he goes,
1197
01:04:38,240 --> 01:04:41,600
"Billy, can you get me a razor?"
1198
01:04:41,600 --> 01:04:44,520
I said, "Leonard, what are you
gonna do, cut your throat?"
1199
01:04:44,520 --> 01:04:47,240
And he said,
"No. I think if I shave,
1200
01:04:47,240 --> 01:04:49,160
I might be able to go back out."
1201
01:04:49,160 --> 01:04:51,160
MAN:
This is the last concert,
you know?
1202
01:04:51,160 --> 01:04:53,600
This is something you have
to do, and then bang--
1203
01:04:53,600 --> 01:04:56,440
Oh, I know what I have to do.
I have to shave.
1204
01:04:56,440 --> 01:04:57,680
What a life.
1205
01:04:57,680 --> 01:04:58,960
[CHUCKLES]
1206
01:04:58,960 --> 01:05:00,600
What a life.
1207
01:05:02,080 --> 01:05:04,640
Oh, this is wonderful.
1208
01:05:04,640 --> 01:05:07,120
Why didn't you tell me
about this?
1209
01:05:07,120 --> 01:05:09,480
[ALL LAUGHING]
1210
01:05:12,200 --> 01:05:14,840
DONOVAN:
So that's what he did.
He shaved...
1211
01:05:14,840 --> 01:05:19,240
Dry-shaved, almost, ha,
with just some water.
1212
01:05:19,240 --> 01:05:21,120
...and then
he went back out there
1213
01:05:21,120 --> 01:05:23,120
with a big rash on his face
1214
01:05:23,120 --> 01:05:24,920
and finished the show.
1215
01:05:24,920 --> 01:05:27,680
You ought to try it, man.
It's wonderful.
1216
01:05:29,560 --> 01:05:33,720
Oh, yeah.
Oh, this is really great.
1217
01:05:33,720 --> 01:05:38,480
♪ I saw Jesus on the cross ♪
1218
01:05:38,480 --> 01:05:42,480
♪ On a hill called Calvary ♪
1219
01:05:42,480 --> 01:05:45,200
♪ Do you hate mankind ♪
1220
01:05:45,200 --> 01:05:48,120
♪ For what they've done
To you? ♪
1221
01:05:49,440 --> 01:05:54,400
♪ He said
Talk of love, not hate... ♪
1222
01:05:54,400 --> 01:05:57,280
CORNELIUS:
Everybody was shooting
from the hip, right?
1223
01:05:57,280 --> 01:06:01,400
Not-- Not welded to anything.
1224
01:06:01,400 --> 01:06:06,600
The idea was that tonight
we will play this song
1225
01:06:06,600 --> 01:06:09,080
better than we did last night.
1226
01:06:09,080 --> 01:06:11,560
And tomorrow night,
we're gonna play it better
1227
01:06:11,560 --> 01:06:12,960
than we did tonight.
1228
01:06:12,960 --> 01:06:16,960
ALL:
♪ Sometimes happy
Sometimes blue ♪
1229
01:06:16,960 --> 01:06:18,920
♪ Glad that I ran... ♪
1230
01:06:18,920 --> 01:06:21,760
There was only one night,
one night,
1231
01:06:21,760 --> 01:06:25,480
that I felt like
that I let things
1232
01:06:25,480 --> 01:06:27,560
get away from me.
1233
01:06:27,560 --> 01:06:32,120
And I actually went for this--
This beautiful chord--
1234
01:06:32,120 --> 01:06:35,120
It was an F-sharp
minor seventh, I think,
1235
01:06:35,120 --> 01:06:37,880
in the song called "Suzanne,"
1236
01:06:37,880 --> 01:06:40,960
and as I went for that chord,
1237
01:06:40,960 --> 01:06:43,400
I actually landed on my face
1238
01:06:43,400 --> 01:06:46,120
on the ground--
On the stage right there.
1239
01:06:46,120 --> 01:06:48,920
And Leonard turned around
and looked at me like,
1240
01:06:48,920 --> 01:06:53,240
"Okay, we need to now start
backing off the Mandrax, right?"
1241
01:06:53,240 --> 01:06:56,840
[♪♪♪]
1242
01:06:56,840 --> 01:07:00,840
BROOMFIELD:
Marianne and I kept in touch
during the '70s and '80s
1243
01:07:00,840 --> 01:07:03,840
with the occasional
postcard and letter.
1244
01:07:03,840 --> 01:07:05,960
I was delighted
when she suggested
1245
01:07:05,960 --> 01:07:07,400
we might work together,
1246
01:07:07,400 --> 01:07:10,320
and we talked about
various ideas.
1247
01:07:10,320 --> 01:07:13,680
Marianne was increasingly
concerned about Axel.
1248
01:07:13,680 --> 01:07:17,280
He'd been on a trip to India
and taken too many drugs.
1249
01:07:17,280 --> 01:07:19,720
She was upset
with Little Axel's father,
1250
01:07:19,720 --> 01:07:21,400
who had encouraged him.
1251
01:07:21,400 --> 01:07:25,080
Axel was now living
in an institution in Oslo,
1252
01:07:25,080 --> 01:07:28,440
and Marianne was spending
more and more time with him.
1253
01:07:28,440 --> 01:07:30,440
Marianne had still been
following Leonard
1254
01:07:30,440 --> 01:07:32,920
on his travels,
and very infrequently,
1255
01:07:32,920 --> 01:07:36,640
they still shared the house
together on Hydra.
1256
01:07:36,640 --> 01:07:38,480
Apparently Leonard
was now living
1257
01:07:38,480 --> 01:07:40,120
part of the year in Montreal
1258
01:07:40,120 --> 01:07:43,160
with a woman called Suzanne.
1259
01:07:43,160 --> 01:07:45,520
SCOTT:
I've read three
of his biographies,
1260
01:07:45,520 --> 01:07:46,920
and I've always been surprised
1261
01:07:46,920 --> 01:07:49,600
that they sort of
partition it as, like,
1262
01:07:49,600 --> 01:07:52,480
"Okay, here was Marianne,
and then that was over,
1263
01:07:52,480 --> 01:07:54,400
and then he took up
with Suzanne."
1264
01:07:54,400 --> 01:07:58,000
But in fact, there was
a considerable overlap of time
1265
01:07:58,000 --> 01:08:01,840
where he supported
both families.
1266
01:08:01,840 --> 01:08:05,400
He said that when he was
with her and Axel
1267
01:08:05,400 --> 01:08:08,400
in that house on Hydra, he felt
that's where he belonged.
1268
01:08:08,400 --> 01:08:12,640
But when he was with Suzanne
and the baby in Montreal,
1269
01:08:12,640 --> 01:08:14,840
he felt
that's where he belonged.
1270
01:08:14,840 --> 01:08:17,840
And so he was confused.
1271
01:08:17,840 --> 01:08:21,920
Suzanne, she was much
more visceral, in a way,
1272
01:08:21,920 --> 01:08:25,360
and, uh, 14 years younger
than him.
1273
01:08:25,360 --> 01:08:28,320
So I guess there was a whole
bunch of different things
1274
01:08:28,320 --> 01:08:32,240
that, uh, conspired to--
1275
01:08:32,240 --> 01:08:34,400
To make it come to an end.
1276
01:08:35,720 --> 01:08:39,560
You needed somebody
like Suzanne, who was...
1277
01:08:39,560 --> 01:08:40,880
Well, the word "ruthless"
1278
01:08:40,880 --> 01:08:44,520
is just the word that--
That comes to mind.
1279
01:08:44,520 --> 01:08:47,400
And she did
what she wanted to do
1280
01:08:47,400 --> 01:08:52,200
to bind Leonard to her
by any means.
1281
01:08:52,200 --> 01:08:56,120
She used the Black Panther
theme, "By any means necessary."
1282
01:08:56,120 --> 01:08:58,680
And, boy, did she do--
1283
01:08:58,680 --> 01:09:02,960
And she knew exactly
what to do and when to do it.
1284
01:09:02,960 --> 01:09:06,560
It was like falling
into a spider's web.
1285
01:09:06,560 --> 01:09:07,880
There was something--
1286
01:09:07,880 --> 01:09:10,040
There's always something
terribly fascinating
1287
01:09:10,040 --> 01:09:11,560
about the spider.
1288
01:09:11,560 --> 01:09:14,080
Very fascinating.
1289
01:09:14,080 --> 01:09:18,360
And I think Leonard
just fell into that
1290
01:09:18,360 --> 01:09:21,480
'cause it was so fascinating.
1291
01:09:21,480 --> 01:09:24,440
I don't even know what drove
that whole thing, but he knew--
1292
01:09:24,440 --> 01:09:27,360
He knew he was,
as Irving would say,
1293
01:09:27,360 --> 01:09:29,360
"Make sure you're doing
the wrong thing."
1294
01:09:29,360 --> 01:09:33,040
Boy, did he make sure he did
the wrong thing with Suzanne.
1295
01:09:33,040 --> 01:09:36,160
[♪♪♪]
1296
01:09:58,640 --> 01:10:00,960
[INAUDIBLE DIALOGUE]
1297
01:10:03,160 --> 01:10:06,880
CORNELIUS:
I think Leonard's quest in life
1298
01:10:06,880 --> 01:10:09,800
overrode the normal,
you know, settling down
1299
01:10:09,800 --> 01:10:14,600
and having a home and a family
and all that stuff.
1300
01:10:14,600 --> 01:10:18,480
Leonard always had that feeling
that he was after something
1301
01:10:18,480 --> 01:10:22,480
that he couldn't get
his hands around.
1302
01:10:22,480 --> 01:10:24,960
The only thing about it is,
I don't know what he--
1303
01:10:24,960 --> 01:10:28,040
I don't think he knew
what he was chasing, you know?
1304
01:10:28,040 --> 01:10:30,920
I don't think he--
I don't think he really knew.
1305
01:10:30,920 --> 01:10:34,560
And that made it
probably a darker--
1306
01:10:34,560 --> 01:10:38,960
You know? He lived in a--
He lived in darkness.
1307
01:10:38,960 --> 01:10:41,200
'Cause he'd disappear
for six weeks sometimes.
1308
01:10:41,200 --> 01:10:43,680
I wouldn't know how to
find him or nothing.
1309
01:10:43,680 --> 01:10:45,240
Nobody would, you know?
1310
01:10:45,240 --> 01:10:50,280
And it was all
a deep, deep depression.
1311
01:10:50,280 --> 01:10:52,680
[AUDIENCE CHEERING]
1312
01:10:57,840 --> 01:11:00,920
LISSAUER:
When we toured Europe
and when we toured Germany,
1313
01:11:00,920 --> 01:11:04,280
I've never seen
so many blonds in one audience.
1314
01:11:04,280 --> 01:11:05,840
He was the poet
1315
01:11:05,840 --> 01:11:08,480
for the quasi-depressed women
of his era.
1316
01:11:08,480 --> 01:11:11,000
People who were going through
issues, they'd come up sobbing,
1317
01:11:11,000 --> 01:11:13,560
"You saved my life.
I was in such a dark place,
1318
01:11:13,560 --> 01:11:16,400
and your darkness
led me out of it."
1319
01:11:16,400 --> 01:11:18,760
COHEN:
Thank you so much.
1320
01:11:18,760 --> 01:11:22,080
LISSAUER:
He had his thing
that he projected.
1321
01:11:22,080 --> 01:11:24,520
He had his black suit.
1322
01:11:24,520 --> 01:11:26,560
He had his look of seriousness.
1323
01:11:26,560 --> 01:11:30,680
And you never saw his humor.
He was a really funny guy,
1324
01:11:30,680 --> 01:11:33,200
but when he was on-stage,
it was dark,
1325
01:11:33,200 --> 01:11:37,720
and it was lonely
and it was desperate.
1326
01:11:37,720 --> 01:11:41,080
--those who would sacrifice
1327
01:11:41,080 --> 01:11:44,320
one generation
on behalf of another.
1328
01:11:48,760 --> 01:11:52,440
♪ Well, the door
It opened slowly ♪
1329
01:11:52,440 --> 01:11:55,040
♪ My father, he came in ♪
1330
01:11:55,040 --> 01:11:58,560
♪ I was 9 years old ♪
1331
01:11:59,680 --> 01:12:02,960
♪ And he stood
So tall above me ♪
1332
01:12:02,960 --> 01:12:06,000
♪ And his blue eyes
They were shining ♪
1333
01:12:06,000 --> 01:12:09,160
♪ And his voice
Was very cold... ♪
1334
01:12:10,360 --> 01:12:11,960
LISSAUER:
I wanted to--
1335
01:12:11,960 --> 01:12:15,320
To frame each of the songs
1336
01:12:15,320 --> 01:12:19,200
like, um, a little vignette.
1337
01:12:19,200 --> 01:12:21,040
They all had
these places of mind.
1338
01:12:21,040 --> 01:12:22,600
So I was giving them colors.
1339
01:12:22,600 --> 01:12:24,360
We were using
unusual instruments.
1340
01:12:24,360 --> 01:12:27,480
We'd use a couple of muted
trombones to take it somewhere,
1341
01:12:27,480 --> 01:12:30,400
or very icy strings
1342
01:12:30,400 --> 01:12:34,360
and dark, shimmering things
to make it,
1343
01:12:34,360 --> 01:12:36,400
uh, these little movies.
1344
01:12:36,400 --> 01:12:38,280
And we came back,
we were ready to do
1345
01:12:38,280 --> 01:12:40,120
another couple of weeks
in the studio,
1346
01:12:40,120 --> 01:12:43,160
and he said, "I'm gonna go
to Hydra for a little bit.
1347
01:12:43,160 --> 01:12:46,560
As soon as I get back,
we'll finish it."
1348
01:12:46,560 --> 01:12:49,080
And I didn't hear from him
1349
01:12:49,080 --> 01:12:52,040
for seven years.
1350
01:12:53,560 --> 01:12:56,360
[♪♪♪]
1351
01:13:00,000 --> 01:13:03,840
It turns out Marty Machat,
who was Leonard's manager,
1352
01:13:03,840 --> 01:13:06,320
also managed Phil Spector,
1353
01:13:06,320 --> 01:13:09,840
and he had made a deal
for Phil with Warner Brothers
1354
01:13:09,840 --> 01:13:13,360
that got them both
a huge advance.
1355
01:13:13,360 --> 01:13:14,680
A really huge advance.
1356
01:13:14,680 --> 01:13:16,920
For the '70s,
it was unheard of.
1357
01:13:16,920 --> 01:13:18,600
So, what had happened is,
1358
01:13:18,600 --> 01:13:20,280
Marty called up Leonard
and said,
1359
01:13:20,280 --> 01:13:22,240
"Forget the record with John.
1360
01:13:22,240 --> 01:13:24,440
We want you to do a record
with Phil Spector.
1361
01:13:24,440 --> 01:13:26,600
He's really famous.
It'll make you a hit."
1362
01:13:26,600 --> 01:13:30,680
And of course he made
Death of a Ladies' Man,
1363
01:13:30,680 --> 01:13:33,360
um, which, you know,
1364
01:13:33,360 --> 01:13:36,080
is not his best work.
1365
01:13:37,760 --> 01:13:40,360
COHEN:
That happened at a curious time
in my life,
1366
01:13:40,360 --> 01:13:42,960
because I was
at a very low point.
1367
01:13:42,960 --> 01:13:44,720
My family was breaking up.
1368
01:13:44,720 --> 01:13:48,800
I was living in Los Angeles,
which was a foreign city to me.
1369
01:13:48,800 --> 01:13:53,040
And I'd lost control of,
as I say, of my family
1370
01:13:53,040 --> 01:13:55,920
and my work and my life,
1371
01:13:55,920 --> 01:13:58,720
and it was a very,
very dark period.
1372
01:13:58,720 --> 01:14:01,640
And when he got
into the studio,
1373
01:14:01,640 --> 01:14:03,840
it was clear
that he was eccentric,
1374
01:14:03,840 --> 01:14:06,880
but I didn't know
that he was mad.
1375
01:14:06,880 --> 01:14:08,960
The atmosphere was one of guns.
1376
01:14:08,960 --> 01:14:12,400
I mean, that's really
what was going on, was guns.
1377
01:14:12,400 --> 01:14:14,640
The music was a subsidiary.
1378
01:14:14,640 --> 01:14:16,240
People were armed
to the teeth--
1379
01:14:16,240 --> 01:14:18,560
All his friends,
his bodyguards, you know?
1380
01:14:18,560 --> 01:14:20,360
And everybody was drunk.
1381
01:14:20,360 --> 01:14:23,040
So, you know, you were
slipping over bullets.
1382
01:14:23,040 --> 01:14:26,560
You were biting into revolvers
in your hamburger.
1383
01:14:26,560 --> 01:14:28,760
And, I mean,
Phil was beyond control.
1384
01:14:28,760 --> 01:14:33,880
I remember Phil shoved
a revolver into my neck
1385
01:14:33,880 --> 01:14:36,960
and said, you know,
"Leonard, I love you."
1386
01:14:36,960 --> 01:14:39,400
And I said,
"I hope you do, Phil."
1387
01:14:39,400 --> 01:14:42,200
[♪♪♪]
1388
01:14:46,680 --> 01:14:48,520
I think that if anybody, uh--
1389
01:14:48,520 --> 01:14:51,720
Uh, you know, disappointed
the project, it was me.
1390
01:14:51,720 --> 01:14:55,080
I didn't have the chops
to sing those songs.
1391
01:14:55,080 --> 01:14:58,760
I think a song like "Memories"
is a really dynamite tune.
1392
01:14:58,760 --> 01:15:01,360
I think the tune is great,
the lyric is touching.
1393
01:15:01,360 --> 01:15:03,680
I think it really does come out
1394
01:15:03,680 --> 01:15:06,840
of that high-school gymnasium.
1395
01:15:06,840 --> 01:15:10,200
♪ So won't you let me see ♪
1396
01:15:10,200 --> 01:15:12,960
♪ Won't you let me see ♪
1397
01:15:12,960 --> 01:15:16,680
♪ I said
Won't you let me see ♪
1398
01:15:16,680 --> 01:15:19,400
[ALL HARMONIZING]
1399
01:15:21,920 --> 01:15:25,240
♪ Your naked body ♪
1400
01:15:32,080 --> 01:15:35,200
[♪♪♪]
1401
01:15:37,000 --> 01:15:40,920
IHLEN [IN ENGLISH]:
One day, Suzanne,
with little Adam,
1402
01:15:40,920 --> 01:15:44,120
the same age as my son
when I came back to Hydra,
1403
01:15:44,120 --> 01:15:46,400
was standing on the doorway...
1404
01:15:48,480 --> 01:15:52,160
wondering when I was moving out
so she could move in.
1405
01:15:54,720 --> 01:15:56,560
I remember that...
1406
01:15:57,760 --> 01:16:00,880
seeing her, I somehow felt
1407
01:16:00,880 --> 01:16:04,320
a little bit taller,
a little bit stronger,
1408
01:16:04,320 --> 01:16:06,720
a little bit older,
and a little bit wiser.
1409
01:16:06,720 --> 01:16:08,480
[CHUCKLES]
1410
01:16:08,480 --> 01:16:12,280
I got hold of something when
I saw her there with the baby.
1411
01:16:12,280 --> 01:16:16,200
And then
I very calmly packed up,
1412
01:16:16,200 --> 01:16:19,280
took Axel and moved out.
1413
01:16:23,080 --> 01:16:24,440
[SIGHS]
1414
01:16:24,440 --> 01:16:26,560
Yeah, so that was
Marianne finally deciding
1415
01:16:26,560 --> 01:16:29,520
that enough was enough and she
did have to go back to Oslo.
1416
01:16:29,520 --> 01:16:31,920
Her mother had always
wanted her to--
1417
01:16:31,920 --> 01:16:34,760
Wanted her to come here
and have a normal life,
1418
01:16:34,760 --> 01:16:37,400
become a secretary,
a receptionist
1419
01:16:37,400 --> 01:16:40,200
or something like that
and be normal.
1420
01:16:40,200 --> 01:16:41,720
So Marianne had finally decided,
1421
01:16:41,720 --> 01:16:43,320
"Yeah,
that's what I'm gonna do."
1422
01:16:43,320 --> 01:16:46,680
So she came back up here,
became a secretary,
1423
01:16:46,680 --> 01:16:48,440
married a Norwegian man,
1424
01:16:48,440 --> 01:16:52,600
and, um, became a stepmother
to his children.
1425
01:16:52,600 --> 01:16:55,680
Had a very average,
ordinary life.
1426
01:16:55,680 --> 01:16:58,600
And then every once in a while,
she would go back to Hydra
1427
01:16:58,600 --> 01:17:00,480
and visit her friends.
1428
01:17:08,440 --> 01:17:11,080
LISSAUER:
Out of the blue,
and I told you I was--
1429
01:17:11,080 --> 01:17:14,600
I'd done Rebecca and never
heard from Leonard again.
1430
01:17:14,600 --> 01:17:16,360
I thought,
"Well, I did something.
1431
01:17:16,360 --> 01:17:18,280
What did--? I did something."
1432
01:17:18,280 --> 01:17:21,640
He calls up,
"Hey, man. How you doing?"
1433
01:17:21,640 --> 01:17:25,240
1984. "Want to make a record?"
1434
01:17:25,240 --> 01:17:27,320
I'm saying, "Yeah, I've been--
1435
01:17:27,320 --> 01:17:30,000
I've been waiting--
Waiting for this phone call."
1436
01:17:30,000 --> 01:17:31,840
So we went in the studio,
1437
01:17:31,840 --> 01:17:34,400
and we did "Hallelujah"
fairly early.
1438
01:17:34,400 --> 01:17:36,920
And he played it for me,
and it went...
1439
01:17:36,920 --> 01:17:38,760
[PLAYING "HALLELUJAH" MELODY]
1440
01:17:38,760 --> 01:17:43,120
He had just bought
a little Casio synthesizer
1441
01:17:43,120 --> 01:17:45,200
on Seventh Avenue
and 49th Street,
1442
01:17:45,200 --> 01:17:47,000
one of these
"dink-a-dink-a-dink"
1443
01:17:47,000 --> 01:17:49,840
one-finger things,
and he fell in love with it.
1444
01:17:49,840 --> 01:17:52,880
He said, "I want to record
this, use it for the track."
1445
01:17:52,880 --> 01:17:55,560
So we put it down that way.
1446
01:17:55,560 --> 01:17:58,200
We're saying, "Holy crap, man.
This is really good.
1447
01:17:58,200 --> 01:18:00,320
We've done something here."
1448
01:18:00,320 --> 01:18:02,960
Leonard was just grinning.
1449
01:18:02,960 --> 01:18:04,680
Even Marty, who was reluctant
1450
01:18:04,680 --> 01:18:06,480
to like anything
I was involved in,
1451
01:18:06,480 --> 01:18:08,640
just said to us, "This is it."
1452
01:18:10,200 --> 01:18:11,840
We bring him up to Columbia.
1453
01:18:11,840 --> 01:18:14,760
There's a new guy
named Walter Yetnikoff.
1454
01:18:14,760 --> 01:18:17,960
This was his first big thing.
He hears it, and he says,
1455
01:18:17,960 --> 01:18:19,680
"No, I don't like this at all."
1456
01:18:19,680 --> 01:18:22,600
And there's a famous quote,
"Leonard, I know you're great,
1457
01:18:22,600 --> 01:18:24,440
but I don't know
if you're any good."
1458
01:18:24,440 --> 01:18:27,160
Something like that.
And he says,
1459
01:18:27,160 --> 01:18:28,720
"We're not gonna release it."
1460
01:18:28,720 --> 01:18:31,280
And Marty then later says,
1461
01:18:31,280 --> 01:18:34,520
"John, I knew it.
You ruined Leonard's career.
1462
01:18:34,520 --> 01:18:36,920
You have ruined-- This is
an unreleasable record.
1463
01:18:36,920 --> 01:18:39,120
It's the biggest
disappointment in our lives.
1464
01:18:39,120 --> 01:18:40,880
I can't believe
you'd do this to Leonard."
1465
01:18:40,880 --> 01:18:43,200
And he had loved it
earlier in the day, but...
1466
01:18:43,200 --> 01:18:45,840
And I'm saying,
"Well, what do you mean?"
1467
01:18:45,840 --> 01:18:49,960
He said, "No, they hate it.
They're not gonna release it."
1468
01:18:49,960 --> 01:18:51,720
At which point
he ceremoniously
1469
01:18:51,720 --> 01:18:54,360
threw my contract
in the garbage.
1470
01:18:54,360 --> 01:18:56,720
I never got to sign it.
And he said,
1471
01:18:56,720 --> 01:18:59,880
"And you're not gonna be
working for Columbia anymore."
1472
01:18:59,880 --> 01:19:02,800
There was a couple other artists
I was supposed to work with.
1473
01:19:02,800 --> 01:19:05,720
And I was just--
That was it. I was done.
1474
01:19:05,720 --> 01:19:07,720
In the morning,
we thought we had
1475
01:19:07,720 --> 01:19:09,920
this greatest
of all Leonard Cohen records,
1476
01:19:09,920 --> 01:19:12,640
and by the afternoon,
I was out of the business.
1477
01:19:14,520 --> 01:19:16,840
It was the end of the world.
1478
01:19:16,840 --> 01:19:20,600
That's when the whole
Mt. Baldy thing happened.
1479
01:19:20,600 --> 01:19:25,160
That's a huge phase
in Leonard's life.
1480
01:19:25,160 --> 01:19:27,600
I didn't see him. I got
out of the record business
1481
01:19:27,600 --> 01:19:31,800
essentially because of
how this record went down.
1482
01:19:33,880 --> 01:19:37,760
♪ Yes, and I've seen your flag ♪
1483
01:19:37,760 --> 01:19:40,400
♪ On the marble arch ♪
1484
01:19:40,400 --> 01:19:45,440
♪ But love is not
A victory march ♪
1485
01:19:45,440 --> 01:19:50,120
♪ It's a cold
And it's a broken ♪
1486
01:19:50,120 --> 01:19:51,920
♪ Hallelujah... ♪
1487
01:19:51,920 --> 01:19:55,000
LISSAUER:
This record
was monumentally important.
1488
01:19:55,000 --> 01:19:58,320
It was the anthem of anthems.
1489
01:19:58,320 --> 01:20:00,920
But to this day,
I've yet to see any royalties.
1490
01:20:00,920 --> 01:20:04,120
[♪♪♪]
1491
01:20:09,280 --> 01:20:13,320
GOLDMAN:
I think that through all of
this searching and searching
1492
01:20:13,320 --> 01:20:15,640
for herself
and for her identity
1493
01:20:15,640 --> 01:20:19,440
through all those years
on Hydra and other places,
1494
01:20:19,440 --> 01:20:22,040
and having had, you know,
the first husband,
1495
01:20:22,040 --> 01:20:24,240
who was the writer,
and the second husband,
1496
01:20:24,240 --> 01:20:26,560
who was the writer and singer,
1497
01:20:26,560 --> 01:20:28,680
and never really
knowing who she was,
1498
01:20:28,680 --> 01:20:32,080
except in comparison to them
or somehow in relation to them,
1499
01:20:32,080 --> 01:20:34,440
I think it took
coming back here
1500
01:20:34,440 --> 01:20:37,080
for her to really find herself.
1501
01:20:37,080 --> 01:20:42,120
She was a really nice person.
Very kind and very generous.
1502
01:20:42,120 --> 01:20:44,480
She really listened to you
when you talked.
1503
01:20:44,480 --> 01:20:46,640
Not a lot of people do that.
1504
01:20:46,640 --> 01:20:48,640
Most people,
when they're talking to you,
1505
01:20:48,640 --> 01:20:52,240
they're just waiting till
they can say their next line.
1506
01:20:52,240 --> 01:20:55,000
But she was really interested,
and she really listened,
1507
01:20:55,000 --> 01:20:56,240
and she really thought about it.
1508
01:20:56,240 --> 01:20:59,160
She was a very generous
and kind person.
1509
01:21:03,120 --> 01:21:06,440
BROOMFIELD:
I hadn't visited Hydra
for 40 years.
1510
01:21:06,440 --> 01:21:08,360
It had changed
from the wondrous place
1511
01:21:08,360 --> 01:21:10,680
you could live
on a thousand dollars a year
1512
01:21:10,680 --> 01:21:13,400
to the playground
of the very rich.
1513
01:21:16,960 --> 01:21:20,520
One of the only survivors
of the old Hydra is Don Lowe,
1514
01:21:20,520 --> 01:21:22,960
who lives up this path,
in this house
1515
01:21:22,960 --> 01:21:25,760
without electricity
or running water.
1516
01:21:25,760 --> 01:21:29,440
Don prefers candles
and has a well.
1517
01:21:29,440 --> 01:21:32,920
Marianne introduced me
to Don in 1968.
1518
01:21:32,920 --> 01:21:36,480
He has since self-published
over 30 books.
1519
01:21:37,560 --> 01:21:39,280
BROOMFIELD:
Oh, there you are.
1520
01:21:39,280 --> 01:21:41,520
LOWE: Let me come out.
[CHUCKLES]
1521
01:21:43,280 --> 01:21:46,400
Don has lived
on Hydra for 60 years.
1522
01:21:46,400 --> 01:21:50,280
The last time he left
the island was 25 years ago.
1523
01:21:50,280 --> 01:21:52,320
I made this for my--
1524
01:21:52,320 --> 01:21:55,760
Anyone who gets stuck and they
got nowhere to live, you see?
1525
01:21:55,760 --> 01:21:57,400
So--
Wow, it's beautiful.
1526
01:21:57,400 --> 01:22:00,240
It's nice, you see? Dug it out.
1527
01:22:00,240 --> 01:22:02,040
Did one of your children
do that?
1528
01:22:02,040 --> 01:22:04,600
LOWE: No, I did that.
You did that? It's beautiful.
1529
01:22:04,600 --> 01:22:07,040
That's my idea of paradise.
1530
01:22:07,040 --> 01:22:10,240
You can cook here
and you can write a book here,
1531
01:22:10,240 --> 01:22:12,160
if you are that way inclined.
1532
01:22:12,160 --> 01:22:15,000
It's got a view...
1533
01:22:15,000 --> 01:22:16,680
of the sea and next door--
1534
01:22:16,680 --> 01:22:20,880
This is where Marianne was
gonna stay, in the house there.
1535
01:22:20,880 --> 01:22:23,040
Marianne was gonna stay
where? In the house?
1536
01:22:23,040 --> 01:22:26,920
Just there.
You can see it through there.
1537
01:22:26,920 --> 01:22:29,320
She was very nice
at the end, Marianne.
1538
01:22:29,320 --> 01:22:32,320
Because she mellowed,
and, you know.
1539
01:22:32,320 --> 01:22:34,920
'Cause it was never easy
after Leonard,
1540
01:22:34,920 --> 01:22:37,400
'cause every time he gave
a concert or something,
1541
01:22:37,400 --> 01:22:39,960
she'd get caught up in it.
1542
01:22:39,960 --> 01:22:42,680
Every time he gave--?
Every time he gave a concert,
1543
01:22:42,680 --> 01:22:45,680
she had an invitation,
and she was interviewed
1544
01:22:45,680 --> 01:22:49,480
in Norway and things like that,
and so she couldn't really--
1545
01:22:49,480 --> 01:22:52,080
She married
a lovely guy afterwards,
1546
01:22:52,080 --> 01:22:55,400
divorced him and married
him again, and, uh--
1547
01:22:55,400 --> 01:22:57,080
Jan. A very sweet man.
1548
01:22:57,080 --> 01:22:58,600
Norwegian.
1549
01:22:59,840 --> 01:23:01,840
Uh, but, yeah, I was--
1550
01:23:01,840 --> 01:23:04,320
Got quite fond of her
at the end, Marianne.
1551
01:23:04,320 --> 01:23:09,240
When we were younger,
we lived our own way.
1552
01:23:09,240 --> 01:23:13,040
But at the end,
she became very close.
1553
01:23:13,040 --> 01:23:14,560
Mm-hmm.
1554
01:23:16,400 --> 01:23:18,760
[BELL CHIMES]
1555
01:23:18,760 --> 01:23:21,360
[RINGING]
1556
01:23:30,240 --> 01:23:32,600
[ALL CHANTING INDISTINCTLY]
1557
01:23:38,000 --> 01:23:41,080
COHEN:
I had some wonderful moments
on the road,
1558
01:23:41,080 --> 01:23:42,840
you know,
traveling with musicians
1559
01:23:42,840 --> 01:23:44,240
and playing with musicians.
1560
01:23:44,240 --> 01:23:45,720
But, by and large,
1561
01:23:45,720 --> 01:23:47,600
I didn't have what it took
1562
01:23:47,600 --> 01:23:51,760
to really enjoy my success
or my celebrity.
1563
01:23:51,760 --> 01:23:53,800
I was never able to locate it.
1564
01:23:53,800 --> 01:23:56,400
I was never able to use it.
1565
01:23:59,760 --> 01:24:01,120
That's beautiful, huh?
1566
01:24:01,120 --> 01:24:03,040
CORNELIUS:
Doing what he did up there
1567
01:24:03,040 --> 01:24:04,320
came natural to him
1568
01:24:04,320 --> 01:24:06,120
because of his discipline.
1569
01:24:06,120 --> 01:24:10,080
He became a servant
for years and years there.
1570
01:24:10,080 --> 01:24:12,680
He had to get up, like,
at 3:00 in the morning.
1571
01:24:12,680 --> 01:24:15,440
Some of the things he told me
that they did up there,
1572
01:24:15,440 --> 01:24:18,400
I don't know if
I could've hung with that.
1573
01:24:18,400 --> 01:24:19,640
You a small?
Yeah.
1574
01:24:19,640 --> 01:24:21,320
You're a black bag?
Yeah.
1575
01:24:21,320 --> 01:24:23,280
Uh, brown bag.
What did I do with it?
1576
01:24:23,280 --> 01:24:25,440
Oh, in here, Roshi. In here.
Oh.
1577
01:24:25,440 --> 01:24:26,840
In here.
1578
01:24:29,120 --> 01:24:31,840
My handbag here?
Your handbag?
1579
01:24:31,840 --> 01:24:33,240
Yeah.
It's still in the car?
1580
01:24:33,240 --> 01:24:34,880
Yeah.
Oh, okay.
1581
01:24:36,480 --> 01:24:38,200
Want to eat something, Roshi?
Eh?
1582
01:24:38,200 --> 01:24:39,880
You want to eat something?
1583
01:24:39,880 --> 01:24:41,640
[SPEAKS INDISTINCTLY]
1584
01:24:41,640 --> 01:24:43,080
Oh, okay. Okay.
1585
01:24:43,080 --> 01:24:46,680
LISSAUER:
Roshi was
his spiritual adviser,
1586
01:24:46,680 --> 01:24:49,640
his Buddhist monk leader.
1587
01:24:49,640 --> 01:24:52,560
He centered him.
It was like having
1588
01:24:52,560 --> 01:24:54,640
Mom and Dad watching you
1589
01:24:54,640 --> 01:24:59,400
if you think you're likely
to be tempted to stray.
1590
01:24:59,400 --> 01:25:01,440
I think it was his crutch.
1591
01:25:01,440 --> 01:25:05,560
And it also probably increased
his focus and concentration.
1592
01:25:05,560 --> 01:25:09,200
COHEN:
I'm trying to learn
some things about love.
1593
01:25:12,440 --> 01:25:16,240
Well, love is
that activity that...
1594
01:25:16,240 --> 01:25:20,520
That makes the power
of man and woman...
1595
01:25:20,520 --> 01:25:24,400
that incorporates it
into your own heart,
1596
01:25:24,400 --> 01:25:27,000
where you can embody
man and woman,
1597
01:25:27,000 --> 01:25:29,760
when you can embody
hell and heaven,
1598
01:25:29,760 --> 01:25:32,440
when you can reconcile
and contain,
1599
01:25:32,440 --> 01:25:36,280
when man and woman
becomes your content.
1600
01:25:36,280 --> 01:25:38,320
In other words,
when your woman
1601
01:25:38,320 --> 01:25:40,720
becomes your own content,
1602
01:25:40,720 --> 01:25:44,520
and you become her content,
that's love.
1603
01:25:45,920 --> 01:25:47,760
And-- And you recognize
1604
01:25:47,760 --> 01:25:50,320
the full equality
of that exchange,
1605
01:25:50,320 --> 01:25:53,800
because if she's smaller
than you, she can't fill you.
1606
01:25:53,800 --> 01:25:57,600
And if you're larger than her,
you can't fill her.
1607
01:25:57,600 --> 01:25:59,760
You know? So there
has to be an understanding
1608
01:25:59,760 --> 01:26:03,320
that there really is
an absolute equality of power.
1609
01:26:03,320 --> 01:26:05,160
Different kinds of power.
Obvious--
1610
01:26:05,160 --> 01:26:07,240
Obviously
different kinds of magic.
1611
01:26:07,240 --> 01:26:11,320
Different kinds of strength,
different kinds of movement,
1612
01:26:11,320 --> 01:26:14,080
that's as different
as night and day.
1613
01:26:14,080 --> 01:26:17,560
And it is night and day.
And it is the moon and the sun.
1614
01:26:17,560 --> 01:26:20,680
And it is the land and the sea.
And it is plus and minus.
1615
01:26:20,680 --> 01:26:23,720
It is heaven and hell.
It is all those antonyms.
1616
01:26:23,720 --> 01:26:25,400
But they're all equal.
1617
01:26:26,840 --> 01:26:29,680
I have experienced it.
I have experienced it.
1618
01:26:29,680 --> 01:26:31,480
You don't
have to change the world.
1619
01:26:31,480 --> 01:26:34,200
There doesn't have to be
any revolutions.
1620
01:26:44,800 --> 01:26:47,200
CORNELIUS:
I'm sure that
everybody already knows
1621
01:26:47,200 --> 01:26:50,480
about all that, uh,
transpired along the way
1622
01:26:50,480 --> 01:26:52,520
when he came back down
off the mountain.
1623
01:26:52,520 --> 01:26:54,320
He had no money, you know?
1624
01:26:54,320 --> 01:26:58,040
Because this person
that he had trusted,
1625
01:26:58,040 --> 01:27:00,920
a person that he would
have taken a bullet for,
1626
01:27:00,920 --> 01:27:04,360
so to speak,
that's what he told me,
1627
01:27:04,360 --> 01:27:06,360
that he spent holidays with,
1628
01:27:06,360 --> 01:27:08,880
with her children
and his children,
1629
01:27:08,880 --> 01:27:12,240
had absolutely sold him out.
1630
01:27:12,240 --> 01:27:16,120
And that it turned out
that a friendship
1631
01:27:16,120 --> 01:27:19,280
that he thought
was the real deal
1632
01:27:19,280 --> 01:27:23,960
ended up being
a really bad thing.
1633
01:27:23,960 --> 01:27:27,240
COHEN:
Well, the money
seems to be gone.
1634
01:27:27,240 --> 01:27:30,360
As far as the manager,
1635
01:27:30,360 --> 01:27:33,000
you know,
who was my dear friend...
1636
01:27:34,760 --> 01:27:36,560
I'm still rather fond of her.
1637
01:27:36,560 --> 01:27:39,280
But, uh, she, um--
1638
01:27:39,280 --> 01:27:42,400
There's been a-- A judgment of--
1639
01:27:42,400 --> 01:27:45,000
Of several million dollars
against her.
1640
01:27:45,000 --> 01:27:47,920
But, you know, that's--
1641
01:27:47,920 --> 01:27:49,680
She doesn't
seem to have any money,
1642
01:27:49,680 --> 01:27:52,120
so it's impossible
to collect it.
1643
01:27:52,120 --> 01:27:54,920
I don't know. I guess I should
be more worried than I am,
1644
01:27:54,920 --> 01:27:57,480
but I'm not. So, what can I say?
1645
01:27:57,480 --> 01:27:58,960
Heh-heh, you know?
1646
01:27:58,960 --> 01:28:01,040
[AUDIENCE APPLAUDING, CHEERING]
1647
01:28:07,440 --> 01:28:10,400
CORNELIUS:
All of a sudden, here he is.
1648
01:28:10,400 --> 01:28:13,600
He's now in his 70s,
1649
01:28:13,600 --> 01:28:15,840
and he has no money now.
1650
01:28:15,840 --> 01:28:19,640
He said to me, "All I can do
is get out there and tour
1651
01:28:19,640 --> 01:28:21,440
and try to make some money."
1652
01:28:21,440 --> 01:28:24,200
He said, "I don't know
if I can do it or not."
1653
01:28:24,200 --> 01:28:27,360
It's, uh--
It's been a long time
1654
01:28:27,360 --> 01:28:30,160
since I stood
on a stage in London.
1655
01:28:30,160 --> 01:28:32,480
[AUDIENCE CHEERING]
1656
01:28:33,920 --> 01:28:35,920
It was about, uh--
1657
01:28:35,920 --> 01:28:38,560
About, uh, 14 or 15 years ago.
1658
01:28:38,560 --> 01:28:41,560
I was 60 years old.
1659
01:28:41,560 --> 01:28:43,720
Just a kid with a crazy dream.
1660
01:28:43,720 --> 01:28:45,960
[AUDIENCE LAUGHS]
1661
01:28:45,960 --> 01:28:48,960
LISSAUER:
Suddenly, Leonard was
the hottest ticket in town,
1662
01:28:48,960 --> 01:28:51,040
and he went from
our little tour bus
1663
01:28:51,040 --> 01:28:54,040
with two sound engineers
and three roadies
1664
01:28:54,040 --> 01:28:57,280
to an entourage of 59 people
on his own jet.
1665
01:28:57,280 --> 01:29:01,600
♪ Show me slowly
What I only know ♪
1666
01:29:01,600 --> 01:29:04,040
♪ The limits of ♪
1667
01:29:04,040 --> 01:29:06,600
♪ And dance me ♪
1668
01:29:06,600 --> 01:29:09,240
♪ To the end of love... ♪
1669
01:29:09,240 --> 01:29:13,760
And he was making upwards
of $15 million every year.
1670
01:29:13,760 --> 01:29:16,200
One of the top-ten
grossing acts.
1671
01:29:16,200 --> 01:29:19,560
He went from literally
being wiped out
1672
01:29:19,560 --> 01:29:21,640
to incredible stardom.
1673
01:29:21,640 --> 01:29:24,160
[ALL CHEERING]
1674
01:29:27,080 --> 01:29:30,240
[BAND STARTS PLAYING
"SO LONG, MARIANNE"]
1675
01:29:50,920 --> 01:29:55,320
♪ So long, Marianne ♪
1676
01:29:55,320 --> 01:29:58,320
♪ It's time that we began ♪
1677
01:29:58,320 --> 01:30:02,160
♪ To laugh and cry ♪
1678
01:30:02,160 --> 01:30:04,360
♪ And cry ♪
1679
01:30:04,360 --> 01:30:07,800
♪ And laugh
About it all again... ♪
1680
01:30:07,800 --> 01:30:09,880
MOLLESTAD:
It was a love story
1681
01:30:09,880 --> 01:30:12,840
which had 50 chapters
1682
01:30:12,840 --> 01:30:14,880
without being together.
1683
01:30:14,880 --> 01:30:16,520
[LAUGHS]
1684
01:30:16,520 --> 01:30:19,920
She had a compartment
of her heart
1685
01:30:19,920 --> 01:30:23,200
which was
always married to Leonard.
1686
01:30:29,080 --> 01:30:31,400
That's the beauty
1687
01:30:31,400 --> 01:30:34,400
of Marianne's
and Leonard's history,
1688
01:30:34,400 --> 01:30:37,600
that they had this place
for each other,
1689
01:30:37,600 --> 01:30:41,000
uh, till the very end.
1690
01:30:41,000 --> 01:30:44,560
And it's not the bitter end.
It was a lovely end.
1691
01:30:44,560 --> 01:30:47,040
It's a very beautiful end.
1692
01:30:47,040 --> 01:30:51,160
Suddenly one evening,
I got an SMS saying,
1693
01:30:51,160 --> 01:30:54,960
"I'm at hospital.
I'm going to die.
1694
01:30:54,960 --> 01:30:57,560
Please take care
of Little Axel
1695
01:30:57,560 --> 01:31:00,400
and Jan, my husband."
1696
01:31:00,400 --> 01:31:02,320
She asked me,
1697
01:31:02,320 --> 01:31:05,400
"Could you--
Could you tell Leonard?"
1698
01:31:07,560 --> 01:31:11,320
And another thing she said was,
"Could you bring a camera?
1699
01:31:11,320 --> 01:31:14,640
Because I still feel
I have something to say."
1700
01:31:14,640 --> 01:31:16,840
[♪♪♪]
1701
01:31:18,880 --> 01:31:22,040
And in the morning,
there was this lovely letter
1702
01:31:22,040 --> 01:31:24,800
from Leonard to Marianne.
1703
01:31:27,960 --> 01:31:29,920
"Dearest Marianne...
1704
01:31:32,000 --> 01:31:35,600
I'm just a little behind you.
1705
01:31:35,600 --> 01:31:38,440
Close enough
to take your hand.
1706
01:31:40,160 --> 01:31:43,320
This old body of mine
has given up,
1707
01:31:43,320 --> 01:31:46,000
as yours has too.
1708
01:31:46,000 --> 01:31:50,880
I've never forgotten
your love and your beauty...
1709
01:31:50,880 --> 01:31:53,000
but you know that.
1710
01:31:53,000 --> 01:31:56,080
I don't have to say more.
1711
01:31:56,080 --> 01:31:59,320
Safe travels, old friend.
1712
01:31:59,320 --> 01:32:02,000
See you down the road.
1713
01:32:02,000 --> 01:32:05,680
Endless love and gratitude,
1714
01:32:05,680 --> 01:32:07,680
your Leonard."
1715
01:32:09,880 --> 01:32:12,200
[IN ENGLISH]
That was very beautiful.
1716
01:32:15,960 --> 01:32:17,280
Very beautiful.
1717
01:32:17,280 --> 01:32:19,160
MOLLESTAD:
Very beautiful.
1718
01:32:19,160 --> 01:32:21,160
Yeah.
1719
01:32:22,440 --> 01:32:25,000
[IN NORWEGIAN]
If only he was as lucky as me,
1720
01:32:25,000 --> 01:32:26,800
getting his feet
massaged by Sue.
1721
01:32:26,800 --> 01:32:29,480
[BOTH LAUGHING]
1722
01:32:29,480 --> 01:32:33,600
[MARIANNE SPEAKS INDISTINCTLY
IN NORWEGIAN]
1723
01:32:33,600 --> 01:32:35,760
[MOLLESTAD CHUCKLING]
1724
01:32:43,320 --> 01:32:45,840
And the beautiful thing
was that
1725
01:32:45,840 --> 01:32:50,320
this old, sick man...
1726
01:32:50,320 --> 01:32:56,400
reached his old, sick lover...
1727
01:32:58,720 --> 01:33:01,480
with a message that, uh...
1728
01:33:02,840 --> 01:33:05,680
she had always wanted to hear.
1729
01:33:07,640 --> 01:33:09,000
And...
1730
01:33:10,320 --> 01:33:13,680
I think that, uh...
1731
01:33:13,680 --> 01:33:17,440
for Marianne, this was a ring
1732
01:33:17,440 --> 01:33:19,880
that started with leaving Oslo
1733
01:33:19,880 --> 01:33:22,280
and going into
the adventure with Axel
1734
01:33:22,280 --> 01:33:25,840
and meeting Leonard,
1735
01:33:25,840 --> 01:33:28,280
losing Leonard,
1736
01:33:28,280 --> 01:33:30,280
meeting Jan...
1737
01:33:32,080 --> 01:33:34,960
having problems,
of course, with her son.
1738
01:33:37,080 --> 01:33:41,760
And then when this love letter
came from Leonard...
1739
01:33:41,760 --> 01:33:45,960
I think she felt
that it was all completed.
1740
01:33:47,240 --> 01:33:49,120
So, uh...
1741
01:33:52,200 --> 01:33:55,880
that's what
words of love can do.
1742
01:34:02,760 --> 01:34:07,280
COHEN:
Greece is a good place
to look at the moon, isn't it?
1743
01:34:07,280 --> 01:34:09,920
You can read by moonlight.
1744
01:34:09,920 --> 01:34:12,360
You can read on the terrace.
You can see a face
1745
01:34:12,360 --> 01:34:15,760
as you saw it
when you were young.
1746
01:34:15,760 --> 01:34:17,720
It was good light then.
1747
01:34:17,720 --> 01:34:20,360
Oil lamps and candles
1748
01:34:20,360 --> 01:34:25,680
and those little flames that
floated on a cork in olive oil.
1749
01:34:25,680 --> 01:34:30,280
What I loved in my old life,
I haven't forgotten.
1750
01:34:30,280 --> 01:34:32,680
It lives in my spine.
1751
01:34:32,680 --> 01:34:35,360
Marianne and the child,
1752
01:34:35,360 --> 01:34:37,840
the days of kindness.
1753
01:34:37,840 --> 01:34:43,280
It rises in my spine,
and it manifests as tears.
1754
01:34:43,280 --> 01:34:46,200
I pray that a loving memory
1755
01:34:46,200 --> 01:34:49,440
exists for them too...
1756
01:34:49,440 --> 01:34:53,120
the precious ones I overthrew
1757
01:34:53,120 --> 01:34:56,520
for an education in the world.
1758
01:35:11,920 --> 01:35:15,120
[♪♪♪]
1759
01:35:45,800 --> 01:35:49,000
[♪♪♪]
1760
01:36:28,320 --> 01:36:30,760
[INAUDIBLE DIALOGUE]