History Film / StopMakingSense

* {{Feelies}}: The initial LP release of the live album and the 2023 expanded reissue include a book juxtaposing color photographs from the film's concerts with eccentric ruminations on everyday society. CD releases include the book's contents as part of the liner notes.

** The album version was heavily edited, with some songs being different lengths than their movie versions and Chris Frantz's acoustic drums being replaced with triggered samples. (Byrne said that he ''wanted'' the album to be something completely separate, rather than just a soundtrack for the film.) In 1999, it was rereleased as ''Stop Making Sense: Special New Edition'', and this version ''was'' the soundtrack from the film.

The music itself is, broadly speaking, [[NewWaveMusic New Wave]], but with a host of other influences, especially {{funk}}. Just under half of the songs are from the ''Music/SpeakingInTongues'' album, which their tour was supporting; in fact, all but three songs from the album ("I Get Wild/Wild Gravity", "Moon Rocks", and "Pull Up the Roots") appear on the setlist. However, the band also plays a number of their older hits, as well as "What a Day That Was", a piece from David Byrne's soundtrack to Twyla Harp's 1981 dance performance ''The Catherine Wheel''.[[note]]Another piece from the ''Catherine Wheel'' soundtrack, "Big Business", was performed and filmed, but was cut from the theatrical release alongside performances of "Cities" and "I Zimbra". Yet another song from the soundtrack, "Big Blue Plymouth (Eyes Wide Open)" was performed at the shows but apparently not filmed, or at least no official footage has surfaced. "Love → Building on Fire" and "The Book I Read" were also performed on the tour, but were dropped for these performances and from the handful of subsequent concerts early in 1984; incidentally, the live arrangements of these songs were much more faithful to the studio releases compared to the funk-oriented rearrangements of the rest of the setlist, which may at least partly explain why they were dropped.[[/note]]

''Stop Making Sense'' is a concert film featuring Music/TalkingHeads, and is often regarded by critics as the finest example of the genre. It was directed by Creator/JonathanDemme and released in 1984, and documents three separate concerts filmed in Los Angeles in December 1983, with all the footage spliced together. These shows would be their last on U.S. soil until their 2002 Rock and Roll Hall of Fame induction performance. The film was notably the first to utilize digital audio techniques for the entirety of its runtime, making use of a 24-track digital recorder that allowed for much clearer sound than other films of the time.

* GenreBusting: ''Stop Making Sense'' busted some of the concert film genres by never showing the band offstage, had no interviews, and never showing the crowd-- at least until the end, that is, when there are several shots of audience members dancing along during closing number "Crosseyed and Painless". This was not wholly intentional; they always planned to focus on the band rather than the audience, and very gradually include more audience shots as the film went on, but the ones at the end were the only ones that were actually usable (on account of both lighting issues and the audience being too self-conscious about being on-camera).

-->--'''David Byrne''', frontman of Music/TalkingHeads, opening the concert

Even though the film contains footage from all three concerts, it plays as a unified whole, and our attention is always on the performers onstage as they progress through their set. There are no cutaways to the audience until the very last number; there are no features on the band and their musical evolution; there are no [[TalkingHeads interviews with the musicians]] backstage as they prepare for the concert. The camerawork is extremely understated and naturalistic, with [[TheOner very long takes]] and an almost complete lack of quick cuts. All of these qualities are extremely rare among concert films, then and now, especially in contrast to the music videos and the rising star of Creator/{{MTV}} that was changing the shape of the industry at the time.

Even though the film contains footage from all three concerts, it plays as a unified whole, and our attention is always on the performers onstage as they progress through their set. There are no cutaways to the audience until the very last number; there are no features on the band and their musical evolution; there are no [[TalkingHeads interviews with the musicians]] backstage as they prepare for the concert. The camerawork is extremely understated and naturalistic, with [[TheOner very long takes]] and no quick cuts. All of these qualities are extremely rare among concert films, then and now, especially in contrast to the music videos that were changing the shape of the industry at the time.

** Also a downplayed version during "Girlfriend Is Better": Byrne is walking about the stage with a cameraman pointing the camera at him and a stagehand carrying a portable light pointed at him. He sings the title phrase of the movie because it gets repeated twice at this point in the song, then for the second repeat he sticks the mic in the stagehand's face--and the stagehand sings it perfectly on key, without missing a beat.

* SomethingSomethingLeonardBernstein: Byrne deliberately sings in a very obtuse style, so those of you who want to sing along might need a lyric sheet.

* TheOner: There are quite a few of these. It even starts with one: showing David Byrne walking out on stage. "Once in a Lifetime" spends the entire song on Byrne and no one else.

* {{Chiaroscuro}}: The primary lighting style used throughout the film. UpToEleven in ''Once In a Lifetime'', [[https://www.youtube.com/watch?v=TGofoH9RDEA when the camera stays on Byrne for the entire song]], and the light / dark is very contrasted.

->''Does anybody have any questions?''

The music itself is, broadly speaking, [[NewWaveMusic New Wave]], but with a host of other influences, especially {{funk}}. Just under half of the songs are from the ''Music/SpeakingInTongues'' album, which their tour was supporting; in fact, all but three songs from the album ("I Get Wild/Wild Gravity", "Moon Rocks", and "Pull Up the Roots") appear on the setlist. However, the band also plays a number of their older hits, as well as "What a Day That Was", a piece from David Byrne's soundtrack to Twyla Harp's 1981 dance performance ''The Catherine Wheel''.[[note]]Another piece from the ''Catherine Wheel'' soundtrack, "Big Business", was performed and filmed, but was cut from the theatrical release alongside performances of "Cities" and "I Zimbra". Yet another song from the soundtrack, "Big Blue Plymouth (Eyes Wide Open)" was performed at the shows but apparently not filmed, or at least no footage has surfaced. "Love → Building on Fire" and "The Book I Read" were also performed on the tour, but were dropped for these performances and from the handful of subsequent concerts early in 1984; incidentally, the live arrangements of these songs were much more faithful to the studio releases compared to the funk-oriented rearrangements of the rest of the setlist, which may at least partly explain why they were dropped.[[/note]]

''Stop Making Sense'' is a concert film featuring Music/TalkingHeads, and is often regarded by critics as the finest example of the genre. It was directed by Creator/JonathanDemme and released in 1984, and documents three separate concerts filmed in Los Angeles in December 1983, with all the footage spliced together. The film was notably the first to utilize digital audio techniques for the entirety of its runtime, making use of a 24-track digital recorder that allowed for much clearer sound than other films of the time.

The music itself is, broadly speaking, [[NewWaveMusic New Wave]], but with a host of other influences, especially {{funk}}. Just under half of the songs are from the ''Music/SpeakingInTongues'' album, which their tour was supporting; in fact, all but three songs from the album ("I Get Wild/Wild Gravity", "Moon Rocks", and "Pull Up the Roots") appear on the setlist. However, the band also plays a number of their older hits, as well as "What a Day That Was", a piece from David Byrne's soundtrack to Twyla Harp's 1981 dance performance ''The Catherine Wheel''.[[note]]Another piece from the ''Catherine Wheel'' soundtrack, "Big Business", was performed and filmed, but was cut from the theatrical release alongside performances of "Cities" and "I Zimbra". Yet another song from the soundtrack, "Big Blue Plymouth (Eyes Wide Open)" was performed at other concerts on the tour but apparently omitted from the performances that made up the film. "Love → Building on Fire" and "The Book I Read" were also performed on the tour, but were dropped for these performances and from the handful of subsequent concerts early in 1984; incidentally, the live arrangements of these songs were much more faithful to the studio releases compared to the funk-oriented rearrangements of the rest of the setlist, which may at least partly explain why they were dropped.[[/note]]

[[caption-width-right:254:"Music is very physical, and often the body understands it before the head."]]

** The album version was heavily edited, with drums on most songs completely re-recorded. (Byrne said that he ''wanted'' the album to be something completely separate, rather than just a soundtrack for the film.) In 1999, it was rereleased as ''Stop Making Sense: Special New Edition'', and this version ''was'' the soundtrack from the film.

** The Big Suit. ''TheSimpsons'' episode with David Byrne AsHimself has he and Homer briefly wearing the Big Suit ''together''.
** The concert is also remembered as TheOneWith aerobic jogging by the band during songs.

# [[Music/RemainInLight "Once in a Lifetime"]] (5:25)

Even though the film contains footage from all three concerts, it plays as a unified whole, and our attention is always on the performers onstage as they progress through their set. There are no cutaways to the audience until the very last number; there are no features on the band and their musical evolution; there are no [[TalkingHeads interviews with the musicians]] backstage as they prepare for the concert. The camerawork is extremely understated and naturalistic, with [[TheOner very long takes]] and no quick cuts.

All of these qualities are extremely rare among concert films, then and now, especially in contrast to the music videos that were changing the shape of the industry at the time. The great appeal and staying power of the movie is the single-minded simplicity. The viewer watches the band perform, and judges them on their own merits as musicians and entertainers, just like a real concert audience. The effect was so good that audiences would [[AudienceParticipation dance in the aisles at screenings]].

And so we see Talking Heads unleashing their unique creativity, but at the same time we see their camaraderie with each other. Nearly everyone gets a chance to shine and show off their personalities. And then there's the music itself, which is, broadly speaking, [[NewWaveMusic New Wave]], but with a host of other influences, especially {{funk}}. Just under half of the songs are from the ''Music/SpeakingInTongues'' album, which their tour was supporting; in fact, all but three songs from the album ("I Get Wild/Wild Gravity", "Moon Rocks", and "Pull Up the Roots") appear on the setlist. However, the band also plays a number of their older hits, as well as "What a Day That Was", a piece from David Byrne's soundtrack to Twyla Harp's 1981 dance performance ''The Catherine Wheel''.[[note]]Another piece from the ''Catherine Wheel'' soundtrack, "Big Business", was performed and filmed, but was cut from the theatrical release alongside performances of "Cities" and "I Zimbra". Yet another song from the soundtrack, "Big Blue Plymouth (Eyes Wide Open)" was performed at other concerts on the tour but apparently omitted from the performances that made up the film. "Love → Building on Fire" and "The Book I Read" were also performed on the tour, but were dropped for these performances and from the handful of subsequent concerts early in 1984; incidentally, the live arrangements of these songs were much more faithful to the studio releases compared to the funk-oriented rearrangements of the rest of the setlist, which may at least partly explain why they were dropped.[[/note]] The end result is an eclectic playlist with something for almost everyone, documenting Talking Heads at what many fans and critics consider to be their peak. Record buyers seemed to agree; the soundtrack album sold over two million copies in the U.S. alone by 1994. The film also became a favorite on the "midnight movie" and art house circuits.

''Stop Making Sense'' is definitely one of the definitive concert film experiences, and a [[GatewaySeries perfect introduction]] to the genre, not to mention Talking Heads themselves-- its soundtrack was even included in Magazine/{{Time|Magazine}}'s [[TimeAllTime100Albums 2006 list of their 100 timeless and essential albums]]. To quote frontman David Byrne, "it's like ''Series/SixtyMinutes'' [[ThisIsYourPremiseOnDrugs on acid.]]" The film would eventually receive a SpiritualSuccessor 36 years later with the Creator/SpikeLee-directed ''American Utopia'', taken from Byrne's 2019 Broadway residency show in support of his 2018 album [[Music/AmericanUtopia of the same name]].

-->'''[[https://www.salon.com/1999/09/16/sense/ Stephanie Zacharek]]:''' During "Psycho Killer," when he stumbles and staggers against the synthesizer "gun shots" on his tape loop, he's like Jean Paul Belmondo in the final minutes of ''Breathless'', a hero succumbing, surprised, to violence that he'd thought he was prepared for. (But unlike Belmondo, he doesn't fall: As a psycho killer, he's indestructible.)

* TheOner: There are quite a few of these. It even starts with one: showing David Byrne walking out on stage.

* ConcertFilm: Often regarded by critics as one of the finest examples of the genre. Unlike other contenders for this honor (e.g. ''Film/TheLastWaltz'' and ''Film/{{Woodstock}}''), this film is unique for focusing solely on the performance.

* GenreBusting: ''Stop Making Sense'' busted some of the concert film genres by never showing the band offstage, had no interviews, and never showing the crowd-- at least until the end, that is, when there are several shots of audience members dancing along during closing number "Crosseyed and Painless". This was actually not intentional; the film was ''supposed'' to feature more shots of the audience throughout its runtime, but the ones at the end were the only ones that were actually usable (on account of both lighting issues and the audience being too self-conscious about being on-camera).

* AsceticAesthetic: David Byrne's stage design was intended to get rid of "distracting" elements, even cups of water, to focus on the music itself. The stage risers and even the mic stands were painted matte-black and conspicuous logos on instruments were taped over with black duct tape. The amps were hidden in the risers.

* ConcertFilm: One of the finest. (Other contenders for this honor would be ''Film/TheLastWaltz'' and ''Film/{{Woodstock}}'', although this film is unique for focusing solely on the performance.)

* CreepyMonotone: This is how Byrne sings many of the songs, though he is complemented by the more soulful backup singers.

* EpicRocking: The film's performances of "What a Day That Was" and "Crosseyed and Painless" both reach or surpass the six-minute mark, with "Life During Wartime" coming close. On the 1984 live album, "What a Day That Was" again surpasses six minutes and "Life During Wartime" again comes close, both on the CD and cassette releases, but "Take Me to the River" is now extended to meet the same criterion on all formats ("Crosseyed and Painless" is absent from this version).

* FeetFirstIntroduction: Actually, the ''first'' thing we see is the shadow of Byrne's guitar neck as he passes through a doorway. We then see the bottom of his IconicOutfit-- namely, his pants legs and white shoes--as he strides to the microphone and sets down his boombox. Then after he says, "Hi. I've got a tape I want to play," the camera finally pans up to show us David Byrne's face.

* LyricalDissonance: A trademark of the band, and in full evidence here.
** The contributions of the backing singers and additional musicians, if anything, heightens the lyrical dissonance of "Life During Wartime".

** "Crosseyed and Painless" has an extended, slower-tempo intro, though this had already been used for performances on the ''Music/RemainInLight'' tour. It's also in a different key than it usually was.

** David Byrne's dance with a lamp is a reference to Fred Astaire's film dances, particularly a routine from the 1951 film ''Royal Wedding'' in which he dances with a coat rack.
** His "staggering" dance during "Psycho Killer" is a reference the way the main character of the film ''Film/{{Breathless}}'' staggers after being shot (you'll notice that right before Byrne staggers the drum machine's beat is very rapid and sounds similar to a machine gun).

** Byrne saved them for his film ''Film/TrueStories''.

* TitleDrop: Of the film itself, during the song "Girlfriend Is Better". (So also AlbumTitleDrop, for the accompanying album.)
* UpdatedReRelease: To commemorate the film's 15th anniversary, the live album was re-released, not only containing every song from the film, but also presenting them as they were heard in the film (the original live album contained heavy overdubbing to differentiate it from the movie, most notably re-recording all the percussion tracks). The film was also released on DVD in its "Special New Edition", after being out of print on VHS for a few years.

# "Psycho Killer" (4:24) (''Music/TalkingHeads77''; 1977)
# "Heaven" (3:41) (''Music/FearOfMusic''; 1979)
# "Thank You for Sending Me an Angel" (2:09) (''Music/MoreSongsAboutBuildingsAndFood''; 1978)
# "Found a Job" (3:15) (''More Songs About Buildings and Food''; 1978)
# "Slippery People" (4:00) (''Music/SpeakingInTongues''; 1983)
# "Burning Down the House" (4:06) (''Speaking in Tongues''; 1983)
# "Life During Wartime" (5:51) (''Fear of Music''; 1979)
# "Making Flippy Floppy" (4:40) (''Speaking in Tongues''; 1983)
# "Swamp" (4:30) (''Speaking in Tongues''; 1983)
# [[Music/DavidByrne "What a Day That Was"]] (6:00) (''The Catherine Wheel''; 1981)
# "This Must Be the Place (Naive Melody)" (4:57) (''Speaking in Tongues''; 1983)
# "Once in a Lifetime" (5:25) (''Music/RemainInLight''; 1980)
# [[Music/TomTomClub "Genius of Love"]] (4:30) (''Tom Tom Club''; 1981)
# "Girlfriend Is Better" (5:06) (''Speaking in Tongues''; 1983)
# [[Music/AlGreen "Take Me to the River"]] (5:32) (''Al Green Explores Your Mind''; 1974; [[CoverVersion covered]] by Talking Heads on ''More Songs About Buildings and Food''; 1978)
# "Crosseyed and Painless" (6:11) (''Remain in Light''; 1980)

* "Cities" (''Fear of Music''; 1979)
* [[Music/DavidByrne "Big Business"]] (''The Catherine Wheel''; 1981)
* "I Zimbra" (''Fear of Music''; 1979)

# "Take Me to the River" (6:00)

''Stop Making Sense'' is definitely one of the definitive concert film experiences, and a [[GatewaySeries perfect introduction]] to the genre, not to mention Talking Heads themselves-- its soundtrack was even included in Magazine/{{Time|Magazine}}'s [[TimeAllTime100Albums 2006 list of their 100 timeless and essential albums]]. To quote frontman David Byrne, "it's like ''Series/SixtyMinutes'' [[ThisIsYourPremiseOnDrugs on acid.]]"