The Police - Everyone Stares: The Police Inside Out
by Stewart Copeland
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Actor: Stewart Copeland, StingDirector: Stewart Copeland
Cinematographer: Stewart Copeland
Editor: Stewart Copeland
Editor: Mike Cahill
DVD: Region Code 1
Audio: English (Original Language); German (Subtitled); English (Subtitled); Spanish (Subtitled); Portuguese (Subtitled); French (Subtitled)
Format: AC-3, Color, Dolby, DTS Surround Sound, DVD-Video, NTSC, Widescreen
Picture Format: 1.33:1
Running Time: 74 minutes
DVD Release Date: 2006-09-12
Audience Rating: NR (Not Rated)
Studio: Hip-O Records
DVD Reviews of The Police - Everyone Stares: The Police Inside Out
DVD Review: quick review from police fan
Summary: 5 Stars
One of my favorite bands, saw them in a bar when they were raw, and have almost every recording and video available. There's some great footage on the video, and as mentioned in the other reviews, an inside account of the band during the years recorded. Essential item for die hard fans, other casual listeners may not appreciate. Easily worth ten bucks.DVD Review: Great Bio, pathetic live band
Summary: 3 Stars
Watched this the other night. and I must say. Stu Copeland's bio is a well made movie which gives an interesting and realistic peek into the life of the band on the road and during the making of their albums. SADLY the police were beyond pathetic live and this proves it. NONE of their musical versatility comes off onstage they sound like a cookie cutter amateur rock band just banging out noise. Recommended only to real fans of the band not people who like a few of their hits.DVD Review: outstanding peek behind the police
Summary: 5 Stars
What a great DVD. The fact that Copeland had the foresight to film their rise only underscores his brilliance that much more. The editing is interesting, and although Copeland's voiceover seems more contrived than sincere, he does a good job relaying his thoughts behind each moment. I was also impressed with his impartiality to the personality conflicts that ultimately broke up the band. I highly recommend this DVD to any Police fan.DVD Review: Even if you aren't a Police fan, this doc will be interesting
Summary: 5 Stars
I am a huge Police fan... aside from that though, I thought this was a unique, behind-the-scenes document of watching a band go from obscurity (in america) or boy-band status (in the u.k) to become a respected and HUGE stadium band.
I loved it (though I also had the pleasure of going to a screening in L.A. where Stewart was there for a q&a, and had additional hilarious and interesting anecdotes.
Recommended!
DVD Review: Good but not great look inside this iconic band
Summary: 3 Stars
This documentary, shot, produced and narrated by Stewart Copeland gives a reasonably intriguing look inside the early years, heyday and eventual breakup of The Police. The structure is episodic, with occasional frustrating large gaps, and it can be difficult to know exactly where you are in the career arc of these performers. Copeland's narration starts off slightly awkward but morphs into something better and more thoughtful, and drops some interesting clues as to the reasons for breakup. If you love the band as much as I do, then this is well worth it - just don't expect an exhaustive fly-on-the-wall approach to the material. That said, there are some excellent insights into just how weird, exciting and unexpected this sort of global fame could be. One warning - there might not be quite enough Sting if that's your only reason for buying this disc.
Description of The Police - Everyone Stares: The Police Inside Out
Everyone Stares: The Police Inside Out, the directorial debut of five-time Grammy Award-winning composer and drummer Stewart Copeland, is a first-person account of The Police's ascent from obscurity to worldwide fame as well as an astute and sometimes hilarious commentary on the pop culture of the late 1970s and early 1980s. Culled from over 50 hours of Super 8 movies he shot during the acclaimed trio's heyday, the film offers an insider's perspective on touring, the other band members and the adoring fans that puts the audience in the drummer's seat. Copeland's kinetic and artful camerawork forms a visual ode to the rhythm of the road: a surreal swirl of hotel rooms, bus rides, press conferences and record signings punctuated by nightly flashes of electrifying on-stage exhilaration.Formed in 1977 and marked by Sting's keening vocal style and driving bass, Copeland's intricately syncopated Caribbean-influenced drumming and Andy Summers' lush guitar harmonies and The Police delivered a bracing, sophisticated alternative to the head-banging punk rock of the day. Shortly after the release of their first album, Outlandos d'Amour, the band's fresh sound caught fire with audiences in the U.S. and Europe. In a few short years, these 20-something rock virtuosos went from touring grungy clubs in a beat-up car to flying between arena gigs in a private plane. But despite the sudden, intoxicating and sometimes terrifying rush of fame, The Police remained a remarkably close-knit unit throughout the early 1980s, sustained by a rare musical compatibility, a shared sense of humor and the knowledge they had succeeded beyond their wildest dreams largely on their own terms. Copeland's breezy narration and onscreen annotations provide a wry, sometimes self-mocking perspective on the group's high jinks, from a lip-syncing session on skis for an early music video to their later travels throughout the Third World. Edited with a percussionist's precision timing and a composer's ear for the inherent pulse of each scene, Copeland scores the film using a pastiche of de-constructed studio and live versions of The Police's extensive and memorable repertoire."As soon as I raised the camera to my eye and started filming, amazing things began to happen," Copeland recalls. "A thrill ride began that took our group to the tippy-top of the music ziggurat. It was such an unreal experience that it seemed to make the most sense when I watched it through the lens of my camera. It was literally like watching a movie as the band sparked a fire that lit up the world for us. Everyone Stares is that movie." Copeland is an award-winning film and television composer who has written scores for Francis Ford Coppola's 1983 film Rumblefish, for which he received a Golden Globe nomination, Oliver Stone's Wall Street and Talk Radio, John Hughes' She's Having a Baby, John Waters' Pecker and Bruno Barretto's Academy Award-nominated Four Days in September. His television credits include scores for Desperate Housewives, Dead Like Me, for which he received an Emmy nomination, and The Amanda Show.He was recently nominated for a Grammy Award for Best Rock Instrumental Performance for "Birds of Prey" from his 2005 CD Orchestralli. Copeland won five Grammys for his work with The Police. Everyone Stares: The Police Inside Out is directed, produced, written and edited by Stewart Copeland. He is also the film's cinematographer, music editor and narrator."We're done," says Stewart Copeland near the end of Everyone Stares: The Police Inside Out, his homemade documentary about the rise and eventual fall of the group that ruled the planet during their '70s-'80s heyday. "When you get to where you're going, the ride is over." Yeah, but what a ride it was. Some 20 years after the Police (Copeland, Sting, and Andy Summers) disbanded for good, the drummer, now a film composer, edited the 50-plus hours of Super 8 footage he shot way back when, compiled a new soundtrack, wrote some voice-over commentary, and put together a film that, while considerably less than perfect, provides genuine insight into the chaotic, ultimately deadening world of rock superstardom. It all starts in '76, when the original band formed in England; by 1978, Copeland narrates, "we were ready to shed the leprous scab of (our) wretched history. and sally forth to the promised land of America." Fame and fortune ensued, and along the way, Copeland filmed everything--not just the inevitable scenes inside their tour van and backstage, but pre-gig sound checks, recording sessions, in-store promo appearances . Hell, he even recorded the band while they were making their videos, and there's one remarkable sequence in which he sets up his camera on a tripod behind his drum kit, then turns to address the viewer in mid-performance ("There's a little fight going on in front of the stage," he tells us). The camera work is often pretty shaky, and the performance footage is primitive, not to mention loud and distorted, but somehow that fits Copeland's fly-on-the-wall approach; and the soundtrack, live and studio versions of familiar tunes that Copeland "lobotomized" and "de-arranged," is revelatory. Perhaps best of all, the film offers Copeland a chance to tell us how it all went wrong. By the time of Ghost in the Machine, Sting (who comes off as his usual standoffish, mostly-humorless self) was no longer collaborating with other musicians in the studio. What's more, "(the) adulation started to feel like obligation," and while being rich and famous was swell, the price they paid was "our vibe, our essence." Part documentary, part travelogue, part video diary/confessional, Everyone Stares helps capture that essence again. --Sam Graham
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