Screened as part of Autumn Events 2016

Stop Making Sense 1984

Directed by Jonathan Demme

Jonathan Demme’s celebrated concert movie remains a conceptual and audiovisual triumph, capturing David Byrne and Talking Heads in infectious peak form.

USA In English
88 minutes DCP
G (cert)

Director

Producer

Gary Goetzman

Screenplay

Jonathan Demme
,
Talking Heads

Photography

Jordan Cronenweth

Editor

Lisa Day

Music

Talking Heads

With

David Byrne
,
Chris Frantz
,
Jerry Harrison
,
Tina Weymouth
,
Edna Holt
,
Lynn Mabry
,
Steve Scales
,
Alex Weir
,
Bernie Worrell

Elsewhere

Proudly Sponsored By

Radio Active

In 1983, legendary art rockers Talking Heads set out to make a concert film like no other. Independent of their record company, they hired Jonathan Demme, a then-relatively unknown filmmaker, to direct. Working closely with Byrne and the band, Demme counteracted the MTV style of the era, avoiding quick cuts or cutaways to the crowd in the certain knowledge that the more we see of what’s happening on stage, the more immersed and mesmerised we will be.

The dazzling set list aside, it’s their film’s formal inventiveness that is amazing, beginning with the conceptual crescendo of the concert’s construction. It starts with genius frontman David Byrne performing ‘Psycho Killer’ alone on stage with beat box and guitar, then adds instruments, stage machinery and musicians with each successive number. That’s to say nothing of Byrne’s expanding white suit.

Frequently cited ever since as the perfect concert movie, Stop Making Sense is a pop cultural dispatch from 1983 that stays forever thrilling.

“A continuous rock experience that keeps building, becoming ever more intense and euphoric… The movie was made on money ($800,000) that was raised by the group itself, and its form was set by aesthetic considerations rather than a series of marketing decisions. (This is not merely a rock concert without show-biz glitz; it's also a rock-concert movie that doesn't try for visual glitz.)… In its own terms Stop Making Sense is close to perfection.” – Pauline Kael, New Yorker