Metallica: This Monster Lives Read Online Free PDF Page A

2003 (851 days)
Number of shoot days: 180
Number of travel days with no shoots: 41
Breakdown of shoot days:
Ritz-Carlton Hotel: 26
The Presidio: 20
HQ recording studio: 81
European tour: 20
James Hetfield’s home: 1
James at other locations: 1
Lars Ulrich’s homes: 4
Lars at Christie’s auction house in New York: 2
Kirk Hammett’s ranch: 1
Kirk at traffic school: 1
Jason Newsted’s home: 1
Jason Newsted practicing with Echobrain and Voivod: 2
Office of Metallica’s managers: 2
Metallica at Oakland Raiders game: 1
Metallica at San Quentin Prison: 2
Metallica jet skiing on San Francisco Bay: 1
Metallica at various other locations: 14
Total hours of digital videotape shot: 1,602
Miles of digital videotape consumed: 112
Hours of sound recorded on DAT: 2,524
Miles of DAT consumed: 47
Total number of double-A and 9-volt batteries used by crew: 675
Total number of Chinese lanterns used for lighting scenes: 36
Total number of lightbulbs used: 156
Number of signed release forms and accompanying Polaroids: 428
Total number of New York-San Francisco round-trip flights taken by two directors: 98
Total number of colored dots used on tapes and logs: 5,662
Yards of bubble wrap used to wrap and ship tapes: 283
Terabytes of storage used by four editors and three assistants: 3
Total hours worked by four editors and three assistants: 6,000
Total number of half-liter bottles of water consumed by crew: 1,620
Total number of turkey sandwiches consumed by crew: 178
Total number of Diet Cokes consumed by crew: 540
Total number of Excedrin pain-reliever caplets consumed by crew: 300
    As for James, well, he didn’t say a word. He didn’t have to; the look on his face spoke volumes. This is what it told me: “If, for business reasons, we need to make an infomercial to sell a few albums, that’s fine. But let there be no confusion: I am James Fucking Hetfield, and you are not shoving a camera in my face—unless it’s onstage, in which case, stay the fuck out of my way”
    Cliff also chose nonverbal communication. His look said: “Nice one, guys. You certainly blew that opportunity.” Also: “Don’t let the door hit your personal-film-loving asses on the way out.”
    We all shook hands, never imagining that there would come a day a few years hence, when a therapist would instruct us all to hug one another when saying hello and good-bye. I wasn’t even sure we’d ever say hello to Metallica again.
    Bruce and I got in the elevator and began the slow descent from the rarified air of the penthouse suite to the sweltering heat below, from rock royalty to the hoi polloi. I turned to Bruce and said, “This ain’t gonna happen.”
    Was he rolling his eyes or just following the numbered floors as they counted down? “No shit,” he replied.
    Like I said, we weren’t getting along.

CHAPTER 2
    GIVE ME FUEL, GIVE ME FIRE, GIMME SHELTER

    Watching James reflect on the past two turbulent years gave me the idea for our film’s structure. (Courtesy of Bob Richman)
    04/21/01
INT. ROOM 627, RITZ-CARLTON HOTEL, SAN FRANCISCO - DAY
    JOE BERLINGER: Can I just say–I know I said I wouldn’t talk, but can I just ask one question?
    PHIL: Sure.
    JOE: I just want everyone’s general thoughts on how this process is going to affect the music you’re about to make. This metamorphosis you guys are going through, this evolution …
    LARS: I would say that anytime you feel that there’s some stuff that you think you need to cover, something you think we could emphasize more, please always feel free to throw that in.
    JOE: Oh, okay, thanks…. I’d love to ask you the same question six months from now, and then at the end of this process.
    LARS: Sure, sure.
    KIRK: You know what I think is gonna happen to our music? I think the music is gonna be much more powerful, much more honest and pure, you know?
    PHIL: The music is going to be much more of that because of what?
    KIRK: Because of all the energy that we’re putting into really solidifying our thoughts