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1994.06.19 - "Guns N' Roses: The Photographic History" documentary

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1994.06.19 - "Guns N' Roses: The Photographic History" documentary Empty 1994.06.19 - "Guns N' Roses: The Photographic History" documentary

Post by Blackstar on Fri Nov 30, 2018 10:54 pm



Transcript:
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Text on screen: Guns N’ Roses are one of the most successful rock bands in the world. In 10 years they have performed before more than 5 million people and sold more than 50 million albums. Yet their relationship with the press has always been difficult. The photographer, Robert John, is the exception. He’s been with Guns N’ Roses from the early days, and has now published an intimate portrait of the band on stage and off. This film chronicles the final leg of the band’s two-year Use Your Illusion World Tour, as seen through the lens of Robert John.

[Footage and pictures]

Robert John: Me and Axl used to talk about, you know, someday I was gonna put out a book on the band, and I thought they’d be huge. So he kept pushing me into it, and finally I said okay. Hopefully, it’s gonna do well. I really hope that people look at the book and feel that’s a real photo history, because I started working with the band in 1985, and from my very first photo shoot up until 1992. That’s what’s in the book.

[Footage from the rehearsals in Tel Aviv, May 1993]

[Cut to interview with Slash]

Slash: I had forgotten about the history of this band going back that far, until the book came out and I was like, “Oh God.”

[Cut to interview with Axl and Robert John]

Axl: How far are we going back?

Del James: We’re going way back.

Axl: Way back (laughs). And we go a little something like this (laughs).

Del James: How did you guys meet and what made you decide to work together?

Axl: Where did we meet?

Robert John: Izzy, Troubadour.

[Cut to interview with Izzy]

Izzy: It was a period when I think Axl and I were writing songs, but we didn’t have a band together. We just had songs. But yeah, it was right around that time. I remember he had a Cadillac and he used to buy me drinks (chuckles). It was cool. I remember just hanging out with him at the Troubadour, really. That’s where I remember first meeting him. I think I remember him say, “Yeah, I’m a photographer, man. I’m gonna do some pictures.”

[Cut to the interview with Slash]

Slash: I treated him the same as I treat most outsiders in general. And I couldn’t stand him. I gave him such a fucking hard time at photo shoots. But, you know, that’s how a good solid relationship starts on either end of the spectrum. You can get through that, and finally end up in the middle, and then everything is cool and you can deal with anything. So, if you were to ask Robert, he’d tell you; he hated me, too (laughs).

[Cut to interview with Duff]

Duff: We all have our different relationships with Robert. His and I’s is more a very casual, relaxed, let’s-go-fishing type of vibe. When I met him, which was back in the Gardner days, he was a friend of Izzy’s, and we needed someone to take free photos because we had no money. And here came Robert after work, in his construction – he had mud all the way to his chest, you know. But he had a camera, and he had a box with stuff in it, and we were like, “Wow, he must be a pro.” And, you know, he sucked at first, but so did we (laughs). So it was great, and we just learned together. And we were more than glad to be guinea pigs, because we’d take those pictures and slap them on telephone poles and anything all over on Sunset.

[Cut to the interview with Axl]

Axl: Back then we had the flyer wars, where all the bands would go out and flyer every wall they could. But now it’s really – L.A. has kind of cracked down on that, and it’s a little bit harder to do that. But we had flyer wars, meaning that, like, if you got to a wall that didn’t have anything on it or the flyers were old, it was yours. But what would happen is, that then other bands would come up and put their flyers over your brand new flyers, that you spent your hard-earned money on, and it would turn into a war of it. Looking back on it, that was really fun; flyer nights was a lot of fun. But then we started getting bigger, so we hired people to put up flyers for us, and we’d find out that they would spend the money on beer and not put flyers up (laughs).

[Cut to interview with Dizzy]

Dizzy: You know, all the flyers and all the ads and everything, Robert saw it and he did it for free for us, because we were friends and we were an up-and-coming band. That’s just the kind of cat that he is. I remember, like, even helping him develop pictures and stuff in his darkroom (?). So yeah, we go back a long way. That’s kind of seven-eight years ago.

[Cut to the interview with Robert John]

Robert John: When the band got signed, I got a phone call in the middle of the night from Axl. He said, “Come down to the Hamburger Hamlet. We’re gonna be signing a deal with Geffen Records.” So I drove down there and, you know, they did their deal and everything. And when they got their advances, everybody in the band gave me a little bit of money, because when I first started out, I only had one camera and one lens.

[Cut back to the interview with Axl and Robert John]

Axl: That was pretty intense. So that helped, like, create a certain bond, a bond of loyalty, because he was willing to go for it with his career same way we were - at the time. Now we’ve sold out – no (laughs).

[Cut to the interview with Izzy]

Izzy: The thing that I remember most about Robert John, is when we all lived in that studio, and then we came back to the studio one night after doing a photo shoot with Robert John, and our door was kicked down in the studio; and the guys next door were all freaked out and scared, you know, and they said, “Man, you guys better get out of here, cuz the police were here, and they kicked in your door, and they said they were gonna kick your asses when they catch you.” And of course Robert had the Cadillac, so we moved everything out that night and moved down Sunset Strip to another apartment, to somebody else’s place. And that’s what I remember the most about Robert John, because he was, like, photographer and...

Del James: Getaway driver.

Izzy: Getaway driver! That’s it (laughs).

[Cut to the interview with Axl and Robert John]

Del James: And what’s that was so great about his white Cadillac?


Axl: Just that Robert had a car and it was a big white Cadillac (laughs).

Robert John: (laughs)

Axl: That was just about it. We walked, hitchhiked, anything else, and he had a big white Cadillac. I just thought that was really pimp.

(Laughter)

[Footage from the show at the Milton Keynes Bowl in England, May 1993]

[Cut to the interview with Slash]

Slash: Some of the photos were really candid; and, I don’t know, it just takes me back, like when we opened for the Red Hot Chili Peppers - at UCLA, I think it was – after doing that Alice Cooper gig in Santa Barbara, where Axl showed up and couldn’t get in, and we went out and played without him, and we were drinking vodka on stage and everybody threw things at us...

Del James: And asked if anybody knew the words...

Slash: Yeah! (laughs). And we started threatening the crowd: “Come on, you fuckers, get up here!”

[Cut to the interview with Duff]

Duff: Well, you gotta understand, this is 1985, and I even looked goofier than this [an old photo is being displayed]. But, back then, like here [shows a photo from Robert John’s book], I let this goofy girlfriend dress me up, but this was one of the first photo shoots we ever did.

[Cut to the interview with Axl and Robert John]

Axl: There’s this photo here. Okay, see this photo? See this photo here? I’m very unhappy that this is in front of the book, representing who I used to be. And this is Slash; this is, like, representing who he used to be. This was a very long time ago and back when we really believed that substance abuse was a way to God.

[Music – pictures displayed on screen]

[Cut to the interview with Slash]

Slash: Those shots, I remember we did it when the cops broke into the Gardner studio, when we got those rape charges. We were over around the corner at Monica’s house, Steven’s girlfriend – that’s a porno chick – and we did the photos there, and we were, you know, just fucking around. I don’t think – I mean, Axl probably looked good being sort of glammed out. Of course, Hanoi Rocks was around at the time, and I think Izzy and Axl were pretty influenced by Hanoi Rocks; whereas, when I came in, I pretty much looked the same way, just the same way. That whole photo session was a joke. I’m gonna kill Robert for putting it in the book (laughs). As for kids who look at that and go, “Wow, that’s how they used to dress,” it was one day (laughs).

[Cut to the interview with Axl and Robert John]

Del James: These shots are from 1985-1986. All of Hollywood is experimenting with fashion. I mean –

Axl: Yeah, at that time it was either heavy metal, meaning that heavy metal was the studs all over up the arm; that, and black, and upside down crosses, and what-have-you; and some of the bands were really cheesy at it. Or there were all the glam bands - I mean, this is before Poison – and, you know, David Bowie was like God, and Hanoi Rocks was the coolest band in the world, and The New York Dolls ruled. It was either that or total heavy metal in the club scenes for the most part. So we did our thing for a while and got into it, and then we did other things. You know, it was just having some fun. It was a quite exhilarating experience (laughs).

[Cut to the interview with Slash]

Slash: There’s some funny shit in this book, that people that buy it obviously won’t know exactly the story behind it. This picture, right here with Ax, was at the Texas Stadium - the Cowboy Place, Dallas Stadium, whatever – and it was at the very end of our first two year tour. It was the last show, and it was the worst show we ever played. INXS was headlining and we were playing before them. We were supposed to play for about an hour and a half, and we played for about 45 minutes. The sound was terrible, the crowd – the show itself, the lineup was Iggy Pop, Ziggy Marley, The Replacements, us and INXS. I mean, it was really screwed up, so the crowd was really confused in general. And we were terrible. Then, a few months later, I got a cassette in the mail, Guns N’ Roses Appetite for Destruction broken in half. It was some former fan (laughs), who said after seeing us at the Texas Stadium that he would never listen to us again.

[Cut to interview with Matt]

Robert John: Matt, do you find it uncomfortable doing photo sessions?

Matt: Not when it’s just the two of us. It’s different when the other guys are around and stuff, because you kind of always got to be, sort of like - You don’t wanna pose or anything, but you know it’s gonna be that one shot that you kind of look stupid, and the rest of the guys look cool, and you’re gonna be like the stupid looking guy in the photo, because the rest of them say, “That’s the one.” So you don’t want to pose, but yeah, in a way you have to.

[Footage – Music]

[Cut to interview with Gilby]

Del James: What’s it like going from some sort of obscurity to such a huge band and then seeing the photos?

Gilby: (Laughs) Well, it’s nice that people actually wanted photos of me. I like that part. It’s like, I used to be begging people. It was like, “Please, please, put a picture of my band (?)”. But now it’s nice that they asked, you know. And it’s cool working with those guys. I like to fuck with them when we’re on stage and stuff; you know, spit at them and shit like that.

Del James: Do you spit at Robert?

Gilby: I spit at him all the time. I never hit him, I’m not that good, but – (laughs)

[Footage]

Del James: I write in essence from a fan’s point of view. When I helped Robert edit some of this stuff, that was the fan in me coming out. [...] Guns N’ Roses are historic right now; they’re probably the biggest rock ‘n’ roll band in the world’s going. And I’m still a fan, I’m not that jaded. When they go on stage, I still get turned on, you know?

[Footage]

Dave Hogan (freelance photographer): Well, Guns N’ Roses, I think they gotta be the most awkward band to photograph full-stop. I mean, I did Milton Keynes, I’ve been in Rock in Rio... And with most big bands, Madonna, Michael Jackson, you get three numbers and you’re normally in the pit. Guns N’ Roses have this “We’re gonna put you at the back of the stadium.”

[Cut to interview with Slash]

Del James: Tell us why that sort of scheme was ever put into operation, that little amount of time for other photographers. What is it supposed to create...?

Slash: Because we don’t like any of them. All the other photographers were just – you know, they’re just money hungry or they’re trying to fill their quota, or whatever, and it just makes you feel uncomfortable. And so, after 15 minutes, you just say “Fuck off,” you know? And they sell their pictures to all kinds of different publications, and we’ve been misrepresented in the press and by the media so many times. So at this point we don’t care whether you seem to be a nice or not. We just don’t trust anybody.

[Cut to interview with Wendy Laister (GN’R international publicist)]

Wendy Laister: They give them one song, the first song, and they shoot from the mixing desk; which, although they all complain about that, at the end of the day they get better shots. When I first started working with Guns N’ Roses, they had no other photographers apart from Robert. And I said that the problem is that people are using old shots of the band, because they’re not getting access to the pictures, and they were using live shots of band members that weren’t even around anymore. So we decided, just for the daily newspapers, that Robert can’t serve as we’d use the mixing desk as a good place for them to shoot from, and they get one song.

Dave Hogan (freelance photographer): From the one number, you’re not gonna get the atmosphere. You know, really bad pictures actually come out of this, because there’s no way, if you gain access to a band like that for one number. You’re so scared that your competitions are gonna get a better picture, that you’re actually doing the band an injustice, because the pictures are gonna be grainy; you’ve shot, you know, from the back of the stage. But it’s not the sort of band the crowd are user-friendly when you’ve got a photographer standing in the pit – or not in the pit, but somewhere in the crowd, sort of hustling their way (?) – and when they caught my friend, they got bopped on in the end of the night. So I do my one number and then I leave.

[Footage – Music]

[Cut to the interview with Axl and Robert John]

Axl: In ways, Robert has been another member of the band, because he’s been there since the beginning; and is someone who is coming from the same headspace and attitude in ways about their craft and about the band that we were. So I’ve really liked supporting the loyalty in myself to Robert. And it’s something that’s had to be fought for at different times. You know, like when we were getting signed, there were pretty much, like, four photographers who had a monopoly over rock photos and the rock magazines; and I was like, “Well, I’m not signing unless you’re gonna guarantee me that Robert comes with us,” because I wasn’t gonna sign a deal and then have to go to Robert and go, “Well, now that we’re signed we got to shoot with these guys and can’t shoot with you anymore.” And I could feel that starting to happen. I mean, now I think that there’s a lot of different photographers in the rock ‘n’ roll magazines of different bands, but that wasn’t the case when we were signed.

[Footage – Music]

[Cut to interview with Robert John]

Del James: Robert, how often do you come out to the mountains and take pictures and stuff?

Robert John: Any kind of chance that I get. Rock ‘n’ roll to me is just like a business. I love shooting shows and doing group shots, and things like that. But it also becomes a business, because you have to deal with, you know, subjects, people moving, people’s attitudes and things like that. With nature, you don’t have anything to argue with you. You can photograph an animal and the main thing you’re depending on is that it’s gonna be sitting there, but it doesn’t have an ego. So there’s a big difference. Rocks don’t move. I mean, we’ve been touring for two, two and half years, so I’m not home very much to be able to go to the mountains. Yeah, I hate touring, to be honest with you (laughs).

[Music – pictures]

[Cut to interview with Izzy and Robert John]

Robert John: Ha, it’s been a long time since I shot Izzy.

Izzy: Robert John... International photographer.

Robert John: Izzy always had the most bizarre ideas for photos. We were at, like, 5:00 in the morning, the sun was rising and it was 20 degrees out in Atlanta, Georgia, and he wanted to go shoot up on a roof. I told him, “Izzy, skin kind of does weird things in the cold; you know, you look cold.” And he’s like, “Fine,” and he loved the shot.

Izzy: Well, in those days, I mean, if we got anything done, it was usually the second or third day being up, and you know, any man was gonna rough; yeah, maybe we can breathe up there, you know? That kind of shit. It was usually pretty painless. Usually the sun was coming out, as opposed to going down, and we were feeling – you know...

[Cut to interview with Slash]

Slash: I couldn’t pinpoint which photo I like the most that Robert shot. He has a great sense of timing. So, say he gives me a slide sheet from a few dates out of the tour to approve, I usually just approve all of it; or, if there’s something I definitely don’t like, it’s like one out of ten that, you know, I’m adamant about. But, otherwise, he’s got a great sense of timing. And, since he’s been with us so long, he’s one of the only guys that knows how to catch us at the right moment. You know, I grew up fucking reading rock ‘n’ roll magazines, and I knew what cool looked like as far as I was concerned. So, obviously, growing up you’re influenced by that, and when you see pictures of yourself, you’d like to be able – you know, if you’re lucky - to compare them to the cool shit that you grew up with. So he’s great for capturing that cooler-than-though kind of image.

[Cut to interview with Robert John]

Robert John: My personal likes are a little bit of motion blur - you know, to show what the person’s doing. Seeing a guitarist standing perfectly still, with the guitar in his hands, is really boring. I like seeing a lot of movement, like when Slash is on stage and he starts jumping around on one foot, and things like that. Those usually turn out to be really good photos.

[Cut to interview with Doug Goldstein]

Del James: Have you had a chance to look at the book?

Goldstein: Yeah, I had a chance to look at the book.

Del James: Did you like any particular photograph shot on the MGM?

Goldstein: Oh, the one with me? Oh yeah. Yeah, of course I liked the one with Duff sitting on my lap, because it’s a family, so it was a lot of fun, and it captured really that moment. But my favorite photo in the book had to be the shot of Axl jumping eight feet in the air, because I remember having to take him to the doctor after that (laughs).

[Cut to the interview with Robert John]

Del James: What’s it like shooting or working with Axl Rose?

Robert John: (Laughs) Axl... Shooting with him is – he’s very creative. He comes up with a lot of ideas.

Del James: Is he very difficult to work with?

Robert John: What do you mean?

Del James: Well, there’s a certain perception that the world has of Axl Rose, and you know him as well as anyone. What’s he like to work with?

Robert John: On a photo session?

Del James: Yeah.

Robert John: No, not at all. He trusts what I do. He trusts my lighting and everything. I mean, it’s like, we shoot Polaroids anyway, so he’s able to see everything before we shoot. You know, we’ll go over things.

[Cut to the interview with Axl]

Axl: For me it’s just having an idea of something that we could shoot, and I don’t really have a great understanding in photography or anything, and Robert is and has been always real eager to take on a challenge. So I’m always really good at giving him a challenge that he’s never done before (laughs)

[Footage – Matt’s drum solo]

[Cut to interview with Matt and Robert John]

Matt: (?) live stuff, cuz I make some of the ugliest faces.

Robert John: Shooting drummers is a lot harder, since they’re all over the place with their heads, and their facial expressions, and their arms. I mean, you do a lot of shots with sticks in their face. I try to avoid shots of Matt, because when he’s in a solo, for instance, he’s, like, kicking ass through the whole thing, right? So you’re blowing him out, too.

Matt: Yeah, like Dizzy Gillespie.

[Cut to the interview with Dizzy]

Dizzy: He’s got the knack – you know, for the shit.

Del James: Why do you think that so?

Dizzy: I think again it’s just because we come from the same place. You know, we’re street scum, man (laughs).

[Cut to the interview with Robert John]

Robert John: Dizzy is very picky about photos. Very picky. He’s got such a laid-back personality. He’s really easy to work with, you know. It’s just when it comes to approval time.

[Cut to the interview with Dizzy]

Dizzy: They always give me a hard time. Robert gives me a hard time. He says I’m too picky.

Del James: Do you think you are?

Dizzy: No (laughs). I just think I’m, like, too fat sometimes, you know?

[Cut to the interview with Robert John]

Robert John: Duff is probably the person who gives me the most control. You know, he lets me set up things in position and all that. So yeah, his very easy.

[Cut to the interview with Duff]

Duff: We’re, you know, best of friends. So, to work with Robert – we can tell Robert what to do. “Robert, god dammit, look at that film.” We’re kind of – we jump around with him a lot. But he’s very calm, very collected, and he knows exactly what he’s going to do before you even get there; which there’s a lot to say for a lot of photographers I’ve worked with. And he’s very straight, and honest, and forward. If you don’t like it, it’s in the trash can. It’s that simple.

[Cut to the interview with Slash]

Slash: Not only does he know us well enough to get the right shot, but we like to have him around, because he’s a buddy. It’s not like when a photographer comes into the room and you feel uncomfortable, because you don’t trust him, or they’re in it for a means to their own end.

[Cut to the interview with Wendy Laister]

Wendy Laister: By stopping photographers from shooting from the pit and by not giving them three songs, which is really the norm for most other bands, in some ways we encourage them to try and buck the system. So what they do, is that they try to escape from me as we’re going back and forth to the mixer. So you have to kind of battle your way every night with huge security guys. [There are] people with cameras who complain all the way over there because it’s too far for them to go and they’ve got too much heavy equipment. I mean, as far as I know, not too many have escaped on the way back and forth, but what they do is they get all their colleagues to come and sneak cameras in with them, and they just shoot from the audience. You know, they bring orange boxes with them and stand on those, they bribe people to bring cameras in, and there’s a lot of agency shots out in the market. But there’s very little – you know, we do what we can if we see people with cameras who look professional; we remove the film from them.

[Cut to the interview with Duff]

Duff: There’s a lot of time for us. I mean, I did this photo session with Linda, my wife, for this magazine with this guy (?) European fashion model, and he got all the costumes and stuff from the movie Dangerous Liaisons, and did this. And we get there – Linda had to get there at 7:00 to get full body makeup and blah blah blah. And I didn’t get there till 3:00, and this is, like, 100 miles away from my house. (?) I didn’t get there till 3:00, put on my stuff and they hadn’t even started shooting her, the place wasn’t even set up. This guy was a complete dick and he lied to me, like, three times. Finally I just said, “See ya.” But the point is that it took, like, 15 hours and then nothing happened. With Robert it’s set up, you walk in, it’s boom. Whenever it is, in the middle of the night, 4:00 in the morning. You call him in his hotel room: “Robert, the sun’s just coming up hitting this certain building here in Pakistan,” or wherever it might be, “now it’s the time, it’s perfect.” “Boom, I’m gonna be there.” Robert is the guy that we trust for the candid stuff, you know? Even if you and your woman want some pictures at home in bed, you can trust Robert, you know, that he doesn’t stare at your woman’s titties or something like that. Yeah, that’s my job (laughs).

[Footage – music]

[Cut to the interview with Axl and Robert John]

Axl: Actually, for the last couple of years, I’ve been kind of not wanting to do private shots of myself or whatever – or shots of my privates (chuckles). And I’ve been learning a lot about photography from other friends, meeting other photographers and things in the fashion industry, and working with the videos as much. So I kind of wanted to wait, so that I develop some new ideas of what I want to do with photography, so that we can move forward. It’s like, I haven’t really written songs for a new album, until I started, like, this weekend, because I’ve been trying to get my head in a certain space that I was actually growing, rather than staying in the same place. And now that this tour is winding down, the Use Your Illusion songs have all, in one form or another, come back to life emotionally for me on the albums; and so we’re experiencing them in new situations, and then trying to figure out how to grow and go farther, rather than stay in that same place. I’ve been kind of doing it with every aspect of my life; and it’s very strange for me, because on a tour I feel like I’m trapped in a time warp that I created (laughs).

[Footage from Barcelona, July 1993 – music]

Axl: On this tour, what I wear on stage is pretty much what I wear every day. That will change when the tour is over, because then I can have the time to wear clothes again, and next it will be like the Chili Peppers and wear socks. Slash thinks that the greatest freedom will be to play naked. I personally don’t have a great desire to be on the same stage, but –

Robert John: (laughs)

[Footage - music]

[Cut to the interview with Slash]

Slash: It’s probably a better kind of a book for me to look at, just because I was there. You know, that kind of thing where – I mean, that shit really did happen, as they say. I suppose photo shoots where you all get together and anyone of a number of photographers gets you, it’s no real experience. This was even more than a day in a life. When I look back on it, I go, “Fuck.” You know, how nuts that day was, how stoned we were that day, when we were rehearsing and trying to get our shit together, and so on so forth. The thing is, it hasn’t changed much. And when it finally comes down to the wire and you start to feel like it’s all just too fucking difficult or things have changed, or anything like that, when you just start to get moody, I can look at that and go, “It’s always been fucking hard.”

[Cut to the interview with Robert John]

Del James: What are some of your favorite memories or moments of your involvement with Guns N’ Roses?

Robert John: Watching them go from a little tiny band in Los Angeles for, like, 50 people who came to their shows, to seeing them with, like, 140,000 in Rock in Rio.

Del James: Are you proud of what you’ve done?

Robert John: Yeah. As far as my book goes, yeah. I’m very proud of it, because it’s weird – you know, people look at the book and they see the history of a band, and I look at the book and I see my progression on photography. I’m still not technically the best, but I see a progression of my own work.

[Pictures – music]

[Cut to the interview with Doug Goldstein]

Del James: When you see the book, does it rekindle the good, the bad, or maybe even the ugly?

Goldstein: (Laughs) Well, let me see... Yeah. I think it captures actually a lot of the good. The bad, it just conjures up attorneys’ fees. And the ugly would be the last shot in the book, actually the picture of the photographer himself, Robert (laughs).

[Cut to the interview with Duff]

Duff: A lot of the pictures he put in his book were for us, you know. Like, “Duff on stage in his hometown, Seattle, October 1992.” He knows how much I love going home and play. He could have done any other picture - or, you know, we played about 5 million cities - but he chose to do that, which was very cool. I like that photo a lot. I remember the gig. It’s a (?). It’s a difficult bass move. Don’t try it at home, kids.

[Cut to the interview with Slash]

Slash: Robert has definitely earned his wings, I guess (laughs).

[Footage]

[Cut to the interview with Axl and Robert John]

Axl: I’ve got a show to do now, so thank you very much. And, ladies and gentlemen, Robert John.

(Laughter)

Axl: Where’s my enema bag?

[Footage]

[Cut to the interview with Robert John]

Del James: What’s it like holding your own book?

Robert John: It feels good. I guess this is probably like a band, when they first record a record, and get their first record, you know. I remember Axl used to say – before Appetite was recorded, he used to say, “All I wanna do is record this record and just be able to hold it; you know, have my record.” That’s kind of the way I felt about my book.

[Cut to the interview with Slash]

Slash: He’s got some really funny shit. Stuff that we keep in a vault, because it’s too – yeah, we just don’t let that stuff out (laughs).

[Clip from Since I Don’t Have You video – End titles]
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