Part 2 (2/2)

Now, perhaps that's cruel, and perhaps that's predictable. But it's mostly because Some Kind of Monster Some Kind of Monster presents an uncomfortable kind of realism: it's the most in-depth, long-form psychological profile of any rock band that's ever existed; it's also the closest anyone has ever come to making a real-life presents an uncomfortable kind of realism: it's the most in-depth, long-form psychological profile of any rock band that's ever existed; it's also the closest anyone has ever come to making a real-life This Is Spinal Tap. This Is Spinal Tap. One could even argue that One could even argue that Some Kind of Monster Some Kind of Monster is a rock 'n' roll film that has nothing to do with music, and that it's actually a two-hour, twenty-minute meditation on therapy, celebrity, and the possibility that just about everyone is a little damaged. That's because the men who made is a rock 'n' roll film that has nothing to do with music, and that it's actually a two-hour, twenty-minute meditation on therapy, celebrity, and the possibility that just about everyone is a little damaged. That's because the men who made Some Kind of Monster Some Kind of Monster (directors Joe Berlinger and Bruce Sinofsky) and its on-screen psychologist (a sweater-clad sixty-five-year-old named Phil Towle) seemed to need therapy as much as Metallica. (directors Joe Berlinger and Bruce Sinofsky) and its on-screen psychologist (a sweater-clad sixty-five-year-old named Phil Towle) seemed to need therapy as much as Metallica.

”If you strip down all human beings to their core, you'll find the same stuff,” claims Towle, the ”performance enhancement coach” who served as Metallica's therapist over the two years in which Some Kind of Monster Some Kind of Monster was filmed. ”You will find fear of rejection, fear of abandonment, fear of being controlled, fear of being unloved, and the desire to love and be loved. That becomes more complicated with hard-rock bands, because-when you exist in a mode of instant gratification-you're never hungry for depth of intimacy. s.e.x, drugs, and booze are glorified in rock 'n' roll, but those are really just symptoms of the desire for relief.” was filmed. ”You will find fear of rejection, fear of abandonment, fear of being controlled, fear of being unloved, and the desire to love and be loved. That becomes more complicated with hard-rock bands, because-when you exist in a mode of instant gratification-you're never hungry for depth of intimacy. s.e.x, drugs, and booze are glorified in rock 'n' roll, but those are really just symptoms of the desire for relief.”

This is all probably true. In fact, part of what makes Some Kind of Monster Some Kind of Monster so compelling is that Towle-the hyper-nurturing Midwesterner now recognized for saving Metallica-seems to possess as many insecurities as the band he was paid $40,000 a month to help. There is not one person involved in so compelling is that Towle-the hyper-nurturing Midwesterner now recognized for saving Metallica-seems to possess as many insecurities as the band he was paid $40,000 a month to help. There is not one person involved in Some Kind of Monster Some Kind of Monster who could safely be described as ”okay.” who could safely be described as ”okay.”

And it's entirely possible that this is the point.

In order to understand how Some Kind of Monster Some Kind of Monster came into existence, you need to know two stories. The first is the history of Metallica, a two-decade narrative that explains (a) why this movie makes people laugh, and (b) why this movie is so unprecedented. Twenty years ago, there was no band on earth who seemed less likely to release a doc.u.mentary about dealing with interpersonal issues; in a way, it still doesn't seem possible. came into existence, you need to know two stories. The first is the history of Metallica, a two-decade narrative that explains (a) why this movie makes people laugh, and (b) why this movie is so unprecedented. Twenty years ago, there was no band on earth who seemed less likely to release a doc.u.mentary about dealing with interpersonal issues; in a way, it still doesn't seem possible.

Formed in 1981, Metallica became the first important speed-metal band; they played faster and harder than just about every group who had ever come before them. While other '80s metal bands wore spandex and sang about girls, Metallica wore jeans and sang about Armageddon; their first alb.u.m was called Kill 'Em All, Kill 'Em All, a t.i.tle that was actually less aggressive than the phrase they wanted to use. Hetfield was the frontman, a scowling gun enthusiast who was raised as a Christian Scientist and now hated the world. Drummer Ulrich was a former tennis prodigy in Denmark who moved to California with his affluent family as a teenager, bonding with the antisocial Hetfield over unpopular British metal bands like Diamond Head and Angel Witch. Metallica's lead guitarist is Kirk Hammett, a dark, androgynous personality sp.a.w.ned from a broken home; he spent his sixteenth birthday trying to stop his father from pummeling his mother. Hammett is the personality buffer between Hetfield and Ulrich (if Metallica truly a t.i.tle that was actually less aggressive than the phrase they wanted to use. Hetfield was the frontman, a scowling gun enthusiast who was raised as a Christian Scientist and now hated the world. Drummer Ulrich was a former tennis prodigy in Denmark who moved to California with his affluent family as a teenager, bonding with the antisocial Hetfield over unpopular British metal bands like Diamond Head and Angel Witch. Metallica's lead guitarist is Kirk Hammett, a dark, androgynous personality sp.a.w.ned from a broken home; he spent his sixteenth birthday trying to stop his father from pummeling his mother. Hammett is the personality buffer between Hetfield and Ulrich (if Metallica truly was was Spinal Tap, he would be the Harry Shearer character). The group's original ba.s.sist was a swivel-necked San Franciscan named Cliff Burton, but he died in 1986; while touring through Europe, Metallica had a cataclysmic (and bizarre) highway accident outside of Copenhagen. Their tour bus actually fell on Burton. He was immediately replaced by Jason Newsted, a longtime Metallica superfan who had always dreamed of performing alongside his heroes; after being asked to join the band, the other three members mercilessly hazed Newsted for well over a year (for example, they would constantly-and erroneously-tell strangers that he was gay). These are hard people. Spinal Tap, he would be the Harry Shearer character). The group's original ba.s.sist was a swivel-necked San Franciscan named Cliff Burton, but he died in 1986; while touring through Europe, Metallica had a cataclysmic (and bizarre) highway accident outside of Copenhagen. Their tour bus actually fell on Burton. He was immediately replaced by Jason Newsted, a longtime Metallica superfan who had always dreamed of performing alongside his heroes; after being asked to join the band, the other three members mercilessly hazed Newsted for well over a year (for example, they would constantly-and erroneously-tell strangers that he was gay). These are hard people.

Originally a cult band for burnouts and speed freaks, Metallica went on to become the Led Zeppelin of their generation. They've sold over 90 million alb.u.ms worldwide; while other metal acts were buried by the early-'90s grunge movement, Metallica only became stronger. And the driving force behind their invincibility seemed to be the fact that they did not care about anything. They fueled their tours on Jagermeister (Hetfield used to drink a bottle every night). They ”betrayed” their fan base in 1996 by cutting off their hair, the speed-metal equivalent of Dylan going electric. When kids started illegally downloading their songs off Napster, Metallica had the audacity to sue their own fan base. Metallica actually did what other rock bands only aspire to do: by ignoring trends, they became immune to cultural change. They were, it seemed, unbreakable.

Until (of course) they started to break. A 2001 Playboy Playboy interview ill.u.s.trated (and-according to the band-perpetuated) a growing sense of discontent within Metallica, eventually resulting in Newsted's decision to quit after fourteen years of service. Sensing the possibility of losing an extremely lucrative artistic ent.i.ty, Metallica's management team (an organization called Q-Prime) put Metallica in touch with Towle, a man who'd previously worked with the St. Louis Rams during their 2000 Super Bowl run and had unsuccessfully tried to save another of Q-Prime's clients (the political rap-metal group Rage Against the Machine). Formerly a gang counselor in Chicago, Towle now specializes in psychotherapeutic scenarios involving big money and ma.s.sive egos. The hope was that he would stop Metallica from imploding; coincidentally, those therapy sessions initiated just before Berlinger and Sinofsky started filming the band's attempt to record their next alb.u.m. interview ill.u.s.trated (and-according to the band-perpetuated) a growing sense of discontent within Metallica, eventually resulting in Newsted's decision to quit after fourteen years of service. Sensing the possibility of losing an extremely lucrative artistic ent.i.ty, Metallica's management team (an organization called Q-Prime) put Metallica in touch with Towle, a man who'd previously worked with the St. Louis Rams during their 2000 Super Bowl run and had unsuccessfully tried to save another of Q-Prime's clients (the political rap-metal group Rage Against the Machine). Formerly a gang counselor in Chicago, Towle now specializes in psychotherapeutic scenarios involving big money and ma.s.sive egos. The hope was that he would stop Metallica from imploding; coincidentally, those therapy sessions initiated just before Berlinger and Sinofsky started filming the band's attempt to record their next alb.u.m.

They ended up filming for 715 days.

It seems Berlinger and Sinofsky had sustained a relations.h.i.+p with Metallica ever since the 1996 HBO doc.u.mentary Paradise Lost, Paradise Lost, the chronicle of three teenage Metallica fans accused of ritualistically murdering children in West Memphis, Arkansas. Metallica had allowed the two directors to use the band's music in the chronicle of three teenage Metallica fans accused of ritualistically murdering children in West Memphis, Arkansas. Metallica had allowed the two directors to use the band's music in Paradise Lost Paradise Lost for free, and the two parties had kept in touch, casually discussing the possibility of one day working together on a larger project. for free, and the two parties had kept in touch, casually discussing the possibility of one day working together on a larger project.

However, in the period following Paradise Lost, Paradise Lost, Berlinger and Sinofsky's professional relations.h.i.+p began to fray. This is the second story. Berlinger and Sinofsky's professional relations.h.i.+p began to fray. This is the second story.

Berlinger (who looks like he could be George Lucas's kid brother) is a workaholic with a paradoxical personality: he's an egomaniac, but he's also obsessed with getting other people's approval. Though he had collaborated with Sinofsky for years (most notably on the critically adored doc.u.mentary Brother's Keeper Brother's Keeper), he began to question the value of their partners.h.i.+p. Essentially, he wanted to go solo. In 2000, Berlinger broke away from Sinofsky to direct Book of Shadows: Blair Witch 2, Book of Shadows: Blair Witch 2, the big-budget sequel to the big-budget sequel to The Blair Witch Project. The Blair Witch Project.

That decision more or less destroyed Berlinger's life. ”I presided over one of the biggest flops in cinema history,” says Berlinger. That's something of an exaggeration, but it's not far off-critics hated Blair Witch 2, Blair Witch 2, and it made very little money. Berlinger blames this on Artisan Entertainment for completely reediting and it made very little money. Berlinger blames this on Artisan Entertainment for completely reediting Blair Witch 2, Blair Witch 2, and his complaint doesn't sound wholly irrational; some of the enforced changes were drastic. For example, Berlinger had originally wanted to use the Frank Sinatra tune ”Witchcraft” as the score for the opening credits; Artisan changed it to ”Disposable Teens” by Marilyn Manson. and his complaint doesn't sound wholly irrational; some of the enforced changes were drastic. For example, Berlinger had originally wanted to use the Frank Sinatra tune ”Witchcraft” as the score for the opening credits; Artisan changed it to ”Disposable Teens” by Marilyn Manson.

Berlinger was devastated by the response to Blair Witch 2. Blair Witch 2. He became a recluse and melodramatically considered quitting film altogether. Meanwhile, Sinofsky feared his collaborative relations.h.i.+p with Berlinger was finished. ”We had serious problems that we never addressed,” says Sinofsky. ”We remained friends, but-when he went off to do He became a recluse and melodramatically considered quitting film altogether. Meanwhile, Sinofsky feared his collaborative relations.h.i.+p with Berlinger was finished. ”We had serious problems that we never addressed,” says Sinofsky. ”We remained friends, but-when he went off to do Blair Witch Blair Witch-I was envious. And I was fearful that he wouldn't come back.” However, he did come back. A depressed Berlinger longingly watched Paradise Lost Paradise Lost in his living room one night, and-upon hearing the ominous strains of the Metallica song ”Sanitarium”-he suddenly remembered the forgotten idea of making a rock movie. He contacted Sinofsky, and they contacted Metallica. Now, the original plan for this project was strange: they were going to film the band in the studio and make a series of infomercials (yes, in his living room one night, and-upon hearing the ominous strains of the Metallica song ”Sanitarium”-he suddenly remembered the forgotten idea of making a rock movie. He contacted Sinofsky, and they contacted Metallica. Now, the original plan for this project was strange: they were going to film the band in the studio and make a series of infomercials (yes, infomercials infomercials). These infomercials would be broadcast in thirty-minute increments on late-night television, and the idea was that people would see these infomercials and order Metallica's next alb.u.m. It was going to be this innovative, crazy way to sell records.

But then things got crazier.

When production on this unnamed ”Metallica infomercial project” began in 2001, the group was already mired in turmoil: Newsted had officially quit the band after only one session with Towle. Newsted still considers the idea of rock band therapy to be a little ridiculous. ”Something that's really important to note-and this isn't pointed at anyone-is something I knew long before I met James Hetfield or anyone else,” Newsted said in an interview from his ranch in western Montana. ”Certain people are made to be opened up and exposed. Certain people are not meant to be opened up and exposed. I'll leave it at that.”

For the first thirty minutes of Some Kind of Monster Some Kind of Monster (roughly three months in real time), you see a band that doesn't necessarily like each other, struggling with a record no one seems enthused about creating; it's sort of the metal version of the Beatles' (roughly three months in real time), you see a band that doesn't necessarily like each other, struggling with a record no one seems enthused about creating; it's sort of the metal version of the Beatles' Let It Be. Let It Be. But then-suddenly and without much explanation-Hetfield disappears into rehab. Ulrich and Hammett have nothing to do in the interim, except talk to their therapist. This is the point where But then-suddenly and without much explanation-Hetfield disappears into rehab. Ulrich and Hammett have nothing to do in the interim, except talk to their therapist. This is the point where Some Kind of Monster Some Kind of Monster starts to change; what it becomes is not a glorification of rock 'n' roll, but an ill.u.s.tration of how rock 'n' roll manufactures a reality that's almost guaranteed to make people incomplete. Metallica's ma.s.sive success-and the means through which they achieved it-meant they never had to intellectually mature past the age of nineteen. starts to change; what it becomes is not a glorification of rock 'n' roll, but an ill.u.s.tration of how rock 'n' roll manufactures a reality that's almost guaranteed to make people incomplete. Metallica's ma.s.sive success-and the means through which they achieved it-meant they never had to intellectually mature past the age of nineteen.

”I think most people in rock bands have arrested development,” Hammett says now. ”Society doesn't demand people in rock bands to do certain things. You're able to start drinking whenever you want, and you can play shows drunk, and you can get offstage and continue to be drunk, and people love it. They toast their gla.s.ses to an artist who's drunk and breaking things and screaming and wrestling in the middle of a restaurant. Things like that happened to us, and people cheered. I remember reading [the Led Zeppelin biography] Hammer of the G.o.ds, Hammer of the G.o.ds, and I thought, and I thought, I wanna be like that all the time. I wanna be like that all the time. What I didn't realize is that the stories in that book took place over an entire career. What I didn't realize is that the stories in that book took place over an entire career.2 We were trying to act like that every single night.” We were trying to act like that every single night.”

To some, that might sound like a cliche sentiment for a millionaire musician to express; it almost blames society for making guitar heroes wasted and lawless. But this kind of self-discovery is part of what makes Some Kind of Monster Some Kind of Monster a strikingly modern film: by fusing the accelerated culture of therapy with the accelerated culture of celebrity, it ill.u.s.trates why the people inside those two realms can't keep up. a strikingly modern film: by fusing the accelerated culture of therapy with the accelerated culture of celebrity, it ill.u.s.trates why the people inside those two realms can't keep up.

”Metallica's evolution as people was aborted by their surreal existence,” says Towle. ”Kirk Hammett once told me that coming off tour was like experiencing post-traumatic stress syndrome; he said it was like leaving a war and reentering real life. When I asked him why he felt that way, he said, 'Because now I have to empty the trash.' The profundity in that statement is in its simplicity: rock stars are infantilized by people who do everything for them. We insulate them from a reality that would actually be good for them.”

This unreality does not only apply to drinking and garbage removal, either. That becomes especially clear when Hetfield returns to the band from rehab as a completely changed man (he even begins wearing eyegla.s.ses, for some reason). Slowly, the deeper issue of Some Kind of Monster Some Kind of Monster emerges: Hetfield and Ulrich have spent their entire adulthood intertwined, but they've never been close. For the past twenty years, they've never needed to have a real relations.h.i.+p with each other, even though Hetfield was the best man in Ulrich's wedding. And that is what you mostly see over the last hour of this film: two middle-aged men fighting through their neuroses and confusion, earnestly talking about emerges: Hetfield and Ulrich have spent their entire adulthood intertwined, but they've never been close. For the past twenty years, they've never needed to have a real relations.h.i.+p with each other, even though Hetfield was the best man in Ulrich's wedding. And that is what you mostly see over the last hour of this film: two middle-aged men fighting through their neuroses and confusion, earnestly talking about intimacy intimacy and and emotional betrayal emotional betrayal and and how they feel about each other. how they feel about each other.

It is important to remember that these are the same two men who cowrote a song called ”Seek and Destroy.”

Why Metallica allowed Berlinger and Sinofsky to film this process remains baffling. ”Lars felt the therapy sessions were actually enabled by the presence of the cameras,” says Berlinger. ”He felt the cameras forced them to be honest.” There's certainly no question about how much the band believes in this film: when Elektra Records grew concerned over the project's escalating cost, the label considered turning it into a reality TV show (this was back in 2002, when MTV's The Osbournes The Osbournes was the hottest commodity on television). By that point, both the filmmakers and the group saw this solely as a theatrical release. They wanted complete control, so they bought the rights. Which means Metallica wrote Elektra a check ... for $4.3 million. was the hottest commodity on television). By that point, both the filmmakers and the group saw this solely as a theatrical release. They wanted complete control, so they bought the rights. Which means Metallica wrote Elektra a check ... for $4.3 million.

That, obviously, is a lot of money. But Metallica has more money than G.o.d. That's another strangely personal insight in Some Kind of Monster Some Kind of Monster-you get to see just how mind-blowingly rich these guys actually are. And particularly for Metallica, wealth is not something they necessarily want to brag about; remember, this is a band who sued its own fans sued its own fans just two years ago. The core Metallica disciples tend to be alienated, working-cla.s.s males; one wonders how these people will react to an extended sequence in just two years ago. The core Metallica disciples tend to be alienated, working-cla.s.s males; one wonders how these people will react to an extended sequence in Some Kind of Monster Some Kind of Monster where Ulrich-the most self-consciously urbane member of the group-sips champagne and sells his collection of Jean-Michel Basquiat's artwork at a Christie's auction for $12 million. Hetfield and Hammett would have both preferred to see the auction scene removed from the film (Hetfield described the footage as ”downright embarra.s.sing”), but Ulrich wanted it in the movie. He feels it is an essential aspect of his personality. And as he explains his position, you can hear two years of therapy dripping off his voice. He has no problem talking about where Ulrich-the most self-consciously urbane member of the group-sips champagne and sells his collection of Jean-Michel Basquiat's artwork at a Christie's auction for $12 million. Hetfield and Hammett would have both preferred to see the auction scene removed from the film (Hetfield described the footage as ”downright embarra.s.sing”), but Ulrich wanted it in the movie. He feels it is an essential aspect of his personality. And as he explains his position, you can hear two years of therapy dripping off his voice. He has no problem talking about anything, anything, even if it's ”downright embarra.s.sing.” I suddenly find myself wis.h.i.+ng that every rock star I interviewed had spent twenty-four months in psychotherapy. even if it's ”downright embarra.s.sing.” I suddenly find myself wis.h.i.+ng that every rock star I interviewed had spent twenty-four months in psychotherapy.

”Art is my pa.s.sion,” says Ulrich. ”It just so happens that art operates in those kind of high financial neighborhoods. If people find that distasteful or obnoxious, I can't control that. It's part of who I am. If you're going to paint a portrait of the people in Metallica, that has to play a role, because that is who I am. And if people want to focus on the financial elements of art instead of the creative elements of art, I can't control that, either.”

”I hate to think about this film as just being pro-therapy or anti-therapy,” Berlinger says when asked about the philosophical message of Some Kind of Monster. Some Kind of Monster. ”To me, it's more about how it's okay to admit you have issues.” ”To me, it's more about how it's okay to admit you have issues.”

Well, maybe so. But it's impossible to watch this doc.u.mentary without drawing certain conclusions about the process it explores. On one hand, everyone I interviewed for this story co

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