Stop Making Sense

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For the soundtrack, see Stop Making Sense (album).
Stop Making Sense
Stop making sense poster original.jpg
Theatrical release poster
Directed by Jonathan Demme
Produced by Gary Goetzman
Written by Talking Heads
Jonathan Demme
  • Talking Heads
Music by Talking Heads
Cinematography Jordan Cronenweth
Edited by Lisa Day
Distributed by Cinecom
Palm Pictures
Release dates
  • April 24, 1984 (1984-04-24)
Running time
88 minutes
Country United States
Language English
Budget $1,200,000 US

Stop Making Sense is a 1984 concert movie featuring a live performance by Talking Heads. Directed by Jonathan Demme, it was shot over the course of three nights at Hollywood's Pantages Theater in December 1983, as the group was touring to promote their new album Speaking in Tongues. The movie is notable for being the first made entirely using digital audio techniques. The band raised the budget of $1.2 million themselves. The title comes from the lyrics of the song "Girlfriend Is Better": "As we get older and stop making sense...". The film has been hailed by Leonard Maltin as "one of the greatest rock movies ever made",[1] and Pauline Kael of The New Yorker described it as "...close to perfection."

The movie[edit]

The movie begins with the opening credits, using a style similar to Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (the movie trailer also makes references to Dr. Strangelove). Title designer Pablo Ferro was responsible for both title sequences.

Lead singer David Byrne walks on to a bare stage (seen from the feet only initially) with a portable cassette tape player and an acoustic guitar. He introduces "Psycho Killer" by saying he wants to play a cassette tape, ostensibly from the boom box. In reality, the tick-tock drum machine was a Roland TR-808 played from the mixing board. During the song, the drum machine "fires" machine gun riffs that causes Byrne to stagger "like Jean-Paul Belmondo in the final minutes of 'Breathless,' a hero succumbing, surprised, to violence that he'd thought he was prepared for."[2]

With each successive song, Byrne is cumulatively joined onstage by each core member of the band: first by Tina Weymouth for "Heaven" (with Lynn Mabry, originally of The Brides of Funkenstein and Parliament-Funkadelic, providing harmony vocals from backstage), second by Chris Frantz for "Thank You for Sending Me an Angel", and third by Jerry Harrison for "Found a Job". Performance equipment is gradually wheeled out and wired up to the bare stage between and throughout the performances, as Talking Heads continue to be augmented by several additional musicians, most of whom had extensive experience in funk: back-up singers Lynn Mabry and Ednah Holt, keyboardist Bernie Worrell (formerly of Parliament-Funkadelic), percussionist Steve Scales, and guitarist Alex Weir (of The Brothers Johnson). The first song to feature the entire lineup is "Burning Down the House", although the original 1985 RCA/Columbia Home Video release (which featured three additional songs in two performances edited into the film) has the entire band (minus Worrell) performing "Cities" before this song. Byrne also leaves the stage at one point, to allow the Weymouth–Frantz-led side-band the Tom Tom Club to perform their song "Genius of Love" (The 1999 re-release of the film featured alternate 'rap' lines by Chris Frantz to remove the cocaine reference, "snow white", featured in the original release).

The movie is also notable for Byrne's "big suit", a normal business suit that gradually increases in size as the concert progresses, until by the song "Girlfriend Is Better" (featuring lyrics from which the film takes its title) it is absurdly large. The suit was partly inspired by Noh theatre styles, and became an icon not only of the film – as it appears on the DVD cover, for instance – but of Byrne himself. Byrne said: "I was in Japan in between tours and I was checking out traditional Japanese theater — Kabuki, Noh, Bunraku — and I was wondering what to wear on our upcoming tour. A fashion designer friend (Jurgen Lehl) said in his typically droll manner, ‘Well David, everything is bigger on stage.’ He was referring to gestures and all that, but I applied the idea to a businessman’s suit."[3] Pauline Kael stated in her review: "When he comes on wearing a boxlike 'big suit' — his body lost inside this form that sticks out around him like the costumes in Noh plays, or like Beuys' large suit of felt that hangs of a wall — it's a perfect psychological fit."[4] On the DVD, in one of several interviews between two Byrne-portrayed characters, he gives his reasoning behind the suit. “I wanted my head to appear smaller and the easiest way to do that was to make my body bigger, because music is very physical and often the body understands it before the head.”


Shooting of Stop Making Sense spanned three live shows at the Pantages Theater in Los Angeles. Demme has stated that one night of shooting was dedicated almost entirely to wide shots from a distance, to minimize the intrusion of cameras on stage. Demme had considered additional shooting on a soundstage made to recreate the Pantages Theater, but the band declined to do this, as they thought the lack of audience response would have hindered the energy of their performance.

This shooting practice has led to a number of interesting continuity errors, including Tina Weymouth's bass changing from a teal Veillette-Citron bass to a brown Höfner bass between shots, and a beach ball thrown toward stage that is never seen landing in the following shot. Others include minor instances of mismatched image and audio (notably, on "Found A Job," a cymbal is heard even though Chris Frantz is not seen hitting one; a few bars later, he hits a cymbal, but no cymbal is heard).


The movie is notably different from many other rock and roll concert movies:

  • It contains very few audience shots (and applause sounds are much less audible than usual) until the very end, during the performance of "Crosseyed and Painless." According to David Byrne's comments on the DVD commentary, this is intended to enable the viewers to form their own opinions about the performance, which Byrne hoped would be confirmed by the end sequence. The only other time the audience appears on film is during wide shots and when the camera is at the back of the stage. (The same technique was used by Martin Scorsese in his The Last Waltz (1978) and again in Shine a Light (2008).)
  • Byrne wanted no colored lights to illuminate the performers. This led to some unusual lighting methods being used for each song. For example, in the performance of "This Must Be The Place (Naive Melody)", the musicians perform by a standard lamp.
  • Byrne wanted as few distractions as possible onstage. Water bottles were not allowed, and most props were painted with a black matte to avoid reflecting light. An example of this is the Shure SM58 microphones used by Byrne and the other vocalists; the normally silver ball grilles have been replaced with matte black ones. Similarly, the labelling on the Prophet 5 and Emulator synthesizers was removed or obscured.
  • Unlike many concert films and videos which use "MTV-style" quick-cut editing techniques, much of Stop Making Sense consists of lengthy camera shots to allow the viewer to examine the performances and onstage interaction. There are no close-ups of musicians performing guitar solos. Instead, full-figure or upper-body shots are used. The performance of "Once in a Lifetime" memorably consists of a single chiaroscuro shot of Byrne performing his famous moves for the song for just over 75% of the duration.
  • The movie at times breaks the fourth wall. For example, during "Girlfriend is Better," Byrne first points the microphone at one of the stage crew to sing along, and then he points the microphone directly at the camera, as if urging the audience watching the movie to sing along as well.
  • During many songs, especially early on, no attempt is made to hide or de-emphasize stage crew manipulating set pieces, bringing them on or off and setting them up, and at the end of the film Byrne invites the stage crew out to thank them to audience applause.


All songs in the film are written by David Byrne, Chris Frantz, Jerry Harrison, Tina Weymouth, except where noted:

  1. "Psycho Killer" (Byrne, Frantz, Weymouth)
  2. "Heaven" (Byrne, Harrison)
  3. "Thank You for Sending Me an Angel" (Byrne)
  4. "Found a Job" (Byrne)
  5. "Slippery People"
  6. "Burning Down the House"
  7. "Life During Wartime"
  8. "Making Flippy Floppy"
  9. "Swamp"
  10. "What a Day That Was" (Byrne)
  11. "This Must Be the Place (Naive Melody)"
  12. "Once in a Lifetime" (Byrne, Brian Eno, Frantz, Harrison, Weymouth)
  13. "Genius of Love" (as Tom Tom Club) (Weymouth, Frantz, Adrian Belew, Steven Stanley)
  14. "Girlfriend Is Better"
  15. "Take Me to the River" (Al Green, Mabon "Teenie" Hodges)
  16. "Crosseyed and Painless" (Byrne, Eno, Frantz, Harrison, Weymouth)

With bonus songs, available on DVD (as bonus features) and on the original VHS (edited into the sequence):

  1. "Cities" (Byrne)
  2. "Big Business" (Byrne, John Chernoff)/"I Zimbra" (Byrne, Eno, Hugo Ball)

Reviews and home video release[edit]

Stop Making Sense was very well received by critics, maintaining a 97% "fresh" score at Rotten Tomatoes.[5] It won the National Society of Film Critics Award for best documentary in 1984.

This concert film is widely regarded as one of the finest examples of the genre. Leonard Maltin rated the film four stars out of four, describing it as "brilliantly conceived, shot, edited and performed" and "one of the greatest rock movies ever made."[1] Roger Ebert gave the film a three-and-a-half star rating, writing that "the overwelming [sic] impression throughout Stop Making Sense is of enormous energy, of life being lived at a joyous high...It's a live show with elements of Metropolis...But the film's peak moments come through Byrne's simple physical presence. He jogs in place with his sidemen; he runs around the stage; he seems so happy to be alive and making music...He serves as a reminder of how sour and weary and strung-out many rock bands have become."[6] Danny Peary described Stop Making Sense as "Riveting...What takes place on stage will make even the most skeptical into Talking Heads converts...[The] performances are invariably exciting, Byrne's lyrics are intriguing. Byrne, his head moving rhythmically as if he had just had shock treatments, is spellbinding - what a talent!...Byrne is known for his belief that music should be performed in an interesting, visual manner, and this should make him proud."[7]

The movie version of "Once in a Lifetime" was released as a single and also appeared on the opening credits to the 1986 movie Down and Out in Beverly Hills. Also, in Europe, "Slippery People" became a big single, appearing on a single-disc greatest hits album released in 1991. Occasionally, radio stations will play the film's version of "Life During Wartime".

When the film was first released on home video, the songs "I Zimbra", "Big Business", and "Cities" were restored to the performance, thus forming what was dubbed as the "special edition" of the film. In the 1999 re-release, these songs were not part of the programme. Subsequent video and DVD releases have placed these after the film in an unrestored full-frame version.

The film is currently available on Blu-ray, widescreen DVD, and VHS in both fullscreen and widescreen versions.



  1. ^ a b Leonard Maltin, Leonard Maltin’s 2009 Movie Guide (Plume, 2008) p.1321
  2. ^ Stephanie Zacharek (1999-09-16). " Stop Making Sense review". 
  3. ^ Locker, Melissa (July 15, 2014). "David Byrne and Jonathan Demme on The Making of Stop Making Sense". Time. 
  4. ^ Kael, Pauline (November 26, 1984). "Three Cheers". The New Yorker. 
  5. ^ "Stop Making Sense". Rotten Tomatoes. Retrieved 2011-12-06. 
  6. ^ Roger Ebert (January 1, 1984), Review: Stop Making Sense, Chicago Sun-Times, retrieved 2009-12-07 
  7. ^ Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) pp.406

External links[edit]