In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.

An intimate portrait of the Turner Prize-winning artist. As the boundary between reality and performance blurs, the shifting relationship between filmmaker and subject calls into question who is actually making the film.

This installment of the Classic Albums series looks at the making of Lou Reed's seminal glam-rock solo album, Transformer, featuring a relaxed Reed (though decidedly less glam than he was in '72) looking like he's having the time of his life as he reminisces and isolates separate tracks to illustrate how the album came together. Bassist Herbie Flowers demonstrates how he recorded the swingy, impossibly catchy bass riff in "Walk on the Wild Side," and coproducer David Bowie makes a brief appearance, as do many of Reed's contemporaries and fellow musicians. Many express delight that the tracks sound as fresh as they did when they were recorded, especially "Vicious" and "Perfect Day." DVD bonus interviews include a fascinating tale from Reed on how he first met Andy Warhol--while he and the Velvet Underground were playing in a seedy Village café, being attacked by drunken sailors offended by one of their songs. --Anne Hurley 　　Lou Reed with the help of Andy Warhol at the 'Factory', made The Velvet Underground a massively influential band. However it was Transformer, Lou Reed's second solo album, which took him from cult hero of The Velvet Underground to international superstar status. 　　The program takes a track-by-track look at the album, which was produced by David Bowie and Mick Ronson. In an exclusive interview in New York, Lou Reed talks of the making of the album and together with Ken Scott, the original engineer, takes us through the multi-track tapes of "Perfect Day" "Vicious", "Satellite Of Love" and "Walk On The Wild Side" amongst others. In London Herbie Flowers shows us how the bass line on "Walk On The Wild Side" was recorded, creating what is one of the most famous riffs in popular music. Dave Stewart of the Eurythmics talks of Lou Reed's influence on him as a songwriter and musician. The program is illustrated throughout with archive footage of Lou Reed in concert, The Velvet Underground, Andy Warhol and the 'Factory' and features exclusive new acoustic material from Lou. 　　This program provides a unique insight into the process behind the recording of Transformer, which perfectly captured the spirit of the early 1970's, and illustrates why today it is still considered a truly Classic Album.

This installment of the Classic Albums series looks at the making of Lou Reed's seminal glam-rock solo album, Transformer, featuring a relaxed Reed (though decidedly less glam than he was in '72) looking like he's having the time of his life as he reminisces and isolates separate tracks to illustrate how the album came together. Bassist Herbie Flowers demonstrates how he recorded the swingy, impossibly catchy bass riff in "Walk on the Wild Side," and coproducer David Bowie makes a brief appearance, as do many of Reed's contemporaries and fellow musicians. Many express delight that the tracks sound as fresh as they did when they were recorded, especially "Vicious" and "Perfect Day." DVD bonus interviews include a fascinating tale from Reed on how he first met Andy Warhol--while he and the Velvet Underground were playing in a seedy Village café, being attacked by drunken sailors offended by one of their songs. --Anne Hurley 　　Lou Reed with the help of Andy Warhol at the 'Factory', made The Velvet Underground a massively influential band. However it was Transformer, Lou Reed's second solo album, which took him from cult hero of The Velvet Underground to international superstar status. 　　The program takes a track-by-track look at the album, which was produced by David Bowie and Mick Ronson. In an exclusive interview in New York, Lou Reed talks of the making of the album and together with Ken Scott, the original engineer, takes us through the multi-track tapes of "Perfect Day" "Vicious", "Satellite Of Love" and "Walk On The Wild Side" amongst others. In London Herbie Flowers shows us how the bass line on "Walk On The Wild Side" was recorded, creating what is one of the most famous riffs in popular music. Dave Stewart of the Eurythmics talks of Lou Reed's influence on him as a songwriter and musician. The program is illustrated throughout with archive footage of Lou Reed in concert, The Velvet Underground, Andy Warhol and the 'Factory' and features exclusive new acoustic material from Lou. 　　This program provides a unique insight into the process behind the recording of Transformer, which perfectly captured the spirit of the early 1970's, and illustrates why today it is still considered a truly Classic Album.

In late 1992, the Velvet Underground 1965-1968 core line-up of Lou Reed, John Cale, Sterling Morrison and Maureen Tucker suddenly decided to reform. The decision was all the more unexpected because the relationship between Reed and Morrison had been sour ever since the late Sixties, only to ameliorate after back catalogue royalty renegotiations in the mid-Eighties, and the tumultuous relationship between Reed and Cale had hit a low after their 1990 collaboration Songs for Drella. 　　Nevertheless, an impromptu one-song reunion in Jouy-en-Josas, France, later that year for an Andy Warhol exhibition set the scene and by 1993, the band had started to rehearse for European and American tours. Lou Reed's then-current record company, Sire Records, agreed to release a live album from the European tour, and ambitious plans were made for both an MTV Unplugged appearance with accompanying album and a subsequent studio album. 　　Two key people did not participate in the reunion: sometime singer Nico, who had died in 1988; and latter-day bassist/keyboard player Doug Yule, whom Sterling Morrison would have liked to participate but who was vetoed out by Reed and Cale. Yule later stated that, although he would have liked being considered at least, he would have declined anyway because of family priorities. 　　The album was recorded during a three-night residence in the Parisian venue L'Olympia. John Cale later said, "During the second night we hit the home run", and it is of this night that most of the Live ⅯⅭⅯⅩⅭⅢ tracks were taken. The rest were taken from the third night. 　　Live ⅯⅭⅯⅩⅭⅢ mainly is a trawl through the back catalogue, with emphasis on the "regular", more structured songs. There are only two major improvisations ("Some Kinda Love" and "Hey Mr. Rain") and two new songs: "Velvet Nursery Rhyme", a short and lightweight reunion-theme song, and "Coyote", a Reed/Cale collaboration. Emphasis is on the band's first and third records and the "lost fourth album" (see VU and Another View), with only two songs from Loaded being included. 　　During the European tour, relationships quickly soured again and by the end of the tour all other plans were off, never to rematerialise. The band's latest breakup proved final when Sterling Morrison died in the summer of 1995. 　　Both the tour and the album met with mixed reviews. The public and the critics were split into two camps: those that did not want to spoil their vision of the image that the band had since the Sixties and those that wanted to see the legendary four back together on stage and see whether they could still be relevant. Reviews reflected the views of the two camps.

In late 1992, the Velvet Underground 1965-1968 core line-up of Lou Reed, John Cale, Sterling Morrison and Maureen Tucker suddenly decided to reform. The decision was all the more unexpected because the relationship between Reed and Morrison had been sour ever since the late Sixties, only to ameliorate after back catalogue royalty renegotiations in the mid-Eighties, and the tumultuous relationship between Reed and Cale had hit a low after their 1990 collaboration Songs for Drella. 　　Nevertheless, an impromptu one-song reunion in Jouy-en-Josas, France, later that year for an Andy Warhol exhibition set the scene and by 1993, the band had started to rehearse for European and American tours. Lou Reed's then-current record company, Sire Records, agreed to release a live album from the European tour, and ambitious plans were made for both an MTV Unplugged appearance with accompanying album and a subsequent studio album. 　　Two key people did not participate in the reunion: sometime singer Nico, who had died in 1988; and latter-day bassist/keyboard player Doug Yule, whom Sterling Morrison would have liked to participate but who was vetoed out by Reed and Cale. Yule later stated that, although he would have liked being considered at least, he would have declined anyway because of family priorities. 　　The album was recorded during a three-night residence in the Parisian venue L'Olympia. John Cale later said, "During the second night we hit the home run", and it is of this night that most of the Live ⅯⅭⅯⅩⅭⅢ tracks were taken. The rest were taken from the third night. 　　Live ⅯⅭⅯⅩⅭⅢ mainly is a trawl through the back catalogue, with emphasis on the "regular", more structured songs. There are only two major improvisations ("Some Kinda Love" and "Hey Mr. Rain") and two new songs: "Velvet Nursery Rhyme", a short and lightweight reunion-theme song, and "Coyote", a Reed/Cale collaboration. Emphasis is on the band's first and third records and the "lost fourth album" (see VU and Another View), with only two songs from Loaded being included. 　　During the European tour, relationships quickly soured again and by the end of the tour all other plans were off, never to rematerialise. The band's latest breakup proved final when Sterling Morrison died in the summer of 1995. 　　Both the tour and the album met with mixed reviews. The public and the critics were split into two camps: those that did not want to spoil their vision of the image that the band had since the Sixties and those that wanted to see the legendary four back together on stage and see whether they could still be relevant. Reviews reflected the views of the two camps.

The film follows two childhood best friends, Maya and Anjali, who join their college’s competitive Bollywood dance team only to discover that the road to winning the national championship is far more raucous and cutthroat than they ever imagined.

Part true story, part fiction, King of the Underground is a dark comedy about a frustrated rap artist who goes on an all out murderous killing spree after years of being rejected by the music industry.

Part true story, part fiction, King of the Underground is a dark comedy about a frustrated rap artist who goes on an all out murderous killing spree after years of being rejected by the music industry.

In an underground fight club, blackbelt Travis Brickley is killed after losing to the evil martial arts master Brakus. Travis' death is witnessed by Walter Grady, the son of his best friend Alex Grady. Alex and his partner, Tommy Lee, vow to avenge their friend's death by defeating Brakus and shutting down the fight club.