Dave Grohl Makes His Directorial Debut with Sound City at Sundance

The musician discusses the shift from analog to digital recording in music industry
8:57 | 01/31/13

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Transcript for Dave Grohl Makes His Directorial Debut with Sound City at Sundance
Enough. -- -- -- Loses. -- necessity beloved or hated it looks kind of -- Shag carpet on the -- that's the kind of thing that we do cheers -- hello everybody I am Peter Travers welcome to the special Sundance addition the popcorn we're here. At the Washington school -- to tell with cookies. And we're gonna talk about a movement you can happen that can happen but you can't you didn't even though I haven't introduced you rude. You must must be good but once -- Yes and everybody's talking about the -- sound city by some guy that. That's -- kind of music but now he's film director and he's right here so I ask everybody to say who they are and what they're doing -- -- who are you. My name's Dave girl I'm musician a plan have been called to fighters and -- made a movie called sound city. About a recording studio and the San Fernando Valley that closed last year. About that's -- that's a little deeper than that so deeper but -- deeper it's not just. And city isn't just any little thing at the corner and I and I let out. You open the movie with showing this. The beginning and what a dump this -- -- that somebody I forget who said that this that you can go -- in the corner nobody you're different and Rupert BC. -- that with the what is one of the first questions I -- every person that I interviewed him in view. The Fleetwood Mac and Tom Petty in. These legends and the first question I was -- what was your first impression when he walked in the sense that -- And it almost everyone said it was. All there was that -- Except for Mick Fleetwood because of their 73 when it was stated the art -- -- -- right yes you bet. Yeah I mean you know. It to talk to these people about. Music. You know what I when I decided to make the film it wasn't really just a retrospective documentary about the history and studio one I wanted to -- Get into the human element of music and what it is -- and people get together. In a room and make music whether it's people getting together and be creative Weathers the family that owns a studio the runners and the work there. You listen to music comes through your speakers and don't usually take those things in the consideration. -- But there's so much more depth to music and others there's people's lives behind music and studios people don't consider. You'll mixing console because who would really mean it's it's now because he can't -- -- but those things in the room those. Those things are just as it should now as any song running through them so if it weren't for of that board. I don't know what Nirvana nevermind would have sounded like -- -- might not be here Tuesday so -- in the studio closed and they. They were selling the board and they decided to sell it to me. It was like one of the most important. Moments of my life them reunited. With this piece of equipment that I believe is responsible for -- for me being the person and I am now. What you've done in this I think what makes it so remarkable is it that. You need the human qualities there. The family -- in that studio it's somehow digs its DNA into this. Music that year old making that you're playing together -- you came to Sundance with your movie but -- and Foo Fighters also play. It was thirtieth yet the gig is sort of an extension you know that did everything sort of happen in steps. The idea. Making the film started out this day and it grew into something bigger. And because I was talking abouts. The director is -- certain things that I talked about specifically feel. Composition and performance. What it's like to communicate musically -- someone it's one thing to talk about it. But then at the end of the film you know we have these performances were at that -- -- we should demonstrate what we're talking about so people can see. You know you've got Stevie Nicks and her emotional connection to sound cities she was a kid there. And that's where she met Mick Fleetwood and -- comic -- Rick Springfield and his love of music and we try to demonstrate composition. And arrangement and then. Jim color -- like a -- He's he's like he's the king of -- he is -- human. Like living breathing. Revenge now and prohibit. -- to describe deal. You know and then my personal connection to the studio when I get there are on and Paul McCartney coming and he's. The reason why I am a musician and if it weren't for The Beatles I don't think I would have picked up a guitar. So all of these things to demonstrate. Them. In the film to make a point of you know what we were saying earlier attempt to take to this stage. So that we've taken the studio. And we turned into a movie. And now we'll take on the road. -- an album look at and there's a record -- everything. You've done at all in this is your citizen K you've started. This is it. Take responsibility. On yourself believe me you know it's it is for I am not -- do not give me whiskey and starts -- about the responsibilities musician. I will. And not -- -- I have I every Borough they had my good friends about their responsibility as an artist for years. Because -- it's one thing you know. I've been asked recently. I've said that I think this is -- them the most important thing I've ever done is an artist. And I honestly believe that Hubert will -- -- -- -- room apartment units sold a billion records. And who cares how many records -- -- the idea of trying to inspire people to do the same thing to me is so much bigger than that. Because as a musician like you make music and write songs kind of in this selfish way. You know you write music because you want to be. You wanna be a great artists -- you want to hear great musician not because you want everyone else to be positions -- to me it's. Like it. But this small cast and crew of this movie. In some way -- we we look at ourselves as missionaries. There were really trying to spread a message. Seven something real and something important the human element of music and to inspires kids. This next generation might go to the arts by guitar and started -- -- get the garage and and and then because it's been well. That's what happens happens. It can happen is the dream -- that the work it you shelled the work that goes into doing that but. To go back to what you were saying about interviewing these people use -- after another -- coming in you're talking now. Rick Springfield has it tremendously moving section yes movie about what's happening again. But I want to talk about new specific. You know consistent -- -- because. People will look at sound -- today Dave Grohl is he looked at digital as basically dart Vader is this. Is this evil monster entity of human being and Neil Young says something to you but I'd like to talk a little bit about -- you -- -- Young to do this which is not easy. What you know now he's getting them -- Yeah if it. Deals a great example. Someone. Who. Who is married. These two worlds analog and digital. He's obviously his -- -- so he represents what he represents to me is there is a real. Musical purity or truth that -- if he doesn't get it in the second -- that he's. On the street co owner didn't. Deceptive. And -- -- you know that.

This transcript has been automatically generated and may not be 100% accurate.

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