Q. Do you think it changed your performance?
Oh totally. You can’t really shoot a documentary film unless the subject doesn’t realise he’s being filmed. As soon as the person knows he’s being filmed, he’s altering his behaviour for the documentary.

Q. I was noticing some pretty cool moments between you and Keith. Keith would come forward and seemed to be having some kind of fun or joking with the song and you gave him a really hard look and he backed off. Then later, you very sweetly tugged him back in and had him singing the chorus again with you.
That’s in Far Away Eyes. I think the thing about this film is that you do see much more of what’s happening than on a very large stage and you are much closer to people and can see a lot more interaction. We had to do a few numbers that we didn’t know very well. You have to have a lot of eye contact with people when you’re doing a song where any one of you might screw up so you gotta try and stay together on those songs.

Q. I was reading yesterday a 1972 interview where you mentioned that you thought the best songs were the ones you and Keith had written together and you specifically mentioned Satisfaction. Usually when you deal with something for the mainstream audience a lot of people feel like the art gets watered down. But it seems to me you guys set what the mainstream was.
When you’re starting out, you don’t even know what the mainstream is really. I think most people starting out strike out in their own direction. The thing about the Rolling Stones is that they go out in all kinds of directions. The Rolling Stones is a really eclectic kind of band.

... contd.