Some moments come only once in a lifetime. But the 40th anniversary rerelease of the Talking Heads’ iconic 1984 concert film “Stop Making Sense ” allows new and old fans to enjoy the cult classic once again. “Stop Making Sense” celebrates creativity, self expression, and coming together through music that can speak to fans at any age or stage of life. 

The film was originally shot in 1983 at the Pantages Theater in Hollywood, California over the course of four days by director Jonathan Demme.  Production company A24 acquired the film’s worldwide distribution rights in March of 2023. The re release premiered on Sept. 11 at the Toronto International Film Festival, followed by a Q&A with the band’s main members: David Byrne, Tina Weymouth, Chris Frantz, and Jerry Harrison. This was the first time the famous band — that had an infamous breakup — reunited since their 2002 induction into the Rock & Roll Hall of Fame. 

Talking Heads has been one of the most influential bands in alternative music, with countless bands like LCD Soundsystem and Radiohead citing them as an influence. Byrne, Weymouth and Frantz met when they were freshmen at Rhode Island School of Design. After moving to New York City, Harrison joined the band, and by 1975 they officially became the Talking Heads. They played at the long-closed but still iconic venue CBGB in Bowery and were prevalent in the punk and new-wave scenes that thrived there. 

Many theaters across the country are showing “Stop Making Sense,” but New York City viewers may feel an extra special connection to the film and the band as they watch in the city where the band came together and cultivated their sound. 

Videos of showings where moviegoers got up out of their seats to dance began going viral. But at a showing in the middle of the week at Village East by Angelika, the crowd acted a little more subdued. It was clear there were some die-hard fans in the audience. Some clapped after their favorite songs had concluded, and a few guys sitting towards the back of the theater muttered to each other as they picked up on subtle differences in the restored sound. The re-release gives both new and old fans the chance to experience the big sound and big personalities that make “Stop Making Sense” a must-see in theaters. 

The film opens with Byrne, arguably the most recognizable band member and one of music’s most beloved weirdos. He walks onstage with a boombox and acoustic guitar and says he’s got a tape he’d like to play before launching into a performance of one of the band’s most well known songs “Psycho Killer.” 

His eyes are wide; his presence is disarming. He bobs his head in a way that is not dissimilar to a bird pecking. There’s a rigidity in the movement of his long limbs that becomes even more exaggerated when he dons his signature oversized suit for “Girlfriend is Better.” He runs laps around his bandmates during “Life During Wartime” and dips and dances with a floor lamp during “This Must Be The Place (Naive Melody).” His stern expression conveys an intense and serious concentration on performing, even when his dance moves are objectively silly. He’s experimental and meticulous. His dedication and earnestness are undeniable and admirable.

“I’m impressed with the film and impressed with our performance. But I’m also having this really jarring experience of thinking, ‘He’s so serious. He’s very intent. He kind of loosens up towards the end, but in the beginning, he’s really focused,’” Byrne said of watching his younger self on stage in a recent NPR interview. 

The way the band uses the stage makes “Stop Making Sense” perfectly suited for the big screen. Drum sets and synths are wheeled on, giving the impression that the band is coming together or being built over the course of the concert. The band’s original members — Byrne on guitar and lead vocals, Weymouth on bass, Frantz on drums, and Harrison on keyboard and guitar — are joined by Alex Weir on guitar, Bernie Worrell on keyboard, Steve Scales on percussion, and Lynn Mabry and Ednah Holt on backup vocals. The film is full of wide shots that show the band in its entirety. It’s mesmerizing to watch how in sync they are, rhythmically and emotionally. They flash smiles at the camera and each other. You can tell they’re having a good time.

In addition to some of the Talking Heads’ biggest hits, the film also includes a performance from Weymouth and Frantz’s husband-and-wife side project, Tom Tom Club. “Girls can do it too y’all,” Frantz calls out as they begin to play “Genius of Love.” Weymouth, the renowned female bass player, gets a chance to showcase her talents as a frontwoman. At that time especially, women in rock were still few and far between and often not taken seriously. 

“I was a lot cuter [back then],” Weymouth said in the interview with NPR. “George Bernard Shaw said it probably takes about 300 years for a human being to become emotionally mature, so I’m still working on that,” she said. It’s refreshing to hear a rock star of Weymouth’s caliber say that they still have so much more room to grow.  

As the band reflects on their earlier work, they have the capacity to inspire young creatives to keep going. Many of their songs featured in “Stop Making Sense” feature plenty of lyrics that speak to current college students, who were born years after the band’s formation and breakup. “Once in a Lifetime” is a song that encapsulates imposter syndrome. “This Must Be the Place (Naive Melody)” is full of lines like “Make it up as we go along” and “I got plenty of time,” providing a level of comfort in the face of uncertainty. People may resonate with specific aspects of “Stop Making Sense” and Talking Heads music because of who they are and where they are in life. But the rerelease proves  there is something there for everyone. That’s the point of great music and movies. You can listen and watch again and again and still find something new. 

“Stop Making Sense” is playing in select theaters.