When it came time to document his historic "The Last Play at Shea" concerts in 2008, Billy Joel was thinking about "Jaws."

Tune in to the "New York Nightly News" with Chuck Scarborough this Wednesday night as the legendary Billy Joel stops by the studio to discuss the upcoming premiere of the concert movie documenting his historic final performance at Shea Stadium.

After the interview, pick up your phone and call in to test your "Piano Man" knowledge with an interactive trivia game and win tickets to see the premiere of Billy Joel's "The Last Play at Shea."

Twenty-five winners will score tickets for themselves and nine guests at the historic premiere of the movie at Citi Field. After the in-depth interview, a total of 250 tickets will be given away to the premiere, which will be screened at Citi Field on Saturday, August 21st, 2010.

Viewers can enter to win 10 tickets by playing a MegaPhone Billy Joel trivia game this Wednesday night, August 18th, 2010, at 7:00pm (find New York Nonstop on your cable system.) A phone number will be displayed on the screen and viewers can call in to enter the game. When questions appear on the screen, viewers should push the number of the corresponding answer on their phones. The quicker the response, the more points are earned.

The 25 people who demonstrate the best Billy Joel knowledge in the trivia game will each win 10 tickets.

The movie debuted last spring at the Tribeca Film Festival and The New York Observer described it as "part music documentary, part concert film, and part sports documentary...the film is a beautiful love letter to the musician that brought us 'Piano Man' and the building that Mets fans affectionately call 'a dump.'"

Alec Baldwin is to interview his fellow Long Island, NY, native Billy Joel during a program at the Hamptons International Film Festival, organizers said.

The actor and the rocker are to conclude the festival's "SummerDocs" series with a screening of Billy Joel's "The Last Play at Shea" September 4th, 2010, followed by a question/answer session at Guild Hall in East Hampton.

Since documentaries don't usually debut in baseball stadiums, no one is exactly sure what will happen when Billy Joel's "The Last Play at Shea" premieres at Citi Field on Saturday night. Not even Billy Joel.

Hot dogs were eaten, beers were downed and fans filled the seats behind home plate, but Citi Field last night looked more like a movie theater than a baseball stadium when it hosted the official premiere of the documentary "Last Play at Shea."

"It is a little odd," said Noreen LoStrappo, 47, sitting with friends at a table that offered a good view of the Jumbotrons that would show the film above an empty ballfield. "But it's a nice night, and we thought it would be fun."

About 30,000 people attended last night's unusual screening of the film, which tells the history of Shea Stadium, the Mets, and their impact on New York City. Produced in part by Billy Joel , the movie features music and footage from his concerts in July 2008, the last the venue ever saw.

Demolition of Shea Stadium wrapped up in February 2009, and its replacement, Citi Field, opened soon after.

Though Billy Joel was in attendance last night, clips of him speaking at a news conference earlier that day served as his introduction to the film.

"This is one of those amazing events," he said. "My life just keeps getting more amazing."

The documentary, which began around 8:30pm, seemed well-suited to the venue. Fans stood during footage of Billy Joel's rendition of the national anthem and cheered for on-screen Mets figures like Mike Piazza, Keith Hernandez and Ron Darling. Mentions of the Mets' early record of failures, and of their notoriously run-down venue, drew affectionate laughter.

Shea Stadium's part in musical history, as the site of The Beatles' galvanizing 1965 concert, also figured in the film. For the British, "Shea Stadium was never this baseball legend at all," Sting said. "It was where The Beatles played."

Many of the loudest cheers came during the film's moments of local boosterism, as when Billy Joel recalled his childhood in the Levittown-Hicksville area and sang his hit "New York State of Mind" accompanied by Queens native Tony Bennett.

The film scored an emotional home run when it briefly touched on New York's dark and economically depressed 1970s, a decade when Billy Joel was busy taking the Los Angeles-based music industry by storm. After reading enough headlines, Billy Joel recalled, "If the city's going down the tubes, I'm going with it. I'm moving back."

Last night, I attended what may have been the largest movie premiere in history, a showing at Citi Field, of "The Last Play at Shea" (produced by Steve Cohen and Nigel Sinclair, in conjunction with Billy Joel's Maritime Pictures and Spitfire Films, directed by Paul Crowder). As I wrote after I saw the film at the Tribeca Film Festival in April 2010, this is a wonderful film. It brings together the stories of Billy Joel, The Beatles, New York, Shea Stadium, and the Mets, combining them into a perfectly-paced narrative with tremendous emotional power. It is inspired myth-making. And unlike a lot of myth-making, it is convincing. In the stories of Joel, McCartney, Shea Stadium, the Mets, Pete Flynn, and the people of New York, the filmmakers find a pattern. It's not as if all these things are connected. But they are alike. They illustrate the narrative of New York that cannot be told by the Yankees or Wall Street. This is the narrative of the downtrodden, the dumpy, and the unlikely. This is about the magic of the unanticipated: the magic of a lounge singer in a dive becoming a superstar, a ball finding its way through a first baseman's legs, a dumpy stadium becoming a circle of glory loved around the world. What makes the film richer than most stories about the triumph of the downtrodden is that it does not try to suggest that miracles often happen, and it doesn't try to suggest that occasional miracles are enough. The Mets still lose the last game at Shea, Billy Joel has not had the easiest life, life-long marriages end, disaster still strikes. But sometimes people can gather together in a big crowd and see a concert by artists they love, or see a game played by a team they love, and for a few moments life feels like a magic carpet ride shared with tens of thousands of sudden friends. Life is what it is. But music and games can make it into something more. Films about sports are usually so boring. Films about music are usually only worth listening to. This film feels as if it is about life. One of the people I saw it with has no interest in baseball, limited interest in Billy Joel, and no connection to New York. Yet he "got" the film and was very moved by it. Anybody would be. This film deserves to be opening soon at your local multiplex, where it would give the filmed video games and the formulaic comedies a run for their money.

It is a very strange thing to sit in a crowd of 20,000 and do something that no crowd of 20,000 has ever done before. We were watching a movie. Or were we? The unprecedented nature of our experience was evident from the very beginning. At the opening of the film, Billy Joel comes out to his piano at Shea Stadium and to begin his concert, he leads the crowd in the singing of the National Anthem, just as a crowd would do at the start of a baseball game. OK, what are we supposed to do? Are we a crowd at a movie? If you're watching a movie in which somebody leads a crowd in the singing of the National Anthem, you're not supposed to stand up and sing, are you? That's what's happening on the screen. We're spectators. We're not supposed to participate. And yet even if we're watching a movie, we're sitting here in a baseball stadium, where the entertainment always starts with the singing of the National Anthem. Some people stood up, sat down, stood up again, as most of us looked confused. Finally, we all got up and sang "The Star-Spangled Banner" just like the crowd we were watching on the screen. It felt as if we became the crowd on the screen, and that feeling, it seemed to me, lasted all through the film.

We were several crowds, all of them different, and all of them connected. And although we were perfectly orderly, we didn't behave like a crowd watching a movie. We were the concert crowd, cheering Tony Bennett as he hit a high, sustained note at the end of "New York State of Mind," cheering the opening piano chords of every Billy Joel song, singing along with "I Saw Her Standing There," "Piano Man," and "Let It Be." We became the crowds that cheered the hopeful leap of the 1962 Mets, the impossible championship of the 1969 Mets, the ball going through Bill Buckner's legs, and the Mike Piazza homerun of September 21st, 2001. The black cat and The Beatles seemed to run out onto grass right in front of us, even though we knew that they actually ran out onto the grass that was now buried forever under asphalt just a few feet from us. We wept as the Mets lost the last game at Shea Stadium, and you heard a collective mournful grunt when the old scoreboard fell down on its face. When we weren't blending into these historic crowds, we were ourselves in real time, watching a film. We cheered Billy Joel when he described his decision to move back to New York at a time when no one else loved it or believed in it. We laughed when he described himself as "impossibly not good looking." We nodded our heads with understanding as he tried to define the "element of spirituality" that tied everything in this film together.

It was a hit. I heard people talking and everyone was blown away. No one complained that there wasn't enough concert footage. No one complained about anything. There may have been a little disappointment that Billy Joel did not come out at the end to lead us in a song. But hey, why should we expect that? We had seen something real, in the way that art can sometimes be more real than anything else. We saw a great film that moved us to our bones and how often do you see something like that? Almost never. And we saw it with 20,000 other people in a baseball stadium. How often do you do that? You never do that. We did that.

Matthew Morrison and Neil Patrick Harris dueted to Billy Joel's "Piano Man" on "Glee" last season, and Billy Joel told Access Hollywood's Shaun Robinson that more of his illustrious catalogue might make it to McKinley High.

"Have you ever seen 'Glee'?" Shaun asked.

"Yeah," Billy Joel confirmed.

"Would you sign-off on a 'Glee' episode of Billy Joel?" she continued.

"I already have," Billy Joel confirmed, breaking news about the hit FOX show.

A nonchalant Billy Joel told Shaun that it's not a question of if the McKinley High halls will echo in his "New York State of Mind," but when.

"So, have they started the process?" Shaun asked.

"I have no idea. All I know is I said, 'Yeah! Go ahead. Use my stuff,'" Billy revealed. "I was in a chorus when I was in high school, why not?"

The "Piano Man" performance on "Glee" garnered Neil an Emmy, but don't expect Billy Joel to "Gleek" out in person, like Britney Spears does in the upcoming episode featuring her music.

"If they asked you to make a guest appearance on the show, would you?" Shaun asked.

"No," Billy Joel said definitively. "I'm just not a big TV actor type of guy, I'm a piano player."

Billy Joel's unquestionable talent resonates through the big screen in his upcoming documentary, “Last Play At Shea,” which includes his 2008 closing concert before the stadium was torn down.

Shea Stadium's first concert was The Beatles in 1965, and for Billy Joel's final number, Paul McCartney made a surprise appearance - however, it was one that almost never happened.

"I didn't find out he was actually going to come until the very last song, that we were doing that night," Billy Joel said of Paul McCartney's appearance. "All of a sudden, one of my road crew comes on the stage and whispers in my ear, 'The eagle has landed!'"

It took Paul McCartney 11 minutes to make it from John F. Kennedy International Airport to Shea Stadium.

"A lot of people were involved," Billy Joel explained. "The Secret Service, the New York Police Department, the emergency service people, I mean a ton of people wanted to make this happen.