A Quote by Sune Rose Wagner
I wanted to do an album that was very simple and very minimal in the context of instrumentation and stuff. I wanted to use as few means as possible to create a very powerful and interesting sound that would breathe.
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I studied philosophy in school, became disgruntled by the fact that it was a way to have a very interesting conversation with very few people about very few things in very narrow terms and yet still believed (and still believe today) that there was something that I was getting myself involved in when I said I wanted to study philosophy.
Before 'Sunny' came along, I would audition and do chemistry reads with very funny actors. And then they would cast someone who was beautiful and benign. I don't think that very funny men wanted to headline with very funny women. They wanted to be the funny ones, and they wanted the wife to be the wife. That was very frustrating.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
I wanted to be different and original but still have it be something my fans could get into. There also are some big, beautiful ballads. I told my producers that I wanted tracks that are going to blow up in the clubs, but I also wanted songs that were very melodic and with a lot of instrumentation.
I wanted a new experience, to learn another language. I wanted to be different. I wanted people to realise I'm taking my coaching career very seriously. I wanted to create my own pathway.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
I try to mix the fashion with the music and what's going on at the time...at the time [when my uniform was black on black] I was putting together an album, my album was my name at the time; very minimal, very stripped down, very everything but it still had and have to have some level of pop.
I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.
You do a little more of a record album these days. See I just wanted to put a few songs in Beaches and we did very well. The album of Beaches went gold.
I just had this notion that I wanted to do the most extreme thing I could and I also very consciously wanted to do something that was very different from Mars because we were all very close.
Alan Menken took me to his studio and we went through his trunks of songs and put together an album of stuff that people and stuff that people don't know. I'm very proud with the way it came out. I had no idea what it would be like to do an album and that process was grueling and tedious but it was very rewarding. I would do it again if I had the chance.
I read the script [ of 'Steve Jobs' movie ], and it was very, very good. I wasn't sure they would want me to be in the movie, but I auditioned for it. Which I hadn't done in a few years. But I had auditioned in the previous few years for another movie that I did not get the part. And so my track record wasn't good. But I really wanted to audition because I was worried that I was going to blow it, and I wanted it to be on them for choosing me.
It's very interesting to read why Cornelius Cardew became disenchanted with academic avant-garde music. He wanted to reach as many people as possible and change their consciousness. He wanted to reach the "working classes" in England. The kind of music he was making was very much from the academy, even though it had a lot in common with things like free jazz and improvisation, and he felt that it was the music of the elite, and that he wasn't really speaking to the people.
I was perceiving myself as good as a man or equal to a man and as powerful and I wanted to look ambiguous because I thought that was a very interesting statement to make through the media. And it certainly did cause quite a few ripples and interest and shock waves.
The musical style and sound of 'Love You to Death' is something I wanted to do from the moment I started working on this album. It's a very masculine track with dramatic lyrics.
Beauty means a lot of different things to a lot of different people. A lot of different ways in which things can be beautiful. But this really has a very specific meaning and which is more along the lines of elegance which is that we say an idea is beautiful or elegant in mathematics or physics if a very simple principle or a very simple idea, or simple set of ideas, turns out to be very powerful and leads to all sort of unexpected structure and unexpected predictions.
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