Post by Stephany on Jan 20, 2008 8:39:32 GMT
Thank you for your kind words Jon, Graeme and Martindn. 
Here's another part of the interview. There should be two other left or, if I have enough time, I'll do the rest in one shot.
[/u]
James is composing the music first. He builds the entire architecture alone because he’s the only one who knows how he envisions the whole thing. The soloist could be ‘just’ an element of his vision, but it’s more than that. He’s always looking for the seduction, the emotion and the affection. Like I said earlier, he’s constantly seeking for the little spark that will make the performance unique.
What was the more intense moment?[/u][/i]
The final – ‘A dark cloud is forever lifted’. Unlike what we had done earlier, James wanted Ian, Randy and I to know the movie’s final sequence perfectly – when Pocahontas smiles and runs with her son. It wasn’t really necessary for the track, but it was more important on a philosophical point of view. We scored this scene more than ten times and we were all taken by James Horner’s wonderful composition. We worked on the credits at the same time. James managed to compose a music that would be breathing with our hearts. It probably sounds naïve but ’The New World’ was all about these emotions.
Why is ’Listen to the wind’ so different to the rest of the soundtrack?[/u][/i]
The boundaries of my implication on the soundtrack were very clear from the beginning. He was always saying: Neither too much, nor too less. But he insisted that I attend all the rehearsals with his orchestra. He wanted me to be implicated and to see how the soundtrack was being shaped according to the images he was receiving. It was a long process but it was also incredibly creative. There were hours of music on the table and every day, a new sound of nature was born. ’Listen to the wind’ was the accomplishment of all this hard work. The space wasn’t the same and the rhythm was slightly faster. We accompanied Pocahontas as she went through the seasons. ’Listen to the wind’ is sort of her ‘American Indian summer’.
How do you do to listen to the wind?[/u][/i]
I’ve been listening to the wind since I was born. Sometimes the wind is called Johann Sebastian Bach, sometimes it’s James Horner, and sometimes it’s a sound from where I live. I abandon myself to the mysteries of the world and I try to share this through a vocal performance.
Do you think your voice is an ode to nature?[/u][/i]
Nature is a full part of my country, New Zealand. It was even more amplified for ’The New World’ . Nature is in my culture. James Horner helped me to translate it into poetry and the admiration he had for Pocahontas clearly had an impact on my work. [/size][/quote]’
Stephany
Here's another part of the interview. There should be two other left or, if I have enough time, I'll do the rest in one shot.
What is the role of a vocalist in a movie like’The New World’?
James is composing the music first. He builds the entire architecture alone because he’s the only one who knows how he envisions the whole thing. The soloist could be ‘just’ an element of his vision, but it’s more than that. He’s always looking for the seduction, the emotion and the affection. Like I said earlier, he’s constantly seeking for the little spark that will make the performance unique.
What was the more intense moment?[/u][/i]
The final – ‘A dark cloud is forever lifted’. Unlike what we had done earlier, James wanted Ian, Randy and I to know the movie’s final sequence perfectly – when Pocahontas smiles and runs with her son. It wasn’t really necessary for the track, but it was more important on a philosophical point of view. We scored this scene more than ten times and we were all taken by James Horner’s wonderful composition. We worked on the credits at the same time. James managed to compose a music that would be breathing with our hearts. It probably sounds naïve but ’The New World’ was all about these emotions.
Why is ’Listen to the wind’ so different to the rest of the soundtrack?[/u][/i]
The boundaries of my implication on the soundtrack were very clear from the beginning. He was always saying: Neither too much, nor too less. But he insisted that I attend all the rehearsals with his orchestra. He wanted me to be implicated and to see how the soundtrack was being shaped according to the images he was receiving. It was a long process but it was also incredibly creative. There were hours of music on the table and every day, a new sound of nature was born. ’Listen to the wind’ was the accomplishment of all this hard work. The space wasn’t the same and the rhythm was slightly faster. We accompanied Pocahontas as she went through the seasons. ’Listen to the wind’ is sort of her ‘American Indian summer’.
How do you do to listen to the wind?[/u][/i]
I’ve been listening to the wind since I was born. Sometimes the wind is called Johann Sebastian Bach, sometimes it’s James Horner, and sometimes it’s a sound from where I live. I abandon myself to the mysteries of the world and I try to share this through a vocal performance.
Do you think your voice is an ode to nature?[/u][/i]
Nature is a full part of my country, New Zealand. It was even more amplified for ’The New World’ . Nature is in my culture. James Horner helped me to translate it into poetry and the admiration he had for Pocahontas clearly had an impact on my work. [/size][/quote]’
Stephany
