Canada Goose Deutschland Outlet D’Alpago Bomber An Interview with Nigel Wright
Q: You’ve been recording all the performers. How do you think that’s going?
NIGEL WRIGHT: It’s been quite painless, actually. I mean, they all knew their stuff really, really well. They’ve all come in and been very professional. We worked them all through with the rhythm section first to nail tempos, so they never came in to sing and said, „Hey, that’s wrong,“ or „That’s too fast,“ or „That’s too slow.“
NIGEL WRIGHT: She’ll certainly sound a little different from the normal Madonna that everybody’s used to, and she’ll certainly sound different to all the previous Eva Per But I think it’s a great approach to it. You always have to bear in mind, when you’re doing these vocals, that the film is 30 feet high and 60 feet wide and it’s 50 feet in front of you. You’ve really got to think about that, and it’s something that Alan, who’s one of the greatest directors who understands music, keeps on about all the time. When you get a little bit overfussy and overcomplicated, he says, „Well, just hold on a minute. Just think what it’s going to look like.“ He really has the pictures in mind.
Q: People will not know Antonio Banderas for singing. How do you approach that?
NIGEL WRIGHT: Antonio’s got boundless energy. He can wear you out very, very quickly, because he just wants to get everything so right. It’s fabulous to work with him. And he knows Andrew’s musicals inside out. He’s seen them all, he’s been to them all. He knew this score inside out before he ever got here, and it was great to work with him.
NIGEL WRIGHT: Jonathan’s a great professional. He’s done films, he’s done musicals. He perfectly understands how to tie the two together, and he’s perfect for the role.
Q: The best known anthem is „Don’t Cry for Me, Argentina.“ Is there any difficulty re creating something as well known as that?
NIGEL WRIGHT: Well, when it comes to „Don’t Cry for Me,“ it’s a fantastic original orchestration anyway. And if you add to that the element that you’re on the balcony of the Casa Rosada, and there are 50,000 people watching, it’s fabulous.
Q: Tell us something about „Rainbow High“ and Madonna’s performance.
NIGEL WRIGHT: „Rainbow High“ is a very tricky piece. If any singer wanted to audition with Andrew, and they came in and sang a half decent attempt at it, they were okay, because it’s one of his most difficult pieces to sing. Madonna’s really had a great crack at it. It really does do well. Again, you have to keep thinking of what it’s going to look like, and it’s the first film ever where we’re making all this music with no visual to look at while we’re doing it. That’s where Alan’s guidance as a director is great, because we always say that if he’s sitting at the back of the room with his script and saying nothing, we’re doing the right thing; but the minute he starts to pace, then you’ve got to think that something’s going wrong. It’s down to him all the time that we make the right type of music for what he intends to film.
Q: How do people feel about working on something like this?
NIGEL WRIGHT: Well, it’s a musical opera. Musicals are popular; films are popular; it’s the marriage of the two. It’s daunting. We all believe that we’re doing it the right way. We’ve got all the right people you couldn’t have better. It’s a great story. It’s one of Andrew and Tim’s best ever. We have some fabulous locations, some great music. When it all comes together at the end we’ll find out whether we were right. And if this one goes well, everybody will want to do it.
Q: How do you rate the musical?
NIGEL WRIGHT: In the work that Tim and Andrew did together, it’s probably one of the best. It was great at the beginning. It was a great concept album, and there was no real show in mind at the time. They had a lot of freedom. They had some of the best players in the world, or in the UK, at the time, certainly, and no restrictions. They just went in and made a great album. It was ahead of its time. I think it’s one of their best works.
Q: Because of the freedom, they didn’t have to worry about the stage. Can you just explain that?
NIGEL WRIGHT: When you do music for musicals or for films, you have so many other considerations as to what the scene is, how long they need to move from this shot to that shot, or how long they need to move a piece of scenery on. They never had to worry about any of that. It was just, „Let’s just make music,“ and it shows in that original album.
Q: Can you explain the way you’re recording the music?
NIGEL WRIGHT: What Alan does is a very natural approach to film and a very natural approach to sound. If you went out there and sang this film in operatic style, like a lot of the originals, it would just be too much. We’ve had to always think of the two combined, and maybe make it more conversational in some places. It’s full out when it needs to be, but in the rest of the passages in between, which would normally be dialogue but are still sung, it’s very conversationally sung. You’re telling a story in music at that point. But when it comes to the punch, then you let go for the big songs.