It's a real joy to be moved by something, but it doesn't happen often to me.
However, if I ever were in a position to choose who would play me, I think I'd choose Johnny Depp.
I saw Stephen Sondheim's Sweeney Todd, which I thought was a masterpiece. Not that long ago, I listened to Blackstar by David Bowie and thought that was a masterpiece. Those are two incredibly talented people who've left their mark with us.
I'm quite a private person and I like my work to do the talking.
I don't think it's a very nice idea [making biopic] at all. I don't think my life is that interesting.
I'm always hunting and prowling. I'm sure Brian [Bath] was exaggerating!
50 Words of Snow just didn't seem to have the complications that quite a lot of albums have. It felt to me like it had this very good flow of energy.
The thing with 50 Words of Snow is that it was literally back-to-back from Director's Cut [also released in 2011]. It was more or less that I got to make two albums in one hit. I was already in this space in my mind to be writing and making an album.
I'm not vanishing into thin air.
Disappearing act? That's a magic trick, isn't it? I like magic tricks!
Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.
We deliberately chose a small theatre so that the show was still intimate and the audience would become a part of the show.
Using telephones, they would be so intrusive and would really disrupt the show.
I suppose in some ways doing some of the songs in the show felt a bit like I was doing cover versions. I was covering myself. Not that they didn't feel like my songs, but the way I was approaching them was from a place so outside where they were written. The fact that these songs were in the context of a live show was a new thing.
I didn't dare let my mind wander off.
I was so nervous every night that I had to really focus and keep myself in that moment so that I would not forget the words. I was really present for every song.
Being nervous actually kept me very tense.
The whole positioning and atmosphere of the song ["King of the Mountain"] was to build up this thunderstorm that would take us all onstage off into a story where we were suddenly in the middle of the ocean.
When I was singing "King of the Mountain," it was a pivotal point in the show. That's the song that took us from this concert setting of individual songs into the theatrical narrative piece.
I think we're all a party to this information all the time. It's every day, in a way we probably weren't a few years ago. We're more informed, which is a good thing because war is always there somewhere on the planet.
It's very unfortunate that war has always been and probably always will be a part of human beings on this planet. It's a terrible thing.
[For Before the Dawn] it was in the hands of a fantastic drummer and percussionist and who drove it into another moment in time. It's such a poignant song and it was transformed into entirely different beast.
For "Running Up That Hill" we had worked with a drum machine [in 1985]; the basic rhythms of "Running Up That Hill" happened because the whole track was built on a drum machine.
With some of the songs, we brought the pitch down to alto.I'm older, so naturally my voice is lower now.
You have a different audience. Your personal energy is different because some days you're energized, some nights you might be tired so that affects your memory and your emotion.
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