00:00Oh my goodness. Thank you so much everyone. We're so happy to be here. Wouldn't be here
00:25without these guys well I would answer that except this is for best original
00:53song so he was incredible as a director and I loved working with him and he made
01:00me a better actress but what we are really excited to be on this stage for
01:05is how much he believed in this song as a vehicle for storytelling in this film
01:10you know we were just talking backstage I don't know if you wanted to say anything
01:14Anthony but we were talking about how this song is really counterculture in a
01:19lot of ways you know it doesn't doesn't really quite fit in to what you would
01:22think of as a commercial song and still people connected to it and that means a
01:27lot to us.
01:29Congratulations, it's Jazz from Wall State, congratulations Mark and all of you. Talk about writing Shallow.
01:37Were you on tour with Joanne when you wrote the song?
01:41No, we were in Los Angeles.
01:43Okay, so talk about the process and how you got into writing the lyrics.
01:48Where do you want to start? There was a piano.
01:52With your badass chorus?
01:53Yeah.
01:54Typewriter's key.
01:55When you're working with this sort of like, I hesitate to use the word genius but every time we got in a room she starts with an idea and all you do is sort of like strap on.
02:06It's like she's the master chef and we're all just like holding up celery like you like this, you like this, you like this and if she likes something she does and we all contribute.
02:18And what's actually kind of more meaningful is that we all really care about each other and like put a shared experience of some pain and each other's suffering and we're willing to go to a vulnerable place for this song.
02:30And I think that that's why like in the film even though it's the beautiful performances that also do that, you feel that I hope.
02:38We're actual friends who love each other, you know?
02:42Yeah.
02:43And it's a conversation between a man and a woman and that actually happened in that room and then it came alive on screen.
02:50And I love these guys, you know? I really do. They're very special to me.
02:56Wendy Gunner over here.
02:58On your side.
02:59Yes, hi.
03:00Steve Butterman from CBS News.
03:02I wanted to ask you a question. We know that you understand and appreciate the history of music and films.
03:08You saw the inner Julie Andrews that you had at the Oscars. I'm wondering, did you look back at the previous versions of this film and maybe even that early version called What Price?
03:21How did you look at the earlier versions of A Star is Born before this and did that help you at all?
03:26I knew that I wanted this to be completely, not only brand new, but completely serve the story that Bradley and Eric Roth and Will Fedders wanted to tell.
03:37The screenplay was brilliant. I was so, so inspired by their vision. And when we worked on this, you know, we worked hand in hand with Bradley to create something for him that would be sufficient for the story.
03:54Something that would move it forward. You know, this is really the moment in the film when their love begins to truly blossom.
04:04And I couldn't be more proud to be standing here with my friends. Like, I mean, we've sat on stoops together just talking about music, just like Jack and Ali, you know.
04:19So there ain't nothing realer than what you're looking at right now. Like, these are just artists that love to make music.
04:26Hi, I'm Maria from Spain. I'm on the other side.
04:31Hi. I was wondering, are you making history with this character, with this movie, with this song, even though it was played by other actresses?
04:41Have you thought about them before? I mean, what it means that the other actresses were before you?
04:48You know, I think that it's a privilege, really, you know, to be a part of a film that already has a legacy.
04:56And like I said before, it was, I believe, a privilege for all of us, you know, to be a part of, to create something new while also honoring what's happened in the past and how great they were, really and truly.
05:15From the version with Janet Gaynor, to the Judy Garland version, to the Barbra Streisand version, and now to the...
05:22Lady MFing Garland version.
05:24No, no, no.
05:25No, no.
05:26And the, the, the, and, and also, I just, I have to say, as a first time director, Bradley, he really knocked it out of the park with the music as well.
05:37Because he, he really, really wanted it to be sung live. He wanted it to be recorded live. So, you know, most of, if not all of what you hear on the soundtrack to this film was sung live on camera, on a set. And so, it doesn't get more authentic than that.
06:00The music and all the live, all the live music feels like you're actually on stage from the sound, sonic mix, the way it was mixed to the way it was shot. So, I was super impressed.
06:09Does anyone know it?
06:10It felt very authentic.
06:11Sorry, guys.
06:12Yeah, it's fine.
06:13Do you guys know what Glastonbury Festival is? It's the biggest festival in England. It's 80,000 people.
06:17Yeah.
06:18Yeah.
06:19I've seen Bradley Cooper walking around there at 4 a.m. like trying to catch the last band. Like that's how much he loves music. So, and I was not sober and he was.
06:27And so, basically that he wanted to bring across something that's very hard to do in films and make the musical experience like actually genuine. And I feel like with the work that they did, that happens.
06:38And as musicians, like I watch movies that have the music world in it and I go like, no, no, no, no, no, that's not it.
06:46Yeah, they wouldn't do that.
06:47I instantly flag it right away. And he just nails it. He nails it from the first moment of the film. When you see him pop those pills, drink some gin and walk on stage and start playing guitar. It's like, I fall right into it.
07:03And there's nothing about it that is inauthentic. Do you want to say something, Anthony?
07:11Nope.
07:13Except, oh my gosh, we're just doing this. Holy shit.
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