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00:18¡Gracias!
00:30¡Gracias!
00:32¡Gracias!
00:36¡Gracias!
00:44¡Gracias!
00:45¡Gracias!
00:45¡Gracias!
00:46¡Gracias!
00:46¡Gracias!
00:46¡Gracias!
00:47¡Gracias!
00:50¡Gracias!
00:52Natural, ¿cómo se sientes si no hicimos la intro?
00:58Ok.
01:00Y yo simplemente empiezo...
01:02¿Filtrías?
01:04Sí.
01:11Cuando me y yo comenzamos a hablar de hacer una colaboración con Apple Music,
01:18queríamos hacer algo completamente diferente de lo que hemos hecho antes de hacer.
01:26¡Gracias!
01:27La idea
01:27went from being this acoustic storytelling set
01:31to a totally different kind of storytelling
01:34through electronic music.
01:36I mean, that's nice, too.
01:38I think we gotta beat that.
01:41We took this approach where we wanted to celebrate
01:44some of the iconic instruments
01:47that were used in the production of the record,
01:50but really approach them in a totally different way
01:53and do it live,
01:54so that there could be an experience
01:56that was happening in the room energetically with the fans.
02:01Gaga,
02:02who normally would be dancing
02:04and concerned with a million fashion looks
02:07or all these kind of things,
02:08she's actually playing,
02:09and she's playing different instruments
02:10from electric guitar to piano
02:13to all these vintage synths.
02:16that they're not the modern stuff
02:18where you hit a patch
02:20and the sound is ready to go.
02:22With these, you have to actually shape the sound live,
02:25and it's very complex and very nuanced,
02:28and it requires a lot of time
02:30to figure out what you want to do,
02:32and so that's what we're in the process of doing right now.
02:34It's more like it comes in halfway through that.
02:37If I can play...
02:39That would be kind of...
02:40You should be free...
02:41You should be free in the intro.
02:42Yeah, just in the intro.
02:44Yeah.
02:47I'm just trying to sort of like chart out
02:49what's already been arranged.
02:52It's the first time that we're all playing this
02:55in this fashion,
02:56so we all have to be on the same page.
02:59And it's actually surprising
03:01how carefully I have to listen to these...
03:03and I want to make sure each individual detail
03:05is notated correctly,
03:08because it's got to be right.
03:11It's kind of crazy.
03:12I got like an F in notation at Berkeley.
03:15Really?
03:15Yeah, and then I'm like helping write out charts
03:18for the biggest artists in the world.
03:19One, two, three, four...
03:22I'll try to be more specific,
03:23but I believe that's on B4.
03:25Yeah, that's on four.
03:26Oh, it's so...
03:34And this is the fourth.
03:37People think pop music is simple.
03:38It's not simple.
03:40I think good art is when it sounds simple,
03:43but it's actually really complex.
03:46I mean, I think we have to find the vocal identity
03:48of the show.
03:49I don't think it should be the same as the tour
03:52or the album.
03:53It has to be like...
03:54Perfect.
03:55Mm-hmm.
03:57Like its own thing.
04:17Should we go to...
04:21Shadow?
04:22Is that next?
04:24Okay.
04:35One of the things that is so special is that
04:37when you're producing a song,
04:39there are so many different ways you can do it.
04:42And Mayhem is ultimately the way we chose
04:45to produce the music for that one album.
04:52So I wondered how I could,
04:54throughout this performance,
04:56tell a new story.
04:59How could I tell it?
05:00By really celebrating the sounds that we used
05:03and exploring their emotional capabilities.
05:08We were highlighting pieces that were buried
05:10and bringing them to the surface,
05:12celebrating them,
05:13integrating them with entirely new versions
05:15of the song.
05:26Yeah.
05:27Yeah.
05:28I love that part.
05:30What do you think of,
05:32on just one of the choruses,
05:35doing, uh,
05:37just, like, eight notes on the mini-moke?
05:40Okay.
05:42Okay.
05:43Okay.
05:45So it'd be like, um...
05:47I'll give you something.
05:51Oh, it's no doubt that rain.
05:55The end of the amazing.
06:00Forever's not enough.
06:03Gaga is,
06:04a lot of people say,
06:07artist.
06:08A lot of people say,
06:10you know,
06:10pop star,
06:11all that stuff.
06:12There's only a few
06:13that can be many things at once
06:16and do it at a high level.
06:18She's a true artist,
06:19she knows what she's doing,
06:20she has a vision,
06:21and she's special.
06:24Yeah.
06:26Okay.
06:28Thanks, everybody.
06:29I'm gonna go home.
06:35Please be quiet.
06:38Keep all the conversation to a minimum.
06:41Please be focused.
06:43Thank you.
06:44Have a great afternoon.
07:03When we started, like, working with Mayhem the Music,
07:06and hearing Stephanie talk about how it was made
07:09and the different synthesizers
07:11and, like, processing the album,
07:12we kind of felt that the synthesizers would be
07:15the foundational kind of brickwork
07:17of the set design and the performance itself.
07:20And I think in terms of, like, the lighting design,
07:22we knew we had to find the energy of the performance,
07:25her performance, the music.
07:27And Stephanie has been so responsive
07:28to all the ideas that we have.
07:30If you have an idea,
07:31say it and let's try it.
07:32Don't hold back, you know?
07:35Great job, everybody!
07:37Great job!
07:41Hi.
07:42Come sit down, everyone.
07:44And we know we only have 48 hours,
07:46but I actually don't think it's that many.
07:48Not quite 40.
07:53Who's counting?
07:56I mean, look, we all know a lot can be done in 48 hours,
07:59and I think we need to work,
08:00all of us need to work as hard as possible
08:02to make these shifts,
08:03because I think if we do,
08:05this will be, like, a very unique show,
08:07and right now it's medium unique.
08:10We need to, like, establish the vibe
08:12at the top of the show, right?
08:14And then, like, we have to stay in it.
08:16And what's happening right now
08:17is it's, like, in certain moments
08:19the music's too raw, right?
08:21And then in, like, other moments
08:22something interesting happening
08:23with the synthesizers,
08:26but you can't hear them.
08:27Disease, it's, like, super bright,
08:29and it's, like, it's sort of like ta-da!
08:31And I think we should see very little.
08:34So a lot more mysterious.
08:36Let's try to connect every song to the one after it.
08:40Let's just go for it.
08:41The music never stops.
08:43Let's never turn the work lights on.
08:46It's almost like we're getting in the wormhole
08:47and we've got to, like, stay in it,
08:49and I think that's what we should try to do.
08:52Yeah.
08:52And just in my other note to the band,
08:55I've said it already,
08:56but when you play with me and each other,
08:59it's 100% the best.
09:01Like, I don't know why,
09:03but it's, like, the camaraderie up there.
09:05It makes me feel like this is our space
09:09and not a soundstage.
09:11It's, like, something that we've built a relationship with
09:13that, like, we're, like, laying to rest.
09:18And have fun, yeah.
09:19So I'm going to go put my costume on.
09:23Thank you.
09:25Thank you.
09:27In terms of spatial, like, movement?
09:30Yeah, it was fine.
09:31It never felt nice.
09:32No, no, no.
09:33It's really, really hard to find an artist who cares
09:37at the level that Lady Gaga cares.
09:40To say that she's the hardest working person on set
09:43is an understatement.
09:44And from a director's perspective
09:46and a camera team
09:47and, you know, a video department more broadly,
09:49like, we're all, we all want to rise to the occasion
09:53and we want to dig deep and work as hard as she does.
09:56And four, three, two, one.
10:06My deep love of these instruments
10:08is something I brought with me.
10:11I had them on nearly every album I've ever produced
10:14and that was part of the joy of creating Mayhem Requiem.
10:17How would we tell the story differently?
10:21It's like it's true for me
10:23To get to the free believer
10:27Gonna make the sin and shame for me
10:32I'm a three and four-time bad believer
10:38I'm gonna make you scream
10:50It's gonna be great.
10:51That was the best I've played it so far.
10:53You said it earlier, the pieces are there.
10:56All the pieces are here.
10:58And on this next run through,
10:59I need to just find the religion in it
11:02and just let it take me.
11:04I think that, like, to me,
11:06a ceremony is something that you witness.
11:09They're partaking in the ceremony
11:11and the congregation is, like, watching, right?
11:15So I just want to make sure that, like,
11:17what kind of other thing can I find
11:20to make this, like, fit the title?
11:24Requiem.
11:25I feel like this thing takes place way in the future.
11:28Like, somebody's coming to, like, see the ruins
11:31from a long time ago
11:32and, like, this is, like, the memory of the show.
11:36That's a beautiful, like, mode of inspiration.
11:40What if, like, you know, we were to lock the set away
11:44after we were done with the last show
11:46and it, like, over, you know, hundreds of years
11:50it fell apart
11:50and, like, some little monster from the future was, like...
11:54Re-assembled it the best they could.
11:55Yeah, they just, or they made an art piece out of it.
11:58Okay.
11:59The fans are already freaking that it's, like, a funeral.
12:03So now it needs to be a funeral.
12:04I mean, this is the last...
12:06This will be the last thing of Mayhem.
12:08Yeah.
12:08Ever.
12:20How long have you been in line?
12:23A few hours.
12:24I saw...
12:25I've seen the current tour she's on 13 times.
12:28I'm seeing it eight more times this year.
12:30So, yeah.
12:31This is my 35th time singer.
12:32She means everything to me.
12:33She really means everything.
12:34She means everything to me that, like...
12:37Oh, my God.
12:38Why am I getting emotional?
12:39She just...
12:40She gives me the strength to do anything I want to do.
12:43That woman can do anything.
12:45That woman can do anything.
12:46She means everything to her.
12:49Thank you.
13:08I thought my wife's got hoaxes in the neglect.
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