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Marty:
I made friends with audiophiles and asked lots of questions: there
are many fingerprints on this project. Some arrangements dropped into
my lap, while others took sweat. And after many hours of listening
and tweaking, what both of us learned was that not all the poems Joan
had chosen lent themselves to this process. What really helped was
getting Joan to think through her original intent with a particular
piece-the emotion underlying it, the context of the piece. In a couple
of cases this gave me an insight that opened up new musical and sound
options. Until that point, I had taken a traditional throw-it-over-the-wall
approach to the project: I recorded her voice and went to my cave
to make it work, then I would forward a digital mockup to Joan for
her reaction.
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Joan:
After recording and re-recording the poems, we had to work out our
differences on several pieces. There were a few pieces that, try as
we might, we couldn't get right. Fortunately, we were able to step
back, surrender our attachment to particular poems or compositions,
and say, does this really work? Does it really serve the overall vision?
We made hard decisions and eliminated many pieces. In fact, we changed
the play list four times. Finally, after many meetings, the moment
came when Marty had a complete draft. We met at Blue Bottle, a café
in downtown San Francisco. Sitting in that breezy courtyard on an
August afternoon, listening to the music Marty had composed, I was
thoroughly impressed - and inspired! The satisfaction and the feeling
of "arriving" creatively at one of the coolest things I'd ever done
overwhelmed me.
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