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VANGELIS Interview 2016, English Version


About Synthesizer, Art and the Future

vangelis-blade-runner

Vangelis Soundtrack zu „Blade Runner“ von 1982, wurde aber erst 1994 veröffentlicht.

Peter:
One of the most remarkable works of music where you utilized the CS-80, was the soundtrack to Ridley Scott’s BLADE RUNNER. On this soundtrack you created an amazing expressiveness with this instrument. How did this collaboration with Ridley Scott came about, and what fascinated you in working on this project?

Vangelis:
At first the prophetic story. Secondly, the compatibility with Ridley and third the possibility to express thinks that I expressed with CS80 which it would have been impossible to express otherwise.

Peter:
In the „Making of“ documentary of BLADE RUNNER you mentioned, that you played the music live on set during the shoots. Is this just a legend or did you really play your compositions on the set? We would love to hear more about this because this seems so much like an unconventional step, that we would like to hear more about it.

Vangelis:
It would have been a great experience and pleasure for me, and possible for the actors, to be able to compose and perform during shooting. But unfortunately, technically creates many problems, so we don’t do that. Instead, what I did, is what I do every time with any film, I compose by watching the film and most of the times, I keep the first take.

Peter:
At the cinematic release of BLADE RUNNER, there was a Soundtrack album where your music was replaced with an orchestra adaptation. Only many years later the original music appeared on CD and was celebrated worldwide. What had happened? How did it come to this delay?

Vangelis:
Without going to details, the reason was purely at the business side and has nothing to do with artistic matters.

Peter:
Can we switch to a different subject: why Paris? A Grecian from the small town Agria near Volos decides to choose Paris as the place to live. What has drawn you to Paris?

Vangelis:
Although your question is quite poetic, life doesn’t work like this. And after all, I didn’t want to become a fisherman,. At the contrary, since my early days I was drawn by something that was stronger than me, Music & Space. This is something that led me to live in different cities.

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    el-folie

    Thanks a lot for this interview, it´s like an extra christmas gift for me :)

    Vangelis, if you´re reading this, thanks a lot for all the music you gave us so far. It´s a pleasure seeing you sitting by the CS-80 still in 2016. I can only hope one day you will be able to release the old NEMO Studio tapes and maybe an official ‚Bitter Moon‘ soundtrack.

    As a human being with sensitive antennas I´m quite aware that your music is more than just music but like a translation of space, life and love in music as to be able to be perceived by human senses. Channeling those energies is quite a lonely and important task in a world where greed, power and money for most people is of overwhelming and higher importance.

    I really admire what you´re doing and sometimes I wish I could visit the old and long gone NEMO Studios in London just to experience the atmosphere where all the early works were received, where space energies and stardust became alive through your hands and became music.

    Thank you Mr. Vangelis and all the best wishes

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      tantris ••

      Stimmt, bei diesem Interview, das wahrscheinlich für den Literaturnobelpres 2017 nominiert wird, kann in der deutschen Übersetzung viel Tiefsinn verloren gehen.

      Beispiel „Is up to you to do it“ könnte man übersetzen mit „Machs doch einfach selber“ oder „Kannst Du so machen, dann ist es halt Kacke“.

      Das ändert natürlich einiges am Sinn dieser vielen tiefschürfenden Aussagen.

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