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Speaker 1: It's not a perfect piece, but in a strange way,

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Speaker 1: that kind of makes me enjoy it more because you

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Speaker 1: can see how it could evolve into something like that.

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Speaker 2: It's emanating from it. It's a live the piece.

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Speaker 3: I can't wait. I don't want perfection. Perfection should actually

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Speaker 3: go in a big hole in the back garden.

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Speaker 4: Yeah, along with the words should hello, I'm mini driver.

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Speaker 4: I've always loved Preust's questionnaire. It was originally in nineteenth

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Speaker 4: century parlor game where players would ask each other thirty

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Speaker 4: five questions aimed at revealing the other player's true nature.

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Speaker 4: In asking different people the same set of questions, you

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Speaker 4: can make observations about which truths appear to be universal.

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Speaker 4: And it made me wonder, what if these questions were

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Speaker 4: just the jumping off point, what greater depths would be

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Speaker 4: revealed if I asked these questions as conversation starters. So

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Speaker 4: I adapted Prus's questionnaire and I wrote my own seven

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Speaker 4: questions that I personally think are pertinent to a person's story.

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Speaker 4: They are when and where were you happiest? What is

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Speaker 4: the quality you like least about yourself? What relationship, real

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Speaker 4: or fictionalized, defines love for you? What question would you

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Speaker 4: most like answered, what person, place, or experience has shaped

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Speaker 4: you the most? What would be your last meal? And

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Speaker 4: can you tell me something in your life that's grown

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Speaker 4: out of a personal disaster. And I've gathered a group

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Speaker 4: of really remarkable people, ones that I am honored and

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Speaker 4: humbled to have had the chance to engage with. You

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Speaker 4: may not hear their answers to all seven of these questions.

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Speaker 4: We've whittled it down to which questions felt closest to

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Speaker 4: their experience, or the most surprising, or created the most

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Speaker 4: fertile ground to connect. My guest today is the musician

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Speaker 4: and composer Rufus Wainwright. I remember waking up super hungover

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Speaker 4: in the early summer of nineteen ninety eight. Elliot Smith

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Speaker 4: had been sleeping on my sofa, and we went down

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Speaker 4: to this old diner called the One oh One, which

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Speaker 4: was near where I used to live, and we listened

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Speaker 4: to Rufus's self titled first album on my CD Walkman

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Speaker 4: leaning in so we both had a headphone. I remember

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Speaker 4: how much we loved a song called April Fools and

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Speaker 4: how that record became the anthem of our summer. Then

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Speaker 4: I used to see Rufus at the Chelsea Hotel where

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Speaker 4: my aunt Serena Bass used to have a bar, and

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Speaker 4: when his next record Poses came out, I always wanted

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Speaker 4: to go up to him and tell him how his

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Speaker 4: music spoke and gave voice to a part of myself.

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Speaker 4: I couldn't articulate. I never did, though. He's been one

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Speaker 4: of the most diversely prolific artists of the past twenty

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Speaker 4: five years, in my opinion, writing operas and musicals, setting

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Speaker 4: Shakespeare's sonnets to music, and writing songs that hum with

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Speaker 4: a kind of raw Americana that reaches out into folk

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Speaker 4: music but is really an invention all of his own.

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Speaker 4: I am so happy I got to talk to him today,

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Speaker 4: and I hope you love our conversation as much as

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Speaker 4: I do. I was talking with Sam the other time. Yes,

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Speaker 4: we were talking about our mutual adoration.

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Speaker 2: Yes, yes, I know, I know we've all.

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Speaker 1: Sam and I have both just been through, you know,

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Speaker 1: the whirlwind of the British of the British press with Also,

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Speaker 1: you know, I just came back from London because I

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Speaker 1: put on my first musical. I'm very happy with the piece.

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Speaker 1: I don't think it's necessarily finished. I will say though,

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Speaker 1: that experiencing the kind of English press and how they

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Speaker 1: just once they kind of find a little crack or anything.

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Speaker 1: It's just amazing how it just it's becomes like a

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Speaker 1: blood sport between all the different papers, and you know,

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Speaker 1: certain people are you know, so so so whatever. So

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Speaker 1: it's it's uh and I know with samso movie, it's

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Speaker 1: it's it's it's a it's a really brutal world over

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Speaker 1: there in that in that sense, so so yeah.

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Speaker 2: Well but I still love England.

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Speaker 4: So oh my god.

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Speaker 3: I know I have only ever really been at the

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Speaker 3: hands of the British press, and it is there is

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Speaker 3: honestly nowhere more that likes blood letting more.

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Speaker 4: Yeah, yeah, it's astonishing. Love.

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Speaker 3: Well, I'm going to crack on with these questions, and

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Speaker 3: I'm so grateful that you're here.

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Speaker 4: Thank you.

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Speaker 3: What relationship, real or fictionalized, defines love for you?

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Speaker 1: Well, I mean, the greatest love I have to say,

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Speaker 1: or I hate to say it, but I don't hate

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Speaker 1: to say it, are with some dead composers. For me,

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Speaker 1: I really I have this inordinate love for opera composers,

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Speaker 1: especially Verdi and even you know, we went to see

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Speaker 1: a Puccini opera the other day in New York, and

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Speaker 1: I had a similar reaction or Mahler or any of

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Speaker 1: these great composers, because it is, I don't know, I

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Speaker 1: can always go to them and listen to their music

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Speaker 1: and be comforted by their spirit and their artists offerings,

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Speaker 1: and it always does the trick, you know, it always

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Speaker 1: does the trick. So I think my love for great composers,

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Speaker 1: that really is what keeps me going in a lot

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Speaker 1: of ways.

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Speaker 4: Wow, is it the turnd do that you just thought?

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Speaker 2: No, I saw you.

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Speaker 3: My partner's mother is a lifelong Metropolitan opera goer.

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Speaker 2: Oh wow.

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Speaker 4: And she took him backstage. She took him on at all.

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Speaker 3: And Henry, who's fifteen, said that they were bringing up

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Speaker 3: the Zephyr early sets and actually.

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Speaker 4: Getting to see them. And he said, watching the sets

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Speaker 4: coming up and on the hydraulics and then hearing these

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Speaker 4: opera singers warming up, he said, it was the most

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Speaker 4: incredible feeling. And he has no reference.

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Speaker 3: He's never been to the opera, he'd never been backstage

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Speaker 3: at the Metropolitan, so there was something really extraordinary about

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Speaker 3: kind of seeing it through his Oh.

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Speaker 1: Yeah, yeah, no, no, No. Opera houses have always been

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Speaker 1: my trick, My Catheeds was.

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Speaker 4: Like, yeah, now, why do you think that is?

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Speaker 1: I mean, that happened early for me. And it's interesting

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Speaker 1: because I composed a requiem mass that's premiering in Paris

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Speaker 1: on the fourteenth of June. It's called the Dream Requiem,

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Speaker 1: and there's actually lots of singers and soprano. There's also

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Speaker 1: a narrator in it because there's a Byron poem that

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Speaker 1: kind of interweaves through it. And actually Meryl Streep is

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Speaker 1: going to be the narrator. Yeah, so she's coming in

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Speaker 1: for that, So we're going to do that concert. So

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Speaker 1: it's exciting. But that's all because when I was thirteen,

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Speaker 1: I heard Veriti's Requiem for the first time. My mother

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Speaker 1: brought it home and we listened to it together, my

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Speaker 1: mother and my aunt, the three of us did, and

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Speaker 1: it just by the end of that two hour stint,

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Speaker 1: I was a complete opera fanatic. It was like my

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Speaker 1: own requiem in a lot of ways of my childhood

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Speaker 1: and I just started going to operas all the time.

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Speaker 1: It was nineteen eighty seven or so, and I knew

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Speaker 1: I was gay, and you know, AIDS was everywhere, and

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Speaker 1: it was a pretty brutal world.

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Speaker 2: So opera. I don't know.

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Speaker 1: It became my salvation in a lot of ways, just

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Speaker 1: both the music and going to the opera house to

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Speaker 1: seeing the sets and the singers and so forth.

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Speaker 4: That's so funny.

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Speaker 3: At my school you had to be in the choir

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Speaker 3: and thirty's Requiem was the first piece that I learned.

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Speaker 2: That's a pretty good one.

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Speaker 3: By the way, starters you mean to go on, I

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Speaker 3: thought they were all that good. I know that you're

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Speaker 3: the child of musicians, But why do you think it

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Speaker 3: was composers?

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Speaker 4: Do you think it's because it was separate?

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Speaker 1: What I love about the whole concept of being a composer,

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Speaker 1: and this is, you know, being a traditional Western classical

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Speaker 1: music composer is the trajectory, you know. I think it

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Speaker 1: was Beethoven when he died. You know, he was obviously

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Speaker 1: very sick and deaf, and apparently right before he died

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Speaker 1: there was some thunder lightning and he kind of stood

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Speaker 1: up and it was like he was trying to conduct it,

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Speaker 1: you know, and then he died.

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Speaker 2: And look, he arguably wrote.

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Speaker 1: The most incredible music near the end of his life,

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Speaker 1: like the last Quartets and the Misa Solemnis and stuff

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Speaker 1: like that. In the Ninth Symphony, and that tends to

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Speaker 1: be the goal for composers, is that you write the

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Speaker 1: greatest stuff before you die, and most of them are

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Speaker 1: like that. You know, Strauss's Four Last Songs or Verity's

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Speaker 1: False Staff, you know, all of these great works. So

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Speaker 1: I guess it's the trajectory that I admire, and this

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Speaker 1: kind of constant deepening of your palette and trying to

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Speaker 1: really make it better each time, which, of course the

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Speaker 1: pop world is so lacking and has always been.

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Speaker 2: You know, that's more.

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Speaker 1: About youth and vigor and what's the hottest thing on

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Speaker 1: the block right now, So it's an antidote to.

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Speaker 2: That for me.

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Speaker 4: My god, I'm thinking about you talking about having.

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Speaker 3: Suffered whatever British press reactions to the musical that you've written,

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Speaker 3: but you're answering that by going to Paris to perform

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Speaker 3: a requiem written with Meryl Street narrating it. To me,

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Speaker 3: it feels like that's the trajectory that you're talking about.

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Speaker 3: It's not chasing the white hot popularity contest music.

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Speaker 1: Yeah, And what's interesting about the requiem is that is that,

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Speaker 1: like Verity, what I'm hoping is that, you know, if

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Speaker 1: the piece does well, there's really pre requiem and post

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Speaker 1: requiem for verity. After he wrote that piece, he became

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Speaker 1: a much better composer because doing a religious piece you.

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Speaker 2: Have to go to this other dimension.

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Speaker 1: I mean, I'm not particularly religious per se, though I

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Speaker 1: was a little shocked by how well it all fits,

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Speaker 1: like all the Latin texts and the prayers and stuff like,

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Speaker 1: it's all in there. But nonetheless, even if you're not

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Speaker 1: a religious person, if you're writing religious music, you know,

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Speaker 1: you have to at least try to believe in something.

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Speaker 3: Yeah yeah, wait, did it encourage you to believe more

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Speaker 3: in some Yeah?

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Speaker 2: No, I question.

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Speaker 1: I mean I was never baptized, but I had to

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Speaker 1: go to church, you know, because of school and stuff

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Speaker 1: as a kid. But I did have thoughts of maybe,

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Speaker 1: you know, getting baptized just for the hell of it.

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Speaker 1: But then I did go to church a few times,

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Speaker 1: like over Christmas, I went to midnight Mass, and I

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Speaker 1: was reminded of how boring.

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Speaker 2: It was.

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Speaker 1: And how I really don't like the whole actually being

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Speaker 1: in church and all of that stuff.

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Speaker 2: I find it needs an update, major updates.

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Speaker 1: I love it, an update, but the prayers themselves and

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Speaker 1: the stories and also Jesus.

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Speaker 2: I think there are.

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Speaker 1: Things that Jesus professed which we need to actually really start,

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Speaker 1: you know, thinking about.

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Speaker 3: I think perhaps also we need our approach to be updated.

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Speaker 2: Yeah, yeah, I think all of that.

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Speaker 4: Could we need a little.

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Speaker 2: Bit, Yeah, yeah, we need we love.

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Speaker 4: Less Didge. Where and when were you happiest?

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Speaker 2: I would say.

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Speaker 1: Probably a few months ago when I had nothing to

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Speaker 1: do in the evening and I was just having dinner

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Speaker 1: with my husband and our thirteen year old daughter, Viva,

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Speaker 1: and we were just talking about the day, and then

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Speaker 1: afterwards we played the game of Uno. And I think

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Speaker 1: that fundamentally, it's when I've been happiest. You know, those

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Speaker 1: nights are few and far between because I work so much.

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Speaker 1: But I just hit fifty And what I'm realizing is that,

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Speaker 1: you know, when you're happiest is not necessarily when you're

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Speaker 1: happiest that's good meaning, that's sort of you know, the

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Speaker 1: euphoria of being happy is tricky. But when there's this

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Speaker 1: sort of there's a moment of peace and calm and

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Speaker 1: and just beauty, I guess that I think is true happiness,

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Speaker 1: even though it's not you know, ecstatic. So yeah, because

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Speaker 1: the ecstatic thing always I love it, obviously, but it

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Speaker 1: also you know, I've had a lot of ecstatic moments

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Speaker 1: when in fact I was very unhappy without sort ofly

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Speaker 1: knowing it.

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Speaker 3: I wonder if that is something that comes with age,

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Speaker 3: because it was the same with love. It was like

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Speaker 3: love had to be ecstatic or I didn't recognize it

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Speaker 3: as love. And the same with happiness, and I think

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Speaker 3: there's such a what's the word.

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Speaker 4: Maybe it's mellowing?

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Speaker 2: Yeah, yeah, around.

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Speaker 3: Happiness and love. It's not less, it's ten times more,

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Speaker 3: but not be.

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Speaker 2: And it's what you refer back to.

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Speaker 1: I mean, you know, the touching moments in my life

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Speaker 1: are when I think of those evenings of just me

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Speaker 1: and my husband and my daughter having a nice meal together,

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Speaker 1: how important that is, and how great that is, and

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Speaker 1: how thankful I am for that, and how happy I

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Speaker 1: am in that space.

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Speaker 4: Can I ask you about writing from that space?

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Speaker 2: Yes?

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Speaker 3: Yes, Like, is it harder to write from a happy

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Speaker 3: place than it is from a sad place?

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Speaker 1: Well, look, I was kind of licking some of my

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Speaker 1: wounds from some of what the press said about Opening

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Speaker 1: Night and really went to a dark place, and then

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Speaker 1: all of a sudden, all I could do was write

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Speaker 1: another song, you know, And I started writing this other

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Speaker 1: song and I think it's quite good, and it was

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Speaker 1: a bit like, you know, you just got to move on

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Speaker 1: to the next thing. And it did come from strife.

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Speaker 1: So I mean, I don't want to say that.

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Speaker 2: I don't know.

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Speaker 1: Unfortunately, I think artists have to always kind of put

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Speaker 1: themselves through all of it.

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Speaker 2: I don't know. I'd like to let go of that notion.

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Speaker 2: I don't know. There's a grain of truth in there. Yeah,

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Speaker 2: So I don't know. I agree, No, I agree.

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Speaker 3: I always think about Joni Mitchell, about her blowing up

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Speaker 3: her relationship and then writing Blue because she was just

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Speaker 3: too happy and too yeah yeah, was too beautiful as

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Speaker 3: we yeah yeah, yeah yeah.

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Speaker 1: I think being fundamentally happy and in a good place

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Speaker 1: isn't necessarily conducive with great art. But I could be wrong,

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Speaker 1: and I'm willing to also accept that if I am, hopefully.

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Speaker 4: What is the quality you like least about yourself?

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Speaker 1: My lack of initiative and kind of terms of the

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Speaker 1: heart meaning that I I don't know. I think with

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Speaker 1: the arts and with artistic pursuits and even with my career,

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Speaker 1: I'm pretty good at shooting the arrow where it needs

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Speaker 1: to go. But in terms of my personal life and

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Speaker 1: so forth, I seem to have like this delayed reaction

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Speaker 1: to everything. You know, I'll only realize three or four

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Speaker 1: days later that I've been hurt emotionally or that I've

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Speaker 1: done something a bit off, you know. And there are

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Speaker 1: moments where I kind of know that I'm saying something

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Speaker 1: or someone is saying something to me that's not productive,

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Speaker 1: and I just sort of clam up. It's like a

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Speaker 1: defense mechanism, and I just was in the moment I

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Speaker 1: could actually say what I feel, and say what I need,

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Speaker 1: and say what I really want and just you know,

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Speaker 1: get to the meat of the matter. So that's what

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Speaker 1: I hate about myself sometimes.

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Speaker 4: Wow, that's interesting, the delay. But it's that it's not

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Speaker 4: you thinking later, oh what I said about that person

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Speaker 4: or to that person, but rather also for yourself. Like

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Speaker 4: that's really interesting you saying I didn't know that i'd

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Speaker 4: been hurt.

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Speaker 2: Yeah, yeah, yeah yeah.

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Speaker 3: With things that you find difficult about yourself, do you

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Speaker 3: consciously work on them when they're not actually happening, or

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Speaker 3: do you notice them when they do and go shit,

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Speaker 3: I got to get to that.

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Speaker 1: Well, I found more now and once again, I'm still

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Speaker 1: referring to this experience I had of putting on a musical.

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Speaker 4: Do you talk about it? It's very fresh.

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Speaker 1: So I've gone through that experience and now I find

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Speaker 1: just now I'm back to life and back to normal

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Speaker 1: quote unquote existence. Yes, there are things that you know,

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Speaker 1: with bringing up a child, or being married, or or

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Speaker 1: dealing with you know, financial things, you know, nuts and

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Speaker 1: bolts of life that I'm like, I got to just

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Speaker 1: deal with this right now. You know, I can't blank

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Speaker 1: out here, and it's easy for me to just lie

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Speaker 1: in my bed and oh, I'm this tortured artist who

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Speaker 1: has no room for anything else but creativity in my mind.

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Speaker 1: But the truth is that you actually should probably you know,

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Speaker 1: express this, And so I kind of slip into the

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Speaker 1: artist mood to kind of avert some just normal things

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Speaker 1: in life which would eventually bites you in the ass.

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Speaker 3: Well, as my dad said, you never run up a

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Speaker 3: bar tab you don't eventually have to pay.

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Speaker 4: Yeah, it's horribly.

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Speaker 1: It's horrible, and I think especially now because you know,

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Speaker 1: because we have a thirteen year old daughter and she's amazing,

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Speaker 1: but it's a really treacherous road right now bringing up

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Speaker 1: kids and yeah it is, and you've got to really

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Speaker 1: be on the ball and be ready to act immediately.

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Speaker 4: Real quickly.

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Speaker 3: I agree, I agree, I mean it does it forces

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Speaker 3: you to be like vigilantly present having a teenager.

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Speaker 2: I'm so I'm trying to do that.

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Speaker 4: What question would she most like answered?

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Speaker 1: I would say, oh god, I'm going to kind of

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Speaker 1: go for the million dollar one. You know what happens

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Speaker 1: after death? Yeah, you know, it's the one question that

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Speaker 1: nobody has the answer to.

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Speaker 4: So do you think it would make your life better

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Speaker 4: if you knew?

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Speaker 2: I don't know.

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Speaker 1: It's something that and this goes back to like the

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Speaker 1: composer thing is that is that you know, when you

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Speaker 1: listen to that music, which is still so alive and

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Speaker 1: still grappling with all of those big feelings and philosophies,

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Speaker 1: there's always something screaming out from beyond the grave, you know,

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Speaker 1: like come to me, or I know there's messages coming

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Speaker 1: from there.

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Speaker 2: You know that I hear loud and clear.

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Speaker 1: I Mean, I can't say what they are exactly, but

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Speaker 1: I'm very attuned to the other world. And if anything

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Speaker 1: is just to like calm me down a little bit

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Speaker 1: so I can focus on something else.

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Speaker 3: I love it, So you'd like to know so that

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Speaker 3: you can just relax a little.

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Speaker 2: Yeah, but I don't think we'll ever know.

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Speaker 4: No, I don't. I don't. I don't know that we

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Speaker 4: will eat. But you're sure. I think you're right. You

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Speaker 4: can feel it?

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Speaker 2: Yeah, oh yeah, no, I feel it all the time.

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Speaker 4: Do you have a right from that place?

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Speaker 2: Oh? Yeah, right from that place all the time.

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Speaker 1: I mean in my pieces, there's often references to death

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Speaker 1: and whether it's gleeful or sad, I don't know. I

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Speaker 1: think that's probably my Irish side, you know, from the

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Speaker 1: mcgaragyll side.

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Speaker 4: Do you think that a requiem could be happy?

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Speaker 2: Oh yes, very much so mine isn't those.

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Speaker 4: Sadly, it definitely could be mine.

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Speaker 1: It's when I think of happy requiems per se, I mean,

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Speaker 1: I love for by the way.

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Speaker 4: That's the one that was the second one that I

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Speaker 4: learned to sing.

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Speaker 2: Yeah, yeah, yeah.

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Speaker 4: It has a very happy middle.

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Speaker 1: Yeah yeah, has moments like that, and Mozart's requiem has

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Speaker 1: a sort of sense of relief and peace. Mine the

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Speaker 1: end especially is a little bit more spooky because it's

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Speaker 1: a bit like where are we going?

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Speaker 2: Where is this leading?

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Speaker 4: Well, in terms of you wondering where are we going?

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Speaker 1: Or yeah, well that's are we being led to salvation?

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Speaker 1: Or are we being led to a living or are

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Speaker 1: we being led to hell? There's a real question mark

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Speaker 1: at the end of mine. It ends with like a

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Speaker 1: child's chorus and they're kind of being led off. But

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Speaker 1: it could also be like the pie piper.

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Speaker 4: Oh that's creepy. I like it. Yeah, that's super creepy.

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Speaker 4: So actually your answer to the what question do you

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Speaker 4: most like answered that is something that you ruminate on?

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Speaker 1: Is this after Yeah, I think on one end and

384
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Speaker 1: one thing I'm obsessed with, and I'm also very afraid

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Speaker 1: of it.

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Speaker 2: It fascinates me. Do you know?

387
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Speaker 3: I became less frightened of it when my mother died

388
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Speaker 3: because I keep thinking, if she's there, I have this

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Speaker 3: idea of tethering that because she.

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Speaker 4: Was this portal in that there will be some sort

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Speaker 4: of like you know, like the guys doing the sammaphore

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Speaker 4: or me with the aeroplane. I just can imagine her

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Speaker 4: there with headphones on and.

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Speaker 3: Like two cons and like a high vis vest, being

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Speaker 3: like in coming this way, this way to paradise.

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Speaker 4: Men.

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Speaker 1: I had to serve of an opposite experience than that

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Speaker 1: with my mother, because my mother passed away too, about

399
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Speaker 1: fifteen years ago, but it was her birthday, it was

400
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Speaker 1: my birthday, sorry, And this was maybe six or seven

401
00:20:15,400 --> 00:20:19,360
Speaker 1: years after she died. And she wrote this song called Mendocino,

402
00:20:20,440 --> 00:20:23,200
Speaker 1: which was a beautiful song and it's obviously it takes

403
00:20:23,440 --> 00:20:26,520
Speaker 1: place in Mendocino, California, where I'd never been. And so

404
00:20:26,560 --> 00:20:29,719
Speaker 1: I decided to take a trip to Mendocino, my husband

405
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Speaker 1: and I and we had this little dog named Puccini,

406
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Speaker 1: this beautiful little dog, and we went to Mendocino and

407
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Speaker 1: it was gorgeous and it was a wonderful day, and

408
00:20:38,280 --> 00:20:40,639
Speaker 1: it was my birthday and I sang her song on

409
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Speaker 1: the beach and we filmed it, and it was this

410
00:20:43,280 --> 00:20:45,639
Speaker 1: kind of like a happy moment, a little maybe a

411
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Speaker 1: little bit like what we talked about before, like are

412
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Speaker 1: you sure you're happy when you're happy? And then the

413
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Speaker 1: next day our dog was killed by a big dog.

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Speaker 1: We had a little puppy and this big dog killed

415
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Speaker 1: Puccini in front of us, And there was a definite

416
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Speaker 1: feeling that I had, and it had to do with

417
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Speaker 1: my mother. She was like, don't come too close to

418
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Speaker 1: me now, like it was like, don't tempt death this way.

419
00:21:13,560 --> 00:21:18,080
Speaker 1: It was very Kate, Wow, it's this fascinats move. And

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Speaker 1: I had moments when I love death and you know

421
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Speaker 1: when I wish for it certainly.

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Speaker 3: So what person, place, or experience most altered your life.

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Speaker 1: I would definitely say that when I decided to go

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Speaker 1: to rehab back in the nineties of my own volition,

425
00:21:47,480 --> 00:21:53,600
Speaker 1: that was an amazing gift of grace that I bestowed

426
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Speaker 1: upon myself because I wasn't forced to go there and

427
00:21:57,480 --> 00:21:59,040
Speaker 1: I just kind of packed up everything and I knew

428
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Speaker 1: I had to get my shit together. I didn't stay

429
00:22:01,200 --> 00:22:03,879
Speaker 1: sober necessarily the whole time, and it was kind of

430
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Speaker 1: a rocky road for a while, and it's a battle

431
00:22:06,240 --> 00:22:09,480
Speaker 1: that you never totally get over. But just having that

432
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Speaker 1: moment at that point in my life, when I was

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Speaker 1: twenty seven twenty eight, of just saying like, stop the world,

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Speaker 1: I got to take care of myself. I'm stepping out

435
00:22:19,119 --> 00:22:21,359
Speaker 1: and I'm going to go off and do this was

436
00:22:21,400 --> 00:22:23,960
Speaker 1: just so valuable. And I say that to this day, like,

437
00:22:24,119 --> 00:22:26,440
Speaker 1: whether you stay sober or you don't stay sober, if

438
00:22:26,440 --> 00:22:30,040
Speaker 1: you're able to just stop everything and just totally focus

439
00:22:30,119 --> 00:22:33,600
Speaker 1: on yourself, one hundred percent nobody else for a good

440
00:22:33,720 --> 00:22:35,960
Speaker 1: chunk of time. If you're able to do that, then

441
00:22:36,080 --> 00:22:39,120
Speaker 1: do really take that chance, because it makes all the difference.

442
00:22:39,600 --> 00:22:41,480
Speaker 1: So I'd say say that was probably a.

443
00:22:42,920 --> 00:22:46,720
Speaker 4: Very very young to have been able to take yourself

444
00:22:47,200 --> 00:22:48,439
Speaker 4: in hand like that.

445
00:22:48,760 --> 00:22:49,600
Speaker 2: Yeah, it was young.

446
00:22:49,640 --> 00:22:51,639
Speaker 1: I mean there's other It's an interesting thing because I

447
00:22:51,680 --> 00:22:54,560
Speaker 1: actually had no money at the time. I was pretty

448
00:22:55,600 --> 00:22:58,399
Speaker 1: or i'd had some success. But what happened is I

449
00:22:58,440 --> 00:23:03,080
Speaker 1: had done that the song halle for Shrek, and not

450
00:23:03,160 --> 00:23:05,640
Speaker 1: knowing at all what that meant or anything, just I'd

451
00:23:05,680 --> 00:23:07,679
Speaker 1: done it in an afternoon because they told me to

452
00:23:07,720 --> 00:23:10,399
Speaker 1: do it, and then my life was all crazy and

453
00:23:10,440 --> 00:23:11,920
Speaker 1: I said, you know, I really have to go away

454
00:23:11,920 --> 00:23:15,040
Speaker 1: to rehab. And then the day after I decided to

455
00:23:15,119 --> 00:23:18,040
Speaker 1: do that, my first check arrived for Hallelujah, and it

456
00:23:18,080 --> 00:23:21,360
Speaker 1: was for seventy five dollars and it was the exact

457
00:23:21,440 --> 00:23:24,639
Speaker 1: amount of money needed to go right into rehab. So

458
00:23:24,800 --> 00:23:27,280
Speaker 1: it was like my first big check ever was from

459
00:23:27,280 --> 00:23:29,240
Speaker 1: that song. And that's the other thing is that I

460
00:23:29,280 --> 00:23:32,560
Speaker 1: think if you really do anything like that profound and

461
00:23:32,600 --> 00:23:35,720
Speaker 1: it's true, and you really have the intent to try

462
00:23:35,760 --> 00:23:38,080
Speaker 1: to follow through on it, you know the world will

463
00:23:38,080 --> 00:23:39,000
Speaker 1: help you get there.

464
00:23:39,560 --> 00:23:41,200
Speaker 2: So I was lucky to have that experience.

465
00:23:41,359 --> 00:23:47,760
Speaker 3: Yeah, I think thatwithstanding the storm and keeping on is

466
00:23:47,760 --> 00:23:48,880
Speaker 3: is most of the battle.

467
00:23:49,119 --> 00:23:51,080
Speaker 2: Actually, yeah, totally totally.

468
00:23:56,000 --> 00:23:57,440
Speaker 4: What would be your last meal?

469
00:23:59,000 --> 00:24:00,920
Speaker 2: My last meal? Oh my god?

470
00:24:01,400 --> 00:24:05,840
Speaker 1: Yes, it would definitely be Vener schnitzel. First, I would

471
00:24:05,840 --> 00:24:08,719
Speaker 1: say Vener schnitzel by my husband, because he makes amazing

472
00:24:08,800 --> 00:24:09,560
Speaker 1: vener schnitzel.

473
00:24:09,760 --> 00:24:12,399
Speaker 4: Is he German or is he Austrians German?

474
00:24:12,480 --> 00:24:14,679
Speaker 1: Yeah, he's German but he but he can make a

475
00:24:14,720 --> 00:24:18,919
Speaker 1: really good vener stencil. Second though, is the Veener Schnitzel

476
00:24:19,440 --> 00:24:22,440
Speaker 1: from Delawnay's in London.

477
00:24:22,840 --> 00:24:25,000
Speaker 4: I love from the Delauney that's right.

478
00:24:25,080 --> 00:24:28,800
Speaker 1: They Yeah, they do a great vanis Stinsel there, So

479
00:24:28,840 --> 00:24:30,760
Speaker 1: it would be a Delaunay vener Sninsel.

480
00:24:30,880 --> 00:24:36,080
Speaker 3: So you'd have double schnitzel. I'm actually double schnitzel. Yeah,

481
00:24:36,560 --> 00:24:38,800
Speaker 3: husband schnitzel and then they.

482
00:24:42,119 --> 00:24:46,000
Speaker 4: Very good. Now did you like that before you met

483
00:24:46,040 --> 00:24:49,439
Speaker 4: your husband or is it because he that's a love food?

484
00:24:50,040 --> 00:24:52,320
Speaker 1: Well, I mean I I think I think I knew

485
00:24:52,359 --> 00:24:54,800
Speaker 1: I loved it, but then you know, subsequently he would

486
00:24:54,800 --> 00:24:56,720
Speaker 1: make it. But we would also go on these wondrous

487
00:24:56,760 --> 00:25:00,199
Speaker 1: Viener Schnitzel expeditions, you know, go to Vienna and all that.

488
00:25:00,280 --> 00:25:02,960
Speaker 1: And also especially there's a great place in Berlin. You

489
00:25:03,000 --> 00:25:04,240
Speaker 1: probably know, Borchard's.

490
00:25:04,800 --> 00:25:05,680
Speaker 4: I don't know.

491
00:25:07,080 --> 00:25:10,560
Speaker 1: Yeah, it's a great it has an amazing but also

492
00:25:10,960 --> 00:25:13,760
Speaker 1: especially in the spring, you have it with white asparagus,

493
00:25:14,480 --> 00:25:17,439
Speaker 1: and that's a big German thing. And and and so

494
00:25:17,520 --> 00:25:21,080
Speaker 1: the vner Stinsel and white asparagus is you know, that's

495
00:25:21,119 --> 00:25:23,840
Speaker 1: that's I've died many times, I guess.

496
00:25:27,880 --> 00:25:31,120
Speaker 3: Oh rufus. Thank you so much for answering my question.

497
00:25:31,240 --> 00:25:34,240
Speaker 3: I want to tell you Phogocracy is one of my

498
00:25:34,480 --> 00:25:35,320
Speaker 3: most played.

499
00:25:37,280 --> 00:25:38,080
Speaker 2: Yeah, that's great.

500
00:25:39,400 --> 00:25:43,600
Speaker 4: It is, honestly, it's masterful and beautiful. I love the

501
00:25:43,680 --> 00:25:44,400
Speaker 4: music that you make.

502
00:25:44,960 --> 00:25:46,120
Speaker 2: Thank you, thank you.

503
00:25:46,280 --> 00:25:48,440
Speaker 4: Thank you a million times for doing this.

504
00:25:48,800 --> 00:25:49,239
Speaker 2: Thank you.

505
00:25:52,640 --> 00:25:55,879
Speaker 4: Many Questions. Is hosted and written by Me Mini Driver,

506
00:25:56,760 --> 00:26:00,919
Speaker 4: Executive produced by Me and Aaron Kaufman, with production support

507
00:26:00,960 --> 00:26:05,359
Speaker 4: from Jennifer Bassett, Zoey Denkler and Ali Perry. The theme

508
00:26:05,440 --> 00:26:10,160
Speaker 4: music is also by Me and additional music by Aaron Kaufman.

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00:26:10,800 --> 00:26:16,400
Speaker 4: Special banks to Jim Nikolay Addison, O'Day, Henry Driver, Lisa Castella,

510
00:26:16,720 --> 00:26:21,040
Speaker 4: Annick Oppenheim, a. Nick Muller and Annette Wolfe a w kPr,

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00:26:21,400 --> 00:26:27,120
Speaker 4: Will Pearson, Nicki Etoor, Morgan Levoy and mangesh At Tickedore