Kuvat Rock n Reel -lehden haastattelusta löytyvät täältä ja täältä.
Haastattelussa Tori kertoo Live at Montreux -dvdstä, CBT:stä ja tulevasta musikaalista. Kiertueista Tori sanoo:
Family life has meant that her famous passion for live performance has gone onto the back burner for awhile. “Touring can’t be replaced by another kind of project; there’s juts no sort of drug that exists that gives you what touring gives you. But the thing about touring, with Tash being the age that she is, we have to reduce those big six-month tours down, we have to find a way if we’re going to do it, so it can work.” If touring is taking second place for the moment, other creative opportunities are filling some of the gap.
Tulevasta soolomateriaalista:
“I have a complex project that I’m working on with moving pictures and songs married together. When it comes out and who distributes it… I have to make the decision that will best support the project. I’m the investor. Since I left Sony I decided I wouldn’t do any less than a joint-venture deal. I have to hold some of the cards. I think you can be creative, and yet not a victim of the system; but you have to do business with the big guys in some way or another.”
Keyboard Player -lehden haastattelu on saatavilla pdf-muodossa, kertokaa jos haluatte. Haastattelussa on juttua ainakin musikaalista, levy-yhtiön jättämisestä ja tulevasta levystä. Tori mainitsee jälleen 17 biisiä, joten se näyttäisi nyt olevan seuraavan levyn kappalemäärä.
Amos is one of only a handful of female singers to achieve five or more Top 10 albums on the US charts, most recently with The Beekeeper in 2005. However, she stresses that success is no guarantee of winning creative freedom.
"You get freedom in spurts. Then at other times you'll be dealing with people in very powerful positions at a label who just like what they like, and they're God. You have people who will turn around and say, 'We thought you were gonna write us something like this.' I'll say, 'Yes, but I've just given you a variation on a theme of a Debussy piece, in pop music.' They'll look at me and say, 'Who cares about Debussy?'"
It was to avoid conflicts like that that led Amos to leave Sony and fund from her own pocket the project she is currently working on. "It's very much about the marriage of film and music. Think silent films, but centred around a song. It's not a video. I'm calling them Visualets. The story comes to you from the film and the song together.
"I had to become my own investor because, in this day and age, if you turn around and say, 'I want to produce 17 short films and 17 songs...' they're looking at you and saying, 'Not on our dime you're not.' That's true of an indie as well as a giant, because an indie doesn't have enough money. Everyone wants a guaranteed return, and with the economic situation the way it is, that means the ability to be brave is being aborted by the fear of our times.
"By leaving the Sony system I knew that if I could be the investor in the artist Tori Amos, then the work could be taken to its final moment on the creative side, before it gets meddled with. If you're not holding those financial cards, if you have to partner with someone, then you have to open the door, and I don't think records can be made as a democracy."
