Chords for Madonna - Rare Interview with Heike Makatsch - PART 1

When you listen to You'll See, [D] it sounds a little bit as if you were telling yourself,
[F] it doesn't matter to me, I'm going to be able to cope with it, but maybe it's not [C] really true.
[E] No, it's true.
She's over with it?
It's true, but it's [N] just, it's not, oh, I'm not hurt.
I can, you know, life goes on.
And yes,
it has hurt me, but I can survive.
And that's just the way it is.
And the one that's left behind or that left you behind is the one that's going to be hurt after all.
That's what it says, maybe?
Maybe.
I don't know.
I can't make the decision for that person.
Yeah, it looks like that in the video because that guy seems to be in the lower position then.
Well, everything you do comes back to you.
[B] And [N] then what about this Spanish thing in it?
How do you feel about this Spanish thing?
You look a little bit like maybe already Evita in those two videos without wanting to talk about the film right now.
We're going to do that later. _
Is that something like a preparing for it?
No, because when I did the Take About video, I still wasn't, I wasn't doing the movie.
The movie wasn't mine.
I mean, I hadn't been offered the role yet.
I've always dealt with, I think I must have been Latin in another life or something,
because I've written a lot of songs that have like Spanish themes to them.
And I always use Spanish guitar and I'm very drawn to Latin things.
So I don't really know.
That's just an unexplainable influence.
But also the styling and everything doesn't your hair like you have it in those videos.
It doesn't have anything to do with that figure.
Maybe that already before that you admired that woman or something before you knew you were going to do the movie.
Well, I think I'm influenced by all kinds of things.
When I did Take About, I had no idea that I was doing Evita.
I promise you that.
I believe you.
I swear, I swear.
Oh.
And the influences in your music on your new record seem to be very European. _
[Ab] Why is that?
Like which songs are you talking about?
Yeah, for example, you working with Massive Attack, you working with [E] Nelly Hooper,
[A] you working with Björk, which is Bedtime Stories.
But still, [Bb] it seems as if you were focusing on European [N] music a little bit.
Well, the [E] reason that I work with Björk [F] and Massive Attack is because of Nelly Hooper.
I asked Nelly Hooper to work on my last record.
And while I was working on it, he suggested that I work with Björk.
And since I was always a fan of hers, [E] I did.
And then while I was making [F] my Bedtime Story record,
the guys from Massive Attack would come by and hang [N] out in the studio
because they were friends with Nelly.
And they say to me at the time, well, we'd love to work with you sometime in the future.
So when the Marvin Gaye tribute album came up, Nelly called me and said,
would you like to work with Massive Attack?
And I said, yes.
_ It's all because of my [B]
friendship with Nelly.
That's why.
Because it's so surprising that you for me, you know, when I saw that,
that now you're working with Massive Attack and with Björk and with Nelly Hooper.
[D] It seems so very much up to date, you know, [Bb] like in Europe and also, I think, in America.
I don't know how popular they are in America.
They're not as popular here as they are in Europe.
Yeah, in Europe, they're very popular.
And it seems like how did she just know [N] that this is the right time to do it with those people?
But then it's just coincidence.
Well, I listen to a lot of European music.
I happen to be.
_ _ [F]
I've always listened to Björk.
I've always been a fan of hers and I've always been a fan of Massive Attack.
And [E]
a lot of the [G] things that Nelly Hooper has done, which is why I wanted to work with him on my [F] last album.
So but I tend to listen to.
[D] I'm not really into American music, [Bb] not new American [G] music anyways.
I mean, I listen to old R&B, old [N] soul, old blues records, jazz.
_ But I listen to a lot of Latin music.
_ What is the music from right now?
From what is the new American music?
What would you say?
[E] Don't you consider yourself a part of it?
No, no, no.
Standing somewhere [N] above all that?
I think of myself as an outsider.
_ And not belonging to the American culture at all. _
_ So I once heard that when you _ _
_ you produced a song that Prince wrote,
you never really sat together with him or talked to him about it.
You just send tapes back and forth.
Well, I [F] talk to him all the time on the phone.
And we met when we decided to work.
We when I went out to Minneapolis for a couple of days
and we got the original idea for the song, and then I couldn't stand
staying there because it was too cold.
So in Minneapolis, it's too cold.
So we sent [E] we would work on the master tape and send it back and forth
to each other through the mail.
That's how he finished it.
So in Iceland, it was too cold also
because I heard that you didn't meet Bjork either.
[Db] What was that like?
Actually, she [G] was on tour and I was in Los Angeles and I would have worked with her.
But she she _ was on the road all the time,
and I [B] could never get into the same spot she was at.
[D] So but sometime you [G] met.
Yes, there must have been a time where you met.
But so it's not [Ab] like that.
When I imagine you and Bjork [N] wrote a song together,
or Bjork wrote a song for you that you two sit on a table and go,
what do you think of this?
And should we do it this way?
And how can I imagine you working on a song that you write?
_ What does that look like?
Do you just need a_
Me, I'm laying on the floor on my stomach, writing in my notebook.
[B] And do you need a special mood?
[Ab] So to be creative so that something comes up inside of you?
Yeah, I do.
But I can't tell you what that is because all different moods inspire me.
Something has to inspire me.
Is it that you jump_
I need to be alone, that's for sure.
And you jump up at night and say, oh, now I've got it.
Sometimes.
Yeah.
And it's not like that you tell yourself sometimes, well,
I have to write a new song and you get up at nine o'clock in the morning, sit down.
And I do that, too.
So everything is possible.
_ Everything about writing a song in any way,
like when you sit in the car, in the bathtub.
Yeah.
_ It's not a special moment when you're most productive.
_ Usually right after someone breaks my heart, I'm terribly productive.
[F] You think that that pain and [E] being sad is good for being creative?
[Db] _
And when you're happy, you're not.
No, I am.
But [N] _ _ _
_ for me, pain is more inspiring.
But then I'm happy.
I'm too busy being happy.
Yeah, but that's what I wanted to say.
You're very creative, so you must be sad a lot of times.
There must be a lot of people breaking your hearts when you when you write
so many songs.
That's true.
_ _ Sorry.
_ _ _ Well, yeah. _
What is it that makes a song a real Madonna song?
And if you, for example, take a Marvin Gaye song like I Want You.
Mm hmm.
And then there's Massive Attack working on it.
But still, it's your song and everybody would know it's your song. _
And besides your voice.
Well, that's what it is, really.
It's the sound of my voice and the emotion in my voice.
It's mine and no one else's.
Is there a special style to the music?
I mean, if [F] the producer [Ab] is sitting there, you maybe tell him also what to do.
Do you leave the producer alone and say, do [F] whatever you want to do?
No, I work and it's a total [N] collaboration.
_ But there once again, there is no method.
I interpret the song my own way. _
And, you know, _ _ _ [E] _
I [Bb] can't I can't I can't answer that question.
Yeah.
Mm hmm.
But [N] in your music, you always have everything.
I mean, I think you're best when you have everything under your control.
What do you think if you can decide how things work?
So at the end, your product is very close to yourself.
_ [Bb] It's not a question of being in control.
It's a question of working with people who have [F] the same ideas that I have,
who are sympathetic to my ideas.
I don't want to work with someone who just agrees with everything I do.
I want to work with someone who has ideas that [E] I'm interested in.
[N] So we collaborate on things together. _ _ _ _
_ And I'm the most happy when I feel that it [Em] is the closest to the truth
or the closest to what I want to say.
But very often other [F] people, Nellie Hooper, influenced me with a lot of his ideas.
[D] And that's why I chose to work with him, because I [N] like his style.
I like his taste of things.
I like the way he looks at life.
And those are the kind of people that I want to work with.
_ [Db] _ _ [C] _ _
[Eb] I heard you talking about you [Gb] would really like to have a child.
[Ab] Is that one [Bb] of your wishes? _ _ _ _ _ _