Julianne Moore will be honored with the Desert Palm Achievement Award, Actress at that 26th annual Palm Springs International Film Festival (PSIFF). Moore accepts the award Saturday, January 3rd, 2015 at the fest’s annual Awards Gala. Hosted by Mary Hart and presented by Cartier, the event takes place at the Palm Springs Convention Center.
“Throughout her career, Julianne Moore has delivered a wide range of extraordinary performances, from such diverse Oscar-nominated films as Boogie Nights and Far from Heaven to this year’s Cannes win for Best Actress in the riveting Maps to the Stars,” said Festival Chairman Harold Matzner. “In her latest film Still Alice, she faces one of her most demanding and challenging roles as Alice, a woman diagnosed with Early-Onset Alzheimer’s Disease. Moore delivers another career defining performance that is sure to captivate audiences and bring attention to this devastating disease. It is our honor to present the 2015 Desert Palm Achievement Award, Actress, to Julianne Moore.”
Previous recipients include Sandra Bullock, Marion Cotillard, Natalie Portman, Halle Berry, Naomi Watts, and Michelle Williams.
Moore, a four time Oscar nominee, received an Emmy in 2012 for her portrayal of Alaska Governor Sarah Palin in the HBO film Game Change.
In the clip below, Julianne Moore explains why her greatest pleasure in acting has been “the actual work”:
With Starry Eyes, Alex Essoedelivers one of this year’s most horrifying (and inspired) performances as Sarah Walker, a struggling actress who will do anything to land a sizable movie role.
Working at a dead-end, Hooters style restaurant, Sarah dreams of making it big in Hollywood, and when she gets a callback from a once prestigious production company, she may have landed a big break. Unfortunately, getting the job will require a total physical and emotional transformation for Sarah, and sometimes the bright lights of showbiz will blind the brightest of dreamers. Pat Healy (The Inkeepers) and Amanda Fuller (TV’s Last Man Standing) also star.
Alex Essoe, Starry Eyes (MPI Media Group)
“(Sarah) doesn’t love herself enough to create boundaries,” said Essoe during our interview. “She’s looking for the industry to define her instead of already knowing who she is and telling the industry who she is.
In the video clip below Alex Essoe talks about the challenge of building her Starry Eyes character and why judging Sarah would have been a disservice to the narrative.
Starry Eyes, directed by Kevin Kolsch and Dennis Widmyer, opens in theaters, OnDemand, and iTunes on November 14.
DaNica Shireytook a several year break from the music business after her father’s passing, but now the powerhouse singer has returned to her passion thanks to her successful run onThe Voice. Whether it’s her Battle Rounds performance of “Halo” or taking on Whitney Houston’s “Saving All My Love For You” during the Knockouts, Shirey has performed with a ton of confidence and inspiration (not to mention talent).
During our interview, Shirey talked about her feelings going into the Live Playoffs (she’s being coached by Pharrell), elaborated on her love for R&B/soul music, and explained why Bob Marley’s uplifting “Three Little Birds” is high on her personal music rotation.
Why “Saving All My Love For You” during Knockouts? Tacking Whitney Houston is a mighty order!
I really have been highly influenced by Whitney. It’s been one of those kind of things for me. I was little when I had my very first karaoke machine. My dad got it for me when I was 8.
I ended up having some instrumental, mixed CDs and I first learned a Whitney Houston song when I was 10. I sang it at the Apollo Theatre when I was 15. So she’s always been a big part of my life and she is kind of one of those untouchables and people don’t like (singers) doing her (songs). So I guess that kind of makes me want to do it (laughs).
I don’t feel like I could have been the same singer without her. I wanted to represent a little where I come from, you know (laughs)?
http://youtu.be/tF13dvOENRE
With Live Playoffs upon us, how much work goes into the process?
Knowing that we’re going into Lives, I’m super nervous and I’ve never done live TV before so I’m a little scared. I’m really excited. It’s not just up to my coach to save me – this is up to America now. So it’s kind of scary. I don’t know what America is going to want, and I may not be that person that they want to hear. But I can’t wait – and I’m finally getting recognized!
I walked down the street with Luke Wade and there was a lady who walked up and said, “Hi, I think you’re great!” And Luke says, “She’s on The Voice too.” And she said “I’m sorry, I don’t know who you are (laughs).”
I’ve noticed now with Battles and Knockouts airing, more people have recognized who I am and are coming up and saying hi to me. It’s really cool.
Luke was talking about how soul and R&B was a great way for him to directly connect with the audience. Do you feel the same way.
Yes, absolutely. For some reason, there’s just something different when I sing R&B music and soul. I feel it so much more. Everything that I sing – I feel it in my heart and I feel the emotions of the song. If I’m having an emotional day or I just don’t want to think about stuff, that would be my go-to music. I totally get why he said that. So true – it’s very true.
Do you have go-to singers or music that keeps you grounded and inspired time and time again?
I listen to a lot of Bob Marley too. He always makes me feel better. It’s just kind of the feel good music for me. That song “Three Little Birds” is a huge go-to. One of my girlfriends passed away in a car accident when I was 19 and I listened to that song every single day over and over again. My (friend) ended up buying me a sweatshirt with Bob Marley on it with the lyrics to that song because I listen to it so much.
Is it hard balancing your family life along with The Voice’s hectic schedule?
It’s hard. I do have to be away from my daughter, my fiance and my family. But at the end of the day, I just try and go with the flow as everything’s happening. I try not to think ahead because I might freak myself out a little bit. If I thought about the fact I would be out here for how long without seeing her, I would stress out.
But the cool thing is they provide travel to bring out your family and friends for each round that you do. She’s been able to come out and see me for the shows (but) she missed Knockouts because she was starting pre-school. She’ll be coming out for Lives.
I don’t find it that hard. I’m a stay at home mom. I think if I had work on top of this that would probably be a lot harder. For me, I’m very luck in the sense that I stay at home with her and I’m pretty good with my time (management) and juggling the two.
How does it feel to return to music with The Voice?
This has been my breakout moment again, because for a while there I hadn’t (done music). This has only encouraged me to keep chasing my dream. I know, coming out here, that this is not going to be just it for me. I definitely see my career going further and it’s all thanks to this opportunity. Obviously it’s going to give me more opportunities but just the experience and everything I’ve been learning so far from Pharrell song-wise that I didn’t know I could do before. I want to be able to continue to share that even after the competition.
I know I’m not going to stop and I’m not going to give up and I’ll use everything I’ve learned and put it into songwriting and all that good stuff (laughs)!
Thanks again for your time and good luck with the Live Playoffs.
Thank you so much!
THE VOICE — Season: 7 — Pictured: DaNica Shirey — (Photo by: Paul Drinkwater/NBC)
Warner Archive Collection is a treasure trove for classic movie buffs and cinephiles, and the recent Blu-ray release of the Joan Crawford classic Possessed is another gem worth grabbing.
Crawford earned an Oscar nomination as Louise Howell Graham, a wealthy woman blessed with a devoted husband (Raymond Massey) and a kindhearted stepdaughter (Geraldine Brooks). But money and privilege doesn’t always buy happiness, as Louise wanders the streets of downtown Los Angeles asking a trolley car conductor for a man named “David.”
It’s dawn in the City of Angels, and a disheveled, disoriented Louise is taken to the local hospital for treatment. While she lies in a mainly catatonic state, we delve into the events leading up to her inevitable tragedy.
Louise is madly in love with David (Van Heflin), a construction engineer whose womanizing tendencies doesn’t fit well with any kind of commitment. When Louise pushes David for a deeper kind of union, he breaks it off, leaving her in a permanent form of distress and bitterness.
She initially spends her days a caretaker and nurse to Dean Graham’s (Raymond Massey) sick wife, but after the woman drowns herself, Dean rebounds from his wife’s death and ask Louise’s hand in marriage.
Still not over her break-up with David, Louise’s stress level reaches new heights after he lands a job working for her husband and gets romantically involved with her stepdaughter (Geraldine Brooks).
With a running time of 108 minutes, there’s a ton of narrative to cover with Possessed, and the movie’s bread and butter lies in the solid performances from Crawford and Van Heflin. Louise and David’s incessant verbal warfare gives this film noir its proper edge. Though David’s devil may care attitude has kept him young and vital in his thirties, he has no idea Louise is a schizophrenic, and their final encounter leads to one of film noir’s most memorable (and gorgeously cinematic) moments.
Credit also goes to Curtis Bernhardt (he also directed the stellar flicks Conflict and The High Wall) and cinematographer Joseph Valentine for infusing this suburbia gone wrong drama with a haunting and compellingly atmospheric tone.
For fans who are in love with camera placement and visual design, there’s several, virtuosic point of view shots that places us in the mind and motivations of Louise’s character. Franz Waxman, whose composing work includes A Place in the Sun and Sunset Boulevard, delivers the appropriately spellbinding score.
It’s a stunningly photographed and beautifully acted piece, and if you’re a film noir enthusiast or initiate, I’d also recommend checking out the Blu-ray’s special features:
Featurette Possessed: The Quintessential Film Noir – Running over nine minutes, this segment contains interviews with film noir experts/authors/historians Dr. Drew Casper, Eddie Muller, JamesUrsini, and Glenn Erickson. The featurette gives viewers a primer on the noir genre as seen through the eyes and impact of Possessed.
Commentary by Film Historian Drew Casper – Although both the commentary and featurette were made back in 2005 for a Bette Davis/Joan Crawford DVD collection, both special features contain evergreen material. The Possessed commentary gives viewers a Film 101 lesson on film noir’s influence and history, and an enthusiastic Casper (who’s also a USC professor) is an absolute expert in the field, as he delves into Possessed’s cinematography and themes. He also details how German Expressionism served as an invaluable element of film noir’s fabric.
Director: Curtis Bernhardt Producer: Jerry Wald
Screenplay: Sylvia Richards & Ranald MacDougall – based on the novelette One Man’s Secret by Rita Weiman Actors: Joan Crawford, Van Heflin, Raymond Massey, Geraldine Brooks Running Time: 108 minutes
Released: Warner Brothers, May 29, 1947
Mia Pfirrman kicked off her Live Playoffs run on The Voice with her rendition of the Lana Del Reytrack “Young and Beautiful.” I interviewed Pfirrman last week as she talked about being the last remaining girl on Team Adam. She also explained why being a perfectionist can be a detrimental quality, especially if one’s a performer.
During our two chats, Pfirrman was candid about her own vulnerabilities (stage fright, perfection) while also remaining humble about her success on The Voice. I know I’m posting this story past the Live Playoffs midnight hour, but hopefully these questions below give you further insight into this talented and ambitious artist.
With the Live Playoffs before us, this is an entirely new chapter for you.
This is definitely going to be a huge, different chapter. It’s going to be a lot more intense. I’m going to need to bring even more to the table if I want to continue on. At this point, it’s up to America.
What else can you bring to the table? You have a great command of your voice and a solid stage presence . . .
Thank you!
THE VOICE — “Live Show” Pictured: Mia Pfirrman — (Photo by: Trae Patton/NBC)
No worries. What aspects do you think you can improve upon?
Something I’ve been really trying to work on is “less is more.” It’s such a huge deal right now to listen to your coach and take in everything they say and (take) full responsibility. Less is more is definitely something I need to work on because I’m always trying to push it for “more, more, more” when (sometimes) I really don’t have to. That’s something I really need to work on for the Live Playoffs.
What’s the key for you in delivering a great performance and shaking off your nerves?
This is really funny – are you ready?
Yeah.
My way of not being nervous – it’s a cliche. My way of not being nervous is just to literally think that – this isn’t real, this is just me in my room, imagining the people in front of me. Imagining these cameras going around me, and it’s not real (laughs).
And once it’s over, I then remind myself that this is real. So that’s my only way . . .
When did you learn how to do that?
I actually have been the worst person (in dealing with) stage fright. Every performance I’ve ever given before The Voice, even if it was in a small coffee shop, I was just a basket of nerves. I don’t know why. It never went away and I was always just so scared to get up in front of people because I’m a perfectionist.
Being on this show, knowing that nobody is perfect and nothing can be perfect, it really helped me. Just singing in front of the coaches alone is the biggest confidence booster.
http://youtu.be/LEddL44o-5I
Do you see this experience on The Voice as a form of education moving forward?
This is my career plan. I do feel school and work is important, but right now I really want to focus on this being my job and my life. Sometimes it doesn’t work out. Sometimes people don’t really go further with their plans for different reasons and I think it’s really up to the person to keep fighting for what they really want. And that’s the only thing I’ve got to do.
Are you okay with being a perfectionist, or does it have its drawbacks.
It’s not okay to think of yourself as a perfectionist when you’re working in this industry. It’s probably the worst thing you can do. If I have any advice for anybody – Adam has taught me that the most imperfect performance could be the best one. Here I am really focusing on every note that’s coming out and making sure it’s perfect. That can ruin a performance. It can just turn everything into a really crappy job.
Being on the show, it’s taught me so much and I’m straying away from that slowly but surely. With the help of Adam, I think I can get there a lot quicker.
THE VOICE — “Live Show” — Pictured: Mia Pfirrman — (Photo by: Trae Patton/NBC)
Dumb question – what’s it like being on a Team Adam, which is now basically a sea of dudes?
(laughs) Yeah. I was really nervous about the fact that I was the last girl standing on Team Adam. But these guys are amazing, they are like my big brothers. I’ve grown so close with them already and I couldn’t be happier that I have them just to help me and guide me. They look at me as their little sister now and we’re just fighters.
We’re really excited to be working with each other and a lot of people say that I have an advantage being the only girl, but Adam loves his boys so (laughs) I don’t know how it’s going to turn out. All I know is that I’m really, really blessed.
Thanks again for your time Mia and good luck with the Live Playoffs.
Matt McAndrew‘s Knockouts performance of “Drops of Jupiter” has propelled him into The Voice’s Live Playoffs, and this multi-skilled singer/songwriter has also proven that he’s a capable performer. McAndrew also has an earnest and humble manner in communicating with his fans and the press, qualities which should serve him well throughout the competition and, more importantly, his music career.
During our recent interview, McAndrew about “Drops of Jupiter” and why having a clear vision as an artist is an important element in his journey.
THE VOICE — Season: 7 — Pictured: Matt McAndrew — (Photo by: Paul Drinkwater/NBC)
You’ve received a ton of support from your fan base throughout your journey on The Voice. That must mean a lot to you.
It’s a new kind of phenomenon. Obviously I’ve done it for a long time where you’re just doing it because you just believe in you and you hope that other people would get behind it. So it’s just interesting actually have that happening.
It’s helpful – instead of just going and playing gigs at a chatty room or bar and not having people respond. Obviously it’s easier and more fun when you have a supportive fan base.
How much has your workload been the last couple of weeks going into the Live Playoffs. Of course, it’s a good thing . . .
Yeah, oh it’s great. I’ve been able to get enough sleep so far. That’s something I’m usually pretty good with. I always try to get eight hours or so. At this point in the game, it’s still possible for me – you might have to come home and send yourself directly to bed. But it’s great because the busy things we’re doing – the film, the interviews, and rehearsals – are things I love to do.
Can you talk about your Knockout rounds with Rebekah Samarin, as well as your choice of “Drops of Jupiter” as your song?
I hadn’t heard her song going into the Knockouts. So I had just my blinders on and I was working on my song and making sure it was the best that it could be. It was great, I said something on Twitter that I had a front row seat to her performance. I thought she did really, really well. It was a good day for both of us.
As far as “Drops of Jupiter” goes, I thought it would be cool as far as the arc of my performances on the show to do something like that. To get away from the guitar, which is not typical for me, but it’s a good opportunity for me to grow a little bit. I honestly had a blast and the main thing I wanted to do is go out there and not be nervous at all. I felt like, by far, it was the best performance I’ve done on the show and maybe the best performance I’d ever done.
http://youtu.be/VSo4Q25R8rs
What’s The Voice Live stage like. Are you excited to perform on a bigger stage?
It’s definitely cool. It’s weird because it’s not a very gradual change. You do the Blinds and then the next couple of stages are similar and this is like we’re going into rehearsals here and they are like “Oh yeah this is going to do this and this is the TV and this is all going to move.” All this crazy stuff.
So it’s a really big leap as far as the level of production. I’m excited to get my feet wet.
Has The Voice given you more fuel and momentum in continuing your music career?
I’m a pretty stubborn guy so I would have just been trudging along anyways. I kind of can’t help but to write songs. I would say it’s been such a tremendous boost of confidence being on the show and I think that’s what I’ll be taking with me more than added determination.
Having a laser focus on what you want to do is a good thing as well.
Yeah. I kind of pride myself on having a pretty good vision. The weird thing being involved (with music is) it’s not like becoming a school teacher or something where you can give somebody a set of instructions on how to get there.
It’s a total free for all – so you really have to have a vision of who you are and what you’re doing and what’s the next step. All the time. I think every artist needs a compass because there’s no clear cut way of how to get from being a small town kid to playing at the Grammys, you know?
Thank you for your time and take care!
Thanks so much man, I appreciate it!
The Voice Live Playoffs begin tonight on NBC (8 pm et/pt). For more info on Matt McAndrew, check out his official site.
ThoughAdam Levine said he would “cry like a baby” if he wasn’t selected as his coach, Portland, Oregon nativeTaylor John Williams chose Gwen Stefani after his Blind Audition performance of “Heartless.”
Williams carries a laid back demeanor that shouldn’t be confused with nonchalance, as during the interview he gave an insightful take on the joys of songwriting and getting the chance to showcase his artistry on The Voice.
Williams’ skills were on display during the Knockouts with his rendition of the standout Gary Jules track “Mad World” (Williams’ studio version of “Mad World” is also excellent). During our interview, the musician talked about his passion for music, being coached by Gwen Stefani and Portland’s DIY music scene.
http://youtu.be/uvk_JXVrW28
What is it like having Gwen Stefani as your coach?
The time that we’ve had has been really valuable. Being able to work with anybody who’s been relevant for as long as she has is invaluable. At least for me personally, she’s been really helpful as far as the performance element of what we’ve had to do. She doesn’t try to much to mess up my voice or (deal with) the technical side of singing. It’s mostly been about connecting with the audience and delivering a killer performance. That is what’s gotten her where she is today.
On connecting with an audience, what was it like performing ‘Mad World’ during the Knockouts?
It was the first time on the show that I got to sing a song that really meant something to me. I still have a lot more to learn as far as what I’m doing stage, but just having that song really helped me reach a different level.
http://youtu.be/7nCRnqn1SkU
With the Live Playoffs upon us, is this a whole new chapter for you as far as the workload you’ve been undertaking?
Definitely a new chapter. The workload is exponentially more challenging and we’re having to learn a lot more. It’s very quick as far as learning new songs and preparing for that big of a stage. It’s a whole different animal but at the end of the day, it’s the same thing. It’s about picking good songs and delivering performances people care about.
Have you been able to experience the music scene in Los Angeles. And what is the music environment like in Portland?
I haven’t really experienced the L.A. music scene other than what I’ve done on The Voice. Portland is a very DIY music scene. It’s a lot of independent musicians, and a lot of people grinding at home trying to produce EPs but it’s very, very cool. It’s a tough place to do anything big in. You kind of have to venture to the bigger cities, but I think it’s a great place to figure out your identity as far as your musicianship and what you want to do with your music.
After The Voice, will you move to Los Angeles or remain in Portland? Or maybe it’s not great to think that far ahead?
Everything couldn’t be more up in the air. I don’t know where this is going to take me and I’m not trying to think that far ahead because there’s a lot to do in the present. Everything about this experience has been very serendipitous. With each step, I try to take it slowly and be cool with wherever it ends up.
THE VOICE — “Blind Auditions” — Pictured: Taylor John Williams — (Photo by: Tyler Golden/NBC)
Are you surprised with how far you’ve come on The Voice and is it hard to process the success you’ve achieved since you’re doing so much work in the moment?
Yeah, I think so. I think it’s something that is difficult to process, but at the same time it’s a positive thing because my inability to grasp the gravity of the situation is what’s helped me move forward. And it’s a reminder that I love music. That’s why I’m here. I’m not here to win a show. If that happens, obviously that’s incredible. I don’t think I’m letting the production element get me to caught up in all this.
It must be a thrill getting an audience’s reaction while you’re performing.
Yeah, of course. It’s one of those indescribable things when you have a moment – for me when I feel that the most is when I’m in a smaller venue, maybe 100 people or so. A very intimate crowd and everybody’s kind of hanging on every word. It makes you want to write more.
Just seeing people listen to words that you’ve written and feel something, feel what you feel, is incredible. I want to keep that feeling alive within me for as much of my life as I can – (that’s) the ultimate goal, I guess.
http://youtu.be/aFdJCdb-doY
Is songwriting an important part of what you do as a musician?
The music that’s touched me the most and gave me the chills, just as some people talk about melodies that give them the chills, is a really well constructed thought that is (delivered) lyrically.
I don’t know what it is about lyrics that are so fascinating because you can say something very plainly and it doesn’t resonate the same way than if you put it poetically or metaphorically. I don’t know why that’s so much more powerful – but it’s that mystery I love so much about writing.
Well again, thank you so much for your time and good luck on the Live Playoffs.
Alright. Thank you very much.
The Voice LIve Playoffs start tonight on NBC (8 pm et/pt)
THE VOICE — Knockout Rounds — Pictured: (l-r) Anita Antoinette, Bryana Salaz, Gwen Stefani, Ricky Manning, Ryan Sill, Taylor John Williams — (Photo by: Trae Patton/NBC)
Instead of playing it safe, Reagan Jameschanged things up last week by tackling Blu Cantrell’s standout R&B tune ‘Hit ‘Em Up Style (Oops!).’ In context, it really wasn’t an unpredictable choice for James, who mentioned in our earlier Q&A that she wanted to explore different music genres.
James is now one of the artists featured on the The Voice’s Live Playoffs, which begin tonight on NBC (8 pm et/pt). Check out our new Q&A with the self-assured songbird, as she talks about her continued collaboration with Blake Shelton and getting the chance to perform on a new (and bigger) stage on The Voice.
I usually do songs that are a lot more laid back because I have a naturally breathy tone. I wanted to show a completely different side of my vocal ability and do something really intense, upbeat, and powerful.
‘Hit ‘Em Up Style’ has a great groove and I thought that people would remember it so I went with it. And I think it was a success – I’d say.
http://youtu.be/0oU2PYMVWuw
Continuing your collaboration with Blake Shelton, does part of that success comes from his lack of condescension. You guys are collaborating and he doesn’t act like some kind of expert who’s talking down to you.
It’s like a partnership almost because I bring something to the table and he perfects it and makes it the best it can be. He doesn’t talk down to me like – he talks to me like exactly how I am. I’m trying to be (the best singer/songwriter) and obviously I’m not. But everyday I work with him, I’m one step closer to that. I appreciate him so much.
Two part question. How crazy has your schedule been for the Lives and does it mean anything that you have a lot of momentum going into the Lives? Or is everything just unpredictable and you have to take it one step at a time?
It’s crazy, but it’s extremely worth it. The fatigue and the stress is worth it because the live shows are going to be absolutely amazing.
When you watch the show, the people that you think are going to win don’t even make it to the Lives. It’s totally unpredictable and I have no idea how it’s going to play out. I have my hopes and I have my ideas, but there’s no predicting. There’s no saying. I hope and I pray that I make it, and it’s been an amazing experience. Everything matters.
THE VOICE — “Knockout Rounds” — Pictured: Reagan James — (Photo by: Tyler Golden/NBC)
How much work do you put into the performing aspect of The Voice? Or does it come naturally to you?
I can perform pretty naturally. It’s very passionate, and I don’t have to work on that part very much. It’s the vocals that we put hours and hours into. I work super hard to perfect everything and yeah it takes a lot of work to get the to the best of my ability.
What are you looking forward to with the Live Playoffs?
I’m excited about performing on the stage. In the earlier rounds, the stage was fairly small – it isn’t huge. The stage gets a lot bigger in the Lives. The Live shows are crazy (with) the choreography and the way it all works is a lot different. And I’m stoked to be able to perform on that big stage. It’s going to be really cool.
I’m super nervous coming up to the show. But the day of (the show), I’m super relaxed. I have nerves, definitely. But the nerves don’t come from the performance.
I’m not scared I’m going to mess up the performance. I’m scared of the results. But I’m glad to be where I am and am feeling blessed and super excited for the future.
Reagan, thanks again for your time!
Thank you so much for having me.
THE VOICE — Knockout Rounds – Pictured: (l-r) Craig Wayne Boyd, James David Carter, Jessie Pitts, Blake Shelton, Reagan James, Taylor Brashears — (Photo by: Trae Patton/NBC)
Luke Wade jumped right out of The Voicegate with a stirring and emotive rendition of “That’s How Strong My Love Is,” and with the four chair turn Wade picked Pharrell as his coach.
It was a solid move for Wade, whose R&B and soul passions originated from listening to his parent’s stacks (or excuse the pun, Stax) of records. With a couple of albums already under his belt (The River was released in March), Wadetalked about receiving production insight from Coach Pharrell.
Check out our interview below as Wade talks about his journey on The Voice and why, whenever he’s on stage, it feels like he’s “going home.”
THE VOICE — “Blind Auditions” – Pictured: Luke Wade — (Photo by: Tyler Golden/NBC)
You’re one of the frontrunners to win it all on The Voice. Is that, for lack of a better word, a good or bad thing?
The show is about the human connection between the audience and you. Being a frontrunner has nothing to do with how much you connect with people, because ultimately it’s their desire to help you get further that is going to push you through the show.
The disadvantage of being a frontrunner is that people think you may have it made already and you’re going to skate through – so maybe they’ll vote for someone they don’t think will make it but they also like.
At this point, I think it’s all about that human connection. The vocal performance is definitely probably the most important part of it. That’s my focus – I’m not going to be better or worse than anybody. I’m just going to be somebody who happens to be on a show and hopefully people will identify with that and want to save me.
THE VOICE — “Knockout Rounds” Pictured: Luke Wade — (Photo by: Tyler Golden/NBC)
Growing up you must have listened to a ton of Sam Cooke, Otis Redding, and Curtis Mayfield. Is that where some of your early motivations lie – R&B and soul of yesteryear.
My mom’s a dance teacher and in order for me to get my five dollar allowance as a kid – it went up to $10 when I got my driver’s license. I would clean my mom’s dance studio and all she would have over there was records. I would listen my dad and mom’s old records. It was some Otis, some Sam Cooke, a lot of Led Zeppelin though, and a lot of Beatles. A lot of Eric Clapton and a lot of Bob Marley.
Really when I got into soul music it was when I had the realization – I actually started singing because I had something to say. It wasn’t based out of an idolization of someone else. I wen through a lot of hard times as a young man and I needed to find a way to express that. Music was the way.
Soul music, the thing about it, is that you can say less and say more because it’s all about the soul (and) the inflection. You can say almost anything if you sing it right. That’s when I jumped down that rabbit hole and I guess ultimately it got me here.
http://youtu.be/qdrB88zMkhM
How much practice and preparation goes into the songs that are performed on The Voice. Do the artists have tons of prep time?
It varies from person to person greatly depending on their level of comfort and confidence. Because you can definitely over practice and over prepare. You definitely want it to be genuine and of the moment, and you can rehearse that out of yourself if you do it too much.
But you definitely have lots of time to prepare. We have lots of help. So you’re talking anywhere between a week and a whole month to prepare for these songs. It varies from performance to performance. You have your coach and you also have your vocal coach. So yeah – a lot of TLC.
It must also be great to have albums under your belt that fans can currently check out, along with your music on The Voice.
I’m so glad that I have that, because what this show is really about from a personal perspective – it’s about trying to catch as much lightning in a bottle as you can. The way I tell people to think about the show is that it’s not like someone is giving you a car and keys and you can drive wherever. Someone’s giving you fuel. If you don’t somehow build or acquire something to put the fuel in – like a team of people and a mechanism for going somewhere, it’s just going to be a really pretty explosion.
Those albums I have, and I have a great manager and a great booking agency, a road manager, and band, and great merchandising. All that great stuff in place, so for me it’s just amazing that I can take this and go from it being a career to a career that I want. So it makes all the difference in the world.
THE VOICE — “Knockout Rounds” Pictured: (l-r) Luke Wade, Taylor Phelan — (Photo by: Tyler Golden/NBC)
Learning from Pharrell are you seeing a different angle to music, especially from a production standpoint?
Yeah, definitely. One of the first things he said to me was to not overthink and over feel. I’ve been doing this for 12 years, and I’ve been doing it professionally for 5 years. It means to stop trying to produce myself all the time and allow myself to be an artist. And allow people to help me with their perspective. It’s hard to read the label from inside the bottle. Sometimes you have to ask people to do that.
And that’s something I’m going to carry with me into producing and creating the next album. It’s just really getting someone whose ears and vision I trust to create something that shows everyone who I am more than I thought was possible.
Lastly, going into Lives, what is it like performing in front of people in general?
To me, it’s like going home. What happens is that we think that we’re all separate and that all of these things outside of us, and it might be material things or it might be the idea of a relationship or romantic love or something that we can find and reintroduce into ourselves that will make us whole.
The thing is, we’re all really the same thing and the same person. And whenever you can create a moment that you can share with everyone, you can remind yourself and everyone in the audience that’s where they belong. The thing we’re missing is that connection – the feeling that we’re all the same.
We can chip away at it with social media and it feeds it for a nanosecond at a time. But that moment on stage is where you can actually spend some time where you belong.
Luke, thank you so much for your time and good luck.
Well thank you so much.
The Voice Live Playoffs start tonight on NBC (8 pm et/pt)
Oscar winning actress Marion Cotillard (La Vie en Rose) teams with the Dardenne Brothers in the dramaTwo Days, One Night, the story of a woman who visits her co-workers to convince them to forego their bonuses to help her keep her job.
The picture opens in New York and Los Angeles December 24, and last week Cotillard was in Los Angeles to promote the movie. During the interviews, I asked Cotillard how she stays in the moment as an actress.
For Cotillard, having a good director behind the camera is of utmost importance, as well as developing a bond with the film’s cast and crew.
“If I feel free and if there’s a strong connection with the people I work with, it’s not hard for me to stay in the character.”
To hear Cotillard elaborate on the importance of feeling free in her work (she also mentions La Vie en Rose in the clip), listen to the audio below:
Marion Cotillard in Two Days, One Night (IFC Films)
