この音楽賞初めて知りました、聞いたことない。カナダの音楽シーン自体に疎いので（笑）とにかく素晴らしい、他に類を見ない素晴らしい本なので読むべし、と褒めちぎってる。
リンダ撮影の写真をmaryが焼き付けた特別なものなんだって。御大のサインが入ってるって意味なのかな?兎に角maccafamilyに感謝って事。御大は毎年色んな団体に寄付してるようだから、今年は新しくここが加わったってことかしら?御大の会社のマークは入ってるのが確かに貴重😆😆
人の話に割り込んじゃうのが悪い癖なんだって（笑）お喋りなんだ? ステラと違って我が強い感じは受けない、喋り方もソフトで優しいかんじ、ステラのほうが押しが強い喋り方じゃん?
Vanity Fair:It was too close to the family?
Sometimes artists don't feel very precious about the places they work. It's the office, for them. But to the audience, it's a sacred place. I wondered if the musicians you interviewed felt that way about the studio. The only one who talked about it in mystical, magical ways was John Williams.
ここで作業する音楽家にしてみたら、ここは仕事場だけど、観客にしたら神聖な場所。あなたがインタビューしたミュージシャンたちがどう思ってるか、唯一ジョン・ウイリアムズだけが神秘性を語ってますね。
I think it was very soulful for him. It's very much about the feeling of the room. I think you are right. I think one of the most surprising things, and it links to what you are saying is, which I really didn't know, is that Abbey Road has all of this equipment lying around. So there would be instruments, like Mrs. Mill's Piano, or a grand piano that Daniel Barenboim was using, who's the maestro. And then The Beatles would come in, or Pink Floyd would come in and they'd be like, "Oh, can we play that?" And they would use them on their records. So in that way, there was sort of an irreverence of like, "What's that instrument in the corner? Let's call that over and let's put that on the track."
そのとおり。指摘は正しいわ。驚くべきことに、実は私も知らなかったんだけど、機材がそのままなのよ。mrs.millsのピアノにマエストロのdaniel barenboimのグランドピアノ。ピンク・フロイドがこれ使えるのか?って驚いてレコーディングに使ったの。あの角にある楽器は?あれ使おう!って感じ。
興味深いのはアビー・ロードスタジオが場所だけじゃなく使われ続けて来た機材も提供してるってこと。
And that really interested me because that showed me that Abbey Road has really contributed not only the space, but the technical equipment and the instruments that happened to be there. It was little playground for everybody.
You feature these famous bands, not just The Beatles, but Pink Floyd, who could be famously combative with each other. You interview Noel and Liam Gallagher from Oasis, who were notorious for that. Yet I was touched to see them talking in complimentary ways about each other. Abbey Road was a place where people could synchronize.
You're right. What I wanted from the interviews was to drill down into those musicians really feel about Abbey Road. "Do you really care about Abbey Road? It's a building and you recorded here, but whatever. Do you really care?" And I think from the interviews, you can really see they are thinking fondly about it.
悪名高い（笑）ギャラガー兄弟にもインタビュー。仲の悪さで有名なのに褒めてるのに感動したって😆😆このスタジオには同じ感情を抱かせる、そういう力がある。インタビューからアーティスト達のアビー・ロードスタジオへの愛情を拾いたかったと言う、メアリー。
たしかに緊張が走ったこともある。音楽的な衝突や諍いも時に生じた。でも結局のところ、みんなこのスタジオに愛着を持っていて、それはとても興味深いことだわと続ける。
Yes, there were some tense moments, or they're talking about some creative differences, or sometimes maybe they were a bit naughty in the studios. But I think ultimately there's a real love for the place. And I find that really interesting that people feel that way about a building still.
You did an interesting thing with Jimmy Page and Elton John. You talked to them not so much about their own famous songs, but about working at Abbey Road as background sessions musicians on other artists' hits. I didn't know that Elton John played the piano on The Hollies' “He Ain't Heavy, He's My Brother,” or that Jimmy Page was a guitarist in the orchestra for Shirley Bassey's 007 theme to "Goldfinger."
面白いのはジミー・ペイジやエルトン・ジョンの彼等自身の有名な曲について聞くのではなく、アビー・ロードスタジオで、セッションミュージシャンとして他のアーティストのバックで演奏してた頃の話をさせてる事。記者もホリーズの曲でピアノを演奏してたのを知らなかったって。007のゴールドフィンガーのオケでジミー・ペイジがギター弾いてたのも知らなんだと。メアリーはエルトン・ジョンがピアノを弾いてた事実は知ってたらしいけど、マスターテープはぎりぎりで手に入ったみたい。聴いたら驚くこと間違い無いわ!ってメアリーは興奮気味（笑）このドキュメンタリー映画はアビー・ロードについてのもの。始まりは1931年にスタジオが誕生したシーン、edward elgar指揮の曲が流れる。
It took a while! I knew that Elton John had played on “He Ain't Heavy, He's My Brother,” but I didn't get the master until near the end of the edit. And I wasn't able to separate his piano until later. When you hear him playing, it's incredible. You're like, "Oh my goodness, that is Elton John playing piano."
The documentary is about Abbey Road, so always in the forefront of my mind was telling the story of Abbey Road Studios. So it opened with Edward Elgar conducting “Pomp and Circumstance” [at the studio's opening in 1931.] Jacqueline du Pré—I've always loved her as a cellist, but I didn't realize that the pieces that I'd been listening to were [performed] there. So it all pieced together. It shows that it's pop, it shows that it's rock ‘n’ roll, but I tell the story through the musicians.
メアリーはケイト・ブッシュから話が聞けたのも本当に嬉しかったって。
And I was also really, really happy to get some spoken word from Kate Bush as well, which was very important to me. She produced her third record there. She wrote there and she directed the video [for “Sat in Your Lap”] there. So to me, that was very important to include her as well.
I wish you luck as you take this to Telluride. The last question I have for you is, whatever became of Jet the pony?
Jet was our pony for a very long time. He was named after the [1973] song. He was a feisty little pony who we rode and loved. But it all comes back. I mean, that's a very unusual photo. And I loved the idea that by doing this documentary, I have been able to show the world one of my favorite photographs, which is my mother taking our pony across the zebra crossing to the studio. I just think it shows her character to a T and what a rule-breaker she was.
のJETのその後😆😆