Interviews from TV or magazines from Jean Michel.
1) This one is a from a Russian TV show (translated from Russian by Aeroman) :
-Journalist: I’ve read an interview, which says that when listening to your music, you want people to imagine or “make a film” in their minds. So what movie do you think appeared in their minds yesterday during the concert ?
-JMJ: In the songs, there’s always a story, and the words tell you that story, when you hear the instrumental music, whether it’s classical or jazz or electronic (In my case), that music allows the viewers to create their own film and I hope that my sound is a good soundtrack of some inner life of those people who are listening to it.
-The director of the film its listener or you ?
-JMJ: It’s combined, you see I create some kind of a scope for their imagination and there, the rest of scenario they have to make by themselves. But I always thought that music for films is a territory of my father, in the same time the music I’ve done, could be used for films at some point but I don’t need any images of other people for that…
-Tell me please, can you describe with words what do you feel when, for example in Sparrow Hills, I was there by the way, you play on a large amount of instruments and there’s everything glitters and shimmers around you, can you describe what do you feel at that moment ?
-JMJ: This question requers a whole explanation why I decided to do it that way. Electronic instruments are different, they’re vary from classical instruments. They’ve been created in studios, labs.. meanwhile the traditional instruments (a violin or a guitar) have been made for the stage and when sound recording appeared, to record a sound from them, people had to use microphones, but in the real deal those instruments were meant to be played on stage. So I started to wonder how music would sound on stage if it was created not for the stage. And that’s why I started creating an electronic world, to see which visual stuff would get along with music. And therefore I decided that I need to go out to some kind of an outer world looking for some place… like circus actors are travelling around the world… so I started to think how would it be done with that part of a global concept… so that opportunity to play in front of thousands of people… I always thought it would be hard to come out and play on one instrument in front of such a big audience, like it was in Kremlin Palace, when there are thousands of people want to see your visual world.
-And back to my question, what do you feel on stage?
-JMJ: well, how to put this right…maybe a feeling of shyness. I’m a part of this big event, I’m among thousands of viewers so… when I played here in Moscow a couple of years ago in front of thousands of viewers… well, in such times you have to go beyond the limits of yourself as an individual because you want to share every moment with that huge society of people…so maybe this is a feeling of shyness in a sense.
-So, you don’t feel like the author but like one of the viewers ?
-JMJ: well, even if I’m the creator and initiator of the music and stenography, at that exact moment I’m more like a “catalyst”. It’s like some kind of creativity or inspiration goes through me… that I share… well I think the real inspiration can’t be controlled, it’s something that descends after a certain work, when you put the energy and passion into your work.. it descends to you i think…
-JMJ: you can call it whatever you want, God or somebody above… but definitely something metaphysical exists above us.
-Unknown woman on the phone: Good evening, I’d like to ask at what age did the inspiration come to you so you started to write music?
-JMJ: It was pretty early, I was studying the piano, I was studying how to write and make music and all that stuff…and I always wanted to create or play my own music.. but I had a very strict professor who almost hit my fingers every time I played something different, so I had that complicated contact with music, but that happened early enough.
2) Interview to the Daily Mail (2007)
Jean Michel Jarre recently celebrated the 30th anniversary of his best-known work, the 12 million-selling Oxygène, with a ten-night run at the Théâtre Marigny in Paris.
The album, consisting entirely of electronic instrumental music, recorded at Jarre’s home, was the surprise hit of 1977, producing a memorable single, Oxygène (Part IV).
In Paris last December, Jarre performed the entire work using the original equipment, including more than 50 vintage synthesizers, and he is due to bring the show to London’s Royal Albert Hall this March. Read more
More interviews to come...