Transcript: Dan Hill | Nov 05, 1996

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest on chairs in a small sitting room: “Dan Hill. Singer-Songwriter.”

A black grand piano can be seen in the background.

Then, Richard appears facing the screen as a caption reads “Richard Ouzounian.” He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a blue suit, and a striped white and blue shirt.

He says I'M RICHARD OUZOUNIAN.
WELCOME TO
DIALOGUE.
YOU KNOW, IF YOU'VE BEEN
LISTENING TO A MAN'S LOVE
SONGS FOR OVER 20 YEARS,
YOU MIGHT START TO THINK
YOU KNEW THE MAN.
BUT ONE DAY, YOU WAKE UP
AND REALIZE YOU KNOW THE
SONGS, AND YOU KNOW THE
NAME, BUT THERE'S A LOT
YOU DON'T KNOW.
THAT'S WHAT I HOPE TO FIND
OUT IN THE NEXT HALF HOUR.
BECAUSE THIS
DIALOGUE
IS WITH DAN HILL.

Dan is in his thirties, with long curly brown hair and a boxed beard. He’s wearing a black polo shirt.

Richard continues NOW, DAN, DO YOU FIND
THAT IS THE CASE?
DO PEOPLE SAY, OH YEAH,
I'VE HEARD YOUR LOVE SONGS,
I MUST KNOW WHAT
YOU'RE LIKE?

Dan says YEAH.
THEY ASSUME THERE ARE CERTAIN
CHARACTERISTICS YOU HAVE THAT
ARE SIMILAR TO A LOT OF THE
CHARACTERS IN THE SONGS
YOU WRITE ABOUT.

Richard says DID THAT EVER LEAD
YOU INTO PROBLEMS?
PEOPLE MAKING
ASSUMPTIONS ABOUT YOU?

Dan says YOU KNOW, SOMETIMES
IT'S QUITE COMICAL.
YOU CAN BE BOWLING AT THREE IN
THE MORNING, AND SOME WOMAN
THAT YOU DON'T EVEN KNOW CAN
JUST SORT OF POUNCE ONTO YOUR
LAP AND DEMAND YOU SING HER
ONE OF HER FAVOURITE SONGS,
OR SHE WON'T LEAVE.
AND SHE MAY BE 300 POUNDS,
AND YOUR THIGHS MAY BE SLOWLY
CRUSHED UNDER THE WEIGHT OF
THE PERSONA IN THIS PERSON'S
ACTUAL WEIGHT.
BUT I FIND IT MORE AMUSING
THAN ANYTHING ELSE.
I THINK EVERYBODY THAT HAS SOME
KIND OF A PUBLIC PROFILE,
NO MATTER WHETHER THEY ARE
A POLITICIAN OR MUSICIAN,
OR POET, OR WRITER, SOMEHOW
HAS A PERSONA, WHETHER IT IS
CONSCIOUS OR NOT.
AND I THINK THE THING WE FIND
OUT IS THAT VERY RARELY IS
THE PERSONA THE SAME THING
AS THE ACTUAL PERSON.

Richard says SO HAVING HAD BEEN AROUND IN
THIS PUBLIC LIFE FOR OVER 20
YEARS, WHAT DO YOU THINK
PEOPLE PERCEIVE OF YOU?

Dan says PROBABLY THIS VERY SENSITIVE
MAN, CAPITAL S SENSITIVE,
WHO IS VERY INTO SORT OF
COMMUNICATION AND SHARING
HIS FEELINGS.
THAT KIND OF THING.
AND THE REALITY IS, IN A LOT OF
WAYS, I'M A VERY TYPICAL MAN.
MEANING IT'S HARD FOR ME TO
COMMUNICATE ABOUT THINGS
THAT ARE ESSENTIAL TO ME,
AS IT IS FOR MOST MEN.
AND I THINK THAT'S WHY SONG
WRITING IS SO IMPORTANT FOR ME,
AS IT IS A SORT OF
RELEASE VALVE FOR ME.
IT GIVES ME A CHANCE TO BE
HONEST ABOUT CERTAIN THINGS
THAT I MIGHT BE HIDING, YOU
KNOW, TO OTHER PEOPLE OR
MYSELF, JUST LIKE
ANY OTHER MAN.

Richard says I WAS THINKING ABOUT THAT
BECAUSE WHEN YOU FIRST STARTED
TO BREAK ONTO THE MUSIC
SCENE, JUST ABOUT 22 YEARS
AGO, IT WASN'T TYPICAL THEN
FOR PEOPLE TO BE WHAT WE NOW
CALL SENSITIVE, NEW AGE GUYS.
AND, IN FACT, THE MODE OF
MOST MALE SINGERS WAS
TOTALLY DIFFERENT.
IT WAS REAL, 'I'M HERE,
BABY, I KNOW WHAT YOU WANT,
I CAN DO IT'.
AND TO HAVE THIS GUY COME
ALONG AND SING TOTALLY
DIFFERENT FEELINGS OPENED
UP A HUGE DOOR FOR PEOPLE.
DID YOU EVER THINK OF YOURSELF
AS BEING THAT DIFFERENT?

Dan says I KNEW THAT I HAD A CERTAIN
WAY OF WRITING A LOVE SONG
THAT WAS DISTINCTIVE,
THAT WAS DIFFERENT.
I COULDN'T REALLY
EXPLAIN WHAT IT WAS.
BUT I KNEW THAT WHEN I WROTE
A CERTAIN KIND OF LOVE SONG,
THAT IT DIDN'T SOUND LIKE
ANYBODY ELSE'S LOVE SONG.
AND I KNEW THAT IT WAS THE
KIND OF THING THAT FORCED
PEOPLE TO RESPOND,
TO TAKE A STAND.
EITHER IT WAS TOO MUCH FOR
THEM AND THEY WOULD PUT UP A
WALL, OR THEY WOULD BE
DRAWN RIGHT INTO IT.
AND THE '70s WAS AN
INTERESTING TIME, REALLY,
FOR MUSIC BECAUSE THERE WAS
A LOT OF DISCO GOING ON,
AND THE TED NUGENT,
SORT OF THE HEAVY ROCK.
THEN IT WAS STARTING TO GO
INTO THE SORT OF NEW WAVE
KIND OF THING.
THAT WAS STARTING IN ENGLAND,
AS A REACTION TO ALL THE
'70s POP IN AMERICA.
AND I DIDN'T REALLY FEEL THAT
I REALLY BELONGED TO ANY
STYLE, YOU KNOW,
THAT WAS FASHIONABLE.
BUT WHEN I LOOKED BACK AT MY
CAREER, YOU KNOW, I SORT OF
MADE A LIVING OUT OF
NOT BEING FASHIONABLE
OR NOT BEING TRENDY.
AND I THINK THE DANGEROUS
THING ABOUT BEING TRENDY IS
WHATEVER IS TRENDY ONLY LASTS
FOR A CERTAIN PERIOD OF TIME
AND THEN IT FLIPS OVER ON YOU.
AND I THINK THE KEY TO MY
SURVIVAL IS SOMEHOW NO CRITIC,
OR NO ONE HAS EVER THOUGHT I
WAS A CUTTING EDGE KIND OF
SINGER OR WRITER.

Richard says WELL, I THINK ONE OF THE
OTHER THINGS IS NO ONE REALLY
KNOWS WHAT PIGEON HOLE
THEY WANT TO PUT YOU IN.
I'VE BEEN WALKING AROUND YOUR
HOUSE AND I NOTICED YOU GOT
ONE CITATION FOR HAVING
WRITTEN ONE OF THE MOST PLAYED
COUNTRY SONGS OF THE YEAR,
WHICH IS ONE OF THE SAME SONGS
THAT I KNOW PEOPLE SAY, OH,
THAT'S REALLY FOLK, AND OTHER
PEOPLE WOULD SAY, THAT'S
A REAL POP NUMBER.
ARE YOU COUNTRY, FOLK,
POP, OR ARE YOU YOURSELF?

A caption appears on screen. It reads "Dan Hill. Singer-Songwriter."

Dan says I THINK IT'S
REALLY HARD TO SAY.
BECAUSE I STARTED OFF PLAYING
GUITAR, AND I LEARNED FIRST
HOW TO PLAY CLASSICAL GUITAR.
AND I WAS VERY MUCH INFLUENCED
BY THE TYPICAL CANADIAN
SINGER SONGWRITERS WHEN I WAS
A KID, LIKE JONI MITCHELL AND
GORDON LIGHTFOOT.
BUT THEN I WAS VERY INFLUENCED
BY JAZZ AND R and B THAT MY
PARENTS LISTENED TO.
SO THE STUFF SORT OF, YOU
KNOW, A LOT OF IT REALLY
DEPENDS ON THE SINGER
AND THE PRODUCTION.
WHEN GEORGE BENSON DOES
IN
YOUR EYES,
PEOPLE THINK OF IT
AS A JAZZ,
R and B SONG.
WHEN TAMMY WYNETTE DOES
SOMETIMES WHEN WE TOUCH,
IT SOUNDS LIKE A COUNTRY SONG.
STUFF I DO CAN BE ALL OVER
THE MAP BECAUSE A LOT OF WHAT
SINGER SONGWRITERS WERE DOING
IN THE '70s IS NOW VERY
SIMILAR TO WHAT NASHVILLE
IS DOING IN THE '90s.
SO THERE IS SORT OF A WIDE
RANGE OF SONG, YOU KNOW,
THAT I DRAW FROM,
OR SONG STYLES.
BUT I GUESS THE ONE I FEEL
MOST COMFORTABLE WITH REALLY
IS MORE ACOUSTIC-ORIENTED,
MEANING EITHER ACOUSTIC PIANO,
OR ACOUSTIC GUITAR, WHERE
THERE IS SOME EMPHASIS ON THE
MELODY, AND THERE IS SOME KIND
OF A STORY OR NARRATIVE THAT
IS DRIVING THE MELODY.

Richard says SOMETIMES WHEN AM EMBRYONIC
SONGWRITER IS IN HIS TEEN
YEARS, AND JUST STARTING TO
MAKE THOSE CONNECTIONS, THERE
IS A SONGWRITER, OR ONE OR
TWO COME ALONG AND KIND OF
POINT THE WAY.
AND I KNOW YOU MENTIONED
MITCHELL AND LIGHTFOOT.
WERE THEY THE STRONGEST
INFLUENCES, OR WAS THERE MAYBE
SOMEONE ELSE WHO WAS
RIGHT ON THE NOSE FOR YOU?

Dan says WELL, STRANGELY ENOUGH FOR
ME, ONE OF MY GREAT INFLUENCES
WAS FRANK SINATRA.
ONLY BECAUSE I LOVED MUSIC
AT A VERY YOUNG AGE AND
NATURALLY FELL IN LOVE WITH
WHATEVER MY PARENTS LOVED.
AND THE THING ABOUT SINATRA
WAS THAT HIS VOICE WAS SO
SOULFUL, SO MELANCHOLY, AND
THE SONGS HAD SUCH SADNESS
AND SUCH POIGNANCY IN THEIR
STORIES, AND I THINK I WAS
VERY DRAWN TO THAT AS A CHILD.
VERY DRAWN TO THAT SADNESS,
AND TO THOSE MELODIES,
INTO THOSE SORT OF
BITTERSWEET STORIES.
AND I THINK THAT REALLY DID
HAVE AN INFLUENCE ON HOW I
STARTED TO PUT TOGETHER SONGS.
BECAUSE HE WAS REALLY THE
PRIMARY SINGER THAT I EVER
THOUGHT OF WHEN I
WAS WRITING SONGS.
NOT THAT I WAS TRYING TO WRITE
FOR SINATRA, BUT I IMAGINED
HIM TO BE THE EMBODIMENT OF
WHAT A MALE SINGER SHOULD BE.

Richard says WELL, YOU KNOW, IT'S
INTERESTING YOU SAY THAT
BECAUSE ALTHOUGH IT DOESN'T
LEAP TO MIND, PEOPLE DON'T
SAY, OH YEAH, DAN HILL SOUNDS
JUST LIKE FRANK SINATRA, BUT
A LOT OF THE PHRASING YOU DO,
WHEN YOU GET TO A KEY POINT
IN A NUMBER WHERE THE WORD
AND THE EMOTION ARE ALL TIED
TOGETHER, YOU POUR A LOT
INTO A WORD OR A NOTE,
WHICH IS EXACTLY
WHAT SINATRA DOES.
HE ALWAYS KIND OF HAS A
PARTICULAR PHRASE THAT
HE'LL USE TO UNLOCK THE
DEPTH OF THE EMOTION.
AND I FIND YOU DO THAT
SAME THING AS WELL.

Dan says THAT'S TRUE.
AND I THINK WE WERE ALSO
VERY MUCH INFLUENCED BY
STRING, ORCHESTRAL
ARRANGEMENTS PARTICULARLY,
IN MY EARLY ALBUMS
IN THE '70s.
AND OF COURSE, SINATRA IS
VERY MUCH OF THE MOOD THAT HIS
RECORDS WERE ENHANCED BY THE
ORCHESTRAL ARRANGEMENTS,
PROBABLY BY NELSON RIDDLE
AS MUCH AS ANYONE ELSE.
SO WHEN I CAME OUT IN THE
'70s, THANKS TO MATT McCAULEY
AND FRED MOLLIN, MY
PRODUCERS AT THE TIME
BECAUSE THEY WERE SO LUSHLY
ORCHESTRATED, THERE WAS
NOTHING TO COMPARE IT TO.
WE KIND OF FILLED UP THIS
SORT OF VACUUM WHERE
BRUCE COCKBURN WAS OVER
HERE DOING HIS THING, AND
LIGHTFOOT WAS OVER THERE, AND
THEY WERE THE TYPICAL KIND
OF CANADIAN GROUPS.
AND THEN SUDDENLY, BOOM,
WE'D BE COMING OUT WITH
YOU MAKE WANNA BE, OR
SOMETIMES WHEN WE TOUCH,
AND IT JUST DIDN'T...
THERE WAS NO COMPARISON.
IT WAS JUST IN ITS
OWN LITTLE WORLD.

Richard says YOU CLOSED YOUR EYES, AND
YOU WERE FRANK IN FRONT OF
THE NELSON RIDDLE
ORCHESTRA THERE.

Dan says FOR ME, IN MY OWN LITTLE FANTASY.

Richard says I SAID WE WERE TRY TO
GO BACK AND FIND A BUNCH
OF STUFF OUT ABOUT YOU.
AND CLUES HAVE BEEN
THERE IN YOUR SONGS.
YOU'VE WRITTEN ABOUT YOU AND
YOUR LIFE AND EVERYTHING ALL
ALONG, BUT AS I SAID, PEOPLE
OFTEN WITH YOU IN YOUR MUSIC
ZERO IN ON THE LOVE SONGS
AND THE BIG HITS AND THAT.
BUT, FOR EXAMPLE, THE WAY YOU
WOUND UP IN CANADA, YOU TALK
ABOUT, IN MCCARTHY DAYS.
AND IT'S A REALLY INTERESTING
SAGA, THAT YOUR PARENTS WERE
AMERICAN, AND CAME UP HERE
BECAUSE THEY WERE FLEEING
AMERICA AT THE TIME, RIGHT?

Dan says WELL, THAT'S TRUE.
MY FATHER IS BLACK,
AND MY MOTHER IS WHITE.
AND BEING IN AN INTERRACIAL
MARRIAGE IN '53, YOU KNOW, AT
THE TAIL END OF THE MCCARTHY
ERA WAS NOT EXACTLY A
POLITICALLY OR SOCIALLY
ACCEPTABLE MOVE.
SO I WAS VERY MUCH
INFLUENCED BY THAT.
AND WHEN WE WERE GROWING UP
IN NEWMARKET, THERE WERE
PETITIONS TRYING TO GET US
THROWN OFF THE STREET BECAUSE
THE NEIGHBOURS WERE SO ALARMED
AT US BREAKING DOWN THIS SORT
OF COLOUR BARRIER, I
SUPPOSE, FOR MY PARENTS.
SO IT DID CAUSE ALL OF US IN
THE FAMILY TO BE SORT OF, NOT
TRAUMATIZED, BECAUSE WE CAME
FROM A VERY STRONG AND LOVING
FAMILY, BUT SORT OF ALWAYS
FEELING A LITTLE BIT ON THE
OUTSIDE LOOKING IN.

Richard says I WAS GOING TO SAY, WHAT WAS
IT LIKE, YOU WERE THERE IN
THE LATE '60s, THE SUMMER OF
LOVE, ALL THAT IS HAPPENING,
YOU'RE A TEENAGER, BUT YOU'RE
JUST NOT AN ORDINARY TEENAGER
BECAUSE IN A CITY, IN A
COUNTRY WHERE THERE ISN'T A
LOT OF THAT MIX GOING ON, YOU
HAVE AN INTERRACIAL FAMILY.
WAS THAT STILL TOUGH
IN HIGH SCHOOL?

Dan says WELL, IT WASN'T REALLY TOUGH
BECAUSE MY PARENTS ARE REALLY
GOOD AT MAKING US FEEL PROUD
ABOUT OUR BACKGROUND, ABOUT
OUR ROOTS, AND WHO WE WERE,
AND WHERE WE CAME FROM.
BUT, AGAIN, THERE WAS JUST A
SLIGHT FEELING OF ALIENATION.
OF BEING, AGAIN,
ON THE OUTSIDE.
AND I THINK, YOU KNOW, WHEN
ANYBODY, IF YOU LOOK BACK AT
TIME, ANYBODY THAT FELT
SOMEWHAT ISOLATED,
PSYCHOLOGICALLY, EMOTIONALLY, OR
PHYSICALLY, FROM A COMMUNITY
AT LARGE, VERY OFTEN, THAT'S
WHAT DROVE THEM TO BE
CREATIVE, YOU KNOW?
AND THAT WAS THE THING THAT
MADE ME GO UP TO MY ROOM AND
SORT OF HUDDLE AROUND MY
GUITAR AND PUT TOGETHER THESE
SONGS WAS FEELING SOMEWHAT
ALONE, AND NEEDING THE GUITAR
AND THE SONGS TO KIND OF, TO
HAVE SOMETHING TO CONNECT WITH.
BECAUSE I NEVER DID FEEL
TOTALLY CONNECTED TO A
COMMUNITY AT LARGE.
YOU KNOW, THERE WERE SOME
STRANGE TIMES WHEN I WAS
STARTING OUT, AND YOU WOULD
TRY TO GET A RECORD DEAL, AND
THE GUY WOULD SAY, WELL, I
PLAYED YOUR SONGS TO EVERYBODY
IN MY COMPANY, AND THEY ALL
THOUGHT YOU HAD BLONDE HAIR
AND BLUE EYES.
YOU DON'T LOOK
THE WAY YOU SOUND.
AND, YOU KNOW, I GUESS I WOULD
FEEL THIS STRANGE FEELING OF
WHAT IS ALL THAT WILL ABOUT?
I DIDN'T LOOK THE
WAY I SOUNDED.
WHAT DID THAT MEAN?
AND FEELING THIS SLIGHTLY
RACIST UNDERTONE AND FEELING
VERY UNCOMFORTABLE WITH THAT.
BUT I THINK IN MY CASE, IT
JUST FUELLED ME TO BE THAT
MUCH MORE DETERMINED.
SO WHAT HAPPENS IS THESE
SORT OF HINTS OF MY LIFE,
MY BACKGROUND, KIND OF SLIP
OUT IN VARIOUS SONGS.

Richard says AS I SAID, ALL THE
CLUES ARE THERE.
THEY ARE NOT EVEN CLUES, YOU
COME OUT AND SAY THINGS.
BUT PEOPLE TEND TO EDIT, AND
THEY PICK THINGS THEY WANT.
I MEAN, THEY'VE DECIDED,
YOU KNOW, THAT YOU'RE THEIR
TROUBADOUR, YOU'RE
THEIR LOVE LYRICIST.

Dan says SURE.
WELL, I THINK A LOT OF THAT
IS, YOU KNOW, IT'S INTERESTING
BECAUSE MOST PEOPLE DON'T
KNOW, AREN'T AWARE OF AN ALBUM
AS A WHOLE, THEY ARE USUALLY
JUST AWARE OF THE SINGLES.
IT'S THIS SORT OF DISPOSAL
SOCIETY WHERE PEOPLE ONLY HAVE
SO MUCH TIME.
SO EVERYBODY SORT OF GOES
INTO THE SOUND BYTE OF WHAT
A POLITICIAN IS
SUPPOSEDLY ABOUT.
WHICH ISN'T, OF COURSE,
WHAT THEY ARE REALLY ABOUT.
AND IN A SENSE, A SINGLE IS
THE MUSICAL EQUIVALENT TO THE
POLITICAL SOUND BYTE, MEANING
THAT THAT THREE MINUTES ON
THE AIR IS SUPPOSED TO
REPRESENT YOUR ENTIRE RECORD,
12 SONGS.
AND IT IS JUST
SIMPLY NOT TRUE.
AND THE THING IS RADIO
IS VERY MUCH SET UP TO
PLAY LOVE SONGS.
FOR WHATEVER REASON, THEY
FEEL THAT'S WHAT THE AUDIENCE
WANTS TO HEAR, THAT'S WHAT
THEY WANT TO RELATE TO,
THAT'S WHAT THEY WANT TO
DEDICATE TO THEIR LOVER.
SO ALTHOUGH MY SONGS HAVE BEEN
LITTERED WITH ALL KINDS OF
TOPICS INVARIABLY, IT'S THE
LOVE SONGS THAT GET PLAYED ON
THE RADIO BECAUSE THAT'S
WHAT RADIO WANTS TO PLAY.
AND WHAT HAPPENS IS IF YOU
GIVE THEM A SONG OTHER THAN A
“LOVE SONG,” THEY'RE JUST
NOT GOING TO PLAY IT.
SO WHAT WILL HAPPEN IS YOU PUT
OUT A SONG THAT ISN'T A LOVE
SONG, AND THEN NOBODY HEARS IT
BECAUSE RADIO DOESN'T PLAY IT.
SO, AGAIN, THE PERSONA.

Richard says IF THE TREE FALLS IN THE
FOREST AND NO ONE HEARS IT,
DID IT FALL, RIGHT?

Dan says THE PEOPLE THAT BUY THE ALBUM
REALLY LISTEN TO THE ALBUM
KNOW THERE IS MORE THAN JUST
THOSE PARTICULAR HIT SONGS.
BUT THE MEDIA AT LARGE, OF
COURSE, DOESN'T HAVE TIME TO
SIT THERE AND LISTEN TO THE
ALBUMS OF THESE DIFFERENT
ARTISTS PUTTING STUFF OUT, SO
THEY MAKE THEIR EVALUATIONS,
OR THEY FORM THEIR PERCEPTIONS
AND THEN WRITE ABOUT THEM
BASED ON WHAT THEY ARE
HEARING ON THE RADIO.

Richard says YOU KNOW ABOUT ALBUMS,
YOU HAVE 13 NOW.
THE FIRST ONE CAME OUT WHEN
YOU WERE, I THINK, 21?

Dan says YES.

Richard says THAT'S REALLY YOUNG TO HAVE
AN ALBUM OUT THAT SOON.
DO YOU THINK A LOT
OF IT WAS LUCK?
OR DID YOU WORK
UP TO THAT POINT?
OR MIGHT IT HAVE
BEEN THE TIMES?

Dan says I THINK, YOU KNOW, WHEN
YOU LOOK, AGAIN, AT THE WAY
CREATIVITY WORKS IN PEOPLE, I
THINK THAT'S A NATURAL TIME
TO BE WRITING SONGS.
BECAUSE SONG WRITING,
IT'S NOT LIKE MEDICINE.
IT'S NOT SOMETHING THAT YOU
NEED A LONG APPRENTICESHIP IN,
OR A LONG COURSE OF STUDY.
EVEN WHEN YOU LOOK BACK AT
GREAT WRITERS LIKE FITZGERALD
OR HEMINGWAY, A LOT OF THEIR
GREATEST WORKS WERE DONE IN
THEIR EARLY TWENTIES,
OR BYRON, FOR EXAMPLE.
THAT'S USUALLY WHEN THE
PASSION BUBBLES MOST
PROFOUNDLY IN A YOUNG MAN.
AND LET'S FACE IT,
SONGS ARE ABOUT PASSION.
THEY ARE ABOUT THINGS THAT
PEOPLE CAN RELATE TO THAT ARE
JUST SEARING AT YOUR HEART.
AND THE IRONIC THING IS WHEN
YOU HIT YOUR 30s OR 40s, WHEN
YOU BECOME A SO-CALLED MAN, OR
AN ADULT, THAT YOU ARE BEING
SOCIALIZED NOT TO FEEL THOSE
THINGS QUITE AS POWERFULLY
BECAUSE IT'S NOT MATURE.
AND THAT'S WHEN THERE IS A
CHALLENGE TO STILL WRITE GREAT
BOOKS OR WRITE GREAT SONGS, IS
WHEN YOU ARE TRYING TO BUCK
SORT OF THE SOCIETAL TREND
OF KIND OF COVERING UP YOUR
FEELINGS, YOU KNOW?
SO IT DIDN'T SEEM
LIKE A YOUNG AGE.
IT SEEMED LIKE A VERY NATURAL
THING FOR ME TO BE DOING, TO
BE MAKING ALBUMS AT THAT TIME.

Richard says AND I MEAN, FROM THE
BEGINNING, THE FIRST ALBUMS
DID VERY WELL.
PEOPLE LIKED THEM.
THEY LISTENED TO THEM.
AND IT WAS ON YOUR THIRD
ALBUM THAT THE MONSTER BROKE,
THE BIG HIT.
I MEAN IF YOU STOPPED, I
THINK, ANYBODY ON THE STREET,
EVEN IF THEY DON'T LISTEN TO
ANY OF THE OTHER ALBUMS, AND
SAID DAN HILL, THEY'D SAY,
SOMETIMES WHEN WE TOUCH,
IS THAT KIND OF AN ALBATROSS
YOU CARRY AROUND YOUR NECK?

Dan says WELL, I GUESS IT'S ONE OF
THOSE, IS THE GLASS HALF EMPTY
OR HALF FULL SYNDROME?
I DON'T THINK IT IS.
BECAUSE
SOMETIMES WHEN WE
TOUCH
OPENED THE DOOR FOR ME
TO DO MANY OTHER THINGS.
IT WAS LIKE A CALLING CARD.
SO BECAUSE OF
SOMETIMES
WHEN WE TOUCH, ALL THE BEST
WRITERS IN AMERICA SUDDENLY
WANTED TO WRITE WITH ME.
SO THEN I WAS ABLE TO
WRITE WITH MICHAEL MASSER
WHO HAD WRITTEN ALL THOSE
HITS FOR DIANA ROSS AND WENT
ON TO WRITE ALL THESE
HITS FOR WHITNEY HOUSTON.
WITH MICHAEL, I
WROTE
IN YOUR EYES.
I DON'T THINK IT WOULD HAVE
BEEN SO EASY FOR ME TO WRITE
AND PRODUCE
SEDUCES ME
FOR
CELINE DION'S LATEST ALBUM,
WITHOUT
SOMETIMES
WHEN WE TOUCH.
BECAUSE I'VE HEARD THE
STORIES, LIKE WHEN THEY ARE
LISTENING TO ALL THESE SONGS
AND TRYING TO DECIDE WHETHER
OR NOT TO RECORD
SEDUCES ME,
THEY SAID, WELL, THE GUY HAS
WRITTEN HITS BEFORE.
SO WHY SHOULD WE DOUBT THAT
THIS CAN'T BE A HIT, AS WELL.
SO IT WAS A TREMENDOUS
HELP FOR ME, THAT SONG.
AND IT CONTINUES TO BE A
TREMENDOUS HELP FOR ME.
I'VE HAD SEVERAL HITS
SINCE THAT, AND I THINK
SOMETIMES WHEN WE TOUCH
REALLY HELPED PAVE THE WAY
FOR ALL THE HITS I'VE HAD
SINCE
SOMETIMES WHEN WE TOUCH.
I SUPPOSE IT'S A
SIGNATURE SONG.
BECAUSE THAT SONG WAS MORE
THAN JUST A HIT, IT SEEMS LIKE
NO MATTER HOW MANY HITS I
MAY HAVE, PEOPLE WILL ALWAYS
REMEMBER THAT SONG.
SO FROM THAT STANDPOINT,
SOMETIMES IT CAN BE
A BIT FRUSTRATING.
BECAUSE YOU KIND OF FEEL YOU'RE
A LOT MORE THAN ONE SONG.
BUT, YOU KNOW, I REALIZE THAT
I AM, AND I REALIZE IT'S SORT
OF PAVED THE WAY FOR TONS
OF OPPORTUNITY FOR ME.

Richard says BACK ALMOST 20 YEARS SINCE IT
HAPPENED, DO YOU RECALL THE
CIRCUMSTANCES OF
PUTTING IT TOGETHER?

Dan says YEAH.
YOU KNOW, THERE ARE SO MANY
DIFFERENT STORIES INVOLVED
IN THAT SONG.
THE FIRST PHASE OF IT, WHEN
I WAS 20, AND BEING MADLY IN
LOVE WITH A WOMAN WHO JUST
WASN'T AS INTERESTED IN ME.
AND THINKING I HAD TO DO
SOMETHING THAT WAS JUST GOING
TO BLOW HER MIND SO POWERFULLY
THAT SHE WOULD RECONSIDER ME
FOR AT LEAST ANOTHER DAY.
AND WE BOTH LOVED MUSIC
AT THE TIME, SO I WROTE
SOMETIMES WHEN WE TOUCH
BEING
THAT WAS A TRUE, YOU KNOW,
EXPRESSION OF HOW I FELT
ABOUT HER AND THE FRUSTRATIONS
I WAS FEELING WITH
HER, BUT ALSO BECAUSE
I WANTED TO GALVANIZE HER.
I WANTED TO JUST THRILL HER.
AND I THINK IT WORKED
FOR ANOTHER DAY.
IT MADE HER MORE INTERESTED
IN ME FOR 24 MORE HOURS
BEFORE SHE MOVED
ON IN HER LIFE.
SO THAT'S THE FIRST
STAGE OF THE SONG.
THE SECOND STAGE WAS, A FEW
YEARS LATER, I WAS SET UP TO
WRITE THE BARRY MANN, WHO HAD
WRITTEN THOUSANDS -- WELL, A
LOT OF HITS, LIKE
YOU LOST
THAT LOVING FEELING,
AND
ON BROADWAY,
AND WE WERE
TRYING TO WRITE TOGETHER,
AND I HADN'T REALLY COLLABORATED
BEFORE, AND NOTHING SEEMED TO
BE WORKING, IT FELT VERY
STRANGE, SO AT THE LAST
SECOND, I JUST HANDED HIM
THIS POEM, REALLY, SAYING
MAYBE YOU CAN DO
SOMETHING WITH THIS.
I DON'T KNOW IF IT'S
ANY GOOD OR NOT.
AND I WENT TO CALL A CAB,
AND FIVE MINUTES LATER, HE'D
CALLED ME INTO THE STUDIO, AND
HE HAD ALREADY WRITTEN THE
CHORUS TO
SOMETIMES
WHEN WE TOUCH.
AND WHAT I FELT AT THE
TIME IS I DIDN'T KNOW
IF I REALLY LIKED IT.
BECAUSE IT FELT SO STRANGE TO
HEAR SOMEONE ELSE'S MELODY
TO MY LYRIC BECAUSE I WAS SO
USED TO MY OWN MELODY AND MY
OWN CHORDS, AND BEING 22 AND
VERY PROUD, I DIDN'T KNOW
IF I LIKED THE IDEA OF
FEELING I HAD TO SHARE
THE SONG WRITING
RESPONSIBILITIES.
SO I LIVED WITH THE SONG FOR
A FEW MONTHS, NOT REALLY SURE
IF IT WAS THAT GOOD OR NOT.
BUT WHENEVER I PLAYED IT TO
PEOPLE, ON A VERY, VERY ROUGH
DEMO, BARRY AND I KIND OF
SINGING IT TO A LITTLE SONY
TAPE RECORDER AND PIANO,
PEOPLE WERE JUST SORT OF
ALMOST FALLING DOWN.
THEY WERE GOING, OH, MY GOD,
THIS IS ONE OF THE BEST SONGS
I'VE EVER HEARD.
AND PEOPLE KEPT SAYING THAT
OVER AND OVER AGAIN TO THIS
LITTLE CRAPPY LITTLE
PIECE OF TAPE.
AND I WAS SMART ENOUGH
TO REALIZE THERE MUST BE
SOMETHING THERE BECAUSE I WAS
SEEING WHAT A REACTION THE
SONG SEEMED TO
ENGENDER IN PEOPLE.
AND THEN, YOU KNOW, GOING INTO
THE STUDIO, EVERY STEP SEEMED
TO CEMENT THE REALIZATION
A LITTLE BIT FURTHER,
THIS WAS A SPECIAL SONG.
BUT WE HAD NO IDEA, OF COURSE,
WHAT IT WAS GOING TO TURN OUT
TO BE.
I WENT IN, I REMEMBER I SPENT
A LONG TIME ON THE VOCAL.
AND MY PRODUCER TRYING TO GET
ME TO SING IN THAT SORT OF
BREATHY STYLE.
AND I REMEMBER IT COMING OUT,
AND SOME RADIO STATIONS NOT
PLAYING IT IN CANADA RIGHT
AWAY BECAUSE THEY THOUGHT,
OH, IT'S ANOTHER SLOW
DAN HILL BALLAD.
SO I THOUGHT,
HERE WE GO AGAIN.
THIS IS GOING TO BE
ANOTHER STRUGGLE.
AND THEN SUDDENLY, SOMETHING
HAPPENED, SOMETHING CLICKED,
AND IT BECAME A
BIG HIT, OBVIOUSLY.
BUT THE STRANGE THING IS
IT SEEMED TO GET BIGGER.
USUALLY A SONG, EVEN A HIT SONG,
HAS A 12 OR 16 WEEK WINDOW.
POP MUSIC IS SO DISPOSABLE.
THAT'S THE PROBLEM, I THINK,
WITH BEING A POP SINGER
SONGWRITER, IT'S
SORT OF LIKE A DRUG.
YOU KNOW, YOU HAVE THAT HIT,
YOU WORK SO HARD FOR IT, AND
THEN IT'S OVER IN FOUR
MONTHS, AND IT'S SUDDENLY,
OKAY, NOW WHAT?
BECAUSE PEOPLE
FORGET SO QUICKLY.
AND THE STRANGE THING ABOUT
SOMETIMES WHEN WE TOUCH
IS
IT SEEMED TO BECOME BIGGER
AND BIGGER AND BIGGER
AS THE YEARS WENT BY.
AND THAT'S WHAT MADE IT
SUCH AN UNUSUAL SONG.

Richard says DO YOU HAVE ANY IDEA WHY?
I MEAN, AGAIN, TWO
DECADES HAVE GONE BY.
YOU MUST HAVE HEARD IT, SUNG IT,
PLAYED IT THOUSANDS OF TIMES.
WHY DOES IT TOUCH
PEOPLE SO MUCH?

Dan says I THINK 'COS IT'S UNIQUE.
IT'S A VERY DISTINCTIVE,
UNUSUAL WAY OF EXPRESSING
LOVE FOR A WOMAN.
AND I THINK THE RECORD HAD A
REAL POWER AND PASSION TO IT.
AND I THINK MY PRODUCERS WERE
REALLY RIGHT IN GETTING ME TO
SING IT IN A VERY
UNUSUAL STYLE.
IT'S JUST AND EXTREMELY
HONEST AN UNIVERSAL SONG.
AND FOR SOME REASON, IT SEEMS
TO HOLD UP WELL OVER THE YEARS.

Richard says DID YOU EVER HEAR FROM
THE GIRL YOU WROTE IT FOR?

Dan says YES.
SHE HAD ALREADY
MOVED TO CALIFORNIA,
AND I THINK HAD A FAMILY.
BUT, YOU KNOW, SHE WAS
DEFINITELY MOVED AND
ASTONISHED, I SUPPOSE, BY
WHAT THIS HAD TURNED INTO.

Richard says SO IT DID HAVE A FINAL
CHAPTER, KIND OF, AFTER ALL.

Dan says YEAH, IT DID.
YEAH.

Richard says GOING ON FROM THERE.
HAD A COUPLE MORE REALLY GOOD
YEARS, AND THEN, BY YOUR OWN
ADMISSION, YOU
KIND OF BURNT OUT.
YOU'D DONE SIX ALBUMS IN
SEVEN YEARS, AND YOU FELT
YOU'D ALMOST HIT A WALL.
WHAT HAPPENED?

Dan says WELL, I THINK, YOU KNOW, I
WAS JUST TRAVELLING SO FAST,
AND SO FAR AND, YOU KNOW,
THERE WASN'T A CHANCE FOR ME
TO REJUVENATE AS
A CREATIVE PERSON.
THERE WAS JUST TOO MUCH, TOO
MUCH HURLING AROUND THE WORLD,
AND TOO MUCH TRYING TO FILL
IN THE FOOT STEPS OF BEING A
SO-CALLED CELEBRITY.
AND I NEEDED TIME
OUT OF THE SPOTLIGHT.
I NEEDED TIME TO FIGURE OUT
WHO I WAS AND WHAT IT WAS
I STILL WANTED TO
DO WITH MY LIFE.
AND IT FELT LIKE A GOOD TIME
TO TAKE OFF AND STOP MAKING
RECORDS FOR A WHILE.

Richard says YOU WERE TALKING ABOUT HOW
HAPPY YOU ARE, AND HOW MUCH
IN CONTROL YOU FEEL WHEN
YOU'RE MAKING A RECORD.
BUT THE MUSIC BUSINESS ITSELF
CAN BE A REALLY TREACHEROUS
PLACE TO WORK.
YOU SWITCHED LABELS A BUNCH OF
TIME, AND YOU'VE MOVED AROUND
A LOT.
DO YOU FEEL YOU'VE FINALLY GOT
A FIX ON HOW TO MAKE IT WORK?

Dan says NO, BECAUSE IT
ALWAYS CHANGES.
IT'S LIKE LIFE, REALLY.
EVERYTHING IS ALWAYS
IN TRANSITION.
NOTHING STAYS THE
SAME FOR TOO LONG.
THERE ARE NO GUARANTEES, AND
PATTERNS ARE ALWAYS MEANT TO
CHANGE INTO OTHER PATTERNS.
SO, YOU KNOW, I SUPPOSE THAT'S
PART OF WHAT MAKES IT FUN IS
THAT THERE ARE NO GUARANTEES.
THERE IS VERY LITTLE STABILITY.
THAT YOU ARE ALWAYS SORT
OF LIVING BY YOUR WITS
AND ANYTHING CAN
CHANGE AT ANY DAY.
YOU KNOW, I SUPPOSE SINCE I'M
LUCKY ENOUGH THAT MY SONGS ARE
SOUGHT AFTER A FAIR
AMOUNT BY OTHER SINGERS,
I ALWAYS HAVE, THAT'S
MY STRAIGHT JOB.
MY REAL JOB IS
THE SONGWRITER.
THAT'S WHERE, REALLY,
I MAKE MY LIVING.
AND THE VANITY JOB IS THE
SINGER BECAUSE THAT'S ALWAYS
BEEN UP AND DOWN,
REALLY, TO BE HONEST.
WHETHER DAN HILL IS IN OR OUT,
OR HIP OR NOT HIP, OR ON THE
RADIO OR OFF THE RADIO, IS
SORT OF, YOU KNOW, A LOT
OF THAT IS SORT OF
OUT OF MY CONTROL.
BUT I CAN ALWAYS
WRITE GOOD SONGS.
AND SINGERS AROUND THE WORLD
ARE SMART ENOUGH TO KNOW
THEY NEED GOOD SONGS.
THEY DON'T CARE NECESSARILY
ABOUT WHO YOU ARE
IN TERMS OF YOUR IMAGE.
THEY JUST WANT TO KNOW IF THAT
SONG IS GOING TO WORK FOR
THEIR VOICE OR FOR THE RECORD.
SO I'VE GOT TWO JOBS.
YOU KNOW, THE STRAIGHT
JOB AND THE VANITY JOB.

Richard says YOU'VE COMBINED BOTH OF
THEM, YOUR LATEST ALBUM,
I'M DOING FINE.
I REALLY ENJOYED LISTENING
TO IT, I HAVE TO TELL YOU.
AND ONE OF THE REASONS I DID
IS I FELT I WAS HEARING TWO
THINGS AT ONCE.
I WAS HEARING DAN HILL DOING THE
KIND OF MATERIAL WE HAD ALL
FIRST COME TO LOVE DAN HILL
FOR, EXCEPT HE WASN'T COPYING
HIMSELF OR GOING BACK, IT WAS
AN OLDER DAN HILL, HE KNEW
MORE, THE SONGS ARE DEEPER.
THEY ARE ABOUT MORE
COMPLICATED EMOTIONS.
BUT YOU WERE TELLING THEM THE
SAME WAY YOU DID 20 YEARS AGO.
IS THAT AN INTENTIONAL MOVE?

Dan says I WANTED TO GET MORE INTO
AN ACOUSTIC SOUNDING RECORD.
WHAT HAPPENED IS FOR SOME
REASON, IN THE MID '80s,
EVERYBODY WAS TERRIFIED
OF SOUNDING “FOLK.”
YOU KNOW, THE ACOUSTIC GUITAR,
THE ACOUSTIC PIANO SUDDENLY
WAS OUT, WAS
SUPPOSEDLY DECLASSEE.
AND ON THIS ALBUM, I
WANTED TO GET BACK TO THAT.
I LOVE THE SOUND
OF ACOUSTIC GUITAR.
I LOVE JUST SITTING IN THE
KITCHEN WITH MY ACOUSTIC
GUITAR, JUST BANGING AWAY AT
A SONG, OR PLAYING THE PIANO.
I WANTED THAT TO SHINE THROUGH
IN THIS RECORD FOR BETTER OR
FOR WORSE BECAUSE THAT'S WHAT
I FELT WAS REALLY THE PURE
PROCESS OF THE SONG.
IN DOING THAT, IT HARKENS
BACK TO MY ALBUMS BEFORE
SOMETIMES WHEN WE TOUCH,
WHERE THERE WAS A BEAUTIFUL
ACOUSTIC GUITAR SORT OF
THREADING THROUGH MOST
OF THOSE SONGS.
AND THAT WAS FUN.
IT WAS FUN TO WRITE
THOSE KIND OF SONGS.
AND, YOU KNOW, I TRIED A LOT OF
DIFFERENT STUFF IN THIS ALBUM.
I MUST HAVE CUT
40 OR 50 SONGS.
AND I TRIED A LOT OF THE
“TRENDIER” STUFF, MORE R and B,
GROOVE-ORIENTED STUFF, AND I
JUST TOOK IT OFF THE ALBUM.
IT JUST DIDN'T SEEM TO FIT.
I JUST WANTED TO GO WITH WHAT
I THOUGHT WERE THE BEST SONGS.

Richard says YOU SAID YOU WANTED TO GO
WITH THE MOST HONEST SONGS, TOO.

Dan says I DIDN'T REALLY CARE, YOU
KNOW, YOU USED TO GET INTO THE
THING WHERE FOR EVERY SOFT
SONG, THERE HAD TO BE AN
UP-TEMPO SONG TO KIND OF THROW
OFF, TO SHOW SOME KIND OF
CONTRAST OR SOMETHING.
AND I JUST SAID, I DON'T CARE.
I JUST WANT THE
BEST SONGS ON THERE.
AND I STARTED THINKING ABOUT
THE RECORDS I REALLY LIKED
OVER THE YEARS, AND A LOT OF
THEM JUST HAD A MOOD TO THEM.
THERE WASN'T THIS SORT OF
INSANE OBSESSION WITH THE
CONTRAST OF MID TEMPO AND
BALLAD AND UP-TEMPO,
AND BLAH, BLAH, BLAH.
SO I JUST SAID, NUTS TO IT,
I'M JUST GOING TO PUT DOWN
THE BEST SONGS I HAVE.

Richard says I WANT TO ASK YOU ABOUT SOME
OF THE ONES THAT REALLY GOT
TO ME IN PARTICULAR.
THE ONE THAT STANDS
OUT FOR ME MOST
FROM THE WHOLE
ALBUM IS
MEMORIES.
AND IT'S A SONG WHERE YOU TALK
ABOUT BEING UPSET WHEN YOUR
DAD USED TO HAVE TO GO ON THE
ROAD TO WORK WHEN YOU WERE A
KID, AND YOU SAY YOU WON'T
MAKE THE SAME MISTAKES
YOUR DAD DID.
BUT YOU'RE ON THE ROAD STILL,
AND YOU ARE DOING THE SAME
THING TO YOUR KID.
BESIDES THE FACT IT'S A
BEAUTIFUL SONG, WHAT KIND OF
HIT ME IS, DAN HILL, THE MAN
WHO WROTE ALL THOSE LOVE SONGS,
IS MARRIED AND
HAS A CHILD.

Dan says RIGHT.

Richard says IT'S LIKE WE DON'T THINK
OF DAN HILL THE FATHER.
WE THINK OF DAN
HILL THE LOVER.

Dan says YEAH.
WELL, YOU KNOW, I WANTED TO
SHOW A DEEPER SIDE IN A LOT
OF THESE SONGS.
SOME OF THE SONGS ON THIS
ALBUM ARE VERY MUCH RELATED TO
THE DYNAMICS OF A FAMILY.
MAYBE THIS TIME,
WHICH IS
ANOTHER SONG ON THE SECOND
SIDE IS ABOUT MY SISTER, AND
HOW HER RELATIONSHIP PLAYS OUT
WITH THE REST OF THE FAMILY,
AND HER QUEST FOR LOOKING FOR
A MAN IN HER LIFE.
AND
MEMORIES
I THOUGHT WAS
THE MOST DIFFICULT SONG FOR
ME BECAUSE IT WAS VERY
MUCH A CYCLE SONG.
BEFORE I BECAME A PARENT, I
THOUGHT I WAS GOING TO BE A
MUCH BETTER PARENT THAN MY
PARENTS, AND THERE'S ALL
THIS LITERATURE OUT THERE
NOW TO TELL YOU HOW TO BE,
BY FORMULA, A PERFECT PARENT.
AND I JUST FOUND BY THE TIME
MY SON WAS THREE OR FOUR,
I WAS SAYING VERBATIM
THE THINGS TO MY SON
THAT MY FATHER
HAD SAID TO ME.
WHEN HE USED TO GO AWAY ON
THE TRIPS, WHICH WAS A LOT,
HE USED TO ALWAYS SAY TO ME WHEN
I WAS FIVE OR SIX, 'TAKE CARE
OF YOUR MUM, SON', BECAUSE
I WAS THE OLDEST.
AND I WOULD FEEL
THIS RESPONSIBILITY
OF HAVING TO DO THIS.
AND THEN A GENERATION LATER,
I'D BE GOING ON A TRIP,
AND I'D BE SAYING TO
MY FOUR-YEAR-OLD SON,
'TAKE CARE OF YOUR MOTHER'.
NOT EVEN REALIZING THAT I WAS
REALLY JUST PARROTING WHAT
MY FATHER HAD SAID TO
ME A GENERATION EARLIER.
AND IN THE SONG
MEMORIES,
I WANTED TO DEAL WITH THE
PATTERNS AND THE BEHAVIORAL
SORT OF MECHANISMS OF A FATHER
THAT GETS PASSED DOWN FROM
GENERATION TO GENERATION.

Richard says ONE OF THE OTHER SONGS I REALLY
LOVED WAS
I LOVE YOU TODAY,
LAST SONG ON THE
ALBUM, FOR YOUR WIFE,
ABOUT YOUR RELATIONSHIP.
AND YOU TALK ABOUT HOW WHEN
YOU'VE BEEN THROUGH ESPECIALLY
TOUGH TIMES, YOU HAVE A
BREAKTHROUGH AND COME BACK AGAIN
AND DISCOVER WHAT KEEPS THE
MARRIAGE GOING, THE LOVE GOING,
IS THIS DAILY RENEWAL.
DID THAT JUST KIND OF GO
BAM, AND EXPLODE ON YOUR
CONSCIOUSNESS ONE DAY?

Dan says THE SONG ITSELF?
I WAS THINKING ABOUT HOW THE
TIME WE ALMOST BROKE UP.
AND I THINK SOMETIMES IN
RELATIONSHIPS THERE IS
A TIME LIKE THAT.
THAT MOMENT WHERE YOU ARE
EITHER GOING TO GO THE
DISTANCE, OR YOU ARE GOING
TO GO YOUR SEPARATE WAYS.
AND I JUST REMEMBER THIS VERY
PAINFUL NIGHT IN NEW YORK
WHERE WE REALLY HAD IT OUT,
AND SHE WAS JUST ABOUT TO
LEAVE AND GO BACK TO TORONTO.
AND I THINK AT THAT MOMENT,
SOMETHING WAS TRIGGERED IN ME
WHERE I REALIZED I REALLY
WANTED TO GO THE DISTANCE
WITH HER.
AND I GUESS I WAS THINKING ABOUT
THAT AND THINKING ABOUT HOW
THAT CAUSED ME TO GO INTO
THAT DEEPER LEVEL IN THE
RELATIONSHIP WITH MY WIFE,
YOU KNOW, FROM THAT SORT OF
INCIDENT IN NEW YORK, AND ALL
THE THINGS IT CALLED UPON IN
TERMS OF THE TIME WE HAD
BUILDING UP TO THAT INCIDENT.
AND THE SONG
I LOVE YOU NOW
KIND OF TUMBLED OUT OF
THINKING ABOUT THOSE THINGS.

Richard says AND THE LAST SONG I WANTED
TO GET TO IS THE TITLE SONG,
I'M DOING FINE.
IT'S GREAT 'COS IT'S KIND OF
THE LET'S GO BACK AND LOOK AT
THE RELATIONSHIP I HAD YEARS
AGO, AND HOW DID IT WORK OUT?
AND THERE'S A LINE IN IT ABOUT
WE'VE GOT TO LET GO TO THE
PAST, WE'VE GOT TO SAY
GOOD-BYE TO THE PAST.

Dan says RIGHT.

Richard says AND IT'S INTERESTING BECAUSE,
YOU KNOW, THE CONSTANT
RECURRING LINE, I'M DOING
FINE, YOU START TO WONDER
ABOUT IT.
YOU WONDER IF THAT'S
THE TRUTH OR NOT.
WHAT WERE YOU
GETTING AT THERE?

Dan says WELL, I WAS THINKING A LOT,
IN THAT SONG, NOT JUST PAST
LOVERS, BUT PAST
RELATIONSHIPS.
YOU KNOW, HOW FUNNY IT IS IN
OUR LIVES THAT WE HAVE CERTAIN
FRIENDSHIPS THAT OFTEN FADE
AWAY AND HOW SAD IT IS THAT
THAT HAPPENS.
HOW SOMETIMES YOU WISH YOU
COULD CALL SOMEONE YOU WERE
CLOSE TO, MALE OR FEMALE, FROM
FIFTEEN, OR TEN, TWENTY YEARS
BACK, AND JUST GET TOGETHER
WITH THEM, BUT HOW LIFE
SOMETIMES IS JUST
TOO COMPLICATED.
OR IF YOU PHONE UP A FORMER
GIRLFRIEND, ONLY BECAUSE YOU
ARE KIND OF CURIOUS ABOUT
WHERE THEIR LIFE HAS TAKEN
THEM BECAUSE YOU WERE SO CLOSE
TO THAT PERSON AT SOME POINT
IN YOUR LIFE, JUST SEEMS
STRANGE THAT SUDDENLY YOU'RE
JUST TOTALLY OUT OF
EACH OTHER'S ORBITS.
BUT YOU JUST CAN'T
CALL THEM UP.
JUST CAUSES TOO MANY PROBLEMS.
JUST TOO MANY COMPLICATIONS.
SO I WAS THINKING ABOUT
THIS FORMER GIRLFRIEND AND
THINKING ABOUT SOME OF THE
STUFF WE DID TOGETHER, SOME OF
THE FIGHTS WE HAD, AND SOME
OF THE THINGS SHE WOULD SAY,
AND PUT TOGETHER THIS SONG.
AND I THINK THE WHOLE THING
WAS STARTED WHEN MY WIFE FOUND
A LETTER I HAD WRITTEN TO HER
AFTER WE'D HAD A HORRIBLE
VACATION TOGETHER, THIS
GIRLFRIEND I SHOULD SAY, AND I.
AND SOMEHOW SEEING THAT
LETTER, I WAS DOWN IN MY
STUDIO, JUST PLAYING AROUND
TRYING TO FIND SOMETHING
TO WRITE ABOUT.
WHEN SHE SAID THAT, IT JUST
TRIGGERED THE WHOLE THING, THE
WHOLE MEMORY, AND THE WHOLE
PHENOMENON OF LOOKING BACK AT
PAST RELATIONSHIPS, AND
WONDERING WHERE THESE PEOPLE
ARE NOW, THAT HAD ME
WRITE
I'M DOING FINE.

Richard says BUT DAN HILL TODAY IS MORE
ABOUT TODAY AND TOMORROW
THAN YESTERDAY.

Dan says I WOULD SAY SO, YEAH.
I'M ALWAYS SORT OF LOOKING
VERY MUCH IN THE PRESENT.
I'M NOT VERY MUCH A PERSON
THAT LIVES IN THE PAST.
I DON'T THINK ABOUT IT.
I DON'T LISTEN TO MY OLD
RECORDS OR READ OLD CLIPPINGS
OR ANYTHING LIKE THAT.
I'M ALWAYS THINKING ABOUT
WHAT I'M GOING TO DO NEXT.

Richard says AND WHAT DO YOU THINK
YOU ARE GOING TO DO NEXT?

Dan says WELL, I'M THINKING ABOUT
DOING SOME MORE PROSE WRITING,
TO BE HONEST.

Richard says ANOTHER NOVEL?

Dan says I'M WORKING ON THIS SORT
OF SHORT STORY RIGHT NOW
TO SORT OF WARM MYSELF UP.

Richard says WELL, WHATEVER IT IS, I'M
GOING TO LOOK FORWARD TO
SEEING IT -- OR
LISTENING TO IT.

Dan says WELL, THANK YOU.

Richard says DAN, THANKS VERY MUCH.

Dan says MY PLEASURE.

Richard faces the screen and says
IT'S DAN HILL.
AND FOR
DIALOGUE,
I'M RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1996, The Ontario Educational Communications Authority.

Watch: Dan Hill