Transcript: Amy Sky | Feb 25, 1997

(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 his guest sitting in a home living room: “Amy Sky. Singer – Songwriter.”

Richard and Amy sit on couches. The walls are decorated with oil paintings and there’s a staircase 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 blue shirt.

He says A LOT OF PEOPLE TALK ABOUT
TACKLING A NEW CAREER,
BUT WHEN YOU MEET SOMEONE
WHO DOES AND DOES IT
SUCCESSFULLY, IT INSPIRES
YOUR ADMIRATION.
SOMEONE WHO I KNEW AS
A RECORDING ARTIST AND
SONGWRITER DID A PHENOMENAL
PERFORMANCE LAST SUMMER
AT THE ROYAL ALEX THEATRE
IN
BLOOD BROTHERS.
IT WAS HER FIRST
PROFESSIONAL STAGE
ACTING APPEARANCE.
I WAS KNOCKED OUT.
I HAD TO FIND OUT MORE
ABOUT THE PERSON AND ABOUT
WHAT BROUGHT HER TO
THIS PARTICULAR PLACE.
THAT'S WHY THIS
DIALOGUE
IS WITH AMY SKY.

Amy is in her thirties, with long curly brown hair. She’s wearing a long-sleeved burgundy velvet dress and several strands of beads around her neck.

Richard continues SO, AMY, THERE'S SO MANY
ROADS YOU'VE GONE THROUGH,
SO MANY THINGS I
WANT TO TALK ABOUT.
I GUESS I'LL BEGIN WITH THE
FACT THAT WHEN I SAW YOU ON
THAT STAGE IN
BLOOD BROTHERS
PLAYING A WOMAN TOTALLY
UNLIKE YOU - A WORKING
CLASS, BRITISH LADY,
MUCH OLDER THAN YOURSELF IN
THE LATER PARTS OF THE PLAY -
I FELT YOU HAD BEEN DOING
THIS STUFF ALL YOUR LIFE.
IT'S STRANGE.
HOW DOES IT
FEEL FOR YOU?

Amy says I THINK FOR MY FIRST
ROLE, THIS WAS A GIFT,
IN THAT LIFE HAS REALLY
PREPARED ME TO UNDERSTAND
THE CHARACTER OF
Mrs. JOHNSTONE.
SO, APART FROM ANY OF THE
TECHNICAL REQUIREMENTS
OF THE ACTING, WHICH
WERE CHALLENGING,
EMOTIONALLY AND
PERSONALLY I REALLY
RELATED TO THE CHARACTER.
A LOT OF THINGS IN MY LIFE
ARE VERY SIMILAR TO WHAT
SHE HAS GONE THROUGH, EVEN
THOUGH SOCIOECONOMICALLY
WE'RE FROM VERY
DIFFERENT BACKGROUNDS.

Richard says I MENTIONED TO SOMEONE THAT
I WAS GOING TO BE DOING
AN INTERVIEW WITH YOU, AND THEY
SAID - I WON'T TELL YOU
WHO IT IS - I WENT TO
HIGH SCHOOL WITH HER!
IT'S FUNNY, BECAUSE I WAS
TRYING TO THINK BACK ON
YOUR BACKGROUND AND I DIDN'T
THINK OF YOU AS BEING
A NICE, AVERAGE TORONTO
GIRL AT ONE POINT,
BUT THAT'S WHAT
YOU WERE, RIGHT?

Amy says IT DEPENDS HOW
YOU LOOK AT IT.
CERTAINLY, I WAS BROUGHT
UP IN AN AVERAGE MILIEU.
I NEVER FELT A PART OF
THAT MILIEU, AND, IN FACT,
IN HIGH SCHOOL I
SWITCHED TO S.E.E.D.
I WAS AT FOREST HILL AND
THEN I SWITCHED TO S.E.E.D.,
WHICH IS AN
ALTERNATIVE SCHOOL,
BECAUSE I ALWAYS FELT
OLD BEYOND MY YEARS
AND INTERESTED IN THINGS
THAT THE OTHER KIDS
WEREN'T REALLY
INTERESTED IN.
I WAS ALWAYS
INTERESTED IN MUSIC,
ALWAYS INTERESTED
IN DRAMA.
AND I WAS INTERESTED
IN ACHIEVING;
I WASN'T REALLY INTERESTED
IN HANGING OUT AND DOING
THE NORMAL TEENAGE THINGS.
SO, I THINK I FELT LIKE
A BIT OF AN ODD MAN
OUT IN MY ENVIRONMENT.

Richard says NOW, OF COURSE, YOU WERE
INTERESTED IN MUSIC FROM
THE VERY BEGINNING, AND
YOU GOT A DEGREE IN MUSIC
AND WENT TO UNIVERSITY.
HAD YOU EVER THOUGHT IT WAS
GOING TO HAVE THE PARTICULAR
APPLICATION IT DID, IN
SONGWRITING AND PERFORMING?

Amy says ABSOLUTELY; IN FACT, THE
DEGREE IN CLASSICAL THEORY
AND COMPOSITION WAS
KIND OF A LEFT TURN
AT THAT POINT IN MY LIFE.
EVEN THOUGH FROM THE AGE
OF FIVE I WAS STUDYING
CLASSICAL MUSIC
VERY SERIOUSLY,
BY THE TIME I WAS
IN MY MIDDLE TEENS,
I KNEW THAT I WANTED TO BE
IN THE POP END OF THINGS.
BUT I SORT OF THOUGHT ALONG
THE LINES OF MAYBE FILM
AND WRITING FOR THE
MUSICAL THEATRE.
IT WASN'T UNTIL I ACTUALLY
JOINED A ROCK BAND,
LIKE A REAL FULL-FLEDGED
ROCK BAND IN COLLEGE,
THAT THE LIGHT BULB WENT OFF
OVER MY HEAD, AND I WENT,
THAT'S WHAT IT IS - THAT'S
WHAT I WANT TO DO WITH
MY GIFTS, SING AND WRITE
SONGS FOR MYSELF.

Richard says I'M ALWAYS CURIOUS WHEN
PEOPLE TALK BACK
ABOUT THEIR CHILDHOOD
MUSICAL EXPERIENCES.
NOW, YOU SAID YOU STARTED
TAKING LESSONS AT FIVE, RIGHT?
WAS IT AT ALL YOUR IDEA,
OR DID YOUR PARENTS THINK
THAT WOULD BE A
GOOD THING FOR YOU?

A caption appears on screen. It reads "Amy Sky. Singer-Songwriter."

Amy says NO, ABSOLUTELY
IT WAS MY IDEA.
I REMEMBER, IT WAS LIKE
MY FIRST KIND OF
EPIPHANY EXPERIENCE.
I WAS FOUR; I REMEMBER
IT CLEAR AS DAY.
I WAS AT THE DENTIST'S
OFFICE AND I WAS LOOKING
AT A BOOK, AND THERE WAS A
PICTURE OF A LITTLE BOY
PLAYING A CLARINET.
I CAN STILL SEE THE
PICTURE IN MY MIND.
IT WAS LIKE MY HEART
STARTED RACING.
IT WAS LIKE, I
GOTTA DO THAT!
MOM, I GOTTA DO IT!
YOU'VE GOTTA GIVE ME
SOMETHING TO MAKE A NOISE ON.
WE HAD A PIANO IN THE HOUSE,
AND I WAS ALREADY PICKING
AWAY AT IT, BUT I WANTED
TO PLAY A WIND INSTRUMENT.

Richard says SO, WHAT WAS IT?

Amy says THEY GAVE ME A RECORDER,
AND I KNEW IT WASN'T
A CLARINET, BUT THEY SORT OF
TOLD ME I WAS TOO YOUNG
AND I WOULDN'T HAVE
THE WIND POWER.
I WAS LIKE, OKAY...
BUT I ACTUALLY FELL IN
LOVE WITH THE RECORDER,
BECAUSE IT WAS EASY TO
MAKE A BEAUTIFUL SOUND,
AND PRETTY EASY, THE
TECHNICAL REQUIREMENTS.
AND I WAS QUITE ADVANCED;
I STUDIED FOR NINE YEARS.
I STUDIED WITH HUGH ORR,
WHO'S VERY WELL KNOWN
IN BAROQUE MUSIC CIRCLES.
AND HE PLAYED
EVERY INSTRUMENT,
EVERY BAROQUE INSTRUMENT.
HIS STUDIO WAS FASCINATING;
IT WAS LINED WITH SHAWMS
AND EVERY KIND OF RECORDER
AND MEDIEVAL BAROQUE
WIND INSTRUMENT, AND VIOLA
DA GAMBAS AND A CELLO.
AND THAT CELLO USED TO SIT
IN THE CORNER OF HIS ROOM,
AND WE HAD LITTLE QUARTETS;
HE WOULD PLAY THE CELLO
AND OTHER STUDENTS WOULD
PLAY THE DIFFERENT
WIND INSTRUMENTS.
SO, WHEN I GOT A CHANCE TO
STUDY CELLO AT THE AGE
OF NINE AT SCHOOL,
I LEAPT AT IT.
THEN I VERY QUICKLY STARTED
STUDYING CELLO PRIVATELY.
THEN I BECAME QUITE AN
ACCOMPLISHED CELLIST;
IN FACT, THAT WAS THE
INSTRUMENT BY WHICH I GAINED
ENTRANCE INTO THE
UNIVERSITY OF TORONTO,
BECAUSE YOU HAVE TO
HAVE AN APPLIED MAJOR.
AND I WENT INTO INTERLOCHEN;
I STUDIED ALL OF THAT.
I MEAN, EVERY DAY AFTER
SCHOOL WAS JUST HOURS
PLAYING ALL THE
DIFFERENT INSTRUMENTS.

Richard says SO, HOW COME YOU'RE NOT
OFRA HARNOY RIGHT NOW?

Amy says OFRA AND I STUDIED
WITH THE SAME TEACHER,
VLADIMIR ORLOFF - GEORGE
HORVATH - AT THE FACULTY.
BUT I THINK WHEN I HEARD
OFRA THROUGH THE DOOR,
I REALIZED...
BY THAT TIME I KNEW I WASN'T
GOING TO SERIOUSLY PURSUE
THE CELLO, BUT I
INCORPORATED IT INTO
MY POP MUSIC.
AND I STILL, TO THIS DAY,
SCORED ON MY RECORD STRINGS,
CELLO AND VIOLIN, ON
A COUPLE OF SONGS.
IT WAS JUST A MATTER
OF FINDING THE BLEND.
I BRING MY CLASSICAL
TRAINING AND MY LOVE
OF THE STRUCTURE AND THE
MELODY OF CLASSICAL MUSIC
TO THE POP MUSIC, AND
ALSO MY LOVE OF DRAMA.
WHILE YOU'RE VERY RIGHT,
THIS IS A CAREER CHANGE
FOR ME, TO BE ACTING
ON THE STAGE,
I WAS ALWAYS TOLD PART OF
THE STRUGGLES I HAD WITH
POP MUSIC WAS THAT MY
MUSIC WAS TOO DRAMATIC.
THE STORYLINES
WERE TOO STRONG,
THE SINGING WAS
TOO EXPRESSIVE.
AND WHEN I GOT ON THAT
STAGE AS AN ADULT,
AS A FULLY FORMED WOMAN,
AND BROUGHT THE HISTORY
AND THE EMOTIONS THAT I BRING
TO MY POP SONGS TO THE ROLE,
ANOTHER LIGHT
BULB WENT OFF.
AND I THINK IT WENT OFF
FOR A LOT OF PEOPLE,
AND PEOPLE SAID, WHY HAVEN'T
YOU BEEN DOING THIS?
AND I'M LIKE,
I DON'T KNOW.
BUT I THINK I'M GOING TO
BE DOING IT FROM NOW ON.

Richard says I WANT TO GO BACK TO
THAT FIRST LIGHT BULB,
BECAUSE I'M WITH YOU WITH
ALL THE CELLO LESSONS AND
INTO U OF T, AND THEN YOU
SAID: AND, OF COURSE,
THE FIRST TIME I SANG
WITH A ROCK BAND,
THE LIGHT BULB WENT OFF.
WAIT A MINUTE, TIME OUT -
HOW DID THIS CELLO STUDENT
GET IN FRONT OF A
ROCK BAND?

Amy says WHEN I WAS 13, I GOT
A HOLD OF A GUITAR.
I GOT MY OWN GUITAR
WHEN I WAS 16.
BUT THROUGHOUT MY TEENS,
I HAD THE CELLO IN ONE
CORNER OF THE ROOM AND
THE GUITAR IN THE OTHER.
AND I WOULD ALTERNATE
BETWEEN THE INSTRUMENTS.
AND THE THING IS THAT ON
THE CLASSICAL INSTRUMENTS
THAT I STUDIED, I
COULDN'T IMPROVISE.
AND ON THE INSTRUMENTS THAT
I PLAYED BY EAR - PIANO AND
GUITAR - I COULDN'T
READ MUSIC.
SO, IT WAS LIKE TWO VERY
DIFFERENT PARTS OF THE BRAIN.
AND WHAT I ALWAYS,
ALWAYS DID,
EVEN FROM THE EARLIEST
DAYS, WAS I WROTE MUSIC.
WHEN I SAY I COULDN'T
IMPROVISE ON THE CELLO,
I COULDN'T IMPROVISE LIKE I
COULD SINGING OR JUST THE CORE
PROGRESSIONS THAT I WOULD
SIT AT A PIANO AND DO.
BUT WHAT I WOULD DO WAS,
BEFORE I DISCOVERED POP MUSIC,
I WOULD SIT AT THE
PIANO AND WRITE WHAT
I CALLED MY
LITTLE SONATAS.
I WOULD JUST PICK OUT LITTLE
MELODIES AND HARMONIES
LONG BEFORE I FORMALLY
STUDIED HARMONY.
SO, THE FRUSTRATION WITH THE
CLASSICAL INSTRUMENTS
WAS THAT I HAD TO PLAY
OTHER PEOPLE'S TUNES.
AND WHEN I GOT A HOLD OF A
GUITAR AND WHEN I DISCOVERED
POP MUSIC IN MY EARLY
TEENS - IN FACT,
THE PARTRIDGE FAMILY WAS
ONE OF MY FIRST EXPOSURES
TO POP MUSIC.

Richard says WHEN YOU GOT
INTO THIS BAND,
I'M CURIOUS WHAT KIND OF
PERSON YOU MODELLED
YOURSELF AFTER.
YOU'RE TOO YOUNG TO BE A
JOPLIN KIND OF PERSON,
BUT WERE YOU QUITE INTO
MADONNA TERRITORY YET?

Amy says NO, FAR FROM MADONNA.
LINDA RONSTADT,
BONNIE RAITT,
JONI MITCHELL -
THE HOLY TRINITY.

Richard says OF COURSE.

Amy says MID-'70s SINGER-SONGWRITER,
CALIFORNIA, SOFT ROCK,
THAT WAS THE THING.
I PLAYED IN HIGH SCHOOL;
FRIENDS OF MINE HAD LITTLE
BASEMENT BANDS TOGETHER, AND
WE DID A LOT OF THAT EAGLES,
JACKSON BROWNE, LINDA
RONSTADT STUFF.
WHEN I WAS IN COLLEGE,
I ACTUALLY JOINED
A COVER BAND WITH DRUMS.
I DIDN'T REALLY
LIKE THE MUSIC;
I DIDN'T LIKE THE
STYLE OF MUSIC,
BUT I JUST LOVED WORKING
WITH THE FULL-FLEDGED BAND.
AND I DIDN'T LIKE THE FACT
THAT WE DIDN'T DO ORIGINAL
MUSIC IN THAT BAND, BUT I
WAS WORKING WITH THAT BAND
ON THE WEEKENDS AND JUST
WHENEVER WE COULD GET WORK,
AND STUDIED CLASSICAL
MUSIC BY DAY,
AND THERE WAS NO QUESTION
WHERE MY HEART WAS.
I LIKED THE FREEDOM
AND I LIKED THE ENERGY.

Richard says HOW WAS THE FAMILY
REACTION WHEN YOU SAID,
YOU KNOW ALL THIS STUFF I'VE
BEEN DOING SINCE I WAS FIVE?
EHH - I'M GOING
TO GO SING.

Amy says I THINK MY PARENTS WERE
HAPPY THAT I STUCK OUT
THE DEGREE BECAUSE I
ALMOST QUIT MANY TIMES
WHILE I WAS IN
UNIVERSITY.
BECAUSE AS TIME WENT
ON, IT BECAME MORE AND
MORE APPARENT THAT THAT
CLASSICAL ROAD WAS NOT
THE ROAD I WAS
GOING TO GO ON.
AND SIX MONTHS
AFTER I GRADUATED,
I WAS ON THE ROAD
WITH RONNIE HAWKINS.
SO, IT WASN'T A
SURPRISE.
AS WELL, I DID A LOT OF
MUSICAL THEATRE IN HIGH SCHOOL.
ALSO, WHEN I WAS IN COLLEGE,
I DID DINNER THEATRE
FOR FOUR YEARS.
I WORKED AT HIS
MAJESTY'S FEAST.

Richard says OH, MY GOODNESS,
ANOTHER FEAST ALUMNUS!

Amy says YEAH, A LOT OF
GREAT ALUMNI;
A LOT OF PEOPLE HAVE
GONE ON TO DO VERY WELL.

Richard says WAS IT ALSO GOOD TRAINING
FOR GOING OUT ON THE ROAD
WITH RONNIE HAWKINS?

Amy says IN A WAY, YEAH, BECAUSE
HIS MAJESTY'S FEAST
WAS SUCH A
LOWBROW THING.
YOU HAD TO MAKE SUCH A
TOTAL FOOL OF YOURSELF,
AND YOU SERVED YOUR
CUSTOMERS IN CHARACTER.
IT WAS ALSO A LOT OF
IMPROVISATION THAT WENT ON,
A LOT OF FLOOR WORK,
RUNNING AROUND...

Richard says YOU WEREN'T WENCH AMY, WERE YOU?

Amy says I WAS WENCH CRYSTAL.

Richard says WENCH CRYSTAL.

[chuckling]

Amy says I WAS.
I LOST MY STAGE
FRIGHT.
I WOULD DO ANYTHING IN
FRONT OF AN AUDIENCE.
I STARTED OUT BEING
COMPLETELY EMBARRASSED
TO SING “ROLL ME OVER
IN THE CLOVER.”
BY THE END OF THE FOUR
YEARS - I DID IT ALL
THROUGHOUT COLLEGE, I
QUIT IN MY FOURTH YEAR.
I WOULD DO ANYTHING.
WHAT DO THEY SAY
IN THEATRE SCHOOL:
RISK DISAPPROVAL,
GIVE UP APPROVAL.
AND THAT SERVED ME VERY WELL
FOR GETTING ON THE ROAD
WITH RONNIE, BECAUSE THAT WAS
ALSO A BIT OF A CIRCUS.

Richard says I WAS ALMOST GOING TO CALL
YOUR LIFE A TALE OF THREE
CITIES, BECAUSE WE HAVE
TORONTO, WE HAVE L.A.,
WE'LL GET TO IN A BIT,
BUT IN THE MIDDLE
IS A STAY IN NASHVILLE.
HOW DID YOU DIRECTLY
GET DOWN THERE?

Amy says I WAS TOURING WITH RONNIE;
HE WAS SHOWCASING
IN NASHVILLE TRYING TO GET
A RECORD DEAL FOR HIMSELF,
SO HE HAD ALL THE MUSIC CITY
SCOUTS OUT CHECKING HIM OUT.
BECAUSE HE'S STILL
KNOWN, HE'S A LEGEND.
IN COUNTRY AND
ROCKABILLY CIRCLES,
HE'S ONE OF THE
ORIGINALS.
AND HE WAS A CONTEMPORARY
OF ELVIS PRESLEY'S.
IN FACT, HE PREDATED
ELVIS PRESLEY: ELVIS
USED TO HANG OUT AT
RONNIE'S GIGS.
WHEN HE WAS BEING SCOUTED,
I ALSO GOT SCOUTED,
AND VERY QUICKLY GOT SORT
OF SNAPPED UP BY A FEW A and R
AND PUBLISHER TYPES
WHO WANTED TO SEE...
THEY DESCRIBED ME AND I GOT
REVIEWED IN THE TENNESSEAN
AS A BUDDING LINDA RONSTADT
WHICH, OF COURSE, MY IDOL.

Richard says OF COURSE!

Amy says AND ON ONE OF MY TRIPS, I
WROTE WITH A WRITER NAMED
WAYLAND HOLYFIELD, WHO'S
VERY WELL KNOWN
IN COUNTRY MUSIC CIRCLES.
WE WROTE A BEAUTIFUL
BALLAD CALLED “IF ONLY,”
AND IT WAS SNAPPED UP FOR
REBA McENTIRE IMMEDIATELY.
AND THAT WAS BRILLIANT
BECAUSE I THOUGHT,
THERE I WAS IN TORONTO...
I'D BEEN WRITING ALL THE
TIME I WAS IN COLLEGE,
ALL THE TIME I WAS IN HIGH
SCHOOL; I HAD NOTEBOOKS,
TAPES FULL OF STUFF.
BUT IT HAD NEVER GOTTEN OUT;
I'D NEVER GOTTEN VALIDATION
FROM MY OWN ORIGINAL SONGS.
AND THEN WHEN I REALIZED
WHAT MUSIC CITY, U.S.A. WAS,
IT WAS JUST A VERY
GEOGRAPHICALLY CONCENTRATED
AREA FULL OF SONGWRITERS
AND PUBLISHERS;
THEY'RE FULL OF THE
CREATORS AND THE BUYERS,
THE PEOPLE THAT WERE
LOOKING FOR THESE SONGS.
SO, I WAS TOLD BY THE PEOPLE
IN THE BUSINESS THERE THAT
I COULD DO THE KIND OF
MUSIC THAT I WANTED TO DO,
WHICH WAS MELODIC POP
ROCK - FOLK ROCK, REALLY.
REALLY THE RECORD THAT
I'VE ENDED UP MAKING,
THE
COOL RAIN
RECORD, IS
THE RECORD THAT I'VE
BEEN WANTING TO MAKE
FOR 13 YEARS.
IT WASN'T REALLY THE
CASE; I WAS THERE...
WRITING-WISE, YOU COULD
CREATIVELY CREATE WHATEVER
YOU WANTED TO, BUT IT WAS
VERY DIFFICULT TO GET
THE RECORD COMPANIES TO BACK
WHAT, AT THAT TIME, IN 1983,
WAS TOO POP FOR NASHVILLE
AND TOO COUNTRY FOR THE COAST.

Richard says SO, THE COAST, YOU
SAID IT; THAT'S WHERE
YOU HAD TO HEAD NEXT.

Amy says YEAH, AFTER THREE
YEARS IN NASHVILLE,
I HEADED OUT TO
LOS ANGELES IN '86.
THERE, I VERY QUICKLY FOUND
SOME WONDERFUL COLLABORATORS.
AND I HAD SORT OF HAD MY
FILL OF THE ACOUSTIC MUSIC
IN NASHVILLE; AT THAT POINT,
I WAS READY TO MOVE INTO
A MORE SOPHISTICATED
KIND OF MUSIC.
YOU'RE ALWAYS CHANGING;
YOU'RE ALWAYS DEVELOPING
AND EXPERIMENTING,
TRYING NEW STUFF.
SO I, AGAIN, QUICKLY GOT
SIGNED TO A NEW PUBLISHER
IN LOS ANGELES AND GOT A
DEAL WITH CAPITOL RECORDS.
I MADE A FULL-LENGTH RECORD
FOR THEM; IT TOOK TWO YEARS.
IT WAS A WONDERFUL TIME.
THE GUY THAT SIGNED ME ALSO
HAD SIGNED CAROLE KING AND
BONNIE RAITT AND CROWDED
HOUSE AND MYSELF,
AND WE WERE HIS
LITTLE ROSTER.
AND I JUST THOUGHT,
CREATIVELY,
THAT'S RIGHT WHERE
I WANTED TO BE.
AND I MADE A RECORD THAT
I WAS REALLY PROUD OF.
IT WAS PERHAPS A
LITTLE OVERPRODUCED.
IT WAS THE ERA
OF SYNTHESIZERS;
EVERYBODY WAS GETTING
INTO SYNTHESIZERS,
AND EVERYBODY THOUGH THAT
MACHINE DRUMS WERE
FAR SUPERIOR TO REAL DRUMS.
AND I GOT INTO IT
MYSELF, I HAVE TO ADMIT.
IT SOUNDED BRAVE
AND NEW TO ME.

Richard says IF YOU'RE OUT THERE
AND A WAVE IS HAPPENING,
YOU GO ALONG WITH IT.

Amy says YEAH, I WAS
RIDING THE WAVE.
SO, I HAVE NO REGRETS
ABOUT THE RECORD.
THE ONLY REGRET IS
THAT AFTER TWO YEARS,
WHEN THE RECORD WAS
READY TO COME OUT,
THE WONDERFUL VISIONARY
FELLOW WHO HAD SIGNED ME
GOT FIRED, AND THE PRESIDENT
OF THE LABEL GOT FIRED,
AND THEY DECIDED TO
TURN CAPITOL RECORDS -
YOU MENTIONED MADONNA.
WHAT WAS SAID TO ME WAS
THEY WANTED TO TURN
CAPITOL RECORDS INTO,
LIKE, SIRE RECORDS,
WHICH WAS MADONNA'S LABEL.
BECAUSE MADONNA
WAS HAPPENING,
THEY WANTED ALTERNATIVE AND
DANCE AND REAL STREET STUFF.
AND HERE I WAS, WITH THIS
KIND OF SOPHISTICATED,
DRAMATIC, DIVA-LIKE
MUSIC, AND IT DIDN'T
SEEM RELEVANT TO THEM.

Richard says SO, AFTER ALL OF THIS,
YOUR RECORD NEVER
SAW THE LIGHT OF DAY?

Amy says RIGHT.

Richard says HOW DID THAT FEEL?

Amy says BLOODY AWFUL.
I WAS DEVASTATED.
BUT I WAS.
NO, WHEN I TALK ABOUT
THE UPS AND DOWNS,
I'M SORT OF MAKING LIGHT
OF BEING DISCOVERED
EVERY TWO YEARS.
YOU HAVE TO UNDERSTAND
WHAT THAT ENTAILS;
YOU GET A BUNCH OF PEOPLE
WHO JUST CAN'T STOP TALKING
ABOUT HOW WONDERFUL YOU ARE,
AND THEN YOU GET A RECORD
COMPANY TO PUT MONEY INTO
YOU, AND THEN YOU RECORD,
AND THEN YOU'RE ALL SET
TO BE THE NEXT BIG THING,
AND THEN IT ALL FALLS APART
AND YOU'RE BACK AT...
IT'S DIFFERENT FROM
DOING A SHOW, ENDING,
AND HAVING TO
GO AUDITION.
THIS IS BEING BUILT
UP AND BEING DROPPED.

Richard says ALSO, YOU MUST HAVE BEEN
KIND OF RADIOACTIVE,
WEREN'T YOU, BECAUSE
YOU WERE THE OLD GUY'S
FAVOURITE, AND THE OLD
GUY'S OUT OF FAVOUR.

Amy says YEAH, RIGHT, YEAH.
IT WAS LIKE KILL THE PRINCE
AND KILL ALL THE SUBJECTS.
IT WAS NO VALUE JUDGMENT
ON THE MUSIC AT ALL.
THEY WERE CHANGING
DIRECTIONS FOR THE LABEL,
THEY CLEANED OUT THEIR ADULT
CONTEMPORARY DEPARTMENT,
THEY LET EVERYBODY
GO, ALL THE PRODUCT.
AND THEY ALSO WEREN'T GOING
TO KEEP ANYTHING ON THAT
WAS GOING TO MAKE HIM
LOOK GOOD, BECAUSE THEN
THEY WOULD HAVE LOOKED
DUMB FOR LETTING HIM GO.
SO, IT WAS REALLY
DEVASTATING.
AT THAT POINT, IT WAS
BASICALLY THE THIRD TIME
I'D BEEN THROUGH
A SIMILAR...
IT WAS MY FIRST FULL-LENGTH,
BUT I'D HAD OTHER
DEVELOPMENT DEALS
PRIOR TO THAT.
AND IT WAS, LET'S SEE...
I'D BEEN IN THE STATES FOR
SEVEN YEARS, I WAS 29,
APPROACHING 30, AND IT
WAS A REALLY TOUGH BLOW -
REALLY HARD TO GET
OUT FROM THAT ONE.
IN FACT, THAT'S WHEN MARC AND I
DECIDED TO START A FAMILY.
WHILE MY GOAL HAD BEEN
TO MAKE MY OWN RECORDS,
EVERY TIME I EMBARKED ON
ONE OF THOSE PROJECTS,
IT JUST SORT OF
FIZZLED OUT.
MEANWHILE, THE SONGWRITING
WAS AS STRONG AS EVER.
EVERY TWO OR THREE MONTHS,
SOME MAJOR ARTIST WOULD CALL
ME UP OR CALL MY PUBLISHER
UP AND DO ONE OF MY SONGS,
AND I THOUGHT, MAYBE I WAS
BARKING UP THE WRONG TREE.

Richard says NOW, MARC, YOU'RE TALKING
ABOUT, IS MARC JORDAN,
YOUR HUSBAND, AND IT SEEMS
STRANGE THAT SOMEBODY WHO
WAS A CANADIAN YOU MET
AND MARRIED IN L.A.

Amy says YEAH, IT WAS KISMET.
GETTING BACK TO THE OLD
CELLO DAYS, WHEN I WAS 12,
I STUDIED WITH
MARCUS ADENEY;
HE WAS MY FIRST PRIVATE
TEACHER AT THE CONSERVATORY.
I HAD THE 3:30
LESSON ON MONDAYS;
MILES JORDAN HAD THE 3:00
LESSON ON MONDAYS WITH
MARCUS ADENEY; MILES IS
MARC'S YOUNGER BROTHER.

Richard says SO, DESTINY BROUGHT
YOU TOGETHER,
AND A GOOD CHOICE LED YOU TO
DECIDING TO COOL IT FOR
A WHILE AND HAVE A FAMILY.
THE NEXT BIG CHOICE, WHICH
HAS LED TO A LOT OF
GOOD THINGS FOR YOU, IS
MOVING BACK TO TORONTO.
WAS THERE ONE PARTICULAR
TRIGGER FOR THAT?

Amy says WELL, LOS ANGELES IN
THE EARLY '90s WAS
A PRETTY CRAZY PLACE.
IT'S CHANGED RADICALLY
FROM THE '80s AND
EVEN FROM THE '70s.
IT WAS A CITY THAT IS
UNDERGOING GREAT POLITICAL
TURMOIL, ECONOMIC TURMOIL.
ZOE WAS BORN IN 1990, AND
EZRA WAS BORN IN '93,
AND IN THOSE THREE
YEARS WE HAD THE RIOTS,
WE HAD THE EARTHQUAKES,
WE HAD THE BRUSHFIRES,
AND JUST A GROWING
LEVEL OF CRIME.
WHEN I MOVED THERE IN THE
'80s, YOU HAD TO BE CAREFUL.
BUT BY THE TIME WE LEFT,
EVERYBODY HAD ALARM SYSTEMS,
EVERYBODY WAS BUILDING
WALLS AROUND THEIR HOUSES.
THE LEVEL OF
CRIME WAS QUITE...
IT HAD ESCALATED.
AND IF YOU WEREN'T GOING TO
BE A PART OF THE SOLUTION -
WHICH I DON'T THINK BUILDING
A WALL AROUND YOUR HOUSE
IS GOING TO SOLVE
THE PROBLEMS.

Richard says COMING BACK HERE WAS A
POSITIVE THING FOR YOU.
IT DIDN'T FEEL LIKE,
OH, I'M LEAVING L.A.
BECAUSE IT DIDN'T WORK
OUT THE WAY I WANTED?

Amy says AS I SAY, I DON'T KNOW THAT
WE KNEW HOW MUCH TIME
WE WERE GOING TO
SPEND HERE.
IT WAS JUST LIKE, WE'LL BASE
OURSELVES OUT OF HERE
AND CONTINUE TO GO TO L.A.
AND WE STILL DO FREQUENTLY;
ONE OR THE OTHER OF US
IS THERE EVERY TWO MONTHS,
FOR A WEEK OR SO.
A LOT OF THE WORK STILL
GENERATES FROM THERE.
BUT A LOT OF OTHER
INTERESTING PROJECTS
HAVE ARISEN, WHICH WE
COULD NOT HAVE FORESEEN.
I NEVER HAD A
CAREER IN CANADA,
NEVER HAD A
CAREER IN TORONTO.
I WAS LARGELY UNKNOWN
HERE 'TIL, I WOULD SAY,
TWO YEARS AGO.
I STARTED MAKING NOISE HERE
BECAUSE WE WERE LIVING HERE.
A LOT OF THINGS HAPPENED
WHEN WE WERE HERE,
INCLUDING JUST PLUGGING INTO
THE ARTISTS AND WRITERS
WHO WERE LIVING AND
WORKING IN CANADA,
WHICH WE DIDN'T REALLY HAVE
ACCESS TO WHILE WE WERE IN L.A.
WE WERE OUT OF TOUCH WITH
THE CANADIAN MUSIC SCENE.
BUT WHEN WE CAME BACK HERE,
WE REALIZED THAT THERE WAS
JUST UNBELIEVABLE WEALTH OF
TALENT IN THIS COUNTRY AND
IN THIS CITY IN PARTICULAR;
AND WE STARTED SOMETHING
CALLED BLUEBIRD NORTH, WHICH
IS A SONGWRITERS' SHOWCASE.
IT WAS MODELLED AFTER
SIMILAR ONES THAT EXIST
RIGHT NOW IN LOS ANGELES
AND IN NASHVILLE.
THERE'S A PLACE IN NASHVILLE
CALLED THE BLUEBIRD CAFE,
WHICH IS WHERE THE
BLUEBIRD COMES FROM,
WHICH IS A PLACE WHERE
SONGWRITERS GET UP WITH
THEIR GUITAR AND SING
UNPLUGGED VERSIONS OF
NEW SONGS OR OF SONGS
THAT HAVE BECOME HITS.
AND IT'S A GREAT PLACE TO
JUST EXPERIMENT AND PERFORM
IN AN UNPRESSURED,
INTIMATE SETTING.
AND SO, WE DECIDED
TO DO THAT.
WE ALSO WANTED TO BRING
SOME OF THE EXPERTISE
THAT WE'D PICKED UP IN LOS
ANGELES ABOUT JUST GOOD,
OLD HOW-TO - HOW TO
NETWORK, HOW TO PLUG IN,
HOW TO TAKE THE
RAW MATERIAL,
WHICH IS THE SONGS, AND GET
THEM OUT THERE INTO THE WORLD.
THOSE ARE THE TRICKS OF
THE TRADES WE LEARNED
IN THE AMERICAN
MUSIC CENTRES.

Richard says TALKING ABOUT HAVING
LEARNED TRICKS,
WE STARTED OUT BY TALKING
ABOUT
BLOOD BROTHERS
AND HOW YOU
CAME INTO THAT.
YOU CAME IN VERY
SUDDENLY, I UNDERSTAND.
THE PRODUCTION WAS SUPPOSED
TO HAVE BEEN ALMOST
A REMOUNT OF ONE OF
THE OTHER ONES,
AND ONE OF THE PEOPLE WHO
HAD PLAYED A LEAD BEFORE
DROPPED OUT AND
THEY NEEDED A LEAD.
I BELIEVE IT WAS MICHAEL
BURGESS SUGGESTED YOU
FOR IT, AND I HEARD THAT
THEY ARRANGED TO GET YOU
TO HAVE AN AUDITION
AND GO TO ENGLAND,
BUT THE BIG WRINKLE,
I FOUND OUT,
IS THAT AT THE LAST MINUTE
YOU DIDN'T HAVE A PASSPORT.

Amy says RIGHT.

Richard says HOW'D YOU GET THROUGH THAT ONE?

Amy says WELL, I DON'T USUALLY LET
THE DETAILS BOTHER ME.
IT WAS A PRETTY
BIG DETAIL.
AND I FOUND OUT I
AUDITIONED FOR RICK FOX,
THE MUSICAL DIRECTOR,
ON A SATURDAY,
AND HE CALLED LONDON
RIGHT AWAY AND SAID,
ABSOLUTELY I
HAVE THE VOICE.
AND NONE OF US KNEW - EVEN
THOUGH I HAD SOME ACTING
IN MY BACKGROUND, I
REALLY DIDN'T KNOW IF
I COULD CARRY THE ROLE.
AND I SAID, I'D BE
WILLING TO READ.
I DIDN'T EVEN REALIZE HOW
QUICKLY THE SHOW WAS OPENING.
I SAID, FLY ME OVER
THERE AND I'LL READ.
I HADN'T EVEN SEEN A
COPY OF THE SCRIPT YET.
SATURDAY NIGHT, I FOUND OUT
MY PASSPORT HAD EXPIRED,
SO I GOT ON THE PHONE.
MY PUBLICIST, JANE
HARBURY, GOT ON THE PHONE.
WE CALLED EVERYBODY
WE COULD THINK OF;
WE CALLED SHEILA COPPS,
WE CALLED THE PRESIDENT
OF THE LIBERAL PARTY
OF CANADA, WE CALLED
THE MEMBER OF PARLIAMENT.
AND FINALLY, MY LAWYER,
PETER STEINMETZ, SAID,
YOUR BEST OPTION IS
TO GO TO THE AIRPORT
WITH A PORTFOLIO OF YOUR WORK,
WITH A LETTER OF INVITATION
TO AUDITION, JUST EXPLAIN
THE SITUATION TO THE GUY,
AND SEE IF THEY'LL
BE SYMPATHETIC.
AND THEY WERE.
THE AIR CANADA OFFICIAL WAS
REALLY SYMPATHETIC, AND,
IN FACT, HE HAD HEARD
MY SONGS ON THE RADIO,
SO HE KNEW WHO I WAS.
HE CALLED THE IMMIGRATION
OFFICER AT LONDON HEATHROW,
AND SINCE
BLOOD BROTHERS
HAS
BEEN PLAYING ON THE WEST END
FOR NINE YEARS, THE GUY AT
LONDON HEATHROW KNEW ABOUT
THE SHOW, AND I TOLD HIM
THAT BOTH HELEN REDDY
AND PETULA CLARK WERE
UNAVAILABLE FOR THE PART -
WHICH IS TRUE; THEY HAD
PLAYED THE PART BEFORE.
AND HE SAID, WELL, OF COURSE
YOU'VE GOT TO COME OVER, LOVE;
OF COURSE
YOU'VE GOTTA TRY.
I SAID, OH, WELL,
THANK YOU.
I'LL BRING YOU AN
AUTOGRAPHED PICTURE.
HE SAID, YOU DON'T
HAVE TO DO THAT, LOVE.
BUT I DID, AND THEY
WERE SO SWEET TO ME
AT LONDON HEATHROW.
IN THE WAKE OF ALL OF THIS
TERRORISM AND ALL
THE SECURITY CRACKDOWNS,
THE GUY AT PEARSON SAID,
I'LL CALL FOR YOU, BUT
THERE'S NO WAY THEY'RE
LETTING YOU ON
THAT PLANE.
HE WAS STAGGERED; WE
WERE ALL STAGGERED.
AND IT WAS JUST THE RIGHT
GUY ON THE RIGHT SHIFT
WHO WAS SYMPATHETIC.
AND HE MET ME AT
SECURITY, AT HEATHROW,
AND THEY JUST
WAVED ME THROUGH.
HE SAID, HOW LONG ARE
YOU GOING TO STAY?
I SAID, IF I DON'T
GET THE PART,
I'LL BE BACK IN
24 HOURS.
HE SAID, OH, NO,
NO, I'M SURE
YOU'RE GOING TO
GET THE PART.
YOU ARE?
AND IT WAS WONDERFUL;
IT WAS LIKE SOMETHING
YOU SEE IN A MOVIE.
THAT STUFF JUST
DOESN'T HAPPEN.

Richard says AND YOU GOT THE PART?

Amy says EIGHT HOURS LATER, I HAD THE PART.

Richard says AND HOW MANY DAYS LATER DID YOU OPEN?

Amy says 14.

Richard says 14 DAYS.
THAT'S ASTONISHING.
NOW, DO YOU WANT
TO DO IT AGAIN?
DO YOU WANT TO DO
ANOTHER MUSICAL?

Amy says I WOULD, I WOULD
LIKE TO.
I'VE BEEN SPOILED
BY THIS PART.
AS I SAY, IT'S SUCH
A PROFOUND PART,
AND THE STORY IS
SO REALITY-BASED.
I DON'T KNOW THAT I'D
LIKE TO DO A MUSICAL
THAT WAS SORT OF A PUFF
PIECE OR A FANTASY THING,
BUT SOMETHING WITH
A CHARACTER...
THE WORLD OF ROCK AND
ROLL, YOU'RE TRYING
TO TELL IT LIKE IT IS.
YOU'RE TRYING TO TALK
ABOUT REAL PEOPLE AND
REAL EXPERIENCES, AND TO HAVE
PEOPLE RELATE TO THE SONGS.
IT'S ABOUT REALITY.
ROCK AND ROLL IS A
SNAPSHOT OF THE PRESENT,
AND THIS PLAY TO ME
IS VERY MUCH THAT.
IT'S VERY PITHY,
IT'S VERY EARTHY.
IF THERE ARE OTHER PARTS
OUT THERE THAT ADDRESS
THAT KIND OF EMOTIONAL
RANGE, I WOULD LOVE
TO BE CONSIDERED
FOR THEM.

Richard says YOU KNOW WHAT I
THINK THE SOLUTION IS,
IS THAT THERE SHOULD BE AN
AMY SKY WRITTEN MUSICAL
FOR YOURSELF, BECAUSE ON
YOUR ALBUM,
COOL RAIN,
THERE'S SOME
EXTRAORDINARY STUFF.
YOU TALK ABOUT ROCK AND
ROLL BEING ABOUT REALITY.
ONE OF THE MOST BEAUTIFUL
THINGS I'VE HEARD IN A LONG
TIME IS “I WILL
TAKE CARE OF YOU,”
WHICH IS YOUR LOVELY SONG
WHERE YOU FOLLOW ALL
THE VARIOUS SEPTEMBERS, FROM
YOUR BIRTH TO YOUR MARRIAGE
TO YOUR MOTHER'S PASSING ON
TO YOUR DAUGHTER'S BIRTH,
TO ALL OF THESE THINGS.
DID IT ALL FALL INTO
PLACE LIKE THAT?

Amy says NOW, THAT'S INTERESTING;
THERE'S A DEBATE.
A LOT OF PEOPLE DON'T
THINK THAT THE MOTHER
DIES IN THE SONG.
WOULD YOU LIKE ME TO
TELL YOU THE REAL STORY
OF “I WILL TAKE
CARE OF YOU”?
ALL RIGHT, MY DAUGHTER WAS
BORN ON SEPTEMBER 24, 1990.
I WAS BORN ON
SEPTEMBER 24, 1960.
AND WHEN SHE WAS
BORN ON MY BIRTHDAY,
WHICH WAS NOT HER DUE DATE,
IT WAS AN AMAZING SIGN
TO ME, IMPORTANT, A
METAPHOR, FOR THE FACT
THAT NOT ONLY WAS I GIVING
BIRTH TO ANOTHER PERSON,
BUT I WAS REALLY
PASSING ON...
MY ESSENCE.
UNTIL YOU BECOME A MOTHER, I
DON'T THINK YOU CAN REALLY
UNDERSTAND WHAT IT MEANS
TO PARENT ANOTHER PERSON.
YOU COULD GIVE THEM
ANYTHING: YOU COULD
RUIN THEM, OR YOU CAN
ENLIGHTEN THEM,
YOU CAN CREATE A
WONDERFUL, OR CONTRIBUTE
TO THE CREATION OF
A WONDERFUL BEING.
AND IT WAS JUST SO COSMIC
TO ME THAT SHE WAS BORN
ON MY BIRTHDAY.
IT STARTED ME THINKING ABOUT
THE CYCLE OF LIFE
AND HOW SHE WAS MY CHILD,
BUT SHE, IN SOME SENSE,
WAS GOING TO BECOME ME,
BECAUSE SHE WAS BORN
ON MY BIRTHDAY.
AND EVENTUALLY, WHEN
I GREW UP, HOPEFULLY,
WE WOULD BE ON GOOD ENOUGH
TERMS THAT SHE WOULD
TAKE CARE OF ME.
NOW, MY MOTHER DID NOT PASS
AWAY; MY FATHER IS VERY ILL.
MY FATHER HAS BEEN
SUFFERING FROM PARKINSON'S
FOR MANY YEARS.
FOR THE PAST 10 YEARS OR
SO, THE KIDS HAVE BEEN...
WE'RE NOT HIS CARETAKERS, MY
MOTHER TAKES CARE OF HIM,
BUT WE HAVE BEEN IN THE
POSITION WHERE WE ARE TAKING
CARE OF HER EMOTIONALLY, AND
WE DO WHAT WE CAN FOR HIM,
IN TERMS OF THE
PHYSICAL CARE.
BUT WE'RE IN A
DIFFERENT SPACE;
WE DON'T HAVE PARENTS
WHO ARE RETIRED
AND OFF
PLAYING GOLF.
WE'RE DEALING
WITH THAT REALITY.
DEATH IS KNOCKING
AT THE DOOR;
YOU'RE FACED WITH
IT ON A DAILY BASIS.
SO, WHILE I HAVE
VERY YOUNG CHILDREN,
ONE FOOT WAS IN THAT CAMP,
THE OTHER FOOT WAS IN
THAT SANDWICH GENERATION,
AN ELDER PARENT.
ALL OF THOSE FACTORS
CONTRIBUTED TO JUST...
BEING IN MANY PLACES ON
THE LIFECYCLE AT ONCE.
SO, I CHANGED THE FACTS OF
THE STORY TO ALL HAPPEN
ON SEPTEMBER AFTERNOON.

Richard says I THOUGHT OF A GREAT LINE;
THERE'S A SHAKESPEARE LINE
IN THE WINTER'S TALE WHERE
SOMEBODY DISCOVERS
AN ABANDONED CHILD IN
THE MIDDLE OF A STORM,
WHERE MANY PEOPLE
HAVE DIED.
AND HE SAID, NOW,
BLESS THYSELF.
THOU HAS MET WITH
THINGS, NEWBORN;
I HAVE MET WITH
THINGS DEAD.
AND I THOUGHT OF THAT
AS THE SONG WENT ON TOO,
THAT IT BEGINS, IT
ENDS, IT BEGINS AGAIN.
BY THE WAY, IT'S A BEAUTIFUL
ALBUM AND IT'S FULL
OF BEAUTIFUL LOVE SONGS ABOUT
GIVING AND TAKING AND ALL
OF THIS STUFF - I KEEP
HEARING THE WORDS
BELIEVING AND FAITH.
IT'S LIKE THESE AREN'T
JUST LOVE SONGS,
BUT THEY'RE KIND OF A
SPIRITUAL THING AS WELL.

Amy says YOU'RE VERY
PERCEPTIVE; ABSOLUTELY.
AS I SAID, MY MOTHER'S
A PSYCHOLOGIST,
AND I'M NOT INTERESTED IN
WRITING BOY-MEETS-GIRL SONGS.
I'M INTERESTED IN WRITING
SONGS ABOUT HEALING
AND PEOPLE'S GROWTH, HOW
THE PROBLEMS IN LIFE
ARE REALLY JUST OPPORTUNITIES TO
GROW AND TO DISCOVER ONESELF.
I'M NOT INTERESTED
IN BEING A VICTIM,
I'M NOT INTERESTED IN
WALLOWING IN SELF-PITY.
LIFE PRESENTS CHALLENGES,
AND IT'S HOW YOU OVERCOME
THOSE CHALLENGES,
HOW YOU MEET THEM,
HOW YOU GROW THAT'S
INTERESTING TO ME.
AND THAT'S WHAT I LIKE
TO EXPLORE IN MY SONGS.
EVEN THOUGH I MIGHT WRITE
A REALLY SAD SONG, TO ME,
THERE'S ALWAYS IN THE SONG
A LINE OR SOME SORT OF...
NOT ESCAPE DOOR, BUT EXIT
DOOR: HOW ARE YOU GOING
TO GET TO THE NEXT PLANE.
OR EVEN THE SADDEST
SONG ON THE RECORD,
THE ONE THAT REALLY HAS THE
LEAST KIND OF REDEMPTION
IN IT, IS “SOLEDAD,” WHICH
IS ALSO BASED ON A TRUE
EXPERIENCE - JUST BASED ON
THE FIRST TIME I HAD
MY HEART BROKEN,
UNREQUITED LOVE.
AND IT NEVER LEFT ME; I
STILL DREAM ABOUT THE BOY.
IT WAS VERY YOUNG - I
WAS 14 OR SOMETHING.
BUT IT LODGED ITSELF
INTO MY PSYCHE,
AND WHAT IT HAS CREATED
FOR ME IS JUST AN AREA
OF MY BRAIN WHERE I KNOW WHAT
IT FEELS LIKE TO BE BEREFT.
EVEN THOUGH I'M IN
A HAPPY MARRIAGE NOW,
I'LL NEVER FORGET THAT, AND
EVERYBODY EXPERIENCES IT;
EVERYBODY GETS
THEIR HEART BROKEN
AT ONE POINT
OR ANOTHER.
AND IT'S A VALUABLE LESSON;
IT MAKES YOU MORE SENSITIVE,
IT MAKES YOU MORE
COMPASSIONATE.

Richard says WELL, AMY, I LOOK FORWARD
TO SEEING WHAT YOU DO NEXT.
WHETHER IT'S SINGING,
WHETHER IT'S SONGWRITING,
WHETHER IT'S ACTING,
I THINK IT'LL BE WELL
WORTH CHECKING IN ON.
THANK YOU VERY MUCH.

Amy says THANK YOU.

Richard says AND THANK YOU.

He faces the screen and says
FOR DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

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

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