Bookmarked After a near-death experience, Andrew Denton has a new intensity (Sydney Morning Herald)

Usually the man posing the difficult questions, veteran TV interviewer Andrew Denton is just as adept at being in the hot seat. And in the wake of a serious health scare, he has a lot to say.

Konrad Marshall provides a profile for Andrew Denton. It provides insight into his style, the challenges he has had to his health and a little of the enigma behind the mask. I have enjoyed Interview, especially the podcast version. A few highlights have been interviews with Daniel Johns, Guy Pearce,Casey Donovan and Troye Sivan. Like Anh’s Brush with Fame, I like the conversational feel.


“One of the lines we use is, ‘Slow cooking in a fast food world’,” Denton says, flashing a familiar grin. “It’s an experiment about whether you can have a longer, slower, more measured conversation in a world where we’re used to flick, flick, flick,” he says, swiping an imaginary phone. “It might sound a little grand, but we’re in a fairly toxic time, when offence-taking and offence-making is weaponised. We all have the same weapon now,” he adds, holding up and shaking his real phone. “Everybody’s ‘open carry’ โ€“ the world is Texas. And so we are trying to model a more empathetic space. There are still difficult questions but they’re from a place of empathy, not from attack. I’m not trying to win the interview.”

Bookmarked Interviews: 2002 (

GQ magazine (USA) June, 2002 by Elizabeth Gilbert.

This is a fascinating insight into the music and the mind of Tom Waits. There is something mesmerising about the myths that he spins. It is a reminder of our tendency towards narrative.


“Children make up the best songs, anyway,” he says. “Better than grown-ups. Kids are always working on songs and throwing them away, like little origami things or paper airplanes. They don’t care if they lose it; they’ll just make another one.” This openness is what every artist needs. Be ready to receive the inspiration when it comes; be ready to let it go when it vanishes. He believes that if a song “really wants to be written down, it’ll stick in my head. If it wasn’t interesting enough for me to remember it, well, it can just move along and go get in someone else’s song.” “Some songs,” he has learned, “don’t want to be recorded.” You can’t wrestle with them or you’ll only scare them off more. Trying to capture them sometimes “is trying to trap birds.” Fortunately, he says, other songs come easy, like “digging potatoes out of the ground.” Others are sticky and weird, like “gum found under an old table.” Clumsy and uncooperative songs may only be useful “to cut up as bait and use ’em to catch other songs.” Of course, the best songs of all are those that enter you “like dreams taken through a straw.’ In those moments, all you can be, Waits says, is grateful. Like a clever kid with a new toy, Waits is always willing to play with a new song, to see what else it can become. He’ll play with it forever in and out of the studio, in ways a real grown-up would never imagine. He’ll pick it apart, turn it inside out, drag it backward through the mud, ride a bicycle over it- anything he can imagine to make it sound thicker, rougher, deeper, different. “I like my music,” he says, “with the pulp and skin and seeds.” He’s always fighting for new ways to hear or perform things. (“Play it like your hair’s on fire,”(8) he has instructed musicians in the studio, when he can’t explain his vision any other way. “Play it like a midget’s Bar Mitzvah.”)

I like it when you come home at the end of the day from recording and someone says, “What happened to your hand?” And you don’t even know. When you’re in that place, you can dance on a broken ankle.” That’s a good day of work. A bad day is when the right sound won’t reveal itself. Then Waits will pace in tight circles, rock back and forth, rub his hand over his neck, tug out his hair. He and Kathleen have a code for this troublesome moment. They say to each other, “Doctor, our flamingo is sick.” Because how do you heal a sick flamingo? Why are its feathers falling out? Why are its eyes runny? Why is it so depressed? Who the hell knows? It’s a fucking flamingo- a weird pink foreign bird. And music is just that weird, just that foreign.

via Austin Kleon

Liked Lead Smarter, Not Harder Tip 2: Start Asking Better Interview Questions by Bill Ferriter (Tempered Radical)

The goal for interviews in a professional learning community ISNโ€™T to spot candidates who already have โ€œall the answersโ€ to questions about technology use or differentiation or classroom management.

The goal for interviews in a professional learning community is to spot candidates who are reflective, who have a growth mindset about their own practice, and who realize that personal growth is a function of collective study with capable peers.

Listened Kate Bush, Radio 4 on Music – BBC Radio 4 from BBC

In November 2005, Kate Bush broke a 12 year silence with the release of her double album ‘Aerial’, In this programme she gives a very rare interview to John Wilson in a special edition of Front Row, where she talks about why the album took so long to appear and tells some of the stories behind the songs.

Kate Bush reflects on music, the influence of technology and way in which she crafts her work.

I think that it would be a shame that, amoungst all this technology, for us to lose our sense of humanity. Music is suffering greatly from the overuse of computers and taking away the human element, which art is about human expression. I think machines and technologies should be used by people, you should not be a slave to them.

This reminded me of the discussion of Nigel Godrich’s use of tape in the production of music as a part of episode two of the Soundbreaking documentary.

via Austin Kleon