Thanks to Neil Raynor for the transcription
Michael Stipe knows
photography. He likes my camera. But because I don't have a flash, he suggests
we retire to his hotel room and use the window to get enough light. Obviously,
Stipe is a photographer himself and knows what will and won't work given the
flash problem. The window shot works. This guy's a professional. Stipe's
composure is especially noteworthy considering the tumultuous year he has
endured. 1998 saw the end of Bill Berry's 18-year career as R.E.M.'s drummer,
with Berry citing that he wanted to be at home and not be a rock star. The fact
that Berry suffered a brain aneurysm on the band's ill-fated 1995 Monster tour
may have also contributed to his decision to leave the band. Stipe has also been
busy working in film: Stipe's Single-Cell Production Company produced its first
movie, Velvet Goldmine, in 1998. Although it drew a relatively mediocre
audience, it was thoroughly a critical success. The Cannes film festival judges
lauded praise upon it, as did cinema critics. Single Cell Productions is also
producing Being John Malkovich, Spike Jonze's first full-length film.
But music is still Stipe's love, and R.E.M.'s determination to make a great
record despite Berry's loss has cumulated in one of the most personal and
intimate albums of their collective careers. "Up" is largely an
experimental record. It may not generate radio-friendly pop hit from the Out Of
Time or Green days, but it is a success that will surely endear itself to fans
both old and new.
INTERVIEWER: Listening to this record, I notice a not-so-subtle layering of
electronics, more so than in your past work. What sort of relation did
"Up" have with technology?
STIPE: That stuff has always been there, right since Murmur (the band's first
full-length album). But, yeah, I think this time it's a lot less subtle: the
drum machines are obviously there, and the keyboards and guitars are altered.
With this record, we decided to branch out, to experiment, so the stuff that's
usually more prominent in R.E.M.'s work took a back seat and the background that
we use typically as a layering or coloring really stepped up and took (the
former out-front material)'s place.
INTERVIEWER: Losing a member, particularly a long-timer, can be fatal to a
band. I had the chance to talk with the Smahing Pumpkins about their new
album.....
STIPE (Laughing): Yeah, they called me. It was like, "Welcome to the
club." But, yeah, I mean, we were a foursome for more than half our lives.
We were, and still are, great friends.
INTERVIEWER: Did Bill's leaving cause any of you to re-evaluate your position
within the band or the band's status?
STIPE: Yeah, absolutely. To an extent, we're still doing that. Imean, it was
tough making the record, but I'm happy with where we are now. It was like some
hippie zen thing: "This is our reality now."
INTERVIEWER: What does Bill think of the new sound, the new material?
STIPE: He thinks we're great. He's really happy for us. He's pleased we
didn't break up. When the record came out, we wanted to go to his farm witha
bottle of champagne and listen to the record, but he wanted to go to the record
store the day it came out and buy it.
INTERVIEWER: How did it feel, playing without Bill at the Tibetan Freedom
festival?
STIPE: A little unsettling at first, but we relly got into it after a while.
Joey Waronker (that day, the band's drummer) is a really great guy.
INTERVIEWER: Is that the best part of being a celebrity, sponsoring good
causes?
STIPE (laughing): The best thing about being a celebrity is being able to get
my favorite table at a busy restaurant.
INTERVIEWER: You strike me as a fascinating person. Have you ever thought of
writing an autobiography?
STIPE (grimaces and rolls eyes): No. I'm a good lyricist, but not a good
writer. Sitting down and writing a book would, for me, be really tedious.
And so ends my interview with R.E.M. frontman Michael Stipe. He shakes my
hand and the next reporter comes in. I reflect on what an amazing person I have
just had the privilege to interview.
2/4/99