I first have to say that Trans-Siberian Orchestra is one of the coolest rock shows and most powerful Christmas productions I've ever seen. It's such a dramatic fusion of styles.
Paul O'Neill: Thanks. A newspaper once described us as Phantom of the Opera meets The Who with Pink Floyd's light show.
With a little bit of classical thrown in. How did that fusion come about? Were you always into Broadway and rock opera?
O'Neill: I was mostly influenced by classical, rock, and R&B. Also, having grandparents from Ireland, the storytelling elements of Celtic music had a great impact on me. Even songs as simple as "Danny Boy" tell a story. Growing up in rock & roll, with its reputation for being undisciplined, I have always been fascinated by the discipline of Broadway performers who were untapped by the rock world. So we tapped them and rocked them up.
Now let's talk about that Phantom Of The Paradise re-creation you are currently discussing with Brian De Palma. Have you yet come to an agreement ?
O'Neill : Brian is an amazing character. His ideas back then were breathtakingly ahead of his own time, and I'm talking about both music AND film directing. Now his thoughts about an on-stage Phantom are brilliant. That's why we are still trying to figure out the best direction to give to this project. And he does not seem to be ready to give his Phantom away that easily (laughs).
But he never actually staged before ?
O'Neill : Not for a fact, but remember how close to the stage was the 1974 Phantom, with the opening of the Paradise or the final on-stage wedding scene. I honestly think Brian was actually staging those parts. And you may know that Brian also direct the Dancing In The Dark Bruce Springsteen video.
Would it really be a Paul O'Neill vision or would Brian De Palma's hand hang over the project ?
O'Neill : I think Brian was most fascinated by the relationship between Swan and Winslow. He also led a reflexion about the strange and powerful and dangerous process of creation. I am more interested in the music itself and its overwhelming power over people, creators or listeners. That's a territory I've tried to explore with Savatage or TSO : remember the rise and fall of D.T. Jesus, When The Crowds Are Gone, the cello player in Dead Winter Dead, the whole Beethoven's Last Night synopsis.
What is it that attracts you about Phantom Of The Paradise ?
O'Neill : Do you remember that scene where Swan is auditioning singers to perform the Faust cantata in a way that has never yet been done before ? All of the music styles of the mid 70's are there : folk, pop, motown, country, rock. And there appears Beef, with this glam rock look and his screaming electric guitar. I can hardly say how astonished I am at Brian's visionary perception of the future of rock music. Today, I don't know yet what that scene would be, but that's a challenge I want to take up.
Phantom Of The Paradise is a rather cruel and tragic story. How is it linked to your previous Trans Siberian Orchestra projects ?
O'Neill : Yes, I understand that it may appear crueler than the TSO Christmas project. But yet again, remember the story I wrote for Beethoven's Last Night : Beethoven just ended his tenth symphony, which is so perfect that the Devil himself fears it and wants to stop people to ever hear it. Does it remind you of anything ?
Now let's talk about that Phantom Of The Paradise re-creation you are currently discussing with Brian De Palma. Have you yet come to an agreement ?
O'Neill : Brian is an amazing character. His ideas back then were breathtakingly ahead of his own time, and I'm talking about both music AND film directing. Now his thoughts about an on-stage Phantom are brilliant. That's why we are still trying to figure out the best direction to give to this project. And he does not seem to be ready to give his Phantom away that easily (laughs).
But he never actually staged before ?
O'Neill : Not for a fact, but remember how close to the stage was the 1974 Phantom, with the opening of the Paradise or the final on-stage wedding scene. I honestly think Brian was actually staging those parts. And you may know that Brian also direct the Dancing In The Dark Bruce Springsteen video.
Would it really be a Paul O'Neill vision or would Brian De Palma's hand hang over the project ?
O'Neill : I think Brian was most fascinated by the relationship between Swan and Winslow. He also led a reflexion about the strange and powerful and dangerous process of creation. I am more interested in the music itself and its overwhelming power over people, creators or listeners. That's a territory I've tried to explore with Savatage or TSO : remember the rise and fall of D.T. Jesus, When The Crowds Are Gone, the cello player in Dead Winter Dead, the whole Beethoven's Last Night synopsis.
What is it that attracts you about Phantom Of The Paradise ?
O'Neill : Do you remember that scene where Swan is auditioning singers to perform the Faust cantata in a way that has never yet been done before ? All of the music styles of the mid 70's are there : folk, pop, motown, country, rock. And there appears Beef, with this glam rock look and his screaming electric guitar. I can hardly say how astonished I am at Brian's visionary perception of the future of rock music. Today, I don't know yet what that scene would be, but that's a challenge I want to take up.
Phantom Of The Paradise is a rather cruel and tragic story. How is it linked to your previous Trans Siberian Orchestra projects ?
O'Neill : Yes, I understand that it may appear crueler than the TSO Christmas project. But yet again, remember the story I wrote for Beethoven's Last Night : Beethoven just ended his tenth symphony, which is so perfect that the Devil himself fears it and wants to stop people to ever hear it. Does it remind you of anything ?
