NOTE:
Due to the recent death of our web director (and driving force behind this site),
Scott Schechter, the "Ask Liza" feature is currently on hold.
We hope to have it back soon. Thanks for your patience!
 ASK
LIZA -- (#5) -- Wednesday, February 11, 2009:
Scott Schechter: Your fans are so grateful for you doing this, having this forum, so thank-you, Liza May.
Liza Minnelli: I enjoy it!
SS: I thought we’d take a moment to talk about the new album – LIZA’S AT THE PALACE – since everyone is so excited about it, and enjoying it so much.
LM: I enjoyed it very much, it was wonderful to do – and my band was so great. Singing those Kay Thompson arrangements makes you feel so happy.
SS: Was there any kind of different process in adapting the songs for an album?
LM: Not at all, because we’d been doing the show for two years to get it perfect, as you know. So this started a long time ago, so by the time we got into the studio, we knew what we had to do.
SS: JUDY wanted to know how you developed your vocal style – was it formal training or listening to the music you loved as a kid, like Ella and Sarah and Mel?
LM: I never, I still don’t, think that I’m a great singer. I know I’m a good dancer and I’m a good actress. I think, first of all, I learned how to sing because I HAD to; you couldn’t get a job on Broadway without singing. I listened to Streisand, and I listened to Laura Nero, and I listened to anybody I could listen to, to see the way they did it, and then tried to find a way that I could do it, that was different, but was still influenced by the singers that I admired.
SS: Of course you know I disagree with you, and many of us disagree wit h you, about your thinking that you’re not a great singer!
LM: (Laughing) Aw, thank-you honey, thank-you.
SS: WE think you’re one of the greatest singers of all time, and not just the acting aspect, but the actual sound of your voice. As Mary J. Blidge said in your A&E Biography, a person KNOWS when they’re hearing Liza Minnelli sing – there’s only one you.
LM: Well, Mary J. is so great, and I listen to her, too. I think you learn by really trying everything, and seeing what suits you and fits you. Billy Stitch influenced me greatly. And, of course, Kay Thompson.
SS: I’ve definitely seen a change, enrichment IN your style, in your WORK, since you’ve been working with Billy for the last 17 years.
LM: I know. Well, you know that I had that throat problem, and they operated on my throat, and then I had brain encephalitis, so for a minute I REALLY sounded like BORIS KARLOFF when I was singing. I had to completely retrain my voice. Up until then I just kind of went for it. Then I had to learn the technique of singing properly, and how to tilt your head, and how to take a breath, and breathe into your back, not into your chest. So, I studied so hard.
SS: Had you done those things previously?
LM: No! Fred Ebb would sing the song for me, and I’d sing it. Because all the songs Fred and John wrote for me I just loved so much.
SS: And by the way, I have all of Boris Karloff’s albums … (laughing)
LM: (Roars with laughter) Good for you!
SS: (Laughing still) He’s wonderful! RICHARD enjoyed seeing you so much at Coney Island and wanted to know if you spent a lot of time there, and at Nathan’s, as a kid with your family?
LM: No, I don’t remember going to Coney Island, I remember going to Ocean Park, in Los Angeles, which was the Coney Island of Los Angeles. It was wonderful, all the rides. It was the same kind of thing: big roller coaster. There was another place, too, right where the Beverly Center is, where I often went with my dad. It was a small amusement park, and right next to it was a pony track. They’d stra p you in – you only had to be two years old – and they’d strap you onto this horse, and you could go on the walking track, and next to it – which went around – was the trotting track, and then the galloping track was the farthest out and around. And I couldn’t wait to get to the galloping one (laughing). I hated the trotting one, ‘cause it bounced me all over, like Jell-O, you know? But when I got to the galloping, I thought ‘Oh, this is great.’
SS: BILL had the good fortune of seeing you in both “The Act,” and “Are You Now or Have You Ever Been?,” where you played Lillian Hellmann
LM: Yes.
SS: Do you have any special memories of those two very di fferent productions? I know they were done right around the same time.
LM: They were fairly close together, yes [Note from Scott: Yes, “The Act” ran from on Broadway from October, 1977 to July 1st, 1978, and Liza then appeared in “Are You Now or Have You Ever Been?” in January, 1979]. I loved reading the Lillian Hellmann speech in “Are You Now or Have You Ever Been?,” because it was just beautiful, and it was a declaration of independence … of sorts. It’s just lovely. I suggest to my fans – who I’m so grateful for – that you look it up, it must be on the Internet somewhere. Everything is on the Internet (laughs). And “The Act” – ‘cause Ron Lewis choreographed it – was a BALL!
SS: ELAINE would love to hear you sing some songs from the “Results” album that you did with the Pet Shop Boys, and also “You’d Better Sit Down, Kids.”
LM: Elaine, honey, thank-you SO much, and I will CERTAINLY take that into consideration.
SS: PAULIE would like to know what your thoughts are on Elvis?
LM: Oh, I was CRAZY about Elvis. Just like every other young girl. I thought he was the TOPS, you know? And the way he moved, it was just so outrageous. And so phenomenal. I loved the way all the grownups hated it. I loved that.
SS: (Laughing) It made you feel like he was just there for you.
LM: Yes!
SS: ALISON would like to know if you enjoyed working on “Arrested Development?”
LM: Oh, I loved it. First of all, the cast was so wonderful, the direction was great, the writing was great, it was a blast. The whole thing was fantastic, because you spent the whole day LAUGHING.
SS: Have you heard anything further about the movie version?
LM: No, I haven’t. They seem to be trying to get it together. If it happens, I’ll be thrilled.
SS: Great. ‘Cause you would definitely do it, of course.
LM: I would do it if they asked me.
SS: (Laughing) Well, I can’t imagine them not asking you.
LM: Well, honey, thank-you.
SS: What album would you recommend most to someone who was still new to your music and would like to hear some of your best and signature songs?
LM: The one I just made.
SS: Perfect. (LM laughs) I was hoping you’d say that, because it is such a perfect mix, a perfect blend of your well-known songs with some great new ones, too.
LM: Yes. Well, it’s a lifetime of work. To choose those songs, out of all the songs I’ve been lucky enough to sing and have been lucky enough to have WRITTEN for me, that was very difficult. But I think when it came down to it, Ron Lewis really sorted it well.
SS: It is a perfect program of songs, a perfect show. And speaking of perfect, Caitlin would love to know when we can look forward to the New Orleans concert coming out on DVD? Can you believe it’s going to be 30 years this year (November, 1979), the 30th Anniversary of the New Orleans show?
LM: No? Really? Oh, my NERVES. Well, that’s a good, good show. Oh, I hope so, I haven’t heard anything, YOU’VE probably heard more than I have. I hope so [that it happens soon on DVD].
SS: Here’s another song suggestion: BOB would love to hear “My Own Space” from “The Act.”
LM: Oh, yeah, that’s a wonderful song. That’s a great idea, thank-you, Bob.
SS: Dani from Tel Avi would like to know if you have any special memories of performing “The Diary of Anne Frank” in Israel [in 1962]?
LM: Yes, I have many memories. It was a fantastic trip, and a thrilling experience, can you imagine? Doing “The Diary of Anne Frank” in Israel? And we did it in theatres, and we did it in fields, and open spaces, and the next night we’d be in some concert hall.
SS: An amazing learning experience.
LM: Yes.
SS: Would you ever consider doing another big movie musical? I know there have been all those rumors of you doing the movie version of “Sunset Blvd.,” or even talk of a film of “Follies.”
LM: You wait for the right thing. It would have to be the right thing. I would have to trust the director, and all that stuff. To make a movie musical, you know, I’m a Minnelli, so I’m a bit of a perfectionist.
SS: You like country music, don’t you?
LM: Very much. I like everybody. I watch the country music network all the time. The content of the songs are what I like.
SS: Keep an eye out when you watch that network for the old Glen Campbell shows, since you were on one of them, and sang with him, as you know.
LM: Oh, do you have a copy of that?
SS: Sure.
LM: Oh, I’d love to see that, Scott!
SS: Absolutely!
LM: Oh, thank-you, honey.
SS: You’re welcome, of course. Is there anything you’d like to talk about, that’s coming up? I know you’re working on your new show.
LM: Yup, and gonna do it slowly but surely, like I did this one (laughter).
SS: That’s the best way, sure. Now, I know you’ve mentioned performing as a guest on “Dancing with the Stars,” and since they just announced the new season, do you think you’ll do it this particular season?
LM: Oh, honey, I’ve no idea. If they call me, I’ll tell ya. I’m so concentrated on this new show, and about keeping in shape, and about going to dance class – You know what a FIEND I am about that.
SS: A true athlete, working with Papa Luigi
LM: Papa Luigi!
SS: I know you just have the new album out now, but do you think you might like to do a follow-up album, maybe that Christmas album you’ve mentioned here, or maybe a jazz album?
LM: I know that there is talk with some people, certainly about the Christmas album. There’s a bunch of stuff that’s on the back burner, but I hate to say anything in case it doesn’t work, or doesn’t come through. Then people will be disappointed, or they think I’m lying. (Laughs)
SS: Speaking of new recordings, I hope you were happy with the A&M set, with the songs like “Junie Moon” on it.
LM: Yes. Yes, I thought it was very good.
SS: Was it great hearing “Junie Moon” again?
LM: Yes. Wonderful! What did you think of it?
SS: I was very happy with it, and first of all I’m very grateful that, well, I didn’t even know there WAS a song “Junie Moon” – YOU told me about it.
LM: Yeah, I know (laughs)
SS: So thank-you for that. I think it’s some of your best work, and I’ve always loved hearing you do all kinds of different music, not only the Broadway or standards that people might expect from you, and you’ve done EVERYTHING, even country.
LM: Yes, well, my last record, besides my own, was with My Chemical Romance.
SS: And you can’t get more different than that, right?
LM: Right. I’m very curious. So, I listen to everything, and every once in awhile somebody will call me up and ask me if I want to do something, and if I’m a FAN of theirs, I do it.
SS: Well, you can learn. You can learn by working with different people.
LM: Absolutely.
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ASK
LIZA -- (#4) -- Thursday, January 31st,
2008:
Scott (Schechter): DON would like to know if
you’d ever like to do a DUETS CD,
where you could sing with all your friends, and
favorite performers,
everyone, from Michael Buble, to Bonnie Raitt,
and Maroon 5 – Does
that sound like something you’d like to do someday?
Liza: Yes, it is something I’d like to do,
but I always like a point
of view for everything that I do. So, just to
do it for the sake of
doing duets, no. But to do it from a real point
of view, and a SLANT
on the subject, on Duets, would be great. But
YOU know I did them
first, I’ve been doing them forever. They were
in that wonderful album
that Billy (Stritch) produced for me
Scott: On “Gently,” you mean, right? The songs
with Johnny Mathis and
Donna Summer?
Liza: Yes, sure.
Scott: Oh, definitely. Well, you’ve done some
great duets WITH Billy
Liza: (Laughs) Yes.
Scott: We could practically do a whole CD of
just the duets you’ve
already done with Billy
Liza: Yes. I love singing with other people,
I think it’s great.
Scott: How about a Christmas CD? I know a couple
years back you had
mentioned wanting to do one.
Liza: Oh yes, I’m going to do that, hopefully
this year, for next
year. I am.
Scott: After the Kay CD
Liza: I promise I’ll get it out there, the
Christmas CD.
Scott: Definitely. Now, STEVE wanted to know
if you’d ever like to do
– speaking of recordings – a series of “Songbooks”
along the lines of
what one of your idols did, Ella Fitzgerald –
There could be the Cole
Porter Songbook, and the Gershwin Songbook, and
on and on.
Liza.: Yes, that would be great fun to do.
Oh, yes. Well, that’s how
I learned them (all the great standards), one
at a time, when I was
little.
Scott: And Ella was a great favorite of yours
Liza: Yes. I have all of her albums, and Mel
Torme’s, and Carmen’s
(Carmen McRae) and everybody. They’re just great.
Scott: STEVE also wanted to know if you enjoyed
making the albums that
you made for Herb Alpert’s A&M label?
Liza: Oh, I loved them. I loved them.
Scott: You enjoyed working with Herb?
Liza: Yes, and I enjoyed working with those
writers, too, they were so
great. “Debutante’s Ball,” and all those.
Scott: Oh, yes, all those wonderful songs.
STEVE also has another
great question: Would you ever like to perform
in an intimate club
setting? Like at Feinstein’s, (Michael’s club),
or a venue like that.
Liza: Oh, yes.
Scott: You’ve never really done – well, in
the last 35 years or more –
an intimate club type of date.
Liza: Well, I’m always up singing
at some place (like that).
(laughing)
Scott: Yes, but you know, a real engagement
at a place like
Feinstein’s.
Liza: Um, I think so, but I’ve got this Kay
show on my mind so much
that it’s very hard for me to think of any other
show, because this is
HAPPENING.
Scott: Yes.
Liza: So, to suddenly jump ahead to things
like “would you like,” you
know that feeling, like you’re in the middle
of one dance step and
somebody says “do something else,” and you go
“ha-ba-ha-ba, wait, I
haven’t finished this yet.” (Laughter)
Scott: Well, just some things to think of for
down the line.
Liza: Yes.
Scott: And speaking of which, LIZ would love
to see the return of
certain songs that she hasn’t heard you sing
in quite some time, things
like “I Love a Piano”
Liza: Oh, yes.
Scott: And “The Day After That,” which I know
is a tough one to sing.
And she also mentions “Teach Me Tonight”
Liza: (Talking to an associate): Would you
also get out for me
Marvin’s arrangement of “The Nearness of You,”
which leads into “Teach
Me Tonight.” Good idea!
Scott: Yes, that’s a great one.
Liza: Yes. You know what I’m gonna start doing
again is “Live Alone
and Like It.” That was so funny, wasn’t it?
Scott: Oh, yes, amazing. So, you do enjoy revisiting
songs you
haven’t done for some time?
Liza: Yes, because to me they’re all acting
pieces. You know I do such
character breakdowns on each one of them. Songs
like “I’m One of the
Smart Ones,” that’s a great song.
Scott: That goes back to the Wintergarden
Liza: Yes. And “The Circle.” I gotta get a
new arrangement on “The
Circle.”
Scott: And how ‘bout something new that you
haven’t done, like the
song “I Move On,” the song at the end credits
of the movie of “Chicago?”
Liza (again talking with her associate, to take
notes): I want to
work with Johnny on an arrangement to “I Move
On,” the new song that
they wrote for the movie of “Chicago.”
Scott: Very exciting. SARAH is a 22-year old
actress, and she would
like to know what your favorite part of playing
Sally Bowles was?
Liza: Working with Bob Fosse. And learning.
Scott: RAUL would like to know if it’s true
that your Broadway debut
was supposed to be in a show with Jeanette McDonald
Liza: Yes. And the name of the show was “A
Little Night Music.”
(Liza again mentions the song to her associate.)
This was written by
the same team that wrote (sings) “And You Are
For Loving, and Loving,
and Loving” Martin and Blaine.
Scott: Do you remember why the show didn’t
happen?
Liza: Yes: Jeanette DIED.
Scott: That would do it (laughs).
Liza: That’ll do it, you know? But Michael
Feinstein sings the song
from that, “On Such a Night as This.” And I sing
it sometimes, too.
Scott: MICHAEL SCOTT loves the “Results” album
Liza: Oh, good.
Scott: And he wanted to know if you would ever
do something similar to
that
Liza: Of course I would.
Scott: Or work with the Pet Shop Boys again?
Liza: Yes.
Scott: Are you still in touch with the Pet
Shop Boys?
Liza: Oh, sure I am. And
with My Chemical Romance, and all my other
rock friends.
Scott: I was almost going to say the only thing
you haven’t really
done is Country Music, but the song “Mean To
Me,” that you did in the
movie “Stepping Out,” was almost country, that
arrangement.
Liza: Yes. Oh, honey, I’m ready! I love country
music. I
love story songs – you know that.
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ASK LIZA
-- (#3) -- Friday, July 27th, 2007:
[SS is Scott Schechter]
SS: ANDREW is a trained actor, and
says he suffers terribly with nerves, and he wanted
to know if you had any advice for him, and also what
you think about just before you step out into the
spotlight onstage?
Liza: Concentrate like
you've never concentrated before. It keeps you in
the moment. I pray before I go on, too. I ask God
to let me be a vessel, and let his light shine through
the talent he's given me, to the audience, to make
them feel good. And then I say to myself "now,
concentrate like the Dickens!" (laughs)
SS: DAVID in SYDNEY, AUSTRALIA adores
your movie "Stepping Out" ....
Liza: Yes!
SS: He'd like to know how you feel
about that film.
Liza: Oh, I loved it.
I had such fun making it. And every Friday night
we'd give a music party after the wrap of each week,
and we had more fun, because there's so many musical
people involved.
SS: Yes, Jane, and Bill, and Ellen.
Did Shelly Winters sing?
Liza: No, but she loved
them, she loved hearing everybody.
SS: We'll have to get that movie out
on DVD one of these days, definitely.
Liza: Yes!
SS: PAT from HOLLAND would like to
know what's the latest on the Kay CD?
Liza: It's coming along
-- I haven't finished putting it all together yet.
We're putting in the last three numbers now. And
there's a change of cast: Instead of Clarke Thorell,
who is going into a Broadway show, now I've got Brian
Green. And he'll start with me after I come back
from Europe. The Kay Thompson stuff is going in for
Europe. We're doing it. I'm performing it now, and
it works wonderfully.
SS: Was it a challenge to have to do
it in the round [for the latest two concerts last
week in Mass.], did you have to change some things?
Liza: We had to change
everything, but Ron Lewis [Liza's choreographer]
is so brilliant. And Phil Ramone is on board [Phil
has produced Liza projects and albums in the past,
such as her "Live From Radio City Music Hall" album
and video].
SS: I know you said you want to wait
until the music is absolutely perfect before you
went into the studio, right?
Liza: Until it's completed.
We've still got three things to learn. And Brian
has the whole thing to learn. It's still called "The
Godmother and the God-daughter."
SS: KIM would like to know if you think
being a Pisces helps make you more in-tune with other
people's feelings? I'm a fellow fish, too.
Liza: Oh, wow. Gosh,
I don't know. My father was a Pisces too, and he
was very in-tune, so I would say from what I know,
yes!
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ASK LIZA -- (#2) -- Tuesday,
December 5th, 2006:
SS: First of all,
everyone is so excited, of course, about the Kay album
LM: Yes, and the Kay SHOW.
SS: Yes, and the
show, and have I also heard that there may also be
a documentary?
LM: There might be,
yes, it's a possibility.
SS: How exciting
-- Would that be for Showtime also?
LM: Yes.
SS: Now, I know Michael
Feinstein is producing the album with you, right?
LM: Yes. And
Billy Strich is the head of the vocals, he's our vocal
director. The Williams Brothers are Johnny
Rogers, Jimmy [Jim Caruso],
Cortes [Note from Scott: That's
Cortes Alexander, who worked with Liza during the 1996 "Gently" tour
as part of the Cortes Alexander Trio], and the
other kid that I've got who is great is Clark Turell.
LM: Luigi is staging
it!
SS: Wonderful! Will
this [the album] be for Michael's label, for Feinery?
LM: I don't think so. I
think that it's probably going to be up to Showtime,
how that's done. We don't know that, we haven't gotten
that far yet. See, first, before
anything happens, I've gotta start working it on the
road. Putting in numbers slowly on the
road to build up the running order and to REHEARSE
it. And unless it's perfect -- it's gotta
be PERFECT (laughs), just vocally, and movement wise.
SS: Did you know
that Kay invented rap music?
LM: Did I know? (Scott
laughs) Of course I knew.
SS: [Scott does a
bit of Kay's rap from "The Great Lady Gives An
Interview," written in 1944 for "Ziegfeld
Follies"]: "And there they were
in Amsterdam."
LM: I've said that for
years. She rapped, she did everything before
anybody did it. She was SO far ahead of
her time.
SS: And speaking
of things that are ahead of their time, what do you
think of the idea of a musical of “Tell Me That
You Love Me, Junie Moon?” Someone has actually
written a musical ....
LM: Really?
SS: Does that sound intriguing at all?
LM: Yes, I should imagine
it would be. I love the song that Peter
Allen wrote for “Junie Moon.” He wrote
a wonderful song.
SS: He wrote a song for “Junie Moon?”
LM: Yes. I don’t
think they used it, I can’t remember if they
used it in the picture or not. [Liza
sings]: “Tell me, truly, do you
love me, Junie Moon?” Oh, it was so pretty. I
don’t know if it was even recorded. I
can’t remember.
SS: No, I don’t think so. I don’t
think it’s in the movie.
LM: Is in the movie?
SS: No, there’s just one song over the
credits, that a gentleman sang; you see him playing
guitar, I think, walking through the woods.
LM: Oh, yes. But Peter
did in fact write a song for “Junie Moon.” It
was beautiful. I don’t know if it
exists, maybe his publishing company has it.
SS: We’ll have to do some research on that. Like
you said, “a phone booth in the valley” --
we’re there! [Note from Scott: I was referring
to Liza’s mention on, I think “Ellen,” about
finding lost footage for “Z,” and being
willing to “go to a phone booth in the Valley,
if I have to, to find something.”]
LM: [Loud
laughter] Yes! .... Well, that will be interesting
to see what they’re gonna do.
SS: GREG would like to know if you are friends
with Diana Ross, and have you ever thought of working
together?
LM: Yes, I am friends
with Diana Ross, and no, we haven’t thought of
working together. I think she’s a wonderful woman.
SS: PAUL is sad about “Arrested Development” not
being on the air anymore, but he’s wants to know
if you would ever do the rumored movie version that
Mitch said he was possibly thinking about doing. Would
you ever do that?
LM: Oh, of course I would if they asked
me to. Love to.
SS: We’ve got some fans who have suggested
songs they’d like you to sing
LM: Oh, good.
SS: CHRIS in NYC would love to know if you’d
consider singing “A Quiet Thing” in concert
again? It’s been awhile.
LM: Yes, I would definitely
consider it. He’s right -- It’s a wonderful
song.
SS: MELISSA would like to know if you’d
consider singing a song by Stephen Schwartz -- who
of course wrote “Wicked,” and “Pipin,” and “Godspell” --
called “No Time at All.” I
don’t know it, I don’t know if you know
it. [Neither of us knew the song, so Melissa,
let us know who you heard sing it, what album / show
it’s from, etc]
SS: DAVID would love you to sing “Tonight
is Forever” from the “Results” album.
LM: OH! [sounding
pleased, happy]
SS: I don’t think you’ve ever done
that in concert, have you?
LM: No, I never have [the
same sound of joy as above].
SS: And how about “The Money Tree” [from “The
Act”]? I don’t think
you’ve ever done that [in concert]
LM: I was considering
putting “The Money Tree” in: It’s
SO hard to sing, but everything is of Kander and Ebb
is, that’s what makes it so wonderful. I’d
love to sing “The Money Tree,” yes.
SS: And speaking of Kander and Ebb -- and when
aren’t we? -- How about, and I think
you mentioned this to me, “I Move On,” that
they wrote for “Chicago,” the movie?
LM: Yes, absolutely. Would
love to sing it.
SS: Great. It’s only a matter of time --
another song! (laughs)
LM: A-huh! [as
in yes]
SS: JASON in New York would like to know if there
are plans for any more DVDs of your performances, such
as New Orleans -- everyone is asking for New Orleans.
LM: I don’t own
the New Orleans one, I don’t think.
SS: Really? I thought you did?
LM: Pioneer did that.
SS: Right. [The laser disc release, circa 1980].
I thought you did own that.
LM: I don’t know. I don’t know
what the copyright thing was.
SS: How about your first Carnegie Hall album
that you put out sometime back [the 1979 concert, released
by Liza in 1981] -- It would be great to have that
on CD.
LM: [slight pause
while pondering] That’s a good
idea. Will you send that to me, plus
the songs people want to hear? Just any
information on the stuff we’ve been talking
about.
SS: Sure. Definitely, I’ll
do that.
LM: OK, darling.
SS: JIM from Orlando would love to know if the
characters Liza inhabits in her songs, stay the same
over time, or do the women who sing for example, “Some
People,” or “Maybe This Time” CHANGE
over the years?
LM: Yes, you always
have to move forward. Martha Graham taught
me that: You don’t dance at 30 the way you danced
at 20. You don’t dance at 40 the
way you danced at 30. Because you learn
to pull it in and make it more like a laser beam as
opposed to a big, bright spotlight. It
becomes more specific, clearer, and you have to do
less, because it’s stronger. You
adjust to the time. I don’t sing “You’ve
Let Yourself Go” now the way I did in “Liza
With a ‘Z’.” The
one song that is a pefect example of that is “The
World Goes ‘Round.”
SS: My favorite song.
LM: Yeah, me too. Well,
the more you learn, the more interesting that song
gets. ‘Cause it’s a FACT. There’s
nothing desperate about it, it’s just a fact. I
used to watch Freddy do that [Fred
Ebb]. HE would change the way he
sang things, and Aznavour has always done that, and
Martha Graham. The three people who have really taught
me that. They taught me to always do something NEW,
with even a piece of material you’ve been singing
a long time. Keep it fresh for yourself.
And the more you learn, put it into the song.
SS: So those magnets on the refridgerator that
you’ve spoken about [Liza knowing the details
about her characters, including the magnets on their
fridge], those have changed also I bet, huh?
LM: Yes, they have [laughs
loudly].
SS: You mentioned Aznavour -- Have you ever thought
of doing a CD or a show, a tribute JUST to HIS songs,
the songs that he wrote?
LM: Yes, I have.
SS: Again, we’ll add it to the list of
things for you to do for the next [30 years] ....
LM: That’s right [Laughs].
SS: YYVONE would like to thank-you “for
having a website that is 100 good thoughts and supportive
of our beautiful Liza.” She’d
also like to know what do you think happens to the
character of Pookie Adams after “The Sterile
Cuckoo” movie ends?
LM: I don’t know,
I haven’t thought about it. I know
one thing: She has some good memories.
SS: NICOLE asks if there are any modern-day performers
that you enjoy or think are enspiring?
LM: Lots. I
love Maroon Five. I like Michael Buble. I
love Diana Krall, too. You know, I listen to EVERYTHING,
that’s part of what I love about this business.
SS: And you’ve DONE everything, you’ve
done all different kinds of styles [of music] which
is one of the things I love the most.
LM: Well, this latest
thing with My Chemical Romance.
SS: I was just thinking that
LM: Yep, Perfect.
SS: What was that like? Working with
them?
LM: I loved it. He was
VERY professional, and fun to work with. And very knowledgeable.
SS: And again it’s this whole new audience
that’s discovering you, just like [when you did] “Arrested
Development.”
LM: Yes.
SS: And when you were just on “Law and
Order [C.I.],” I got so many wonderful e-mails
LM: Oh, did you?!!! [Liza
sounded very happy and excited]
SS: Yes, like this “rediscovery”: “Oh,
yes,she can act,” well, “DUH.”
LM: [big
laughter] Yes, I know [laughing],
it’s so weird.
SS: It is, it’ so bizarre. It’s
like, “well, yes, everyone knows you can sing,” but
they forget that
LM: Yes.
SS: They forget that you’re this astounding
actress, and as you say, it all comes from acting,
anyway.
LM: Yes.
SS: Everything.
LM: Yes.
SS: And from movement!
LM: [Big Laugher]
SS: PAUL is a classical pianist, and cites you
as his inspiration. He says you don’t generally
talk about your musicianship, but he’d like to
know what you think about your musical instrument. He
says “the sound of your voice is so cello-like,
so rich in those overtones, and has a sensual, yearning
sound, in songs such as ‘Never Let Me Go,.’ And
yet you have those wonderful carefree qualities in
songs such as ‘Alexander’s Ragtime Band.’ Do
you let your own sound dictate what you will or will
not sing?”
LM: No, never.
SS: “Are there songs that you would like
to sing, but you don’t, because you don’t
think they suit your voice?”
LM: No. [Laughter] I
try everything -- you know that.
SS: Sure. Great material is great material.
LM: I
would never sing opera, because that is something
that I cannot do.
SS: Except in jest.
LM: Well, yes, we could
do a little jest on that.
SS: Like the opening of the second act of Carnegie
Hall in 1987.
LM: [Chuckles]
LM: Oh, ‘The
Blue Gardenia’ is on TCM!
SS: I could keep TCM on, and never leave the
house!
LM: [Big laugh]
SS: It’s true!
LM: And Nat King Cole
introducing the song ‘The Blue Gardenia’ by
Bob Russell, and Lester Lee. Perfect.
SS: And of course they’re showing so many
of your dad’s movies right now
LM: Yes. Oh,
darling, I have a rehearsal at 4 o’clock.
SS: Before you go, would you like to say something
for the fans?
LM: Yes. It’s
so exciting right now, working so much, and what makes
it so exciting is the support and the FRIENDSHIP of
my fans. I count on you, I appreciate you,
and I will always do my best, for you. So,
look at the website and see where you can come see
me!
SS: Thank-you, Liza.
LM: I love you honey.
Thank-you so much, baby.
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