Fake Interview with Terri Gross, Part 2

Hello, and welcome back to Fresh Air. We return to the NPR studios in Culver City, California. I'm here today with Irene Casarez, who just released her critically acclaimed album, I Can See Now?, with rock star and composer Stewart Copeland.

Terri Gross: Before our break, you were talking about improvising, and working with City Garage theater.

IC: Yes, that was really an awesome experience. Towards the end of the show, after this sort of crazy dance sequence, I joined this gorgeous Asian girl, pretty much right in the thick of things. She had just done this beautiful sort of fan dance thing, she was naked. It's a small space and the stage itself is tiny. Her name is Mariko Oka, she's a wonderful actress. Anyway, she delivered, every night we performed the show, this heartbreaking and beautiful monologue in Japanese. Even though I had no idea what she was saying, I loved this part of the show. She speaks very melodically, and has a gorgeous voice, and she almost always took that moment and knocked it out perfectly. I mean, I'd sometimes be standing there behind her with my flute in my hand, tears running down my face. And then I had to play. It made me want to say something equally beautiful, or at least try, and - though maybe I didn't realize it at the time - we were playing a duet. It was the best part, for me, in the whole show. And I got better because of it. My own playing started feeling a little bit like that, affecting me in that way.

TG: Did you learn something like that from Stewart Copeland?

IC: Absolutely, though, we tend to laugh more than cry!

TG: Isn't there sadness, too, though?

IC: Yeah. I mean, yes -

TG: I mean, your families, the changes you've both gone through publicly, you can't deny that stuff.

IC: I don't deny it, Terry, but when we were making the record, none of that had happened yet.

TG: I don't want to keep pushing you -

IC: Then why don't you stop, Terri?

[At this point Ms. Casarez became visibly uncomfortable. She asked for a moment and left the studio. After about 20 minutes, she returned. Stewart Copeland was with her. I learned later that he had been waiting in the parking lot, in the car.]

TG: Are you here to lend your support?

Stewart Copeland: Well, I don't think she really needs it.

TG: Really?

SC: This is a tougher cookie than you might think.

IC: Did you just call me a "tough cookie"?

TG: What did you think about working with Irene?

SC: To tell you the truth, I didn't want to do it at first. I thought it was a publicity stunt or something. We met early in 2007 for about five minutes at one of those meet and greet things -

IC: You made me so nervous!

SC: Yes, we know! That moment was well documented!

TG: That meeting is the basis for your song, "Wow," is that correct?

SC: Yes. And that song is why I decided to work with her. She submitted it via YouTube to the Police website, a demo, really, produced, what, in the garage with Patrick?

TG: Patrick, your husband?

IC: Yes, Patrick was just perfecting his skills with his home studio.

TG: And what did you think?

SC: It was just awful. It needed a lot of work. But her - her performance was rough around the edges, but it was very - I can say it, no? - special.

TG: You can say whatever you want.

SC: Though I come off as rather a dick in the song. I can say that on NPR, can't I? But yeah, it was special.

IC: Yes, you can say it. More, please.

TG: Why do you think it was an unflattering portrait? Isn't the song about her obsession with you? About how special she thinks you are?

SC: I was very flattered that she, or any fan, felt that way about me still - I mean, look at Sting; he takes himself and his image very seriously. It was embarrassing, it was interesting, it woke me up a little.

TG: What did you, Stewart, get out of this experience?

SC: I've been around awhile, you know, Terri - I've seen a lot of strange and wonderful things. And I know that some things you just shouldn't walk away from. This was one of those things.

TG: Will you work together again?

SC: We're already working on something.

IC: Well, it was supposed to be kind of a secret...

SC: You know I disagree with that.

TG: Are you working together again?

SC: We're doing more than work together, Terri.

IC: Oh, man, dude, that's -

TG: What does that mean, exactly?

SC: It means what I said, Terri. I'm serious, here.

TG: Come on, Stewart, this is just a fun side project for you. With your soundtrack work and classical composing, and your family, how do you have time to devote to this? And what about your family? What do your daughters think about this relationship? And Fiona, what about her?

SC: Terri I'll say it just one more time: this is real, and we're together. It's not perfect, but we'll work it out.

TG: Can you tell me more about that?

SC: Well -

IC: Hey, you know what? Let's leave some things private, okay?

SC: I was just going to say, nothing is ever perfect.

IC: He's the perfect, imperfect man.

TG: Can you tell me more about the title of the album?

IC: Well, you know... I spent a long time thinking about my teens and being a kid and acting like a kid and all the things I did and said and didn't say, and didn't do, and you know, it's funny, but it's true, I can see now is just my way of saying, after all this time, now I get it. When I was in high school my favorite three words were, "I don't know." I mean, I started sentences with it, "I don't know." I was so naive and young and insecure, and I felt that way even after I had supposedly grown up. Maybe it's corny, and a cliche, but I hope I made something unique out of those feelings... Actually, you know what? It's a joke, Terri. It doesn't mean anything.

TG: Will you continue to work with Stewart Copeland?

SC: Definitely.

IC: God, I hope so.