go "backstage". How was the production the video? How did you realized
it? Well, What's the job behind those 4 minutes and a half that
we can see and listen to?
Actually we shot quite a lot of images. We've been in Melegnano
and its outskirts to shoot the city and the factories, we have also
been on a train shooting from the windows on the leg Arona-Milan
and images "stolen" also at the Stazione Centrale. We shot the images
of the band inside in the room where we used to play and outside
under the viaducts of the highway above the hills on the lake Maggiore,
but also "inside!!" the highway, because at that time it wasn't
still completely open. I think in total we have more than two hours
Usually, in occasions like these, something
amusing happens, something that you'll remember forever. Did it
happen something like to you too? If yes, tell us some anecdote…
We complicated our life reaching a viaduct through of the meadows
when Paul ran off in the water of a stream. The funny is that it
was November. Alright. We lightened a fire to dry him, but before
we've been laughing for twenty minutes without reserve. Another
situation was when a technician of the production video absently
canceled the first seconds of the song from the video, including
the code that determinate the entry of the audio. After few minutes
of panic (the study was at its beginning) fortunately in a manual
way with the CD (!!) we have been able to record the song to the
I have seen the video and personally, during
the first vision and beyond of the text, I made a personal idea
of the thematic contained in it. I thought the city was "sad" because
incapable to offer stimuli, emotions, colors (the black and white
is not casual). However, above all, even in a similar place the
music has been able to create bonds that go beyond the daily grayness,
beyond the approval of the big public, beyond of everything and
everyone, creating shadow lines. Do you think that this first impression
reading contains any assonance with the message that you wanted
The music is
a bond that allows you to overcome many moments of your own life.
A bond, for me, inseparable with my way of being. In each "sad"
place there is the possibility to build something. It depends on
us, on what we want to do. Settling us down or lifting us up. In
the video I wanted a piece of the everyday life. To use the camera
as an eye that scrutinizes the places where every day you spend
Listening to the song it can be interpreted,
make it yours, "wear it" on your own experiences. A video, instead,
somehow eliminates the component of the personal imagination furnishing
the public a key of reading close to the one which the song was
born for, leaving however open the interpretative keys. What do
you think? And in which way you have tried to find a "boundary line"
between these two theorems?
I am of the idea that a song can be "lived" in different ways, according
to who listen to it. Personally I prefer to listen to a song than
the vision of a video-clip. I like the video which transmit a strong,
authentic feeling, which arouse an emotion during the vision. An
exception is the live where what counts it's the performance. In
Sad Town we wanted that the function of the images was to support
the text and not necessarily an interpretation. In the video the
shots are always in movement in a way that they leave space to the
imagination and the sensibility of who looks at.
Why do you want to go away from the city and
not "fight" against her and its misery, its grayness, the dreams
you don't believe in? And then, the "sad" town is a real place,
material, or a state of the heart, an illness of the soul with its
disarranged roads on which it is difficult to walk?
On the same record there is a song entitled No Place Like Home.
In the city there is who leaves and who arrives. According to the
humors and to the stories to tell. Each with his own motivations.
Sad Town is one of the oldest songs that I have ever written and
to each epoch corresponds a different state of
the mind. The characters of my songs have however a coherence, maybe
they are full of contradictions but with the emotions that every
time carry me to speak about different situations. I think I have
a good dose of sensibility and I transfer what I feel into the texts.
A Sad state of the mind… I have developed it better in one of the
songs of the last disk entitled Not Sad. I always try not to write
texts in which the element Sadness isn't too important. I write
about hopes, dreams, rock'n'roll, struggles, incomprehension. I
write because when a song is complete, I have built something in
which I transmit my world and the way I look at the things.
lntervista di Michele Posa