Rene a part of that?
DION: Oh, yes. He's
a big part of it. And they listen to everything. And they gave
me about 100 to 200 songs to listen to. And I decide my songs.
KING: Now, what does
it have to have for you to say I want to record this?
DION: Become a (UNINTELLIGIBLE)
it's like feeling. Like when you see somebody...
DION: Chemistry. That's
right. I would probably think that the music would be grabbing
my attention a little bit more, because the lyric can be adjusting.
We can always play with the sense, lyric is a very important message,
so it is important, but also the music has got to be nice.
KING: That's interesting.
DION: So both, actually.
KING: Sinatra has told
me the lyric came first to him.
DION: Lyric came first.
KING: The music was
always, what am I saying?
DION: OK. Well, of
course, he's right. Because what you sing is very, very important.
But you can always -- the music, too, I guess, both. you know
what? I guess, both.
KING: How long does
it take to do a CD, they way you work?
DION: Well, it depends.
The way I work, my two last French CDs took me -- first one took
five days, the other one six days for me to record. This one,
it's in English and the producers had to come to Montreal. And
I worked with different producers on this album, because it took
about a month.
KING: Does the CD have
a theme running through it? Is there a concept of the song or
is it just, this is my latest?
DION: Well, this is
my latest, but also the fact that it felt so -- the title of the
album, which is "A New Day Has Come," which represents
not only a song, but a mood. A new day has come for us, is our
child, of course. But a new day has come for somebody else can
be moving from our parent's place to our first new apartment.
KING: It also could
be post-September 11.
DION: Exactly. We just
lost somebody, have to take my life back into charge. I'm in charge
now. I'm back. And by myself and I'm going to make it. A new day
has come for me. It can be represented in many, many different
ways, which I love this song for.
But I think the mood
of the album is very -- maybe more -- I've done some modern things
on that, too. Because like I said to you before, I'm not ready
to jump into this new way of performing, of the rap thing. But
there's a couple of songs that are a bit more modern for me to
KING: How did you get
to do the "Titanic" theme? How did that come about?
DION: I was in Las
Vegas. And I don't remember exactly what I was there for, but
I was working probably. And James Horner, who wrote the song,
came to us at the hotel. And he said, "James Cameron doesn't
know nothing about this. He doesn't want to have any song for
KING: Doesn't want
DION: Doesn't want
a theme song, no. But he said, "I believe in this song. And
I wrote this song just for you. I believe in this song so much
I want you to hear it, please." And he went to the piano
and he started to play. And he was OK, but I couldn't hear the
song well, because the piano -- he plays well, but I couldn't
get the song right. And I looked at Rene in the back, like, "I
kind of want to do that song." And Rene went to see James
and he said listen, "You know what we're going to do?"
Let's do a demo. In a couple of days, we're going to go to Los
Angeles and Celine's going to put her voice on the demo just to
give it a try and see if she feels it, if it's good. She said,
"Thank you. Thank you very much. Great. But don't say a word.
Promise them we're not going to say a word."
KING: Now hold it right
there, because this is good. This is called a grabber. We'll be
back with Celine Dion in the story of one of the most amazing
song successes of all time. Don't go away.
KING: We're back with
OK, so you do the demo.
DION: So I do the demo.
I'm going in a studio. It's a bad day for me. Period of time the
voice is not top shape. Normally, when I sing in a recording studio
for real I don't take any caffeine, neither chocolate, neither
coffee, because it makes my vibrato too fast. But I'm saying to
myself it's a demo, no big deal, it's just for you to try, give
me a coffee with two sugar, please. Black coffee with two sugar.
Everything started to be very quick here. But I went there and
I said, "Would you talk to me about the movie?" He said,
yeah. So, James started to me about the movie and the parents
and the boat and the whole thing, and he touched me so much, and
I had a little tear the corner of my eye. And he said, "You're
ready to sing. Go ahead." I said, "OK." I went
there and I started to sing with my faster vibrato, and I never
re-sang the song.
KING: That was it?
DION: The demo became
the original song.
KING: That was the
one we heard in the movie?
DION: That's right.
KING: And the record?
DION: And on the record.
And they just built the orchestra around my voice after that.
KING: Did Cameron like
it right away, one would assume.
DION: He went for it.
KING: Are you bothered
by tabloid stories?
KING: There were stories
about Rene, he gambled.
DION: Oh, you know,
like couple of years ago they said that the incredible suicide
of Celine Dion. So I called my mother right away and I said, "Mom,
I'm still here." I'm expecting twins, and I was not even
pregnant, I was having a hard time at the time. I was anorexic.
The $9 million gambling of my husband. He's a gambler, by the
way, I'm not denying that, and I'm glad he is. $9 million? Forget
about it. That's not true.
KING: Why are you glad
DION: I'm glad. He
mortgaged his house to make me do my first album. I'm glad he's
a gambler. That's great. He needs to be.
KING: Well said.
DION: But also now
that -- I'm sorry to come back to this, but now that we have a
child it bothers me much more. Because when it's only you, you
know what's true, you know what's not true. I'm not going to say
it's not right, it's true. I know who I am. But when you have
a child, when somebody comes into your life and they say your
son is in danger, things like this, I don't like that at all.
DION: I don't like
that at all.
KING: You get mad?
DION: My husband gets
mad. I give this to him. I'm mad at home. I give everything to
him and then he goes and he...
KING: Because you have
DION: Oh! Oh, yes,
KING: Let's not lay
DION: No, no. I'm this
little sweet girl sings ballads, yes, of course, yes, but on the
other side I'm a mama, too.
KING: What do you make
of the stories of kind of meltdowns of divas? Whitney Houston
with drug problems. Mariah Carey.
DION: No matter what...
KING: What happens
in people at the top?
DION: You know what
some people think, because Mariah and Whitney Houston, we do pretty
much the same things? We're young and we do some ballads and we're
in show business. But I feel for that very much, and I think that's
why I don't live with the show business. I do my job. I do my
songs. I'm enjoying myself. Thank you very much. Goodbye.
I'm in show business,
but I don't live with the show business world and people. They
can eat you raw. It's very dangerous, and it's definitely not
a healthy business to be in. It's wonderful, living under the
spotlight, it's great, the limousines and the best rooms and everything
you want for free, no problem for you. It's a very, very dangerous
So my mother, who was
with me until I was 18 years old. Rene always want to make sure
I was surrounded with the best people. And forget the parties.
Don't touch the drugs. Don't touch the drink. Do your job, stick
to your word, and go back home. Don't hang.
KING: So you never
went show biz?
DION: I don't want
to go show biz. I don't want to go show biz; I want to come to
your show. I want to sing my songs; I want to go back home with
my sons, fireplace, cook a little pasta and hit the road with
all of them that I love.
KING: You ever want
to do a Broadway show, act and sing?
KING: Are there ever
nights where you're off to yourself, not A- 1?
DION: What do you mean
when I'm not A-1?
KING: Not at your top,
not at your best?
DION: Definitely. Definitely.
KING: I've had performers
tell me when they have nights like that, they get the biggest
DION: The biggest audiences
respond, and probably the best review comes out.
DION: Your voice is
not totally perfect. The technique will be very difficult. You
don't feel good, like I don't feel like it tonight, and then you
do the show. You forget everything, and the best came out of you
that night. And that's the show you remember. Pretty wild.
KING: It's hard, isn't
DION: It's hard, but
show biz is quite magic. It's great.
KING: You get nervous?
DION: Very much so.
I get nervous. I get those, like an elevator inside of me going
up and down. But I see myself sometimes when we do television
specials and they film me backstage without me knowing. When I
know the camera's there, it's one thing. But when they put me
on film without me knowing, I'm a little bit -- it disturbs me,
not disturbs me in a bad way. But it disturbs me a little bit,
because I feel what I see is very like I was in a cage for a couple
of hours and then I'm coming out of the cage. Like my breathing
is faster, and I'm ready to hit the stage. And I'm like something
in me comes out, something inside of Celine the performer comes
KING: Do you take special
care of your voice?
DION: Yes. I train
my voice. I train my voice a little less now...
KING: And you sing
DION: ...because I'm
busy at home doing...
KING: Do you sing every
day? Do you do...
DION: ...playing with
Barneys and Kaiou (ph) and Cheerios and Tweety Bird and Elmo to
the rescue and all that. But when I'm on tour, I train my voice
every day. Vocal exercises, nothing too complicated, but just
a warm up.
KING: During the two
years, did you?
DION: During the two
years, my teacher told me don't stop training. It's very important.
Sorry. I didn't listen to him, and I stopped everything. I did
KING: Didn't sing?
DION: Didn't sing,
and when I went back in the recording studio, I was a little nervous.
Because is my voice going to be like "UNRR"? Is it going
to be there? And I was very surprised, because it got looser.
It got loose. It got relaxed. I didn't sing as much with my vocal
chords on this album. I sang even more with my soul and with my
heart, even less.
KING: We're going to
close the show tonight by going over to the center stage and have
Celine sing the title song from the CD, "A New Day Has Come."
We'll ask her a little more about it as well. We'll be right back.
Don't go away.
KING: We've had a wonderful
hour with Celine Dion, and what a way to end it. We're going to
have her sing the title song of the brand new CD, which is released
today worldwide, "A New Day Has Come."
I notice that it's
listed twice on the back of the album.
KING: You sing two
DION: Yes. There's
a slow version and there's an uptempo version. So whatever you
prefer. Isn't that great?
KING: Which one are
you going to do now?
DION: I'm going to
do the uptempo one.
KING: The uptempo.
DION: That's right.
KING: This song, as
you mentioned earlier, has a meaning, for you especially, right?
DION: Yes. Aldo Nova
and Stephan Moccio really captured the emotions that I went through
for two years, and I'm very thankful for that, because nobody
else could have done something more beautiful than that from my
KING: Now, when you
sing a lyric, as you mentioned earlier, you sing it as if you'd
like to know it's the first time you're saying it.
DION: I'm trying to.
Every time I get back into my emotion and I'm trying to bring
as much emotion as possible into the microphone and for the people
to receive it. I do my best every time to get into it. We're like
actors, singers are like actors.
KING: Yes, that is
acting, right? Of course.
KING: Is it an emotional
high for you to sing a song you like?
DION: It is. It is
definitely a wonderful...
KING: It makes you
DION: Every time is
like you meet a song for the first time.
KING: Here's one we're
going to meet for the first time. The lovely Celine Dion as we
end it tonight.
DION: Thank you for
you. "A New Day Has Come."
An Interview with Anne Geddes and Celine
July 20, 2004
Q: Please talk about
the Miracle project and how your collaboration began.
Anne: I first met Celine
several years ago, when she was incredibly kind to an eight-year-old
girl whom my husband and I were very close to, who has since died
of cancer. Celine and I discovered that we have common values,
and we both cherish the love that can be expressed in families.
Our friendship grew, and we began to talk about how much we would
enjoy working together.
Celine: I think it
was meant to be. In my career, which really means my life, I had
reached the point where I wanted to add a performance element
that would complement my music. The Miracle lullabies and love
songs, combined with Anne's images of these beautiful babies,
is a unique project that means a great deal to us.
Anne: The combination
is a perfect blend. We believe that each new life is truly a miracle.
It has been a pleasure and a privilege to create Miracle with
Celine, whose vocal artistry completely captures our shared love
Q: In what ways did
the Miracle project differ from your other work?
Anne: Initially, I
was nervous about the shoots with Celine. On the first day, I
couldn't help thinking, 'she's an adult,' and taking photographs
of adults and designing attire for them is not really my line
of work. Of course, it all fell into place beautifully.
Before the shoot, I
told Celine what I tell everybody who's posing with the babies,
'This is not going to be like your normal work day, or any other
photographic session you have encountered. You will get wet, and
unexpected things will happen,' and she said, 'Stop, stop, nothing
will be a problem.' She was right; nothing was a problem with
Celine: I'd been enjoying
Anne's work for so many years, through her numerous books, calendars,
her baby clothing line...and now we've had this wonderful time
of being together and discovering a bit more of each other...
Anne: There are so
few people who could come into this project and embrace the whole
experience. I think Celine is a person with a very big heart,
and with a lot of empathy for newborns. It is so plainly visible
in the imagery.
Q: Celine, how did
you feel about your work as a model in Anne's images?
Celine: I never previewed
the images during the shoots because I wanted to discover the
magic and the miracle when Anne had completed all her creative
work. I had total confidence in Anne. I know she's the best at
what she does. I wanted to give her the time to achieve her vision.
Anne: Celine has such
a presence, a strong female aura. There is a photograph of her
with a lotus flower that I just adore; she is so intense, feminine,
and proud with the child. Through all the required set ups, including
more than a hundred newborns, she remained completely poised,
sensitive to the infants, and full of humor, which touched us
all. At every step of the process, Celine was fantastic. (To Celine)
Everyone relaxed as soon as you came in and started singing to
the babies. I never had to worry about you.
Celine: Just as I told
you not to worry once I started on my turn, bringing you into
my recording studio, and asking you to sing; you could just trust
Anne: I had to politely
decline your offer because I couldn't wait to get home to select
the images for the book.
Celine: And I went
to the recording studio because I couldn't wait to sing those
love songs, which became part of the Miracle project.
Q: Celine, tell us
about selecting the songs for the Miracle CD.
Celine: I have to say
that another thing that was meant to be is the song, "Who
Could Ever Love You More?" that was written for me by the
incredible songwriter, Linda Thompson. It was supposed to be on
my most recent English recording, but it didn't make it for whatever
reason, and was perfect for this project. For the CD, we re-titled
it "Miracle" because of the miracle of new life.
Anne: I've listened
to it countless times... it's always brand new and gorgeous. (To
Celine) It could be something to do with your voice.
Celine: The other pieces
we recorded have special meaning to me, and address the deep and
universal connection between a mother and child. We chose the
other songs, including a favorite lullaby, for the Miracle CD
because they express this bond of love so eloquently.
Q: How do you convince
new mothers, sometimes first-time mothers, to allow you to work
with their child?
Anne: Truly, the parents
select me. I owe a huge amount of gratitude to the parents of
every baby in Miracle, who so willingly entrusted their tiny newborns
to Celine and me. I feel very honored. It's an incredible responsibility;
each baby is a totally vulnerable human being. People are aware
of what I do and what I am about. They come because they trust
me, and Celine was an added bonus. No one outside my studio team
knew she was part of the shoot.
Celine: The parents
are also fragile; all their emotions from seeing their baby for
the first time just a few days or weeks ago, it's all right there.
Q: Anne, is it true
that many mothers were surprised you were personally involved
with their babies, changing diapers?
Anne: Babies keep me
real. I've changed thousands of diapers. I love to see little
naked newborns; they're just so divine.
Celine: I think people
are surprised because you could easily be concentrating on the
technical aspects of the shoot, positioning the babies, and asking
your studio team to do this and place that. I feel the moms and
dads are very impressed that you talk to them and cuddle their
babies. You pose their infants, whisper sweet words to them, and
then you change their diaper. The shoot becomes more than your
work, because you care so much.
Q: What would you like
people to take from Miracle?
Anne: Miracle is my
way of sharing the great sense of joy these babies give me, and
the awareness of the wonderful potential of each child. All of
these babies that Celine has posed with, in truth, all babies,
are so very precious, so valuable and deserving of all the loving
care and respect we can give them.
Celine: It's very moving,
when you hold an infant and are so close to purity. The best thing
to do is enfold them in your arms and show the world that, this
is the only thing that matters.
Dion funny Interview
That's French for hello.
Oui. That means yes.
Yes. Well other than
voulez vous couchez avec mois, that's about it for me and French.
You're from Canada right?
I have a friend who
moved from LA to Vancouver, Gene Astor--do you know her?
brown hair (although she's really gray as a rat) long face, not
as long as yours but normal long. Blue eyes, drives a BMW breeds
I'm sorry, no.
Kind of stocky, although
she doesn't think so, has a what she calls a birthmark on her
cheek although I'd say it was a mole.
I'm sorry, I don't
Well, when you get
back if you run into her tell her Libby says 'hi' and if she could
get back to me about the chinchilla that would be great.
She was going to sell
it to me because of the fur activists here but now that she's
in Canada with all the trappers and all she may have changed her
You started singing
in Canada when you were 12 is that correct?
And I read that you
are the youngest of 14 children?
You Canadians are just
like the Irish! But I guess it's different in Canada, you have
to do something to make time pass.
Your first single was
a hit and you caught the eye of your current husband.
Yes, that's true.
You were 12 and he
was 26 years older.
Uh huh. Probably things
are different way down in Canada but here--well we have laws and
all-- anyway you became a big star in your hometown of Quebec.
Which no offense, isn't that big a deal. It's kind of like being
a big star in Twinkle Toes Iowa, but then Humbert Humbert was
able to make you a big star in the US! That took some work!
I did the title soundtrack
for Beauty and The Beast and it was very well received.
I've got to ask you
What's with all the
yelling? I mean in my day we had the greats, Judy, Billie, Doris,
Edie and they could sing a song that would curl your toes. But
girls these days. Jeez! You start off soft and reel everyone in,
then a few seconds later your hollering your fool heads off.
I guess there's more
of an excuse for you to do it considering where you're from. I'm
sure you need that kind of vocal range to shout for a neighbour
in an emergency but you got your Whitney and what's her name and
then there's that other one.
That duet you did with
Barbra and don't get me wrong I love Barbra but it shattered three
panes in my china cabinet!
Everyone has their
own unique style I guess.
You've got a brand
new....what do they call them down in Canada? Papoose?
That's what we call
Yes, his name Rene-Charles.
Bobby's a good name
for a child. You never hear of a Bobby in a shoot-out.
Anyhoo, I hear that
you have a home in Palm Springs. What do you miss most about Canada?
The igloos, the snowshoes, the Mounties? What?
Oh that is just so
darn sweet. Tell you what, I'm planning a visit to Toronto-- I
think I pronounced that correctly--in July. I'm really excited
I just bought a beautiful parka--red, I don't want any of the
natives shooting at me! And if you give me a message I'll pass
it along to them, how's that?
Uh... that would be
Well, you are a lovely
young woman and it was a pleasure to interview you. Voulez vous
couchez avec mois!