Porsha. I'm John.
John, the keyboardist? Yes.
BOY GEORGE: While Carson's concentrating on the ads,
I meet the keyboard player
that's been sent to work with me.
We're doing a -- a pitch for a, um, cruise line.
Okay.
So we're doing this kind of jazz thing,
so the -- the melody is -- it goes...
♪ Seabourn out on the ocean ♪
♪ Na-na, the seven seas ♪
I've written two songs,
and I wanted to work with the keyboard player right away
because I knew I had to compose these two songs
and then get them to the band.
We'll find a key.
You're in this -- is it...? ♪ Seabourn
How's this?
♪ My life, mm-mm ♪
[ Keyboard playing ]
Is that major?
Yeah. Try -- try --
Want minor? Try minor.
What's -- what's more jazz?
Uh...
It's kind of 50/50, I think.
Yeah, I think probably minor.
BOY GEORGE: I was basically singing the melodies to the keyboard player,
but then he started suggesting that we did it in another key.
I was like, "No, no, no, no."
I spent the last two days writing these songs.
I know what key they're going to be in.
They're going to be in D-minor, and that's it.
You have to change the melody, 'cause you're singing --
No, I'm not going to change the melody. You're singing major --
you're singing major third, so... Okay.
Let -- Let me just sing it without music for a minute.
At some point -- I don't know if I imagined this,
but it felt like he started playing another key,
like an alternative third key.
[ Laughs ] I was like...
I ain't got time for this.
Maybe you could sing it stronger and...
here it comes.
[ Keyboard playing ]
♪ See the world
I know what the song is. I wrote it.
[ Laughs ]
No, no, no, where the track, you know, it's...
Okay, but you know what?
Intro -- there was an intro, so...
I know where -- just play it from the top.
BOY GEORGE: When you're in a band with someone
or you're in a co-writing situation with someone, fine,
they can say what they want, but when someone's tasked
to actually just play what you're telling them to play,
you don't need them to start having
too much of a personality.
Just a minute. [ Clears throat ]
LAILA: At one point, I noticed that George
was talking to the keyboard player.
You know, I'm working, I wasn't paying that much attention.
Then I notice George walks out of the room.
BOY GEORGE: I can't have a keyboard player
telling me [bleep] about my songs.
He needs to go. We need to replace him.
PRODUCER: Okay. I can't work with him.
You know, he's like telling me what --
telling me what to do, and I'm like,
"Listen, play the song and be quiet."
W-We're wasting valuable time.
I need to get back in the room
and get on with what I'm actually here to do.
Okay. That's the problem.
No, I'm not going into the room
and having a row with the guy for your pleasure.
There's no conversation to be had with him.
It's over, okay.
I want him to get out of the room. I don't think --
Well, either that or I'll just go.
It's up to you. You want me to leave the show?
Then just get rid of him.
I didn't choose him, you chose him.
He's not compatible with me.
So... Okay?
You just want to have a row -- me to have a row with him?
Well, then get rid of him.
Get rid of him. Get rid of him.
I don't need to explain. This is not my job.
I didn't ask for him to be here!
I didn't choose him.
LAILA: And then next thing we know,
Porsha's asked to send out the keyboard player.
Excuse me. Hi.
Can you step outside for a second?
Yeah. Yeah.
Yeah, just right outside the door right there.
I just want to do a great job.
I wished I could've worked with him,
but I just didn't have time for it.
So, sorry. Goodbye.
[ Dramatic music plays ]
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