El manicomio del Otoño

Sala de té dónde comentar la trayectoria y trabajo de Emilie Autumn, la más distinguida de entre los dementes de este manicomio.
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 entrevistas de EA en vídeo (añadidos cinco vídeos de 2010)

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Dosis de litio : 147
Edad : 41
Manicomio de : The Asylum for Wayward Victorian Girls
Fecha de ingreso : 04/11/2008

MensajeTema: entrevistas de EA en vídeo (añadidos cinco vídeos de 2010)   Lun Ago 02, 2010 1:05 am

Metro, en PULSTV (2006, Alemania):

Entrevista, parte uno:

Entrevista, parte dos:

Carpe Noctem TV, tras el concierto en el Festival Tollwood (22 Junio 2007, Munich, Alemania): EA promocionó esta entrevista desde uno de sus boletines de noticias:
Citación :
Carpe Noctem TV is Germany's biggest and first Dark/Gothic TV Website. They also allow girls to throw cookies at eachother.
Parte uno:

Parte dos:

Parte tres:

4GM TV, antes del concierto en Amsterdam (marzo de 2009, Holanda):

De rode loper, en ÉÉN (24 de abril de 2009, Bélgica):

Holding the Key to the Asylum (24 de abril de 2009, Bélgica):
Citación :
Thanks to Dolores, Emilie's Tour manager, and of course the one and only EA herself, we were able to have a half hour of Emilie's time, and do an in depth interview, by muffins, for the muffins. We sat down with Emilie before her show in Antwerp, last Friday (24 April). And what Emilie told us was an answer to all the burning muffin questions, and being more open then we have ever seen her. She answered our burning questions, like what's keeping the Book, the story behind Shalott, the use of Shakespeare, The Victorian and Elizabethan age, and many, many more! Please note that this is a re-upload as the interview required some cuts for legal reasons. This is the final and definitive version.

De esta entrevista, por ser tan merecidamente popular, existe hasta una transcripción que paso a reproducir:
Citación :
Conducted by Evi Hoste

Transcript by telofy...

A few quick notes:
An interview transcribed absolutely verbatim—including all “er”s and “em”s and “you know”s—is quite a soporiferous thing to read and write, so I’ve omitted those filler words. Also the first words of then abandoned sentences were only included if semantically significant (and closed—or rather aposiopesised—with three dots). Nor did I mark overlapping speech; add the brackets if you like.

Evi: Hello. It’s not yet 4 o’clock but close to it, so time to interview Emilie Autumn, Gothic phenomenon from America, spreading the plague in Europe.

Emilie: Well done.

Evi: Successfully so.

Emilie: And don’t worry, because it’s always 4 o’clock at some time in the world, so it’s always tea time—“tea time.”

Evi: I’d like to start with some pretty general questions. So the Victorian Age, that’s the whole thing really, isn’t it?

Emilie: The thing is, it hasn’t always been. Some years ago I was completely enamored and obsessed with all things Elizabethan, and the thing is just as my life progressed I seemed to be going through the various eras and finding what is relevant. The only reason I really care about that—I’m a big history geek and all of the rest of it—but the reason it’s interesting to me is that I find the things that are relevant to Now. What’s personally relevant and also just socially relevant. Not everybody might get exactly what I’m talking about at the time but a lot of people do. And the thing about Victorian is we’re actually not doing what some people might assume which is glorifying that age and saying “Oh, how beautiful.” We’re not. We’re actually saying “It was pretty damn awful. And especially if you’re a girl, good luck.” Suicide was pretty much the best option what you could do at that time because it was horrible. And in general it was also though the start of the industrial revolution which is also just kind of a nice joke if that’s the kind of music you make. So the whole start of things electric, of factories, of mass produce, which definitely has an effect on our entire life it’s not individual handmade anymore. And also in particular interest to me is that it was virtually the start of all sorts of medicine as we know it now. Away from the folk remedies, all the more natural things towards the psych wards, as you know like that’s what the show is about. Basically the whole point to me is that it started then. It’s the comparison, almost the social criticism—to sound like ridiculously pompous—between the situations at the time, the psych wards especially for girls and the ones now which I had my personal experience in. I’m kind of balancing them and saying “Not a lot has changed and that’s not OK.” So that’s really what it’s about. It’s a bit of the horror story between then and now and how it’s really not that far apart. It wasn’t that long ago and that’s the fascination, it’s the relevance—to Now.

Evi: OK. So you’re a history geek and a literature freak apparently as well because there’s a lot of literature in your texts. Do you still read a lot?

Emilie: I do, I do. It’s more difficult when we’re on the road. We got literally two hours to sleep, everything else is work and that’s it. But when I do actually go home that’s what I do most of the time.

Evi: You said you used to be interested in the Elizabethan Age before the Victorian one. On Enchant there is a lot more Shakespeare present than...

Emilie: Yeah. And the thing is actually on Opheliac—I mean the title and everything was my play on the word of combining the character of Ophelia with an actual disease like insomniac or all of those things so it’s creating a medical term out of a sort of archetype of a particular kind of girl but it also extends to boys, I mean, this is about them, too, but it’s personal to me, as a lady—and so the whole thing on Opheliac is basically that Shakespearean tale that applies to a general type and that’s what that’s about. Also on Enchant it was very much about that as well. And a different thing and it’s kind of relevant and I haven’t even really thought about that before you said so is that the Shakespearean theme is not just Now, which is very much a part of this, it was also Then and I think what that really says is exactly that of “Look how much we are still completely influenced by all things Shakespearean!” through these completely different—in every way—ages that I’ve gone through but also history has gone through since the time that that stuff was written; and I know in five hundred years from now somebody is going to be doing the same thing and being completely influenced by that, finding the archetypes he wrote about because virtually every type of human being, every personality type has an archetype laid out there because he was just that good and that thorough about representing all of humanity. And that’s fascinating, I think, the fact that I could do an album heavily inspired by those types of people Then and Now being influenced by completely different eras. And I still can’t get off the topic and it seems that nobody else can because I’ve heard several times that directors, like Spielberg and everybody, have sat down and said at one point or another that there is no story no Hollywood script nothing that was not in some way based on a Shakespearian story or character type; that in every way he basically he told all the stories and everything today is still influenced by that type of story that he laid out, which is pretty amazing.

Evi: Yes. It is.

Emilie: There is nothing I could do that could ever ever be that important and I accept that with all humility.

Evi: When you’re looking back at Enchant, in the musical aspect I mean, do you see it as an experiment or a transitional stage?

Emilie: It was definitely a transitional stage. I think Opheliac is a lot more experimental in that way because I learned so much, previously. The thing about Enchant and why I don’t perform any of those songs right now is I’m still... I’m proud of the song writing, I know that—in my opinion anyway—that was solid good song writing, I’m proud of the musicianship on it, the recording/production quality leaves a bit to be desired because it was recorded in very sparse like Third World country conditions and I did my best of it in my bedroom and it was very sincere and very heartfelt. The thing is, I almost don’t want to misrepresent it by putting it in the shows now because it is what it was at that time. The only reason why I stay away from it is really because I changed so much. More than I ever thought I would. Not to get morbid or anything but I think the thing is, once you’re locked up, in an insane asylum or anything like that, you’re never the same again. And it’s very, very hard to go back to Before. And so that changed literally everything about me: how I am, how I act, how I think—literally because once you’re put on so many drugs then your brain doesn’t work the same way anymore. I mean my thought processes, my memory: completely changed. And musically that is actually a lot of similarities. There is a lot that actually did stay the same way more than I think some people realize, but in all the other, the emotional aspects of my life, all of it, the way I deal with the outside world, the kind of fantasy world I almost had to create out of being locked up, having nowhere to go—you’re not let out—and having to escape into something, that’s what this is all born out of and it’s essentially a sort of ironic humorous take on the story, on the true story, because if you can’t make fun of that you’re just going to die; because you can’t actually live with the reality that that was so horrible. So at some point you have got to find the ridiculous sarcastic humor in it or else there is just seriously no way to carry on. So the thing about Enchant is, I have a feeling that as I progress in just my own self I could potentially, in some years, get back to that fairy part of me that sees the dark side but has that little light of optimism at the end, which is what I don’t really have now. I do, but it’s a different way. And the fans actually gave me that optimism, [it] is their understanding of it. Opheliac I never assumed anybody would listen to. I didn’t know who, if anybody, would listen to it. It was completely done in private for me, because I had to come out and it essentially tells the truth of everything. I want to honor that when it comes back I think, I might get to that healthier place in my life where I can wear the wings again and really sincerely feel that bit of brightness. So I think it will happen, but I’m just not there yet. So want it to be fair and right when I do.

Evi: OK.

Emilie: Thank you. I know, I talk a lot, I’m sorry. I always do this. I just go off like... It’s like the tree trunk and all those branches that go off from there and I usually end up back to the trunk form where it all started, sometimes I don’t and I just forget the question, so feel free to stop me anytime I just go on too long.

Evi: The more you talk the happier I am.

Emilie: Oh, that’s so sweet, that’s very kind.

Evi: You express a lot of your personal feelings and views in your music. Is that self-evident for you?

Emilie: Yeah, it’s actually almost a decision that I made since the Enchant era. It came out a bit later but I was very, well, relatively... like seventeen/eighteen/nineteen when that was made and some of that material is from when I was fourteen and onwards, so it represents a very different time for me. What essentially changed is the desire and the kind of psychopathic need to tell the truth. And that was something I always tried to hide behind a sort of mask of what I wanted to be or what I wanted people to think I was or what I wanted the world to be. And it was the honest just like being blasted down to earth that the world is not what I wanted it to be, nothing is what I wanted it to be, I am not what I wanted to be and definitely peoples opinion of me was not what I wanted it to be. And so just being able to finally get the courage to say “Fuck all of that, I’m going to tell the truth for once!” and once I started doing that—musically and in all the rest of the parts of my life, looking the way I wanted, doing what ever the fuck it was as long as it doesn’t hurt anybody else, I mean I’m not out to piss people off, I’m not out to fuck with anybody—that it became a compulsive need to keep doing this same and to keep telling more of the truth and in the book that I wrote, that is almost out, that’s where you get everything. There is almost nothing left. I think that any human being still will have that mystery and there will always be new things and new secrets to tell or not, but in that basically everything is out. And it’s sort of you start that and it becomes an addiction to free yourself and as hard as that sometimes is, in general it feels pretty good. And I think that’s why we get any response at all, it is because people know that I’m telling the truth and it’s sincere.

Evi: I think that people often feel the need to do the same.

Emilie: Absolutely. I’m not special in that, I just have the luxury of having an outlet. I can be loud about it, because I’m behind a microphone, because I can write song about it and have that to be what pays your rent and write books and the rest of it, that’s an absolute luxury. I worked hard to make that but I don’t take it for granted, it’s a luxury that I’m able to use that and that’s basically do with my life so I’m very, very lucky in that way that I just get to do it all the time—now. It wasn’t always that way.

Evi: We were wondering, when exactly will we find your book in the stores?

Emilie: It’ll be soon. There were a few things that happened. And I’ll be completely honest with you. That has been a very difficult subject because I know that a lot of the fans who have been waiting for it for almost two years now have been very disappointed with the fact that it keeps being delayed. There were two things that essentially happened. One in that time and one very very recently, just weeks ago. The first thing was that it’s a true story. And it is the story behind the asylum, of how it was started, of what it means, it’s that time-traveling alternate reality kind of horror novel but that’s very true and also it’s my personal diaries from when I was locked up inside the asylum. I only had a crayon to write with because you’re not allowed to have pens or pencils, because anything you have, your shoelaces, your bracelet, they think you’re going to kill yourself with. So because it’s true—you know, I never really named names but I use initials and the rest of it and just the description of places of what hospital it is of all of that—implicates things that people probably don’t what to be talked about. So the first thing that happened, and kept things back for a while, was... The thing is, I found out the hard way, that if you write something that’s actually true, there are always going to be people that do not want that to come out, so that was a difficult thing. I was able to completely fix it, I didn’t have to change anything, so that is solved an there is no longer a problem [... Nooo! What’s the second reason? ...] It is bigger than any album I could ever possibly make and it’s the most important thing in my life: That fucking book. The day that it comes out will literally be the first day of my life. Everything before that is rehearsal leading up to it. So, very soon. I can not give you an exact date, all I can say is check the forum, that’s the first place anyone will know, and it’ll be very very soon. And included as an extra special treat, to say “Thank you!” to everybody for being so patient with me and waiting for it, is that... I mean the book is huge and massive and very graphic, so I hope that that’ll be worth it in itself but I also recorded the audio book version of it, which is six massive—it’s long—disks of the whole thing being narrated. You get to hear me being the talking rats, the leeches, the doctors, myself, everything, it’s ridiculous; and that will come with it just as an extra something to say thanks.

Evi: The fans will die for that.

Emilie: I hope not literally, but I hope that they’ll enjoy it. That I think is that they’ll understand me much better. I think I already have a great deal of understanding and compassion and I’m very grateful for that among the fan base, it’s something I’ve never ever expected, that I would ever get. And the amount of acceptance I feel from the outside in my own life is massive and I don’t take that for granted. And I think once that comes out they’ll get all the bits that they really had no idea and that I couldn’t really talk about before it was very scary thing to do. And I think in that, people who had similar experiences will hopefully find the compassion on that end: Try not to kill yourself, try not to take all your sleeping pills, try not to cut yourself to death, try not to get locked up, but should you be bipolar or manic depressive—which is the same thing—or just clinically depressed or be having a really fucking bad day that that’s OK. There is some help, it might not be from the places you think and even when there’s not help there’s understanding. And I think the judgment that I experienced of those situations was absolutely brutal and that what almost killed me the second time is people’s horribly cruel reactions to those things and it’s when you need people the most to be kind to you and to understand what is really going on and when they just don’t. And so I would like people... I’m not special, that’s a very common thing for people to be in that situation, I mean there’s a reason why psych wards across the world are filled with people, you know, it’s not just me, and I think the system needs to change massively, that’s a thing that’s very Victorian in a very bad way: it has not changed, that’s essentially what I’m taking about, that’s why all of this and the references to it and I really hope that people find a sort of self-acceptance so that they don’t get ruined by judgment that will inevitably come. You’d be absolutely shocked—unless you’ve done it yourself—of how cruel people can be when you try to commit suicide. You would think that there’d be some understanding of it, why that might have happened—or an attempt, to try—and there is not. Even among your closest friends or lovers or whatevers it’s dealt with in general, I found in my own life, very very harshly, and I just want people to know that if anything, I understand, and I think a lot of people understand and I think just that sort of subconscious community of helping ourselves, even when nobody else will, we’ve got to get stronger in that, and that’s all really trying to share, in the show and otherwise.

Evi: It’s something that scares people so that they try to shut it out as far as possible.

Emilie: That’s absolutely what I’m talking about. And I know that people act out of fear and I understand it but it’s still not right and it still has to change and a general understanding of mental conditions... It is so very possible to create a healthy environment to help people that need help and, being locked up in these places, I found that that doesn’t exist. I’m sure that somewhere in the world there are places that are better than that, but what I have seen, and in all of my research, what I have found other people’s experiences to be, were basically just like mine, in that I came out of there so much sicker than I was when I came in, and had to be put on so many more drugs because I couldn’t stop shaking and had post-traumatic stress disorder coming out of there which is what people get when they come back from a war and it’s so horrifying that you can have that same thing because of what people did to you in there. And being sexually fucked with by the doctors in there and you can’t do a damned thing about it, why, because they’re a doctor and you’re a crazy girl and so that happens so much and I don’t think people know that and they simply have to know it. All I want is for people to know that, that’s what the whole book is for. Even if they don’t know the solution for it, because I may not know the solution for it, but at least know it’s going on, because it’s really killing people. It’s very serious. I just brought the whole tone down. Let’s talk about something happy and glorious now. I apologize. It’s the truth though and so it’s hard again not to start telling it once you start.

Evi: It’s better to talk about it than not to talk about it, because that’s what’s been happening all along.

Emilie: Is that different in Europe?

Evi: No, no it’s the same.

Emilie: That’s a problem. It would be so nice to think that it was. Because then there would be somewhere... Because America has a very... People think that it’s this sort of arrogant superior country, it’s not, our guilt complex is massive, we think everything is better somewhere else and we always like to think that over there, wherever that is, the grass is always greener, that everything’s better, that they’re more free, that they’re more accepting of stuff and to know that they’re not, it’s sad, but it also brings us together in a way that we can all work on something. We will eventually... people will get the idea, and we’ll take care of of ourselves and each other a lot better. I have to believe that otherwise there’s no point in going on.

Evi: That’s true. And that is for fans [...of troll land? Sry, can’t make it out.].

Emilie: Yeah, and that’s sweet, because I think the fans already get the idea of what we’re talking about and from talking so much to [them]—I mean we always try to, and I think we’ve only missed one or two on this tour because we had to leave quickly, but we always try to spend a lot of time talking and signing and taking pictures with and hugging the people afterwards because it’s just so important to really look into their faces and realize there are not just this faceless crowd of watchers, they’re real people, we’re real people, we might like to look like magical unicorn aliens, but we’re not, we’re just human beings, average boring human beings like everybody else and that is completely OK, because we’re really not so boring. We’re all pretty interesting people when we let ourselves be. Being able to talk to them I’ve learned so much, again about how many people have all kinds of problems, some which I don’t have, a lot which I do. And the fact that they do feel, when they come here, that they get a little bit of that compassion that they might not otherwise get. And what I try to help with in any small way that I can is just so that they know that they don’t have to hurt themselves, there is another way and how is that? Through creativity, through finding some way, whether you’re a musician or whatever, to express that. Because honestly my sweet revenge has been not only to be able to just let it out and do this with my life but also to make money off of it, to have this be what sustains me entirely, do not have to do anything else that I don’t want to do, which hasn’t always been the case, you know, we all have to do our shitty jobs growing up. But the biggest “Fuck you!” I can possibly give is to make something very successful and very beautiful out of all of this and actually even funny, even combining the comedy elements because it is ridiculous, all of life is ridiculous, and we know that, we don’t want to be taken too seriously. If I can’t laugh at anything that happens, that would be impossible. I would just dry up and die and I think a lot of people would, so I just want people to be able to get the idea that expressing it is really the best possible way, expressing it through anything remotely artistic, that’s absolutely the solution for me and I think for a lot of other people, which is what makes be so happy, that when they talk to me afterwards they’re honest and they’re open about that, sometimes about how we’ve helped and that is really really flattering to think. I don’t assume we have that much influence over anybody but I’m glad if it happens. And how they’re making their own clothes, they’re baking muffins, they’re drawing pictures and paintings and writing poetry and they show this to us and that makes me so happy because I know that they are healthier because of it and I just want them to be OK, so that’s a nice thing.

Evi: But you do inspire a lot of creativity in a lot of people.

Emilie: If that is true it makes me very very happy.

Evi: It is! I mean I’m sure you read your forum.

Emilie: Actually I do it less than you would think, because—I go and I do my journals and all of that—but I don’t spend much time looking at most things. Occasionally, very occasionally I’ll pop on and just have a little surprise which is always kind of fun, just like answer somebody’s thing, but for the most part I like to feel like “It’s their space.” I don’t want people to really feel like I’m there, that they’d have to censor themselves, that they can’t critique, that they can’t talk about other things that are nothing related to me, which I think is actually the healthiest. I just want them to know that’s actually their space, I’ve got my space and I want them to feel like it’s theirs. So I actually don’t read that much. My real connection is seeing people at the shows and talking to them afterwards, which is why we try to do it, because that’s really all I really allow myself.

Evi: How much were you involved with building your website or designing it?

Emilie: I actually built everything on it and I’m just so into the control of all of it that I need to. And only very recently have I been able to sort of delegate and ask for help and trust that there are people that’ll do a good job. And I’ve always felt this sort of thing, even with my... I mean I make all the costumes I build all the sets and even letting the girls help me with that—the crumpets—recently has been a massive thing. And to realize “They can do that. I can rely on people.” has been a really nice surprise. It doesn’t always work that way, such as when you trust your label or your manager or your booking agent and they completely fuck you over and take all your money. That’s a problem. And that really makes you afraid to trust anybody but I think you have to. It’s kind of like in love which is, you know, still the most powerful force in the universe, that if you’re burned by something, which we’ve all been, you can choose to either just cut off that part of yourself that needs that and be safe or keep putting yourself—that cosmic energy—out into the world [“a lot?” “and laugh?” Could be important.]

Evi: I’d like to ask you something about Opheliac.

Emilie: Very good.

Evi: Shalott is the most quiet song on the album, I’d say, and it’s based on a Tennyson poem.

Emilie: Yes! Thank you!

Evi: I study Victorian literature.

Emilie: Oh my god, we could talk for hours. Oh god that’s so lovely. Yes it is and I think a lot of the kids don’t realize it and that’s OK but It’s very very faithful to that and the reason why I... The funny thing is that is actually the oldest song on Opheliac, I used to perform that all the time like ten twelve years ago, when I was just playing in little coffee house venues and that was actually from the Enchant era. It wasn’t on that record, but it was performed with that stuff and I did a lot of tours with that. And he reason for it was because pretty much virtually every song on Opheliac is about that type of woman that... It’s another drowning story and the drowning is a metaphor for whatever and the water and all of that and the wanting your freedom so badly that you’ll get out of it in that way even if it’s death, because sometimes that is better. So that was a perfect story, she is another Ophelia archetype, and I was just looking for those in my own life in myself [and] throughout history to try to build this sort of reality that this is a type, this is almost a medical condition and not to really solve it but to say this is here and this is me in honesty. So hers was another story about that that’s why this was so gravitating towards it is, it’s was exactly what I was talking about and the whole Shalott thing of this fight, this fight to stay alive knowing that you need to break out and knowing that that’s actually going to kill you but doing it anyway, so: Don’t kill yourself. But you know, we understand the desire to break out so badly that you would do anything.

Evi: Did you know that it is often seen as a metaphor for the artist versus his audience?

Emilie: Yah. Is that because... that particular poem? Is that what you’re talking about?

Evi: Yes.

Emilie: Yeah, and I think it’s really, it’s almost funny that among all the songs—and I never expected this because, you know, this song has so many words in it, just goes on and on and on, I often forget them, it’s just really hard to keep track of everything and it’s so fast-paced—literally everywhere that we’ve played on the planet they have known in every language all of those words in English they faithfully sing it back to us every time and that just shocks me, that they know that. And that is why it’s funny about the artist and the audience thing is they’re with me they’re singing it back, they’re singing louder than I am and that’s just amazing, that this song I wrote so many years ago and it still fits exactly into my life, into my world, into my record, is still relevant to me, to them and we can do it together, and that’s a pretty damn cool thing.

Evi: Could I ask you just one more quick question?

Emilie: Yes, of course.

Evi: About selling your music on iTunes. Do you feel it as a good thing or do you think the fans miss a lot of the creative process?

Emilie: Well, the thing is that because of the lack of artwork and packaging and that, what I have found... I think it’s a good thing, it’s definitely a good thing in that a lot of people might not... it’s a good introduction to... if you just hear somebody’s name, what is the first thing everybody does at least that I know, you go on iTunes and you see if they really exist and you get a little snippet of what they do. You might buy that for a dollar a song, I mean it’s incredibly cheap, that’s one thing and the other thing is you would probably go to a store and look for the actual packaging if you really really liked that person. I do a lot of elaborate packaging on the records, I think that’s what an audience deserves and I want to share it and I want to draw pictures and I want to do all of that stuff. And so I think for people that are real, real fans they want that and they’ll go out and get it. And for the people that just download stuff, I mean the thing is digital is so massive right now and record companies are just crashing and doing so badly that to try to fight that is a big problem, to accept that, accept that some people really do want the instant gratification of just “Bam! There it is.” I think it’s very good, because ultimately any revenue I can get from that is what keeps the show going. I don’t keep a penny of anything that I make, everything goes back into the show, the records, our costumes, the sets, everything, so definitely it’s a good thing. It’s a good thing because digital versus recording, you know, physical, is doing so well right now, but thankfully the fans, the real fans still want the stuff in the packaging so maybe they do both or maybe we just get people turned on to that and then they move on to the real thing. So either way, I’m grateful for anybody who even listens because I never really expected that that would really happen, so either way, thank you. Thank you to everybody. Thank you for joining my mad crazy world. Thank you for watching the shows. And thank you for attempting to understand all of this because that makes me really really happy, I’m very honored by it. So that was it, that’s my story.

Evi: I guess it’s much longer than I hoped. But we’ll have to end it [?].

Emilie: No, but that was lovely and thank you so much, that was so sweet, I really appreciate it and I’m very very flattered that you guys actually went to the trouble of looking into things, because a lot of people [not often?] do that, so that was much more interesting than what I usually get to talk about. Much appreciated. Now I’m going to go and set up my stage.

Morning Show en WGN TV (8 de octubre de 2009, EE.UU):

Twilight Vision TV (13 de octubre de 2009), entrevista previa al concierto en la Highline Ballroom (Nueva York, EE.UU):

Schatten TV (14 de noviembre de 2009), entrevista en el festival Plage Noir (Kiel, Alemania):
Parte I:

Parte II:

Leeds Student Radio (marzo 2010, Reino Unido):

VerdamMnis E-Magazine (abril 2010, Francia):

MTV- Brazil (noviembre 2010, Brasil):
Parte I:

Parte II:

Parte III:
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entrevistas de EA en vídeo (añadidos cinco vídeos de 2010)
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