:00:10. > :00:24.Hello and welcome to a record of a rather strange eight days. In which
:00:25. > :00:30.Lady Gaga's fans wait for Lady Gaga. In which I wait for an interview
:00:31. > :00:38.with Lady Gaga, and in which, when I eventually get that interview, I end
:00:39. > :00:42.up waiting for Lady Gaga to speak. As the blood rushed out of my
:00:43. > :01:27.body... How do I explain it? Friday, October 25th, a little more
:01:28. > :01:34.than two weeks before the release of Lady Gaga's third album, ARTPOP. She
:01:35. > :01:40.has been out of the public eye for getting on for two years, forced to
:01:41. > :01:43.cancel part of her previous tour because she danced too much and
:01:44. > :01:51.injured her hip. When she is in London, she always stays here, in
:01:52. > :01:57.the Langham Hotel, very close to BBC broadcasting. Her fans were waiting.
:01:58. > :02:01.I really am thankful that I am a fan and I am able to experience
:02:02. > :02:05.everything that she is doing in real time, because I know that in years
:02:06. > :02:08.to come, people are going to look back and realise how significant she
:02:09. > :02:18.was. They are called the Little Monsters, and Gaga is Mother
:02:19. > :02:23.Monster. It is a selfie with Mother Monster that they are really waiting
:02:24. > :02:27.for. She was one of the first artists to realise what social media
:02:28. > :02:29.could do for her. She has the third-largest following on Twitter
:02:30. > :02:40.and the largest following on Facebook, of 60 million. In this new
:02:41. > :02:44.world, everything depends on these, smartphones. You cannot really be a
:02:45. > :02:50.fine without one. It is how you take your selfies with Gaga. With your
:02:51. > :02:56.smartphone, it is as though, while you are waiting for Gaga, she is
:02:57. > :03:00.just there, whispering to you. No one will ever understand her except
:03:01. > :03:11.her fans. It is a new breed, it is a new kind, something that no other
:03:12. > :03:16.celebrity has with their fans. We camp for days, weeks, to see Gaga.
:03:17. > :03:24.We do not sleep, we spend all our money on her. Taxis. We put our life
:03:25. > :03:29.on hold for Gaga. I have so many friends through her. This is me and
:03:30. > :03:37.my best friend, and I met him through Gaga. That was over a year
:03:38. > :03:42.ago. And we are best friends. I would not have met him if it was not
:03:43. > :03:46.for Gaga. Hopefully he will be one of the friends that I keep for a
:03:47. > :03:58.lifetime, and I am so happy that this is because of Gaga. How much
:03:59. > :04:09.longer? It is going to be really worth it when she comes out. I would
:04:10. > :04:15.imagine nine o'clock. Imagine ten o'clock don't! To the fans, she is
:04:16. > :04:21.not just a start, she is a fellow sufferer. They do not simply add my
:04:22. > :04:26.her, they identify with her. She was bullied at school, and so were they.
:04:27. > :04:31.I do not even feel like she is a celebrity. I just feel like, this is
:04:32. > :04:36.a person that has inspired me so much and has helped me through my
:04:37. > :04:39.life. She has given me an amazing set of best friends, and without my
:04:40. > :04:45.best friends now I would not be anywhere. Gaga has taken every
:04:46. > :04:51.single underdog who was insecure away from all the kids at school,
:04:52. > :04:57.and she has put them in the limelight and made them be proud of
:04:58. > :05:02.themselves. She has made the weirdos at the party look cool. She has
:05:03. > :05:05.become a defender of the bullied and oppressed, and none of that has
:05:06. > :05:12.changed, neither has the music. The first track from the new album is a
:05:13. > :05:33.trademark Gaga top club anthem, called Applause.
:05:34. > :05:46.Same small woman, same massive voice. I like it, it is a great
:05:47. > :05:52.song. She will be here very soon, very, very soon, within the next
:05:53. > :05:58.hour, hopefully. If not sooner. Gaga finally arrives after nine o'clock
:05:59. > :06:12.at the Langham, and she arrives the way she always does, strangely. Here
:06:13. > :06:21.we go, here we go. Gaga, you look amazing. We love you so much! The
:06:22. > :06:29.paparazzi of course go in snap happy overdrive, the flesh is weak havoc
:06:30. > :06:41.on our cameras. But still, there she is. She is tiny. White face, black
:06:42. > :06:45.contacts, bare feet. The dress is translucent, and there is nothing
:06:46. > :06:58.underneath. She does not seem to speak, and when she does, it is
:06:59. > :07:01.bizarre. Push your arms up. And she keeps it up all the way into the
:07:02. > :07:30.hotel lobby. Are they going inside? She is a
:07:31. > :07:34.human being, let her have her say! The paparazzi went in first and then
:07:35. > :07:39.we went in with them. But she did that whole thing, straight into the
:07:40. > :07:43.lift, and she kept, that is what I like about her the boast, she keeps
:07:44. > :07:48.on the performance, and she carries on doing it, even if she looks
:07:49. > :07:53.ridiculous, until she is out of sight. That is my favourite thing
:07:54. > :07:56.about her, she is so theatrical. So, she is in the hotel. We have been
:07:57. > :08:05.promised an interview. The only question is, when? So, what are we
:08:06. > :08:10.doing? We are waiting for Gaga. But it is not just me. Because we
:08:11. > :08:14.thought of Gaga as the world's most alternative mainstream artist, we
:08:15. > :08:18.thought we would dress the set. It would look amazing. It would not
:08:19. > :08:22.just be me interviewing Gaga, it would be a comment on the way she
:08:23. > :08:28.talks to the fans. And so we have brought some people along. Do you
:08:29. > :08:48.want to meet them? Here they are. They are waiting for Gaga, too. The
:08:49. > :08:51.new album is called ARTPOP. For the last few months, Gaga has been using
:08:52. > :08:58.her Twitter feed to keep more than 40 million followers, including me,
:08:59. > :09:01.in the loop. Snippets of music and updates on the art ingredients she
:09:02. > :09:06.has been throwing into the pot, the artists she has been working with.
:09:07. > :09:11.There is the New York-based performance artist Marina Abramovic,
:09:12. > :09:16.creator of the "Abramovic method", a blend of performance and meditation.
:09:17. > :09:24.You can watch this on Youtube, Gaga practising said method. We asked
:09:25. > :09:30.Marina Abramovic to tell us what working with Gaga was like. Before I
:09:31. > :09:36.met her, I knew about her, like everybody else, that this is this
:09:37. > :09:41.young, outrageous girl, who wears strange clothes, she is into
:09:42. > :09:44.extremes, she is experimental, she has 43 million people on Twitter
:09:45. > :09:53.following her, whatever she does, Little Monsters, she wins so many
:09:54. > :09:59.awards, and sells millions of records. That's about all. And
:10:00. > :10:05.finally, when I met her, and she came really very humble to my house
:10:06. > :10:11.and asked me if I can teach her, I started really changing my opinion
:10:12. > :10:18.of her entirely. I found somebody who really is serious, who really
:10:19. > :10:22.wants to learn and how much you can push your mental and physical
:10:23. > :10:29.limits. She was such a good student. We went to the woods. She
:10:30. > :10:37.never cheated, she went much further than I asked her. I started having
:10:38. > :10:41.huge respect for her. She has also been working with Robert Millson,
:10:42. > :10:52.high priest, perhaps the Pope of American experimental theatre. And
:10:53. > :10:56.then there is Jeff Koons, the most commercially successful artist in
:10:57. > :11:02.America. And very kindly, Jeff has sent us a selfie, too. When I think
:11:03. > :11:10.about what it was like to work with Lady Gaga, it was a joy, pure joy,
:11:11. > :11:18.because her character is always surprising, in her generosity, and
:11:19. > :11:26.how connected her call being is to wanting to participate, to share in
:11:27. > :11:32.the excitement, in the sensations of feeling, and being able from those
:11:33. > :11:38.feelings to go into expanding on thoughts and ideas and to be engaged
:11:39. > :11:46.in it. At her core, she is an honest human being. He has made a sculpture
:11:47. > :11:52.of Gaga. If you listen carefully to the applause, Jeff Koons gets a bit
:11:53. > :12:01.of product placement. # Suddenly the... She has released
:12:02. > :12:06.two more singles, venous and Do What U Want, but she has not made a video
:12:07. > :12:07.for either. Fortunately for us, the Little Monsters have been working on
:12:08. > :12:54.one for venous, at least. # When you touch me I died just a
:12:55. > :13:10.little inside. # I wonder if this could be love.
:13:11. > :13:18.It is lovely, but it is unofficial. I want an interview, and Gaga, or
:13:19. > :13:22.her management, keep suggesting different dates, and cancelling.
:13:23. > :13:26.This is not normally how it happens. I have been a journalist writing
:13:27. > :13:29.about music for 25 years, and this is how it goes. With a really famous
:13:30. > :13:39.person, and I have done Paul McCartney, Madonna, Coldplay, Bono,
:13:40. > :13:42.all of them, you get a phone call and they say, it is going to happen
:13:43. > :13:47.in the next couple of days. They say choose Dale Wednesday. Clear those
:13:48. > :13:51.days, and then they say definitely Wednesday, four o'clock. -- Tuesday
:13:52. > :13:56.or Wednesday. You listen to the album, you take notes and then you
:13:57. > :14:01.turn up for the interview. The star might be late, Madonna was one hour
:14:02. > :14:05.late. I have had people being three hours late, four hours late, but it
:14:06. > :14:11.eventually happens on that day. And that is kind of it. What is weird
:14:12. > :14:16.about this interview is, I am never told when it is going to happen, or
:14:17. > :14:20.I am told, and then it changes, and then the same again. After a while
:14:21. > :14:23.you start feeling like you are slightly mad and you are not here to
:14:24. > :14:28.do a job at all. You start feeling like you are a stalker, rather than
:14:29. > :14:32.a journalist. You start feeling like you are a fan. I need to do
:14:33. > :14:37.something to make myself feel professional. I need to practice.
:14:38. > :14:41.Now, I am going to ask you about the difficult third album. Here we
:14:42. > :14:50.go... So, you have done two albums so far, and this one, ARTPOP, is a
:14:51. > :14:57.different direction for you, you have tried to bring art into the
:14:58. > :15:02.album, in the way that Warhol brought pop into art. I wonder how
:15:03. > :15:07.successful you have been with that? Is the art just a sprinkling on the
:15:08. > :15:09.top, like on top of the cake, or is it actually within the cake? Would
:15:10. > :15:37.you like to and pick that? Or not? She tries to get to everyone she
:15:38. > :15:43.can. It is so different every time. It is mind blowing. It is like going
:15:44. > :16:00.to see her live. It is such a performance. The end of day two
:16:01. > :16:02.approaches. We've heard nothing. And Gaga doesn't stir from the hotel
:16:03. > :16:27.until after 8pm. She looks completely different. She
:16:28. > :16:33.is a space rock shrink-wrapped in a masterpiece. Guitar, fright wig, eye
:16:34. > :16:44.test glasses, and a dress made from Botticelli's Birth of Venus. I do
:16:45. > :16:53.hope it's not the original. Oh, my God! Oh, my God! I don't know. I
:16:54. > :17:40.love her so much. Oh, my actual god! She took a photo
:17:41. > :17:51.of me and chief smiled at me. I am going to cry. Delighted with his new
:17:52. > :17:54.selfie, Gabriel goes home to bed. The other little monsters follow
:17:55. > :17:57.Gaga across town, to GAY, where Gaga slips into a rather fetching
:17:58. > :18:15.Victorian nightie, and sings her new song, Venus.
:18:16. > :18:24.# rocket number nine take off to the planet.
:18:25. > :18:44.Her performance concludes. She um... 17 hours waiting today. We went to
:18:45. > :18:50.the studio and then she said she is coming here. We walked all the way
:18:51. > :19:01.across London, all the way to Charing Cross, and then she did not
:19:02. > :19:10.stop. It is currently 3am. 2:56am. It is exhausted. The day before X
:19:11. > :19:25.Factor. Two days down and a million more to go. We waited for gaga but
:19:26. > :19:32.she went round the back. We saw Laci. That is Gaga 's choreographer.
:19:33. > :19:43.Goodbye. On Sunday, day three, Gaga performs
:19:44. > :19:46.two songs on X Factor. She plays Venus again. She keeps her pants on,
:19:47. > :19:57.and there are Botticellis all over the place.
:19:58. > :20:12.Then she plays her new single, Do What You Want.
:20:13. > :20:18.And, at the same time as I'm enjoying it, I'm worrying. As far as
:20:19. > :20:23.we know, she's only here for another two days. And I'm starting to think
:20:24. > :20:28.I might have to do something instead of the interview. It gets worse on
:20:29. > :20:32.day four. We hear that some time today she's going to do an interview
:20:33. > :20:40.but not for me. For the Graham Norton Show. It's the final straw. I
:20:41. > :20:47.join the fans outside the hotel. I have resisted this for the past four
:20:48. > :20:53.days but I am now here. I have joined the fans, waiting for Gaga.
:20:54. > :20:59.We are standing outside the Langholm and checking out passing grade
:21:00. > :21:04.cars, in which she made travel to another destination. It seems the
:21:05. > :21:09.only way I can get anything to do with Gaga. The fans are all really
:21:10. > :21:14.nice. You are nice, aren't you? She is nice. Everyone is really nice. I
:21:15. > :21:17.have started to hang out here because it is more fun. I think I
:21:18. > :21:37.might get a programme out of this. I turned up because I thought it
:21:38. > :21:42.looks like there is some action. I have been here for three quarters of
:21:43. > :21:49.an hour and we have seen a whole load of silver cars drive off. Is
:21:50. > :21:53.that good or bad? That is bad because she has probably gone
:21:54. > :22:01.through the back entrance. How will you know if she has left? We will
:22:02. > :22:07.see her cars drive past. Some of the fans are going to ITV but I am going
:22:08. > :22:13.home. She will be doing Graham Norton. I feel slightly sad because
:22:14. > :22:22.she is not doing me. Is it because I am not as pretty? I have no idea.
:22:23. > :22:29.Why do you like Lady Gaga as opposed to anyone hours? She has helped me
:22:30. > :22:33.so much with who I am. I used to be insecure. She said being gay was
:22:34. > :22:38.such a beautiful thing in front of millions of people and that helped
:22:39. > :22:42.me with who I am and I love her so much. That is a good thing to do. I
:22:43. > :22:49.am sure I will be meeting you again because I will be here tomorrow. I
:22:50. > :22:55.will carry on interviewing year. Do you think I should come and six in
:22:56. > :23:00.the morning? You are dedicated. At this point I was unable to keep the
:23:01. > :23:08.lid on my inner mum any longer. Have you got warm clothes on? I have five
:23:09. > :23:17.layers on. I have the models and I have blankets and pillows and stuff.
:23:18. > :23:24.I am happy about that. They are in their bras and stuff and they must
:23:25. > :23:32.be freezing. Shall be carry on waiting? I will wait till she comes
:23:33. > :23:38.out. I will do that. I do not actually leave until she has come
:23:39. > :23:47.out. Some people get tired and bored. It is a long day. 11 hours. I
:23:48. > :23:52.want to see my kids. All right. That's great. I love him. I ask some
:23:53. > :23:56.other little monsters what the etiquette is for greeting Gaga. And
:23:57. > :23:59.I receive some surprising news. For some fans at least, the classic Gaga
:24:00. > :24:08.fan gesture, known as paws up has fallen out of favour. We do not do
:24:09. > :24:26.that any more. It is bad. You look kind of demented. So the hard-core
:24:27. > :24:32.fans do not do pause up. In a delusional state, it might be
:24:33. > :24:42.awkward. I am not doing it but I am. Most of the time... We used to when
:24:43. > :24:53.we were younger. Are you saying, what? Up to 16, pause up and then
:24:54. > :24:58.down. It was big two or three years ago. It is still there but it has
:24:59. > :25:04.kind of died. We are not little monsters any more. We are monsters.
:25:05. > :25:11.I can be a big monster because I am quite old. I have not been doing it
:25:12. > :25:18.very long. I am a trainee monster. You are all established monsters.
:25:19. > :25:22.OK. We have a spare T-shirt if you want one. That is fine. I will wear
:25:23. > :25:27.it. Here I am. A fully paid up monster. Got the T-shirt. But I give
:25:28. > :25:31.it back. It's precious. And I go and talk to one of the paparazzi. How is
:25:32. > :25:39.it they know in advance when she's coming out? Everyone is working on a
:25:40. > :25:46.weird kind of 6 cents. The indication is security. They show
:25:47. > :25:49.their faces. They tell us, 15 minutes to go and we get in
:25:50. > :25:53.position. So, now I know what I'm waiting for. And there's no sign of
:25:54. > :26:04.security. And then we have a couple of false alarms. We get Bill Oddie.
:26:05. > :26:09.And the dog off Britain 's got talent. This is hilarious! I may
:26:10. > :26:18.come here every day. I am having a good time. And then I make a fatal
:26:19. > :26:26.error. I made the mistake of an amateur. I went for a copy. I came
:26:27. > :26:30.back and, as you can see, everybody has gone, including Gaga. She must
:26:31. > :26:35.have gone while I was having a coffee and I am pretty gutted
:26:36. > :26:40.because I'd did feel like, we cannot get an interview with her, I will
:26:41. > :26:45.maybe feel her and throw a feud questions over the barriers but
:26:46. > :26:54.nothing, I have failed. I am no good at this. I am leaving. Of course,
:26:55. > :27:04.more experienced little monsters than myself have got what they came
:27:05. > :27:10.for. She just wrote, she, on my hand. She came out and said, I
:27:11. > :27:15.cannot take any pictures. I am late. I got her hand and I said, I am so
:27:16. > :27:22.proud of what you did on the X Factor yesterday. It was amazing.
:27:23. > :27:28.She took a group photo of us. I am next to her. It was so cool. It was
:27:29. > :27:33.at this rather low point that someone on Planet Gaga finally took
:27:34. > :27:35.pity on me. We were told that Gaga would be staying until Friday first
:27:36. > :27:40.November, and that our interview would happen on that morning. We
:27:41. > :27:44.were offered this attractive function room at the Langham to do
:27:45. > :27:48.it in. So, it had to be disguised completely. We draped it. We draped
:27:49. > :27:55.the mannequins. I thought about draping myself. We started setting
:27:56. > :28:04.up at 7am. Gaga arrived at about 11am. She hadn't had any sleep. For
:28:05. > :28:07.the last two days, she'd been working with Robert Wilson on a
:28:08. > :28:10.series of installations - recreations of great masterpieces in
:28:11. > :28:16.which Gaga replaces the central figure. Masterpieces like the Death
:28:17. > :28:22.of Marat, or the head of John the Baptist. It turns out that Wilson
:28:23. > :28:26.already has the video portraits up and running and they will be shown
:28:27. > :28:31.at the Louvre fret until February next year. Can you imagine another
:28:32. > :28:39.mainstream artist doing something like that? Answers on a tweet.
:28:40. > :28:45.Welcome back. Thank you for having me. You had an enforced absence, due
:28:46. > :28:52.to illness. How were you as a patient? I guess I was a good
:28:53. > :28:57.patient in some ways. I was so excited to be able to rejuvenate my
:28:58. > :29:02.body. It was exciting in a way. You feel like an infant. In another
:29:03. > :29:09.way, I've felt dead all the time because I could not be on stage. I
:29:10. > :29:17.just really took to enjoying and appreciating the parts of what I
:29:18. > :29:21.do. Life is art all the time as a way to make it through that sort of
:29:22. > :29:29.torture I was feeling. It was good for me. This stage is a place that I
:29:30. > :29:34.started to rely on very much with the fans and the interconnection.
:29:35. > :29:41.When it went away, I had to find a more spiritual connection with music
:29:42. > :29:45.and art. I am on the dirty path now. The interview has been going for a
:29:46. > :29:51.couple of minutes and I noticed something. Sometimes, before
:29:52. > :30:00.questions, Gaga shut her eyes for a couple of minutes. I wonder if she
:30:01. > :30:04.is falling asleep or I am boring. I notice that before you speak to me,
:30:05. > :30:10.you drop your eyes and you centre yourself. Is that something you
:30:11. > :30:16.learned from Marina Abramovic? Yes, I did learn a lot of that from
:30:17. > :30:24.Marina, and also from Bob Wilson. I have been working with him for
:30:25. > :30:28.48... Phil Morley -- for more than 48 hours what were you doing
:30:29. > :30:34.together? We were doing a series of portraits. We were using his clay to
:30:35. > :30:42.mould into pieces that he was essentially recreating, re-inspiring
:30:43. > :30:46.into these beautiful, moving pieces. So, I like to make sure that I give
:30:47. > :30:51.you my full attention. There is a lot of noise around me, and I have
:30:52. > :31:01.learned, working with... Did you hear the creaking door? Yes. Who is
:31:02. > :31:03.coming in? It is like a ghost. I have learned from working with
:31:04. > :31:09.Marina that you need to be aware of these sounds. Because otherwise, I
:31:10. > :31:12.cannot react to real life. But I like to make sure that I am
:31:13. > :31:19.breathing properly and censoring myself, to get through these... You
:31:20. > :31:26.see, I did it wrong there. To get through these long duration works. I
:31:27. > :31:34.do not necessarily consider myself to be a performance artist really,
:31:35. > :31:43.just yet. Just yet?! She did Graham Norton the other week, and he got
:31:44. > :31:49.this normal popstar... Please be careful! You are just going to see
:31:50. > :31:56.his high-flying away. And what are you doing at the end of... ? Oh,
:31:57. > :32:01.well, let's just try talking about pop and sex. If you think about how
:32:02. > :32:06.you present yourself onstage, if you think about a lot of pop artists,
:32:07. > :32:09.particularly female, they are often presented in a straightforward
:32:10. > :32:12.sexual way, they have to be good-looking, they have to be
:32:13. > :32:16.presented as though the first thing you are going to react to is, do you
:32:17. > :32:22.fancy them? And you do not do that. Sometimes you do, and sometimes you
:32:23. > :32:32.don't. How do you regard your body, then, within that context? You just
:32:33. > :32:38.asked me like 1000 questions. In one. Yes, or maybe I just have 1000
:32:39. > :32:43.opinions about it. So let me just begin with something. Well, I would
:32:44. > :32:45.say in pop music, in that particular sphere, that there is a
:32:46. > :32:50.one-dimensional quality to sexuality. So, I think the
:32:51. > :32:55.difference between what I do and that, if I could maybe start there,
:32:56. > :32:58.is that there is any intention always behind the sexuality, if the
:32:59. > :33:04.sexuality is there. Most of the time, I do not particularly find
:33:05. > :33:10.myself to be very sexy, actually. And then, in the beginning of my
:33:11. > :33:14.career, I think that some of this exploration of covering myself up
:33:15. > :33:20.and transforming into other icons and other states of life force, was
:33:21. > :33:24.a sense of sexual freedom for me, because I felt quite numbed by my
:33:25. > :33:30.experience, and I wanted to escape things. You use sex on this album in
:33:31. > :33:34.quite an interesting way. There are lots of different aspects to it, but
:33:35. > :33:37.often it is used as a way into love, it seems, the sex is going to
:33:38. > :33:42.hopefully leading to something which will touch you a little more, would
:33:43. > :33:48.you say that is white? Yes, I would say that is white, but I actually
:33:49. > :33:52.don't create with the intention of the finality, if that makes any
:33:53. > :33:57.sense. I do not always know exactly what is going to come out of it. So,
:33:58. > :34:01.it is beautiful for me to hear your reading of my experience with sex
:34:02. > :34:09.and love at this time, because my earlier experiences of sex were
:34:10. > :34:18.quite perverted and scary, terrifying... Fear... It reminds me
:34:19. > :34:23.of these things we are sitting around. Yes, they are quite spooky,
:34:24. > :34:29.and they? It was sort of terrifying for me. But now I have really great
:34:30. > :34:34.sex. Which is good, I am glad to hear it. It is just sort of a
:34:35. > :34:37.natural change. I guess we are dealing with two different
:34:38. > :34:42.conversations in a way. When I am working with Bob, for example, I was
:34:43. > :34:50.a vehicle for an expression of him having a conversation. For example
:34:51. > :34:58.we did The Head of John the Baptist, 1507. I find myself talking
:34:59. > :35:00.to a million selling pop star with a new album coming out who would
:35:01. > :35:06.rather discuss her experimentation with another artist. I have been
:35:07. > :35:14.recreating this image, The Head of John the Baptist, by Andrea Solari.
:35:15. > :35:21.Hopefully John the Baptist will come to me and say, it is OK, you are
:35:22. > :35:27.allowed. And the same thing, we did The Death of Marat, and this was the
:35:28. > :35:31.same. I have an experience where I have two really breathe, and I have
:35:32. > :35:39.to have a tremendous understanding of the artist that created the work.
:35:40. > :35:46.And for me, like I said, it is really, I have always heard things,
:35:47. > :35:50.my entire life, since I was young, and it has come out first in the
:35:51. > :35:54.form of music. When you say you have heard things, what do you mean,
:35:55. > :36:05.something speaking to you in your head? I mean, I do not even know,
:36:06. > :36:11.just things. I always noticed that I would say or notice things, or
:36:12. > :36:16.accuse things happening which people around me did not were happening.
:36:17. > :36:21.And as I got older, it started to make me feel sick, and it still
:36:22. > :36:26.makes me feel sick sometimes. Marina has really helped me with that. She
:36:27. > :36:32.calls me a diseased artist, she says it is OK. So then, my own work, this
:36:33. > :36:40.is a duration of my own life, it is completely separate from what I am
:36:41. > :36:46.doing with Bob and Marina. But with ARTPOP, I wanted to show that being
:36:47. > :36:49.a student is OK. I feel that the education of your teachers, every
:36:50. > :36:53.dancer that you have danced with, every paintbrush that you have
:36:54. > :36:57.touched, every book that you have read, every bit of music that you
:36:58. > :37:01.have heard, if you channel that entire history into the thing that
:37:02. > :37:04.you are creating, whereas in intention in the work which runs to
:37:05. > :37:07.the centre of the Earth. That is quite interesting, because what
:37:08. > :37:13.people might say or worry about your work is that you have so many
:37:14. > :37:19.artistic references within it... OK, pause again. One of the good things
:37:20. > :37:22.about Applause is its video, which contains a lot of cultural
:37:23. > :37:26.references, so many that websites have started counting them. This one
:37:27. > :37:34.says it has got 48 cultural references. We can see Botticelli,
:37:35. > :37:46.Andy Warhol, Fritz Lang, and of course, KJ Choi... Anyway, carry on.
:37:47. > :37:51.Wearing it like a hat, yes. Which is putting it on and taking it off, so
:37:52. > :37:54.to put it within an album, to make sure it is embedded, that is quite a
:37:55. > :37:58.hard thing to do, given that you have got so many references in your
:37:59. > :38:01.work. You do not want to think you are Michael Jackson going through a
:38:02. > :38:06.home furnishing shop, you need to make sure that it is in the works,
:38:07. > :38:10.don't you? You do and you don't. We are getting back to this idea of
:38:11. > :38:15.defining art in jongleurs and sticking it in particular places. I
:38:16. > :38:20.want to really free myself of all of that. -- in genres. It is really
:38:21. > :38:24.exhausting to have the projection of the world onto you, what you should
:38:25. > :38:28.be. I do not know what I am. I do not even know if that is any good,
:38:29. > :38:34.and I do not know if that matters. What matters is that it is, and it
:38:35. > :38:39.is there, free to feel and to be and to experience. It is a life force on
:38:40. > :38:42.its own. And I am still very young in the duration of my work. If you
:38:43. > :38:48.look at the work of many artists over many mediums, you can see them
:38:49. > :38:53.channelling and imitating and bringing along the artists that they
:38:54. > :38:57.have admired and learned from, their teachers. And then later on in their
:38:58. > :39:02.careers, that is when the real amazing work starts to happen. So I
:39:03. > :39:05.do not know if anything I have done is very good, but that is not really
:39:06. > :39:10.the point. I am not really the point, if that makes any sense. It
:39:11. > :39:13.does. You are saying that you are on a journey to try to discover the art
:39:14. > :39:18.that you can make and you do not know if you have made it yet. Sure,
:39:19. > :39:22.it is really about the potential. What I am saying is that it is worth
:39:23. > :39:26.it to be a student. To not be a student would be to suggest that I
:39:27. > :39:30.was creating in a vacuum, just floating in space, with no
:39:31. > :39:36.knowledge, no gravity, no error, no oxygen, no nothing. And perhaps that
:39:37. > :39:41.is something that I will learn how to do. I do not know that anyone
:39:42. > :39:50.does that. I have yet to meet any great artist, and I am very lucky to
:39:51. > :39:56.have worked with Jeff Koons, Bob Wilson, Marina Abramovic I have yet
:39:57. > :40:00.to have any moments with them where we have not been talking about art
:40:01. > :40:04.works which have happened before. You just have to trust in your
:40:05. > :40:08.teachers that they will guide you. And how did you pick those three
:40:09. > :40:13.teachers? To me, they all seem very different to each other. They seem
:40:14. > :40:22.like they have come from different backgrounds, although they are all
:40:23. > :40:32.artists. I think they are my holy Trinity. In a way. You have theatre,
:40:33. > :40:39.you have this discipline, this meditative, performance discipline,
:40:40. > :40:43.and then you have a commercial art which is viable as fine art. And
:40:44. > :40:47.these are all the sorts of things that I am very interested in. So, it
:40:48. > :40:51.is the combination of what they represent for me, and how it has
:40:52. > :40:56.guided me in my views of where we are now, in terms of pop art and how
:40:57. > :41:03.it has travelled into our pop, like an inferno. So, without
:41:04. > :41:18.disrespecting you, I am just trying to explain it to young kids, we are
:41:19. > :41:26.taking the soup can art and putting it back in the soup can. The soup
:41:27. > :41:31.can art is already on the soup can, it says Andy Warhol on the bottle. I
:41:32. > :41:35.have been doing this since the beginning of my career, and I have
:41:36. > :41:41.just discovered its meaning now. In the album, I have found artists that
:41:42. > :41:45.I feel very connected to their vibrations and their work. We speak
:41:46. > :41:53.a language that I understand, if that makes any sense. When I am
:41:54. > :41:58.working with Bob, for example, I think it was maybe 7-8 hours
:41:59. > :42:05.yesterday, not moving, as he directed me. We did a bondage
:42:06. > :42:13.piece, and I am hanging in Verte it, I told him I wanted to do something
:42:14. > :42:23.-- inverted -- which was, I should not say tribute... Inspired by one
:42:24. > :42:29.coach -- inspired by? The tortured soul of the artist, related to
:42:30. > :42:32.suicide. We have yet to really acknowledge the living legends when
:42:33. > :42:36.they are living, and they only really become legends when they die.
:42:37. > :42:43.So I wanted to hang for as long as possible in order to have an
:42:44. > :42:50.experience with my body feeling numb and being out of control, the thing
:42:51. > :42:54.which you mentioned. And also, facing the challenge of my own
:42:55. > :42:59.mortality. And I went out and they tied me up, they inverted me. It was
:43:00. > :43:05.quite intense. And he just pressed record. That to me sounds remarkably
:43:06. > :43:10.intense and a very difficult thing to do. When you came out of that,
:43:11. > :43:14.obviously, you had to be in a certain state in order to create
:43:15. > :43:17.that piece, so how do you feel? I went through so many different
:43:18. > :43:27.emotions from the beginning to the end of the piece. I am usually quite
:43:28. > :43:32.speechless after I do something like that, and for example with that
:43:33. > :43:40.piece, I did not really feel human at all. My humanity really left me,
:43:41. > :43:45.and my mortality didn't matter. But this numbing sensation from the
:43:46. > :43:48.feet, as it travels up into the neck and then your heart starts to go
:43:49. > :43:56.numb, and your arms, and then your head, it is somewhat of what I would
:43:57. > :44:01.imagine that feels like. And yet there were moments I was quite
:44:02. > :44:04.liberated by the feeling, because I have had addiction problems as well,
:44:05. > :44:11.so the numbing is quite freeing for me. And as the blood rushed out of
:44:12. > :44:53.my body, how do I explain it... ? I had to decide for myself in this
:44:54. > :44:58.moment what the intention was. I had to decided in a moment when my
:44:59. > :45:06.humanity was sort of being drained from me. How do such experiences
:45:07. > :45:19.feed into your pop performances? It is. It is quite mastered the Tory. A
:45:20. > :45:25.lot of theatres this way, it is like entertainment. When you watch Bob 's
:45:26. > :45:30.work with the lighting, it is overwhelming how beautiful it is.
:45:31. > :45:37.You cannot take your eye off it. What I am saying is, I think that a
:45:38. > :45:42.lot of people like, for example, you, you are seeing me for the first
:45:43. > :45:47.time. A lot of people in my life have known me in this way for some
:45:48. > :45:55.time and see me grow in this. I have gone through stages of being centred
:45:56. > :46:05.and then being addicted to drugs and alcohol, having a difficulty
:46:06. > :46:11.handling the chaos in my mind. When I go on stage, you cannot imagine
:46:12. > :46:15.the energy of all those fans. When you are talking about your reaction
:46:16. > :46:21.to your fans, we have been talking to some fans who have been making
:46:22. > :46:25.video diaries. They love you. I am interested in your relationship with
:46:26. > :46:31.the fans. Every artist has a lot of fans. They have a certain
:46:32. > :46:37.relationship. Your relationship seems to be particularly intense. It
:46:38. > :46:44.is. What do you get from them when you see them outside the hotel, when
:46:45. > :46:51.they talk to you? Well, I'd choose to receive their love. And, because
:46:52. > :46:58.of that, it has become very intimate over the years. I think that maybe,
:46:59. > :47:03.in your suggestion that my relationship with my fans is
:47:04. > :47:09.different than some other pop artists, I think some of it is
:47:10. > :47:14.because there is a separation between them and the work for some
:47:15. > :47:21.people. That's what I am doing here and what is happening here are two
:47:22. > :47:32.different things. Because I have studied Stanislavski since I was 11
:47:33. > :47:37.years old, I have a sense. So, because of that, I am aware of their
:47:38. > :47:44.energy all the time and I received it. I need it for my work. I cannot
:47:45. > :47:51.survive without them. They have injected this love into me that
:47:52. > :47:56.carries through every single moment of my life. For me to separate and
:47:57. > :48:02.compartmentalised my work from them is dishonest. That is what I am
:48:03. > :48:12.learning. Working with Jeff is very intense because you see is pure joy
:48:13. > :48:19.and creating like a child. -- his pure joy. This is what I am so
:48:20. > :48:22.inspired by. You make it accessible for everyone to know that if you
:48:23. > :48:30.love something and then you apply the discipline and then the eye for
:48:31. > :48:37.the theatricality of it, whatever it may be. And then the integrity of
:48:38. > :48:48.the message, from me, which is what Jeff is all about. That is something
:48:49. > :48:57.when the moment happens. That in explainable moment. I did not mean
:48:58. > :49:08.to interrupt. I did not mean to talk for so long. These things happen.
:49:09. > :49:14.When you go out of the hotel, and you see the fans, you present
:49:15. > :49:20.yourself in various ways. Those are the different looks from perhaps
:49:21. > :49:24.what you would get on ARTPOP or when you are performing on the X Factor.
:49:25. > :49:34.It is like another world that you are creating. Walking out the hotel
:49:35. > :49:39.is not the same as performing on X Factor. You have two consider all
:49:40. > :49:44.the variables. One I am leaving their hotel, it is so different and
:49:45. > :49:51.it feels so natural. It is a canvas that I understand. The fans, the
:49:52. > :49:57.love, the stairway. The paparazzi in London are very nice to me. I think
:49:58. > :50:08.they appreciate the joy I have for transforming for them and allowing
:50:09. > :50:13.myself to be OK with them. My fans like that. Also, I always stay in
:50:14. > :50:18.this hotel now. It has become a stage for me to leave. They probably
:50:19. > :50:24.love it as well because they are able to see me truly in my element.
:50:25. > :50:32.There are a lot of things we do not see. The corporate musical world is
:50:33. > :50:42.terrifying and I hate it. Why do you hate it? They try to tell me what to
:50:43. > :50:52.do, the entire time. ARTPOP is about two worlds. One from the sphere of
:50:53. > :50:57.art and one from the fear of pop. I became a pop star because of my
:50:58. > :51:02.incessant drive my love for creating. Then you are faced with
:51:03. > :51:06.the sort of choice. Am I going to go left or right and allow these
:51:07. > :51:13.corporate projections to drive what I do? It is tormenting for me. It
:51:14. > :51:21.physically painful. I had to decide if I was going to allow that. Allow
:51:22. > :51:27.people to project things onto me and do that. I have decided the only
:51:28. > :51:42.people I will allow to project things onto me are Marina
:51:43. > :51:47.Abramowitz, prints and Jeff Wilson. Corporations are poison. It is the
:51:48. > :51:53.death of art and it is killing young people. It is just like fast food.
:51:54. > :52:02.It might taste good at first but after you eat it for many years, you
:52:03. > :52:13.might get fat, sick or die. I just want to feed my family. You are not
:52:14. > :52:19.like I thought at all. I will give you a hug. Thank you very much for
:52:20. > :52:24.that. And that, ladies and gentlemen, was my interview with
:52:25. > :52:30.Lady Gaga. Were she worth waiting for? Yes, definitely. She did three
:52:31. > :52:33.more interviews then flew to New York to prepare for her album
:52:34. > :52:44.release. Leaving her little British Monsters to do the same. Today is
:52:45. > :52:48.first to November. I have lost a ball in my nose ring so it looks
:52:49. > :52:51.really weird. But, before we go to the launch party, a little footnote.
:52:52. > :52:54.A couple of days after our interview, it was announced that
:52:55. > :52:57.Gaga's relationship with her original manager, Troy Carter, had
:52:58. > :53:00.come to an end. So the launch party for ARTPOP, ARTRAVE, actually became
:53:01. > :53:03.our first opportunity to see how Gaga might indeed move away from
:53:04. > :53:11.that corporate music world into something more - art.
:53:12. > :53:22.ARTRAVE took place on November 10th. And it was an enjoyably odd affair.
:53:23. > :53:25.It came across as a collaboration between Gaga and Jeff Koons. Koons
:53:26. > :53:32.sculptures were to be seen everywhere.
:53:33. > :53:39.And Gaga introduced us to what is quite possibly her most eccentric
:53:40. > :53:46.dress to date - Volantis. The flying dress. We cannot wait for you to see
:53:47. > :54:15.her. Stand back! Jeff Koons and Marina Abramovic were
:54:16. > :54:31.on hand to offer their support. And so was Tony Bennett.
:54:32. > :54:50.And then she spoke - a little oddly, but we're used to that. I hope today
:54:51. > :54:55.is a change in pop culture, not for me but for everyone. I hope that we
:54:56. > :55:02.remember we are in this together as a world. If we belong together, so
:55:03. > :55:07.many great things can happen. ARTPOP. And ARTPOP was at last
:55:08. > :55:16.released to the hungry little monsters. It has just gone midnight
:55:17. > :55:22.on the 11th and ARTPOP has officially been released in the UK.
:55:23. > :55:39.I will hear it for the first time. Oh, my gosh! It is downloading.
:55:40. > :55:45.You can really hear how much hard work she has put into this album and
:55:46. > :55:50.how much it means to her. I cannot wait for her to come back to London.
:55:51. > :55:57.I miss her so much. I cannot wait for her to give me the biggest hug.
:55:58. > :56:03.I want to tell her how proud of her we all are. We could not be more
:56:04. > :56:34.proud at this moment in time. I cannot cope.
:56:35. > :56:49.I love it. ARTPOP is about finding your talent. If you are going to be
:56:50. > :56:55.good at art, pursue their talent. Do something creative. Creative things
:56:56. > :57:01.are so important. This album is so creative and so beautiful. I want to
:57:02. > :57:08.say a massive thank you. Just having to pause for a second. ARTPOP is
:57:09. > :57:25.actually number one on iTunes within 30 minutes. That was quick.
:57:26. > :57:32.It is amazing. The Little Monsters. Loving it, of course. Some
:57:33. > :57:35.unanswered questions. The main one being, is there any art in ARTPOP?
:57:36. > :57:39.Well, art is referenced a couple of times in the lyrics, but to be
:57:40. > :57:43.honest the music - there are at least six fantastic songs by the way
:57:44. > :57:47.- is what we expect from Gaga. Big, hooky pop, designed for the dance
:57:48. > :57:53.floor at 3am, as much as it is for the charts. If you think about her
:57:54. > :57:57.as a kind of multimedia mistress, though, perhaps you can say that the
:57:58. > :58:02.art is in her videos. It is certainly in her encounters with her
:58:03. > :58:05.fans as she moves from car to lobby. And, of course, it was in that
:58:06. > :58:10.incredibly strange performance that she gave us on camera. Record
:58:11. > :58:16.breakingly long pauses, strange confessions, a brief seance with
:58:17. > :58:21.Andy Warhol. And only one answer that really had anything to do with
:58:22. > :58:25.her music at all. I liked her. In fact, I was slightly blown away by
:58:26. > :58:32.her and I hope you were too.