FACE
à ·Ù˙ËÁÈ¿ÓÓ˘
ªÈ¯¿Ï˘
¡· Ì›ÓÂȘ ‰Ò
∞fiÏ˘Ù· Û˘ÁÎÚÔÙË̤ÓÔ˜ Î·È ÙÂÏÂÈÔÌ·Ó‹˜. ∆· ÓÔ‡ÌÂÚ· ˆÏ‹ÛÂˆÓ ‰ÂÓ Â›Ó·È
Ù˘¯·›·. ªÂ ÛÙ·ıÂÚ¿ ‚‹Ì·Ù· Â‰Ò Î·È ÌÈ· ‰ÂηÂÙ›·, ·Ó¤ÙÚ„ ÙÔÓ Ì‡ıÔ
ÔÈfiÙËÙ·˜ Î·È ÂÌÔÚÈÎfiÙËÙ·˜. √ fiÚÔ˜ Ô ÌÈ· ¤ÓÓÔÈ· Ì ̿ÏÏÔÓ Î·Îfi
·ÚÂÏıfiÓ, ‚ڋΠÙËÓ ÛËÌ·Û›· ÙÔ˘. ªÔÚ› Ó· ÊÏÂÚÙ¿ÚÂÈ Ì ÙÔ Ï·˚Îfi Î·È Ó·
Ì·˜ ÂÎÏ‹ÛÛÂÈ Ì ÙËÓ Ô Î·È ÙÔ ¤ÓÙ¯ÓÔ Î·È Ó· ÛËÎÒÓÔ˘Ì ٷ «¯¤ÚÈ·
„ËÏ¿». ŸÔ˘ Î·È Ó· ηٷٿÍÂȘ ÙÔÓ ªÈ¯¿ÏË Ã·Ù˙ËÁÈ¿ÓÓË, Ô ›‰ÈÔ˜ ı· ÛÔ˘
··ÓÙ‹ÛÂÈ Ì ÙË ‰È¿ÚÎÂÈ· ÙÔ˘, Ì ٷ ÙÚ·ÁÔ‡‰È· ÙÔ˘, Ì ÙÔ ÎÔÈÓfi ÙÔ˘.
∞¶√ ∆√ ª¶∞ª¶∏ ¶∞¶∞¢∞∆√
H atziyiannis
ª i ch a l i s
Stay here
A professional and a perfectionist, there is no wonder how Michalis Hatziyiannis
achieves skyrocketing sales with every new album. Taking sound steps over the
last decade, Michalis overturned the myth of quality vs. commercialism and
redefined ‘pop music’ – a term that had acquired a negative connotation.
Michalis’ diverse talent covers a wide range of genres, from traditional ‘laiko’ and
‘entechno’ to pop. Whatever the category, Michalis responds to his loyal fans
with the same consistence and the same quality music.
BY BABIS PAPADATOS
OnBlue 45
FACE
{
The ‘laiko’ is not
a new genre for me.
{
∏ ÌÔ˘ÛÈ΋
ÁÈ· ̤ӷ ‹ÚıÂ
Û·Ó ÌÈ· ÛÙ¿ÛË ˙ˆ‹˜
ŸÙ·Ó Ô ıÂfi˜ ÌÔ›Ú·˙ ٷϤÓÙÔ, ÔÌÔÚÊÈ¿ ηÈ
ÂÈÙ˘¯›·, ÓÔÌ›˙ˆ, fiÙÈ ÌfiÓÔ ÂÛ‡ ·ÚÔ˘ÛÈ¿ÛÙËΘ.
øÚ·›Ô ÎÔÌÏÈ̤ÓÙÔ, ·ÏÏ¿ ‰ÂÓ ÓÔÌ›˙ˆ Ó· ‹Á·
ÌfiÓÔ ÂÁÒ. ∫·È ¿ÏÏÔÈ ·ÚÔ˘ÛÈ¿ÛÙËηÓ. ¢fiÍ·
ÙÔ ıÂfi ¤¯Ô˘Ì ÔÏÏ¿ ٷϤÓÙ· ÛÙÔ ¯ÒÚÔ ÙˆÓ
Ù¯ÓÒÓ.
ªÈÏÒ ÁÈ· ÙËÓ ËÏÈΛ· ÛÔ˘, ÍÂΛÓËÛ˜ ÌÈÎÚfi˜.
∆Ô fiÙÈ ÍÂΛÓËÛ· ÌÈÎÚfi˜ ÔÊ›ÏÂÙ·È ÛÙËÓ ÁÔÓÈ΋
·Ú·›ÓÂÛË Ó· Ìˆ ·fi ÌÈÎÚfi˜ ÛÙÔÓ ¯ÒÚÔ Ù˘
ÌÔ˘ÛÈ΋˜. ∞˘Ùfi˜ Â›Ó·È Ô ÏfiÁÔ˜ Ô˘ Ì‹Î· ÛÂ
ÌÈÎÚ‹ ËÏÈΛ· ÛÙË ‰ÈÛÎÔÁÚ·Ê›· Î·È Ó· ÙÚ·ÁÔ˘‰Ò Û ÂΉËÏÒÛÂȘ. ŒÙÛÈ Ë ÌÔ˘ÛÈ΋ ÁÈ· ̤ӷ
46 OnBlue
‹ÚıÂ Û·Ó ÌÈ· ÛÙ¿ÛË ˙ˆ‹˜, ÌÈ· Ê˘ÛÈ΋ ÏÂÈÙÔ˘ÚÁ›·. ¢ÂÓ Â›¯· ¯ÚfiÓÔ Ó· ÂÈϤ͈.
¡·È ·ÏÏ¿ ‹Úı·Ó fiÏ· Ì·˙›, Û˘Ó ÙÔ Ù·Ï¤ÓÙÔ.
∆Ô Ù·Ï¤ÓÙÔ ‰ÂÓ Â›Ó·È ·ÚÎÂÙfi ·Ó ‰ÂÓ ÙÔ Î·ÏÏÈÂÚÁ‹ÛÂȘ.
À¿Ú¯ÂÈ Î¿ÔÈ· Û˘ÓÙ·Á‹ Û ·˘Ùfi Ô˘ οÓÂȘ
Î·È fi,ÙÈ Ì·˜ Ì·ÁÂÈÚ‡ÂȘ ÙÔ ÙÚÒÌ Ì Ôχ
fiÚÂÍË;
¶Ú·ÁÌ·ÙÈο ‰ÂÓ ˘¿Ú¯ÂÈ Û˘ÓÙ·Á‹ ÁÈ·Ù› ·˘Ù¿
Ù· Ú¿ÁÌ·Ù· ¤¯Ô˘Ó ÙËÓ ¤ÓÓÔÈ· Ù˘ Ì·Á›·˜ ηÈ
ÙÔ˘ Í·ÊÓÈ¿ÛÌ·ÙÔ˜, οı ÊÔÚ¿ Â›Ó·È ÌÈ· ηÈÓÔ‡ÚÁÈ· ‰È·‰Èηۛ·, ·fi ̤ӷ ̤¯ÚÈ ÙÔ ÛÙÔ‡ÓÙÈÔ. ∆Ô Ì˘ÛÙÈÎfi Â›Ó·È Ó· ÚÔηÏ›˜ ÙÔÓ Â·˘Ùfi
God has blessed you with talent, looks, and
success…
Thank you for the compliment, but I think
that many artists have similar gifts.
I’m talking about your age; you started pretty
young.
Starting so young was due to parental
encouragement to get involved with the world
of music. That’s the reason why I started
recording so young and performing in
gatherings. Music to me was a way of life, an
everyday routine. I had no time to choose.
It all came together, including your talent.
Talent is not enough if you don’t cultivate it.
Is there a ‘recipe’ you use that makes us
always love your work?
There is no recipe really; these things have
an element of magic and surprise. Every time
it’s a new process from the creator to the
studio. The secret is to challenge yourself to
come up with new things in order to present
something new to the audience.
How old do you have to become for us to
stop thinking of you as ‘young’?
If I consider all that I want to do in my life, I
am still at a very primary stage. Music is and
endless field and I don’t know if there will be
enough time.
In Greece you became known with George
Hatzinassios’ "Touching the Soul". What
touches you in your personal life and what
leaves you indifferent?
What really touches me has to do with the
sensitivity that springs out of artistic
expression. I am a great fan of the arts. On
the other hand, all those things that have to
do with being ‘socially correct’ and promoting
a certain lifestyle bother me.
You have been established as a pop singer,
but you also write and sing traditional ‘laika’,
especially when you write for others. Are you
looking forward to expressing through other
genres?
The "laiko" is not a new genre for me. I grew
up listening to the beautiful ‘laika’ songs. My
first vinyl discs where basically ‘laika.’, I am
certain that my ‘laiki’ side will be developed
in the future and I will sing more of that
genre. Now I am writing for others, because
FACE
{
Through music,
everyone lives
their dream.
ÛÔ˘ Ó· ‚Á¿ÏÂÈ Î·ÈÓÔ‡ÚÁÈ· Ú¿ÁÌ·Ù·, ¿Ú·, ı·
Â›Ó·È Î·È ÁÈ· ÙÔÓ ÎfiÛÌÔ Î¿ÙÈ ‰È·ÊÔÚÂÙÈÎfi.
¶fiÛÔ ÌÂÁ¿ÏÔ˜ Ú¤ÂÈ Ó· Á›ÓÂȘ ÁÈ· Ó·
¿„Ô˘Ì ӷ Û ıˆÚԇ̠ÌÈÎÚfi; ¢Â›¯ÓÂȘ
¿ÓÙ· ÙfiÛÔ Ó¤Ô˜, fiˆ˜ fiÙ·Ó ÚˆÙÔÂÌÊ·Ó›ÛÙËΘ.
∞Ó ·Ó·ÏÔÁÈÛÙÒ ÙÔ ÙÈ ı¤Ïˆ Ó· οӈ ÛÙËÓ ˙ˆ‹
ÌÔ˘, ·ÎfiÌ· Â›Ì·È Û Ôχ ·Ú¯ÈÎfi ÛÙ¿‰ÈÔ.
ÕÏψÛÙ ·˘Ùfi˜ Ô ‰ÚfiÌÔ˜ Â›Ó·È ·ÓÂÍ¿ÓÙÏËÙÔ˜
Î·È ‰ÂÓ Í¤Úˆ ·Ó ı· ÚÔÏ¿‚ˆ.
™ÙËÓ ∂ÏÏ¿‰· ¤ÁÈÓ˜ ÁÓˆÛÙfi˜ Ì ÙÔ «ÕÁÁÈÁÌ·
48 OnBlue
„˘¯‹˜» ÙÔ˘ °ÈÒÚÁÔ˘ ÷Ù˙ËÓ¿ÛÈÔ˘. ∂Û¤Ó·
ÛÙËÓ ÚÔÛˆÈ΋ ÛÔ˘ ˙ˆ‹ ÙÈ Û ·ÁÁ›˙ÂÈ Î·È ÙÈ
‰ÂÓ Û ·ÁÁ›˙ÂÈ;
∞fi ÙËÓ ÌÈ· Ì ·ÁÁ›˙ÂÈ fiÙÈ ¤¯ÂÈ Ó· οÓÂÈ Ì ÙËÓ
·ÓıÚÒÈÓË Â˘·ÈÛıËÛ›·, Ô˘ ·Ú¿ÁÂÙ·È Î·È
‚Á·›ÓÂÈ Ì¤Û· ·fi ÙËÓ ·ÓıÚÒÈÓË Ù¤¯ÓË. ∂›Ì·È
ÌÂÁ¿ÏÔ˜ Ô·‰fi˜ ÙˆÓ Ù¯ÓÒÓ. ∞fi ÙËÓ ¿ÏÏË,
Ì ÛÙÂÓ·¯ˆÚÔ‡Ó fiÏ· ÂΛӷ Ô˘ ¿ÙÔÓÙ·È ÙÔ˘
«ÎÔÈÓˆÓÈÎÔ‡ Á›ÁÓÂÛı·È». ªÂ ÛÙÂÓ·¯ˆÚÔ‡Ó
Ô˘ Ù· ‚Ϥˆ Î·È Ù· ·ÈÛı¿ÓÔÌ·È.
∫·ıÈÂÚÒıËΘ Î·È ·Ó¤‰ÂÈ͘ ¤Ó· ÈÔ Ô ÙÚ·-
their voice inspires me to write ‘laika’. It is a
genre that works like that.
You are a pop idol. How can that be
achieved and how can an artist safeguard
such an achievement?
I don’t personally know how much of an idol
I am. The public, who raises artists to that
podium, knows. It is very easy to fall from that
spot if you compromise your principles and
the elements that have made you an idol in
the first place, such as modesty and morality.
What is the cost of success for an artist? Are
there times that it can be higher than the cost
of failure?
Certainly, failure is not a pleasant thing for an
artist who is used to succeeding, but
sometimes it helps us reevaluate our whole
career and maintain a better balance with
everything that surrounds us.
No matter how good an album is, what is the
possibility for it to become a hit without
massive promotion?
When an album contains good music, it’s not
that essential. Today, however, with so much
information input, even the good albums
need promotion.
Can you tell if a song of yours will become a
hit, and if so, at which point of the creative
process?
The moment I write a song, I know if it will
appeal to the public.
Who are your mentors and who are your
‘students’?
I have learned a lot through my work with
great musicians, such as Dimitra Galani,
George Dalaras (a cornerstone for me),
George Hatzinassios, and Haroula Alexiou. I
learned a lot from them, from my family and
from my relationship to my audience.
Who would you say you ‘teach’?
The audience that follows me.
How can an artist be liked by everyone and
for ever? How can he secure his course in the
music arena for a long period of time? What
should she be careful of?
A singer has to be careful of his or her own
self and win over their "dark" side.
Do you believe in eternal love – your songs
seem to.
Anyone can live their dream through music.
Thus, there can be eternal love.
FACE
{
°È· ̤ӷ ÙÔ Ï·˚Îfi
ÙÚ·ÁÔ‡‰È ‰ÂÓ Â›Ó·È
ηÈÓÔ‡ÚÁÈÔ Â›‰Ô˜
ÁÔ‡‰È, ÁÚ¿ÊÂȘ fï˜ Î·È ÊÏÂÚÙ¿ÚÂȘ Ì ÈÔ
Ï·˚ο ·ÎÔ‡ÛÌ·Ù·, ΢ڛˆ˜ fiÙ·Ó ÁÚ¿ÊÂȘ ÙÚ·ÁÔ‡‰È· ÁÈ· ¿ÏÏÔ˘˜. ∞Ó˘ÔÌÔÓ›˜ Ó· ÂÎÊÚ·ÛÙ›˜ Î·È Ì¤Û· ·fi ¿ÏÏ· ›‰Ë;
°È· ̤ӷ ÙÔ Ï·˚Îfi ÙÚ·ÁÔ‡‰È ‰ÂÓ Â›Ó·È Î·ÈÓÔ‡ÚÁÈÔ Â›‰Ô˜. ªÔÚÒ Ó· ÛÔ˘ ˆ fiÙÈ ÌÂÁ¿ÏˆÛ· ÌÂ
ÙËÓ ·Ó¤ÌÔÚÊË Û¯ÔÏ‹ ÙÔ˘ Ï·˚ÎÔ‡ ÙÚ·ÁÔ˘‰ÈÔ‡. √È ÚÒÙÔÈ ÌÔ˘ ‰›ÛÎÔÈ, ‹Ù·Ó ηٿ ‚¿ÛË
Ï·˚ÎÔ›. ∂›Ì·È Û›ÁÔ˘ÚÔ˜ fiÙÈ Ë Ï·˚΋ ÌÔ˘ ÏÂ˘Ú¿ ı· ÂÍÂÏȯı› ÛÙÔ Ì¤ÏÏÔÓ Î·È ı· ·ÎÔ‡ÛÂÙÂ
ÂÚÈÛÛfiÙÂÚ· Ï·˚ο ÙÚ·ÁÔ‡‰È·. ∆ÒÚ·, Áڿʈ
ÁÈ· ¿ÏÏÔ˘˜ ÁÈ·Ù› Ë ÊˆÓ‹ ÙÔ˘˜ Ì ÚÔηÏ› Ó·
50 OnBlue
ÁÚ¿„ˆ ÈÔ Ï·˚ο Ú¿ÁÌ·Ù·. ∆Ô Ï·˚Îfi Û ÚÔηÏ› ·fi ÌfiÓÔ ÙÔ˘.
∂›Û·È ›‰ˆÏÔ ÁÈ· ÙËÓ ÓÂÔÏ·›·. ¶Ò˜ Á›ÓÂÙ·È
ηÓ›˜ ›‰ˆÏÔ Î·È Ò˜ ÚÔÛ¤¯ÂÈ ÁÈ· Ó· ÌËÓ
ÍÂÁ›ÓÂÈ;
∆Ô fiÛÔ Â›‰ˆÏÔ Â›Ì·È ‰ÂÓ ÙÔ Í¤Úˆ. ∞˘Ùfi ÙÔ
ͤÚÂÈ Ô ÎfiÛÌÔ˜ Ô˘ Û ·Ó¿ÁÂÈ Û ›‰ˆÏÔ. °È·
Ó· ÍÂÁ›ÓÂȘ ÌÔÚ›˜ Ôχ ‡ÎÔÏ·, ·Ó ·ÂÌÔÏ‹ÛÂȘ ÙȘ ·Ú¯¤˜ ÛÔ˘ Î·È Ù· ÛÙÔȯ›· Ô˘
Û οÓÔ˘Ó Ó· Â›Û·È Â›‰ˆÏÔ, fiˆ˜ ÙËÓ ÛÂÌÓfiÙËÙ· Î·È ÙËÓ ËıÈ΋.
¶ÔÈÔ Â›Ó·È ÙÔ Ù›ÌËÌ· Ù˘ ÂÈÙ˘¯›·˜ ÁÈ· ¤Ó·
Your songs seem to be able to put us in a
melancholic or uplifting mood with a distinct
ease. Which one is closer to your own
disposition?
I am the one feeling those emotions first.
They are filtered through my songs and
finally reach the audience.
What virtues that you see in others do you
envy?
More patience, less stress, time to do more
things.
How do you explain that many artists have
FACE
{
ª¤Û· ·fi Ù· ÙÚ·ÁÔ‡‰È·
˙ÂÈ Ô Î·ı¤Ó·˜
ÙÔ fiÓÂÈÚÔ ÙÔ˘
ηÏÏÈÙ¤¯ÓË; À¿Ú¯Ô˘Ó ÊÔÚ¤˜ Ô˘ Â›Ó·È ¯ÂÈÚfiÙÂÚÔ Î·È ·fi ÙÔ Ù›ÌËÌ· Ù˘ ·ÔÙ˘¯›·˜;
™›ÁÔ˘Ú· Ë ·ÔÙ˘¯›· ‰ÂÓ Â›Ó·È Ùo ÈÔ Â˘¯¿ÚÈÛÙÔ ÁÈ· ¤Ó·Ó ηÏÏÈÙ¤¯ÓË Ô˘ ¤¯ÂÈ Ì¿ıÂÈ ÙËÓ
ÂÈÙ˘¯›·, ·ÏÏ¿ ÌÂÚÈΤ˜ ÊÔÚ¤˜ ÂÈ‚¿ÏÏÂÙ·È ÁÈ·
Ó· Í·Ó·‰Ô‡Ì ٷ Ú¿ÁÌ·Ù· ·fi ÙËÓ ·Ú¯‹
¡· ÈÛÔÚÚÔԇ̠ÈÔ Î·Ï¿ Ì ÙȘ ηٷÛÙ¿ÛÂȘ
‰›Ï· Ì·˜.
ŸÛÔ Î·Ïfi Î·È ·Ó Â›Ó·È ¤Ó· ‰ÈÛÎÔÁÚ·ÊÈÎfi
‚‹Ì· ¯ˆÚ›˜ ÌÈ· ÙÂÚ¿ÛÙÈ· ÚÔÒıËÛË ÙÈ Èı·ÓfiÙËÙ˜ ¤¯ÂÈ Ó· ÊÙ¿ÛÂÈ ÛÙËÓ ÎÔÚ˘Ê‹;
ŸÙ·Ó ¤Ó·˜ ‰›ÛÎÔ˜ Â›Ó·È ÊÙÈ·Á̤ÓÔ˜ ·fi ηÏfi
˘ÏÈÎfi ‰ÂÓ ¯ÚÂÈ¿˙ÂÙ·È. ŸÌˆ˜ Û‹ÌÂÚ· Ì ÙËÓ
ÙfiÛË ÏËÚÔÊfiÚËÛË Á‡Úˆ Ì·˜ Î·È ÔÈ Î·ÏÔ›
‰›ÛÎÔÈ ı¤ÏÔ˘Ó ÚÔ‚ÔÏ‹.
∆Ô ÙÚ·ÁÔ‡‰È Ô˘ Â›Ó·È Ó· Á›ÓÂÈ ÂÈÙ˘¯›· ÙÔ
ÚÔ·ÈÛı¿ÓÂÛ·È; ™Â ÔÈÔ Ì¤ÚÔ˜ Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ ÙÔ˘;
∆ËÓ ÒÚ· Ô˘ ÙÔ Áڿʈ ͤڈ ·fi ÙËÓ ÚÒÙË
ÛÙÈÁÌ‹ ·Ó ı· ÂÚ¿ÛÂÈ ÛÙÔÓ ÎfiÛÌÔ.
∞fi ÔÈÔ˘˜ Ì·ı·›ÓÂȘ Î·È Û ÔÈÔ˘˜ Ì·ı·›ÓÂȘ Û·Ó ¿ÓıÚˆÔ˜ Î·È Û·Ó Î·ÏÏÈÙ¤¯Ó˘;
Œ¯ˆ Ì¿ıÂÈ ÔÏÏ¿ ̤۷ ·fi ÙȘ Û˘ÓÂÚÁ·Û›Â˜
ÌÔ˘ Ì ·ÓıÚÒÔ˘˜ Ù˘ ÌÔ˘ÛÈ΋˜ ȉȷ›ÙÂÚ·
·fi ÙËÓ ¢‹ÌËÙÚ· °·Ï¿ÓË, ·fi ÙÔÓ °ÈÒÚÁÔ
¡Ù·Ï¿Ú· Ô˘ Â›Ó·È ÁÈ· ̤ӷ ¤Ó·˜ Ê¿ÚÔ˜ ηÏÏÈÙ¯ÓÈÎfi˜, Ô °ÈÒÚÁÔ˜ ÷Ù˙ËÓ¿ÛÈÔ˜ Ë Ã·ÚԇϷ
∞ÏÂ͛Ԣ. ŒÌ·ı· ÔÏÏ¿ ·fi ·˘ÙÔ‡˜, ·fi ÙËÓ
ÔÈÎÔÁ¤ÓÂÈ· ÌÔ˘, fiˆ˜ Î·È Ì¤Û· ·fi ÙËÓ
Û¯¤ÛË ÌÔ˘ Ì ÙÔ ÎÔÈÓfi.
∫·È Û ÔÈÔ˘˜ Ì·ı·›ÓÂȘ Î·È ÌÔÚ›˜ Ó·
‰ÒÛÂȘ Ù· ÊÒÙ· ÛÔ˘;
™ÙÔ ÎÔÈÓfi Ô˘ Ì ·ÎÔÏÔ˘ı›.
¶ˆ˜ ÌÔÚ› οÔÈÔ˜ Ó· ·Ú¤ÛÂÈ Û fiÏÔ˘˜ ηÈ
ÁÈ· ¿ÓÙ·; ¶ˆ˜ ‰È·ÛÊ·Ï›˙ÂÈ Î¿ÔÈÔ˜ ÙËÓ
‡·ÚÍË ÙÔ˘ ÛÙÔÓ ¯ÒÚÔ ÙÔ˘ ÙÚ·ÁÔ˘‰ÈÔ‡ ÁÈ·
ÔÏÏ¿ ¯ÚfiÓÈ·. ∆È Ú¤ÂÈ Ó· ÚÔÛ¤¯ÂÈ;
∆ÔÓ ›‰ÈÔ ÙÔ˘ ÙÔÓ Â·˘Ùfi. ¡· ÓÈ΋ÛÂÈ ÙÔÓ Î·Îfi
ÙÔ˘ ·˘Ùfi.
52 OnBlue
FACE
¶ÈÛÙ‡ÂȘ ÛÙÔÓ ¤ÚˆÙ· ÁÈ· ¿ÓÙ·, Ù· ÙÚ·ÁÔ‡‰È·
ÛÔ˘ ÙÔ ÈÛÙÂ‡Ô˘Ó fï˜;
ª¤Û· ·fi Ù· ÙÚ·ÁÔ‡‰È· ˙ÂÈ Ô Î·ı¤Ó·˜ ÙÔ
fiÓÂÈÚÔ ÙÔ˘. ŒÙÛÈ ÌÈ· ·Á¿Ë ÏÔÈfiÓ ÌÔÚ› Ó·
˘¿ÚÍÂÈ ÁÈ· ¿ÓÙ·.
ŸÙ·Ó ı¤ÏÂȘ Ó· Ì·˜ ÌÂÏ·Á¯ÔÏ‹ÛÂȘ ÙÔ ÂÙ˘¯·›ÓÂȘ ¿ÓÂÙ·, fiÙ·Ó ÂȉÈÒÎÂȘ Ó· Ì·˜ ÍÂÛËÎÒÛÂȘ Â›Û˘. ¶ÈÔ ·fi Ù· ‰˘Ô Â›Ó·È ÈÔ
ÎÔÓÙ¿ ÛÙË Ê‡ÛË ÛÔ˘;
ŸÏ· ·˘Ù¿ Ù· ÓÔÈÒıˆ ÚÒÙÔ˜ ÂÁÒ, ÊÈÏÙÚ¿ÚÔÓÙ·È Î·È Û·˜ Ù· ÂÈÛÙڤʈ.
¶ÔÈ· ÚÔÙÂÚ‹Ì·Ù· ˙ËχÂȘ ·fi ÙÔ˘˜ ¿ÏÏÔ˘˜
Ô˘ ‰ÂÓ ¤¯ÂȘ ÂÛ‡;
¶ÂÚÈÛÛfiÙÂÚË ˘ÔÌÔÓ‹, ÏÈÁfiÙÂÚÔ ¿Á¯Ô˜,
¯ÚfiÓÔ ÁÈ· ÂÚÈÛÛfiÙÂÚ· Ú¿ÁÌ·Ù·.
¶ˆ˜ ÙÔ ÂÍËÁ›˜ fiÙÈ ÔÏÏÔ› ηÏÏÈÙ¤¯Ó˜ ¤‰ˆÛ·Ó
Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ¤ÚÁ· ÙÔ˘˜ Ó¤ÔÈ Î·È ¿ÂÈÚÔÈ,
ÂÓÒ ·Ú¿ ÙËÓ ›ڷ Î·È ÙËÓ ˆÚÈÌfiÙËÙ· Ô˘
·¤ÎÙËÛ·Ó ·ÚÁfiÙÂÚ·, ‰ÂÓ ¤ÊÙ·Û·Ó Û ·Ó¿ÏÔÁ· ‡„Ë ‰ËÌÈÔ˘ÚÁ›·˜; ™Â ÊÔ‚›˙ÂÈ ·˘Ùfi;
54 OnBlue
Œ¯ÂÈ ·Ú·ÙËÚËı› fiÙÈ ÌÂÁ¿ÏÔÈ Î·ÏÏÈÙ¤¯Ó˜ ÛÂ
fiÏÔ˘˜ ÙÔ˘˜ ÎÏ¿‰Ô˘˜ ‰È·Ó‡Ô˘Ó ÙËÓ Î·Ï‡ÙÂÚË
ÙÔ˘˜ ÂÚ›Ô‰Ô Ì¤¯ÚÈ Ù· 35 ÙÔ˘˜. ¢ËÏ·‰‹ ÂΛ
·ÔÎÙÔ‡Ó ÂÌÂÈÚ›·, ·Ó ÙËÓ ¯ÂÈÚÈÛÙÔ‡Ó ÛˆÛÙ¿,
¯ˆÚ›˜ Ó· ¯¿ÛÔ˘Ó ÙËÓ ·ıˆfiÙËÙ· ÙÔ˘˜, ÌÂÙ¿
ÍÂÎÈÓ¿ Î·È ¿ÏÏË ÂÚ›Ô‰Ô˜.
∞˘Ùfi Ô˘ ˙ÂȘ ÙÒÚ· ÙÔ ·ÓÙÈÏ·Ì‚¿ÓÂÛ·È Û·Ó
¤Ó· fiÓÂÈÚÔ Ô˘ ¤ÁÈÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· ‹ Û·Ó
¤Ó· fiÓÂÈÚÔ Ô˘ ÙÔ ˙ÂȘ; ™Â ÌÂı¿, Û ·Ú·Ï‡ÂÈ, Û ÊÔ‚›˙ÂÈ, Û ˙ÂÈ;
∂›Ó·È ¤Ó· fiÓÂÈÚÔ Ô˘ ·Ú·Ì¤ÓÂÈ fiÓÂÈÚÔ.
ŸÌÔÚÊÔ Î·È ÂÈΛӉ˘ÓÔ Û·Ó fiÓÂÈÚÔ.
¶ˆ˜ ı· ‹ıÂϘ Ó· ÎÏ›ÛÔ˘Ì ·˘Ù‹Ó ÙË Û˘Ó¤ÓÙ¢ÍË;
∂‡¯ÔÌ·È, fiÛÔÈ ‰È·‚¿ÛÔ˘Ó ·˘Ù‹ ÙËÓ Û˘Ó¤ÓÙ¢ÍË Û οÔÈÔ Ù·Í›‰È ÙÔ˘˜ ÙÔ Î·ÏÔη›ÚÈ, Ó·
·ÔÎÔÌ›ÛÔ˘Ó Î¿ÙÈ ıÂÙÈÎfi, fiÌÔÚÊÔ Î·È Ó·
ÂÚ¿ÛÔ˘Ó Î·Ï¤˜ ‰È·ÎÔ¤˜.
ªÈ¯¿ÏË Û ¢¯·ÚÈÛÙÒ
∫·È ÂÁÒ Ôχ. produced their best work while young and
inexperienced, and that, despite the
experience and maturity they acquired later
on, they weren’t able to achieve similar
success? Does that scare you?
Usually, great artists of any art, experience their
best period until they are 35. Through that
period they acquire their experience and, if they
use it without losing their innocence, they see
great results. A new period starts after that.
Do you perceive what you are living right
now as a dream that has become reality?
It is a dream that remains a dream –
beautiful and dangerous like a dream.
How would you like us to close this
interview?
I hope the readers of this interview are
traveling on their summer vacation and
gained something positive and beautiful from
it. Have a great vacation!