Podcast Episode 52: Georges Tomb

Alison: My chair is so squeaky.

Jean: I’m so excited to to talk to George today.

Alison: I know he’s he is so… Okay, so tell everybody who we’re talking to.

Jean: Okay,we are talking to a famous musical composer, concert pianist.. His name is George Tomb.

Alison: right, and he has scored, like 15 films. And he’s very young. He’s like 30, 31. Right. And our wonderful friend Brad Koepenick introduced us to him. And just listening to his music, there’s one piece that he did and he writes a lot for like, causes, like philanthropic causes, this thing called Memorial Bow and oh my gosh, this piece, I got all teary eyed, I don’t know, it was so moving. Right

Jean: I thought his music was it was very healing for me. And as I was sharing with you before, Allison, just taking that time to listen to a piece of beautiful music, non-verbal music, it I don’t do that a lot, actually. Ever. It’s always music with words. And unless I go to a concert or something like that. But in preparing for our interview, I sat down and I listened to this man’s music, andT i felt euphoric and really, I felt in my body and I felt great.

Alison: He’s  beautiful. So if you have a chance before, even during or after, if you can, you know, YouTube, Georges Tomb and it’s – Georges Tomb and listen to some of his work.

Jean: He is going to be an infamous,

Alison: Uh, famous.

Jean: Infamous/ famous musician.  Across the board. I mean, and he’s he’s just as as creative and genius as he is with his music. He has such a beautiful heart.

Alison: Yeah, well, here he is.

Alison: Hi.

Georges: Hello..How are you?

Alison: I’m good. Thank you so much.

Georges: Thank you for your time. Um, I’m honored to be with you on the show.

Jean: This is such a treat to have you. You are an exceptionally gifted and creative human. And, um, thank you so much for joining us.

Georges: Thank you so much for hosting me.

Alison: I’m Alison.

Jean: And I’m Jean. And can you tell me where are you zooming in from and how do you pronounce your name?

Georges: Yeah, I’m zooming from Paris now, and my name is George Tomb.

Jean: Okay, great, because we heard a few different ways.

Alison: You are so incredible. And you’re from a musical family. And you, you give your father a lot of credit. Did you, when you were young, was he annoying or was it still…. Did you still, like, love it?

Georges: Actually, I was the one annoying when I was a kid because, you know, I was 3 or 4 years old and I was very intrigued by how he’s working, how he’s writing music. And I was seeing him writing music for my auntie. She’s a singer, very famous singer, and I wanted to learn, you know what I mean? I was like 3 or 4 years and I, I was pushing, pushing him, just that teach me something, you know? And he started teaching me how to write music and play piano and play famous French songs, American songs… He’s a big fan of Elton John and Dalida and all those, you know, old, old French songs. So I actually I was the annoying kid that wanted to prove my dad that I’m maybe more talented than you, just give me a chance. You know what I mean?

Alison: And  now what do you think he’s thinking?

Georges: I think he’s proud of what he did. I mean, I can I give him a big credit to him and to my mother. She is not a musician, but at least she was the one who had the nerves to and the patience to sit next to me for hours every day on the piano.

Alison: Wow.

Georges: And to just practice. Yeah. That was the part where piano wasn’t really cool because, you know, practicing for 4 or 5 hours, it’s the same things all over again. It’s just, you know, as a as a basketball player, he needs to train every day in order to keep this trend, and that’s practicing every day to keep the nerves of the and the technique of, uh, you know, your fingers on the piano. So I used to do that for five hours every day.

Alison: Wow.

Georges: So I give credit to both of my parents.

Alison: Yes. That’s so sweet. I want my son to hear this so that when he’s 31, he will say the same thing.

Georges: Yeah. How old is he?

Alison: He’s 24.

Georges: Ah.

Alison: Yeah. Yeah. I have seven years to drill it into him, I think. You know. hahah

Georges: You have time. It’s never too late.

Jean: Yeah. Yeah. George, I’m a little bit curious about your creative process and the inspiration  to bring forth this exquisite music. Uh, I enjoyed so many of your scores, listening to your piano playing your– the movie themes that you’ve scored. And can you talk a little bit about your creative process? And do you get like a knowing that something’s coming through you? And when do you feel the most inspired to to do your music writing?

Georges: That’s a nice question. So usually when I’m hired to do a score for a movie, I meet the writer first, and then after the writer, I meet the director. It’s always more important for me to meet the writer because he created the story. I need to feel his emotions, you know? And I need to see how am I gonna, um, portray these emotions in music, right? And I have to feel the story. I have to feel involved in the story. You know? I have to feel I am in the story to just live the story. Imagine I’m an actor, right? And if I’m hired to do the main role of the movie, he has to live the story, right? And I have to do the same thing on paper. That’s the only difference that I am the emotion of the movie, music for me is the emotion of the movie. This is what makes the movie alive. This is what gives breath to the movie. Imagine watching big movies, big scores without music… You wouldn’t feel the emotions. You wouldn’t feel sadness, happiness. Uh, you know, um, all kind of emotion. So I think for me as a composer, to succeed in my, uh, target in a project, I have to understand the story. I have to feel involved. Because if I don’t feel involved, which I rejected many projects, not because I didn’t respect the story, but I didn’t feel involved.

Georges: That’s it. You know what I mean? So I have to feel involved as a human being, as a man, as a as someone who appreciates beauty, as someone who sees, uh, hope in a mother and a wife and a. You know what I mean? The love. I have to feel all this. I have to be the lover. I have to be the father. I have to be even, i have to feel the mother in a movie. It’s it’s not easy. As people, you tend to underestimate the value of music, but I think they know more the value of music if they choose to watch any of their favorite movies without music, it would be a different thing, you know? So I think me understanding the story, the script of a movie, or now I’m writing the music of the show or ballet, i have to live the story and feel it in order for me to create and be inspired. And of course, life events that are happening in my daily life would also inspire me. Relationships, family, relationships, problems, clashes with people. All these different emotions help me to to be inspired to write music.

Alison: That’s beautiful…When we were listening to, Memorial Bow, that is– I got all teary eyed and I couldn’t, I didn’t, I couldn’t quite pinpoint why? Why do you think music like makes makes us cry? Or like what– how does it how do you think it touches us? Because I was like, crying…. And it was well, actually, I loved it. I loved it, you know? But it was so memorial.

Georges: Memorial Bow,  it wasn’t an easy piece to write. And I think it’s one of my favorite because, you have you have to show this piece has literally all kinds of emotions, like sadness. Uh, victory, right? I mean, it talks about all those amazing men that dedicated their lives for the United States. And me, not being American, wasn’t an easy task for me. But maybe coming from a country that had, uh, also war and, uh, and hardships and stuff, and also me living in many countries, countrie’s peace,  right? It wasn’t easy for me. So I decided to pick one theme that is very repetitive, and this theme should have many, uh, orchestral foundation. And that’s if you focus on Memorial Bow. It has the beginning and then the hopeful part in the middle. And it ends in a grandiose way that, you know, that shows how America is a great nation, you know what I mean? And it has always stood for what’s right. And I hope I mean, we see America standing for what’s right and better stages where we see no war, we see human, you know, we see humanity coming back to the world. That’s how I saw this piece coming, coming to life. And I hope we get a Grammy nomination on it. It’s in ten days. Let’s see.

Alison:  yeah.

Jean: It is beautiful. And and speaking about the United States, George, which, um, so you’ve played obviously in Los Angeles and you’ve played in Carnegie Hall in New York. Do you have a favorite place in the United States and how do you feel about it?

Georges: I think Carnegie Hall. Carnegie Hall’s feeling was was different. Yeah, Seriously. Like I mean, every concert has a special feeling, but Carnegie Hall was, you know, this lady crush that a man had for many years and in one second, you know, it… This was this was like Carnegie Hall was a dream. And I thank the conductor Joanna Nachef, for believing in my music. And she commissioned me this piece and she believed in my music. Um, but I feel, um, I mean, what I love about the United States that they, they believed in, I mean, I traveled the world, but the U.S. gave me a chance, you know, and they gave me the chance to to share my music with the world. And that’s what for me, what makes the American dream, right? and, um. Yeah, and Carnegie Hall was a big breakthrough in my career, I feel.

Alison: And I’ve heard you say that music for you sometimes comes, like, divinely inspired and I’m wondering, do you feel then that  it really is your spiritual journey to be a musician? Like, do you have any sense of any sense of that? Because I thought that was so beautiful that you felt it was divinely inspired.

Georges: Honestly, I feel that way because I’ve always had music in my ears since I was a little boy. Right? And I never truly explained how these melodies come to me. You know, I never really explained it. I just feel it. Like now I’m sitting here, I can be talking to you and there’s a melody playing in my ears. Music never leaves me. Never. And it can be annoying sometimes, you know? But, I mean, It’s just, I don’t know.. I think it’s just maybe…. I’m not sure– it’s. maybe it’s genetics, of course… But also music has always been in me. Always.

Alison: I love that. Did you start did you start playing piano at three?

Georges: Yeah.  I have a picture actually of me playing the piano at the age of 1 or 2. I can send you the picture. It’s cute. I mean, yeah, piano was always….  I had this this feeling of I had a good relationship with this instrument, you know, and I yeah, it’s like I was exploding all all my emotions and my anger. I was an angry kid, I still am. I’m an angry person, I feel, or I, um, um, I had nerves, you know what I mean? And the piano was for me like an explosion of of all kind of emotions in me. I don’t know, I loved it. Yeah. Since day one. Yeah. And now it’s like my my oxygen. I cannot skip a day without. I mean, at least playing the piano at least once or twice.

Jean: That’s so beautiful. I love that this this passion within you has.. Is moves out, and we’re all so blessed by by your music. And and I felt-.

Georges: I’m honored.

Alison: Really.

Jean: Truly. Like I, I was listening so much to your– getting ready for our interview and listening to your music, and, um, I had chills. And I also feel it, it was very deeply healing for my, my psyche to sit back, close my eyes and, and take in your music. Uh, and I gave myself the time to really be… And I don’t do that anymore, George. Like I, unless I go to a concert, I don’t… Like, my life has gotten busy and I’m, you know, it was a real gift to just sit back and listen to your music last night.

Georges: I’m humbled to hear that. Thank you so much. This gives me, um, a motivation to keep going and I mean improve my music to inspire more people.

Jean: I don’t think you can improve.

Alison: Right.

Jean: At all. I think I think you hit the bull’s eye every time, George.

Alison: When you say that you felt like you were an angry kid or that you’re an angry person, you present the opposite. You present, like, so generous of heart. And your music is very moving. So how do you reconcile that?

Georges: I think God gave me music to just do a balance with my with my personality since being a kid that is, you know, crazy and, Uh, I mean, I just wanted… When I wanted things to happen, I wanted things to happen. I had no negotiation with my with my parents. My parents had a tough time raising me as a kid because I was, we say in French, capricious, capricious. Right?

Alison: Yeah, right.

Georges: Yeah. And I, I mean, it’s their problem because they made me believe that…. I mean, they made me believe that I’m, I don’t know, I’m a talented musician. And they planted this, these ideas in my head. And I believed it since at the very early age. And I feel the role of parents in general is very important at younger age, even if someone is not talented and the mother makes a kid believe that he’s super talented, it affects directly to his to his ability to create, to to, to do something, you know what I mean? And I feel this confidence that my family gave me, made me, made me believe in myself, even made me manifest things that I would never imagine that would happen.

Alison: Yeah.

Georges: I mean, they they happen sooner than expected, you know, so this manifestation system, with the confidence that the family gives and the support system that I had was super strong and that the musical atmosphere that I lived in helped a lot… I mean, my career wasn’t easy being being very young, you know, because, you know, I was very young compared to other composers who are doing the same thing. But I believed in my craft and my music, and I kept going. I never gave up. Not one day.

Jean: Right.

Alison: That’s that’s such a beautiful lesson.

Jean: Yeah. And it speaks to the power of believing in…

Alison: in Yourself

Jean: …Yourself… And if you can’t believe in yourself that someone else can help hold a bar for you. Come on, you can do it. Let’s go. Come, and our friends do that for us, like, if I feel struggling, I know Allison can say, oh, you got this, Jean. And and it’s lovely that your parents were– they saw the innate gift within you and and could elicit that from you and and bring it and bring it out and and to your point that you you love and you believed in your music and, um, it’s so great. I am so curious, George, with all the success that you’ve achieved at a very at a young age, how do you stay grounded in your, your life?

Georges: Faith, and maybe in a personal on a personal level, maybe, um, my relationship with God, that’s how I stay grounded, because, you know, I have I have a strong, uh, um, faith in God. And I feel he gave me everything and he can take back everything. I mean, you know what I mean? Um, being humble is not easy. I don’t like when people say in the industry. Yeah, yeah, we shouldn’t be arrogant. No, it’s not easy not to be arrogant when someone gets something big. That’s reality. When someone says, yeah, yeah, we have to be humble. No, that’s not the right answer, I feel, because there’s, there’s a, there’s a, um, adrenaline that an artist feel after every concert, after every success, after every award that gives him blindness, you know what I mean? Even me, when I finish a concert, I always, I miss some time calling my family… Calling, you know, my calling, my girlfriend, calling somebody. This is not because I’m arrogant, because there’s a feeling of adrenaline that that all this thing gives you and it can blind you easily. I feel remembering, remembering, remembering how life, uh, began, uh, with me– with you and how how it was very tough to where we reached and how how hard we fought and how hard we prayed. Right. And makes me more, uh, trying to stay calm, you know, because I don’t have a I don’t feel like I reached the Paramount. It’s just an endless mountain. And thinking that way would be would be healthy. Yes. I may tend to forget some days, uh, that I need to be more humble and more humble. And that’s not, that’s an exercise that every artist should have. Um, and I think the only solution to being grounded as a human before as before being an artist is just, uh, that’s my personal, uh, um, belief is just, I don’t know, being a believer in God and praying and willing, willing everything that is into the good in this world.

Jean: Yeah. That’s beautiful.

Georges: You, um… it looks like your projects aimed towards causes, like you are doing that movie about adult autism. And you did the Memorial Bow and all these these projects. Do you search for them or do they just sort of like you’re attracting them?

Georges: Um, you know, sometimes I attract them. Sometimes it’s just a coincidence. Like, let’s say I’m playing for a big charity event in Festival de Cannes or at the Oscars, like last year at the Oscars with Children Nations or better World Fund and Festival de Cannes, or for Venice, or I meet people there that have a cause, you know, they have like a cause in their life. They’re supporting a cause. We say in French, the boucherie…. Like you know me, you have a cause. You go, you tell your friend, oh, I met this composer– that would be a coincidence. But also, I feel because I believe I want to contribute not only musically, to inspire musicians. I want to contribute in my art to support good cause. Right. Because I still believe that there is a lot of good people in this world, and I want to be part of this direction, you know, to support, uh, as much as I can being an artist. So I think it could be manifestation, it could be coincidence, it could be friends telling another friend. It could be my agent. hahah

Alison: hahahah–It could be your agent. That’s true, that’s true– it could be. Is there some cause that you’ve either worked on or something you’d like to work on that you feel really speaks to you?

Georges: I feel every cause has its special, uh, effect on me. I’ve worked on, uh, autism, um, United Against Violence, uh, Children United. Um, um, women empowerment. Yeah. Um, I like that because I don’t know why I feel the female, uh, effect is very inspiring to me, and I and I, and I would want to see a world where women are just standing out, and they’re they’re changing the world. Because I feel if the world is ruled by women, we wouldn’t have not not a single war. So, uh, I don’t know… Every cause has its special effect on me, I feel.

Alison: Oh, I love that.

Georges: Oh,  there’s one cause, to be honest. There’s actually one cause that is is really interesting. It’s with a with an NGO called CMA. It’s Italian. Uh, and CMA means together. It’s, um, this cause is really interesting. It, um, cures, um, the sick people with music. That’s very interesting because I didn’t really believe that would work until I went and I and I witnessed it in my own eyes. You know, it might cure someone who’s sick. It might extend, you know, his life because music gives such a such a powerful hope that you believe. You know, you believe that.. No, I’m going to live longer. I’m gonna, you know, I’m going to have a better health that cause I’m working on now and it’s super interesting because you feel it’s like magic, like I’m a composer and I’m being an indirect doctor. You know what I mean? Yeah, it’s weird to think that way, right? But when you believe it, when I believe it, when I’m writing music, it’s super nice because you feel you might, you might, i don’t know, I don’t want to say I have an effect on anyone’s life– that’s very weird, but I’m just just try to understand what I’m saying. It feels like I’m giving hope, you know what I mean? And giving hope to people that that are hopeless is such an amazing feeling. Yeah. So I think that that causes is really interesting in my life.

Jean: Yeah, I love that because I’ve done some investigation around sound healing and how non, non non-verbal music really taps into the the right side of the brain where the creative aspect is, it’s the intuitive part. And rather than we, most of us live so much from one hemisphere of the brain, music actually helps.

Alison: Counter that.

Jean: Counter that, right? And you know that healing…. They say like if you listen to Mozart or Beethoven, but nonverbal because then the mind isn’t understanding a story from the words. It’s pure…

Georges: Absolutely.

Jean: ..Music and and I think with the the power of the your intention plus the vibration of the the notes it it is an avenue for great healing.

Georges: Yeah. So absolutely.

Jean: I applaud you in your quest because I do think, like I said, just listening yesterday afternoon to your music, um, I, I felt rejuvenated. I had I, I felt great. Yeah, I mean I and I, you know, I’m blessed that I don’t deal with depression, but I can get a little overwhelmed and just like anyone else… And I was like, wow, i made a few extra phone calls… I, I really felt lovely.

Georges: So I’m humbled. I’m really happy to hear that.

Alison: Do you ever feel that you have an off or a bad performance?

Georges: Bad performance? I mean, I’m someone who has struggled having a speech on stage, but I don’t know why performing, i’ve never had I don’t want to say a bad performance… I may have a better performance in Carnegie Hall than Los Angeles, than Croatia, but I’ve never had a bad performance. But I had bad speeches, if you count them. I don’t know why?

Jean: Me too.

Georges: I don’t know why? Every time I have a speech, I confuse all the words– I thank who I should not be thanking, and I forget to thank who I should be thanking. Right? And I feel I don’t know why… Like when I play with an orchestra of 200 people, 100 musicians, I don’t care. Yeah, but when I speak, I don’t know. I feel it’s not. It might not be my thing. So. Yeah, but actually in Croatia it was not bad when I won an award. It was not that bad, but well, also, I forgot to thank a lot of people and I forgot to speak about… Yeah. And it shows. It’s very obvious when I’m when I’m stressing, I start saying things that are, that doesn’t make sense. Right. Like these two lines doesn’t make don’t make sense. That’s that’s the fright I have on stage. And by the way, I’m scoring a movie now called Practice Makes Perfect. Oh, it’s the life of the pianist. She’s brilliant, but she cannot play on stage. She has a problem. She has a fright now.   I signed this contract three days ago only. And that’s interesting. Yeah, because this exists. A lot of musicians are super talented, but they just missed a big career because they have a fright on stage.

Jean: Yeah

Alison: Yeah, that’s funny that you say that because we we talk about that a lot. You know, uh, Jessica Tandy, my friend was, um, Jessica Tandy’s daughter. And you think of Jessica, i don’t know if you know who that is, but she’s a great, great stage actress, and every night, like she got sick before she went on and she did it, you know? But I love that for you it’s speaking… You know, I love that.

Georges: In in back in 2022, I had the concert at the Biennale, the Venice Film Festival, and I had the performance and there was Catherine Deneuve, you know, the iconic actress, French actress. She was there. And the second I was going on stage, the Queen, uh, Elizabeth passed away, the second I was going on stage. And then they asked me to take one minute, uh, silence, uh, and announce that. I went on stage and I said– I didn’t do any kind of introduction because I was super stressed. And I said, the Queen just died. Let’s take a minute, uh, of silence. And people were like, who’s the queen who died? A minute of silence of what? You know, I was super stressed that I couldn’t read what’s in my hand. You know what I mean? Yeah. I feel I’m improving a little bit. I’m improving…  i don’t know, I hope that that fright would go away eventually..

Alison: That’s true. That’s very true… You know, right.

Jean: So, uh, are you going to come to the United States anytime soon?

Georges: Oh, I’m always I mean, I’m always in LA, and I visit L.A. at least twice or three times a year for concerts. For festivals. Yeah, I think I, I mean, if I have a Grammy nomination, I’m coming to L.A. in February.

Jean: Okay..Well, we would love to see you.

Georges: Yeah. For sure. We will meet. And even if I don’t have a Grammy nomination, I always go to LA to just reconnect with old friends to connect with new cinema, uh, directors, producers. LA is my… I feel it’s my second home. And I love Los Angeles.

Alison: That’s great,

Jean: I heard that, yeah, that you do like Los Angeles… And Los Angeles loves you.

Alison: That’s right.

Jean: And we are really excited– hopefully we’ll get to go to a concert that you that you give…

Alison: That would be so great…

Jean: We’ll get Brad to take us.

Alison:  right, right. Yes. We’ll go with Brad.

Georges: Um, well, Brad came to a Carnegie Hall and yeah, he really had a great time with him.

Alison: He’s he’s such a great man.. He’s so sweet. What what do you hope your music, um, gives to or lends to future generations? Because we’re having such a time right now in the world, it feels like…I’m just interested to to wonder what you hope your music will, will do for for kids that maybe aren’t even born yet?

Georges: I hope that my music would give more faith in – one, musicians that that have no hope to to to build the career. Because, you know, I tell you, I started from scratch from zero. And I believed that with my music I’m going to reach somewhere. So the first exercise of every young, young musician should be that I need to do my best to go to opera concerts, ballets, uh, orchestral shows. They need to travel, you know, and they need to experience a lot of music to believe in their music. They cannot just create without experiencing, you know, other music, experiencing Beethoven, Mozart, Tchaikovsky, Brahms, Mahler and see the differences, you know, the difference between every single composer, because every single composer needs to find his identity, musical identity first. Right. Back to your question. What I would dream that my music would do? I mean, I would dream that I would have 1% of what I feel of Beethoven music creates in me, on every musician, on every human being, to just give hope and give, um, like you just said, I mean, I changed a little part of your day, but that’s that’s huge for me.

Georges: Yeah. Because those few seconds that you heard took me many months to create. So when I feel that these small musical ideas are, are, um, are having a good influence on people, this is where I feel more motivated to write music, you know what I mean? And I hope my music would inspire young composers to believe in their path and and and not have obstacles, you know, even I had a lot of objections around me because I was young, I was supported by my family. But a lot of orchestras told me, yeah, okay, you’re very talented, but you’re very young. So these obstacles are very important for the musician to, to, to keep building his trust in himself, you know… So I hope my music would give a little hope that to the young composers, that they really can make it where they dream to make it. Not that I say that I made it yet, you know. But I mean, I can say that I dream to be where I am now.

Jean: Right.

Georges: And, I mean, I have other dreams, and on people that are not musicians, I feel my music would be a nice prayer to them. Maybe that’s what I…

Jean: Yeah.

Alison: That is so. That is so.

Jean: Heartfelt.

Alison: yeah. Thank you for that’s beautiful.

Jean: Very true. And, and for yourself, George, what do you, what do you see? Like in the next two, two years, two, three years?

Georges: Uh, more orchestras, more musicians, more singers, more directors, producers, dancers, choreographers. Super nice to work with different people, different nationalities. I work with Americans, French, German, Russian, now Uzbekistan. Uh, I work with people from all over the world. Budapest. Uh, Prague, literally working with different nationalities and seeing those musicians like, you know, the other day I was thinking, like, I’m writing music now in France, right? And I need to go to Budapest, and there’s 90 people that are gonna wake up at 6 a.m. to take a shower, have breakfast early in the morning, practice my music, then come and play my music. I’ve never met these people but they’re playing a language that I’m writing right here, like, i mean, I have my music here. I mean, you know, I’m here, I’m writing music. So imagine this piece of paper with pencil, you know, is being performed by people that I never met.. Like the feeling of of sharing these music, these notes with people I didn’t meet is weirdly nice.. You know what I mean?

Jean:  absolutely.

Georges: I mean, I would just want to expand my music on different, uh, territories. Maybe I want to go to experience Asian musicians, Australian musicians, Indian musicians. That’s amazing because I feel music is such a powerful, universal language that unify all of us. You know what I mean? And yeah, I mean, it’s music is the language that all nations speak, I feel. And it’s nice to to experience that.

Alison: I think music and laughter.

Georges: Yeah, exactly. That’s a nice one.

Alison: You know, I totally, totally agree with you. What do you, what what’s like on your Spotify list? Like, what do you what do you like to listen to?  like what’s fun for you?

Georges: I mean, I listened to pop, I listened to rock, I listened to rap, I listened to all kind of music. That’s what’s nice. Yeah. And, you know, it’s good to drift a little bit away from my genre of music. Uh, I listened to Beethoven, Mahler, Wagner, opera, ballet, all kind of music. Everything is nice. The other day I was thinking that, you know, Eminem has has a has a song that I love, eight miles that I grew up listening to it and I and I saw the Oscar version and I didn’t fall in love with the orchestration. And I said, maybe one day I’ll do it. Yeah, I’m open to create. You know, I wrote even music pop songs with Adam Leipzig X um, VP of Disney. We wrote a pop song for his movie. He said in holiday. Wow. And so I’m open to write all genres of music, you know? Yeah. And I love that.

Jean: I can so see that for you. I can totally see that for you because you you’re at a great age in your in your life right now. And you’ve had so much beautiful experience and, and you have this great heart that’s open to, to to bring and know other people’s music. You’re so great.

Alison: You’re really, really amazing. You know, when I was very young, I was able to go to see Leonard Bernstein, do those young people’s concerts with my mom, and we would we had a series and we would go. And he made it seem so accessible to this little kid from the Bronx. And you have that same sort of energy.

Georges: So I’m really humbled to hear that. Thank you so much.

Alison: Amazing. Yeah. So just to just to wrap up, um, our podcast is named Inside Wink. That’s the name, inside wink.

Georges: Right.

Alison: What do you think that means?

Georges: It’s a secret code.  Maybe a Secret code between two entities, whether it’s it’s two persons or one person to to, I don’t know, to a group of people. It’s a very creative name, by the way. It has a lot of meaning, inside wink is yeah, it can hide good stuff. It can hide bad stuff.  It could create magic. It could create a love relationship. It can create anything. It’s a very nice name, by the way, for the podcast.

Alison: Thank you, thank you, thank you. Can’t wait to hear the music you write about it. No. hahah

Georges: Yeah. Let’s do it. Yeah.  Actually, you know what? I love the name. I may use it.

Alison: Okay. Do it before. All right. Okay.

Jean: And and finally, George, do you like cake, pie or ice cream?

Georges: The three of it, I love desserts…Cake, pie and ice cream.

Alison: All of them.

Georges: Yeah, I love tiramisu. Actually, tiramisu is my favorite dessert.

Alison: Oh, yeah. Me too.

Alison: George, thank you so much. You’re just such a blessing on so many levels. And we really appreciate you. And really best of, best of luck and high sailing to you. Really..

Jean: Yeah.

Georges: Thank you so much. Thank you for hosting me. This was such a friendly and very nice interview. This is one of the best interviews I’ve had so far.. It was super and nice. Thank you so much.

Jean: We’re so happy to have met you. All the best.

Alison: Yeah. Have a beautiful evening.

Georges: Have a good day. We’ll meet in Los Angeles soon.

Alison: We will. Bye.

Georges:  chao. Chao.

Alison: I love …I loved that interview.

Jean: How great was that?

Alison: Yeah and he’s so, he’s just so full of life and hope and wanting to, um, have people feel his passion and give them a love and unity like you, just feel it from him, right?

Jean: I love what his answer was when you asked him, what he hoped his music would  do for the listeners. And I thought that answer of unifying people and connecting people was really great, because that is music, is such a universal language. And, um, you know, it it speaks to how powerful, uh, creativity is when you’re, when you’re in a creative mode that that really unleashes something very deep within ourselves.

Alison: Yes. And I, I think– we don’t have to be concert pianists.

Georges: Exactly.

Alison: Or famous painters. We can, uh.

Jean: Just appreciate it.

Alison: Just appreciating it. We can doodle. We can make a nice dinner, right? We can rearrange paintings on our wall. Yeah.

Jean: You can just write a nice thank you note from your heart. All of that is creative. And and it’s important that we we acknowledge that and that we, we see, you know, we are creative every day in our even in our talk and how we move through our lives.

Alison: When I, when I meet someone like him, I realize, oh, I have that in me too. It’s not just him –like, oh, oh, he’s famous, he’s great… He’s a prodigy. He’s this, he’s that… Whatever we want to seize outside of ourselves, but if we can embrace it, and be like, oh, I have this…

Jean: I’m inspired by that…

Alison: Right.

Jean: And rather than feeling separate from him, because it’s so easy right away, go. Wow. Oh my gosh, God.  This guy has accomplished all this. But it’s if you can turn that around like you said and just go, that’s that’s within me. It might not look the same way..

Alison: right.  And, you know, even telling a good joke can be creative.

Jean: Yeah..God Bless the joke tellers.

Alison: Exactly. So thank you so much, George, you really are, really, Um,

Jean: Beautiful person, inside and out.

Alison: And a fun interview.

Jean: That was great.

Alison: It was really fun. So we hope that today you take a minute to find your creative self and dance with it a little.

Jean: Dance away.

Alison: That’s right. Have a great day.

Jean: Bye.