Cloudbusting -- Kate Bush In Her Own Words

Experiment Iv

...A nightmare vision of the future where music is harnessed by evil scientists as a weapon of destruction. (1986, experiment iv press release, from homeground 43)

I've been noticing a theme of science in the last few songs you had out. `` cloudbusting'' was an experiment that went very well, but ``experiment iv'' was one that want wrong. But in both cases the scientists were sympathetic characters, but they were frustrated and manipulated. Is that what you think about scientists?

I don't think it's always what I think about scientists, but I think they are fascinating in that so often they're trying to create something that they consider positive, productive and very much something that would help mankind, but so often along the way those good intentions end up being used, particularly by other people, for completely the opposite reasons. Particularly experiments that end up being used by the military, things like the atom bomb. I can see that perhaps when the guy was originally playing with that idea, he had no idea where he'd end up, and that I'm sure that he wouldn't have the evil intentions in his head initially. He was so caught up, so obsessed with the pure level of the science that he didn't actually realize how it could be used.

What do you think about scientific experimentation? Are there limits to the things that people should be working on?

I think that's very much part of the fascination, is that people have to do that, that's what human beings are about - discovering things, and perhaps the problem is that they're normally always connected by forces that do not have that same kind of creative curiosity. The consequences, that's the problem; the consequences are quite often hindsight, rather than on the way.

I consider music a really positive force, it's something that is there to help people, to make them happy, to make them think. So many wonderful things, music therapy... It's a very positive energy and there's something incredibly beautiful about music. And the thought of people using sound in such a negative way - and there are definitely sonic experiments that go on, that are used by the military - it's so obscene. The irony of using something that's so beautiful, in a way, to actually kill people rather than help them, I find fascinating. (1987, MuchMusic)

It's interesting to compare my first single with this later single. And it's remarkable that after nine years I am still working with the same drummer, Stuart Elliot. (C.1986, AVD)

I understand you directed this clip. How did it go, and why did you direct it?

Directing is a new experiment for me - actually, it was Experiment III - and with this track I had such strong visual ideas while I was writing the song that I wanted to give it another go. It's the first time the video and song have come together. It was very hard work, but a lot of fun.

We filmed in an old disused hospital, and the conditions were very cold and damp, but everyone got very involved and we had a great time.

The cast included Dawn French, Hugh Laurie, Richard Vernon, Peter Vaughan, Del, Paddy, Jay, Lisa and many friends. It was wonderful to work with people who I admire so much, and a very exciting experience. Paddy played the lunatic, and in every take his sounds were just as impressive as his visuals - I wish I'd put it onto tape. He literally ``threw'' himself into the part, and the crew were so impressed they applauded him - a great accolade!

Although this was the most complicated of my directions, it was so much easier for me because I appeared in it only briefly, so I could concentrate on being behind the camera, which I really enjoy. And it's so nice to involve the people I like - not only are they great performers, but they're good to be with.

There were some wonderful moments, like filming in East London. We had a field full of ``dead bodies'' who kept moving about to get more comfortable, so we had to shout out over a loud-hailer, ``Stop moving - You're supposed to be dead!'' And the music shop that we created for the shot [Music For Pleasure] was so realistic that passers-by kept popping in wanting to buy some of the instruments. (1987, KBC 22)

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