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00:00 Maybe the younger generation learned it this way.
00:03 Or they have been left with fragments like this.
00:15 Do you know who wrote it?
00:18 No.
00:20 I would tell you not to sing anything again.
00:22 Go home.
00:23 But the most sought-after ones know.
00:25 I dare to walk in the garden where you live.
00:31 I dare.
00:33 She is one of the most important lyricists in Greece.
00:36 I hid and I found a way to become with you.
00:39 She is the creator of huge, great hits.
00:42 I want to remind you,
00:44 there was an old time, the day I met you.
00:50 With more than 1,500 songs in her album.
00:54 A house is burning, my life is on fire.
00:59 It's a pity that I loved you, you are not worth a glance.
01:04 But one of her songs stands out.
01:07 My own road does not show me...
01:13 And this is because it concerns her personal life.
01:17 For love she gives me a handkerchief.
01:26 Let's welcome Evy Droutsa.
01:29 Let me tell you.
01:35 Do you remember the first time you came to my house?
01:38 When you were still doing the shows in Thessaloniki.
01:42 The travel shows.
01:43 I was crazy.
01:45 Can I tell you something?
01:47 There is a chance that I will go out again.
01:49 Oh my God.
01:50 After all these years, I don't know how far I can go.
01:53 I like it.
01:54 What a beautiful house you had then.
01:56 It was full of records.
01:57 You had such an open heart.
01:59 So sweet.
02:00 You opened the doors for us and we went in.
02:03 I will tell you something.
02:05 In the house I live now, I have no records.
02:09 I put them in a safe.
02:10 Why?
02:11 Because I don't want to take them from someone who doesn't know how to take them.
02:15 And what will happen?
02:16 If I leave this life, I don't know how to take them.
02:20 If they are sold on the street, I don't want to.
02:23 That's my thought.
02:24 Should I bring them to you?
02:25 If you want to bring them to me, I will trust them very much.
02:28 I will really bring them to you.
02:29 I really mean it.
02:30 I will give them to a person who is mine.
02:35 And you know that you are mine for years.
02:37 Thank you very much.
02:38 We don't have a daily company, but we talk and we agree a lot.
02:41 There are some people that we have a daily company and they proved themselves.
02:45 Bravo!
02:46 Now we are talking properly.
02:48 That's why we stick together.
02:50 That's why we stick together.
02:52 What do you do?
02:53 How are you?
02:54 I am fine.
02:55 Creative.
02:56 I am having a good time.
02:58 I have good friends.
03:01 Whatever happens to me, I have my friends.
03:04 I have made friends.
03:06 It's like you are telling me that you didn't have friends in the past.
03:09 No, I didn't have anything.
03:10 Why?
03:11 Because it was like that.
03:14 No friends wanted to come to me.
03:19 No one.
03:20 Anyway, now I am fine.
03:22 Now I am me.
03:24 I live for myself now.
03:27 You didn't make your life about relationships again.
03:29 What I know from Evi is that you were always very careful with relationships.
03:34 I didn't know that Evi got married and made a relationship with a man.
03:39 You know, Evi had a child.
03:41 Of course.
03:42 It wasn't easy.
03:43 Did you raise him alone?
03:45 Yes, alone.
03:46 Alone.
03:47 But I over-raised him.
03:49 I see.
03:50 Didn't you think that when you raised him, Evi should make her life again?
03:55 Now I am free.
03:57 Now what should I do?
03:59 Should I ask in the street who will want me?
04:01 Do you want to think that they are not looking for you now?
04:03 No.
04:04 Let Evi think.
04:05 You don't see.
04:06 I don't go out much.
04:07 That's what you said.
04:08 No, I am fine.
04:09 I know very well, and I will say this, because I have seen it with my own eyes, that you were loved very much.
04:14 Do you remember the first interview we did 30 years ago in Thessaloniki, before the TV Macedonia?
04:18 When did you remember?
04:19 When did I remember?
04:20 You were loved by men.
04:22 In Macedonia.
04:23 In Macedonia.
04:24 Wait a minute.
04:25 In Macedonia, my love.
04:26 Under Macedonia, you were loved.
04:28 So I can't stay in Macedonia.
04:30 You don't know what is happening.
04:31 You were loved very much.
04:33 And what I realized, besides how much you liked men, they admired you as a woman, because of your mind, because of your personality.
04:40 All these play a role.
04:41 You know, this is sometimes a trap.
04:44 Why?
04:45 Because men don't want women with so much personality, because I am sometimes a woman, sometimes I am a little boy.
04:55 Do you know the little boy?
04:57 Yes, I know him.
04:58 From a five-year-old.
04:59 I don't know him. It doesn't matter, we won't change our personalities for anyone.
05:03 No, no.
05:04 Let's say, this "My Way" that you have mentioned, that Vassalis has sung and mentioned in your life,
05:10 do you write it in a time when you are very hurt? What chronology did you write this song in?
05:15 I didn't write it. Look, I'm not hurt only now.
05:20 As if you were saying that you were always hurt.
05:22 I was always hurt. I'm not hurt only now.
05:26 Look, this has something to do with... I can't leave it like this, without you wanting to tell me...
05:31 As if you were saying that you were hurt your whole life.
05:33 Yes, yes, yes.
05:34 And why didn't you change your life?
05:36 It wasn't easy.
05:38 Is there a chance that Evi is to blame for this hurt?
05:41 No.
05:42 Not at all.
05:43 Not at all.
05:44 Look, I am a person who generally loves the world very much.
05:49 I am a person who speaks the truth everywhere, and you know it.
05:53 I go on television and I speak the truth.
05:55 I'm sorry, but it seems that sometimes, because it is very easy to find someone,
06:00 some people say that Evi is strict, some people say that Evi is bad,
06:04 some people say that Evi is a whore.
06:06 The way you speak, now I heard you when you were in the game and you said that it is better to stop singing.
06:11 Yes, of course.
06:12 It is hard to hear that from someone.
06:13 What can I say? Lies? I can't tell lies.
06:15 So I wouldn't tell you any lies.
06:17 Especially you.
06:18 Yes.
06:19 We are both like that.
06:21 Now we have eaten the fish we were going to eat.
06:23 I agree.
06:24 So, no.
06:25 Can you stand the truth?
06:27 Yes.
06:28 Can you stand it?
06:29 Of course.
06:30 Look, the truth is your mirror.
06:33 So you don't see your mirror every day.
06:36 Yes.
06:37 This is your truth.
06:38 You are very right.
06:39 So you feel that, now it sounds a bit like hell and paradise,
06:42 you feel that all these years you were hurt was because you were writing these songs?
06:47 No, I still write them.
06:49 Even now?
06:50 Even now I write them.
06:51 Without being hurt.
06:52 Without being hurt.
06:53 Look, without being hurt, as long as I know who I write for.
06:56 Let's say this, "My own road".
06:58 Yes.
06:59 So you wrote and put in, are these really words of your own life?
07:02 Yes.
07:03 Yes.
07:04 My own road has years of silence
07:12 In the street alone, the word is dangerous
07:22 My own road doesn't show me the stars
07:32 For my love it gives a little bag in the hand
07:42 But I didn't think about my own life when I wrote it.
07:46 Who thought about it?
07:47 You know what I mean?
07:48 Then they come to me.
07:50 When I broke up with my husband, I had written a song in Manto, I remember,
07:56 that said, "I don't care what you say, I want to be alone, I'm afraid."
08:02 I wanted to break up, I wanted, I wanted, one day he gave it to me,
08:07 I drank it, I drank it in a tavern, I put my hand in, I go in, I say, "Let's break up, go."
08:12 He says, "Why?"
08:13 "I want to be alone, I'm afraid."
08:16 That's how you make decisions, huh?
08:18 That's how I make them.
08:20 I see.
08:21 I'm jazz, completely, I won't be a friend if I'm not jazz.
08:24 Do you ever regret making that decision?
08:27 No.
08:28 If I were to go back in time, to that tavern, would you go again?
08:31 No, no.
08:32 No? Would you tell him again, "Please, let's break up"?
08:34 Look, I never regret making the decisions I make.
08:38 I regret what I had done.
08:43 I shouldn't have done them.
08:45 Sometimes, too much love leads to disaster, let me tell you.
08:53 Yes, to disaster.
08:54 When you say too much love...
08:55 And then, too much love can lead to some people.
08:58 So, you give them too much love and they don't understand, they don't appreciate it.
09:02 Yes, they don't appreciate it.
09:03 So, you say, "Do I appreciate myself now?" Yes.
09:06 You're a happy little doll.
09:08 Before I continue, because I want to comment on some of your songs,
09:11 on what you've written, some of them, because we're not even close to 1,500.
09:14 The story that you started as an actress, not many people know about it.
09:17 And the names I've mentioned, Katrakis, Iliopoulos, I don't say all of them by accident.
09:22 I know.
09:23 Because you start with this story.
09:24 Yes, yes, I forgot.
09:25 What happens when you don't continue as an actress?
09:27 I got pregnant by chance.
09:30 This "by chance" drove me crazy.
09:33 You know what it's like to go to a party with a man and stay pregnant for 4 and a half months
09:38 and not get any news?
09:40 These things only happen to me.
09:42 You have a friend, and there's no one like that.
09:46 I gave birth to my child.
09:50 We're talking about a very young age.
09:52 Very young, very young.
09:54 19 years old.
09:55 I gave birth to my child, I got divorced, I got divorced again,
10:02 and I got divorced again and again,
10:06 and suddenly I came up with a line that I never thought I'd ever want to write.
10:13 Look, I'm a person who reads a lot.
10:17 A lot.
10:19 I'm a person who, in the house,
10:23 we lived in a double apartment, under the Acropolis, red.
10:29 I lived there with Manolis the reader.
10:34 The great self-publisher.
10:36 So I would go to his room on the ground floor and I would see everything.
10:44 I learned everything.
10:46 Then in Thessaloniki he would write poems and put me on his feet.
10:52 I would go up there and read them to him.
10:55 I believe that this thing helped me a lot.
11:00 It still helps me.
11:02 And I'll tell you something else.
11:05 When I first wrote "Kanalido" I remember.
11:09 Which song did you write?
11:11 "Kanalido". I've written a lot of them, I don't remember what I wrote.
11:13 Don't ask me. I remember, I don't remember.
11:15 It's not about that.
11:17 "Kanalido" we're talking about now, it's...
11:19 "Me Xafniazis", I remember it. "To Kosmos", no.
11:21 I remember it.
11:22 There are many times when I remember it.
11:25 "Now you're mutating love"
11:28 "You're surprising me"
11:31 "You're embracing me with all your passion"
11:35 Lula, a friend of hers, and her husband, Giorgos, the winter guy.
11:41 They were making phone calls and I was wondering who was asking for me.
11:47 Who am I that they're asking for me?
11:49 And after years, they told me that it was them.
11:53 I thought I'd kill them, of course, for doing that.
11:57 And I found another one and I liked it.
12:01 I went to Manolis, I met him one day.
12:04 He was a bit...
12:06 And I said to him, "Manolis, I have a problem."
12:10 He said, "I can see you're doing fine."
12:12 "You're doing fine."
12:14 I said, "I'm very unorthodox."
12:16 "I'm unorthodox too, what do you care?"
12:19 "Two unorthodox people in one family, you know what's good about that?"
12:22 "I'll give you the information and I'll write it in capital letters."
12:25 "I don't care at all."
12:27 I'm very happy that you say that.
12:29 "I don't care at all, I'm dyslexic."
12:31 "I couldn't learn any language."
12:34 "I tried English, I tried, I tried."
12:37 "Five years ago, I was expelled from school."
12:40 He said, "You can't."
12:42 Do you know what courage you give to many kids who are dyslexic?
12:45 We're talking about Manolis, who you said had problems.
12:49 Yes, him too.
12:51 And you, to become two people who, with their writing,
12:54 have become so successful and so unrecognizable.
12:56 Now that you mention writing,
12:58 I want to tell you something that I went through,
13:01 and I hope God will give me the chance to go through it again.
13:04 I was working at the radio station,
13:06 I was teaching poetry.
13:08 You can't imagine how many people have become good.
13:13 I had a child in a wheelchair.
13:17 I had a lady who didn't let her child go.
13:22 Through poetry, they became good.
13:27 I had a child who knew it was going to end.
13:31 My father took me and said, "It's over."
13:34 "You're happy, because you've learned some things."
13:38 How does the first song you write become successful?
13:40 What was the first song that you were successful at?
13:42 "Tolmo"
13:43 I dare to love you, whatever you say.
13:52 I dare to walk in the archipelago where you live.
13:58 I dare to follow you through the tunnel you pass through.
14:04 I dare to be your antelope, I love you.
14:10 I dare to do whatever you dare not to do.
14:16 I dare.
14:24 "Tolmo" is the first song.
14:26 How did you find the song?
14:29 My husband was a friend of Vardis,
14:36 because we were in a band.
14:40 One day, I got angry, because he brought me songs I wrote.
14:43 I said, "What nonsense are these?
14:45 I'm writing songs without knowing how to write them."
14:48 I wrote two songs, and I threw them in the library.
14:52 One day, Antonis came and asked, "What are these?"
14:55 "Throw them away."
14:57 "No, I'm not doing that.
14:58 Go and make me a song, because I'm smart and I can write two lyrics."
15:01 I read them to Antonis, but I couldn't get them.
15:04 He said, "You can't get them."
15:06 He wrote two songs for Pitsa Papadopoulou.
15:08 Which ones?
15:09 You don't remember them?
15:11 I don't remember them.
15:12 What's the matter?
15:13 I can't remember them.
15:14 I have to remember them.
15:15 That's right.
15:16 Pitsa Papadopoulou, right?
15:18 Yes.
15:19 She had a great voice.
15:20 No, she didn't.
15:21 She was a great lady.
15:22 I dare to follow you through the tunnel you pass through.
15:27 I dare to follow you through the tunnel you pass through.
15:32 I promise you a love so strong
15:37 that you'll be the one to shake it.
15:42 Then, I met Antonis by chance.
15:45 He took me and said, "I'm going to write a song for Marinella.
15:48 Listen to it by chance."
15:50 I said, "What song for Marinella?"
15:52 I met Alexis Papadimitriou by chance.
15:55 He said, "Write a song for Marinella."
15:59 I said, "What song for Marinella?"
16:02 I had no idea.
16:04 I was four years old.
16:07 Mr. Matsas took me.
16:10 I owe him my whole career.
16:13 He said, "Listen, my child.
16:16 I want a song because you'll be in a play for the first time in Rex.
16:23 I want something that will be Marinella."
16:27 I put the actor in my head,
16:30 I still have him in my head.
16:32 I said, "What can Marinella say?
16:36 She has said everything.
16:38 She can only dare.
16:41 Because if she dares, she'll do the movement of her hand."
16:46 I dare to follow you through the tunnel you pass through.
16:53 I dare to be embraced by your kiss.
16:58 I dare to be embraced by your kiss.
17:05 I dare to be embraced by your kiss.
17:11 I dare.
17:13 I dare.
17:21 You were also a stage director.
17:25 I was a stage director for everything.
17:28 You wrote "I dare."
17:30 I was a stage director for everything.
17:33 Like Antonis, your friend and our friend.
17:36 He came to me once and said, "I want a song."
17:39 I said, "Antonis, do you know how old you are?"
17:42 "I'm young, very young."
17:44 He said, "You can't tell Antonis my own path.
17:49 Because you haven't even had the courage to tell him."
17:53 As soon as Antonis grew up and became a good boy,
17:56 he told him, of course, because he made a record with Paschalis' songs.
18:00 With Paschalis' songs. That's true.
18:02 Have you given Antonis songs?
18:04 The first, first, first record.
18:06 The one he did with Madonna, the one with...
18:08 Yes, the first, first, first record.
18:11 You will remember me. You won't forget me.
18:16 You will remember me wherever you go.
18:21 You will remember me. You won't forget me.
18:26 Now, as a friend, you will meet me.
18:34 Then, it was...
18:36 He wrote a song.
18:39 He started it with a stranger, I don't remember who,
18:42 who liked him very much.
18:44 And as I waited, waited, waited for Antonis to come,
18:47 he didn't come, and I closed the ticket.
18:50 And I left the next day, early in the morning, for a trip.
18:53 He takes me in the evening, he says, "Tomorrow we have a studio."
18:56 "Tomorrow?" I say. "Where have you been for so long?"
18:58 "A trip with Koteros."
19:00 "I'm leaving tomorrow." I say.
19:02 "That's not possible."
19:04 "I'll lose the ticket, the hotels, everything."
19:07 And in the end?
19:08 We didn't record it.
19:09 You never recorded it.
19:10 Well, of course, you record the old days of Terzi.
19:14 Yes.
19:15 So, what are we waiting for? We are born, we die.
19:19 You ask me for anything else to give you.
19:23 I give you back, I give you back the love you lent me.
19:32 Give me back, give me back my life and my flame.
19:41 Let me remind you, it was a long time ago, the day I met you.
19:50 How do you want, how do you want, to talk about summer?
20:00 I consider it, if you allow me, as a critic,
20:04 I know that "My Way" has its own story,
20:07 but I consider "Old Man" to be a bigger song than "My Way".
20:10 It is a big song.
20:11 A big song.
20:12 Very big.
20:13 Was it raining the day you wrote it?
20:15 No, why should it rain?
20:17 I don't know how they come to me, my child.
20:20 I don't know, to praise God, I don't know how they come to me.
20:23 They still come to me.
20:24 They still come to you.
20:25 They tell me, "I'll sit and write this."
20:28 I have written a lot, a lot, and I am writing now, on music.
20:35 On music, which is very difficult.
20:37 On music.
20:38 You don't have a musical knowledge, you, as if you had professional musical knowledge.
20:42 No, who taught me that? Mike Shomatzis.
20:45 Yes.
20:46 As soon as I finished with "Marinella", he started, he calls me and says,
20:51 "You are a composer of the decade."
20:54 Well, what am I saying?
20:56 "You are a composer of the decade, and I will give you this percentage."
20:59 I say, "What is he saying?"
21:01 I say, "Anyway, he started sending me songs, Portuguese, Indian, Italian, to put lyrics."
21:11 That's how I learned.
21:13 Because I wrote "Corkoli" all over in music.
21:19 In music, that is, the dust and the rustles.
21:21 All over in music.
21:23 After all, we did Indian, we did Indian songs.
21:26 Yes, "Dust and Rustles", for example.
21:29 [Music]
21:32 [Music]
21:34 [Music]
21:37 [Music]
21:39 [Music]
22:05 [Music]
22:07 So you took the music and wrote over there.
22:10 Yes, I write everywhere.
22:12 Do you write all the songs in music?
22:14 No, no, not in Portuguese.
22:16 But even now I write over in music.
22:19 [Music]
22:22 [Music]
22:25 [Music]
22:28 [Music]
22:30 [Music]
22:39 [Music]
22:50 [Music]
22:52 What about "Ti Ti" by Alkeo?
22:59 "Ti Ti" was a foreign song.
23:01 "Ti Ti Ti Ti Ti"
23:03 You're right.
23:05 And anyway, I said, "I'll do Alkeo."
23:08 Because I found him and I said to him, "You will become, because I want it."
23:13 Karadzas says to me, "What are you telling me now?"
23:15 "Write a song that I love you, if you want, what you want to do."
23:19 I say, "I will write 'Ti Ti Ti'."
23:21 "Ti Ti Ti" was an old foreign song that said "Ti Ti Ti".
23:26 I remember.
23:28 They all fell after it came out and they tell me, "How did you think of it?"
23:33 "Slowly, the difficulty." I say, "Ti Ti Ti Ti Ti Ti Ti Ti Ti Ti Ti."
23:36 What is the difficulty?
23:38 To combine the "Ti Ti Ti" with the verse, to speak in Hebrew.
23:43 [Singing in Hebrew]
23:45 [Singing in Hebrew]
23:48 [Singing in Hebrew]
23:50 (upbeat music)
23:52 (singing in foreign language)
23:56 (upbeat music)
23:59 (singing in foreign language)
24:23 (upbeat music)
24:26 (speaking in foreign language)
24:40 (upbeat music)
24:47 (singing in foreign language)
24:51 (upbeat music)
24:54 (singing in foreign language)
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25:05 (singing in foreign language)
25:24 (speaking in foreign language)
25:27 (upbeat music)
25:40 (singing in foreign language)
25:43 (upbeat music)
25:46 (speaking in foreign language)
26:04, how did you do that?
26:04 (speaking in foreign language)
26:08 (speaking in foreign language)
26:12 (singing in foreign language)
26:37 (upbeat music)
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27:02 (speaking in foreign language)
27:22 (speaking in foreign language)
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27:51 (speaking in foreign language)
28:04 (audience laughing)
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29:07 (upbeat music)
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31:26 (upbeat music)
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35:46 (speaking in foreign language)
35:50 (laughing)
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37:43 (singing in foreign language)
37:47 (singing in foreign language)
37:51 (singing in foreign language)
38:20 (speaking in foreign language)
38:24 (singing in foreign language)
38:29 (singing in foreign language)
38:33 (singing in foreign language)
38:37 (singing in foreign language)
38:41 (singing in foreign language)
38:45 (singing in foreign language)
39:14 (speaking in foreign language)
39:18 (singing in foreign language)
39:24 (singing in foreign language)
39:28 (singing in foreign language)
39:32 (singing in foreign language)
39:35 (singing in foreign language)
39:39 (speaking in foreign language)
40:02 (speaking in foreign language)
40:06 (singing in foreign language)
40:20 (singing in foreign language)
40:25 (singing in foreign language)
40:29 (singing in foreign language)
40:33 (speaking in foreign language)
40:58 (audience laughing)
41:01 (speaking in foreign language)
41:05 (speaking in foreign language)
41:32 (singing in foreign language)
41:36 (singing in foreign language)
41:40 (singing in foreign language)
41:44 (singing in foreign language)
41:49 (singing in foreign language)
41:54 (singing in foreign language)
41:58 (upbeat music)
42:22 (speaking in foreign language)
42:27 (speaking in foreign language)
42:31 (speaking in foreign language)
42:35 (speaking in foreign language)
42:39 (speaking in foreign language)
42:43 (speaking in foreign language)
42:48 (speaking in foreign language)
42:51 (speaking in foreign language)
42:55 (speaking in foreign language)
43:23 (singing in foreign language)
43:27 (singing in foreign language)
43:31 (singing in foreign language)
43:35 (singing in foreign language)
43:39 (singing in foreign language)
43:43 (singing in foreign language)
43:47 (speaking in foreign language)
44:12 (speaking in foreign language)
44:16 (speaking in foreign language)
44:20 (speaking in foreign language)
44:24 (speaking in foreign language)
44:29 (speaking in foreign language)
44:34 (speaking in foreign language)
44:38 (speaking in foreign language)
44:42 (speaking in foreign language)
44:46 (speaking in foreign language)
44:51 (speaking in foreign language)
44:55 (speaking in foreign language)
44:59 (speaking in foreign language)
45:03 (speaking in foreign language)
45:08 (speaking in foreign language)
45:13 (speaking in foreign language)
45:17 (speaking in foreign language)
45:22 (speaking in foreign language)
45:26 (speaking in foreign language)
45:30 (speaking in foreign language)
45:34 (speaking in foreign language)
45:38 (speaking in foreign language)
45:42 (speaking in foreign language)
45:46 (speaking in foreign language)
46:12 (singing in foreign language)
46:16 (singing in foreign language)
46:20 (singing in foreign language)
46:24 (singing in foreign language)
46:28 (singing in foreign language)
46:32 (singing in foreign language)
46:35 (singing in foreign language)
47:03 (speaking in foreign language)
47:07 (speaking in foreign language)
47:11 (speaking in foreign language)
47:15 (speaking in foreign language)
47:20 (speaking in foreign language)
47:24 (speaking in foreign language)
47:28 (speaking in foreign language)
47:32 (speaking in foreign language)
47:36 (speaking in foreign language)
47:40 (audience laughing)
47:57 (speaking in foreign language)
48:04 (audience applauding)
48:07 (speaking in foreign language)
48:11 (speaking in foreign language)
48:15 (speaking in foreign language)
48:19 (speaking in foreign language)
48:23 (speaking in foreign language)
48:51 (speaking in foreign language)
48:56 (singing in foreign language)
49:00, (speaking in foreign language)
49:04 (singing in foreign language)
49:08 (audience applauding)
49:29 (speaking in foreign language)
49:33 (audience applauding)
49:36 (speaking in foreign language)
49:40 (audience applauding)
49:44 (upbeat music)