David Foster Off The Record

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Jaunita Rousu

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Aug 3, 2024, 4:01:55 PM8/3/24

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Cocky, brash, an egomaniac: these are words David Foster uses to describe himself throughout his new documentary, David Foster: Off the Record. The 16-time Grammy winner and seven-time Juno Award winner has spent almost 50 years crafting one of the most remarkable resums not just in music but in the entertainment industry. He's produced some of the best work by Chicago, Cline Dion and Whitney Houston, and is credited for discovering acts like Michael Bubl and Josh Groban.

But, as the film reveals, Foster still feels like an imposter sometimes (or as he calls it, "imfoster"). David Foster: Off the Record is a look inside the career of one of Canada's most accomplished artists. It's a highlight reel that delves into his work specifically with the names mentioned above, but also gives viewers a glimpse into his personal life. Behind that ego is a person who cares deeply about music and people, and about making the world a better place through records but also through philanthropy. (He was given the 2019 Humanitarian Award at the Junos.)

CBC Music sat down with Foster at the 2019 Toronto International Film Festival, where the film made its world premiere, to discuss his penchant for being a control freak, his goal to win even more awards and which musical artists he's most excited about right now.

The film really conveys the fact that you're a perfectionist so I'm curious what you personally think of the documentary and the idea of handing your story off to someone else to tell?

It's unconquered. There's still mountains I want to climb and that's the biggest mountain left for me, I think. I mean, there might be other things too, but that's a huge mountain. If you can write a hit Broadway musical, that's the shit.

I'm working on four projects and they're in various stages. I'm not working everyday on them. There's some that are in very rough shape and one that has jumped to the forefront that could be the one that gets going first, but it's a big challenge.

I want it. I'm kind of light, I don't have a Tony and I don't have an Oscar. I've been nominated three times for the Oscar, lost three times. But to get an Oscar, I believe it's doable. I would really have to get up and say this is what I have to do to be eligible for an Oscar and put myself in the running: I would have to find a great movie, I have to get out and schmooze, I have to talk to my friend Brian Grazer or whoever and be like, "What do you have? I want to write a song for a movie." And it's harder these days. Songs in movies are not what they used to be. They're not out in the forefront. That's why you've seen songs in the past few years win that you've never heard.

I know. When I say retired it means that I'm not in the studio everyday making records. But I love working with Michael Bubl, we'll probably have another go at it. There's a Christmas album I want to make next year with a great artist so I will be in the studio. But that everyday thing? Done. Don't want that.

You're such a headstrong producer, but the film points out an example of a time where you were in the wrong. It was the argument of whether or not to make the beginning of Whitney Houston's "I Will Always Love You" an a capella and you were firmly against it. Did that moment make you question your instincts?

Not at all because the rest of the arrangement is f--king badass. I think if there was a slight bit of strings behind that front part it wouldn't have made a difference to it being a huge hit or not. But Kevin Costner was right and I was wrong, although we'll never know because you can't quantify that, right? Costner has great musical instincts so yeah, if you're wrong, you've got to be wrong big. If you're right, you've got to be right big.

She was just so compelling to watch and listen to, and it felt like her voice could do anything and, in fact, it could. Out of all the singers I've ever worked with, Cline is the one that always gave me exactly what I asked for. With Whitney, I'd ask her for something and she would give me something different, and sometimes it would be better than what I asked for and sometimes, in my mind, it would not be as good as what I asked for. Cline can always interpret what I wanted and give me exactly what I wanted. She's an amazing singer.

A thing you mentioned in the documentary was that, in music, there are always slots that need to be filled or are missing. What do you think is something that we're missing in music right now?

Neil Diamond. Think about it: he's what, almost 80 years old now? Where is that young guy with the guitar slung over his back that plays three-chord songs that the whole world wants to sing? I don't mean country music. I mean pop music. Where's that guy? I mean, there's Ed Sheeran but it's not Ed Sheeran because his stuff is a little more complicated. I'm talking about [sings "Sweet Caroline"].

Well we just mentioned Ed Sheeran, I think he's amazing. I love his voice, I love his approach, I love the fact that he can do this acoustic thing and be a hillbilly with just him and his guitar and then he can go techno and go electronic and compete with Bieber and Drake. The guy is a man for all seasons, an amazing songwriter.

I also love Ariana Grande, I think she's great. I loved Justin Bieber's last album. I thought it was amazing. I can't wait to hear his new album whenever it comes out because if he's on the same path, he's going to put out another great album.

I wouldn't know what to do with him. I'd have to surround myself with all these people and maybe sprinkle what I know but not be a control freak about it because if I were a control freak about it, it would come out like my music and that wouldn't be good for Justin.