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You do not know at that time that you'll eventually garner an Oscar nomination for the resulting song, nor do you know that you'll perform it at the ceremony itself. The prospect is exciting and you arrange to make the trip over to New Zealand. He wants you to record a song for his upcoming Lord of the Rings film. The voice is rich, commanding, Antipodean, and it belongs to the film director Peter Jackson. The voice on the other end murmurs into hearing. So there is near silence, just the sound of two breaths transmitting themselves into the blank nothingness of the gap between telephones.
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You make it to the receiver just in time but because the phone rings so rarely these days you momentarily forget that you're meant to be the person who says "Hello" first.
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The phone rings, and the morse code echoes through the house. Somehow this quiet, unobtrusive artist, who seems to have insulated themselves from the rigours of the industry, has transformed herself into a powerhouse, whilst remaining mythical, unknowable, distant and barely-there all while selling more records than pretty much anyone else out there.
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After all, it's not everyday that a reclusive, publicity-shy Irish new age musician sells 75 million albums worldwide and amasses a fortune of nearly one hundred million pounds, is it? Record sales alone put her above Duran Duran and Black Sabbath, and she's on par with the unlikely trio of Bob Marley, Kiss, and Kenny G. She's not the only one asking that either.