On October 30 1995, You’ll See was released as the first single from the ballads compilation, Something To Remember. It was one of three tracks written and produced by Madonna with Canadian songwriter David Foster during a marathon writing/recording session in late September 1995, with One More Chance also making the album’s final cut. A shelved collaboration entitled I Can’t Forget was recorded by British electronic group Tilt (retitled Come Closer) in 2006 and later by Canadian vocalist Angelica Di Castro. Madonna’s original unreleased demo leaked to the internet in 2010.
A Spanish version of You’ll See entitled Verás (featuring lyrics by Paz Martinez) was recorded during a brief promotional push for the album and was included on the North American maxi-single alongside an instrumental version and a live recording of Live To Tell (taken from 1987’s Ciao Italia! concert release). An alternate version of the You’ll See video was serviced to Latin markets to promote Verás featuring in-studio footage of Madonna recording its vocals.
On August 21 1993, Billboard magazine interviewed director Mark Romanek for a feature article about Madonna’s music video for Rain:
One rarely finds the use for such adjectives as “Zen-like,” spare, and sentimental in describing an outrageous, outspoken, and extreme performer like Madonna. Yet the artist’s new Maverick -Sire-Warner Bros. video “Rain,” directed by Mark Romanek for Satellite Films, conjures those very images against the understated elegance of a tenderly soothing ballad. The result is a Madonna who is chic yet vulnerable, glamorous yet sweet.
“The contradiction you face in shooting a Madonna video is that people expect something rather grand from her, and yet the feeling of the times is that things need to be simplified and stripped away,” says Romanek. The director admits he was a bit intimidated by the prospect of shooting a video that would mark a departure from Madonna’s ostentatious antics of the past. “The song is a bit sentimental, and you just can’t do something psychosexual and subversive with it,” he notes. “My challenge was to come up with something that seems glamorous and expensive, yet is spare and Zen-like at the same time.” Romanek chose to interpret “Rain” as an exercise in media manipulation and image-making. The clip is reeled as a video-within-a-video, as Madonna, the doe-eyed ingenue, performs for a Japanese film crew.
Music buffs may recognize the “director” in the clip as the photogenic composer Ryuichi Sakamoto. “By making it a Japanese thing, we made Madonna more vulnerable; she’s away from home, more out-of-place,” says Romanek. “It creates a nice subtext and makes her more sympathetic.” And by shooting a “crew” shooting a clip, Romanek created the kind of prefab, artificial scenario that would underscore the true emotion of “Rain.”
“We knew we needed some rain, but we didn’t want the clip to be too clichéd or too literal,” he notes. “So we figured if we have to have rain, let’s have fake rain.” That fake rain was contained in two tall “walls” that stand on either side of a simply clad Madonna. One shot looks deceptively plain, but as Romanek explains, “the amount of equipment, pipes, and lights that are hidden in that image, so that the walls appear to stand as simply as possible and look aesthetically correct, was huge.”
To further capture the crystalline essence of the song, Romanek and cinematographer Harris Savides chose to lens a number of rare, color closeups of Madonna’s face and features. But they were faced with the technical challenge of updating the traditional “Garbo lighting” used since film’s earliest days to flatter a star’s most arresting features. Madonna agreed to undergo a half day of camera tests, after which a new German lighting fixture was chosen to achieve a thoroughly modern, yet classic, effect. Icy blue eyes stare directly into the camera as full, lush lips sing the lyrics into an old-fashioned microphone. Of all the sequences in the “Rain” video, Romanek says he is proudest of these close-ups. It’s one of the hardest things to make something as simple as that possible,” the director says. “You need that kind of icon, like Madonna, to make a shot like that work.”
The Satellite crew spent four days making sure such aesthetically correct shots would work, including a windswept storm sequence on a stage, and an overhead shot of Madonna surrounded by a bed of open, black umbrellas. In nearly every shot, the graphic image is so compelling that the camera need never move.
Romanek, a founding director of Satellite, shares credit for “Rain” with producer Krista Montagna, stylist David Bradshaw, and editors John Murray and Jim Haygood. The clip’s cinematographer Savides and art director Jan Peter Flack have been nominated for an MTV Video Music Award.