I started to make a translation, but beware - I'm sure there are tons of mistakes since my Swedish skills are far from perfect. As this is a good way to improve them, I tried nevertheless. So please be kind.
Edit: The translation is more or less complete now. Once again thanks to nordish-by-nature for helping out on the last part. 
Furthermore everyone, who's more apt than me, is still invited to fill in the gaps, correct all the bs & misheard stuff I translated etc. The parts I wasn't sure about or didn't get at all are marked red (guess I don't really have to explain this as it's obvious 
). - 2009 –Anki: The guitar-riff the song’s beginning with is absolutely magical, I think.
Marie D.: Yes, that was probably what put the Niagara-falls in motion. Marie: I sang as high/loud as I could and it went/got really well.
Per: When I look back on all the like thousands of songs I’ve written in my life, there’s only one “The Look”. There’s no other song, that is as magical. It continues to sound like a hit.
Narrator: One could think that the story of Roxette is a selfwritten one. (But) actually/as the facts are/looking at the facts, part of the the success is definitely due to coincidence.
Of course in addition to a magical sense/intuition for popsongs, it takes a broken leg and a campaigning exchange-collegestudent to spread Roxette’s music (all) over the world.
But we’ll start from the beginning: We're in the middle of the 80s and/when Per Gessle finds himself with his career bygone. The years when he was a popstar with Gyllene Tider belong to history. And as a soloartist, he’s (some)one, whose releases noone really wants. Marie Fredriksson’s career on the other hand points steeply upwards. With albums like “Het Vind” and “Sjunde Vågen“ she’s Sweden’s ‘hottest’/most popular female artist/singer. It’s somewhere at this point when the idea of Roxette is born.
- 1989 -
Interviewer: While you’re Marie Fredriksson and Per Gessle, you’re tremendously/very (typically) swedish, but with Roxette you’re pretty/tremendously (atypically swedish) “unswedish’, I think.
Per: Yes, from the very beginning the idea with Roxette has been to try to get out of Sweden. This is a dream, that Marie and I have pursued/built/set up when we started out to make music.
- 2009 -
Narrator: Well, on paper Per and Marie are a pretty strange/unlikely pair/duo, but it’s the dream of an international career, that unites them. Still/Regardless/Nevertheless many (people) around Marie think that she should stay away from Gessle’s abstruse/silly pop-project, when Roxette release their debut in 1986.
However, outside of Sweden the interest in Roxette is almost/virtually non-existant. But after the album
gets/grows huge on homeground, you’d like to add to that/go one better. Gessle, who
aims to start things up sets to/likes to sit and write new songs and
it's after/isn’t before the next recording session, that they’ve got, among others, this one:
Per: To/With this groove here one could write as many hits as one pleases. The bass is at 9. Let’s see./See?
The whole idea with „The Look“ was to bring myself to learn how to program a synth, that was called ESQ1. And after you had written the song, it was initially/at first supposed to be like a ZZ-Top song with this 80s bass, extremely basic/simple. So this was the whole idea.
Clarence: Which/This failed.
[…] 16 parts […]Per: For me (what) Roxette was very much about (was) me writing songs, Marie singing (the) songs. So I wrote “The Look” for Marie to sing. That’s why it was called “He’s got the look” in the beginning.
- 1988 -
Per: Great,/Everything at a time/at one go, as usual.
- 2009 -
Per: You feel a little bit old, actually,
which is a good thing/alright. (This is) the same mixing desk, which the album was made on.
Clarence: Is that so? It stood in the same way a bit more over there. Then it was hauled here.Per: You spilt beer over there.
Clarence: …and stubbed out a fag (\\in the british sense, meaning ‘cigarette’
).
Narrator: This is March of 1988 and Gorbatschow’s Soviets have just promised to withdraw their
forces from Afghanistan. Just at the same time producer Clarence Öfwerman and Roxette have
moved into the EMI studio in Stockholm. There in addition to songs like « The Look » and « Dangerous » they’ve got a traditional/an ‘old-fashioned’ band in the studio (with them), but there’s something that feels disastrously wrong.
- 1988 -
Marie: A hit, ain’t it, Gessle?
Per: A damn/(shit) huge hit in Biafra!
They say that Herrlin is withdrawing from/leaving/withdrew from/left the studio.- 2009 -
Per: As always, coincidence plays a role, a huge role. Our technician, Alar Suurna, broke his leg. In need of/Needing a new technician, Anders Herrlin, who played bass in Gyllene Tider and now
, because he owned a music-store, was overwhelmingly educated in the field of latest technology, appeared on the scene/came along.
Alternative translations: …and now owned a music-store/had a musical loveaffair with/affection for the latest overwhelmingly advanced technology … (to Clarence:) And him and you…
Clarence: … we
cursed each other. \\guess that’s a lot of bs either
Per: So a lot of the credit goes to Anders and Clarence/A. and C. have to be thanked for their collaboration/teamwork inside the studio […] from what each knew about his technique/each stuck to his own technique. \\ <- Help!
Clarence: Anders is best when it comes to devices/machines and sounds/effects and a
[…]-board,
creating a layer, a lot of them.- 1988 -
Per: What else do we have?Anki: Zwei, drei, vier… (Two, three, four…)
- 2009 –
Anki: What happened there was a revolution.
When […]The sound you want to have there doesn’t exist, it doesn’t work or we didn’t know how to achieve it, but when the
[…] came in/was added we understood that in this case you had to pursue a modern sound. Then it’s natural that you want to follow that path/go the (whole) way, where all of us wanted the new songs to be heavy/intense and hot.
There/This was the outright turning point as from then on the band got/(spoke) it’s (own) language, I like to think. And then we incorporated all of the machines/devices/(effects) you can/(we could) lay your/(our) hands on.
[…]- 1988 –
Per: This is […] now.
[…]Anki: […] „The Look“.
[…]- 2009 –
Narrator: Are there many
[…] little/small subtle, secret things/stuff that you probably hadn’t thought/wouldn’t think about?
Clarence: This synth here.
Per: This effect here.
Clarence: This is […] where the whole mistake comes from/originates. Originally I had an app/a program that played a
[…] choir, what a shame.
Per: That/which we kept.Clarence: That/which we kept.Per: This guitar-riff hook *sings* - it didn’t exist, it was absent until we cut it into the beginning of the song. That was a thing that Jonas created while playing the guitar and we thought: “What a funky good intro is this?”/so that we thought what a funky good intro it is. Is it here, where he plays to a clicktrack? This is played to a
prerecorded track. It’s all about stuff, which
[…] funny.
(to Clarence:) This is you!
Clarence: This is edited into […]Per: He’s got such nice English (pronunciation)/His English (pronunciation) is so nice, that we kept this.
Clarence: Four!
Per: Here come(s) the […] This is very much like my
style, things/stuff, somewhat like my taste, I wanted to/should emphasize there… - Here comes Marie. - … to stress, highlight little important (things like) “Wild dog”.
[…] It’s like that in almost all (of) the songs.
- 1988 –
Anki: Once again.
- 2009 –
Per: There’s the elk.
Clarence: […]Per: Play this again, it’s fantastic! Was/Is that somewhere else? Sixteen?
Clarence: Bull. Twelve.
Per: (The) twelfth. Here it comes.
Marie: It’s fun to choose/seperate/select the voices here
[…] It’s a bit like/of *sings*. Third, no the first, that’s true/you’re right.
Clarence: […]Per (to Marie): This is sung for the third time. And this is sung first.-1988 –
Jonas: Sunshine! I’m Captain Hook.
Marie: […]- 2009 –
Narrator: The Halmstad rap
[…] maybe we should pick a bit of that up.
Clarence: The Halmstad rap?
Per: Oh dear/Jesus! (to Clarence:) Where’s this, do you think? Per… 17th... 19?
Clarence: 19, maybe?
Per: And would you be so kind to turn up the volume, so that it’s as audible/loud as possible?
Marie: “The Look” was one/(a song) with which you felt like – wow, this one is something … unique.
Clarence: Yes, that’s for sure.
Marie: You sensed that it was…
Per: Certainly you remember that you were supposed to sing this? But it felt weird?
Marie: Absoultely wrong, but the „nanananana“ is good/(is right for me). Damn good.
Per: […]Marie: […] high up.
This is such a high key. I can’t do this anymore. (It was sung) with full/complete
[…], as you say. This was sung […] works […]Clarence: […]Marie: It was you! Yes, precisely!
Clarence: […]-1988 -
Lars Nordin: It continues now…- 2009 -
Narrator: This has been in the summer. Roxette are done with their record and as proud as peacocks while they’re playing “The Look” to some of their friends, thereunder the future Miss Gessle.
- 1988 –
Marie: […] This is wonderful.
Lars Nordin: It’s actually easy/fast/quick to choose the single. You can (easily) hear that this one has to be the single.
Per: […] button […]- 2009 –
Narrator: Well,
as it’s Per, who sings „The Look“, the new single is going to be the first track on the record. In the fall of 1988 “Look Sharp!” is released and the success
[…] is/as a fact. There’s Roxette-fever, but only in Sweden.
Per: We thought, that we had made a fantastic record actually, we really did. We were incredibly pleased/satisfied with the “Look Sharp!”-album and it did insanely (well) at home in Sweden, but nothing happened abroad.
Marie D.: At that point/back then there had 350.000 records been sold within two months in Sweden. And he was nothing but frustrated, because nothing happened elsewhere.
„Why am I coming home? There’s nothing happening!” […] you sold 350.000 records in Sweden, but that doesn’t count.
Per: Scandinavia
[…] USA didn’t (even) exist at all on the map.
Narrator: On this account/For this reason the record is even/as well sent to the american division of Roxette’s recordcompany hoping for a local release, but the interest is low, to say the least. But at least
they indicate/state a reason, why
they don’t (want to) work with Roxette.
Marie D.: It was stated that they were from Sweden and she (\\employee of the record company?) answered that she thought that anyone coming out of this country couldn’t be played on american radio.
Per: So we were just like every other swedish band, you almost/practically didn’t exist.
Narrator: No, the americans don’t really seem to be ready/prepared for Roxette, (or) are they? Regarding this it’s about here where the coincidence comes along/appears on the scene
to make it happen. At the end of fall-term the american exchange-student Dean Cushman is coming/driving home to Minneapolis to complete his studies of
[…]. In his luggage, he’s bringing a CD of his new favourite band home with him.
- Interviews with Dean Cushman and Brian Philips -Narrator: With the help of/Helped by Brian Philips’ copies “The Look” is beginning to be played on the radio throughout the whole USA. Upon realising their mistake, the panic-stricken recordcompany releases the single. \\ translated loosely
Per: Everyone, who’s struggeling through/who succeeds to break through, has something…has almost always some small
support/assistance, which in this case here was the (college)student Dean Cushman.
Something that brings about what happened here, namely/that is to say someone influential listening to him. So don’t give me a good song to begin with, but a good artist without which it is terribly difficult.
Narrator: In the spring of 1989 Per and Marie accomplish to contrive the unbelievable: „The Look“ climbs steadily in the world’s most sweeping chart, the „Billboard“-chart.
- 1989 -
News reporter: The weather is following shortly after/in an instant. It’s going to be sunny,
they say. (But) first
[…] (a piece of ) news from the USA, where
[…] in the night two young swedish worldwide artists
were honoured for they’re record „The Look“ climbed to the top of the charts. They’re called Roxette, Marie Fredriksson and Per Gessle, and only ABBA and Björn Skifs achieved the same before them/sooner/previously. Cheers!/Bully!
Reporter: Champagne, kisses and flashes, additional/also words from a veteran.
Björn Skifs: To be number one in the USA is comparable to conquering the US. It’s something special.
Marie: Money isn’t everything. For me it’s (also) just a big thing to be at the top/be number one in the USA.
[…]Interviewer: Is that more important than the money?
Marie: Right now, definitely!
Interviewer: […]Per: That’s an interesting question. I don’t know. It is/was part of the dream to be number one/take the lead on the american chart.
[…] you were/are a bit
stunned and it’s […] Interviewer: Tell us about
the placing on the charts during this spring and summer.
Per: Well, so far we’ve been number one with „The Look“ in ten countries and since this week we‘ve made the top ten in 19 countries around the world.
- 2009 -Marie D.: They believed that it was one of our/a most ingenious PR-stunt(s). I guess/think, that many (even) still do…because it came across/sounded that way. But the truth is even better than this./But reality (even) surpasses this.
Anki: Without this we hadn’t done a tour in that/a way. It maybe would have happened, but it’s likely that it hadn’t happened.
Per: Well, I think/thought that EMI should (have) reward(ed) him… or rather … I recall that EMI did reward him … did something … like I said, they sent him a gold-record - that’s what I know, but I don’t have a clue, if they did something else.
I remember that this whole story was/got exploited, because it made such a good story, but I can’t remember it all/that well anymore.
Interviewer: That sounds somewhat like you’re a bit tired of this story?
Per: No, it’s a fascinating story, but it’s (all) so long ago. If it had happened to another artist, I would have regarded it as fantastic as well. It’s (such) a wonderful story.
Narrator: Of course this is a fantastic story. Suddenly the whole world demands more and there’s going to be more.
It gets even bigger as Roxette attain a plethora of hits, of which – first and foremost/to be precise - three become Billboard number ones as well. That’s how it’s eventually going to come off, when you’re trying to write a ZZ-Top-chartbuster with lyrics, that deal with/which are about…well…with/about what actually?
Per: Initially I wrote these lines here *sings* to remember the rhythm, in a way. *imitates the rythm*.
That’s how I thought about them when I first came up with them/It was the first I came up with, but then…after a while I noticed that the lyrics contain kind of a surrealistic logic when you tie it to/associate/combine it with the chorus, if you like. So I decided to keep them for they sounded terribly edgy/dashing after all.
Anki: These are sort of words in a way, but (pretty) funny words.
Per: I think, that some are clearly repelled by the lyrics, because they don’t mean/imply anything, in which they’re right. But someone else might think that they’re good, because they stand out.
Like I said, I wanted to write an effective pop-song, which I couldn’t have done more effectively than I did in this case.
Pretentious, but this was terribly important./The rythm, it was terribly important.
Interviewer: Why is „The Look“ (such) a hit?
Anki: It was a hit, because it’s so compelling. You probably can’t resist it, because it incorporates all those beats, all those hooks, maybe it’s because of all those components. \\ translated loosely
Marie: It was so special. We had so incredibly much fun.
[…] It’s like…everything was so easy, everything was so simple. And then you just let it flow.
Per: You like(d) it somehow.
Interviewer: Do
you still like it?
Per: Yes, I still think it is my best song. I really think so. I’ve got no other kinda classic
[…]
