A Quote by Matt Stone
If you're working with a band and you really want to work them into the episode, you've got to say to them, "Look, we need you around every day and on Tuesday night all night because we need you to do voices as we're changing stuff." We do the show so quickly, and you just can't get bands to do that. It's not really fair.
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I really try to get eight hours of sleep, and I really try not to go out after a Tuesday or Friday night show because I know I have a two-show day the following day.
I get bored quickly. I kind of take my hat off to bands who have been around for a long time and still do the same thing, because it's hard to keep a band together for decades. But I couldn't do that. I couldn't play the same songs night after night or just trade on my past glories, because it wouldn't interest me as a person.
I feel like there's not as many bands anymore. It's more like there's a front-person and a band supporting them, solo-type spirits that have a look, a vibe, a message, a voice and a style. I was talking about it with a journalist in Europe; he was like, "You're a democracy; everyone in the band does stuff." There's not a lot of bands I can think of that still have it so every member of the band has an equal say. I was like, dude, you're right. I can't really think of any right now. There might be one or two leaders in them, but there are not a lot of bands like that anymore.
I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.
I've never had a working relationship like I have with them. I developed a lot of the design of this show with them. That conversation was about, "What are your needs? What are you looking for? Will this work for you guys? Will a show work where you've got one episode per character?" They really were a creative partner.
Playing live is about going for it .. it's about bringing it ... you should see a bunch of people trying out stuff, actually performing, instead of learning the record and recreating it note for note. I can't play the show the same way every night .. I really need to be in a creative environment, every night or I'll go nuts ... my manager accuses me of singing just long enough to get me to my next guitar solo - which is true.
I know I get cold, cause I can't leave things well alone. Understand I'm accident prone. Me, I get free every night the moon is mine. But when the morning comes don't say you love me, don't say you need me. I really don't think that's fair.
I'm just a music fan. I like pretty much all types of music, and I feel like I can get something out of everything. It just makes work a lot more fun whenever you're working on different things all the times and usually once I work with a band I usually will want to work with them again, just because we become good friends. That sometimes is the only bad thing, is that I work with bands that I already know. That's not really the best thing in the world because I should always be keeping my eyes out on other things.
We really can't go out and party every night like a lot of bands do - we have to keep our voices right for the show. It's a bummer, but you gotta do what you gotta do to live the dream.
When we started the band, I was really like, "We just want to make a lot of records" - not quite unlike Guided By Voices' schedule. I've always thought that our live thing is what we do best, and having a really robust, big catalog makes for the most interesting live band - especially with people, at this point, traveling to see us night after night. For us to have almost 100 songs to pull from is a really cool thing. The sets can be different. They can be invigorating on an intellectual level. I definitely hope to continue to release records at an accelerated pace.
You meet rich people and you hang around with them, and one night they've had a few drinks and they say 'I'll buy it!' Then they tell their friends, 'You must have this person's work, darling,' and that's all you need. That's all it takes. Get it?
If there is anything good to be said about my particular line of work, it's that we get to tell people the news they need to hear, and to put it in context. To get to that - for one hour every night on the 'PBS NewsHour,' and for an additional half-hour every Friday night on 'Washington Week,' we have to slog through a lot of tough stuff.
At the end of the day, my life isn't about other people's work. I've got to stop giving stuff away. I've got my own stories to tell, and a great need to tell them. I've got these images, these thoughts in my head, and I need to find a way to cope with them.
Voice-over stuff is so much fun because you don't have hair and makeup and wardrobe. You get to show up. And there were some talented people, and we don't even know them. And they're so gifted. They can do all these accents and voices. It's really fun to do that stuff. It's really like actor camp.
Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.
In the years that I've seen concerts, when I've paid to see somebody I want to see, there would be a certain amount of songs I'd want to hear. So whether it's stuff I want to play every night or not - or stuff I've been playing for years or stuff you get tired of playing - you have to play what people pay for and make it fair for them.
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