A Quote by Adam Schlesinger
With Fountains Of Wayne, I almost always start with lyrics - maybe not the entire lyric, but I almost always need a couplet or something, and then I work from there. With Ivy, it's much more about the atmosphere and the vibe.
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The problem I've always discovered in my own work when this kind of thing happens when you hit the wall is there's almost always a reason. You've almost always made a mistake in the initial conception of the project. You misapprehended something or you thought something would work and now you're three quarters on the way through and you see that it doesn't work.
When I'm writing a lyric, I totally forget about the music. I'm just looking at the lyric and thinking about it almost as a separate entity. And then I'll go to my keyboard with all the lyrics printed out and try to think of how to make this a complete musical thing. I've got a very basic keyboard with some presets.
I connect so much with Peter Gabriel's sound because, to me, he always had that South African vibe. His drums were always something to move to: it was almost like Calypso. I'm a big fan.
Faced with the opportunity to become the category of one, we almost always hesitate, almost always compromise, almost always dumb it down to play it a little bit safer
I've learned over time that every editor has told me when you're getting that much hate, you don't talk about it. You just kind of don't give it oxygen and let it go away. It's almost - not always, but almost - always the best policy.
OK, Wayne Rooney is always the center of attention, and I always have to answer questions about him. But Wayne is Wayne, and he will always contribute in a game.
I am never happy when I finish a book. I always start feeling good, and then I get to about Page 75 and start losing momentum - and I kind of pull it together at the end, but by then I think it's just all over. It's become almost a running joke among my agent and my editor - I always say that, so they don't take me seriously anymore.
Almost. It’s a big word for me. I feel it everywhere. Almost home. Almost happy. Almost changed. Almost, but not quite. Not yet. Soon, maybe. I’m hoping hard for that.
In many ways, I think I've always overcompensated. I was always almost too careful, because I knew if anybody ever found any way to doubt my work, then they'd start picking my life apart, too.
Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
When I see people talking on the internet about me or my work it's almost always more a description of themselves and so I never really think of myself as anything more than just who I always was.
For me, it's always been very essential to work on projects that one can work on almost for their entire life.
I think if anything, the fact that it's popular right now makes me go: "Well, I guess I'm going to start doing something else then in the next few years." I dunno, it almost feels hackneyed at this point. To start a premise by saying, "I did this awkward thing." But then again, awkwardness and feeling alienated are always going to be a part of comedy. Alienation, I suppose, can't be hackneyed because it will always exist.
People who know what they want, the universe has a way for clearing a path for them. When you want something bad enough, it's going to happen for you. You can almost manifest your own destiny by always focusing on it. Almost like the law of attraction. If you really know what you want, the chances of you finding it are so much more strong. It's almost as if it will come fall right on your lap. I know that I want to be champion.
My role is almost a sight-gag. I have to be a woman to sing the lyrics "I am a man" to have it be a joke. I start the lyric in a male-register and a whole coloratura up into a soprano. And other points in the show... like the guy who likes to be treated like a baby and wear a diaper!
First we start with the lyrics. Most of the lyrics are done by Stefan Kaufmann and me. When we have enough lyrics and enough stories we have the lines to make titles. Then we collect all the ideas of everybody in the band and see which ideas fit together the best with the lyrics to get the right atmosphere. That's the way we compose.
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