A Quote by Alissa White-Gluz
Touring, it's really difficult to actually make a band work, and I think that's why there's so few bands that do work, actually, 'cause there's so much that goes into it.
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I really like LIMP BIZKIT. I mean, I've said it for years - I don't know if anyone actually hears it - but I think LIMP BIZKIT are an awesome band. In terms of the rap-rock bands, or ANY bands out there, I think they really are truly among the best.
Basically, every band that makes it has some dude with some sense of business. I don't know if our band would've been so successful were it not for Daniel's [Kessler] insight into how things really work. Daniel was the one who was diligently saying, "We should make a demo, send it out, play shows but not too many shows, get on shows with touring bands that are coming to New York."
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 think that this misses out on some of the interesting narrative realities, which is that it actually doesn't work very well, that eliminating diversity is actually a really good way to make a species and its individuals less robust.
What I really love is touring on a bus with my band playing shows every night and feeling the audience, feeling the presence of people actually listening to my music. Feeding my soul is what touring feels like for me and I absolutely refuse to have a bad time doing something I really, really love.
It seemed to work on camera. And there's very few films - because you make a lot of films and you meet people and you work very intensely and intimately and then you're gone - but there's a few where you actually make friends, and this [The Fall] was one.
I know for a fact that if I could do only music, I'd be out of my mind, insane. I'd be stressed-out; there's so much work. I mean, you work constantly; there are no breaks, really. If you're not promoting a record, you're making one. If you're not making one, you're touring. If you're not touring, you're doing photo shoots and prep work.
I think the hardest part of being in the band and trying to make it is waiting, you know? I think, to be fair, if we would have gotten a big break early on, it would have been wasted on us. All of that perseverance you often learn by failing. We went from barely being able to book anywhere to being nominated for Grammys. It's a snowball effect that happens to a lot of bands. I think the hardest part is having a side job: bussing tables, bartending, and waiting tables to make ends meet. Sometimes they are really worth doing, because one day things might actually work out in your favor.
My dream right now is - and I don't know how to do it, and I don't know if it will work exactly - but just this sort of vague aspiration to start some kind of website where people send in their stories or poems, and me or perhaps some other people turn that into music. And then by the end of the year we make a record and actually put it out. Like a band, but the band is actually a combination of the musician and the fan. I think that's a very 21st-century way of doing it.
There are few things more difficult than to appraise the work of a man suddenly dead in his youth; to disentangle promise from achievement; to save him from that sentimentalizing which confuses the tragedy of the interruption with the merit of the work actually performed.
There are so many parts of music that it's actually a pleasure for me to work with an orchestra, or a jazz band, or a choir, and use every element that the musical tool box can offer. The world of music I love so much, and I can change the costume depending on the part, and I'm actually in the film.
Back in the day I wanted to be a James Bond girl and I got really close to it too, but I didn't. But now it's just really about enjoying who I work with, the kind of atmosphere that I'm working in, and the character. That's why I think nowadays I tend to really try to be somewhat picky any more to what I do, not just going out to get a job. And sometimes you have to do that, you have to work just to work. But I'm very fortunate to say that I'm actually working at a job that I absolutely love and enjoy and everybody there I enjoy so much and I feel very blessed.
I really do feel like the work and time we spend avoiding having difficult conversations is so much more wasteful and painful and time-consuming than actually having the difficult conversation.
I toured for 13 years, and it was very lonely, and it was hard work. I'm not afraid of hard work, especially if it's for stuff that I enjoy. But I actually don't think you could name one artist who enjoys promo or touring after the first three to six months of an album cycle.
We're always willing to look at ways NAFTA can work better. But it's a fine line between looking at ways to make it work better and actually starting to open the agreement. I think, if you actually opened the agreement, I think you would get into a negotiation that - that would never terminate.
When you work in Kenyan politics, or politics in a lot of African countries, if a deal goes wrong you can pay for it. When you work for senior politicians in a lot of these countries you don't actually make money in the electoral work, you make money in the influence brokering after that.
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