A Quote by Curtis Sittenfeld
I never write something and consciously embed political commentary or any other kind of commentary. I just try to get the characters into a room or out of a room, or onto the plane, or through the grocery store. The political stuff, the class stuff, the gender stuff, is in the air, it's in their interactions, because it's there for all of us.
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We like the John Gruber model - he writes some long stuff that's very thoughtful and analytical, and then other stuff, he just adds a bit of commentary. I like that.
It's a tough trick to be able to create an intelligent movie that has socio-political commentary, and also has the emotional and moving stuff, at the same time.
Static-X has never been a band where the four guys get into a room together and jam and write songs and all that kind of stuff.
The minute someone says 'Oh God, you could never do that; you can't get that kind of stuff on the air'...that's the kind of stuff I want to do.
My sister and I - she's a musician - we jam all the time. We always play around for giggles with stuff that seem unconventional or stuff that seems funny. A lot of the stuff sometimes is just a response from jam sessions in her room, so she'll be on the guitar or the keyboard, and we'll just start singing and doing stuff.
When I shared a room with my sister Trisha, we drew a line down the middle. She had Laura Ashley stuff with flowers everywhere, and her whole side of the room was white, while my side of the room was painted, freaky and covered with stuff.
All my feather stuff is in L.A. at a temperature-controlled stage-storage place. I keep all my good stuff there because if I had it all in my house, I wouldn't have any room for my regular clothes. It has to, like, not live here.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
A big part of making a good record is really getting a vibe, and a vibe is a mysterious thing. The vibe kind of exists in the air in the room. It's not just all the stuff you put on there, and the specific notes and arrangements and all that. That's like half of it. The other half is just the air, and just the spirit.
I'm just going to express my opinion and try to change the way people think with the stuff I write or try to get deep into stuff that other people haven't got deep into.
All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.
After the whistle, during the whistle. Guys try to sneak stuff in. I just have to be uncompliant with stuff like that. Guys feel they can get away with stuff. I have to just try to not get back at him but make sure I finish through him during the whistle and not do anything that can jeopardize the team or that series of downs.
I'm a fashion hoarder. I have a ton of stuff, and I like to cycle it out to have room for more stuff.
It's what I do my entire life when I'm not doing music. If I'm in a hotel room in Sweden, or on a plane to Vancouver, I'm watching football. I'll try to talk about other stuff, too, but football is a lifestyle.
There'd be days I was in the locker room with my dad doing media, and there'd be other days that I'd be with my mom in the press box and just kind of looking at stuff from that point of view. I'd see guys writing stories after the game and stuff like that. So it was cool to me to see both sides.
I've been honestly sitting in the living room every day doing little DIY projects. Painting and making stuff and all that stuff. That's been kind of cool. I got to find out I apparently have a passion for that.
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