A Quote by Daveed Diggs
Recording vocals has the same kind of physical demands as you experience a lot in theater work.
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Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
I'm constantly involved in theater, looking at theater, trying to do work in theater, support theater. And that's kind of my creative passion.
For me, a lot of my work has dealt with what it means to be at the center of the universe and how alienating and kind of seductive it is. A lot of my work is very aggressive and very visual, but at the same time, it has a lot of tension in it and makes you kind of uncomfortable sometimes.
I think in theater it demands that you say the same words every night and make it feel fresh and new. Improv demands that you be operating at the highest level of your creativity intelligence. So these two skills are both very important but I've seen people who are very skilled at one area struggle with the other. Either improvisers feel constrained by having to say the same thing over and over again or people who are really good at doing scripted work feel intimidated and exposed doing improvisation.
The funny thing is, because I was doing a lot of theater when I was a kid, and a lot of that was musical theater, as I got older I became more interested in acting as a separate entity and music as a separate entity, like songwriting and production and recording and playing music.
In theater, there's a lot of work to do to build the characters. It's a great experience.
When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.
I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
I had a lot of success in big tournaments as well - won Masters Series in Rome - so a lot of things are coming together. I've done a lot of hard work in the off-season. A lot of physical work, a lot of work on my serve and on my return game.
But it also became the experience, or was the experience, of the writers who were attracted to this kind of humor. They're all men or women who come from the same kind of experience in their own lives.
I'd always loved the theater, and I began by writing plays. I work in the theater a lot in the UK, and I've worked in the theater out here quite a bit. Everything else - the films - followed as a consequence of that.
I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.
I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
After Wings I did a lot of recording rather than live work. I even went into a kind of semi-retirement to places like Spain at one point.
The music comes first. Final lyrics are usually written very close to recording the vocals.
I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.
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