A Quote by David Longstreth
I'm from the East Coast; I think about things dialectically sometimes - in other words, antagonistically. The rhythms that I think of are polyrhythmic, bouncy, loping. The way that I want to approach that is to get, like, a flat-footed Connecticut hard-core drummer to play these bouncy, loping polyrhythms.
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You know, I don't feel fifty. I feel not a day over forty-nine. It's incredible. I'm bouncy, I feel bouncy.
I think of Mercy Watson like a superball; there's a bouncy kind of optimism to her stories. She allows me to play, and she makes me laugh. Hopefully readers feel the same way.
I started with the chorus of that song, kind of like a fun bouncy thing to play, and then one of the lines popped up: 'I got things to do today, people to see, things to say.' I wrote about a dozen verses for it, but no song needs to be that long unless you're Bob Dylan. So when we recorded it I started to tear it down to some of the lines I thought were the funniest.
I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.
A bass player has to think and play like a bass player. A drummer has to play and think like a drummer, and stay out of the way of the vocalist. The guitar player has to respect everybody else.
I think hip-hop has changed. When I first came out, hip-hop was more of a kind of way to learn about new places, new things. What are kids doing on the East coast, what are kids doing here. Then it left that and is like a party mode. I think it's going back to people wanting to get messages and wanting to learn things from the music.
It's kind of a loping stroke. It's not the prettiest stroke. But it's what's most efficient for me. And I think I kick a little more than most swimmers do.
We work so hard as young artists to further our careers or improve our technique, sometimes it gets so easy to not actually go and see things like a play or a film. I think the best way to get better is to see other actors do what they do well.
But then again in the East Coast, I think, Tupac, inspired everybody on the East Coast, everybody down south, everybody in the West Coast you know what sayin'.
I never even think about the physicality of roles, until honestly I get the gig and I think, 'OK, now what do I have to do in this one?' Like, I approach it thinking more about the character - do I respond to it? Is it something I think I can play? Does it seem like it'll be fun?
As a drummer, I always approach things as, 'I want to play just enough to keep other drummers interested, but not enough to go over the average listener's head.'
The first thing that comes to the mind when you are touring South Africa is bouncy wickets. But that is no surety of what kind of pitch you would get in the game.
It's an important moment as a reader, I think, when you can forget the question of whether you need to know what happened. Some people really want hard explanations. I'm the other way. I like mysteries. I don't want to frustrate people. I don't want people to feel like they got no answers, but I want to approach the mystery and sit with it.
I'm a huge Marvel fan, and the fact that they take the liberties that they do in filmmaking - I think, if anything, that it dignifies the comics, and it says, 'Yeah. This is a strong enough, robust enough source. We can bend it; it's elastic. It's bouncy.'
I'm a huge Marvel fan and the fact that they take the liberties that they do in filmmaking I think, if anything, that it dignifies the comics and it says, "Yeah. This is a strong enough, robust enough source. We can bend it, it's elastic. It's bouncy."
I think I approach my choices much the way I approach the way I consume movies and TV and stuff. I like everything, and sometimes I'll feel like a horror movie, and sometimes I'll just feel like an episode of 'Hoarders.'
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