A Quote by Dianne Reeves
Some people think that all you do is record, and it's not the case. You take on other projects as well, and you have to live a little bit because it inspires your work.
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My mother, she's the one who's gifted with language. She can speak Japanese, of course, Tagalog, which is a Filipino dialect, Spanish as well as English. And I speak a little bit Japanese because I've had the opportunity to work alongside Japanese people. And a little bit of German, a little bit of Portuguese because of work. A little bit of French because of work. But then, if you asked me to carry-on an everyday conversation, I would fail miserably.
I try to do as much as possible for every character. Some of them, it is easier to do the research because you have either real examples that you work with, maybe some specific person that inspires you in that case, or the performances from other people, or the characters, or a character from a book.
I always try to keep a little bit of space in the year to work with other people. Because I love doing musicals, films and plays - projects where I'm not in charge, where I've got somebody else telling me what to do and I have to work with their vision.
I think with success you do get a little more guarded and you start to change your friends. You become more isolated. And you start hanging around with people who have money! I think that's the biggest thing. Once you do get a bit of change in your pocket, you start hanging around with other people who have some change. It was kind of strange to all of a sudden go from one extreme-Manhattan-to where I went, upstate New York. But I did it because I was dying in the city. I couldn't take it. I couldn't take one more dinner party. I couldn't take one more party, period.
It's a process and it's a matter of understanding the horse and through any of these little projects you have a beginning, a middle and an end. And if you made up your mind early when he's still scared, you'd think that wasn't working at all. Sometimes it might get darker, before it gets dawn. You might have to work at it a little bit in order for it to come out the other side.
And you have a record company behind it, this is a key too, you need people to fight for your records, at least a little bit. So if you have a great song, it's catchy, and you've got a little bit of help, I think that's all you need. But there hasn't been that in music.
All of my characters are a little bit based on people I know in real life. You know when you do that you have to change the character a little bit in case your friend or your relative reads the book, because you don't want them to know you wrote about them... They might get mad.
My projects have typically taken a long time to complete. Buildings might take on average about five to seven years to finish, but in my case it's been longer, because the projects I have accepted within the past 15 years have been mostly government projects, and those involve some politics and funding issues, and approvals and so forth. So they're slower.
I think the cornerstone for my impetus for doing arrangements for people is because I want to be an enabler. That is to say, I don't approach arrangements with the idea that I want to progressive the genre of arranging. I want to be more of an enabler, and if a person is making a record and they have the option of layering some real instruments down on a track and I can be of assistance whether it is brass or winds or stings or percussion then I do so. Sometimes I do take on projects because it is a pretty sweet deal to work with Pet Shop boys, you know?
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
I think it's stripped down as far as electronics go, but we just wanted to write a record that we felt better represented how we sound live with more of a rock feel, which is the direction we've been heading. It's just an evolution of the band throughout the years. We worked on this record longer than any other record, so I don't know if "stripped down" is how I would put it; I think it is a little bit more raw sounding.
Everybody is bound by some social rules. But I think that artists need some kind of freedom to explore their minds and that some of them tend to take that freedom to live a little more openly or a little more dangerously, sometimes a lot more self-destructively, than other people.
I just like to work with other people, and I like things that are kind of a little bit bigger than that. I don't know. I just feel like a solo record just kind of gives me the willies a little bit.
I think that we live in a time where it's easier to be suspicious of dedicated men and women, people dedicated to their craft, because the world around them inspires them to be lazy. It inspires them to be negative. It inspires them to be snarky.
I do strive to find projects that are trying to carve out some new space. I enjoy projects that leap away from the crowd a little bit.
There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.
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