A Quote by Elizabeth Diller
We were kind of arrogant when we started and became really humbled as we were doing architecture. It's really hard to work with budgets and deadlines and all of these collaborators and all of these voices and special interests.
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There's so many ways to do stand up, and I think, for awhile, people weren't really maximizing the freedom of it. We were all kind of doing a similar kind of stand up, and I started to see some original voices come out of Boston.
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
My love for cooking began when I was young. Because my parents were in the army, they were both really busy. A lot of times I'd have to cook for the family; I'd rotate with my siblings. It started out as a chore, but as I got older, my mom started to see that I was really good at it. I became her sous chef.
I was a woman and younger. I started spending a lot of time in the mall doing a lot of qualitative research and really watching what consumers were doing. Were they gravitating towards the sales racks, or were they looking at the new fashions? Were they there to shop, or were they there to socialize?
When I was a kid, award shows were super-interesting for me. But when I started making music, it was kind of hard to watch because I believed in what I was doing and yet knew I didn't really have a shot.
We started filming [with Brandy Burre ]and didn't really know, at first, what we were doing. Eventually, the thing just grabbed a hold of both of us and became what it is. But, yeah, we were very close before and we're even closer now.
When the war started, we became refugees, and it was a really tough time. I was six years old. These were really hard times. I remember them vividly, but it's not something you want to remember or think about.
When I was growing up, I wasn't in bands, and had really no intention of ever doing music. I went out to California for college, and kind of on a whim started making music really as a joke, and over the course of the next five years started playing a lot of shows, and music became this really integral part of my identity.
Any kind of writing that's meaningful becomes hard work, so there were times when it would really flow, there were times when I'd get 10 pages a day, and then there were days when I would do three pages. Depends on the thickness of the material. If it's satisfying, it's hard, but it's pretty wonderful.
There was really interesting work going on, for example, in the Mississippi bayou, where there were some really exemplary health centers that also became centers with kind of political organizing.
I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.
In my parents I saw a model where they were really always communicating, doing things together. They were really kind of a team. I wanted some of that magic myself.
It was all kind of a whirlwind at the beginning. I didn't really realize that I had a special gift from God. It was probably towards the end of high school in my senior year when things really started to come together and I realized that I had more potential and that I could do this as a career and that the Olympics were a possibility.
I was living on the wrong side of the tracks in Evanston, Illinois, in a home for boys. We had these Jackson 5 records. I really related to their voices - they were about my age, but they were doing it.
I'm really glad that our young people missed the Depression and missed the great big war. But I do regret that they missed the leaders that I knew, leaders who told us when things were tough and that we'd have to sacrifice, and that these difficulties might last awhile. They didn't tell us things were hard for us because we were different, or isolated, or special interests. They brought us together and they gave us a sense of national purpose.
When we were writing the 'Stage' album, we realized we'd never really done proper covers, where we were taking songs and making them our own and kind of playing around with them. I came up with the idea of doing a cover of 'Wish You Were Here,' but we didn't really want it on the record.
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