A Quote by Eric San
I try and make little stories. Whether it's with a pencil or with bits of records, it's really the same thing.
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I am a little pencil in God's hands. He does the thinking. He does the writing. He does everything and sometimes it is really hard because it is a broken pencil and He has to sharpen it a little more.
Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.
If I'm being forgiving of myself, I could say I'm somebody who was really hungry for experiences. The same thing that would make me go try to be a trail cook on a ranch was the same thing that would make me want to have sex with a couple cowboys while I was there.
The computer is really like a pencil, you know. It used to be. The pencil can do anything you want to, but you have to do it, and the same is with the computer.
It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.
I don't really approach stories to make them different from other stuff I've seen, I just try to get into the character, into his or her head. Try to make it as funny, as scary or as wild as I can so that I really like it.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.
Blake Lively is my style icon, and she always has rocking clothes and shoes. She keeps it really simple with hair and makeup, and I try to do the same thing. Onstage, I do a little smokier, a little more contouring, but I still always want to be an approachable and real artist, so I never try to go overboard.
Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing. If everything was as you imagined it to be, it just wouldn't be as much fun.
People aren't buying records like they used to, so it's nice to try to figure out a way to make them do it. I would enjoy the same thing to own an old movie house, to try to trick people to come in - like having 3-D or Smell-o-Vision or Vibra-Vision or something. Mcguffins to get people interested.
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
I always secretly loved the art of makeup as a child. I would come up with stories and characters and try on my mom's Maybelline eyeliner when she wasn't home. It was a very old-school pencil - you had to burn the tip to make it smudgy enough to use.
I don't have one thing I go back to, but we listen to a lot of music in the bus, and we always get a few songs or a few records that end up being themes for the tour. On tour I read all of George Saunders' short stories and all of Alice Munro's short stories. George Saunders is who has taught me about this question about whether or not love is possible in the contemporary world, with all of its simulations and all of its pop and divergences and all of the confusion and distraction. Whether or not contemporary reality is actually hospitable to love.
I am only a little pencil in the hand of our Lord. He may cut or sharpen the pencil. He may write or draw whatever and whenever he wants. If the writing or drawing is good, we do not honor the pencil or the material that is used, but rather the one who used it.
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