A Quote by Guy Picciotto
I really think of the studio as being like craftsmanship time, and then playing is about releasing energy, and the two are really different.
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I like playing... I don't know. I think that's what was really exciting about playing Knives, too, from the beginning was that you get to kind of do both of that. She's almost like two different people, but that's what's cool about it, because I get to show her growth and that's the thing that's really cool about Knives, you get to really see her grow up from being meek and innocent and naïve at the beginning to this powerful girl who is going for what she really believes in and what she really wants.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
I love using lots of different pedals in the studio because you have the time to experiment with sounds. But when you're singing, fronting a rock band, and playing, you don't really want to have to think about a lot of that stuff.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
I honestly have really deep reservations about releasing everything you ever did. Every time somebody farted in the studio, now it's out there.
Frankly speaking, I hate comparisons. Two individuals are doing two different films, playing two different characters: how can you compare them? It is not fair to get into ratings. It really doesn't matter what I think about other actresses; what matters is what the directors think of them when they are casting them in a project, because I think it's the director who's behind a successful piece of cinema.
Maybe the first time that you know you really care about something is when you think about it not being there,and when you know-you really know-that the emptinessis as much as inside you as outside you.For it falls out,that what we have we prize not to the worth whiles we enjoy it;but being lacked and lost,why,then we rack the value,then we find the virtue that possesion would not show us while it was ours.That's when I knew for the first time that I really did love my sister.
Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.
I love being in the studio. It's really great. I like it a lot. But of course, I like performing more. But when I'm in the studio mode, it's cool. I like to really focus on it.
In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.
Performing is really close to being in studio but performing takes over because being in the studio is two things; the first thing is that it is really beautiful to improvise and jam, but afterwards it becomes hard because it's very rare that a song will come together quickly. Most of the time it's back and forth and trial and error. You start questioning whether the song is good or not. So that can be quite tough.
Back then, I was really into composing the entire solo, beginning to end. I wanted to have it at least 80 to 90 percent complete before going into the studio. I didn't improvise in the studio. I was young, and I didn't really have the development in my playing or the ability to show up with nothing and then put down 500 ideas. I can do that now because I'm so much more of a musician now.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
Don't watch people's individual performances. Watch the energy that's being passed between them, and then you'll see if the scene is really working or if the actors are really doing their job. If they're playing with the energy that's between them, they're not just acting in their own little bubble.
The thing I loved about my old punk band, it wasn't really about being vulnerable, it was about shouting and being fun and being aggressively political, which I thought was really cool and really fit that energy.
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