A Quote by Jeremy Camp
When we go and play live... we go and we work with like different organizations: the food banks, homeless shelters, children's hospitals or different homes that are reaching out to people. And just to actually go and say, 'Hey, don't just hear me play, come to my concert, that's it, hope you have a good night.' It's like, 'Hey, come be a part.'
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With any other celebrity, people come up and say, 'Hey, I really like your work.' But with my fans, when they see me, they don't even say hello. They just go, 'AWWWWWGHGHHHGHGHRRR!'
We'll go out and we'll be playing in front of 15,000 people and say, 'Hey, we're going to do three new songs from something we just recorded' and 5,000 people get up and go get a hot dog and a beer and they don't come back until they hear the opening strings of 'The Joker' or 'Fly Like an Eagle.'
People have different goals, when you start out making a movie. If the goal is darkness and destruction and despair, it's not like, "Hey, let's go to set, and then let's hit the bar afterwards. Let's jaunt into London and pick up some Chinese food." No, you go home from set and you go fight at the gym, and then you go to sleep. You stay in it. You never excuse yourself, you never take it easy on yourself, you never eat good food.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
I saw so many amazing musicians struggling to build something good. They would play and play... and play some more, but it seemed like there was something missing. I wanted to go someplace higher myself, and go there with the people who come to hear me play. So I began to envision events with their own gravity, that would pull a community of people together for a meaningful experience.
It was kind of like an agreement, I guess you can say. It was like, 'Hey, bro, you want to be on Team USA?' And I was like, 'Yeah.' Who would say no to that? It was kind of like, 'Dang, I really get to play for my country. I get to represent and just go out there and have fun.'
In the NFL, there's never really that moment where you're like, Hey, I made the team. Or: Hey, you made the practice squad. You just kind of show up the next day and go to work. Nobody really says anything. You just kind of go to work.
I shift between mediums very frequently. Instead of taking a break from writing, I just write in a different medium or in a different way or for a different purpose, so that I don't actually stop writing - I just go to something else. Like going from a big symphony to a piano piece is great and very refreshing, I find. And then going from that to a big concerto, and then having to go out and play.
'Saturday Night Live' is a very particular beast. What it celebrates are individuals who can stand out. I did good work there, but going onstage and saying, 'Hey! Hey! Look at me! Aren't I funny?' - that just wasn't my instinct.
I hope that the next time you go to a concert, the band doesn't play the song you wanna hear! And instead, they just play songs off their new album!
It's always good I think in general to have different energies on screen, like it's nice to have different characters go at different speeds, just like different people work at different speeds.
If I go gambling the slots, some of my friends will come with me and play along with me. It's not like I'm starting out with $500 a pull or $1,000 a pull. I go in there and play $25, and if I win, I play $100s.
I shouldn't have to come out and say, 'Hey, I should be a starter again.' There's a lot of guys that say that, that shouldn't be starters. The key is to go out on the field and lead your team to show people that, 'Hey, this guy is a good guy in the locker room. He can lead a team. He did it on the field. He's shown it.'
To maintain a consistency when people come to see the band takes a lot of work; it takes a lot of discipline. I go to the studio every day and sing and play. I never did that when I was, like, 30. I'd probably have a drink and walk on - and see what comes out. But now if there's ten albums' worth of material people are coming to hear some of, and they've paid money for a ticket, you become a different person when you go on and you want to give the best show you can. You want to be better at what you do.
Some artists just go and play, and I have no objections to that - but I don't like to do that. People take their very precious time to come to my concert, and they give me the opportunity to share two hours of their lives. I want to do the best I can, for visuals, sound and everything!
Since we did 'Angel of Death,' I've had three occasions where someone will go 'Psst, hey. I'm part of this Aryan World Nation group and we're thinking of having you speak.' I'm like, 'Why?' And they'll go, 'You know.' I'll be like, 'No, why?' And they'll go, 'Aren't you... ?' I'm like, 'What? No. Go away. You don't get me at all.'
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