It has endless possibilities, and but what we do with our arrangements, we move the borders of cello playing and discover new ways of new techniques of cello playing.
I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
There are a lot of ways to be expressive in life, but I wasn't good at some of them. Music, for instance. I was a distinct failure with the cello. Eventually, my parents sold the cello and bought a vacuum cleaner. The sound in our home improved.
People don't think of cello as a rock instrument, really, and we want people to know all the possibilities that the cello can offer.
It is the closest instrument to the human voice, and the things you can do on the cello... there are endless possibilities.
I want to create endless possibilities with this cello. I become the medium through which the music is being channeled.
I learned playing cello in 'Cantabile' and Go in 'Reply 1988.' In 'Moonlight Drawn by Clouds,' I learned horse riding and Geomungo. It's fun to learn new things.
I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.
If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.
If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.
We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.
I'm interested in directing attention and focus, explored through playing cello.
I played tennis. My older brother, Joseph, was a cello player, and I played the cello, but he was better than me at the cello, and he was also a better tennis player than me, so I was always like, 'I wish there was something that only I did!'
People tend to eat through the cello. They tend to take out the things that make it beautifully cello-y sometimes.
I keep saying if I ever get a good amount of quiet time that I want to learn to play cello. It's a very warm instrument. The tone of the cello and the movement - I don't know what is; I love it so much.
I did a film that's on YouTube of me reading hate mail with a woman playing the cello in the background.