A Quote by Peggy Lee
I try to project not only a song but a personality.
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Whenever you do an animated project or a voice-over project it's inevitable that part of your personality comes into play.
The most durable thing in writing is style. It is a projection of personality and you have to have a personality before you can project it. It is the product of emotion and perception.
I'm always so pleased when I can get a song or be given a song that really speaks to me and I can interpret, but if given the opportunity to really write from the heart and try and bring some personality to whatever this genre would be, it was a great opportunity for me.
When the government undertakes or approves a major project such as a dam or highway project, it must make sure the project's impacts, environmental and otherwise, are considered. In many cases, NEPA gives the public its only opportunity to be heard about the project's impact on their community.
I have a lot of alter-egos: I would love to be a back-up singer for someone someday. I have an electronic side-project. I have a '90s grunge side project; I have a piano project... I have this industrial, goth-electronic song, super creepy sounding, just really dark and dreary.
We travel so much as touring musicians and artists that sometimes, when you hear a great song that you really think could be on your project, you go ahead and record it instead of try to write it.
I try to write songs just for the song itself. I don't try and think about where it's going to end up, that way you're writing for the good of the song.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
I actually did a project with my puppet one time in fourth grade. I made up a song that went with the rhythm to a song I do now. And I had to make up a song about a penguin and research and put information in the song about a penguin. And I sang it with my duck, because I didn't have a penguin puppet, but close enough.
I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
I can't try to write a song - songs come out of me. I have to play the guitar and if I jam a song, boom! That's a song.
I came from a Sorkin-like project in the sense that there was no freedom to change a line, which, in a weird way, is its own freedom because you're living within that structure and know this is what it is. You just adjust. Every project has its own personality.
Whether it be a reggae song, rock song, a love song, the main thing was just to, whatever I was feeling, to try to capture that emotion.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.
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