A Quote by PJ Harvey
Before I record for real, I know pretty much exactly how I want them to feel.
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We know how to convey exactly what we want to convey. We know how it makes us feel and we know exactly how to show our fans how to feel the same way.
I have people say that they love how I keep them off balance as to what is real or not real about pretty much everything I write. I think it's an accurate description of how I feel every day. I can't tell what's real and what's not anymore. I think that's what makes art.
When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
I feel like as much as there's a little pocket of people who do know me, there's a whole bigger pocket that doesn't and I want them to know me and understand who I am for real before making pre-judgments.
You want to put out a record that you feel is exactly as you want it. Nobody wants to tour for two years on a record they don't like.
The deeper reality is that I’m not sure if what I do is real. I usually believe that I’m certain about how I feel, but that seems naive. How do we know how we feel?…There is almost certainly a constructed schism between (a) how I feel, and (b) how I think I feel. There’s probably a third level, too—how I want to think I feel.
I rarely know exactly what I want to do, but always know exactly how I want it to make me feel. Feeling always leads the sound!
It's always the case, whenever you're doing someone real, how much you want to do an impression or a characterisation. If I was doing Churchill, or Gandhi - people know exactly how they talked, walked.
When Ma died, I didn't know how to go on, either. I don't know how. I don't feel the same know, not exactly. Now that I see that one day comes after another and you get through them one measure at a time. But I'd like to go, not like Fonda Nye, I don't want to die, I just want to go, away, out of the dust.
I know when somebody is trying to get something out of me for clicks. And sometimes I feel like giving it to them. Sometimes I feel like being real and open to them, but at the same time, I know how much I can give you.
I just really care about what people see. I want them to know that I'm working hard for this. The artists that I look up to like, you know, Michael, Prince, James Brown. You watch them and you understand that they're paying attention to the details of their art. And they care so much about what they're wearing, about how they're moving, about how they're making the audience feel. They're not phoning it in. They're going up there to murder anybody that performs after them or performs before them. That's what I've watched my whole life and admired.
I don't know if I'm selfless - I still want to make a great record. I want to make a hit record. I want to tour; that's not completely selfless. But the truth is I'm not interested in people coming to my show for me as much as I am for them coming to my show for themselves. That's always been how I am.
we all begin the process before we are ready, before we are strong enough, before we know enough; we begin a dialogue with thoughts and feelings that both tickle and thunder within us. We respond before we know how to speak the language, before we know all the answers, and before we know exactly to whom we are speaking.
The voiceover thing is very selfless. You go in there and they've hired you for your voice, but they know exactly what they want, and the writer's there and he knows exactly how it's supposed to be said. So you can't really argue with them, you just have to let them tell you what to do and then do it.
I have great samples of my drums and I try to program them pretty much how I want to play them, try and make it feel natural even though it's programmed.
You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.
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