I like being swept up in weather and observing it as something beautiful and giant. It makes you feel so minute. The only thing as big as that are your thoughts about it, which can expand exponentially while your physical self is just trapped. It's a pretty awesome feeling, in the original sense of the word.
When I stopped touring, it was like trying to stop a bullet train or a giant lead ball falling from a 100 stories up - it's momentum and it doesn't just stop. I drew a line in the calendar and made it a brick wall and just stopped dead. There was no other way. It would've taken another 100 years to slow down slowly. I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.
You can get anywhere on earth by falling asleep.
I think that's more a reflection of the fact I've never been a student of any particular school of writing, or even listening.
I think I prefer the constant renewal. It's almost like sandpapering down any details or any contour of familiarities.
Everything becomes closer once you realize that the world is only as far away as a nap and a meal.
Be alone even when there's a million people around, because tomorrow it will be a different million people.
You just never set roots; you take pleasure in simple conversations, because you know you're not going to have much more than that. It's very isolating, and that can be a good thing.
I haven't been living anywhere because I've been on tour for the past two years.
But that constant adjustment and adaptation to your new environment, all the variables are the same. There's always a promoter, there's always a rider, there's always a shower, and there's always a stage.
I was grateful to be away from all that familiarity, to have a chance to do something anonymously.
I just went to Europe, spent a year traveling, and then I came home with a finished album and said, "Hey everyone I'm back!" I gave everyone their lighters from Luxembourg, gave them the postcards from Italy and Rome, then said, "Hey look, I made a record, too" and played it for them. The general reaction was shock, because it was so different from what they've known me to do.
For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.
I guess there are a lot of people out there that think they're supposed to define themselves in isolation, but that's not necessarily the case.
All the girls who have photos of them at parties, like, "Woo!" - that's what someone's going to see of their grandma.
I don't want to take photographs that I won't recognize as myself, and myself isn't necessarily just blankly staring at the lens.
It's amazing when you find a photo of your grandparents when they were young because it's black and white and the care that they put into their appearance back then was so grown up and specific to that era.
Now, there's just so much imagery. Imagine what our grandkids are going to be able to see of us?
I really love watching the 70s live performance TV series "The Midnight Special" and "The Old Grey Whistle Test". Those are the best performances you've ever seen, and they sound incredible.
There's something about live recordings now that's too hi-fi.
I've never been drawn to concert DVDs because they take away the part of the equation that's most important to seeing a live show: getting jostled around and feeling the energy in the room. I definitely didn't want to make one of those.
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
There are certain parts of chords that resolve things and tie a bow, and others that keep things open and unanswered.
I don't think that village idea of actually knowing what you're contributing to the whole exists anymore.
I've always been a bit wary of keyboards because there's an invisibility to it - you're not really hitting anything.
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