I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
I'll have these internal moments where I'm empathizing with someone else or feeling something myself, but I'm like, "How can I see the best in this situation?" Sometimes those are the moments where you can have the most clarity.
In a sense, I like to think of the live performance as something different than the record, not necessarily looking to exactly recreate the record. Sometimes Matt and I just do duets folk-style. Part of the fun of seeing a live show is having it be different from the way that you hear it in your bedroom or wherever you listen to music.
It's great, because we've had some really great people playing with us who really have studied the record and been able to recreate a lot of what was done. But I would need a choir of eight, probably, to do all of the backup vocals.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way.
I feel like making music because - and this has much to do with the way I was able to make this record - there's more of myself in it.
I love telling stories. I think of myself as a storyteller, and I don't feel bound by being just a singer or an actress. First, I'm a storyteller, and history is stories - the most compelling stories. There is a lot you can find out about yourself through knowing about history. I have always been attracted to things that are old. I have just always found such things interesting and compelling.
I already have the weird experience of having a name for myself personally that's connected to someone that's in the public eye. So you have me, Zooey Deschanel, and then there's Zooey Deschanel's public persona.
I think that if you're serving yourself before you're serving a story then that's where you end up being not funny. It's not about being funny, it's about telling a story and then the comedy comes out of the situation, I think.
There are a million examples of not feeling the jazz, but using the jazz.
It can make you a little crazy when you are too connected to a product.
I actually did a lot of improvised movies or movies that were partially improvised.
I don't thrive in a word-perfect environment.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way. One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs. But I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
I love movies and I love to watch movies and being a part of the whole film experience. Being a filmgoer is a unique experience, and it can affect you on so many levels. But being an actor in movies you often have a very narrow palette for expressing yourself.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.
I'm not playing a comedy. I want to be playing the truth of the moment, and then have the comedy come out.
I work almost completely year-round, since I was 18 or 19. It's nine months a year, and then you're out of town, (there are) crazy hours and all of the things that go with filmmaking, which is a pretty all-consuming business, although I'm very blessed to be a part of it.
I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
Yeah, well, we were looking for something sort of anonymous. It suggests what it is, but I like that it's modest. I feel like that's an underrated virtue. It's modest and it's kind of anonymous, which I liked, because it reminds me of my own ideas about why music should be played, which is not to be a star. That was never my intention.
I would say I know nothing about the music business, in a nice sort of way. I totally forgot I was in that music video. That's so funny.
I think good actors tend to be really funny.
It's really fun to say no sometimes. I just don't want to discount how fun it is to say no and exercise your right to say no, and - as a girl - it's important to know how to say no... and that no means no!
I was writing tons of music in my spare time. I might be on location somewhere, and I'd go home and I'd have my guitar and my little keyboard or something and write music. Or if I was at home, on my piano. I've always been a late bloomer with a lot of things, just in general, so I think this was something that needed to come to fruition in this particular way.
