I like a lot of old films, I like a lot old music, and a lot of it has to do with the fact that I like the idea of knowing what happens before, so that I can understand it.
Not that there is anything wrong with confessional songwriting, there are plenty of people that do that I admire. I think it is great; it just isn’t how I do things.
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.
Well, my piano’s really beautiful. I actually have two pianos. I have a Yamaha upright from the ’60s that’s blond, wood, and black, and I also have one from the ’20s from Chicago – not a well-known brand or anything.
I just feel like growing up in Los Angeles, you learn, ‘Well you’re never gonna be the prettiest girl in the room, so just don’t even try.’ I mean, I care about being pretty, but it’s not my most valued thing.
I always choose roles that are, you know, hopefully different from the last role. I don’t wanna do the same thing over and over again because that’s, well, first of all that’s no fun.
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.
