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Film is like sculpture, writing, acting, technical arts, all sorts of arts. And that's why I wanted to do it for so long, because it would include so many places for attention.
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The main way that being adopted has shaped my songwriting is that I was asked at an early age to consider the circumstances that led to my life, and in a way, I was introduced to how fragile and unlikely life is from the beginning.
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That's my main complaint with Murakami: that he writes these complex males and then really static women.
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You don't have to make something in order to retain your identity as an artist or a writer or a creative person. A lot of people think they have to be producing in order to maintain that identity.
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I take photos, I used to make films, I journal incessantly, and I really value the documentation of life. Because it's almost like you are making something special by wanting to make it exist in an object - on paper or even just in the computer - making these recordings, making this music.
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I was adopted, and so was my mom. And so I just was in tune with how life can be intentional. I feel like maybe that helped me to not feel super entitled to a lot of things as a kid.
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Usually, I'll just be walking from my house to somewhere else, and melodies and words will start coming up, and I'll have to run home to write it all down.
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There is no 'stop' - there's always 'go' on both sides: always keep writing, always keep recording. I don't find them to be segmented processes.
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Really unfiltered personal writing is cool to me. I'm like, 'How did you show that to everyone?'
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Before I even pick up a guitar, usually the words are done. So I'm not first and foremost a musician. I'm first and foremost a writer.
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I called it 'Historian' because I feel like most of my creative efforts are efforts to capture something or to document it.
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'No Burden' is not necessarily ferocious.
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Negativity, in general, is one of the things that holds people back, and you have to see what's holding you back to get away from it.
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I don't end up writing songs in my journals, but I'm sure that my ability to write songs has been helped by how consistently and impulsively I try to get my life into words through the journals.
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If you can come out from under pain, why wouldn't you? You definitely can. There's no question.
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It's important for me to write songs that feel good to sing every night and remind me of my core, truest beliefs.
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Headliners, no matter the genre, usually are a person or band who has an ethos.
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I hear a lot of artists become kinda self-referential, and a lot of people that tour a lot tend to write about the perils of being on the road later in their careers.
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I value the people who are willing to make themselves vulnerable and share work that is sensitive and maybe even hard to sing sometimes. Because that's the music that provides the most solace and solidarity to the world.
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I've written in the middle of a conversation or the grocery store or at another band's concert or in the last moments before falling asleep. It's pretty unpredictable. I think it's always flowing, and sometimes I'm not listening. There's no formula for when I'm going to be able to be a good listener to myself.
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I was the funny one in my group; there was a lot pressure to be responsible for everyone's happiness. I didn't like watching other friends of mine be called the 'pretty one' or the 'smart one.' That had no depth, and it didn't match how I knew them.
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I was always taught to be grateful, and so the question came early: What is there to be grateful for? Why is life supposed to be so good? That's still a question I try to answer all the time.
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I think 'Historian' is ultimately a positive record, but I was a little bit worried about taking people into a dark world. I tried to do it with as much care as possible, but it's not easy to ask people to think about death or loss or confusion.
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I'm going to name my daughter Emily.