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The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.

Andrew Bird

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Andrew Bird
Age: 51
Born: 1973
Born: July 11
Fiddler
Film Editor
Guitarist
Jazz Musician
Musician
Singer
Singer-Songwriter
Chicago
Illinois
Andrew Wegman Bird
Andrew W. Bird
Two
Collaboration
Problem
Pull
Together
Performance
Real
Performances
Like
Working
Hours
Sound
Orchestras
Doesn
Orchestra

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Well, my main instrument is violin, but I think of myself as a songwriter who happens to play violin.
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Sometimes I think I don't have much choice in the matter. It's just what happens, and I'm following my instincts the whole time.
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Songwriting requires some sort of ceremony to even get the process started, and it can be somewhat arbitrary.
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What you see at the Field Museum is only like, 10 percent of the collection. It's birds of paradise and passenger pigeons and in all these drawers that pull out, these specimens come out and it's spectacular. And it worked out.
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I think I'm still a little too intense for my own good sometimes.
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The real drag is trying to fly from country to country, day of show, with all your gear. You get hassled all the time. It's hard trying to keep it together.
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It's like you don't know you're making a record unless you're half-killing yourself.
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Melodies are just honest. They can only be what they are. Words have the capacity for deception. Theyre all full of subtext, and some of them are cliche and overused and vernacular. Theyre tricky. All I can say is, words are tricky.
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I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.
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What you see with your eyes when you're making music is going to have a profound effect on what you hear.
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Guitars are kind of just, you know, sexy, especially old vintage ones.
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I'm into lately being a little less precious about writing and being like, Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'
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Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.
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I just pay attention to what's in my head. That's my number-one rule.
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There is something comforting about going into a practice room, putting your sheet music on a stand and playing Bach over and over again.
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Some of my earlier songs are kind of more about mental illness.
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I guess I'm attracted to more archaic words because they can be imbued with more meaning, because their definition is elusive.
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The melodies come out so strong that I'm like, Oh, crap. It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.
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The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.
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Some of your best songs come from a desperate attempt to escape, so sitting in an airport for hours I can just start pulling out little fragments of songs from my head. A lot of times a melody will just occur to me and be my companion for a couple of months.
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