Explore Quotes by Carrie Brownstein

I wish I'd lived in New York in my early twenties. Or learned to speak more languages at a young age. I didn't do either.

People barely have anything to say in 140 characters. The last thing we need is a bunch of discursive rambling on Twitter.

I actually think that Republican administrations are better for music. The Reagan era was such a great era for punk and indie rock.

I love Joy Williams, Lorrie Moore: such great short-story writers.

There comes a time as you continue to write and work on scripts and screenplays where you realize that you have opinions about the next step of the process, and you kind of want more control over the translation from page to screen.

That's so rare in the world of TV or film to have a genuine friendship turn into something that people watch, that people relate to. That's so unique.

I have really never aligned myself with hipsterdom or coolness.

When real is gone, then there is no longer a litmus test for that which deviates from it. It's all real because it's all 'real.'

I really like sardonicism and wit. I love the writing of Joy Williams and Lorrie Moore. I like Tina Fey, Amy Schumer.

When I was 16, 17 years old, I became aware of music coming out of Olympia, Wash., which is the state capitol and about an hour south of Seattle. And there were bands like Bikini Kill and Bratmobile and Heavens To Betsy, and for the first time, I heard my story being explained to me, being sung to me.

Music was a means through which I could meet people and sort of begin the process of exploring who I was or who I could be.

Not even the creators of 'Rock Band' could possibly believe that playing the game is tantamount to making your own music. There is, however, a sad similarity between 'Rock Band' and some actual bands, and that is the attempt at realness.

One summer, when I was elementary-school age, my neighbors and I built guitars and keyboards out of scrap wood, painted them in bright colors, and formed the cover band Lil' 'D' Duran Duran. We didn't make our own noise or even pretend to play our fake instruments.

A lot of music for me was about - I mean, aside from the fun and challenge of writing and being really good friends with my bandmates - getting to perform.

With Sleater-Kinney, we have a lot of earnest fans, and we were an earnest band.

My father was a corporate lawyer. He went to work in a suit and tie. He had a secretary. He left the house before seven A.M. His professional life felt generic, like a backdrop, a signifier more than a life: office job.

When my father came out to his mom, my grandmother said, 'You waited for your father to die; why couldn't you have waited for me to die?' I knew then that I never want to contribute to the corrosiveness of wanting someone to stay hidden.

My own relationship to food was healthy. I was lean and athletic with a high metabolism. I could eat half a pizza with a side of breadsticks and wash it down with soda. I never dieted or denied myself food.

What I appreciate about Sleater-Kinney is that we did six records, and they all felt different. It was a band that was able to encapsulate different sensibilities because we were focusing on it as music and art and not as a statement.

I think one of the scariest things about depression is that it exists along with the happiness and the joy, and it kind of plays with it and sucks the color from it.

I like playing someone with a certain stability at the periphery of the madness.