And now d- for this album, do, do you still d- work like that? Do you still write like that?

that?Yeah, I mean, we hung out, uh, in a living room actually for months, all, all four of us, and just threw ideas out, and it was really fun.

[laughs] And Pat, did you go, wow, that's the night you go, we're, we've made it? [laughs]

I, yeah, I was ecstatic actually.

It was pretty fun, to be honest.

[laughs]

It sounds very snarky, what, coming from...

But, uh, you know what happened? I'll tell you what happened on this record, and I credit Rivers with this.

When we were in the m- in the filming, many of the s- almost every scene didn't have strict dialogue.

It had, "Hey, this is what has to happen here.

How would you react to this? Just react like you." And it went so smoothly and c- and it was so collaborative that, that Rivers was like, "Hey, you know, I really love this.

I really love how everyone's just bringing what they do." And that turned into us going down to Orange County and, and to, uh, Dan Pavlovic, uh, drummer/uh, man about town from, uh, uh, Panic at the Disco.

Like, like what is it about when you all do set down that this is the sound that comes out?

It does have a very live feel, so I have a feeling that this process really jived with your way of thinking.

yeah for sure like i um i get frustrated a lot when instrumentation becomes like uh almost like a necessary evil to serve the song you know what i mean like So much music now is just, it's just programmed and so compressed and I don't, I instantly don't care when I hear it.

So of course, being a Gen X dude, I grew up on all, you couldn't do it that way back then.

So you had to sort of have the live energy in the room and that's what we wound up getting.

And I mean, I'm thrilled that there's no grid, there's no click track.

But I'm also sensitive to something being sloppy, and not once do I feel that it's unsteady.

You get a certain kind of tightness when you're not playing along to a click track.

if we make a record that Patrick is super excited about and really identifies with and like that's the kind of record he would actually listen to, that could be a real sweet spot for Weezer and I just kept checking in with him every move we made, like how does this feel? Are we moving in the right direction here? And it was his idea to have us all rehearse together quite a bit and play the songs and not spend so much time with having like me and Klaus demoing and orchestrating and arranging, but let's just get in a room together and play and see what happens and less talk, more rock and just let the flow happen.

[laughs]

... to serve the song.

You know what I mean? Like, so much music now is just the, it's just programmed and so compressed, and I don't, I instantly don't care when I hear it.

So of course, being a Gen X dude, I grew up on all...

You couldn't do it that way back then, so you had to sort of have the live energy in the room.

And, and that's what we wound up getting.

And, I mean, I'm thrilled that there's no grid, there's no click track, but I'm also sensitive to, like, something being sloppy.

And, uh, just let the flow happen.