A Quote by Jack White
If you saw me working with construction crews or graphic designers, you'd see how much I'm really hoping for them to bring something to the table and let God in the room and let things happen naturally.
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I've been working on a graphic about carbon emissions. It's an incredibly simple graphic - a bunch of blocks and a table below it - but it's taken me three weeks to design. For some reason it just wasn't working. Then finally I realized there was a number present, which I was rendering in each version, that wasn't necessary for the understanding of the piece. This figure was getting in the way and distracting from the main flow of the narrative. As soon as I pulled that graphic out of the design, it sprang into focus. Suddenly it worked.
I think I can work with different crews; I've worked with Bulgarian, Norwegian, Japanese, and Chinese crews. For me, the most important thing is the storytelling, and I'm really comfortable working with all kinds of languages.
Currently, I am overseeing the construction of the new Trump Tower in Chicago. I am involved in meeting with the construction crews, architects and sales teams. I am learning a lot and working with some of the best in the business.
We can bring crews in from other areas, too. If Monterey is hard hit and Bakersfield, for example, is not, we can bring crews in from there.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
For me, theory has always opened things up to where I can walk into a room and just by hearing something I know exactly where to go on the guitar. I have a better time playing because I have a variety of colors to bring to the table.
An electrician isn't an opinion former, but a graphic designer is. My argument is that all graphic designers hold high levels of responsibility in society. We take invisible ideas and make them tangible. That's our job.
The oddest things happen to me. It goes in seasons. Nothing will happen for a long time, and I miss it, and I remember how these strange coincidences used to happen to me and how amazing it was, how it made me want to believe in something. A year will go by, and then a slew of them will come along, like buses, one after another.
I like the new shoe designers. Not all of them - there are really bad ones too. But I go to the colleges with these kids for lectures, as an honorary professor or whatever, and this Chinese girl I like very much who I give the award to says to me, "You don't know how much you inspired me to do shoes." And I'm glad that I convey that kind of desire to people when they see my bloody shoes.
I am learning that mature faith, which encompasses both simple faith and fidelity, works the opposite of paranoia. It reassembles all the events of life around trust in a loving God. When good things happen, I accept them as gifts from God, worthy of thanksgiving. When bad things happen, I do not take them as necessarily sent by God -- I see evidence in the Bible to the contrary -- and I find in them no reason to divorce God. Rather, I trust that God can use even those bad things for my benefit.
I think now that maybe true sweetness can only happen in limbo. I don't know why. Is it because we are so unsure, so tentative and waiting? Like it needs that much room, that much space to expand. The not knowing anything really, the hoping, the aching transience: This is not real, not really, and so we let it alone, let it unfold lightly. Those times that can fly.
As designers, we do so much with material and construction. It's really architectural; it comes close to building. A scent is so immaterial. It's really about emotion and sensation. Clothes are too, but it's not the same.
I really try and work very closely with the designers to be as consistent as possible to their vision and for their look because I know how intricate and how much time it takes for them to make it. My mother was a seamstress and I really honor the art of each piece that's made and so for me it's all about that.
Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.
My mom tried to not let me see how much we were struggling, but I noticed it. I think that's what made me work harder. I saw how hard she was working, and I just wanted a better life for both of us.
Because when you are something people don't know quite how to define, it means you get more of an opportunity to define yourself to bring something new to the table, to bring a new view on things.
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