A Quote by Paul Lisicky
Sometimes I need silence; sometimes I need voices around - but not too loud or distinctive. I guess it depends on the piece in question, what stage I'm in. I think some voices can help me not to try too hard - especially at the beginning stages. Does that make sense? By some voice I mean, low chatter in the room. When there's low chatter in the room, I'm a little more relaxed, my mind might be a little more open.
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Those old Appalachian singers use a falsetto sometimes. They can change their voices to sound high or low or really scratchy. When you're singing, usually you're trying to express some kind of pain or joy. I think that voice allows me to do a lot more of that.
One must not be afraid of a little silence. Some find silence awkward or oppressive. But a relaxed approach to dialogue will include the welcoming of some silence. It is often a devastating question to ask oneself, but it is sometimes important to ask it - 'In saying what I have in mind will I really improve on the silence?
I think now it's the money who tells the artist what to do - it's not the artist who tells the money what to do. And things move very fast, which is hard, because sometimes you need more time to be creative. I guess no one has a loud mouth like I did. They don't dare to scream loudly what they think. But you can't take fashion too seriously. The whole thing is about giving the woman who wears your clothes some power, some fun, some service. It's great to make it as art. But first, it's a service for someone.
I sat around in a hotel room in London for about a month, locked myself away, formed a little diary and experimented with voices - it was important to try to find a somewhat iconic voice and laugh. I ended up landing more in the realm of a psychopath - someone with very little to no conscience towards his acts.
If you work in the city long enough, it begins to deal with you on a personal level. Streets reveal their moods. Sometimes the signal light loves you. Sometimes they fight you. When you're hunting for a new building, you hope the city is on your side. You have to use a little bit of thinking--you might call it the process of elimination--and you need a little bit of instinct, but not too much of either. If you think too hard, you overshoot your target and end up at the Pier or the Tenderloin. If you relax and let the city help, the destination does all the work for you.
Everybody is bound by some social rules. But I think that artists need some kind of freedom to explore their minds and that some of them tend to take that freedom to live a little more openly or a little more dangerously, sometimes a lot more self-destructively, than other people.
Well you're in your little room
and you're working on something good
but if it's really good
you're gonna need a bigger room
and when you're in the bigger room
you might not know what to do
you might have to think of
how you got started sitting in your little room
Ever since I was little, people would always make jokes about my low voice. But I think it's so cool that you don't have to have the picture-perfect, girly voice to do an animated film. I think it's great for kids with different voices to know that they could do something like this.
I think that distance is good for some people for certain projects. I mean this is sort of a dynamic question. Some projects require more distance than others, some don't require it at all. Sometimes you need it and sometimes you don't.
I think that's what's happened with a lot of people in films these days: they're so enamored with the process, whether it's CGI or using a huge crane that they lose sight of being resourceful. Sometimes you go into a room and all you need is one lamp to light the room. Sometimes all you need is just one simple location to do the job. I think that's more out of habit: you work with what you have to work with.
God has always been in my life and his little voice in me that lets me know when I'm falling a little too far left or right, up or down you know. I know because there is a little voice that starts saying, 'damn it, what are you doing? You need to slow down with that' or I might not be a good person to hang around you know... So God will do this to me in some sort of way. Or something bad will happen to me.
One of my strengths is I have a pretty even temperament. I don't get too high when it's high and I don't get too low when it's low. And what I found during the course of the presidency, and I suppose this is true in life, is that investments and work that you make back here sometimes take a little longer than the 24-hour news cycle to bear fruit.
Astronomy is a cold, desert science, with all its pompous figures,-depends a little too much on the glass-grinder, too little on the mind. 'T is of no use to show us more planets and systems. We know already what matter is, and more or less of it does not signify.
There's such a thing as being a little too perfect - a little too shiny. I know I prefer things that have room to breathe and give you a story, a world, in which you have the room to move around.
You have to have more people who don't look like you in the writers room. I try to have some people who don't look like me in my writers room. I think it's important to have a group of voices, of people who can dissent.
Unfortunately, I did not feel ready at 27. I felt that that world was too big for me and I might make some total mistakes. I was a little afraid of going on the road. When you're that age, there are so many handsome men around, and for me, love is first. That shallowness had already knocked me really bad, and I didn't need any more of that.
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