A Quote by Alex Kapranos
I want to change and try new ideas - allowing your sonic identity to evolve in your music and not being afraid of that. You see musicians hit upon something that works, and then go, "Let's keep doing that for 10 years." And that idea kind of terrifies me a little bit. It becomes like a day job then.
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I try to write every day. I don't beat myself up about word counts, or how many hours are ticking by on the clock before I'm allowed to go and do something else. I just try to keep a hand in and work every single day, even if there are other demands or I'm on a book tour or have the flu or something, because then I keep my unconscious engaged with the book. Then I'm always a little bit writing, no matter what else I'm doing.
Don't try and change things for other people. Don't try and be persuaded by producers and people to change your vision. If you stick to your vision and you're true to yourself, it kind of works. I mean, it's tough. It's a big Fitzcarraldo journey, but then you'll have your good karma at the end of the day. You'll have your good soul. You know, if you start to sell little bits of it, you, you become nothing and nobody, and you don't have any vision remaining.
Scientology's a slow process in the beginning. It teaches basic principles of life - do unto others as you'd have done to you and be responsible. Then there are little courses that cost a little bit of money and you start to learn the concepts of Scientology, kind of like, "Scientology's a new religion and so it's being attacked, here's all the good works that we're doing." And you're like, "Why do people attack Scientology?" It slowly starts to get in your mind and your subconscious that it's Scientology against the world, and any enemy of Scientology is an enemy to mankind.
Be flexible. Don't be afraid to change your mind. If you're wrong, change your mind. If you go down the wrong path, and you're down 10-12%, it's better to sell down 15% versus 50%. If you have an idea that something is going to happen, you're predicting the future, and it's OK to be wrong. Where you can go wrong is by making a prediction that doesn't come true, and then sticking with it.
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
When I don't feel like working out, lifting weights or doing serious cardio, the best thing for me to do is just go on the treadmill and walk. I walk and listen to music and 10 minutes will go by, then 15, and then I'll speed up a bit. Once my blood really starts flowing, I'll get a second wind and then I want to work out.
I wonder where you got that idea from? I mean, the idea that it's feeble to change your mind once it's made up. That's a wrong idea, you know. Make up your mind about things, by all means - but if something happens to show that you are wrong, then it is feeble not to change your mind, Elizabeth. Only the strongest people have the pluck to change their minds, and say so, if they see they have been wrong in their ideas.
If you hear a good idea, capture it; write it down. Don't trust your memory. Then on a cold wintry evening, go back through your journal, the ideas that changed your life, the ideas that saved your marriage, the ideas that bailed you out of bankruptcy, the ideas that helped you become successful, the ideas that made you millions. What a good review-going back over the collection of ideas that you gathered over the years. So be a collector of good ideas for your business, for your relationships, for your future.
You write something and there’s no reality to it. You can’t inject it with any kind of reality. You have to be patient and keep going, and then, one day, you can feel something signaling to you from the innermost recesses. Like a little person trapped under the rubble of an earthquake. And very, very, very slowly you find your way toward the little bit of living impulse.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
As much as you want to improve or help the team, as a centre-back your job is to go under the radar and keep the ball out of the net. If you do that and let the strikers get all the adulation and the headlines, then you're probably doing your job.
No. You can't work your way into heaven. Anytime you try and justify yourself with works, you disqualify yourself with works. What I do here, every day, for the rest of my life, is only my way of saying, 'Lord, regardless of what eternity holds for me, let me give something back to you. I know it doesn't even no scorecard. But let me make something of my life before I go.. and then, Lord, I'm at your mercy.
If you try to go for a big two-hour nap, you get groggy. You wanna just nap, like close your eyes a little bit and then just fall asleep for a little bit and then get up. Then be like, "okay, I'm up."
Generally, I don't want to do things. I feel lazy and unmotivated. It's only when an idea grabs hold of me and I can't get rid of it, when I try not to think about it and yet it's ambushing me all the time. I'm thrown up against a wall. The idea is saying to me, "You have to pay attention to me because I am going to be the future of your life for the next year or two or five." Then I submit. I get into it. It's something that becomes so necessary to me that I can't live without doing that project.
People resist change; if they like something, then they want you to keep doing it over and over - but I think if you like what a particular band or artist does, then you should want to see what they're going to do next.
If you want to fight, this is what's promised to you. If you agree to it, then I don't feel like you have the right to go back and say, 'They're not paying me that much.' You agreed to it. This is your job. I think that some guys may forget about that a little bit.
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