A Quote by Anna Journey
I tend to view the superstitions or fragments of myth as triggers for lyric inquiry. I also find I think of this kind of language as ars poetica - if we can find the right combination of words, we can make something improbably or extraordinary happen.
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If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.
I tend to find comedy in dark places. I also tend to find comedy in taking on the status quo - which has always been something I find important.
You don't just find an empty museum and say, "I should do something here." I was looking for another kind of venue or exhibition format. I was trying to find a site where something could happen over a long period of time - something that could slowly transform itself and the place as it went. And I was also trying to stand out of the art-world system. Strangely enough, I stumbled on vacant museum.
To be honest, I think we should find first the possibility to make it. Research is first - if you're not interested, you never can find something. Many things happen from forgotten machines - ones that are no longer used.
I subject my sentences and the words to a kind of Grand Inquisition. I'm trying always to leave out what I think is extraneous. And to find what I think is the most wonderful language to make a beautiful sentence. Not beautiful in the sense of "oh it's flowy" but in the sense that it really does what it's supposed to do, it what I want it to say.
The real art is not to come up with extraordinary clever words but to make ordinary simple words do extraordinary things. To use the language that we all use and to make amazing things occur.
I don't think there is any scientific evidence about the question of whether we think only in language or not. But introspection indicates pretty clearly that we don't think in language necessarily. We also think in visual images, we think in terms of situations and events, and so on, and many times we can't even express in words what the content of our thinking is. And even if we are able to express it in words, it is a common experience to say something and then to recognize that it is not what we meant, that it is something else.
Find a way and make it happen: I've always been the type of person who couldn't rest until I found a way to make something happen. If I couldn't go around the rock, I'd find a way to go over it or under it or through it.
I don't really love to perform in music. Some people like it more, but it's not my thing so much, but just the writing, when you get the lyric, and the lyric just goes just the right way, or you find the right bridge that takes you to the solo, and those moments are tremendous, and it's difficult to portray.
I don't think we'll discover anything, myself. I think what will happen is we'll discover people who will tell us where to go find it. It is not like a treasure hunt where you just runaround looking everywhere hoping you find something. I just don't think that's going to happen. The inspectors didn't find anything, and I doubt that we will. What we will do is find the people who will tell us.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
I like to look up the formal definitions of words that I'm already familiar with and sometimes you find out a word means something you didn't already think of, you know? I looked up the definition of "upset" and it was something like, "To be filled with uneasiness and anxiety," and I feel like that all the time, so I was like, "That's appropriate." But also it's a name that when you hear it, you wouldn't assume that it's any certain type of band. It kind of has room to grow into and make it redefine the word.
..I find it incredible impossible not to cry when I hear Stevie Nicks's "Landslide," especially the lyric: "I've been afraid of changing, because I've built my life around you." I think a good test to see if a human is actually a robot/android/cylon is to have them listen to this song lyric and study their reaction. If they don't cry, you should stab them through the heart. You will find a fusebox.
One of the first issues I dealt with was the struggle to find a language, to find my own words.
It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
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