A Quote by Arlo Parks
When things started to take off, I had more and more to do, and things were happening but I didn't quite have the time to process it or enjoy the positives and think about how far I've come.
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My philosophy involves imaging terrible things happening all the time, and getting used to it, so reality isn't so bad. And then you're always happy. You really just have to think yourself through it. That is how I've been able to come to happiness, but it is a subtle difference between scaring yourself all the time with terrible things happening, it's more about actually about making peace with it. That's my advice.
After Strapping, the amount of things in my life had changed were more than I'd ever had to process in any one time, and as a result of that, I found that my writing was veering off in four - sometimes even more - directions.
I think I started writing because no one had ever told me you can write about the things you know in a musical. They don't have to come from some far off place.
There's something about the kind of time travel that a poem can provide. It can take you to somewhere else - a culture far from you, a language far from you, but suddenly you're there. You're that person, seeing with that person's eyes. I think that's really tremendous. Even things like cinema or more traditional history can't quite do that.
The brain aneurysm I had in 2006 put things into perspective. It made me understand what was really important - to enjoy life, take more risks and stop putting things off.
I know what it takes to be a coach. I've gone through that. I think I came up short my last season. Lots of things were happening physically to me, and emotionally, perhaps mentally, too. I thought it was time to tend to more important things, like health and like family. I still enjoy that, and I don't think I have any need to go back to coach.
I placed too much importance on comparing how much I had to others early on. Then I started realizing time was a far more valuable asset. When I started using money to create more time, I appreciated both more.
What it means to be a man is to take on all the emotional pain and work through what you got to work through with the people you love while at the same time getting your business done. And it's tough. I think that most children when they grow up they kind of realize that the things they didn't like about their parents or didn't understand about them they get now and that you know every year you get more responsibilities. You get more overhead. You get more things you got to take care off.
Earlier in my career, I was much more super-sharey. There were moments when I wanted to process things that were happening to me more privately, and I didn't have the space to do it, because once you let people in, they're in, and you don't get to say, 'Oh, I want this for myself.'
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
I basically enjoy doing films that are about something, that have complex roles that I can sink my teeth into. Basically, I gravitate to things that scare me. They might be things that I don't think I know how to play. I like trying to find within me where this character may exist. Whether is it is a fictional character or not I am not motivated by that. It is more about how challenging it is. It is just so happens that the more high profile things I have done have been historical characters.
My mother was really involved with the Refusenik campaign with Soviet Union Jews. They would come and stay at our house, some of them, after they managed to get out of the Soviet Union at the time. There were things that were Jewish-related happening in my house quite consistently, but it was much more from a kind of activist standpoint.
If you're talking about musically, I think I understand just a little bit more about things that were mostly intuited back then - how certain timings and tones work, so I can be a little more analytical about things now.
When I started 'Record Collection,' I had no idea that it would come out sounding the way that it did, and that's one of the best things about the creative process, taking turns with the things you didn't know.
I can sit and list off all the things that are being worked on and all the things that are on the table, but that will take away all the surprises that are going to come. There are so many explosive, exciting things that are happening. Everybody that is in my life and in my world now has something to do with what I do.
My mum always used to say to me that, out of her three boys, 'Chris, you were the girl!' I'd speak to her about far more things (than my brothers would) and far more things than she needed to hear about, too. I was a chatty kid.
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