A Quote by Benedict Wong
Occasionally, when you do a take, and - what I kind of sort of like is asking for a PPB - Personal Play Back.
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People probably long for something genuinely personal in a society where the personal is often indistinguishable from the "personalized." Maybe the poetry audience member is searching for his or her own "personal space" and they expect the poet to be a sort of avatar of the private life. But that sort of representation is distasteful to me. Asking a poet to represent the personal life is, paradoxically, to turn the poet into something other than a person.
Basically, asking me what kind of music I like is like asking what kind of food I like: 'Anything that tastes good,' is the answer. I'm the kind of guy who spends three times as much on his speakers as he does on his television.
Occasionally, fans will ask me to go on their shoulders, and we'll do a sort of Hodor and Bran thing. That's always good fun. But one guy did it, and he really wasn't an expert at picking people up, and I was kind of going sideways on his back holding onto his neck, and then I sort of fell off. But that was fun.
Well, it's true that you often kind of forget to see the person you're most intimate with, but occasionally I'll come to and sort of think, 'Oh my God! You're really, really good-looking! I'm embarrassed now! It's nice to occasionally have that flash.
Writing short stories was kind of like I was cheating the whole time, in some way. I went back and forth between writing the novels and sort of sneaking out to work on stories occasionally. These stories were written over the last 10 years or so, as I was taking breaks from the novels I've written.
We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
John Cheever was the first writer I ever read who sort of had that similar sensation that, you know, life is nasty, miserable, brutish and short, but that occasionally, there's a certain river of light, a kind word, a telling gesture that sort of illuminates something.
I kind of feel that once we're back in London and back in regular life, I just sort of get the bus and very occasionally this whole other role [ in Chronicels of Narnia] slips into my home life. Randomly people recognise me but even then it's very minor. It's not as if my life has been turned on its head and I can't walk down the street unless I'm wearing dark sunglasses and a ninja kit.
Asking art to express ideas is like asking a Sumo wrestler to play charades.
I also had a chance to play in Brazil for Vasco against Flamengo, the local rivals in Rio. So it is the sort of game the players like to play in, and I like the atmosphere, the build-up, and all the preparations throughout the week. You want to be involved in these kind of games.
I've always had some sort of affinity for the ends of things. It depends on the song, I try to explore it in different ways. Sometimes when I think about death I'm thinking of it as a physical character that can teach you things and sometimes I'm thinking of it in a finite sense and other times I'm just asking questions that I can't answer. I don't really like to state my personal belief, because I change my mind too often, but I imagine something peaceful. Whether it's a rest or another world or some kind of eternity, it doesn't seem like a scary thing.
When you know you're gonna have the opportunity to shoot the ball, because the coach draws up the play at the timeout, boom instantly you think about the play, you kind of like block away everything, and you think about the play and you kind of visualize yourself making the shot that you're gonna take.
Gorecki, you know, there's a kind of personal thing there for me. I had, you know, kind of become obsessed with that sort of Soviet Bloc period. And actually, a lot of composers in the Soviet Bloc - Gorecki's not the only one - are writing for the harpsichord as a sort of reaction against enforced Soviet realism, expressionism, sort of enforced modernism.
I would take lots of falls and you know, get shot three or four times and this sort of thing, so all that sort of stuff. And there are tussles with various characters. I like that kind of thing.
I like to kind of change my performance so that there's more to play with in the editing suite. At the same time I think by the time you've done say 55 takes you're exhausted and you've kind of lost the power behind it that you had on take #1 or take #2.
It was sort of that in-between area when people don't talk about their personal lives. That's the kind of life I think Kerry would be living now if it weren't for the Lopez character sort of outing her.
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