A Quote by Benjamin Percy
I wanted it to be as multi-windowed as possible, so that the reader felt like they were seeing all the different ways in to a big haunted house.
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When I was a little kid, I wrote this play about all these characters living in a haunted house. There was a witch who lived there, and a mummy. When they were all hassling him, this guy who bought the house - I can't believe I remember this - he said to them, 'Who's paying the mortgage on this haunted house?' I thought that was really funny.
I wanted to show a different side of ourselves. I wanted to see in what ways I could explore something new. I felt like working on a double record would give people a lot to have.
Big Shaq stems from my YouTube series 'Somewhere in London.' I just wanted to create something that was multi-character and multi-dimensional.
Travelling, in general, opens your mind to so many different cultures and different ways of thinking and different ways of seeing stuff. I definitely feel like it has an influence on my music to be a bit more broader and a bit more open.
I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.
This makes me sound like some new age, crystal-worshipping weirdo, but the woods behind my house really felt haunted by the past when I was a kid.
Most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house all by themselves.
Most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house by themselves.
Nature is a haunted house--but Art--is a house that tries to be haunted.
I always wanted to live in a haunted house.
And with a few moments like that, with doubt from here and there, and within ourselves we were just striving for excellence. We had somehow understood and felt that all the musicians who would come to the House later on, that all the singers, the big artists, were striving for excellence in their life and we thought a house for them, there’s no limit to the excellence it should have because it should match their strive for perfection
Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.
When I turned twenty-five, I did a six-week trip around Europe by myself. I'd never really done a European trip before and I'd definitely never traveled alone like that. I just had such a great time meeting people. I had such a great time seeing new cultures and different ways that people think and different ways that they live and different ways that they see the world.
I probably have more female friends than any man I've ever met. What I like about them is that almost always they're generally mentally tougher, and they're better listeners, and they're more capable of surviving things. And most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house all by themselves.
It felt really nice to not have anybody talking about numbers, and no one is talking about ratings. From my experience, it felt like there was one person running the ship and it felt like there was space for Jenji to be at the helm. That's not what I've experienced in television before. It felt more akin to an interesting movie, where there were producers who were really excited by the work and wanted to make space for the director's vision to be sort of shared with an audience. It felt more cohesive.
Despite the fact that she was essentially comatose, she somehow made his whole house feel different just by being there. Before it had been just a house—a very impressive house no doubt, but a house nonetheless. But for some reason, with Taylor there it felt more like a home.
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