A Quote by Beth Hart
Before I was on medication, the mania was so bad that I couldn't concentrate, so although I'd feel very creative, I could never really finish a piece of work because my mind was moving so fast.
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Sometimes people won't even finish a piece that you wrote, because they've already decided what it is that you want to say, and generally I, whatever I say in the first half of the piece, you should not assume I'm going to end up with, but they don't finish reading them. So, and people read fast and stuff.
I've said before, I've always had difficulty with anxiety and depression. I've been on medication for it since I was about 18 years old, varying degrees of medication. I've had big ups and downs with it and very bad periods.
Jorginho is really suitable to the way I like to play. He is a player that has many good sides to him. He wants to work hard, and he's very fast in moving the ball, which is important for us, although there is also Cesc Fabregas, who has the same potential as Jorginho.
The other thing is that if you rely solely on medication to manage depression or anxiety, for example, you have done nothing to train the mind, so that when you come off the medication, you are just as vulnerable to a relapse as though you had never taken the medication.
Learn a lot about the world and finish things, even if it is just a short story. Finish it before you start something else. Finish it before you start rewriting it. That's really important.
It's to find out if you're going to be a writer or not, because that's one of the most important lessons.
Most, maybe 90% of people, will start writing and never finish what they started. If you want to be a writer that's the hardest and most important lesson: Finish it. Then go back to fix it.
I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
Unfortunately, I think depression and anxiety are really hard to live with. And what people don't need is to feel bad about themselves because they decide to go on medication.
I could not bounce back from my divorce - emotionally - I just could not bounce back. With any bad situations I’d experienced before - a bad game or my two previous divorces - I got over them. This time I just could not get out of the hole. The anxiety attacks were frequent and extensive. I had weight loss, which I’d never had before. I couldn’t stop crying. And if I wasn’t crying, I was angry, bitter, hateful and mean-spirited. I couldn’t sleep - couldn’t concentrate. It just got crazy.
Allow the artist to finish the piece of work before you critique it.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.
Usually, I concentrate on work for a certain time, and finish when I clear a standard I set myself. But with 'Mononoke,' the production was so drawn out, it took forever to finish to my satisfaction.
That's brain tissue. How can you-?" Claire shut her mouth, fast. "Never mind. I don't think I wanna know." "Truly, I think that's best. Please take it." He showed his teeth briefly in a very unsettling grin. "I'm giving you a piece of my mind." "I so wish you hadn't said that.
Information is floating around really fast. I write something, or a piece of my music comes out and I see people writing about it on the Internet as if I'm having a conversation with them. We've never met, but somehow, my music is communicating something to them. Very often, it really makes them feel something.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner. How they respond determines the kinds of stories we tell.
When the bad stuff was really intense in my life, it was really what you would call writer's block. Your facility is just not as good because you feel so bad. I've heard of people right on the verge of suicide coming up with some of their best work. I wish I could think of an example, other than Van Gogh, perhaps!
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