A Quote by Bill Kreutzmann
I always thought it would be really cool to be playing the drums in the show and then have your astral body or whatever travel all through the audience and dig whatever it's like out there.
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Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
Every thought, feeling, and emotion creates a molecule known as a neuropeptide. Neuropeptides travel throughout your body and hook onto receptor sites of cells and neurons. Your brain takes in the information, converts it into chemicals, and lets your whole body know if there's trouble in the world or cause for celebration. Your body is directly influenced as these molecules course through the bloodstream, delivering the energetic effect of whatever your brain is thinking and feeling.
Sometimes you just wanna go out, see your action movie, be done with it, come home. You know, and, like, you see 'The Matrix' or whatever, you see whatever film it is, and you're like, 'Oh cool,' whatever.
One wants to think that - and this is really a stupid thought - that through your art or whatever you do as an actor you can actually affect someone else's lives and thoughts or whatever.
When I was thinking about what we could do in terms of what production values of Broadway might be able to add to the show, I had this thought that it would be really cool if we had a coup de théâtre. What would they want? And then I was like, an amazing, enormous tuna puppet that was like 30 by 40 feet would be pretty incredible. So I called up Basil Twist, and he got really excited immediately and started sketching out his idea, and I think it's a real highlight of the show.
Playing drums or music, being a musician, is inside of you. So you would always see me tapping on something, playing on tables... I never felt the need to pull out drums.
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
Some writing is a really nice solitary process, in a way, because you can be a little self-conscious around other people. If it's just you, and you're at your favorite piano, or whatever instrument, and you feel comfortable, then somehow, I always feel like it's opening a door and letting whatever is to pass through pass.
I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.
You can move in and through the astral worlds once you have gained control of your subtle body. The astral worlds are the back corridors of eternity!
When I was on the chubbier side, I thought that whatever God and whatever my body told me to be at that time, that's what it was. I'd say I grew more of an understanding about my body probably around my senior year in high school. I understood my body physically as an athlete.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
Anyone can leave the body and do astral traveling, but they have to believe that ' they can do ' this. It is quite useless for a person to put out repelling thoughts of disbelief, or thoughts such as 'I cannot do' such a thing. Actually, it is remarkably easy to Astral Travel when one gets over the first hurdle of fear. Fear is the great brake.
I'm definitely feeling whatever's going on pretty hard. It's like playing Barbies. You're holding the Barbies, but all of the action is happening inside of your head. You might be holding them or even speaking out loud, but really, all of the animation is internal. That's sort of how I feel about my writing. And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, "Hmm, there's half a page that's good here." Then you throw out everything else.
At a young age I thought, 'Wow, that fiddle thing, that's pretty cool. That mandolin is great. These drums, I like these drums... ' They were Indian drums. And I was saying, 'But that guitar. That guitar. Girls are going to like that guitar.'
At a young age I thought, 'Wow, that fiddle thing, that's pretty cool. That mandolin is great. These drums, I like these drums ' They were Indian drums. And I was saying, 'But that guitar. That guitar. Girls are going to like that guitar.'
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