A Quote by Brian Stelfreeze
When you have a situation where you're hanging out with 20 or 30 other artists, then there's insane amounts of creativity in the room.
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People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
I've done so many other projects where you're in a room with a reader and you're acting your lines out: 'We have to get out of here! Any minute the building will explode!' And then the reader says: "Yes...we have to get... out of here." So it's not easy to be in the moment in that kind of situation. Reading with the entire cast in the room for The Clone Wars makes the experience much more organic and I love that.
I get inspiration from all kinds of things: I can get it from hanging out with my son, from hanging out with my wife, from checking out different artists, from hearing something at a party.
One thing I've always loved doing is hanging out and talking music with other artists.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
With success it's like 60% talent, maybe 20% luck and then 20% being at the right place at the right time. There are so many artists that have been passed by - even though, on paper, they're the most incredibly talented artists, they don't have the social skills to take it outside of the bedroom.
Coming from Britain, I was terrified of meeting all these other artists, because artists over there tend to fight with each other a lot, the premise being that there's not enough room for everybody.
I think the best thing an artist can do is not hang out with other artists. I really dislike hanging out with musicians, for the most part, except for a few select friends, because I don't like to talk about music all the time.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
The Raiders of old were vicious and crazy and cruel. Hanging around their locker room was like hanging around the weight room at Folsom Prison.
So here I was in the middle of the AI world-not just hanging out there but totally dependent on the people if I expected to have a job once I graduated-and yet, day by day, AI started to seem insane. This is also what I do: I get myself trapped inside of things that seem insane.
When I lived in Hungerford, it was wake up 5:30 A.M., get to the van at 6 A.M. with eight other blokes, drive to Shinfield, which is in Reading, 45 minutes away. Start at 7:30 A.M. to 4:30 P.M. with two half-hour breaks and then home. Train Tuesday and Thursday and then play on Saturday.
The difference between a 20-something and a 30-something man? Wisdom. At 20 years old, we dont really get how sensitive and beautiful women are. By 30, were finally starting to learn.
I did a guest shot on a comedy series where they did 20 to 30 takes of everything. It's just gone by then. The joke is over. It's not funny anymore, and then of course, the editor's the one that has to figure out the timing. I think a lot depends on that.
Creativity is a mansion. If you're empty in one room, all you have to do is go out into the hallway and enter another room that's full.
Before I think we was emcees, we was more or less narrators too. Because if you look at the early '80s hip hop, it was so much creativity goin' on with artists like then, like Slick Rick, then you had Rakim, and you had these different kind of artists back then. And we was a marble cake of all these artists. So I didn't have a problem with writin' stories because I felt like that was somethin' I loved to do. Even to this day, I really consider myself an entertainer-slash-narrator. I like to talk about stuff that goes on.
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