A Quote by Cassandra Wilson
Everything I do is collaborative. It's just my way. I'm really very interested in how the other musicians perceive the song.
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For the first records I really never thought about anything other than the song itself. I thought that this was what the job of a songwriter was. I was really approaching music from a very different standpoint. To me when I was younger the song was just the melody. I think as I've gotten older and have been recording myself I've become aware of just how many layers can exist within a song besides just the main vocal.
In tension you cannot perceive; in laxity you cannot perceive. Only if you are intense and relaxed, you perceive everything just the way it is.
Remember when you were a kid, and everyone used to say, 'Would you rather be interested or interesting?' And to me, it was always like, 'Interested!' How is that even a question? I feel very lucky that I'm just really, really interested in a lot of things.
I do try to structure everything in a way that's very much like a pop song. I try to keep the arrangements really simple, just to make everything essential.
I'm not really interested in a ton of female musicians but there is something about Britney that compelled me - the way she sings and just the way she looks.
I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.
Every film has a political side. It's something that you cannot ignore. Politics is a part of everything, it's how we speak, how we perceive one another, how we hold this interview: Everything is politics. But it's a very different thing to just stuff your film with political messages.
I think musicians are perfect at knowing how to get the best out of other musicians. I can really relate to that communion.
It's funny how concert dreams are such a recurring thing among musicians. It's like how everyone has that dream of their teeth falling out? Except musicians have this dream of just standing onstage and there being all these people out there, and for some reason, the song isn't starting.
I don't really care about a song or lyrics; I'm really just interested in the way people emphasize words. That's what makes a strong impact on me.
Breast cancer is not just a disease that strikes at women. It strikes at the very heart of who we are as women: how others perceive us, how we perceive ourselves, how we live, work and raise our families-or whether we do these things at all.
I'd hear a tune in my head and the words would come. And then, very suddenly it just stopped. It seemed too stilted to try and learn how to write a song, to go to round robins and to learn things from other people on how to write a song. So I just stopped and did other things.
If you know your archetypes - and not just yours, if you know how to perceive the world in archetypes, through archetypes - everything changes. Everything. Because you have two things: you can see through one eye which is impersonal, and through the other, which is personal. That's the way the game is written down here.
Your success will have everything to do with how you perceive yourself, because how you perceive yourself is how others will perceive you, too.
I think I'm very interested in people, in the way our minds work and how we navigate through the experience that is life. Very interested in people's struggles and their choices and their regrets and joys. I'm very interested in the human animal.
I'm interested in that way we perceive things, and that was part of what I was getting into in painting - the idea of perception and how information goes through our heads and it comes out another way.
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