A Quote by Charles Leclerc
I've done this in karting, to do one track in one way and then do it the other way.
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Wes Anderson is a perfectionist, so you have to just be ready to try it this way, try it this way, try it that way, and then try it this way. And then, once you think you've got it all and it's done, then you're going to be called back in two or three months so you can try it that way and try it this way. You've got to give him all of it.
I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.
I loved the speed of go-karting, but didn't have a lot of natural talent. The first time I went out on the track I found it scary; other karts were flying past and bumping into me.
Actually, I've done it the other way so many times where you rehearse the band and you do the whole thing with lights, the show and the crew - everything. Then you see what happens and you're already committed to dates. I'm just sort of putting out feelers this way.
I've had a lot of support from back home, starting way back in karting and since then I have been lucky to have been supported by some great Finnish companies.
Sometimes I catch myself doing something that I've already done. The more I've done, the more that's likely to happen. Then I just throw it away. I wait until I've got the right way of getting a thing done, which means my songwriting proceeds at a very slow pace. But it's the only way I can really work.
Once I had left 'Twin Peaks' and started doing other shows and other movies, I kept running into, 'No, no, we can't do it this way. This is the way it has to happen.' I'm like, 'No. I've already done it, and it worked, so I don't understand what you're saying.'
Normally doing an album you go from track to track and go, 'Let's not work on this one today, let's go work on the other one,' and I think you tend to get more self-indulgent that way.
If people in the end think that you can't do something in a way which is acceptable then it won't fly. The only way you get anything like this done is if people think, 'I understand why it is being done.'
I think I have let ego get in the way sometimes - the pendulum swung pretty strongly. I was maybe a little overconfident at one point in my time, and then I went way the other way and thought I wasn't capable of anything.
I'm never a person who likes anything I've done. It's just the way it is. Twenty years later, I can look at something I did, and I'm still thinking, 'You know, that could have been better if you had done it this way or that way.
When I was three, I didn't play with other kids very much; I was kind of isolated. I got used to be being bullied and having to think my way out of situations in the same way that other kids would fight their way out. Then I discovered a piano, and it became my playmate.
I always enjoy working with an international crew and director. But on the set of a Hollywood action film - now that's a whole other world. The sheer grand scale of the way things are done over there makes me envious; it's just so different from the way things are done in Japan.
The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.
I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.
In other words, if a teacher only teaches in one way, then they conclude that the kids who can't learn well that way don't have the ability, when, in fact, it may be that the way the teacher's teaching is not a particularly good match to the way those kids learn.
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