A Quote by Chris Cornell
If I'm going to go out to be a solo artist, it's because I want to do something different without having to wait on someone else's schedule or hobbies or be limited by other people's prejudices. I'd be kind of stupid not to exercise that.
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If you go into a bank or a shop and you want them to believe that you're going to shoot them, that's an acting exercise. If you want to turn to someone else who's as tooled up as you are and persuade them to put their knife down because you'll use your knife, that's an acting exercise. Nine out of 10 delinquents are frustrated actors.
Even if you have no interest in starting a company, having the experience of having ideas and doing them, that's muscle to exercise because that's what people are going to want to see. That's what makes you different.
Regardless of any feedback. I love being a solo artist and having creative control. But it can be very nourishing and informative and flex very different creative muscles to work for someone else. You are essentially employed by the director. I love the challenge of that.
Reputations are maintained by the outside world, and they're created by it, too, by and large. And they serve as a hell of a device for privacy, because the more people look for something that's not there, the less chance they have of violating who you are. It's like going out there with a mask on, without having to exercise your upper body to put it on.
For me, I think it's such an important thing to hear other people's stories, because you do find ways that either you can learn something from them, or you can identify with something that they've gone through. You realize that maybe what you're going through in life isn't just specific to you, that somebody else understands it, or you talk to someone and all of sudden you see something in a completely different way because of what they've said to you or shared with you.
One of the beauties about going solo was being able to start from scratch and say, 'What do I really want? What kind of band do I really want? What kind of live show do I really want to stage?' Without any of the baggage of being something with history.
Hopefully we can come together without tragedy making us do this. Because ultimately underneath it all, at the risk of sounding cliché, we have so much more in common than we do different. When someone loves someone we should celebrate that and be happy for the people in love. That's the goal. We're all here because we want to be loved and love someone else.
I shift between mediums very frequently. Instead of taking a break from writing, I just write in a different medium or in a different way or for a different purpose, so that I don't actually stop writing - I just go to something else. Like going from a big symphony to a piano piece is great and very refreshing, I find. And then going from that to a big concerto, and then having to go out and play.
I don't think you can hold someone accountable for trampling someone else, because that person was probably pushed from behind. But if someone picks your pocket in a crowd, it's no different from any other act of that kind, in another situation.
I always freak out when people ask me about my favorite bands or my five favorite records, I just can never do that because it goes through different waves and sometimes you want to listen to something and at other times you want to listen to something else so I don't know.
Work takes different forms. I can spend two or three days without completing anything, and it's choppy: it's filled with all kinds of irrationalities and stupid actions. I have some notion, and then I drop it because something else comes along. I'm forever darting from one side of the room to the other.
You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.
I've noticed that as someone who has done music and creative things in Washington state and Portland, to kind of toot your own horn, or admit, "I'm going for it. I'm hustling," is not exactly the norm. Which is weird, because you go to New York, or LA, or anywhere else, you've got to be gunning for it - and you should be - you're part of a fast-moving stream of other people who are really ambitious. People move here to work less. So, to say that you're hustling all the time, and going for it, is kind of a little bit against the grain here.
We have a plan and it's been put out on my website and people love it. If you're going to have a wait of six days, five days, two days, one day, we're going to give our great veterans the right to go out, go across the street to a private doctor or a private hospital or a public hospital, whatever happens to be in that community, without having to drive 400 miles to another hospital.
Like every artist that comes out, you want to make a mark; you want to be a household name and you want to be someone that people are going to look back in ten years/fifteen years' time and go, 'I love this guy Olly Murs. He was brilliant back in the day; he was someone I really, really liked.'
I want to be back every year. If I don't go, I want it to be because someone else just was having a great season. I want it to at least be a close call.
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