A Quote by Christopher Guest
I'm drawn as well to the lower echelons of things because it struck me a long time ago that it didn't really matter on what level people were working on anything; it was just as important to them as the people working on what's perceived as a higher level.
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Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.
On lower budget things you're still working collaboratively, but the investment and your level of creative importance is higher on something like this.
Talent is important, and some background as well. This really is not beginner's school. I want to work with people that have achieved a certain level and with whom i can easily communicate, which means you don't have to do too much explaining so you won't waste precious time. I don't do much explaining during rehersals and we are just adjusting minor details. Simply, there is no space nor time for one to learn and each of them has to do their homework on time. That means practising, transitioning from a level to level.
Working out another system to replace Newton's laws took a long time because phenomena at the atomic level were quite strange. One had to lose one's common sense in order to perceive what was happening at the atomic level.
He who draws... ought to take his position so that the eye of the figure he is drawing is on a level with his own... because, generally, figures or people whom you meet in the streets all have their eyes at the same level as yours, and if you make them higher or lower you will find that your portrait will not resemble them.
Raising your level of performance requires a proper mentality and meaning from within. This gives you the ability and drive to work on the things necessary to go to a higher level. When people ask me how to raise their level of performance, the first thing I ask is, How important is it to you?
The weird thing was that I went to Trump rallies thinking I was going to run into militant, right wing, racist people and mostly I didn't. That should have been a clue to me. The people I talked to were not, on the surface level, crazy. They were quite nice, quite normal, employed, and actually were wealthier than the press at that time would have led us to believe. At that time, the narrative was that these were all working poor but these were not working poor. That should've been a clue to me that this was a little bigger than I thought.
Working on Ethereum could be similar to working at a Google: lower risk with broad impact right away. Working on a token is similar to working on a startup: higher risk and lower initial impact but higher upside potential.
I think it's really important to have inter-generational relationships right; some level of communication between us silver-backed gorillas, who have been looking at and working on these problems for years, and the next generation of problem-solvers. And it's happening. So it's a very exciting time because of it. And a lot of the young people I'm working with, it's very exciting. Their enthusiasm, the revolutionary nature of what they're doing, what they're being driven by.
I'm not just working for myself anymore. I'm working for my kid as well, someone who's actually looking up to me on a whole other level than the younger generation.
I ain't the first on the list that people are sending scripts to. I'm very lucky. I've managed to put myself in the position with some directors, yes, who will be calling me directly, and we're working on things and talking about things, but that's on a purely creative level. And then you go and have to deal with the financial level.
You might meet a guy who turns out to be the best guy you've worked with. They don't have to be some name brand person. I've met a lot of lower level actors and directors who were terrific; that are as good as any other A level director or actor, they just don't get the recognition. So I'm happy working with anybody who wants to show up to play the game and has a clue.
When somebody brings me a record to mix, usually they feel like they can only get it so far with who they were working with or with themselves, and they just want somebody with fresh ears to take it to the next level. I just try to have a candid, open conversation with them about each song before we start working on it.
I think, initially, working on your own is really great because it allows you to just be really free and not worry about how things are perceived or if people are going to think you're an idiot. And once that becomes ingrained, at least for me, I think I'll feel really comfortable to work with other people and still feel that same freedom.
Some people are like psychic sponges, they drain power form others constantly. They lower your awareness because they are at a lower level. If you spend too much time with them, you get pulled down.
For a long time - when we first started getting a much higher level of attention - I really struggled with feeling like I was letting people down. Because when you do a show, there are, like, a hundred fans waiting to see you afterwards, and sometimes you can't see them.
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