A Quote by Chuck Mangione
To pay 60 musicians for rehearsal and performance is quite something, and I decided I wouldn't be able to handle that kind of situation financially again, unless somebody else was taking care of that end of it.
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There is something about me that is collaborative, that wants to get the best performance out of somebody else or to hear something that somebody else has done that's good and to try and make it great.
I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.
Sometimes feeling overwhelmed is part of what it means to be a Christian. You can't bear somebody else's burden unless you are taking something of their load and it's weighing you down a little bit.
The most rewarding possible thing that a songwriter or an artist of any kind can experience is to hear firsthand from the mouth of somebody else that they don't know the weight or gravity or intensity that something they've made has brought out in somebody else's life. It's simultaneously flattering and humbling. It makes me so thankful that I've been so lucky to be able to do this work.
I don't care what reviewers think. If somebody hates a performance of mine, I kind of get a kick out of it. It amuses me when critics take something so irrelevant as a movie so seriously.
I simply want you to give to yourself as much as you give of yourself. By taking care of yourself financially, you will truly be able to take care of those you love.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
In terms of performance, something unexpected is always good, it's preferable if it's unexpectedly good. But unexpectedly bad has a lot to say for it as well. It's always nice to be able to look back on a show and say, "Oh, that's the night that this happened," and a lot of the worst memories are better than the shows with no memories. A good rehearsal is a lot harder to describe. A lot of rehearsals that end up feeling best are the ones where something really bad was happening, and you just kind of got past it and fought through it. Just dealing with things that are inevitable.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
I love showing up and giving a performance without the benefit of a lot of rehearsal or dissection. It's fun to me to act on a kind of instinctual level and go straight for the performance.
It's not selling out, necessarily, to do something to gain some kind of notoriety that gives you the cache to do be able to go and do something else that you want. There's some dues that you just have to pay in life.
Since September 11, the Mirror has reached back to its roots, and decided, it seems, to be something of its old self again. I received a call asking if I would write for it again, which I've done. It's a pleasure to be able to do that. It's become an important antidote to a media that is, most of it, supportive of the establishment, some of it quite rabidly rightwing. The Mirror is breaking ranks, and that's good news.
If you're taking care of yourself, then what can somebody else tell you?
I don't care if it's somebody else's song. Most of the time, you'll find that I'll put my own stamp on it. But I started writing more because, you know, it's easy to regurgitate what somebody else is doing, but it's exciting to be able to come up with your own writing.
There's something so remarkable in the intensity of taking care of somebody who can't take care of him or herself. And then watching that little person bloom into adolescence.
With me, even if my life depended on it, I wouldn't be able to cry. Not with somebody there. Because even if I'm talking about bad and upsetting things, if there is somebody else in the room, I am trying to entertain them. If there is somebody there, I am in performance mode. I can only cry if I am on my own.
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