A Quote by Collin Sexton
When you first come into the league you don't know what to expect. And then if you do, you're ready, but then it's different when you're playing and getting reps. It's just like anything, you start to do something, play it enough and do it enough then you can get good at it.
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If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
I think everybody has a hard time connecting, but as you get older and you want more and you expect more and you know more, it's just different. If you start wanting too much from it without it naturally unfolding, then that makes it bad. If you start not wanting anything, then you are not serious. I mean it's just this conundrum of issues.
When you're shopping, too, you feel like you're designing as you're shopping. You're like, 'I love this, but I wish it was shorter or I wish it was purple. I wish it was a different fabric,' you know. It starts there, but then when you have to start from scratch, it really comes with an idea first, and then... you want to tweak and then you come up with something else and you want to add to it or change. It's fun. It's like an ocean - you can do whatever.
I find as long as I acknowledge the truth of something, then that's it. I know what it is and then I can operate. But if I overestimate the downside of something or the challenge of something and I get too obsessed about the difficulty of it, then I don't leave enough room to be open to the upside, the possibility.
With every song, all the elements have to work. First, the beat has to be great - you start there. You start with the music, and then the ideas follow. Then you start thinking of rhymes, and then you record it, and sometimes - this happens to me a lot - it doesn't come out as good as it did in my head when I first wrote it.
When I went through the Simpson case, I was a cop. Then I was a good cop. Then I was a bad cop. Then I had the media camped out in front of my house when I retired. Then, you know, I am the evilest thing on the planet. Then I write a few books, and then I start getting involved, like the Martha Moxley case.
I find that in California I can't find guys that have enough energy. They play a little bit and that's about it. They play less. If I start a tune and then the pianist has to solo, I am looking to everybody to get to a certain climate and then I come back in while the energy is up high. Somehow that doesn't happen.
When you're just starting out in the TV business, you don't know anything at all, and you think you're doing a better job than everyone else around you, and you just sort of presume that you're not getting the credit you deserve. And then when you start to get better, the pressure is extraordinary, and then you start to second-guess everything you do, and when people start looking to you for answers, for insight and for analysis and guidance, you start to wonder if you are the right person - even when you have all the information.
It's just madness. First email. Then instant message. Then MySpace. Then Facebook. Then LinkedIn. Then Twitter. It's not enough anymore to 'Just do it.' Now we have to tell everyone we are doing it, when we are doing it, where we are doing it and why we are doing it.
To me, all guitar players can play, because I know they're getting to where they're at. It's a very hard instrument to accept, because it takes years to start working with it, that's first, and it looks like everybody else is moving on the instrument but you. Then when you find a cat that's really playing, you always find that he's been playing a long time, you can't get around it.
It's just if one person says anything it becomes click bait and then they start talking about the comedy climate which is hilarious, so no. You know what it is? People are adults and they know they're at a comedy show but every once in a while somebody isn't an adult and then for some reason, you know, it's lazy reporting. They're trying to create this thing that isn't happening. It's not like people go in there and are just sitting with laptops open getting ready to blog about every stupid joke.
Script comes first, then the actors, then you gotta be lucky enough to get the right time slot. Then people have to watch.
I know I didn't like that dress 'cause it didn't fit but I thought it was a great picture. We weren't the first band to do a picture in drag; The Rolling Stones were. If it was good enough for them then it had to be good enough for us.
See, if you put a musician in a place where he has to do something different from what he does all the time, then he can do that - but he's got to think differently in order to do it. He's got to play above what he knows - far above it. I've always told the musicians in my band to play what they know and then play above that. Because then anything can happen, and that's where great art and music happens.
It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.
If I get my teammates going early, then my shots usually open up. Come off pick and roll and make the pocket pass on the first one. Then it's like OK, does the defender step up now? Then next time I may have the layup. So, just playing the game like that. Reading and reacting and not thinking too much.
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