A Quote by David Berman
Sometimes I turn the TV just below where you can hear it and write down what I think they might be saying by the mumbles and rhythms.
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I live in Virginia alone, and sometimes there's too much time to think. So you turn on the TV, but sometimes that don't do, so you turn the music on, and sometimes that don't do, and so you try and write a song, and sometimes that don't do... So you just take it as it comes.
Well I mean I just sit at the piano and maybe figure out some harmony or melody or both. Sometimes you can hear it in your head. Sometimes you don't always have to write it down. You just write it down so you can remember it.
When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.
I get so used to saying what I think people want to hear, I forget they might just want the truth sometimes.
Sometimes I think too much, or sometimes I don't think enough as the character. Sometimes you just miss a moment, or sometimes you hear something that a character's saying that you haven't heard before and you react differently.
I hear the words, the thoughts, the feeling tones, the personal meaning, even the meaning that is below the conscious intent of the speaker. Sometimes too, in a message which superficially is not very important, I hear a deep human cry that lies buried and unknown far below the surface of the person.
So I have learned to ask myself, can I hear the sounds and sense the shape of this other person's inner world? Can I resonate to what he is saying so deeply that I sense the meanings he is afraid of, yet would like to communicate, as well as those he knows?
I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices, you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
Why is it when you turn on the TV you see ads for telephone companies, and when you turn on the radio you hear ads for TV shows, and when you get put on hold on the phone you hear a radio station?
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
Some people think that you have to be the loudest voice in the room to make a difference. That is just not true. Often, the best thing we can do is turn down the volume. When the sound is quieter, you can actually hear what someone else is saying. And that can make a world of difference.
Instead of just hammering away at a song, I'll approach it from a million other angles. Sometimes I'll leave all my equipment set up and just turn on the TV for five minutes; sometimes I've gotta get out of the house. I don't think it every really leaves my head.
I might write four lines or I might write twenty. I subtract and I add until I really hit something I want to do. You don't always whittle down, sometimes you whittle up.
Actually, if I could deliberately sit down and write a pop hit, all my songs would be pop hits! Let's put it this way. I play what I like to hear. And sometimes I like to hear something poppy, and sometimes I don't.
[People] might turn into [Donald] Trump supporters who think, "Hey, I get what women are saying." So any chance I get to have people listen that should hear me is good.
When you hear coaches say your son is good, sometimes you think they are just saying it because it's you.
Sometimes I start with lyrics - rarely - but sometimes I might have an idea for some lyrics that I wanna say. I write them down and figure out how to use that in a melody to write a song.
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