A Quote by David Bowie
In fact, everything I do is about the conceptualizing and realization of a piece of work, whether it's the recording or the performance side.
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I'm not actually a very keen performer. I like putting shows together. I like putting events together. In fact, everything I do is about the conceptualizing and realization of a piece of work, whether it's the recording or the performance side.
You need 10,000 hours to figure out how to be good at something and I agree with that to a certain extent. It's like everything you do to lead up to a great recording or great performance is everything you've done in the past and you can't just, it's rare that someone wakes up in a void and goes and wakes up and makes the most brilliant recording or performance.
I'm inspired by good work. Whether it is a great performance by another actor, a piece of art, or someone doing something altruistic.
Look, we don't have the luxury of not dealing with China. There are real complexities to the relationship, whether it's the adversarial piece, whether it's the competitive piece, whether it's the cooperative piece.
All the things you can talk about in anyone's work are the things that are least important.... You can describe all the externals of a performance - everything, in fact, but what really constitutes its core. Explaining something makes it go away, so to speak; what's important is what's left over after you've explained everything else.
In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
As I sit down and start to work, I often panic. I stare at the empty piece of music paper. How can I say that my piece will be ready for performance next January when I do not have a recipe for making it happen?
You are one miniscule piece of a never-ending cycle. In fact, you're not even a piece. You're just a holder for billions and billions of other pieces. Whether that's organic components, living organisms inside your body, bacteria or whatever it is, you're just part of the soup of the universe, so just try to enjoy what's good about it.
Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.
The other side of my work is political disappointment - the realization that we are living in an unjust world. "Blood is being spilled in the merriest way, as if it was champagne," Dostoevsky says. That raises the problem of justice, what it might mean in an unjust world and whether there can be an ethics and a political practice that would be able to face and face down the injustice of the present. How might we begin to think about that?
God realization and self-realization are one and the same. God-realization is nothing but the ability and expansiveness of heart to love everything equally.
When you're directing, you look around and you think, everything I see is my responsibility. From the catering being on time to whether the clouds are moving the way I need them to move to whether this actor is giving the performance I want to whether the costumes are what they should be.
I'm just like anybody else: I have stuff to do in the day, whether that's writing a song or recording a song. I try to treat everything I do as just work.
The fact that I'm a woman is as important to my work as a poet as the fact that Ahmad Sh?mlu was a man was important to his work as a poet. Basically, gender shouldn't be viewed as an advantage in art. If a poem or a piece of writing is good, what difference does it make whether it's by a woman or a man? And, if it's bad, why should its writer's gender make it good?
Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.
I like the adrenaline of live performance, whatever that is, appearing in front of an audience of any kind, whether it's one or a hundred or a thousand. It gives you a buzz of adrenaline, its exciting. The thing about that is that you want to make those nerves work for you in terms of an energy that's appropriate for the part and the performance, and not to distract the people who are watching so that they become nervous for you.
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