A Quote by David Duchovny
Whenever somebody says they need an angle for their story I always fear that they've got an idea and they want me to fit into it or they want me to come up with an idea myself or I'm supposed to be more revealing than I've been, and to me it just sounds like something I don't want to do.
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So this was different. I was amazing now - to them and to myself. It was like I had been born to be a vampire. The idea made me want to laugh, but it also made me want to sing. I had found my true place in the world, the place I fit, the place I shined.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
I've realized that a lot of people come to me because of what's called identity. In the sense of "he's like me" - more like identification. Identity is one of those nonsense words: it's been used so much it doesn't mean anything. As individuals, we don't want to stay the same; identity means sameness, and we don't want to be the same, we want to keep changing, we want to grow, we want to become something else. We want to evolve. So when people come to me, it's about resonance - it goes back to that word.
I wanted to get more serialized. I had this idea for an event that would click onto everybody's mortality. I said, "I want somebody to die." Fortunately for me, when I was toying with that idea, John Landgraf, who's the head of FX but also a very smart executive, came up with the idea of the ashes in the maracas. He called me up and said, "Listen, what about this, they get the ashes in a box and when they get them, they shake them and they sound like maracas." And I was like, "Okay, now I've got my throughline."
It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'
Whenever there's active promotion on the part of somebody else, whenever I see somebody all dolled up for a fancy photograph and someone's handing out flyers or whenever there's active promotion for something like that, as an imposition on my day, I hate all those people and I want them to fail. I have a visceral reaction to advertising and promotion. There's just something about salesmanship that grates on me on a very base level and I react very negatively towards it. I want those people to suffer and I want their enterprises to fail.
Being producer you're still going to have to sell somebody who's going to give you the money on the idea and everything like that. But it does give you a little bit more control if you're thinking in that creative process; it gives you more control to tell the story you want to tell rather than sort of just reading a script that somebody else wrote and says, "Yes, please, you can hire me for this job." So it's a little bit more hands-on, a little bit more closer to the heart.
There is a sign that hangs on my wall that says, 'What is it you want me to do to somebody else that is more important than what you want me to do for you?
There is a sign that hangs on my wall that says, 'What is it you want me to do to somebody else that is more important than what you want me to do for you?'
As an artist, and for me personally, my biggest fear is categorization. I hate the idea that I would become someone who says that "this is what I do and now that's what I am." What I really feel like is an explorer. I want to continue exploring my brain cave and see what's there, you know? And I don't want to just stay in one cave.
There's a side of me that wants to rebel, and as soon as you go down this path with a movie, and you're supposed to go right, I want to go left, just to see what it's like. I just want to do it,because the more I know you aren't supposed to do something, the more I want to do it.
Now I just have these reddish scars there. I guess I always will, although Goody says they’ll fade over time. I don’t know if I want them to fade. That probably sounds totally freaky, but part of me doesn’t want to forget what it felt like, even though it hurt. If I forget about the pain, I might also forget that it was a really stupid idea to do it in the first place.
There's always a chance. Somebody has got to want me, and if they don't want me, then what? I want to play. I want to do what I want to do.
For me, I don't want to live in a world where I am afraid of making the kind of art I want to make. The idea that I should be afraid of publicly ridiculing and mocking and chopping up and rearranging a giant corporation that intrudes on my life whether I want it to or not every day... The idea that I have to be afraid to do that is absurd to me.
I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
Whenever you feel ‘short’ or in ‘need’ of something, give what you want first and it will come back in buckets. That is true for money, a smile, love, friendship. I know it is often the last thing a person may want to do, but it has always worked for me. I just trust that the principle of reciprocity is true, and I give what I want.
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