A Quote by David Lanz
At the piano, I'm able to communicate in a way that is very intimate and direct. My approach at music is a bit like talking to a friend. You don't have to be very complicated when you speak. If you say what's in your heart, it's usually very simple.
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I analyse in my own way, in very simple, no-jargon language. If somebody is talking in very complicated way, I never like that.
What is style? For many people, a very complicated way of saying very simple things. According to us, a very simple way of saying very complicated things.
Social media is just a platform. Twitter is a very simple and immediate broadcast platform. Facebook is a very personal, when it comes to friends and when it comes to fan pages, a little bit less but still somewhat personal way to communicate.
I grew up in a very simple home, a very simple background, and to be able to do what I'm able to do today, I'm very honored. I don't think I'll ever lose that perspective, and I don't want to.
What I love is when I play gigs, it's just me and a guitar - very simple, very direct and intimate, and you hear every lyric, and you hear every detail.
I think something that's very important for us to communicate is usually very simple. Like breathing: Breathing is very simple. You don't do a dissonant 9th harmony or something in breathing. You just breathe, you know. I think that's how it is with very important messages.
With social media, you have this new kind of way to communicate with people that's very immediate, sometimes alarmingly so, sometimes painfully so. If you could just hold some objectivity, a very direct, unfiltered, raw reflection of the way something is landing in the culture without any spin, or filtration, or anything, it's very raw.
My music is not really complicated. It's not really complicated and it's not - I wouldn't say simple - but it's not too, like, looking forward. So actually, like, the sound I have now, maybe it's a little bit better than the one I had, or whatever, but I don't feel uncomfortable yet with my music, you know?
I photograph from the heart. I adore little babies and I think that shows. My images are really very positive, very simple, and from the heart. Babies speak a universal language.
My approach is to start from the straightforward principle that our body is a machine. A very complicated machine, but none the less a machine, and it can be subjected to maintenance and repair in the same way as a simple machine, like a car.
I would love to bring to light, besides just educating about Lyme in general, that it's a very complicated disease and it's very, very scary for the people who are dealing with it because your insides don't match your outsides. That can be very infuriating because people would say, "You look great." And you're like, I can't even carry on a conversation with you right now.
I think my ideal man would speak many languages. He would speak Ibo and Yoruba and English and French and all of the others. He could speak with any person, even the soldiers, and if there was violence in their heart he could change it. He would not have to fight, do you see? Maybe he would not be very handsome, but he would be beautiful when he spoke. He would be very kind, even if you burned his food because you were laughing and talking with your girlfriends instead of watching the cooking. He would just say, 'Ah, never mind'.
It is easy to be accurate if you have the freedom to be complicated, and it is very easy to be simple if you have the freedom to shade the truth. What's hard is to be simple and very accurate, and that takes work to figure out what are the simple truths that are going to sustain your case.
I think it's very valuable as an actor to throw yourself back into having that direct connection with an audience on-stage and work that muscle. It is a very different type of work and equally fascinating. I mean, I've very much in love with filmmaking because I really love the way you can tell stories with a camera and how music and everything contributes to the story in a very direct way. But I also think it's very valuable to come back to theatre, so if the right script came along I would love to come back to London and do some more.
When I met Akira Kurosawa in Japan, one question he asked me was, "How did you actually make the children act the way they do? I do have children in my films but I find that I reduce and reduce their presence until I have to get rid of them because there's no way that I can direct them." My own thought is that one is very grand, like an emperor on a horse, and it's very hard for a child to relate to that. In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them.
Country music... doesn't bend notes in the same way, so I suppose it's very English, really. Even though it's been very Americanized, it feels very close to me, to my roots, so to speak.
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