A Quote by Debra Granik

My first decade of living in a metropolis was like, I was a people watcher. It meant the world to me to talk to strangers. I got excited about the fifth time I'd see the same person in the same bodega. I loved getting to know a certain clerk or barista. It took on a whole big meaning for me because of that atomization that suburban people do start to feel.
I've talked about tall poppy syndrome when I see people. I used to be like, 'Why am I feeling this way? What is that person taking from me that makes me feel inadequate?' That same feeling you feel when you feel uncomfortable because people start talking about racism, lean into that feeling, don't just look away from it, because you can't pretend.
You know, people get frustrated because their loved ones who have Alzheimer's, oh, he doesn't recognize me anymore, how can I recognize this person, if they don't recognize me? They're not the same person. Well, they are the same person, but they've got a brain disease. And it's not their fault they've got this disease.
I was in college - Carnegie Mellon, which is one of the reasons Pittsburgh was appealing to me - and I personally feel that whole world of what we used to call "college radio" is a big part of what kept me sane through a period where I stopped dating, I felt like a freak, I felt like no girl would like me. You know, a very adolescent response to losing my hair. I turned to obsessing about The Replacements and The Smiths and R.E.M. and getting further into The Velvet Underground. People who, in my sheltered suburban life, I knew of, but didn't know fully.
Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
I feel like I'm the same scientist I was back when I couldn't get a grant. Now I'm that same person thinking that same way getting grants. That system of external rewards in science has always mystified me. It's fickle. And I also don't think it was constructed with people like me in mind.
I would agree with that. But when I write lyrics, personally I don't care if the person who is listening to it understands what I'm saying or not; and I write them like that specifically. You know, I have my views; I don't feel the need to have people have the same views as me. So if they find the meaning in the songs and it's the same meaning as the one I intended then fine and dandy and if they don't, they don't.
It meant the world to see kids excited about theatre. That's the great thing about 'Hamilton' for me is to see young people who wouldn't normally think theatre is cool being really excited about how it works and getting involved.
I've always loved to sing with somewhat vague lyrics so people can have their own interpretation and find their own meaning with it. I've become a bit more comfortable speaking about personal matters within the lyrics, but at the same time, there is an element where I'm not always sure how far I want to take it. There are certain topics that I'm discussing that I haven't explicitly explained to my bandmates. That's just for me to know, and I'm not going to talk about it anywhere.
When I was on Taransay, I loved being part of a community, I loved that everyone knew what I was doing, where I was going. I loved that. I liked knowing that if I wasn't back at a certain time people would start worrying a little bit about me, I loved the whole community thing, sitting for hours and chatting to people.
All the songs are written from the perspective of a person, being me, who had trouble with some of the big questions in life, like, are we meant to be together with the same person for the rest of our lives? Or, is it frowned upon if a man goes through many women at all times? What is the meaning of love versus sex? It's just a lot of big questions, I guess, that are really difficult to answer. People see it very differently, but people sometimes suppress their lust. And it's not only sex. It could be lusting for anything that's supposedly very bad for you but can be good for you, too.
For a long time I've walked through this world with the desire, like in Rear Window, to look into other people's lives because I know that there is a way in which I am the same as so many of the strangers that I see.
I don't feel like a wealthy person. Other people think of me as a wealthy person, but I don't. I feel the same as when I was a fifth-year associate trying to make partner at Lehman Brothers. I haven't changed.
I'm a very private person, so obviously I don't enjoy talking about more personal matters. But at the same time I care very much about my work and I would like people to know that it exists. So I appreciate that there's a meeting point, where I would like people to know about the work that I'm doing, and that requires me to talk about it.
It's like people you see sometimes, and you can't imagine what it would be like to be that person, whether it's somebody in a wheelchair or somebody who can't talk. Only, I know that I'm that person to other people, maybe to every single person in that whole auditorium. To me, though, I'm just me. An ordinary kid.
With 'Believe' bringing really big success for me outside of the U.K. for the first time, it meant I have been touring around the world and that led to a gap from the studio. I really feel like the gap has done me the world of good. Throughout that time I was able to collect songs that I really loved.
I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last. Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
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