A Quote by Eberhard Weber
The way to compose for me is to have lots of time.
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What you compose with is neither here nor there, you compose with words, or you compose with stone plants and trees, or you compose with events; the Sheriff's officer, or whatever.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
Since I had children I have taken huge amounts of time off. In a way it's a really good thing, in this show business especially, to have lots of private time, having lots of time to be in the world to observe people and read and take care of my kids helps me to come back into work with a thrill.
Madam, you ask me how I compose. I compose sitting down.
The rich have lots of money. The wealthy have lots of time. I've done enough to have lots of time today to watch sunrises and get drenched in the rain.
But somehow, I felt no inclination to be interested in it in any amateur way, let alone professional, until suddenly I became interested. And the first thing I did was to compose: not play an instrument, but to compose.
You can't slot a time and a space and think 'ok now it's time to sit and compose.' It just doesn't work like that for me.
I'd like to believe that tomorrow is another challenge for me. I'm sure there is lots more for me to do, because there is lots and lots of stuff still to be explored.
Partly because of the way I write - I don't work with an outline or in a straight line. I work where I can see things happening, and so I get lots and lots of little bits to start with, and I'm doing the research at the same time.
As you might imagine, I'm approached by lots of organizations and lots of people who want me to support their various charitable efforts in some way. And I look at those requests, and I basically try to do what I can.
'TIME's spell-check always admonishes me whenever I compose a sentence in the passive voice, a warning that is often ignored by me.
The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.
If low taxes were the way that people like me created wealth, then we'd be starting our companies in the Congo or Somalia or Afghanistan, but we're not. We come to places where there are lots and lots of customers.
There are lots and lots of challenges that I wished - at the time - that I had done.There are lots of occasions where there were exciting things to be done but for some reason or another it was physically impossible for us to do them. I still wouldn't mind if I was able to go down into this most impressive valley in the Antarctic, but of course those things are beyond me now.
The only way for me to compose is intensively. To pick at it over a long period doesn't seem to work.
We can create the sensation of community through the accrual of actions, and that's often the clichéd way that storytelling is talked about, as someone taking a solo, and that's great for lots of reasons. But I don't really like to feel like I'm forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it's for lots of people, and it was created by lots of people, often.
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