A Quote by Gilbert O'Sullivan
The music is the thing. I am not writing for critics; I don't want to become a personality.
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I don't make personality-driven music. Personality stagnates, people become tired of it. When it is purely about the music, that is what gives it longevity.
It was a natural thing for me to go become a musician, and then to start writing music. I don't even really remember making a decision to go into music, it was just there for me, always. If I weren't making a living at it, I'd still be writing music.
The only thing I want to be defined by is my music and personality.
The most durable thing in writing is style. It is a projection of personality and you have to have a personality before you can project it. It is the product of emotion and perception.
I have been a writer since 1949. I am self-taught. I have no theories about writing that might help others. When I write, I simply become what I seemingly must become. I am six feet two and weigh nearly two hundred pounds and am badly coordinated, except when I swim. All that borrowed meat does the writing. In the water I am beautiful.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
I want any kid who listens to my music to see that I am confident with all elements of my personality that I can't change.
When I am doing music, I sometimes become over compulsive to 'always make some new music'. I think I am like this because I sense what others are perceiving me as. If I work extraordinarily hard because of these expectations, I will, but I just cannot produce the good music that I want.
It's this funny thing now: You sign up to be a musician because you want to write music, but you don't spend your time writing music. Instead, you go around the world selling the music you've already made.
I think that female musicians are constantly fighting an uphill battle in general. Even when I'm not writing heartbreak songs... the fact that songwriting is so difficult and music criticism has become so content driven means that sometimes critics can go for the easy descriptors rather than an in-depth analysis.
Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but thats what it has become, and that’s why no one cares about them anymore.
I am always writing a potpourri of music. I want to give the world escapism through the wonder of great music and to reach the masses.
I want people to come to my music without prejudice. I want them to get the music first. And who I am isn't that important. If they like the songs to me that's a good thing.
Who are critics? Do they know about music? Have they proved themselves in the field? I remember, when we came up with the music of 'Dil Chahta Hai,' some of the critics said that the songs sounded like jingles.
So much of the effort that goes into writing prose for me is about making sentences that capture the music that I'm hearing in my head. It takes a lot of work, writing, writing, and rewriting to get the music exactly the way you want it to be.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
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