A Quote by Harvey Pekar
Sometimes I want to convey something complex philosophically, and sometimes I just want to portray myself in a situation that I think other people have been in many times, but it hasn't been written about much.
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I think that there are just people who are hurting other people, sometimes for the best of intentions and sometimes for the worst. In different times in my life, I've been the hero and I've been the villain. I also think that we're all evil sometimes.
I think of myself as a serious artist. Sometimes you can get in your head too much about that and forget that you have to have fun. I've been guilty in my career about that at times. But the more I thought about it, the more I thought I didn't want anybody else to have a hit with it!
Sometimes I wonder about my life. I lead a small life - well, valuable, but small - and sometimes I wonder, do I do it because I like it, or because I haven't been brave? So much of what I see reminds me of something I read in a book, when shouldn't it be the other way around? I don't really want an answer. I just want to send this cosmic question out into the void. So good night, dear void. - You've Got Mail
I find interesting characters or lessons that resonate with people and sometimes I write about them in the sports pages, sometimes I write them in a column, sometimes in a novel, sometimes a play or sometimes in nonfiction. But at the core I always say to myself, 'Is there a story here? Is this something people want to read?'
There are always times when you don't want to go to the rink, or you don't want to do all the things you're supposed to do. Sometimes you're exhausted, or it's been a long week, but I always remind myself that this is my Olympic dream and the passion, because I love the sport very much.
If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.
I always freak out when people ask me about my favorite bands or my five favorite records, I just can never do that because it goes through different waves and sometimes you want to listen to something and at other times you want to listen to something else so I don't know.
Sometimes, when I have to learn the lines in German and French, it's that much more difficult because it doesn't just sink in automatically, organically. I have to memorize it. It's a tricky thing, as well, as when you improvise, sometimes you want to say something but you don't know how to put it. It's more difficult than in your mother tongue. It's a challenge but, at the age of fifteen, I put myself up for it and I was aware that it would be an obstacle and many times.
Voiceover work, I really enjoy. I don't get to do too much of it, but I've been doing more lately, and I like it because you get to do a bunch of options, one after the other, and you can go as big as you want or as small as you want, and you don't think about it sometimes.
For me, it's never been an ego situation where I have been "I'm the boss; expletive you." It's always been a situation where someone comes to me and says "I can't tolerate working with you anymore" and I would admit sometimes I wouldn't blame them for that. But I also sometimes think I'm not that difficult to figure out. I don't really know what has driven people to be so angry and bitter - people like my old keyboard player Pogo, who I've known for such a long time. I feel bad for him, but there are grievances with everything.
Sometimes I want to do something that's really funny and other times I read an indie script that is going to be made for nothing but I want to do it because I think that I can connect with something in the story.
It's about showing up. And sometimes I don't do it. I almost always regret it, but sometimes I don't do it. Sometimes I walk into a situation where I'm intimidated and I want to be liked and I want to fit in, and I don't choose authenticity. And it's always pretty miserable.
I've been trying to immerse myself in the narratives of other people. I try to not isolate myself as much. It is really hard. People that are sensitive, you just feel too porous sometimes. There's this inertia that sets in, and it's hard to get out of bed. I think knowing that other people go through it is really reassuring.
Sometimes it's about the economic situation and sometimes it's about the fear of others. Sometimes it's about protecting the generally accepted values. If you look at history, history is just a succession of people meeting other people, either through commerce, voyages or wars.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
I think that if you look at all of the books that have ever been written about people working in the White House, they're sort of the opposite of my book. And I think that so many people want to write a book that sort of memorializes their place in history. And I wanted to write something for all of the women who are like me. I grew up in upstate New York, I graduated high school with 70 other people and didn't ever know that anything like this would have really been an option for me. So I wanted other young women — and men — to know that just being you is plenty.
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