Whenever I write lyrics, in the back of my mind I always see a guy driving to work, driving to a really bad job, one of those horrible institutions, or one of those low squat buildings in Los Angeles. I write with that person in my mind.
When you see the Escalades and the Hummers driving down the street, at least in Los Angeles, this dry, flat desert with shopping malls, when you see someone driving one of those through this you're like, 'You are definitely part of the problem.'
I don't really like to write at a desk. I like to write when driving in a car. ... Once you're working on it, you're working on it all the time, and sometimes stuff'll come in the middle of the night, in a dream or something. Your mind is working on it all the time.
In Los Angeles, I feel like I'm wasting time while I'm driving, so now I listen to NPR and the 'Serial' podcast. I'm like, 'Yay! I can learn something while driving.'
There's one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says.
I always had this childhood image in the back of my mind of this fantastic place where all the things I liked came from; Orson Welles, jazz, all that stuff. Los Angeles is one of those places where somebodies become nobodies and nobodies become somebody.
Graphic public service announcements about texting and driving or drinking and driving serve a purpose: to see the imagery in your mind so your behavior will change.
I keep trying to tell people that Los Angeles is already the largest Indian city in the U.S., that there are Toltecs playing Little League baseball in Pasadena, Mayans making beds at the Marriott in Westwood, and Chichimecs driving buses in L.A. Los Angeles is a majority-Indian city.
I write a tiny fraction of what I used to write. My only job used to be to just write songs, and that was a really nice job to have, but only a tiny amount of people heard those songs, and I didn't make a living from it, and eventually I begged my parents to let me move back into my room.
I'm always writing, even when I'm not at my desk. I write on my hands. I used to write on my kids' hands, too, but they don't let me any more. When I'm driving I sometimes write all the way
up my arms.
I'm always writing, even when I'm not at my desk. I write on my hands. I used to write on my kids' hands, too, but they don't let me any more. When I'm driving I sometimes write all the way up my arms.
I don't really write with actors in mind; I write with characters and then hope desperately that we can get good actors to play those parts.
I keep thinking I'm going to miss it back in Los Angeles. But I don't. The only thing I miss is driving out in the desert in the Southwest.
I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
I think writing a book with film in mind is a way to write a really bad books. You can usually tell those books that are packaged to become films.
When I'm in Los Angeles, it's hard to be creative. For me, New Orleans is one of those places that's like a muse. You can hear music on the streets. There's a certain character the city has that inspires you when you're needing to write lyrics and come up with melodies and come up with rhythm and blues. The city has a pulse and it's an inspiration for me.
I write in the weirdest places. I wrote 'Girl on the Coast' in my car with the kids in the back and Eric driving. I just wrote the whole thing on my phone. I just typed out the lyrics.