The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.
What I learned in 'Sons' is that I would come in with a blueprint of a season and how it would go, and I realized that the looser my grip was, the better it became because the story found itself. Things happened as I wanted them to in terms of the bigger mile markers, but the fun part was I never knew how we would get there.
I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.
I love telling stories, but I also am more aware now of how complex reality is and how difficult it is to really explain what happened or how I felt. Maybe that sometimes makes me a little bit vague, because I don't want to really put my finger on anything or set it in stone.
I actually don't remember Apollo 11 exactly because, at the time, I was five years old. The landing happened at night, and the walk on the moon happened at night eastern time, and I asked my parents; my mom said I was probably asleep, and so I just don't have any recollection. I do have recollection of the later missions to the moon.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
Whatever had happened to him [Newt] out there โ maybe even related to his lingering ankle injury โ had been truly awful.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
I absolutely do not think that I have even a vague recollection of what normal life is like.
I've hung around in absolute exhaustion and starvation waiting for an idea to hit, which might have been months. I've talked things over with editors, found out what they wanted, and when they wanted it delivered.
Coding is like writing, and we live in a time of the new industrial revolution. What's happened is that maybe everybody knows how to use computers, like they know how to read, but they don't know how to write.
I was delighted when I found out that Atletico wanted to take me back. It's the best thing that could have happened to me.
I was 19 years when I got into acting training classes at a TV station and then I found a way to express my feelings. My father left us when I was a kid and I just shut down all of my emotions. I wasn't talkative; I didn't know how to communicate with people. I tried to separate from people. After I got into the classes I found a way of expressing myself through characters. I can cry behind a character, I can shout behind a character and it became a relief. And it's fun.
Chris Hillman (of the Byrds) recounts...'What happened to the Buffulo Springfield at the Whisky was similar to what happened to us at Ciro's...everybody wanted to be there. It became the place to be...a great gig.'
I was fortunate to write pretty much a year out of film school and start making movies in the Hollywood studio system. But with each progressive film it became more frustrating not being able to speak and say things I wanted to say.
It's weird because when you initially write a song, you write it with no understanding that the world is maybe going to hear it one day. So when you go into the studio, you don't see the hundreds of people at a gig or the viewers on TV, you just write a song without any inhibitions or boundaries.
I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.