A Quote by Jack Kerouac
In those days he really didn't know what he was talking about; that is to say, he was a young jailkid all hung-up on the wonderful possibilities of becoming a real intellectual, and he liked to talk in the tone and using the words, but in a jumbled way, that he had heard from 'real intellectuals.
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I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
Before I had published anything, I still hung out with people who liked to write. None of us had published, so there was no talk about the business, and there was probably a lot more angsty talk back then. But these days maybe there are some more laments about the culture, but I would say no.
For me music is central, so when one's talking about poetry, for the most part Plato's talking primarily about words, where I talk about notes, I talk about tone, I talk about timbre, I talk about rhythms.
I've been talking a lot about how music chooses you because you can pinpoint when you had the epiphany that, 'Wow, I really want to do this.' But there's no real rhyme or reason about choosing to be in this industry. It's one of those things where there is no real guarantee; there is no real rulebook to follow.
When you come to the Bay, we always had this slick talk. E-40 made it real famous. We make up words. We talk real funny. When you hang around a bunch of Bay cats, you're like, 'You guys are funny.' But that's our way.
I have a problem when people say something's real or not real, or normal or abnormal. The meaning of those words for me is very personal and subjective. I've always been confused and never had a clearcut understanding of the meaning of those kinds of words.
Being a nerd, which is to say going too far and caring too much about a subject, is the best way to make friends I know. For me, the spark that turns an acquaintance into a friend has usually been kindled by some shared enthusiasm . . . At fifteen, I couldn't say two words about the weather or how I was doing, but I could come up with a paragraph or two about the album Charlie Parker with Strings. In high school, I made the first real friends I ever had because one of them came up to me at lunch and started talking about the Cure.
For me, I don't talk about numbers. I've had big contracts my whole career; I just don't like talking about numbers if they're real or not real... whatever offers I've had, I always keep it private.
Well, I don't want to talk too much about my children, but a friend of one of my children, something really terrible happened to her. I just felt like I had to speak about growing up again, because I felt that there's no way I can talk about difficulties of life. I had to talk about possibilities.
When I'm talking to groups that are all men, we talk about how the masculine role limits them. They often want to talk about how they missed having real fathers, real loving, present fathers, because of the way that they tried to fit the picture of masculinity.
Often people think they know what they want, but what they really want is something that's genuine. So they'll be saying, "Do another one like that," but you liked that one because it's real. So as long as I keep it real and I do something that's real to me, you're going to feel it in the same way.
A more appropriate expansion is the statement "it is the responsibility of intellectuals to speak the truth and expose lies" a transcript of a talk to a writers conference in Australia in 1996, where I had been asked to talk on "writers and intellectual responsibility" - a question that I said I found "puzzling," because I knew of nothing to say about it beyond truisms, though these were perhaps worth affirming because they are "so commonly denied, if not in words, then in consistent practice."
As a child I wanted to be a grown-up. I wanted to know everything - not that I like to talk about it. I hate intellectual conversation with intellectuals because I only care about my opinion.
I think if something's emotionally real - and I'm not even talking about in movies or in art, but in life - you can't really argue with that, even if your intellectual mind might know differently.
I think, at some level, we see young people all over the country mobilizing around different issues, in which they're doing something that I haven't seen for a long time. And that is, they're linking issues together. You can't talk about police violence without talking about the militarization of society in general. You can't talk about the assault on public education unless you talk about the way in which capitalism defunds all public goods. You can't talk about the prison system without talking about widespread racism. You can't do that. They're making those connections.
It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.
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