A Quote by Jacob Collier
Djesse,' essentially, is this spirit. It's this sort of character, very much with some childlike energy, which permeates all of this music... The first album represents kind of pre-dawn, to that moment at the end of the morning when everything's very much alive.
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I suppose for me, with 'Djesse,' I realized fairly early in the process that I also needed a character to walk this path, which in some ways is me, and in some ways is not me. I think of Djesse a bit like the infinite child who can see everything and walk into everything as light as a feather and just alchemize.
It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.
David's [Cunningham] a very interesting character. He has more integrity than is good for him. So, everything he did after that sort of undermined what he'd done. Other people who kind of took life more cheaply, would have really gone for it. David almost did everything he could to scupper the whole thing, which I very much admire, but of course it was deeply irritating then, because we wanted to make a bit of money! So we made this very catchy tune and then he added a bunch of weird stuff which was all very strange.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
I think pretty much all people who love each other had some kind of thing at first sight. I mean, there has to be some kind of moment where you, like, feel a different energy around someone.
It's funny, because music is one of those things it is natural to go into. You hear it so much growing up, it kind of permeates you and eventually you spew out some music of your own.
In terms of exploring an identity in the country music world, what I realized very quickly was that there are people who have been performing country music since they were kids. It's very much a part of who they are; very much that jazz and blues are a part of who I am, because I grew up listening to and playing that kind of music.
I try to mix the fashion with the music and what's going on at the time...at the time [when my uniform was black on black] I was putting together an album, my album was my name at the time; very minimal, very stripped down, very everything but it still had and have to have some level of pop.
I think the Hulk has always appealed very strongly to much younger readers than Spider-Man, because Spider-Man is an adolescent character, and the Hulk is a very childlike character.
Everything you do is so personal. In the end, it doesn't matter so much if you write about your own life or not. It's going to be as much artifice when it comes out as a piece of music. Everything is in character in a way. But that's a great thing.
I think Dexter is a man who ... a part of himself is very much frozen, or arrested in a place that is pre-memory, pre-conscious, pre-verbal. Something very traumatic happened to him, he doesn't know what that is. And I think on some level he wants to know. He denies his humanity, he describes himself as someone who is without feeling, and yet I think that he maybe suspects - in a way that maybe isn't even conscious yet when we first meet him - that he is in fact a human being.
I pray for what I have always prayed for: the restoration of our constitution and absolute freedom for the people of Cuba. That dream is very much alive, that fight is very much alive.
It's always a challenge to hit the stage running, with Kansas' music, because it's demanding from the very first note, so we try to be up to the task and keep our pre-show routine pretty much focused on the music.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
All the songs that were written for that album are just all our first sophomore songs. So they're all from real life. Very sweet and very innocent. I think the theme of the album probably was just that it was our first record. ... Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.
All spiritual things must have in them a childlike quality. The belief in immortality rests not very much on the hope of going on. Few of us want to do that, but we would like very much to begin again.
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