A Quote by James Frey
I've always said I'm more influenced in what I do by artists, and how they work, how they think, and the freedom they're given to work and think, than I really am by other writers.
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Artists don't compare themselves to each other based on money. Nobody really knows what money other artists have. They don't care that much. The measure is the work and how you think your work is perceived. How the museums are. How you are doing.
I think everyone is always asking themselves, How is my work meaningful, how is my life meaningful? As I get older, I feel like who I am as a person and a citizen is more important than who I am in my work. But I do think it reframed slightly for me, how much I have to care about a project in order to want to do it. Sometimes, obviously, you have a take a job for money. But I think I'm quicker now when I get a script that's, say, borderline misogynist, I'm not going to go in for it. I'm thinking more about what I'm putting into the world.
As an undergraduate, I took two writing workshops taught by Elizabeth Hardwick. She was certainly a major influence, though more as a writer I greatly admired than as a teacher. As for other writers, I think it's safe to say that my work has been and continues to be influenced to one degree or another by every writer whose work I love and admire.
Being in a relationship, I only appreciate when I come home from work how much I've given of myself at work or how depleted I am, and I sometimes worry that I've given all my best energy to my work, and all I can offer you is the emptied out shell.
I really need to work. People think that I'm no longer interested in acting and only interested in work-ing with the animals. Obviously I have given that impression, but it is not how I feel. I think I'm a good actor. I think I look OK. I don't understand why I'm not working all the time.
I think, initially, working on your own is really great because it allows you to just be really free and not worry about how things are perceived or if people are going to think you're an idiot. And once that becomes ingrained, at least for me, I think I'll feel really comfortable to work with other people and still feel that same freedom.
I think it's a mistake to work on success in career. I've worked on my passions obsessively. How can I say what I want to say more precisely than the last time I said it? Success is such an elusive concept. When you work for it, I think you get it in a way you might regret it.
I think it's almost a unique control that artists can have now more than they ever did, I think if you don't be proactive about how you want your music to be visually represented, I think other people will do it for you - so how comfortable are you with people putting their own two cents on it?
Art movements are always linked to some kind of turmoil. We can look at history and see that [political turmoil is] fertile ground for art. I also think that it gives artists something, a way of kind of processing. My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world. Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process"?
Computers are so deeply stupid. What bother me most when they talk about technology is they don't realize how much more exciting their minds are. That machine is stupid. And boring. It does just a few things and then it'll crash. People think, 'I am on the Net, I am in touch with the world'. Wrong! The point is how we work, not how machines work.
You know, artists are influenced by other artists. We're all deeply influenced by what's around us; we don't make anything cold. Sometimes we think that we do. But within that, the most important part is that even though we're influenced, what are the levels of invention that we carry forth even as we've been influenced by something that's come before?
I start every day by wanting more for others than I do for myself. I think that is how God works, and that is how I think we have to work.
In a small club you have to do everything: negotiate with the bus company, do all the contracts, all the press work, all the coaching work. It was really exhausting. There was very little time for other experiences and to see how other coaches work and how people work in different countries.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
People sometimes focus on the red button hot topic issues and I'm, like, you know, who cares about priestly celibacy? I'm thinking about how am I forgiving my enemies? How am I turning the other cheek? How am I loving my neighbor as myself? To me that's 10,000 times more difficult than to say should priests be married or not be married? I'm, like, I think we're wasting all out energies on the wrong thing. Let's work on the most difficult stuff.
I feel more influenced in my own work by dreams than I do by other writers' works in a way. Or by popular culture, movies - what else is there to write about than love and loss?
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