A Quote by Janina Gavankar
I've always done the safest thing, which is to assume that it's going to feel like that, to assume that you're going to feel like a freshman in a group of seniors - if you expect the worst, then it's never going to be that bad.
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I don't ever assume that people are going to love or appreciate what I do. It would be great. I don't assume that they're not going to. I just am like, 'I'm going to do my absolute best at everything I do, and I'm going to put it out with pride and hope people enjoy it.'
There was a time in my 40s where I thought, oh, it's all over - not just work, but I'm never going to feel young again, I'm always going to feel like I know what's going to happen, I'll know what to expect. Looking back I don't know if that was a midlife crisis, I don't know - but I don't feel that now. There's possibilities. It gets better.
And it's best if you know a good thing is going to happen, like an eclipse or getting a microscope for Christmas. And it's bad if you know a bad thing is going to happen, like having a filling or going to France. But I think it is worst if you don't know whether it is a good thing or a bad thing which is going to happen.
One of the worst things anybody can do is assume. I think fools assume. If people have really got it together, they never assume anything. They believe, they work hard, and they prepare- but they don't assume.
Going through the grief period of my dad and losing him - that was the worst thing because you know when you get that call. When you are seven, eight years old, you have that almost vision in your mind of what that's going to be like and what your going to feel like and it doesn't prepare you.
When you're young, you're always wondering when you're actually going to feel like a grownup. And I think you probably fear it, in a sense, too. There's a danger to feeling like an adult... like this whimsical kid in you is going to die or something. And then all of a sudden, one day you kind of feel like an adult and it's really nice.
I feel like I am campaigning door to door. You just can't step out of a band like Brooks & Dunn and assume that it is just going to be business as usual. You have to work it. It does feel like a campaign where you would have Obama, Romney, or Newt beating the bushes right now. That's what I'm having to do.
I still feel like I don't know what I'm doing. Like, I'm unsure of what my life will be like. I mean, I have such an obsession with making movies that I probably will always do that. But sometimes my life can feel so suffocating, and then it can feel so massive, like I don't have a handle on it at all, and I don't know where it's going or what I'm going to do. Right now, I'm known for making movies. And I wonder if that's it. I don't know. It doesn't feel like it to me.
I literally make music for my wife and my friends. I don't feel beholden to my fans. I don't even really know who they are. But, I know that this whole thing started with me making stuff that I got off on, and I've gotta believe that that's how it's going to end, too. That's the only way it can go. There are a lot of artists who have gotten pretty caught up in that. That's why I like the defeatist attitude. Just assume that no one is going to like it and that no one cares, and you'll end up making something that you really like.
I feel like I'm a trendsetter. I try to always stay on the edge of everything I do, whether it be music, fashion, film. I just like to stay abreast of what's going on. What's going on in the street and what's going on in the hood I put in my music and I feel like a lot of people follow that.
I'm never going to stop because I had a bad game. I'm never going to stop because somebody thinks that I can't do something. I'm going to always play the way I feel I should play, because I wouldn't have got to here if I felt like I couldn't.
I went to London to do the stuff. I was like "What am I going to do? What's going to happen?" But then once you start working, you forget all that and you start enjoying what you're doing. Once you enjoy the process, you know that people are going to do the same thing. If you don't enjoy it and just do it like a job, then it's going to be feel that way. That's my theory of doing a movie.
If there is something that you have to do, resist the temptation to do it under duress. Ask yourself, "What's the worst thing that would happen if I didn't do this?" And if you can get away with not doing it at all, don't do it. And then imagine what would it feel like to have this done. Spend a day or two, if you can, just 15 minutes here, 5 minutes here, 2 minutes here, here and here, imagining it completed in a way that pleases you! And then, the next time you decide that you're going to take action about it, the action is going to be a whole lot easier.
Anthropological fieldwork is so much like writing a novel. Granted, you don't have the physical disruption and disorientation, but writing a novel is like entering a new culture. You don't know what the hell is going on. And every day you feel like you have nothing, you're going nowhere. Or you feel that first it's going somewhere, but then you get into that horrible middle part.
If you're going to run around, Ms. Pelosi, and you're going to say Republicans like the war, then can we also assume that Democrats like killing babies? Put that in whatever it is you smoke, Ms. Pelosi, and have fun with it.
A good collaboration I think it's really, truly a vibe thing. The people who are most excited about collaborations are people in the business, people who are thinking, "This is going to be great press," or, "This is going to expose you to all these people you haven't reached before." I prefer not to think like that. I'm more, if you meet the person, you like the person, you've talked to them, you feel connected, you feel like there's a creative exchange, then it kind of happens by itself. I'm open to it, but it has to feel right. If it feels forced, then I'm fearful of doing it.
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