I write songs when I need to. That's how I write songs: when there's something that's bugging me. If something's troubling me, and I don't really know how to articulate it to people directly - my friends, my family, or my girlfriend - then I'll write a song about it because I know I can articulate it that way.
There's something I want to say, and I haven't been able to articulate it yet, about how it's so rude when people don't admit that they have a nanny.
"How could you love something so destructive?" I ask. "Because this wolf doesn't care if your heart is whole or not," you say. "It tastes just the same."
I'm not criticizing how people experience what they might call spirituality. I am interested in looking critically at something else - at how people use their language to articulate theories about something they call religion, to say, for example, that "in Islam religion and politics necessarily go together," or to insist that "violence has no place in religion," to universalize it.
When I'm working on my characters, that's something I pay a lot of attention to: how their body works, how they move, how they articulate.
I feel as though I came to music with something to say. It wasn't like that when I was younger. I didn't have the ability to articulate what it was I wanted to say.
I'm not attracted to naturalism, I'm not attracted to behavior, I'm attracted to dance. I'm attracted to gesture, I'm attracted to singing with your voice, as opposed to having a natural manner. I'm a theater actor first, so that probably influences a lot of my approach. And I think in many ways, naturalism has ruined movies.
I'm not afraid to call a wine that tastes like Skittles or green peppers mixed with orange marmalade. I'll say, 'It tastes like chicken.' I mean, that's not what people think of when they think of wine, but that's what it tastes like to me and it hits home.
Tom Brokaw has friends who are actors, and yet he feels that, as bright as they are, they are not articulate. So he said how astonished he was that Sidney Poitier, with whom he'd just taped an interview, had been so articulate.
You know it's easy to say you shouldn't do something and then something happens and you say, 'Wow, I wish I would have done something.
You know it's easy to say you shouldn't do something and then something happens and you say, 'Wow, I wish I would have done something.'
I've liked different women at different times in my life. I've been attracted to white women. I've been attracted to black women. I've been attracted to Asian women. I've been attracted to various subspecies of women. I can say with gratitude that I've been able to experiment.
I spend quite a bit of time thinking about my students. I look at them, at their work, I listen to what they tell me, and try to figure out who they might become in the best of all possible worlds. This is not easy. Students try to give you clues; sometimes they look at you as if imploring you to understand something about them that they don't yet have the means to articulate. How can one succeed at this? And how can one do it 20 times over for all the students in a class? It's impossible, of course. I know this, but I try anyway. It's tiring.
For me, trying to articulate the world to help people see it in a way they haven't seen it before is hugely important. Sometimes, you have to take something that is completely inexplicable and say, 'Look, here is the beating heart of something you must understand.'
As a novelist, I suppose I can say that I'm highly articulate. But I know, as a person, in other ways, I'm not always articulate. I think we are all, from time to time, inarticulate, at some level, about some things.
I've always been attracted to the darker things in life. I was never one to go for light, airy stuff, even as a child. My whole aesthetic has always been one of the darker side. That rings true also in my tastes in music. It's just always something I've gravitated to naturally.