A Quote by Jill Soloway
There's something about the kind of unconditional wild joy of creating that you have with your siblings that I am always trying to get back to.
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When you get a little bit older, you're always trying to do something different from your siblings.
Performance art is about joy, about making something that's so full of kind of a wild joy that you really can't put into words.
You better change your ways / And get really wild. / I want to tell you something / I wouldn't tell you no lie. / Wild women are the only kind / That really get by, / 'Cause Wild Women don't worry / Wild Women don't get the blues.
The idea of it was I was thinking about how when you're a kid you get this unconditional love and you spend the rest of your life trying to find that, but you can't because everyone's in it for their own thing. It's kind of cynical.
When you give something, just for the joy of creating, it always comes back on a much larger scale.
The marathon has so many elements to prepare for. I think that is one reason I always want to come back for more. There is always something to change in your preparation and I am still trying to discover what I am capable of. I guess I just love the challenge.
Every movie I make I find kind of excruciating. I get a lot back from it, but I feel like I'm kind of always working at the edge of my ability. I guess that's what I'm looking for when I go to work. I am trying to become the edge.
When I get ready to do an album, that means I have something to say for the sake of words, and I listen back to all of the things I've been creating and pull things from out of the air to go with them. It's almost like I start creating the album before I even think about creating it.
I had thought joy to be rather synonymous with happiness, but it seems now to be far less vulnerable than happiness. Joy seems to be a part of an unconditional wish to live, not holding back because life may not meet our preferences and expectations. Joy seems to be a function of the willingness to accept the whole, and to show up to meet with whatever is there. It has a kind of invincibility that attachment to any particular outcome would deny us.
We don't always get everything. And sometimes we worry too much about our circumstances. We think oh I'll be happy when I get my job back, or I'll be happy when I get a man back, but it's really about allowing God to give us joy now.
You kind of notice what's going on in your body, and you can kind of feel a certain tightening, or fear, which is something that, as an artist, I've kind of befriended. I can pretty much count on it for anything that I engage in - that thing like, "Am I going to be able to pull this off?" Well, what am I gonna do with this feeling? The more nervous you get, the more worried you get about it. So you pay attention to what you might need.
A Course In Miracles is a constant affirmation that you are created by an unconditional thought of love that appears to have lost itself in a world of fear. Freedom, joy and peace of mind are yours again, when you remember and re-connect to your unconditional self.
Success isn't about reaching your goals; it's about striving for things, like the joy of trying to raise a family, trying to be a successful singer, trying to write good songs, trying to be a better person. It's that old thing about life being about the journey, not the destination.
There is no joy other than the joy of creating. There is no man who is truly alive other than one who is creating. All others are just shadows on the earth with nothing to do with being alive. The joy of living, whether it is love or action, is the joy of creating.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
Most of the times that I've written break-up songs, it's been different because I was always trying to get back to something: get back to a situation or talk my way or sing my way back into the relationship.
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