A Quote by Jim Walton
I'm not trying to be coy here; we're just not prepared to give a lot of detail about our thinking, but we will be making some announcements in the coming months.
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We know there are a lot of good secondaries out there. We are just trying to focus on what we can do to get better. We've got some new, young guys coming in and we are trying to catch them up to speed. We are trying to make sure that we have depth, making sure the guys behind us know what is going on. We are going to keep pushing each other to raise the standard for our secondary.
For us it's always about making sure that there's substance, that things are well thought out, they're real, they're going to happen versus just haphazardly making Hollywood type announcements. So that's where we are there [on Comic-Con], just making sure that when we do something to say that it's something.
Give death announcements each time you move instead of giving announcements of the change of address. Send the same when you die.
The biggest problem I have with the stupidity of our foreign policy, we have Mosul. They think a lot of the ISIS leaders are in Mosul. So we have announcements coming out of Washington and coming out of Iraq, we will be attacking Mosul in three weeks or four weeks. Well, all of these bad leaders from ISIS are leaving Mosul. Why can't they do it quietly?
I think maybe that as time goes by there will be more newness but because I was part of what it was before it's not like coming into a house and saying it's all about me. I don't feel like that. It really is all about McQueen and the things that he was trying to say and about moving that forward, making it relevant, making it desirable, making it into what people want to wear.
I think in most cases, when you're writing a song, you're just making up a little story, and you're not really thinking about making a point one way or another about it. You're just coming up with a little scenario and seeing it through, and that's it.
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
I think before Twitter people didn't think that way, not in any sort of meaningful or specific way, so what I'm trying to say, if we're trying a bunch of stuff, a lot of cool and great social stuff, a lot of platform stuff, then some of it will stick, and some of it will be junked over. Some of it will be just like the cell phone, you can't imagine not having it.
I think all people are familiar with thinking about their death and trying to come to terms with the fact that we will, at some point, no longer exist. The loss of one's ego is very tough to reconcile with; you really have to do a lot of mental gymnastics to wrap your head around the idea of just not existing anymore.
It's a beautiful book [Into the Forest], so for those who are thinking about reading it, they absolutely should. First and foremost, I just devoured it, as a story. At that time, and still, it just encompassed a lot of things that I was thinking about, and that the world is thinking about, with society's relationship to the environment, our personal relationship to it, and how disconnected we are from it, myself included.
I just went into the studio and did it all in one take. All I was thinking about was the next record; I had already sourced the tracks I wanted to use. I'd been thinking a lot about it and I wanted to represent myself, Leeds and fabric. I'm not very nationalistic, but I wanted to represent what was coming out of Britain as well as at the moment there's a lot of really good new music.
Hands down, the hardest part for me is coming up with an idea. I spend about 14 months writing a book, and that's a lot of hours spent thinking about a single project. I simply have to love the idea. I'll go through dozens of workable ideas until I find the one that lights my fire.
When we think about making the people in the audience happy, or trying to make them feel something, it kind of goes to waste. Usually we have our best skates when we just think about each other, and we just think about being in unison, and think about the program we're trying to do.
Depression is a lot like that: slowly, over the years, the data will accumulate in your heart and mind, a computer program for total negativity will build into your system, making life feel more and more unbearale. But you won't even notice it coming on, thinking that it is somehow normal, something about getter older, about turning eight or about turning twelve or turning fifteeen, and then one day you realize that your entire life is just awful, not worth living, a horror and a black blot on the white terrain of human existence. One morning you wake up afraid you are going to live.
Sometimes I start doing the remix and I just can't find anything good, so I just decline after trying. And I never give a remix if I don't like it. That makes some people angry, but I'm not a production house making remixes, and I try to do them in an artistic way, not trying to repeat myself.
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