A Quote by John Fahey
When I play, I very quickly put myself into a light hypnotic trance and compose while playing, drawing directly from the emotions.
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We are all in a post-hypnotic trance induced in early infancy.
A woman went so far as to hire private detectives to contact me to help bring her out of what she called a hypnotic trance.
Clearly recognizing what is happening inside us, and regarding what we see with an open, kind and loving heart, is what I call Radical Acceptance. If we are holding back from any part of our experience, if our heart shuts out any part of who we are and what we feel, we are fueling the fears and feelings of separation that sustain the trance of unworthiness. Radical Acceptance directly dismantles the very foundations of this trance.
What you compose with is neither here nor there, you compose with words, or you compose with stone plants and trees, or you compose with events; the Sheriff's officer, or whatever.
To play someone when the character masks their own emotions, doesn't understand their own emotions, has no release for their own emotions, and yet is full of emotion - that is a much harder character to play than someone who has somewhere to put it.
Acting has made me embrace my childhood. It's become some weird form of therapy. It's like I have a place where I can release all of these emotions. When I was playing Ira Hayes, I didn't have to think about the death of my parents directly. It's just there. I can blend it into Ira's character. I can use Ira's emotions as an outlet.
Bright light put me in a trance, but it ain't house music makes me wanna dance.
I don't meditate before I play or compose, but I see playing and composing as meditative acts.
I'm very lucky to be at this level and it is very hard to catch up. It is all about holding on and it is very important to learn from the other drivers. I tend to put a lot of pressure on myself, wanting to be very good very quickly, which forces me to up my game.
I can make music, but I can't play it. I read somewhere that Grieg couldn't play his A-minor piano concerts very well, but he could write. My role was to compose things, but not really play it.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
Bryan Cranston has got such an incredible light touch. He comes in egoless, but with bold opinions, and he wants to play. He wants to play. And that's what I've seen in great actors all my life and what I've always tried to nurture and keep in myself is that joy of playing.
When I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.
The word "photography" can be interpreted as "writing with light" or "drawing with light." Some photographers are producing beautiful photographs by drawing with light.. Some other photographers are trying to tell something with their photographs. They are writing with light.
I put myself in a trance before I even entered the gym. I'd lock myself in the office and go over the poundages from my last workout and visualize what I'm going to wear, how powerful I'm going to feel.
I find it very difficult to compose when I'm not playing.
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