A Quote by Jonathan Demme
I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.
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Some fast food places, they have that ketchup pump. It's like a keg. They give you the paper shot glass. I always like to hang around there, try and meet the ladies. "Here, I'll pump for you. You come to this Wendy's often? My roommate and I, we got a pony pump back at my dorm. Here's an extra shot "
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
It's been stress and drama for a long time now, man. So much has happened. I got shot five times by some dudes who were trying to rub me out. But God is great. He let me come back. But, when I look at the last few years, it's not like everybody just did me wrong. I made some mistakes. But I'm ready to move on.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
I think it's just really good to be honest with yourself and if I'm not feeling up for something I have no problem staying in my room in ordering some food and relaxing and managing my energy and kind of just checking in with myself throughout the day.
As you move to the top, remember the story of the pump. If you start pumping casually or half -heartedly, you will pump forever before anything happens. Pump hard to begin with and keep it up until you get that water flowing. Then a great deal will happen.
I like to always be able to contest shots. If you play against a player like Al Jefferson - he likes to pump-fake, so you need to be alert and quick. If he pump-fakes you and you go up, when you come back you need to go right back up to contest his shot.
I suppose nowadays it's all a question of surgery, isn't it? Of course the notion is beautiful, the idea of staying a boy and a child forever, and I think you can. I have known plenty of people who, in their later years, had the energy of children and the kind of curiosity and fascination with things like little children. I think we can keep that, and I think it's important to keep that part of staying young. But I also think it's great fun growing old.
I can always make things longer than I intend for them to be, but cutting things down is just brutal. It's like cutting off your fingers every time you lose a word.
The main three components are the blues, improvisation - which is some kind of element that people are trying to make it up - and swing, which means even though they're making up music, they're trying to make it up together. It feels great, like you're having a great conversation with somebody.
The best advice that I've gotten from Nas is honestly to just be me and to keep staying true to myself. It took me a long time to figure out how to pop, but then, when you get famous, people are kind of like, 'Oh, well, we don't want as much of you.'
I'm a big believer than a great bit is a great bit - if I go and see someone I love, like Robert Klein. I want to hear some classics and some new stuff. But a great stand-up bit takes a long time to really polish and perfect, and they're beautiful things when they're done.
I think whatever nation or whoever develops one artificial intelligence will probably make it so that artificial intelligence always stays ahead of any other developing artificial intelligence at any other point in time. It might even do things like send viruses to a second artificial intelligence, just so it can wipe it out, to protect its grounds. It's gonna be very similar to national politics.
When I finally finished the 'Two Suns' tour, which went on for quite a long time, I felt like a bit of a husk. And I remember thinking, 'I need to spend some time in one place, and just be at home.' So I guess the first year of that three and a half years was spent just trying to kind of get back to normal again.
The first time I came to the Comedy Festival some nutcase shot a bunch of people in Tasmania. I thought, 'Oh, that's just Tasmania.' The second time I came, some nut shot up Columbine High School. Now I'm here again, and another nut just shot up a high school in Minnesota. If you can't see the connection between me playing the Comedy Festival and mass murder, you're no good at conspiracy theories.
[W]hen you're shooting a doc, you're trying to class it up because you can. You know, you're trying to make this feel like cinematic experience. And when you're doing fiction you're trying to do the opposite thing you're trying to take this very artificial experience this very artificial experience and make it feel real and visceral.
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