A Quote by Jonathan Meiburg
It's not like I'm narrating stories with music behind them. It's all kind of one thing. You hope you can provoke a specific emotional reaction, but in ways that aren't quite plain.
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I really want to try to protect as much as I can, to safeguard peoples' first experience with a record. Because I want you to get the whole thing as one integrated piece, because it's not like I'm narrating stories with music behind them.
There is an art to acting, and there are techniques that are acquired. You can be as emotional as you'd like, as a person, but figuring out ways that you can bring specific emotions at specific times and have them be true, and relating to someone as someone that they're not, is a lot.
Rather than thinking in terms of a specific genre or specific kind of thing, I hope I can just stay relatively small and keep making my movies. If I can keep writing them and making them, I'll be happy.
In many ways, I've chosen to be plain, almost too plain, too self-effacing. Like, if I record a vocal and I don't like the way it sounds, I would have them turn it up and take the reverb off it to make it as plain as possible.
One thing I wasn't quite aware of is that when you are extremely outnumbered by a lot of girls, and they become comfortable, it is outrageous what kind of stories they tell behind closed doors.
I try to create a kind of dynamic thing that hopefully some people will become interested in. And what they do with it after that is sort of up to them. But it's a specific item, it's a specific thing that I've done. And what they do with it is their problem.
Daft Wee Stories' is, as the title says, daft wee stories. I just sort of rattled them out, tried to make them quite funny, with punchlines - they're kind of like sketches.
I like violence because I like looking at it and I like understanding emotional and physical violence and how they work with one another... It's operating in all these levels of hopefully - Oedipus is one of my favorite stories, that's like falling down a well when you read that - so that would be the hope, that each thing causes the next.
For the Tintin books were my emotional universe. To read them felt quite simply like being loved: in advance and by an entire world of pure possibility, my future. But to write to the author was to reach out for the lover. Even today, the power of reading one remains visceral: each book acts as a form of transportation, not just to the emotional landscape of this first literary love affair but to very specific memories.
Names generate meaning in a short amount of space — they provoke thoughts, questions. That's something I like doing. Of course, you have to be careful. Sometimes it can alienate the reader, it can be another level of mediation, to make a character carry the great burden of a metaphoric name. The character can be a device before he or she becomes a person, and that can be a bad thing for a writer who wants to offer up a kind of emotional proximity in the work. It's a constant struggle, the desire to be playful and the desire to communicate on some very stark emotional level.
I've become kind of a haven for people who like pop music, but that's not the only thing they like. They also like music in general and want to be able to expand their own horizons. They haven't completely given up on music and are willing to have somebody mediate new things that are happening in music to them.
The most important thing is to illicit some reaction, good or bad. If some people are repellent to me, so be it. If some people are attracted to me, great. At the end, that's the object of entertainment - you want to provoke a reaction.
I still read romance, and I read suspense. I read them both. And part of it is, I like stories with strong characters, and I like stories where there's closure at the end. And I like stories where there's hope. That's a kind of empowerment. I think romance novels are very empowering, and I think suspense novels are, too.
I like [Count] Olaf's wardrobe, because the whole thing seems like it should be a period piece in many ways, and yet the date is non-specific. So I would wear cloaks and jackets, but also turtlenecks. I was a little beatnik, and kind of hipster in that way.
It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.
I'm really into everything. Something I've been asked throughout the years I've done the show is, "What kind of music are you into?" I find that to be a bizarre question, because it implies there are people out there that are only into one specific kind of music. But I think I, like most people, enjoy a wide variety of music.
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