A Quote by Jools Holland
I have realised how exciting and easy it is to be a time traveller by looking at paintings and films and architecture and playing music or listening to it. I don't think you necessarily have to live in the present all the time.
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It is exciting to write about the present once one gets beyond the trivia of the moment. As a time to live in, as a time to think about, the present is intriguing.
I think that films or indeed any art work should be made in a way that they are infinitely viewable; so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.
Once I grew up and realised 'What am I doing?' I started re-listening to the music I was playing and I realised there was so much finesse - it was dynamic and simple but I wanted to be authentic to the original songs.
If a director says he doesn't care how many people see his films at all, I simply don't believe him. Otherwise why would he bother to make the film? The only explanation would be that it would be an act of masturbation. I think that every creator is looking for a receptor. He's looking for an audience. There are two parts of the equation: a creator and, necessarily, the receiver of the work. It's the same thing for a painter who wants his paintings to be seen.
We always live at the time we live and not at some other time, and only by extracting at each present time the full meaning of each present experience are we prepared for doing the same thing in the future.
Life is like music for its own sake. We are living in an eternal now, and when we listen to music we are not listening to the past, we are not listening to the future, we are listening to an expanded present.
Paintings exist in the present tense, yet somehow, because of how it's structured, it can move backwards through time as well.
Of what use is the universe? What is the practical application of a million galaxies? Yet just because it has no use, it has a use - which may sound like a paradox, but is not. What, for instance, is the use of playing music? If you play to make money, to outdo some other artist, to be a person of culture, or to improve your mind, you are not really playing - for your mind is not on the music. You don't swing. When you come to think of it, playing or listening to music is a pure luxury, an addiction, a waste of valuable time and money for nothing more than making elaborate patterns of sound.
By the time I finished my first three films, I realised this is something I want to do for a long time, learn, and grow in.
I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.
I think when you're young and you get together with a group of guys who think like you and you start to make something that moves you as a group of people and you have a common goal, that's an exciting time. The more years you put behind you, hopefully making music that surpasses what you did before, you're playing bigger places and it kind of weirdly becomes a business. In my opinion young bands have a shelf life and it ranges in time.
Think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger because he's already visited them in paintings, novels, history books and films. But if a city hasn't been used by an artist, not even the inhabitants live there imaginatively.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
Because we're playing tournaments week in and week out I'd think to myself, 'What's the point in practising?' You have no down time to yourself and you're looking for some to spend with your family and friends. But I've now realised that with the game so cut-throat and standards going up every week, it doesn't work.
It is all about being open and paying attention to the music in your head. I think most people have original music playing in their heads from time to time.
I began observing, making paintings of my surroundings, taking a vow of silence, listening, composing music, writing, and making time for formal education. Then I started telling stories.
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