A Quote by Julia Davis
I sometimes write in a cafe down the road from my house now because I feel guilty trying to work if I can hear them playing. I invariably end up sat in a corner, depressed, retreating into my own world.
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We have picked up people full of worms from the streets, cared for them and let them die in peace and love. When they are brought to our home, they feel they are in their own homes, with their own families. Now, I am trying to open a house for AIDS victims here (in Delhi). The people are dying because of it.
And now, dear sister, I must leave this house or the retreating army will make me a prisoner in it by filling up the road I am directed to take.
Although, my experience when I've been depressed, not only am I too depressed to sit down and write a song, I'm too depressed to pick up my feet. So if you can at least write about it, you're halfway away from it.
As soon as I sat down to write music, really, with Café Blue. I just can't think about that when I sit down to write. I don't let myself. I actually don't allow myself to look at sales figures. Ever. I get the general impression that I'm not selling like Norah Jones, but I don't really pay too much attention, because I think it would corrupt me.
I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices, you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
Who decides what is and what isn't punk? I want to write songs that people hear and feel, and I want to be successful and reach a big audience. I'm not trying to be the coolest guy in the world; I'm trying to write songs that mean something to people. As you get successful, sometimes you lose one set of fans and gain another.
Now I don't really write for adults or kids - I don't write for kids, I write about them. I think you need to do that, otherwise you end up preaching down.
Enlightened teachers get all sorts of assignments. Sometimes we end up in the higher astral; sometimes we end up in the realm of pure spirit; sometimes we end up in the desire realms. Sometimes we go down to the lower astral to teach, you don't really teach there, you just sort of are, because everybody is confused.
The further you go in writing the more alone you are. Most of your best and oldest friends die. Others move away. You do not see them except rarely, but you write and have much the same contact with them as though you were together at the café in the old days. You exchange comic, sometimes cheerfully obscene and irresponsible letters, and it is almost as good as talking. But you are more alone because that is how you must work and the time to work is shorter all the time and if you waste it you feel you have committed a sin for which there is no forgiveness.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
I think sharks are beautiful creatures, and I don't think we should stop going in the ocean because of them. You drive down the road and you get in an accident, but most people end up driving down the road again. Surfing is you're going into their home and it's just a natural part of life.
It used to be you sat up in your attic and wrote and went down to a local cafe and talked with people there.
It's much easier to write when you're sad. But you can end up isolated and depressed because you almost need to put yourself in that situation to have that angst to write from.
I'm trying to figure out how to record at home because I have a tiny house and a seven-year-old and my wife also works at home. So I can't work in the house because she's trying to write, so I pitched a tent in the backyard. I'm literally trying to record in the tent.
Loneliness is a hard thing to handle. I feel it, sometimes. When I do, I want it to end. Sometimes, when you're near someone, when you touch them on some level that is deeper than the uselessly structured formality of casual civilized interaction, there's a sense of satisfaction in it. Or at least, there is for me. It doesn't have to be someone particularly nice. You don't have to like them. You don't even have to want to work with them. You might even want to punch them in the nose. Sometimes just making that connection is its own experience, its own reward.
What work do I have to do then?" said Will, but went on at once, "No, on second thought, don't tell me. I shall decide what I do. If you say my work is fighting, or healing, or exploring, or whatever you might say, I'll always be thinking about it. And if I do end up doing that, I'll be resentful because it'll feel as if I didn't have a choice, and if I don't do it, I'll feel guilty because I should. Whatever I do, I will choose it, no one else.
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