A Quote by Kano
Both are about telling stories and bringing truth to those stories. In most of my music it's firsthand experience, and some of the same rules apply in TV. The difference in music is the control, whereas doing this, it's someone else's words that you can play in your own way.
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In most of my music it's firsthand experience, and some of the same rules apply in TV. The difference in music is the control, whereas doing this, it's someone else's words that you can play in your own way.
Life is a story. You and I are telling stories; they may suck, but we are telling stories. And we tell stories about the things that we want. So you go through your bank account, and those are things you have told stories about.
Why the connection with musicians? I think it's because in the end we're doing very similar things - we're telling stories, we're using poetic, lyrical language, and we're distilling stories down into their simplest form. We're both telling a story in two languages - word and music for them; and word and image for me.
AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?
If you read about a tree, and there is a description, you have to grow that tree in your mind. So that's an active way of looking at media, whereas a movie or a TV will be passive, because they are showing you the tree. In the same way, when somebody sings a song for you, those words get so much in the foreground, that even if you take a minor key of music and then put like happy lyrics to it and people think it's a happy song. So, in a song, you are told what to feel, whereas, in an instrumental music, you get as much out of it as you are willing to put into it.
My favorite thing in the world is telling stories, and most of what I do is telling stories through music.
I like the way the stories of my relationships sound to music more than the way they look in print, in gossip columns or in me talking about them in interviews. I think it's a better way of telling the stories.
TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.
Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.
It all comes down to what is best for those particular genres, and if you believe in the stories that you're telling and the characters that you like that you want to tell those stories with, you can pretty much apply it to any genre.
So I found myself telling my own stories. It was strange: as I did it I realised how much we get shaped by our stories. It's like the stories of our lives make us the people we are. If someone had no stories, they wouldn't be human, wouldn't exist. And if my stories had been different I wouldn't be the person I am.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
I think that most of us, anyway, read these stories that we know are not "true" because we're hungry for another kind of truth: the mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. Fiction, because it is not about someone who lived in the real world, always has the possibility of being about oneself. --From the Introduction
When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.
You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.
The music goes into people in a totally different way than words. There's air, there's the sound of words, there's touch, there's music. All of those things have a really distinct way of meeting and entering people's bodies and souls. It's the most beautiful part about humans; that we make music.
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