A Quote by Leni Zumas
I'm always interested in encountering people who are synesthetic and seeing how they experience things.
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I love writing songs with people, which is about really taking risks, throwing yourself over the falls and really seeing what you're made of and seeing how it sticks. Seeing how others react to it, and seeing also how it can become a melody and how it can really take off from your experience. It's a way of seeing life unfold on the page before me.
One of the things that I have always been interested in is the actual experience of people in their lives as opposed to what we think their experience should be.
I'm always interested in how people, myself included, have ideas of themselves, of how they thought they would be, or of how they want to be seen. And the older you get, the world keeps telling you different things about yourself. And how people either adjust to those things and let go of adolescent notions. Or they dig in deeper.
My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.
I don't know why we're not interested in seeing good people. I think we like seeing good people, but only if bad things happen to them. Which is weird, isn't it?
I think I'm very interested in people, in the way our minds work and how we navigate through the experience that is life. Very interested in people's struggles and their choices and their regrets and joys. I'm very interested in the human animal.
I'm always interested in challenging myself and pushing and seeing how far I can go.
I'm always interested in challenging myself and pushing, and seeing how far I can go.
I'm excited about seeing things, and I'm interested in the way I think other people saw things.
I'm always interested in audience interaction. Not so much aggressive audience interaction - I'm genuinely interested in how people see things.
I'm interested in how we define things by how we choose to observe them, and how everywhere in our lives, and in every moment we experience, there are forces at work that we don't fully understand. Couple this curiosity with a love of portraiture painting, and that's how this project was born.
Remember when you were a kid, and everyone used to say, 'Would you rather be interested or interesting?' And to me, it was always like, 'Interested!' How is that even a question? I feel very lucky that I'm just really, really interested in a lot of things.
As a player, I've always been interested in understanding the coaches' minds, in seeing how they made a group function.
A lot of organizers are trying to figure out how do we create entrances for people so they can be involved in the work in a way that makes them feel is aligned to the things they're interested in and not the things the organizer is interested in?
I am extremely interested in how people negotiate catastrophe, not because I'm morbidly interested in it but because I'm interested in the secret of resilience; that's what I'm always exploring in the stories and the novels.
The German experience, as you can see, did move me very much. Seeing that terrible destruction and seeing the miserable state of the people, how they had been beaten down by the war through no fault of their own probably.
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