A Quote by Leonard Nimoy
Other times, you're doing some piece of work and suddenly you get feedback that tells you that you have touched something that is very alive in the cosmos.
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I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
Most of life is on-the-job training. Some of the most important things can only be learned in the process of doing them. You do something and you get feedback - about what works and what doesn't. If you don't do anything for fear of doing it wrong, poorly, or badly, you never get any feedback, and therefore you never get to improve.
You have people who are so passionate and touched by my work, which is so humbling. But other times, it's a little overwhelming. If I'm just trying to go to the bodega and get some coconut water, I have to put on a hat and some glasses - those kind of things.
It's helpful to get feedback on your work, and I think you learn a lot from reading other people's work and giving them feedback.
I complain a lot. That's one way of coping. But I'm in a profession where nobody tells you to quit. No board of other partners tells you it's time to get your gold watch, and no physical claim is made on you like an athlete or an actress. So I try to plug along on the theory that I can still do it. I still keep trying to produce prose, and some poetry, in the hope that I can find something to say about being alive, this country, but generally the human condition.
To hear people saying, 'The music you are doing has really touched my life and it's moved me in a lot of ways. It's helped me get through some tough times.' That's the best compliment that you could get.
Critics only make you stronger. You have to look at what they are saying as feedback. Sometimes the feedback helps, and other times, it's just noise that can be a distraction.
Every once in a while, we have some sort of movement in music that everyone suddenly wants to work in, like grunge or rap or disco or some other musical phase, and then suddenly, that'll be the thing to do.
I think I am doing my works to link myself, my family, with society — with the cosmos. To link me with my family to the cosmos, that is easy, because all literature has some mystic tendency. So when we write about our family, we can link ourselves to the cosmos.
Third, for people who aren't doing it already, take classes - they're worthwhile. Workshops or classes - a workshop is where you do actually get feedback on your work, not just something where you go and sit for a day.
Ask for feedback from people with diverse backgrounds. Each one will tell you one useful thing. If you're at the top of the chain, sometimes people won't give you honest feedback because they're afraid. In this case, disguise yourself, or get feedback from other sources.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
You make good work by (among other things) making lots of work that isn't very good, and gradually weeding out the parts that aren't good, the parts that aren't yours. It's called feedback, and it's the most direct route to learning about your own vision. It's also called doing your work. After all, someone has to do your work, and you're the closest person around.
With experience, you suddenly realise you know how to do things or that you've done something like this before. And I think as you get more confident, you can sit back and try and weigh up the options of doing something or not doing something.
Avoid the 'squeaky wheel gets the grease' habit of overreacting to the loudest feedback. The first time you hear a particular piece of feedback, treat it like a clue and do some investigating. Find out how deep it goes - maybe it stops at the surface and won't be an issue, maybe not.
The only real satisfaction is live performances. That's when you can actually get some feedback from what you're doing. You get that artist-to-audience chemistry. I love it!
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