A Quote by Lindsey Buckingham
When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.
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I'm not a technical person, at all, but you get a little bit more of a sense for how to get something done a little bit more efficiently. I think everybody is in that place where it's a little bit more efficient, but the process is still the same, which is still loose and collaborative.
You work in a band, and it tends to be more like moviemaking, I think. It tends to be more of a conscious, verbalized and, to some degree, political process.
The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.
I mean obviously we're all dealing with a lot more strangers due to the web. I'd say it has more to do with the quality of interactions. When you're physically interacting with someone, it forces you to be more present and probably a little more uncomfortable. You have to tolerate being outside the comfort of your own home.
Obviously there aren't enough Latino roles out there - I wish there were more of them - but there's got to be more in the future. I'm sure there will be more in the future. The public is asking for it.
I feel like that for the next album, we're going to know what we're doing for each song even more than what we did for this one, just because we'll have really fleshed them out as a band before recording.
That which you have received, you should be grateful for it. And the most beautiful phenomenon is that when you are grateful, existence starts pouring more and more over you. It becomes a circle: the more you get, the more you become grateful; the more you become grateful, the more you get... And there is no end to it, it is an infinite process.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
This is, if not a lifetime process, it's awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, 'Huzzah! Eureka! I've got it!' and then proceeds to write the great American novel in eleven days. It doesn't work that way. It's a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it's hard.
With social media, I think it becomes a little more intrusive. People have more access to you. It's obviously very flattering, all the love and affection that you get, and then there's also the downside of it: sometimes things don't go your way.
When I was very young, I used to share much of what I wrote with my family, but as I got older and more self-conscious, it became a much more private process.
I think it's my interaction with journalists that has pegged me more as political than my actual records, although they have obviously political aspects to them as well.
Healing requires far more of us than just the participation of our intellectual and even our emotional resources. And it certainly demands that we do more than look backwards at the dead-end archives of our past. Healing is, by definition, taking a process of disintegration of life and transforming into a process of return to life.
The confidence and the comfort level just comes with playing a lot and practicing. Obviously, the more you practice, the more you play, the more comfortable you get.
A lot of people seem to get carried away that something that's made out of paper mâché is going to be better than not. And I always thought the original King Kong, that terrible little puppet with its hair going in all directions, was far more magical than Peter Jackson's incredibly beautifully rendered King Kong. So there's something to be said for a more primitive version of things. I think it's because it makes the audience work a little bit more, because you've got to invest it with life and reality, so I like doing that.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
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