A Quote by Matthew Healy
We intentionally didn't want to release anything when we were very young, I suppose, because we had a lot of foresight. Stuff can come back to bite you in the ass. Know what I mean?
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You never want to do anything that you don't want your mother to see, because it will haunt you and eventually come back to bite you!
I don't want to give a lecture to this body that's out there. You know, I mean, having had the heart attack, I want to get it back functioning. And as a practical matter, I mean if you were Bear Stearns, and you were a shareholder, you know, you lost 90 to 95 percent of your money. A good many lost their jobs. They lost very cushy lives, many of them.
I've been disrespectful over the years in my career because I was living a young, turnt up life. So I've said a lot of crazy things about a lot of stuff and looking back, I wouldn't take anything back, but looking forward, I wouldn't do it again.
I really love doing nothing. I really love just being at home and taking a couple of days, you know, doing nothing. You know what I mean? Just getting up, being around the house, going outside the back yard, coming back in; I really like to do nothing because I travel a lot. There's a lot of travelling. There's a lot of on the phone all the time. There's a lot of looking at papers and reading things and so you don't want to read magazines and you don't want to do anything; you don't want to read books, you just want to just kind of shut down a little bit.
I wanted to have a label to not only release my own stuff but to also give young talent a chance to release their music without signing away their life. I had a great time with Spinnin', and the people I worked with were amazing, but the contract wasn't really for me. It wasn't what I wanted.
You know, I gotta be honest. I have not done a lot of CGI work. I just haven't. I mean, there were hundreds of effects in Watchmen, and I probably dealt with almost none of them, because all my stuff was very practical.
I was very lucky in that my parents were very broad-minded. Because they had come from another country and hadn't been able to fulfill their dreams, they wanted me to be more of myself, if you know what I mean.
For a while I was collecting Satan and devil stuff - you know, anything that had to do with old Beelzebub or Lucifer. But I had to put the brakes on it, because there's a lot of stuff out there, and the collection was just growing too quickly.
So she [Hillary Clinton] wouldn't intentionally put the nation at risk. She wouldn't intentionally traffic in top secret stuff. And besides, not all this stuff we deal with is that classified anyway. So here's the president [Barack Obama], very powerful, intimidating guy, [James] Comey works for him, the president's been out there saying he didn't think Hillary did anything wrong.
Hillary Clinton was an outstanding secretary of state. She would never intentionally put America in any kind of jeopardy. And what I also know, because I handle a lot of classified information, is that there's classified and then there's classified. There's stuff that is really top secret top secret, and there's stuff that is being presented to the president or the secretary of state that you might not want on the transom or, you know, going out over the wire, but is basically stuff that you could get in open source.
I've realized that a lot of people come to me because of what's called identity. In the sense of "he's like me" - more like identification. Identity is one of those nonsense words: it's been used so much it doesn't mean anything. As individuals, we don't want to stay the same; identity means sameness, and we don't want to be the same, we want to keep changing, we want to grow, we want to become something else. We want to evolve. So when people come to me, it's about resonance - it goes back to that word.
I mean, the thing about Guns N' Roses was that it wasn't trying to attach itself to the '80s, or anything that had to do with the '80s. It's just who we were at that time. We were doing what we wanted to do. That had really nothing to do with anything around us, except for the simple fact that we were rebelling against that stuff.
Women today leave the house in animal prints and six inch stilettos, what does that say? I'm going to church? They're saying I want you to hang me by my tits from your ceiling and bite my ass. You know what I mean? That's what it says to me anyway.
I'm always touched when I go to events and stuff, to meet fathers who come up to me and thank me and say, "because of you my young daughter knows that she can do anything she sets out to do." And the way young girls are raised now, I don't think there's any doubt that they know they can do anything. And if what goes by the by is that they don't feel they have to be in solidarity with all other women, that's O.K. as long as they know that that strength has been there in the past and can be there in the future for them.
I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.
Some people will know exactly what they want to do at a very young age, but the odds are low. I feel like people in their early- to mid-20s are very earnest. They’re very serious, and they want to feel like they’ve accomplished a lot at a very young age rather than just trying to figure stuff out. So I try to push them toward a more experimental attitude.
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