A Quote by Michael J. Fox
I find as long as I acknowledge the truth of something, then that's it. I know what it is and then I can operate. But if I overestimate the downside of something or the challenge of something and I get too obsessed about the difficulty of it, then I don't leave enough room to be open to the upside, the possibility.
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I have to make about a million proofs of everything. I don’t know, it’s just a repetition, like a meditation. You come back to something and then you leave it, and then you come back again and you leave it, and each time it changes. And sometimes you have to wait for new information inside yourself to be able to finish something, to find out how it should go.
When you first come into the league you don't know what to expect. And then if you do, you're ready, but then it's different when you're playing and getting reps. It's just like anything, you start to do something, play it enough and do it enough then you can get good at it.
If I have to work on something for too long, then it must be wrong. At a certain point, if I've worked on a sentence for about an hour, then I realize that it's probably not the right sentence and means I'm trying to make something fit that's ungainly.
The upside to anger? Getting it out of your system. You got to express your anger. Then you have room for more positive things. If I hold something in a long time, and then I speak it, it's amazing how the light shines so much brighter.
I detest symbolic protest, as it is an outcry of weak, middle-of-the-road, liberal eunuchs. If an individual feels strongly enough about something to do something about it, then he shouldn't prostitute himself by doing something symbolic. He should get out and do something real.
If you've ever liked an artist or someone who then does something or is accused of something extremely corrupt, and your moral conscience won't allow you to accept that artist, the truth is then that creates a void in your life. Because then something you loved was taken from you.
As an artist you have to find something that deeply interests you. It's not enough to make art that is about art, to look at Matisse and Picasso and say, how can I paint like them? You have to be obsessed by something that can't come out in any other way, then the other things - the skill and technique - will follow.
When you're threatened, or something hard hits you, acknowledge it, embrace it. Don't pretend that you didn't get hurt - hurt, cry, think about it. And then you let it go and try something else.
Often I'm struck by something that I read; then I go and research it a little more, especially if I begin a poem, and I find out that I need to know more. Then I usually get intrigued and excited about whatever it is I'm writing about.
Then the challenge is, once you left brain it and build it, then when you're on stage you have to know it so well that you can get lost in it. I don't want to be onstage looking like a robot, I want to be at the end of the day very emotional and what feels like someone being up there rather than reciting things. That's always the challenge, to analyze and then somehow lose yourself in something you absolutely know backwards and forwards. And nothing's going to surprise you, but you have to be surprised by it and let it surprise you.
The fact is when I get pissed off about something or something awful has happened, I just say, 'You know what? Thank you very much. Thank you for the lyrics. Because that is exactly what you just gave me.' There's no real negative then. So if something happens, I don't cry about it. I just find myself a pen and I figure it out.
Once I've got something that I feel is strong, if I get long enough to think about it, it'll turn into something. I'll start thinking about the drums - what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it'll turn into a song.
Sometime, somewhere you take something to be the truth. But if you cling to it too strongly, then even when the truth comes in person and knocks on your door, you will not open it.
Where does Terry live? Somewhere deep inside. So I just let that come out and try to make something out of it without worrying about techniques or rules or any of that stuff. Just do it, you know. As long as it doesn't burn or get deleted, you know, then somebody will find it someday and I will have left something that I think is beautiful.
I'll often get obsessed with something for about three days, and I'll be utterly into it, and I'll read every single thing about it possible. And then three days later, I'll just forget about it, and I'll be onto something else.
You know, all is development. The principle is perpetually going on. First, there was nothing, then there was something; then-I forget the next-I think there were shells, then fishes; then we came-let me see-did we come next? Never mind that; we came at last. And at the next change there will be something very superior to us-something with wings. Ah! That's it: we were fishes, and I believe we shall be crows.
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