A Quote by Michel Faber
I tend to process emotional stuff very, very slowly.
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I have the good fortune of working with two brothers who are very accomplished, incredibly smart, and very capable. So thankfully there is not an issue in that regard where somebody isn't pulling their own weight. We collaborate all the time. We tend to take different paths, but we tend to reach very similar conclusions. It's actually great because it allows us to be much more creative in the process of getting things done.
In my daily life, I tend to be very literal and unsuperstitious. But music gives me an outlet to be very emotional.
The creation is a very internal process, and publishing the book is a very external process. It is nice to see the book out in the world and people having the same reaction as when I created it. The point of all art is the emotional transference, and when that happens, the book has succeeded.
Sociopaths differ fairly dramatically in how their brains react to emotional words. An emotional word is love, hate, anger, mom, death, anything that we associate with an emotional reaction. We are wired to process those words more readily than neutral, nonemotional words. We are very emotional creatures. But sociopaths listen as evenly to emotional words as they do to lamp or book - there's no neurological difference.
The challenge is always as a writer, is this going to work, because it's a very intimate process, and I tend to be very introverted and insular, and when I write, it's in my head.
When I became a parent I forgot about the part of myself which was very emotional, very dour a little depressed - but very good at writing emotional songs.
A couple of things are missing from Indigenous affairs. We tend to go and process, we tend to spend a lot of money for very limited outcomes, and we have got to change that.
I am my therapist, and I analyze what's happening and if I'm being hurt in the process. The result is songs that are very emotional, very deep, although I try to write them generally so they won't alienate the listener.
We're very good in America at talking about stuff, often stuff to buy. We tend to talk about our iPods. We tend to talk about cars or new fads.
The process that we go through in recording with Tool is very organic, but at the same time it is very thought out. There is a very left-brain process of dissecting what we're doing and drawing from source material; it's very research oriented and esoteric.
The first time I try anything is invariably not very successful. I tend to grow slowly, but solidly.
When Kirk dies it was very emotional and very strange, in the moment and all the way through the process. I'd read it in the script and I'd always be struck by what I'd just done and what we were doing, and that this was my childhood hero and I was writing his death.
I have friends who are writers, but we don't tend to talk about literature very much. It's just not part of my process; I tend to be pretty secretive about what I'm working on.
The way that I write is very instinctual and based off raw feeling--I'm a very emotional person and I think that comes across in my writing. Also the songwriting that I enjoy, for example Elliott Smith, Leonard Cohen and Nico tend to be both photographic and visceral.
Sex is something I live very well, but it is something I revealed very slowly in my fashion. What I do is emotional. For me, there is a base, which is my Italian roots. It's a strong passion for fashion, a passion for sensuality and dressing for one's self.
Everything was very specific and very fitted. I can't tell you what we went through for this job in regards to full body scans and the prosthetic process that you go through and all that kind of stuff, but everything was done very specifically to fit you perfectly.
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