A Quote by Mikaela Shiffrin
It's like a puzzle or a painting or music. When I ski, it's like a song. I can hear the rhythm in my head, and when I start to ski that rhythm and I start to really link my turns together, all of a sudden there's so much flow and power that I just can't help but feel amazing. That's where the joy comes from.
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When I ski, I take both of my legs off and get into a sit ski: a ski with a custom seat that has been molded for me. I use my core and arms to propel myself on snow with help from ski poles.
Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.
I remember listening to like gospel-y blues tunes. I'd just listen to the rhythm and the music was upbeat. Always upbeat if you get like a good rhythm you can nod your head. You just feel good. But then when you listen to the lyrics it was quite sad.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
There is a rhythm to the ending of a marriage just like the rhythm of a courtship-only backward. You try to start again but get into blaming over and over. Finally you are both worn out, exhausted, hopeless. Then lawyers are called in to pick clean the corpses. The death has occurred much earlier.
I usually start with the words. The rhythm of the words gives me the rhythm of the song, and then I look for the musical highlights in it to carry it.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
I think the way I write is kind of naturally rhythmic. If there's anything of my own in my writing, I think that's my own thing. Like when I start a song, I almost hear the rhythm more than the melody.
The first day's always the hardest, because it moves so much faster than a film does and once you get into that rhythm, though, you feel like you've accomplished so much in such a short period of time, so there a bit of comfort in that. You just have to find your rhythm.
There's been times when I've been in really tough shape at the top of the course. Talk about a hard challenge right there. I mean, if you ever tried to ski when you're wasted, it's not easy. Try and ski a slalom when … you hit a gate less than every one a second, so it's risky, you know. You're putting your life at risk there. It's like driving drunk only there's no rules about it in ski racing.
Stop trying to figure it out. I love puzzles, but when I'm done putting together a puzzle, I feel accomplished, and then I wonder, "What's next?" Then I go start another puzzle. Life is a puzzle that I feel like we'll never fully put together. And I like that because, ultimately, I don't want to have life figured out and then wonder, "What's next?" That seems scary to me.
From the get-go, I was wise enough to say, 'Well, I'm playing rhythm 'cause Angus could really soar with the leads.' I used to mess around a little bit with lead at the time but not much; Angus, he was just so much better; he just went for it, and it was brilliant. My place was sitting with rhythm, and I love rhythm. I've always loved it.
I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don’t you? Because we can hear it in your writing. And I thought that was a compliment.
The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.
You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.
In 2012, I was invited to a ski event called the Hartford Ski Spectacular to learn how to sit-ski for the first time. I loved it, but it was not pretty - I was not good. I didn't know how to stop, so I kept throwing myself on the ground.
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