A Quote by Neil Young

I'm always open to new stuff. I don't sit and try to figure out what to do, I just wait for an idea to come. — © Neil Young
I'm always open to new stuff. I don't sit and try to figure out what to do, I just wait for an idea to come.
I've always been someone who likes to share and talk. When something happens to me I [don't] run away from it. I want to dive right into and explore it. Try to figure out why it's happening and try to figure out something good that's going to come out of it.
I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.
I tend to keep my mind open to the different forms of art out there and I am always willing to try new stuff.
My advice for girls who are waiting for their Prince Charming is to be open for anything. Be open to new experiences, be open to the idea that it may take longer than you want, but if you're open to meeting new people and new adventures, then love will come along.
Wait, wait, wait, wait. Don't try to write through it, to force it. Many do, but that won't work. Just wait, it will come.
There are so many songs out there in the world that - if I know we have to come up with a new cover, then I'll just sit in my room and sing song after song and figure out which one I can kind of sing the best.
I never really write the jokes. I just sit down over a week or two and try to figure out what I want to talk about. Once I narrow that down, then I start working on the material, like "How do I make this stuff funny?"
I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
I think everyone at some point comes up against a wall. Curiously, though, if you continue working, you might readdress that idea from another direction. If you didn't try something, you'd never have anything; if you didn't make an attempt to make the work, it wouldn't exist. There have been times when I could not work, and I would just go and sit down in the studio and wait to see what might happen. You can't always just go and take an exotic trip and come back and make something.
Sometimes I try to figure out why I always push things to talk about the really dark stuff in interviews, and I just think it's healing - for the listener, and for the guest.
Somebody at one of these places asked me: "What do you do? How do you write, create?" You don't, I told them. You "don't try". That's very important: not to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It's like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like it's looks, you make a pet out of it.
When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making. Only after a piece of music is done does my frontal cortex allow me to organize what might be trying to come out of my subconscious.
My idea was that if I loved to sing, I would just do it anywhere I could, and always go out and always try to learn and try to perform, and try to find opportunities. Little by little, I sort of built upon that idea.
I always try to get the best result out of it, I'm not there to just sit second or sit third. I'm a winner, and I want to win every single race, and I will always go for it.
What's wonderful about 'Star Trek' having been rebooted so successfully by the J. J. Abrams movie franchise is that - the corollary effect is that it creates a new generation of fans, and they're interested in all of it. They don't just sit around and wait for the next movie to come out; they'll go back and re-examine episodes.
We were fortunate enough to shoot 'Alps' - write the script and shoot it - right after 'Dogtooth' premiered in Cannes. So we didn't just sit around and wait to figure out what to do because 'Dogtooth' was successful. We just wanted to make another film fast, so we just went ahead and did it.
This site uses cookies to ensure you get the best experience. More info...
Got it!