A Quote by Nick Castle
So when 'Skatetown' came up at Columbia and Ray Stark's studio, the idea was to do it quick. They wanted it out in the fall, and they gave me the treatment on July 4th weekend! I wrote it in four days, and, you know, it kind of looks like it.
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I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
No place better than Indiana on July 4th. Looking forward to a great weekend.
One night I walked out of the church when the priest said that we should never have fought the Revolutionary war and every war was bad. It was 4th of July. It was an outrageously political statement. I just never felt right when people in the church would take these overtly political positions especially when I felt like I was a good Christian, I was serving my country, and I just didn't feel like I deserved to be lambasted by the priest on the 4th of July.
I wanted to keep the music very electronic, very filmic, and give it an almost sci-fi like quality. Music is a necessity for me. I go into the studio at least five days a week, every week, so once I had the idea and the template, the process was quick and fun.
When I came in from Paris recently, for some reason the guy from customs wanted to know what kind of music I wrote. I was like, "I really want to please you so you don't keep me here, but I have no answer to that."
I basically camped out for a year and a half in an Airstream trailer on the beach out in front of the studio. I had no idea what I was gonna do, what kind of album I was gonna make - all I knew was that I wanted to sit there and just take in whatever came.
I always liked fashion. I like to dress up on days off - the weekend and go out - I have a friend that worked in a hat shop in Soho, and he came to me and asked me to design a logo and a hat. I did and I showed it to him and he loved it.
We can't forget what happened on May 4th, 1970, when four students gave up their lives because they had the American constitutional right of peaceful protest. They gave up their lives. And to sing that song in that spot on that anniversary was very emotional for us.
One of the things we can be sure of over the July 4th weekend is that news reports will keep telling us how many of us are going to die in automobile accidents.
Literally, over a weekend, Friday to Monday, I went from a C.I.A. officer to changing diapers and putting the kid in a Bjorn and going to the playground and hanging out with all the nannies. I was the only dad - everyone kind of gave me strange looks because of our sexist society.
Can't nobody do what Fetty Wap does. So when I go to the studio, it may be four to five hours max, probably three days out the week. I used to go to the studio for 10 to 15 hours, and I would do five to 10 songs. Now I go for four to five hours and I do, like, 15 to 20 songs. I'm an ad lib guy. Most people know me for my ad libs.
I could see the road ahead of me. I was poor and I was going to stay poor. But I didn't particularly want money. I didn't know what I wanted. Yes, I did. I wanted someplace to hide out, someplace where one didn't have to do anything. The thought of being something didn't only appall me, it sickened me . . . To do things, to be part of family picnics, Christmas, the 4th of July, Labor Day, Mother's Day . . . was a man born just to endure those things and then die? I would rather be a dishwasher, return alone to a tiny room and drink myself to sleep.
Let's take up the most important issues first. Let's take up the reauthorizations first; let's take up the appropriations bill first, not wait until four days beforehand - no one has mentioned anything, and, all of a sudden, somebody looks at their watch and says, 'Hey, in four days, the government is going to run out of money.'
Winning the Pulitzer is a really mellow, fabulous thing. You don't sit and wait for them to open an envelope. You already know you won, and you have a nice lunch. Oscars are more stressful. I had to sit for three hours and wait for my category. I had to fly to Los Angeles. For the Pulitzer I just had to go up to Columbia. But, while the president of Columbia gave me the Pulitzer, Audrey Hepburn and Gregory Peck gave me the Oscar, so that was better.
'Beyond the Lights' took incredible fight to get made. Four years of writing and two years of overcoming 'no.' Every studio balked. Twice. But I kept fighting. What gave me the courage was 'Love & Basketball.' Every studio turned down that film, too. But I never gave up because I believed in it with my whole heart and soul.
I have some fond memories - a couple of the nights on the town ... a couple of songs I wrote when I was messed up that I'm sure wouldn't have come out of me unless I was messed up. It's kind of happy-sad about those days - I could do anything I wanted to. I did. And now I don't want to do any of that.
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