A Quote by Nick Cave
It's very intuitive, the way that I approach my work. I only buy something that has a pulse. I may not know how I'm going to use it, but I know it has a pulse and it has multiple readings - if I shift it one way or another, it can be read this way or it can be read that way, but both readings are critical and very much ground the work.
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I love doing the readings. The readings are the fun bits... The readings are probably the things that actually keep me going on these. If I couldn't do the readings, I wouldn't do the [signing] tours. I get to stand up there and read to a bunch of adults who in many cases nobody's read to in years, since they were about five. They just squat on the floor. That's enormously enjoyable.
One of the most obvious aspects of the music to people who know jazz is: How does it feel in the swing? These are things that are very subtle and that jazz musician appreciate in a particular way. I appreciate the way Tommy Flanagan swings, the way that Barry Harris swings, the great pulse that Hank Jones and Bill Evans have - end every one of them is different.
I think of workshopping as a way to read your own work through the eyes of others - a scene that you write gets refracted by those around you, and suddenly you have several different readings of it, each with a different momentum for how it might be retooled or reshaped.
Luckily Ryan Murphy has a great track record of really having his finger on the pulse of pop culture in a way that very few people do. And he is able to work things into stories in a ridiculously timely way - sometimes, before anybody else thinks it's going to be a thing, he is able to create these moments on television. I was thrilled to get to work with him, and I knew he would be able to tell that story with that same energy.
I don't read much, to tell you the truth, about me, you know. I don't read my articles very much or stuff like that, but I have read things upon occasion, and some of it is true, and some of it isn't true, you know. I mean it's just the way it goes, you know.
I read on a Kindle. I must be of the opinion that the new way to read is a pretty good way to read. It's a new way. Those of us who like the smell of books get upset but nevertheless this is the way we're going.
If you don't read it, you don't know. I mean, that's why I have a PR team. They read it and tell me if there's something, and that keeps you focused. I know my family and me well enough; why do I need to read about myself? I'm not going to change, I'm very stubborn in this way. I am what I am.
The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.
The music wasn't going to happen, and I realized I had read so little. I didn't know my way around any century. I was very under read.
You live in a society that is shaped in every possible way by the Bible. The language you use, the laws you obey (and disobey), the founding principles of your nation, the disputes about abortion, homosexuality, adultery - these and so much else in your world are rooted in the Bible. You don't have to read it for its truth value. You should read it to understand how your world got the way it is, the way you would read the constitution or Shakespeare.
Read, read, read, read, read. Read everything. You can’t work unless you know the world, and outside of living in the world the best way to learn about the world is to read about it.
When I'm editing my work, I'm looking for everything to fit, to feel seamless, for every detail or line of dialogue or scene to feel necessary and organic. I approach the writing of others in much the same way while always working to preserve the writer's voice. To allow myself to be vulnerable on the page, I tell myself no one is going to read my work. There's no way I could put myself out there otherwise.
You know, in some ways conducting is counter-intuitive. It's like winter driving in Finland - if you skid, the natural reaction is to fight with the wheel and jam on the brakes, which is the quickest way to get killed. What you have to do is let go, and the car will right itself. It's the same when an orchestra loses its ensemble. You have to resist the temptation to semaphore, and let the orchestra find its own way back to the pulse.
I think too much is known about me already. I think biographical information can get in the way of the reading experience. The interchange between the reader and the work. For example, I know far too much about Norman Mailer and Kurt Vonnegut. Because I know as much as I do about their personal lives, I can't read their work without this interjecting itself. So if I had it to do over, I'd probably go the way of J.D. Salinger or Thomas Pynchon. And just stay out of it altogether and let all the focus be on the work itself and not on me.
Usually, you get a script and you have the whole story. All the acts are there, for a play. You know what happens in the first, second and third acts, and you know how it starts, where you go and where it finishes. [With American Horror Story: Asylum], it's a whole new experience. I don't know where it's going, and I don't know what's going to happen next. It's been an interesting way to work. It's made me work in a much more fluid, braver way, just taking every chance that comes along.
A work of art enters life very much like another human being - complicated, loaded with overtones and meaning, mysterious, enticing, obsessive, and beautiful. There's no way to control how it will be used, how it will be read, and that's part of the excitement of it.
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