A Quote by Nick Cave
What you're really after when you see a film or listen to a song is a singular vision, and I'm not sure how much of that you really get in Hollywood.
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I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
The thing that made me turn more towards writing was realizing how hard it was going to be to get a singular vision on film and how much more control I would have if I were writing novels.
I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
I think, sometimes, artists release music too fast. If you just sit back and listen to the track for a little bit you could pick and choose how you want to do it and see if you really feel the song, because sometimes you might not even like the song after a few listens.
Like, a song could be really tricky and intricate and be really intellectually stimulating, but I don't think that's the song that that I'm going to throw on 80% of the time. The songs that I really want to listen to are the ones that I can really feel.
I'm not really a big Springsteen guy. I'll listen to the music, but ... I didn't really get attached to it as much as, like, country artists. That's really who I listen to.
See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.
I'm not so sure that younger people today really appreciate the enormous bravery that went into the creation and production of that film, or how important a film at the time it really was.
Im not so sure that younger people today really appreciate the enormous bravery that went into the creation and production of that film, or how important a film at the time it really was.
I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.
When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with
my characters], book after book.
As much as early 2000s aesthetics are something I was pining for and very much love, I would occasionally struggle to find one singular image or one singular site that summed up all of my memories really well.
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
When you're first learning how to do eyeliner, it's really hard to get both lids the same. A good tip for when you're putting it on, is to make sure your elbow is on a table. Make sure your arm's really stable. And make sure you have an eye makeup q-tip to get that really sharp line.
I never really grasped how big it was when I initially got 'Alexander'; I thought, 'Ooh, this is exciting,' but after I got home, I looked back and thought, 'That was an incredible experience.' I got to work with some massive names in Hollywood, and I learnt so much, and then it really kind of struck me how life-changing it was.
When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a song.
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