A Quote by Passenger
If you're a priority artist, then you get an amazing amount of exposure and money thrown. If you are more niche, then it's not necessarily the way forward. If you want Instagram followers and fame, then the major labels are still really great for that.
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If you really want to make a difference you don't do it via Tweet, via Facebook, via Instagram - you get down, you understand what the facts are and then you offer a path forward.
I started out on the stage, then I had a great career in television for quite a few years. The good news about a TV series is that they give you a certain amount of fame and money. The bad news is that you're in people's living rooms every week and get associated with a particular character.
Before, it had been fame, and then super-fame came. And then it became super-super-fame. One loses one's personal life, really; you're recognized everywhere. But I embraced that.
I felt like if I could get the epiphany out of the way in my drafting process, through my eighth or tenth draft, then that can just be part of how I've assembled the character, and then we can move on and move forward with it. In general, I don't ever want to feel smarter than my characters, because I just feel like that's not a great way to write a story.
It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'
I guess you can be a supermodel today just by building followers. You don't necessarily have to do the work of going to Milan and then to Paris or New York, trying to find the right photographer, artist, or designer to see you.
The worst part is that if you become part of a major - all these independent labels become farm teams for your corporate parent. Basically, you do all the work for years, blowing up an artist - you discover them, blow them up, you build their fan base. And then that artist is like, "Okay, now I'm here. Now I want more. I want to be bigger." And you're either going to be able to accommodate them, you're going to be able to figure out how to take that step with them, or you're going to lose them.
I now believe that major labels can only work with people who care more about fame and money than the quality of the art they produce.
There's almost a total correlation between the amount of risk you're willing to take and then the amount of stuff you then potentially can get done.
I guess I did a couple of things when I was a kid, but they weren't really acting - I think I walked down a corridor or something. Then I didn't want to do it at all. I got into it because both my parents were actors and so I went with the flow. Then I said, "I can't handle this, I don't like auditioning." I still hate auditioning, but it's less painful then it was back then.
If you love money and you want to be creative, you cannot become creative. The very ambition for money is going to destroy your creativity. If you want fame, then forget about creativity. Fame comes easier if you are destructive.
I have to prioritize: father first, and then a pastor and a recording artist and entrepreneur. I try to put everything in proper perspective, and then the proper priority.
When you work with a major label they create their own message for you and a lot of the time that works great, or at least it did back in the 90's but now it doesn't work, so I think as an artist if you learn your own business, like anybody would when they want to start a little restaurant - they'd figure it out and then build it and they work hard - then it could be your own little business that you grew to as big as you want it to be but you had much more control with how to communicate it and how it's cared for.
Like all great documentaries, The Act of Killing demands another way of looking at reality. It starts as a dreamscape, an attempt to allow the perpetrators to reenact what they did, and then something truly amazing happens. The dream dissolves into nightmare and then into bitter reality. An amazing and impressive film.
If you can have a great story that people can follow the mystery and get the suspense, and then you have those moments of tension and a splash of visual fun, then you kind of get everything. You get your money's worth.
The only way to be turned off to being famous is to be famous. And I only have like a tiny, tiny bit of that, and I'm already disgusted by it. But I realize that the only way to be disgusted by fame is to be famous, because otherwise it looks amazing. Then people stop you on the street, and it's like the most annoying thing in the world. The first time it happened it's great, and then the second time you have to shake somebody's hand.
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