A Quote by Paul Weller
I'm sure there's a subconscious 'go for it' thing with turning 50. You want to do as much as possible and there are thoughts of how little time we have on the planet. For a lot of musicians in their 50s, the best days are behind them. I'd like to try and show that there is a future.
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I try never to hear what another person thinks of me. I enjoy life a lot more when I spend as little time as possible hearing or thinking about what other people think about me. I go to the needs behind the thoughts. Then I'm in a different world.
Look, the umpires behind the plate? They're human. They're doing the best they can to try to call balls and strikes. I understand that there's a lot of calls that kinda are 50-50. They can go either way. And as a starting pitcher, you try to manage, 'Alright, if you didn't get that call, maybe you'll get it again here a few innings later.'
If you have to conduct layoffs, which is always a regrettable thing, there's kind of three things that are very important. One is to communicate well with your employees in order to help them understand why it is you're doing, and how. Second is to make sure that the employees who are part of the go forward, understand kind of what happened and are not like the ground doesn't keep moving. It's like, okay, we did that, we're moving forward, here we go. And then for the employees that you unfortunately have to let go, try to provide as much support for them as possible.
Kids are soft these days, period, end of the story in every respect. People coddle them too much. I'm sick of that; it's irresponsible parenting. Taking care of them is one thing, but turning little boys into little girls because you're coddling them so much, kids need to have experiences on their own.
When I'm awake, I don't want to go to sleep. I don't want the hassle of turning the light off, putting my head down and then all the thoughts. I don't want al those thoughts... thoughts feed on thoughts feed on thoughts feed on thoughts feed on thoughts and I'm: 'I don't want this'. I have to knock myself out to go to sleep.
I don't want to be little again. But at the same time I do. I want to be me like I was then, and me as I am now, and me like I'll be in the future. I want to be me and nothing but me. I want to be crazy as the moon, wild as the wind and still as the earth. I want to be every single thing it's possible to be. I'm growing and I don't know how to grow. I'm living but I haven't started living yet.
When I'm awake, I don't want to go to sleep. I don't want the hassle of turning the light off, putting my head down and then all the thoughts. I don't want all those thoughts... thoughts feed on thoughts feed on thoughts feed on thoughts feed on thoughts and I'm: 'I don't want this'. I have to knock myself out to go to sleep.
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
I'm sure a lot of you had this experience when you're changing. You're growing as a person and people tend to treat you like you were 18 months ago, and it's really frustrating sometimes when you're growing up and you're more capable. It's the same thing with a company and the press. The press is going to have a lag time. The best thing we can do about the press is embrace them and do the best thing we can to educate them about our strategy. But to keep our eye on the prize, that is turning out some great products. the press and the stock prize will take care of themselves.
Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.
I feel like karma is something that's real. I try and be the best possible person I can be, but not only that I try to help as many people as possible and influence others in a positive manner. And that's all stuff brought on by MMA because I want to be successful so want to be the best possible person.
It doesn’t matter how many years go by, how much therapy I embark on, how much I try to achieve that elusive thing known as perspective, which is supposed to put all past wrongs into their rightful and diminished place, that happy place where all the talk is of lessons learned and inner peace. No one will ever understand the potency of my memories, which are so solid and vivid that I don’t need a psychiatrist to tell me they are driving me crazy. My subconscious has not buried them, my superego has not restrained them. They are front and center, they are going on right now.
I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.
I think it's because if I have the time I take the time to sign every autograph I can after a show. I'll go out of my way when a lot of other guys wouldn't do this. Things like that create so much longevity in your career because that guy or girl you met that night will go home and talk about how cool Jeff Hardy was that night and then that makes their friends want to come out to the show next time you're in town.
The phrase you usually hear after a cut is "That was great. Perhaps we could have another go. Maybe try it this way." Even that much direction is prefaced with a lot of praise and encouragement. It's quite like how you deal with toddlers: positive reinforcement, and then a little suggestion that you might want to try something different. Roman Polanski will stop the take and shout, "No, no, no!" Which is somewhat alarming the first time it happens.
So for me the approach has become to go into a story not really sure of what I want to say, try to find some little seed crystal of interest, a sentence or an image or an idea, and as much as possible divest myself of any deep ideas about it. And then by this process of revision, mysteriously it starts to accrete meanings as you go.
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