A Quote by Pete Seeger
There's a story behind every old ballad or work song or nonsense song that I ever knew. Sometimes it's a fascinating story. A story of people struggling for freedom, struggling to get along in this old world.
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Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
Hillary [Clinton] doesn't have a fascinating story to get behind. She doesn't fascinating story to tell. The only thing about Hillary is, you know, "first female president."
'Beneath the Piano' by The Devil Makes Three somehow reminds me of an old Johnny Cash song. The song is a lot of fun and tells a story.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
It's all a question of story. We are in trouble just now because we do not have a good story. We are in between stories. The old story, the account of how we fit into it, is no longer effective. Yet we have not learned the new story.
I am the old story. L'histoire ancienne. But an old story can still be a good story, no?
The scientific world, the materialistic world, the world of commerce, the world of business, the world of individualism, the world of capitalism, world of communism - all these worlds are the old story now. Where we think we exploit nature, we exploit people. Market rules, profit rules, money rules. We work for name, fame, power, money, profit. That's the old story.
I choose this story above all others because it's a story I'm struggling to end.
Thank God, 50 years ago I learned that our entire business is all based on two things; a great song and a great story. Film, television, if you don't have that story, nothing else matters. You don't call anybody else or direct anybody. The same with a song. A great song can make the worst singer in the world a star.
The Work always leaves you with less of a story.
Who would you be without your story?
You never know until you inquire.
There is no story that is you or that leads to you.
Every story leads away from you.
Turn it around; undo it.
You are what exists before all stories.
You are what remains when the story is understood.
Every song is true and has its unique story behind it.
The story behind every song is individual to itself.
I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.
The Christian Armenian story was the Polish Jewish story. The efforts of the Armenians to stay alive in Musa Dagh chimed with those struggling to survive the ghetto.
When writing I just go with the song. I go with the song and try to tell the story. So the story may be "Wonderful Baby", which is a little song. Or it might be a gentle song, "Empty Chairs". Or it might be a rock and roll song like "Prime Time" or "Run, Diana, Run", or "American Pie". I don't know where it's gonna go. I don't have any idea what I'm doing. I just do it. I just keep doing it. I keep taking adva
I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.
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