A Quote by Philippe Petit
I found out that total creativity involves a certain intellectual rebellion - not to become a criminal, but somehow. to be totally creating, you have to do things that are a little bit forbidden. You have to feel free, and we know freedom is a hard thing to get.
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If you want to remain totally free, then don't choose. That's where the teaching of choiceless awareness comes in. Why the insistence of the great masters just to be aware and not to choose? Because the moment you choose, you have lost your total freedom, you are left with only a part. But if you remain choiceless, your freedom remains total. So there is only one thing which is totally free and that is choiceless awareness. Everything else is limited.
Every good teacher and every good parent has somehow learned to negotiate the paradox of freedom and discipline. We want our children and our students to become people who think and live freely, yet at the same time we know that helping them become free requires us to restrict their freedom in certain situations.
I've never seen novels as built things. I have a tendency to see them as found things so that I always feel a little bit like an archaeologist who's working to get some fragile fossil out of the ground. And the more you get out unbroken, the better you succeed.
Without total freedom, every perception, every objective regard, is twisted. It is only the man who is totally free that can look and understand immediately. Freedom implies really, doesn't it, the total emptying of the mind. To completely empty the whole content of the mind — that is real freedom.
When I'm on stage, it's a little world I've created where I'm sort of the thing, so I have total control over everything that happens. When we're improvising, I'm with someone I totally trust. I know things are going to work out. I don't have those guarantees in life. There are no consequences on stage.
I've kind of found out that when I do get into trouble, that when I do have people on base, sometimes the best thing is to throw a little bit more off-speed, back off a little bit.
When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want. Familiarity breeds contempt, people say. But I've found, for creative things, familiarity breeds peace of mind, because you realize you know someone better. You trust each other. You know not to take things a certain way, or a wrong way. You get to where you don't have to waste quite so much time with diplomacy. Things are a little more efficient.
I am interested in the creativity of the criminal attitude because I recognize in it the existence of a special condition of crazy creativity. A creativity without morals fired only by the energy of freedom and the rejection of all codes and laws. For freedom rejects the dictated roles of the law and of the imposed order and for this reason is isolated.
Until today, it really pissed me off that I'd become this totally centered Zen Master and nobody had noticed. Still, I'm doing the little FAX thing. I write little HAIKU things and FAX them around to everyone. When I pass people in the hall at work, I get totally ZEN right in everyone's hostile little FACE.
I think that listening to music or creating music is a spiritual undertaking, so the process of creating music, you know, involves listening. It involves sensitivity, it involves humility, you know, and then also it's something which is higher than words.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
Many things we do naturally become difficult only when we try to make them intellectual subjects. It is possible to know so much about a subject that you become totally ignorant.
I always put a little bit of restrictions on myself, and I only do it for my creativity. And I do it sometimes because I want the music to stand out a little bit more than many other bands do. Yeah, I sometimes impose rules on my creativity.
We just found out my little brother has a peanut allergy, which is very serious I know. But still I feel like my parents are totally overreacting - they caught me eating a tiny little bag of airline peanuts and they kicked me out of his funeral.
I really fought hard to bring that story to life on 'Total Divas,' the factory farming and free-range chicken. I'm shocked to see the positive response because you never know. People could be sensitive to certain things.
I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.
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