A Quote by RJD2
My introduction into making records was through a sampler, and that's what I did for a long time. And through doing that over a period of time and kind of coming out of it, I've realized that one of the reasons it works so well for me, one of the reasons psychologically I took to the process so well, was because I'm a problem-solver by nature. If you stick me in a void, I don't do so hot. As soon as there's one little thing to spark an idea, and then I have something to bounce off of - then I'm all right. But until I have that, like in that void, it's kind of hard.
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I like making series, for a couple reasons. One, the repetition of routine is very healthy because I can get a little crazy; I want to be making things all the time. And if I publish something every week, I don't have to put every idea I have into one piece. It's more like, here's one idea: execute it, see it through, think about it, do it the best you can. And then there are going to be ten more ideas that come while you're making that, because creativity works that way.
Finding the form was really a very dynamic process. I went through a lot of shifting, trying to get it right. Because the writing took place over such a long time, it's hard for me to pinpoint when specific things happened, but basically the final version only materialized in the last two or so years. It was there, but it took me a while to see it and then to refine it after I'd seen it.
The idea of me writing something that I'd get to be in as well was not what I saw coming. I do think that life works that way. When you kind of let go of something and accept that it hasn't worked, it takes all the pressure off, and then you end up getting it.
A producer came to me about doing a memoir, and at first I thought, "Well, it's a little bland." But then I realized that almost everything that's happened to me was the result of being in the right place at the right time. And I thought "Well, luck has a lot to do with it," so I wrote it from that perspective.
The best advice that I've gotten from Nas is honestly to just be me and to keep staying true to myself. It took me a long time to figure out how to pop, but then, when you get famous, people are kind of like, 'Oh, well, we don't want as much of you.'
I always respect right off the bat because we are human, but then over time you learn who the person truly is, just like they learn about you. Hope it works out really well, and you hope that builds a stronger connection over time. You can't be friends with everybody.
Honestly, Jared, one thing at a time. Why are you in a well with me? This is a really bad rescue!" [...] "I called the police as I was running to the well. I'm sure they're coming." "Did they say they were coming?" Kami asked suspiciously. "Or did you shout, 'Kami's in the well!' before jumping in the well too, thus loosing your phone and making sure the police think it was some kids playing a dumb joke?" Jared paused. [...] "Alternate plan," Jared said. "Do you have a very intelligent collie who might communicate through a system of barks to your parents that little Kami is in the well?
I did, one time, over the past couple years look into maybe doing a little something in a Royal Rumble, just kind of as that, so that could be my last chapter, so the last time you see me is, y'know, this little thing, and it didn't work out.
To fly is the opposite of traveling: you cross a gap in space, you vanish into the void, you accept not being in a place for a duration that is itself a kind of void in time; then you reappear, in a place and in a moment with no relation to the where and when in which you vanished.
In collage you're doing it in stages so you're not actually doing it right there. You first of all draw it on the paper, then you cut it up, then you paste it down, then you change it, then you shove it about, then you may paint bits of it over, so actually you're not making the picture there and then, you're making it through a process, so it's not so spontaneous.
It's kind of interesting to experience that kind of a ride after well, essentially so many years of enjoying a career based on failures and then suddenly something clicks. The weird thing is, I never changed a thing. The process is still the process as it ever was. The fact that people decided to go and see a movie that I was in was probably the most shocking thing that I've ever been through.
If you're living a yielded life, and if you have the preaching and teaching gift, and you're yielding that to God on a continual basis, that's one of the signs that you're in the right place doing the right thing for the right reasons. If you're doing something in the kingdom, and you rarely feel that, that's a red flag. Something needs to be looked at. Are you using the right gift? Are you using it in the right way? For the right reasons? At the right time? In the right context? If I didn't feel it consistently, that would be quite troubling to me.
There's people who feel that, Well, if I could profit off of sellin' sex to an eleven-year-old kid that comes through some kind of virtual portal, then I'm not really doin' it in actuality. I'm just kind of co-signing or fostering it, 'cause it can't be attached to me. I'm like, Yes it can, 'cause people are livin' through their avatar.
Well, I kind of did the math in my head when I was like, 9. I was like, 'Well, if I want to make films' - because I want to be a director - 'I could just go on a film set and learn there.' And then I ended up falling in love with acting and the set and making friends all the time. And so I've just been doing that ever since.
When God gives you a door, if you want access, you go through that door. People didn't like Jesus. Oh, they had all kind of reasons to hate him but Jesus said, "I am the door. Any man who enters must come by me. If you don't come by me," he said, "you're a thief and a robber."
Well, if Omarosa Manigault is the door to Donald Trump, well I kind of like that door. That's a pretty door. That's an intelligent door. That's a spiritually rooted door.
It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.
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