A Quote by Ry Cooder
You have to be able to improvise and respond to what's going on around you. Then you might get a good piece of work done.
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If you do the best work you can, the reward is ultimately your self-satisfaction - the sense that you have done the best you can. And then there's that piece of how others respond.
For me there's insecurity when you're releasing an album because you spend all of this time working on that one thing and then once it's done, it's done. After you put it out there to the public you never know which songs are going to work or even if the album is going to work as a whole so there is a little bit of nervousness around predicting what the numbers will be and if it's going to be well-received.
The CONCEPT is though that you have to get an AGREEMENT BY CONTRACT and you KNOW that they are NOT going to respond. So the way that you are going to get your contract is THROUGH the public Notary through that process of showing an administrative procedure to the proper parties and their FAILURE to respond and then you are going to have to lodge the final result the evidence of that contract with the PROPER party With PETITION on the PRIVATE SIDE to get the acknowledgement.
Every piece of entertainment is made with the idea that 'This is going to be terrific' and 'This is the best thing I've ever done' and then it hits the public and then the public tells you whether it's good or bad.
The problem a lot of writers have is that they really enjoy people saying, "You're brilliant." They let their self-perception be dictated by reader response. But if you're going to let other people make you feel good, you're going to end up feeling bad when they say the opposite. You've got to be a cultural stoic. Then you won't be devastated by people who respond negatively. Of course, the downside is that it sort of stops you from being able to enjoy people liking your work.
If what needs to get done is going to get done, then I can't screw around with the luxury of writing rituals or waiting for pristine writing conditions to magically materialize.
My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.
You may be sitting around waiting for God to change your circumstances. Then you’re going to be happy, then your’re going to have a good attitude, then you’re going to give God praise. But God is waiting on you to get up on the inside. When you do your part, He’ll begin to change things and work supernaturally in your life.
Turbulence is a condition that we all experience during a flight when the plane is bouncing around by competing air currents. By analogy, the economy may bounce around a lot because of competing currents of public moods and investments. One week everyone might be optimistic and then suddenly something happens to turn everyone into pessimists. Investment dries up and investors become risk averse. A sudden piece of good news then turns around the public mood.
The problem a lot of writers have is that they really, really enjoy people saying, "You're brilliant." They let their self-perception be dictated by reader response. But if you're going to let other people make you feel good, you're going to end up feeling bad when they say the opposite. You've got to be a cultural stoic. Then you won't be devastated by people who respond negatively. Of course, the downside is that it sort of stops you from being able to enjoy people liking your work.
See, that's the thing: I'm not one of those actors who thinks, 'God, I've got to improvise and make it my own.' No, my first job as an actor is to take what's written and make it work. And then, if they want me to improvise, I'll do that.
When a writer's whole being is poured into a piece of work, there is never enough. The feeling of finally getting to the end of a piece of work, of making it as good as you can at that moment, is more of a relief than anything else, and then you wait for reviews.
When I work, my first relationship with people is professional. There are people who want to be your friend right away. I say, "We're not gonna be friends until we get this done. If we don't get this done, we're never going to be friends, because if we don't get the job done, then the one thing we did together that we had to do together we failed."
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
When we work on a new theatre piece, we improvise a lot. But it's the opposite in opera, where everything is fixed.
Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings a certain freshness and a reality to it, as long as it doesn't go too far out of the box.
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