A Quote by Steven Van Zandt
I need a big picture. I can't just do a collection of songs; that doesn't work for me.
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I don't think I approach my songs differently from other artists. You get a big picture of it, and you imagine the song and hear and feel it, and that big picture is like a snapshot, and it comes to you as fast as it takes to click a camera.
You are not just a big-picture girl for me, Brooke Parker. You’re the only picture.
My Picassos and Ferraris - those are kind of just toys. Those aren't the things that matter. What matters in the car collecting or the art collecting is to learn about it, and then actually not the acquisition but to put them into a collection that I think is curated. You know, so something of me in the collection that the artist actually created the work. If I was going to collect art, it had to be something of me, my eye, things that appeal to me so when I looked at it, it would really look like a collection, not just an accumulation of stuff.
My next record I really just want it to be a collection of great songs, classic songs in a way.
It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.
sometimes you don't need a goal in life, you don't need to know the big picture. you just need to know what you're going to do next!
I started collecting baseball cards and basketball cards when I was younger. I have a CD collection that turned into a DVD collection, and I have a Jordan shoe collection. And I don't drink, but I have a wine collection. I just started a sweatshirt collection. Every city that I'm in, I buy a sweatshirt. It's just something that I do.
Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.
I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
I think I had kind of an advantage. When I was growing up, my dad had just got out of jail and he had a great record collection. He had - it was all - these were the songs. So I heard a lot of these songs, like, my whole life, so for me it was easy. I already knew what I was going to sing.
It would get really alienating, to have my face be the face of a cause. So much just comes down to the songs. I just want to give us the opportunity to write great songs. Even our work in Haiti is limited by how good our songs are. We just need to get rid of as much of the bullshit as possible, so we can have a life, so we have something to write about.
I've gone on Twitter, and I've seen a picture of me walking through the airport, or some random picture, and the person's like, 'Oh my God. I just saw Chilli.' They just take a picture, and it lets people know where you are. It's just crazy to me even when people do that.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.
We call them impact songs, and people buy impact songs. But you just never know what those songs are going to be. One of those songs that really went through the roof for us was 'Big Green Tractor,' which I thought was kind of a fun little ditty song that I never in a million years thought would be as big as it was. But it was.
I wanted to try to make songs that worked as songs, not just as productions. People wanted me to do a solo acoustic session, they were like "Can you play song on the piano?" and I was like "Not really. It doesn't really work." I wanted to write songs that would work in a variation of instrumentation.
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