A Quote by Steven Wilson
The one thing I do believe is, if you make the songs about the human aspects of things, you've got a much better chance of having the music transcend the times. If you make them very political and very topical, it's going to date very quickly.
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That is the great thing about policing, you do have a lot of responsibility very early and you have got to make decisions, sometimes life and death decisions, very quickly and there is something about putting a uniform on and thinking 'people are looking to me to make decisions and to look after them' that makes you feel capable.
Learning to make films is very easy. Learning what to make films about is very hard. What you’ve really got to do is focus on learning as much about life, and about various aspects of it first.
I would say that I don't make music quickly; like, my process has been very slow, and my bar is very high, and I don't really rush to make music just to get something out there.
For me, fragrances are very - one of these beautiful art forms that bring about a whole host of things. It's what you want to smell like, it's memories that make you smile or are resonant of times in your life, it can remind you of music. If you're a lover of scent, it's a very kind of particular and evocative thing.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.
I got a degree in sociology, didn't read much fiction in college, and I was a pretty political, left-wing type of guy. I wanted to do some kind of work in social change and make things better for the poor man, and I was very romantic and passionate about it.
When I was 50 years old, I actually decided to draw up a list of half a dozen things that I really hadn't done very well, and I was going to make efforts to improve. One of them was skiing, and I really did become a very much better skier.
The times are very bad. Very well, you are there to make them better.
you never know which thing you do is going to turn out to be important. I'm sure we've all done very small things that had very great impact and very big things that didn't make any difference. So, create the means that best reflect the ends we want. Try to make each moment authentic, and you'll get to an authentic end.
You've got to care about the music...You'd better not be doing it for the publicity, the fame or the money. And you'd sure better not be doing it because it's a way to make a living, 'cause that ain't always going to be easy. You got to believe it, believe in the music. You got to mean it.
It's very much the currency of discourse on social media where political disagreements very quickly become very personalised.
I want to make sure that teenage girls know that if you decide to keep your child, you have to get an education. You have to have a plan A, B, and C. Make sure you have a good support system. If all those things are not in place, it's going to be very, very hard - very, very lonely.
Watch out for music. It should come with a health warning. It can be dangerous. It can make you feel so alive, so connected to the people around you, and connected to what you really are inside. And it can make you think that the world should, and could, be a much better place. And just occasionally, it can make you very, very happy.
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.
We have aspects in our music that refer to space, like Kometenmelodie, but we also have some very earthly aspects that are very direct and not from outer space but from inner space like from the human being and the body, and very close to every day life.
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