A Quote by Taylor Goldsmith
I was 21, and I was like, "Man, am I really gonna start over and try this whole thing over again? Do I want to start over and be in a rock band again and try to act like a 17-year-old for as long as I can?" Because that was what I was doing with Simon Dawes band. I decided that if I was going to go on playing music, I was going to try and work on it. So I got into Leonard Cohen and Will Oldham, guys that really inspired me not only as songwriters but also through their music as people, and that's kind of what the shift was for me.
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Joining another big time rock band was the last thing I was looking for, but as the tour went on, I really dug playing to a lot of people, the band sounded great, and just being out there again, got me over my depression and so I decided to hop on board.
Part of being in a band, being a painter, or starting a nonprofit is that you're going to make horrible mistakes and look like a total idiot, but you're never going to create that thing that really connects with people if you don't fail over and over and over again.
Honestly, as a director, at least for me, if I start doing the same thing over and over again, I'm going to get bored really quickly.
The nature of music fandom and music fans is that, very often, they fall in love with a band or a particular artist, and they really would like... I'm talking generally; that's not everyone. But a vast majority of the fan base would prefer the band to keep making the same record and the same style of music over and over again.
I'm 13 to 17, 18 years old; I thought that's what the world was like. It never occurred to me that this was a very unusual period in music history. So I went on assuming that one day I'm going to have my band like my heroes had their own band. So people ask me this question all the time - they go, "Bass is basically a background instrument." The other thing is that in urban music, Black music, the bass has a much higher profile.
It's funny, because it's like the fight when you watch it, it's probably going to be like five minutes, but it's taken us like a month to shoot it so I think what was really interesting was that instead of going through an entire fight sequence, you're doing one or two moves over and over and over, so I'd say it's less exhausting than actually training, because you're not really constantly going over the choreography, like the whole entire thing with everybody. You're just doing that one part that they need in the shot.
I think it's important for women to be patient with their men. Try not chastise them to the point where they never want to try again. Because it's inevitable - we're going to screw up. And this is not me as a man telling women to be patient. What I'm saying is, as a man, I know the only way I'm going to figure this stuff out is if I have the support of the woman I love. I will mess up and say the wrong thing and interrupt my wife because it's a learned behavior I've done my whole life. I don't have all the answers - all I'm trying to do is start a conversation.
When I was playing piano, it was like, 'I'm going to write a song using all the white keys.' My music director, who knew my jazz background, suggested I try big-band music, so we spent a year experimenting with it in concert, and the audience reaction was really good.
Nothing is going to stay the same; nothing's gonna sound like in 1952. There's some stuff that has some elements of back in the day, like back in the 90's, back in the 80's or whatever. Some elements, but it's not going to be the same, exactly, sounding. And I love it, I've seen the music change. I've seen the flow and the energy go from turned up to turned down to back to turned up. I like to try different stuff. I don't like to do the same old thing over and over again. I don't like to be repetitive, that gets on my nerves.
If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.
I know that the way to be a really successful writer is to write the same kind of book over and over again. Find the kind of thing that people like and just write one of those over and over again. I don't do that. I just keep doing different things.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
Many actors will try something different once, but if it isn't a box office success they'll never do it again. In my opinion, there's no point in going on with this job if you do the same thing over and over again.
I am the ambassador to the world. I use music to talk to the world - to try to unite masses. To try to spark conversations. To try and evoke legislation to change that'll really be for the people. That's behind-the-scenes kind of thing for me. And that's what the music is for me.
I was always taught as a kid that if there's anything you want in life, you've got to work towards it. I guess that sort of stayed with me, really. But also, for me, from the time I was like 10 years old, all I ever wanted to do was be in a band and make music. So to get the chance to do that, to live your dreams or wishes, I just seize it and try and run with it. I never sort of think, oh, the pressure, or it's too much. You're lucky to be doing it. It's a great gift to have, and I appreciate it.
For me, it’s like playing the same instrument but in a different context. TV work – it’s really about getting it just right. You have a chance to try again if it’s not. Theatre is like playing a rock show. It doesn’t really matter if you make a tiny mistake. It’s the whole vibe and getting people to feel you. It’s about carrying the moment through all the way with you in an hour and 20 minutes of the narrative.
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