A Quote by Thighpaulsandra
It's the way I make music, I will take two ideas and smash them together and if they sit well together for me then that's fine, and it's the same with the lyrics - if I see a couple of lines and I like the way they look on the page then I'll use them. I find they take on a meaning of their own, it's very difficult to explain how I actually go about all that.
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First we start with the lyrics. Most of the lyrics are done by Stefan Kaufmann and me. When we have enough lyrics and enough stories we have the lines to make titles. Then we collect all the ideas of everybody in the band and see which ideas fit together the best with the lyrics to get the right atmosphere. That's the way we compose.
It was actually books that started to make those pockets of freedom, which I hadn't otherwise experienced. I do see them as talismans, as sacred objects. I see them as something that will protect me, I suppose, that will save me from things that I feel are threatening. I still think that; it doesn't change. It doesn't change, having money, being successful. So from the very first, if I was hurt in some way, then I would take a book -- which was very difficult for me to buy when I was little -- and I would go up into the hills, and that is how I would assuage my hurt.
Usually I will hear a sample, think of a theme and then it will take me a couple of days to write down some lyrics. Then I will decide that I hate those lyrics and rewrite. Then I will change all the music around. Then I will rewrite all the lyrics again. I am a bit of a perfectionist although you would never know it because all my songs are like chopped up and @#$%& up, but you see that's on purpose.
We're thinking about printing the lyrics with the next record so that people can find their own meaning in them. But then they would start having a life of their own, and I think the Portishead music should stay a whole in which the lyrics come second, actually.
If you take text and image and you put them together, the multiple readings that are possible in either poetry or in something visual are reduced to one specific reading. By putting the two together, you limit the possibilities. Text and image don't always work together in the way music and song lyrics become part of each other.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
Take the ideas of the masses (scattered and unsystematic ideas) and concentrate them (through study turn them into concentrated and systematic ideas), then go to the masses and propagate and explain these ideas until the masses embrace them as their own
I would agree with that. But when I write lyrics, personally I don't care if the person who is listening to it understands what I'm saying or not; and I write them like that specifically. You know, I have my views; I don't feel the need to have people have the same views as me. So if they find the meaning in the songs and it's the same meaning as the one I intended then fine and dandy and if they don't, they don't.
When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.
I'll read a recipe but then decide, 'Well, it's sort of like this, then.' Or I'll go to the fridge and think, 'I'll see what I can put together,' and I'll combine beetroot and sausage and prawns with goat's cheese sprinkled on top and think, 'I like that they're all slightly pink. It looks fine and... actually, it is fine.'
'White Rabbit' was mostly done in about two days, the music in about half an hour. The music is a 'Bolero' rip-off and the lyrics a rearrangement of 'Alice in Wonderland.' You take two spectacular hits and throw them together, and it's hard to miss.
All of the external circumstances and the rude and difficult people we meet, instead of getting angry, upset, or frustrated, we see that we can take them all and use them on the path in a way that actually invigorates and strengthens us, rather than defeats us. It's all very practical advice, and that's why I talk a lot about how to make our daily life into Dharma practice, otherwise it's easy to feel hopeless and helpless.
I just love storytelling. I write music to tell stories. So when I'm done writing a song, I take it and go, 'Okay. How can I interpret these lyrics differently?' I love taking lyrics that were so close to me at a certain point in my life and then revamping them. I always want to take things to the next level.
These days I keep a journal, so I'm constantly sketching down my thoughts, or lines that come to me...ideas for songs. And then when I have a moment to myself, I'll sit down with my guitar and open my journal, and start kind of massaging things together, and see if a song takes shape. Or sometimes, I'll just be hanging out with my guitar and come up with a chord progression or a lick, and that'll sort of sit around for a while waiting to marry itself to some words. So it's sort of haphazard and it's like...junk culture. I go around finding shiny objects and I glue them together laughs.
I think it's a slightly crazy time actually, it's very difficult to satirise because each of politicians is in their own way enacting a commentary on the world of politics anyway. To then comment on them just feels like adding another layer. I find it very difficult to do jokes about current politics because for me it's all about... I actually genuinely want people to be involved properly, you know? I mean, the number of people who don't vote... Frightening, really.
Anyone can take pictures. What's difficult is thinking about them, organizing them, and trying to use them in some way so that some meaning can be constructed out of them. That's really where the work of the artist begins.
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