A Quote by Todd Haynes
Like the music and the period, I wanted 'I'm Not There' to be fun and full of emotions, desires and experiments that were thrilling and dangerous.
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We never considered ourselves to be a good band or anything, we just thought we were playing for fun and we wanted to play music that sounded like Black Sabbath or Soundgarden or the music we were into at that time.
Everything desires not like but unlike: for example, the dry desires the moist, the cold the hot, the bitter the sweet, the sharp the blunt, the void the full, the full the void, and so of all other things; for the opposite is the food of the opposite, whereas like receives like receives nothing from like.
I always wanted that house where everybody wants to go, full of energy, dogs, music, fun.
The world is full of people with different characters and temperaments. We all have a dark side, a tendency to manipulate, and aggressive desires. The most dangerous types are those who repress their desires or deny the existence of them, often acting them out in the most underhanded ways.
A person doing experimental music must be responsible for the results of the experiments. They could be very dangerous emotionally.
All I wanted to do was read, to be told stories. Stories were full of excitement and emotions and characters that entertained and often inspired.
As a young girl, I just wanted to have fun and compete. There were no goals of becoming an Olympic athlete. I wanted to hang out with my friends. I wanted to do something fun, and that's what I did
Nobody wanted to be in business with Death Row because, unfortunately, they felt there was an element there that could be dangerous. But I just knew they had great music and that they were a bunch of guys who wanted to make it out of the ghetto. That's something I can understand.
Religion is not a nice thing. It is potentially a very dangerous thing because it involves a heady complex of emotions, desires, yearnings and fears.
I think my formative experiences were really in junior high, where at a typical public school we were doing little genetic experiments, very classic experiments.
I would do the occasional score. I thought it was the most thrilling thing. It was instant. You made the music and they played it right away to millions of people. I found it thrilling.
When we started there was this element of these experiments we were doing where we weren't really sure how the music would play out because the music was all on different players.
When we were on XL, they wanted to be dangerous and they wanted to be exciting because we were dangerous and exciting!
The fun part, I will admit this much, there is a period when listening to my music is fun, and that's when I'm making it. There's a tiny little window before something gets old, but after it's come to fruition. There's a little window there where I can listen to a song probably about five times, and I'll really think it's awesome. That's kind of the period that lets me know when I - 99 percent of the time, that period is right about whether a song is going to be a keeper for an album or just a throwaway track that never gets - in that little window.
I don't like to define my music. To me, music is pure emotion. It's language that can communicate certain emotions and the rhythms cuts across genders, cultures and nationalities. All you need to do is close your eyes and feel those emotions.
You like to explore things, and your parents don't like it because it gets the pots and pans dirty, and because it's noisy - but for you it's fun, you're resting. You're actually doing experiments... Just tell your parents that they're experiments, and you want to become a scientist, and then they won't stop you from doing anything you want.
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