A Quote by Vera Farmiga
I'm thinking about anything and everything. I'm making stuff up in my head, I'm using sense memory. Sometimes when it doesn't come and you've got no choice because you're getting paid to do it, you grasp at straws. It's always easy now with my kids. I just create some "what-ifs" in my head, something horrible that would devastate me as a mother.
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I paused, only just now realizing that the subject was hitting a little close to home. "You know, getting hurt. Putting herself out there, opening up to someone." Yeah," he said adding some cheese straws to the cart, "but risk is just part of relationships. Sometimes they work, sometimes they don't." I picked up a box of cheese straws, examining it. "Yeah," I said. "But it's not all about chance, either.
Bad stuff happens.
Sometimes it makes no sense at all. Sometimes its unfair.
Sometimes, it just plain sucks.
Bad stuff happens sometimes.
Always remember that, but remember that you have to move on somehow. You just pick your head up and stare at something beautiful like the sky, or the ocean, and you move the hell on.
Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.
I'm thinking in my head I'd like to have five minutes alone with this guy to get some payback. But you got to keep a level head. You just got to get to the house, search, find anything you can to put these guys away and bring some justice and get some revenge for our brothers who were lost.
There's basically an element of fiction in everything you remember. Imagination and memory are almost the same brain processes. When I write fiction, I know that I'm using a bunch of lies that I've made up to create some form of truth. When I write a memoir, I'm using true elements to create something that will always be somehow fictionalized.
When I'm playing music I'm usually not thinking of surfing, just because I'm usually thinking about the chords and the lyrics, and sometimes that messes me up 'cause you'll start thinking, "Wait, how am I doing this?" But when I'm surfing, I'm usually thinking about music - whether it's an idea for a new song, or just singing a song in my head.
Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of my sister's head using alginating plaster.
Sometimes I have to shut off the omnipresent disco ball and flashing lights that are always in my head. It's a part of maturing, I guess - just learning that it's not just always about a quick, easy fix of getting people to dance.
I love sitcoms, and I grew up on sitcoms. That's my tasty junk food. So I wanted to create a sitcom and have some really quirky characters, because most of the stuff they make now is just so marginalized. How interesting is a white guy who's 28 years old and lives in New York? What story have we not seen about a character like that? Just as a writer, it's so much easier to come up with comedy when you have a really oppressed Indian boy. Or a mother who is an addict but still has to take care of her kids.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
Memory is just as much of an instrument as anything else in music, so I wanted to create soundscapes that are evocative of places that only exist in your head - that's where the fun, psychedelic stuff happens anyway.
Sometimes I'll hear some music in my head or I'll go to the piano and mess around and come up with a tune, or be on the guitar and come up with some chords - or I'll come up with lines, or just some words, or just a sentence. It could be the title of a song. I do that all the time. I write titles of songs a lot. And sometimes I'll end up writing a song that I don't have a title for and I'll say, "Oh, this goes with that title".
I'm doing like a No. 2 or a No. 1 on my head now because I just love how easy it is. I just shave my head and go out.
Where are you going?" "Nowhere special. I just have some... things to do." "Why did you pause?' "I'm sorry?" "You paused. You have 'some... things to do.' "No reason, I just--" "You're up to something." "No--" "Then why'd you pause?" "Get in the car." She got in. He got in. "Seat belt," he said. Why'd you pause?" His head drooped. "Because I'm up to somthing." "And why can't I come with you?" "Because it's something sneaky." "Do you promise to tell me later?" "I do." "Well all right then." She clicked her seat belt into place. "Let's go.
I've always been a 'your parents have got to come up to the school' type of person. Even now, when I do something wrong - if I say something inappropriate on a live tv show, for example - I half expect to have to deliver a note to Barbara Brand: 'Please come up to Channel 4 head office, Russell's done something despicable.
In my head, Carlisle’s kind eyes did not judge me. I knew that he would forgive me for this horrible act that I would do. Because he loved me. Because he thought I was better than I was. And he would still love me, even as I now proved him wrong.
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