A Quote by Vestal McIntyre
London is like a collection of hills. There are lots of desirable spots and lots of space in between. The idea of elbowing people out of your way to get somewhere - literally or metaphorically - seems foreign here.
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I do lots - I've always felt that the idea when you're on your deathbed is, you know, to do lots of different - to say that you've done lots of different interesting things not, you know, how expensive a lining you can get for your coffin, you know.
We can create the sensation of community through the accrual of actions, and that's often the clichéd way that storytelling is talked about, as someone taking a solo, and that's great for lots of reasons. But I don't really like to feel like I'm forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it's for lots of people, and it was created by lots of people, often.
There are the moments it seems like, if we can take a week every once in a while and do this and make people happy, and it's a way for lots of people to get together and have fun, then it seems pretty silly to not get together and do it.
I don't think I'm mainstream. I think what I am is lots and lots of different cults. And when you get lots and lots of small groups who like you a lot, they add up to a big group without ever actually becoming mainstream.
Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
To get the respect of people, I think you've got to roll up your sleeves and lead with your people. The absolute key is treating your people well. Looking for the best in your people. Lots and lots of praise, no criticism.
People lie for lots of reasons, often because it seems like a way to get what they want with less effort.
Famous old houses seem to have an intuitive perception of the value of corner lots. If it is a possible thing, they always set themselves down on the most desirable spots.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
My natural hair is who I am. I have lots of braids, and I have lots of twists, but it's all very low maintenance. I feel like I can get up and go and get out of the house. I just don't have it in me to get my hair done all the time.
It's more like there are some really obvious things that are different and then lots and lots of smaller things, lots of things about who lives and who dies, civilizations that rose and fell, all the way down to individual characters. That becomes the state of where you left your galaxy. The endings have a lot more sophistication and variety in them.
The idea that we could have a child who escapes from the confines of the adult world and goes somewhere where he has power, both literally and metaphorically, really appealed to me.
Somewhere along the way, the idea, which I think was initially to get some fair transaction between people, went out the window. And what came in was, the most you can get and the least you can give. That's why cars are the way they are nowadays. It's just an erosion of all the things that were true and right about the original idea.
I've spent lots of time in London, I studied in London, I like London. It's just not my home.
Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
From university, I tried to get into the profession almost immediately, and just got kind of kicked back in London, by lots of people saying, "Well, you know, we'll need to see you in something. And the easiest way for you to get seen in something is drama school. That is the best way to get an agent."
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