A Quote by Weyes Blood
It's important to me to create archetypes of human experiences and make them so that the song has a sense of purpose when you experience those emotions. You know, just making people feel like they're not alone.
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I'm huge on the dynamic of my show and the experience, not just performing songs. It's important to me to make sure that people experience every song, and feel like I'm singing directly to them. Your eyes never want to leave the stage because there's always something happening.
The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
I won't forget those kind of things, but I just want to write them down and look at them. It's almost like when things like music come out and you're listening to a song and you have experiences with art or phenomena that supersede your simple relationship with them as just a piece of art. They're more than that. That's just what those quote are for me. They're big, they're important.
Creators understand that their emotions are not necessarily a sign of the circumstances. They understand that in desperate circumstances they may experience joy, and in jubilant circumstances they may feel regret. They know that any emotion will change. But because emotions are not the centerpiece of their lives, they do not pander to them. They create what they create, not in reaction to their emotions but independent of them. On days filled with the depths of despair, they can create. On days filled with the heights of joy, they can create.
I think for some people who leave Westboro, losing that sense of specialness feels like you've lost something really valuable and important. I had the opposite experience. I was so grateful to know that I wasn't uniquely evil. I was just a human being who had had this set of experiences that were outside of my control.
Over and above the various prejudices I acknowledge, the affinities I feel, the attractions I succumb to, the events which occur to me and to me alone- over and above a sum of movements I am conscious of making, of emotions I alone experience- I strive, in relation to other men, to discover the nature, if not the necessity, of my difference from them. Is it not precisely to the degree I become conscious of this difference that I shall recognize what I alone have been put on this earth to do, what unique message I alone may bear, so that I alone can answer for its fate?
I wouldn't say the purpose of making art is to enjoy it necessarily. For me, it happens to be the thing I enjoy the most. I don't even know what the purpose of art is really, I just know that is something that makes me feel satisfied in a way that other things don't. That's all I know, that's why I like to write songs and films or draw. I just like to make things and somehow I find it gives me a feeling of satisfaction that I can't find in other areas of my life.
Ideally, as parents we'd have unlimited energy, the ability to manage tricky emotions like fear and anger, vast stores of wisdom to answer complicated but important questions, love that never grows tired, patience that never ends... Every parent would like to have all of these, but God alone possesses them fully. Parenting reminded me of what I lacked more than it ever made me feel equipped. But there's a spiritual purpose in that!
'Citylights' is for those people who know a lot but don't feel at all. It's time for them to feel, and this film will make those people, who know so much, feel because feeling is the life blood of human race, which is disappearing.
My humor isn't meant to be mean or hurt anyone. But it's to make them uncomfortable and laugh. I like making people feel a different range of emotions. I like to make people a bit confused.
I just feel like it's easier to co-write sometimes, especially if you have chemistry with somebody. It kind of takes all the pressure off of you. But, you know, I started writing songs by myself. I didn't really have a co-writer, besides my dad. When I see a record and it has a song on it that someone wrote [alone], I just really believe in them as a writer. I feel like it's a window into them, more than it is if you write a song with someone else.
I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.
When someone disagrees with me, I do not have to immediately start revising what I just said. People don't want me to always agree with them. They can sense this is phony. They can sense I am trying to control them: I am agreeing with them to make them like me. They feel; "I don't want to exist to like you. I DON'T exist to like you."
The first half [of Valley of Violence] was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.
The future of religion is connected with the possibility of developing a faith in the possibilities of human experience and human relationships that will create a vital sense of the solidarity of human interests and inspire action to make that sense a reality.
Because addiction is a developmental problem, the developmental stage is important, things like employment are important, things like having a sense of purpose, meaning and hope are important, and this is why there's been so many spiritual cures for addiction, because those things often give people a sense of meaning and purpose.
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