A Quote by Yoko Ono
When people don't understand my work, I don't feel like explaining.
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I can't understand these chaps who go round American universities explaining how they write poems: It's like going round explaining how you sleep with your wife.
I don't understand these people anymore, that travel the commuter-trains to their dormitory towns. These people that call themselves human, but, by a pressure they do not feel, are forced to do their work like ants. With what do they fill their time when they are free of work on their silly little Sundays? I am very fortunate in my profession. I feel like a farmer, with the airstrips as my fields. Those that have once tasted this kind of fare will not forget it ever. Not so, my friends?
If you are explaining, you're losing. It's a bumper sticker culture. People have to get it like that, and if they don't, if it takes three seconds to make them understand, you're off their radar screen. Three seconds to understand, or you lose. This is our problem.
The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don't feel like it. And that emotional waiver is why this is your work and not your hobby.
I understand professionals have to work when they don't feel like it, and I certainly don't feel like it. So maybe this will put the nail in the coffin for my acting career.
If you're struggling, it's easy to feel powerless until you take control of it and assert what you want. I can understand that feeling. I can understand how it feels to be alone, to not want to get help from people and to not trust people who are actually wanting the best for you. I feel like that's true for a lot of people, actually.
I like to have fun at work. It's okay if I don't. I've had that a few times. But generally, I'm someone who has a lot of fun at work, because I like my job. I think it's a fantastic job, at least that part of it is a fantastic job. And I like to have fun, and I personally feel that whether you're talking about the cast or the crew or the director or any combination thereof, that when people feel involved and comfortable and they feel like their work is being supported, that's the best environment to do good work.
I feel like I have to be a walking encyclopedia - I constantly have to be explaining myself - especially when I do table work or when I'm talking to a dramaturg about, you know, the culture, but also what I'm trying to do as a writer in this particular play. You know, you have to protect yourself too.
Joy Rains has a gift. A gift for explaining abstract concepts like meditation through clever analogies and metaphors. FOR THE FIRST TIME in my hectic, harried life I actually UNDERSTAND how meditation is supposed to work and WHY I should give it a TRY!
I get bored with things easily. I always have to change something to keep myself excited. When I feel like I did a really good classical and acoustic album, the next thing I want to do is the opposite. And then I want to do the opposite of that. When I work alone after that, I feel like I should work with a lot of people. When I work with a lot of people after that, I feel that I should work alone.
I understand there are inevitable things that we have to go through: heartbreak, family problems. I don't feel like some Quixotic idiot who says, 'We don't have to feel pain.' No! Let's feel it, let's make it work for ourselves. But I want us all to be able to get past it.
I begin to feel like I was in the last generation of Americans who took a civics class. I begin to feel like most Americans don't understand the First Amendment, don't understand the idea of freedom of speech, and don't understand that it's the responsibility of the citizen to speak out.
It's not about having things figured out, or about communicating with other people, trying to make them understand what you understand. It's about a chicken dinner at a drive-in. A soft pillow. Things that don't need explaining.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
People have to find ways of explaining the work.
I feel like I'm sort of afraid to study too much because I feel like I work as I go, but I want to study the classics and also the technical aspects of things. I'm always looking to understand more.
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