A Quote by James Hunter

It's when you are trying to make something that is "authentic" as opposed to real - people who appreciate music for the wrong reasons tend to compartmentalize stuff.
I think it's because I'm real. Inside and outside of the ring, what you see is what you get. I'm CM Punk. I'm not trying to be something I'm not. I'm not trying to lie to the people or be fake. I'm not trying to be some crazy, outlandish character. I'm real and they appreciate that. Everything I say, it comes from the heart. It's all real.
I hope I'm in a position to make stuff that I really want to make as opposed to stuff that I just have to make for money reasons, or to sustain a certain marquee value.
I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.
I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.
I really appreciate people who have their own thing going on and stick to it - super authentic. The people who wear something and you're just like "oh, it looks so good!" it's because it's them. They're not trying to be anything.
The only way I can make sense of my music is to compartmentalize it as opposed to having one band that I have to throw everything into. For me, it's just more fun and more challenging to create little worlds where a song or a piece can make sense.
There was about a two-year period at the end of the '60s, when I realized I was in the wrong place and entertaining the wrong people with the wrong material and that I was not being true to myself. I went through a metamorphosis into something more authentic for me, a more authentic stage voice and writing voice.
When I want to make someone laugh in real life (as opposed to when I'm on stage where I tell one-liners), I tend to do prop comedy. For example, if I'm at the supermarket with my husband, I might put 16 bags of marshmallows in our cart when he's not looking, or if I'm trying to make a kid smile, I'll put my glasses on crooked.
The only funny part about Colonial Dunsboro is maybe it's too authentic, but for all the wrong reasons. This whole crowd of losers and nutcases who hide out here because they can't make it in the real world, in real jobs — isn't this why we left England in the first place? To establish our own alternate reality. Weren't the Pilgrims pretty much the crackpots of their time? For sure, instead of just wanting to believe something different about God's love, the losers I work with want to find salvation through compulsive behaviors.
Everybody is trying to make something real, something with a core of substance, and of course, an exciting action movie with a lot of terrific stuff and fantastic visuals and everything, but at the core of it, it's a movie with substance and something that is going to make people think.
I tend to write a lot of love songs, but I always want there to be something real and authentic that people can connect to, and I want to not just do it in a stereotypical way.
Music making features real-time creation, real-time decisions and actions. It's basically improvisation, which is the stuff of everyday life. In the realm of discourse about music, improvisation is marginal, but in the realm of doing it, it's omnipresent. Strange distinction here: we're improvising all the time, but when we tend to talk about music, we tend to talk about objects that are fixed, like recordings, scores, pieces.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
The reason people burn out is not because people are going hard [after God]; it's because they are working and perusing with the wrong spirit-trying to do it in the eyes of men with the wrong reasons; trying to get into a room you are already in.
I find that there's so much funny stuff in real life, and I am much more interested in super grounded, real stuff, so now I just want things to feel real and authentic.
I appreciate Drake's music, I appreciate Future's music, I appreciate Lil Durk's music. I appreciate Uzi, Meek Mill, I appreciate Migos.
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