A Quote by Yoko Ono
Every time I create something, just before that there's a kind of - you're feeling very low, you're feeling very down and insecure. Then you create and then it's fine. This is the way I observe me doing it.
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It's a wonderful thing to be able to create your own world whenever you want to. Writing is very pleasurable, very seductive, and very therapeutic. Time passes very fast when I'm writing-really fast. I'm puzzling over something, and time just flies by. It's an exhilarating feeling. How bad can it be? It's sitting alone with fictional characters. You're escaping from the world in your own way and that's fine. Why not?
It's the feeling that really creates the attraction, not just the picture or the thought. A lot of people think, “If I think the positive thoughts, or if I visualize having what I want, that will be enough.” But if you're doing that and still not feeling abundant, or feeling loving or joyful, then it doesn't create the power of the attraction.
Man, the feeling of the make is something that I can’t put to words, it’s the very best feeling in the world. I just chase that, it’s a very real feeling and straight up, I am addicted to it.
My parents had an independent theater company here in Sweden during the 1980s, so I was raised watching my parents create independently, having a lot of fun and just doing what they wanted to do. I think that idea of independence as an artist was something I was always used to. And then I entered the industry from a very commercial perspective, and things were very different then from what I grew up with.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
Seriously, I think it is a grave fault in life that so much time is wasted in social matters, because it not only takes up time when you might be doing individual private things, but it prevents you storing up the psychic energy that can then be released to create art or whatever it is. It's terrible the way we scotch silence & solitude at every turn, quite suicidal. I can't see how to avoid it, without being very rich or very unpopular, & it does worry me, for time is slipping by , and nothing is done. It isn't as if anything was gained by this social frivolity, It isn't: it's just a waste.
The feelings that we equate with love-feeling sick, feeling insecure, not eating-that's just lust getting in the way. It's your ego saying, 'I want to get laid' and 'I hope she likes me more than I like her.' Love is something that should be there in 20 years' time.
All of us live at the feeling level, and our feelings are in large part a result of the way we perceive things. You observe or are told something, you interpret it, and only then do you have a reaction at the feeling level. The point is that feeling is preceded by perception, and all of us are capable of controlling our interpretation [the associations and assumptions] of what we see. If we can control our interpretation, then it logically follows that we can exercise some control over our feelings as well.
What I'm trying to do with Thrizzle is create the experience of a humor magazine, even if it's just one person. So that's involved me trying to simulate different styles and create a feeling of some contrast and variation, which is obviously very different from Snake 'N' Bacon.
With men, you need to anticipate all your ideas at least one or two months before the next women's collection, so you need to create a feeling that links with what will happen a few months later. To me, a man and a woman are really a couple. They live together. They grew up in Italy together. So, not just in the stores or the campaigns, but also in real life, it's very important for me to create a connection between them.
I think my comedy's probably the same as my art, which is kind of abstract, impressionist, emotional. You create an emotion and then you knock it down. You take something the way people are expecting it to go, and then give it a different conclusion.
When I won the first Grammy, there was no other feeling like that feeling. It just made me feel like I came so far, like that was just a dream a few years before that, and then it was happening right then.
I've found a bit of success in my career, and I'm very relieved by it, but the success that comes after a book is published is never as happy as the feeling of writing, of knowing you've written something good, of feeling like you've had a worthwhile day in the chair. That's the best feeling I know, and as soon as writing stops making me feel that way, I'll stop doing it.
I examine it [pain] every which way. Why do I really feel this way? What's going on here? I have to really explore it all the way out, drill it down to its lowest common denominator and go, Oh! That's what that is. I'm feeling insecure. Or, Oh! God has something better for me.
I'd rather create something that gives people a very strong reaction than create a show that someone looks at and says, 'Hmm. Fine.'
So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.
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