I don't even take myself seriously, so how could I possibly take Hollywood seriously?
Another example of what I have to put up with from him. But there was a time I was mad at all my straight friends when AIDS was at its worst. I particularly hated the New Yorker, where Calvin [Trillin] has published so much of his work. The New Yorker was the worst because they barely ever wrote about AIDS. I used to take out on Calvin my real hatred for the New Yorker.
[Matt] Lindland looks just like 'Woogie' from 'There's Something
About Mary', how am I possibly supposed to take this guy seriously?
How can you possibly be happy if you think you're a person? Because we all know, just by definition, that people are definitely not happy because they take everything too seriously. They take themselves seriously.
My kids will come to me and ask me to listen to a 'new sound' they think they've discovered. One time it was the Beatles' 'Yesterday,' and the new sound was four strings. All of a sudden the new generation discovers the string quartet!
One is that you have to take time, lots of time, to let an idea grow from within. The second is that when you sign on to something, there will be issues of trust, deep trust, the way the members of a string quartet have to trust one another.
I've always believed that thoughtful people don't really take the tabloids seriously. They're basically a form of entertainment. I enjoy them as much as the next New Yorker.
Hollywood was not a place I dreamed of getting to. I never could take seriously the obsession people have about being a celebrity or getting to Hollywood - I was born next door.
People ask me: ‘What is punk? How do you define punk?' Here's how I define punk: It's a free space. It could be called jazz. It could be called hip-hop. It could be called blues, or rock, or beat. It could be called techno. It's just a new idea. For me, it was punk rock. That was my entrance to this idea of the new ideas being able to be presented in an environment that wasn't being dictated by a profit motive.
When I'm scoring something like a string quartet, it's all notated music, so it's meticulously written in the score, which is very different than doing things by ear.
It's not that I don't take TV seriously. I take it very seriously. But I've got my priorities straight. Call it my extra gift. Without it, I would be devastated every day in Hollywood.
Calling something "new age" is one of the media's biggest canons. If you're called "new age," you couldn't possibly be serious, you couldn't possibly have anything deep to say, and you probably hang out in California too much - and we know that no one in California reads books or has any serious thoughts!
My family goes way back in New York. So I am a New Yorker; I feel like a New Yorker. It's in my bones.
Of course we all have our limits, but how can you possibly find your boundaries unless you explore as far and as wide as you possibly can? I would rather fail in an attempt at something new and uncharted than safely succeed in a repeat of something I have done.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
In New York, all the crews read 'The New Yorker.' In Los Angeles, they don't know from 'The New Yorker.'