A Quote by Reggie Watts
The mind does different things in performance, and conscious thought sometimes takes a backseat.
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We have no proper understanding of the relationship between conscious thought and conscious sensation. The various forms of thought and sensation are underpinned by very different neural mechanisms; so how can the neural correlate of their conscious natures be the same? I don't think we are yet in a position to make such speculations. To make progress, we have to have a good conception of the phenomenology of consciousness, among other things.
On the movie side of things, the difficulties come with so few movies being made, and when they are, it seems that it's a marketing game. Story sometimes takes a backseat to that one grand marketing idea.
Your subconscious mind does not argue with you. It accepts what your conscious mind decrees. If you say, "I can't afford it," your subconscious mind works to make it true. Select a better thought. Decree, "I'll buy it. I accept it in my mind."
I feel it's the conscious mind that messes things up. The conscious mind is constantly telling you, this might happen or that might happen, even before it has happened. Your conscious mind tells you the next ball might be a out-swinger, but when it's coming at you you realize it's an in-swinger... so literally, you've played two balls.
Different boards do different things to the sound that's coming through them. An old Neve desk does embellish it in a way that makes it sound sort of bigger or warmer. It doesn't change the performance but it does enhance the way that it sounds.
The thing I find really special in performance is that there is this slightly mystical thing that takes over when you're responding to a crowd and engaging in people's imaginations collectively in a room. I've always thought that one of the most incredible things about being alive is going to see some kind of performance like that.
I work on two levels. I occupy my conscious mind with things to do, lines to draw, movements to organize, rhythms to invent. In fact, I keep myself occupied. But that allows other things to happen which I'm not controlling... the more I exercise my conscious mind, the more open the other things may find that they can come through.
The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.
Sometimes things just happen. Sometimes surfing this bank from Snapper to Kirra, sometimes you don't even think what you're doing but you do it anyway ... You get to the end of a wave and go, what did I do? Sometimes you go into a totally different state of mind.
I don't think I gave a good enough performance to be nominated for it. I thought I gave a fine performance, but those things are supposed to be about giving an extraordinary performance.
When you see a thing clearly in your mind, your creative "success mechanism" within you takes over and does the job much better than you could do it by conscious effort or "willpower.
While shooting Ten I was sitting in the backseat, but I didn't interfere. Sometimes, I was following in another car, so I was not even present on the "set", because I thought they would work better in my absence.
We have to understand there are two parts of our mind, there's the conscious and the subconscious. It's the subconscious that controls our behavior. It's the conscious mind where the intellect is resident. So the conscious mind is understanding information, but it's not internalizing it.
Meditation gives you two things: equanimity and creativity. And it does that by taking one from their conscious mind, where there's all that noise and chaos and so on, into the subconscious mind where there's quiet and where creativity emanates from. You have a mantra, and when you repeat it over and over again, all those thoughts go away because you shift them to that mantra. And then eventually that sound disappears, and then you're left not conscious or unconscious - you're left in this subconscious state, and by opening that up, first of all you get control of it.
It is only through your conscious mind that you can reach the subconscious. Your conscious mind is the porter at the door, the watchman at the gate. It is to the conscious mind that the subconscious looks for all its impressions.
The old grey donkey, Eeyore stood by himself in a thistly corner of the Forest, his front feet well apart, his head on one side, and thought about things. Sometimes he thought sadly to himself, "Why?" and sometimes he thought, "Wherefore?" and sometimes he thought, "Inasmuch as which?" and sometimes he didn't quite know what he was thinking about.
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