A Quote by Heather Armstrong
There are certain sacred things in my life that I would never talk about. Because they are clear in my head, I can walk freely around the opposite side. I keep them completely separate in my mind.
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Once I re-approached music I had to do it in a way that wasn't so personal for me to feel comfortable releasing it into the world. Well, of course some of them are, but I would never talk in an interview about exactly what a song is about. I like to keep my music and my life separate.
I am very clear about keeping my professional and personal lives separate. I don't want to talk about certain things, and that's the way I am.
I talk about things in music that I would never talk about with my best friends, which I think seems like a weird thing, but my justification in my head as to why it's okay is because it's cryptic enough and there's enough meat around it to make it all okay and no one can really prove what any of the songs mean.
When you are around 60, there are certain things that are completely terrifying. One of them is that you have made the wrong choices in life, and now it's too late to do anything about them.
Now, I went into the Army as a Republican, I came out as a Democrat, and it completely changed my outlook on a lot of things. And when you live side by side with your fellow soldiers and you realize that they're not a number, that they're actually human beings and they have families, it's a lot harder, I think, to talk about sending them to die for things that aren't really that important.
What bothers most critics of my work is the goofiness. One reviewer said I need to make up my mind if want to be funny or serious. My response is that I will make up my mind when God does, because life is a commingling of the sacred and the profane, good and evil. To try and separate them is fallacy.
You think of yourself as an "individual person", with a unique and separate mind. You think you are born and you think you die. All your life you feel separate and alone. Sometimes desperately so. You fear death because you fear the loss of individuality. All this is an illusion. You, he, she, those things around you living or not, the stars and galaxies, the empty space in between- these are not distinct, separate objects. All is fundamentally entangled.
The fame thing is interesting because I never wanted to be famous, and I never dreamt I would be famous....You know I didn't think they'd rake through my bins, I didn't expect to be photographed on the beach through long lens. I never dreamt it would impact my daughter's life negatively, which at times it has. It would be churlish to say there's nothing good about being famous; to have a total stranger walk up to you as you're walking around Safeways, and say a number of nice things that they might say about your work.
I would love to direct but I feel like directing is a whole separate craft and so I tend to respect it as a separate craft that I would need to study first. So, right now I'm still trying to do certain things as an actor and until I get bored of that or I feel completely fed by that then I'll move into directing.
Talk to me about sadness. I talk about it too much in my own head but I never mind others talking about it either; I occasionally feel like I tremendously need others to talk about it as well.
Pathology is a relatively easy thing to discuss, health is very difficult. This, of course, is one of the reasons why there is such a thing as the sacred, and why the sacred is difficult to talk about, because the sacred is peculiarly related to the healthy. One does not like to disturb the sacred, for in general, to talk about something changes it, and perhaps will turn it into a pathology.
There are things that make us choose, on certain days, on certain nights, the opposite of love, in all its variations. But I want to acknowledge that with love and hate it's not simply one or the other. It's at least two, three, four, five different emotions existing at once, side by side, a broad spectrum of things alive.
Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.
There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.
I love playing basketball because you could be having a rough day in your life, and while you're on the court it gives you a clear mind. I'm not worried about anything. I'm there just playing freely and I go out there all and I have fun.
When you walk around, you have all this stuff rattling around in your head, things that have happened to you, things you have read. Life is just life, and you get what you get out of it.
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