So: if you buy the notion that reality consists of the things in your freeze-frame mental image right now, and if you agree that your now is no more valid than the now of someone located far away in space who can move freely, then reality encompasses all of the events in spacetime.
Oftentimes, if you're talking to a seasoned interviewer who asks you a question, they may do a follow-up if they didn't quite get it. It's rare that they'll do a third or fourth or fifth or sixth follow-up, because there's an implicit, agreed-upon decorum that they move on. Kids don't necessarily move on if they don't get it.
I started in TV movies and then had success in my move to features with Night Shift and Splash.
It was hard for me to move forward, because I take responsibility for what I introduce into the world through my paintings. So to actually introduce something evil or bad was quite hard for me.
I don't always know what's going to go on in terms of the mood of the story. Sometimes I start with the mood, but sometimes I just try to work toward discovering it. But I do think often there's a mood or unsettling quality, in which the reality of the world seems to be taken away, that I really love, and it's something that I almost always unconsciously move toward.
The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
I feel the change. I feel the relationship with New York changing. It's a personal relationship you have with the city when you move there. I definitely romanticize the early 2000s. As much as I prefer the city then as opposed to now, I'm sure if I were 23 and I moved to the New York of right now, I could have the same exact experience. I don't really hate the cleaning up of New York, even though it's not my preferred version of New York.
I'm moving to a point that I'm fed up with the N.C.A.A. dictation.
Kat and I were in our 20s when we won in '88. Our personalities were already established. We were ready to move on to a life of professional skating.
I sing the best when I'm really in my voice. It's kind of like I'm meditating but I sort of imagine my voice as a physical thing. I see colours, I feel it moving out of me and I try to tap into images that I was tapping into when I was writing the song.
I'm a very typical yoga-practicing musician; I do it when I can. I'm not hardcore about it. A lot of my lyrics talk about celebrating life and working through pain. I think that's what yoga's about, getting rid of, moving energy and letting it flow through you.
Pain is part of how I get inspiration and part of how I gain wisdom on life. I guess the point I'm trying to make is that I don't transform it, I just let it be. I kind of let it move through me, let it consume me and I let it take me over and hurt me, and I let it go away when it's ready to go away and I understand that it's just part of the process.
Bicycling beyond the Divide did what all great books do: it told me about me. In its tale of a journey made by two different men-both of them Daryl Farmer-this book offers us not only moving vistas and meaningful people, but also hope, that rarest of literary commodities these days. I didn't want this to end.
At Columbus Circle, a juggler wearing a trench cloak and top hat, who is usually at this location afternoons and who calls himself Stretch Man, performs in front of a small, uninterested crowd; though I smell prey, and he seems worthy of my wrath, I move on in search of a less dorky target. Though if he'd been a mime, odds are he'd already be dead.
Everything that these folks are saying that they're trying to move away from, like comparison, perfectionism, judgement, and exhaustion as a status symbol - that all describes my life. It was more like a medical researcher studying a disease and figuring out he or she has it.
We're getting the blues about having to walk away from this whole thing. We enjoyed it a lot and it all felt good. We had a good experience on it. We thought we could do good work together. And it is unusual to get the next one, straight off the bed. John is funny. When he gets moving, he moves pretty quickly.
I kept saying that I want to be a singer, singer, singer. Someone told me, "Noooo, you move as an actress!" I believe that happens to a lot of people. People have a multiplicity of gifts, but I think people in your life are telling you which one you should focus on. I just got done talking with my group of water walkers about this. If you focus on one of your gifts, that one gift will be the catalyst to open up opportunities for the other gift.
The '90s period I just miss because it was such a great time and the music was just so electric. Everybody just had to bring their A-game back then because everybody that was, you know, a big influence...they were on the charts. I bring that era with me everywhere I go. I care about every word I sing. I care about every move I make on stage. I care about the fans. I bring that with me to the present time. And then, when you're timeless, you can work in any time.
It was amazing how many books one could fit into a room, assuming one didn't want to move around very much.
It's a mystery," Vin said, narrowing her eyes and smiling. "We Mistborn are incredibly mysterious." Elend paused." Um...I'm Mistborn too, Vin. That doesn't make any sense." "We Mistborn need not make sense," Vin said." It's beneath us. Come on-the sun's already down. We need to get moving.
Shakira's music isn't my cup of tea, but the way she moves her hips reminds me of the feeling you get when you climb the gym pole.
I don't think it will ever be lessened. Because I always move on to something else - and the music that I listen to, that I ingest, is a lot different than what I put out. I'm always becoming obsessed with the next phase of my musical vocabulary.
