Maybe the biggest thing that I've learned musically is that anything is possible. Things can work when maybe they don't seem like they can.
I always bring cash for tips, and I never give less than $20. I used to work in a smoothie shop, so I know the value of a tip.
I have a lot more fun making comedies because there's a levity on the set, and I find it difficult to go to work and, you know, cry for 12 hours.
The painter must enclose himself within his work; he must respond not with words, but with paintings.
My nervous system is enfeebled, only work in oils can sustain me.
Session work makes you more strict. You can't hit notes all over the place. You've got to make each one really count.
If people have split views about your work, I think it's flattering. I'd rather have them feel something about it than dismiss it.
Audacity is central to everything I do. A lot of times I think my work is about just seeing if I can get away with it.
A musician's attempt to summarize his or her work leads to all this prescriptive chatter, or what I call the 'Modifier's Madness.' A lot of adjectives working overtime.
Everyone's different, but it was fun for me to work with Garth Hudson. He's from 'The Band.' They are a massive influence, that was a big thrill. He's completely out of his mind.
I put my heart and my soul into my work, and have lost my mind in the process.
In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
The beautiful is powerless but always exceeds what frames it, and what always frames it is discourse.
Imagine smiling after a slap in the face. Then think of doing it twenty-four hours a day.
I've known from a very early age that singing was what I was supposed to do. There was this unmistaken, undeniable passion within me to sing country music.
The themes that make one laugh always stem from poverty, hunger, misery, old age, sickness, and death. These are the themes that make Italians laugh, anyway.
Most people my age, their musical life ended in the '80s. They stick with what they know. But my tastes are much broader. And I don't want to stop learning.
The thought of making work that's easily consumed and quickly forgotten - what's the point? I want my work to be cohesive, to age and improve like old leather.
I get a friend to travel with me... I need somebody to bring me back to who I am. It's hard to be alone.
They were so good that you just had to sing the song to them once and they got it. It's amazing. Sometimes it didn't come out the way you wanted, but it was good.
I've always been fascinated with the juxtaposition of technology in music, not only in recording, but in the keyboard. It's amazing the way you can apply technology to an art form.
