There's so much chaos in life, I think I make music to make things feel calm and sane, to define something, to bring some meaning into it - it's a real peaceful thing to me.
I'm extremely happy, but I don't do love songs for the most part. It feels weird; that's such a personal thing to me. I'd rather live that in my real life and play a different character outside of that.
I don't have any real spirituality in my life - I'm kind of an atheist - but when music can take me to the highest heights, it's almost like a spiritual feeling. It fills that void for me.
I feel a real connection to Brooklyn, certainly, because I spent 20 years of my life there, but I don't think of myself as a Brooklyn artist any more than I think of myself as a male artist.
How terrible would it have been if I had come out with some watered-down version of who I am? People fell in love with the real me, and I still feel blessed that that was how the journey began.
When you boil down the real facts and statistics of what carbon dioxide is doing to this planet... to not feel like you have to do something... I don't think you're human.
Pretty much my feel toward MCs is, if you really got heart, you got passion, let's get on and do something. I like doing stuff with people that's real.
Imaginary pains are by far the most real we suffer, since we feel a constant need for them and invent them because there is no way of doing without them.
What I like about fairy tales is that they highlight the emotions within a story. The situations aren't real, with falling stars and pirates. But what you do relate to is the emotions that the characters feel.
Don't you enjoy being alive? Don't you like feeling: This is me, this is my hand, this is my leg, I'm real, I'm solid, I'm alive! Don't you like this?
In effect, I feel like a blind, deaf, and illiterate person working through the sensibilities and multiple, real talents of other people. Everything I do is collaborative.
You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.
The important thing is for the characters to feel real, and to be given the humanity they are due. That granting of humanity is what separates a full portrait from a stereotype.
When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.
I feel everyone is put here for a reason. Everyone has a calling. I always thought my real calling was to help other people.
Max Schumacher: [about Diana] I'm not sure she's capable of any real feelings. She's television generation. She learned life from Bugs Bunny.
Part of me feels you can't say you were truly in love if it didn't last. If I end up getting married and having kids, that's when I'll know it's real - because it lasted.
People need realness, reality. People can sense when someone is being pretentious or fake. It's because you feel it; you see it in someone's body language.
After a while, the characters I'm writing begin to feel real to me. That's when I know I'm heading in the right direction.
The real beginning of influence comes as others sense you are being influenced by them--when they feel understood by you--that you have listened deeply and sincerely, and that you are open.
Sometimes I feel that the people I'm writing are more real to me than the people around me. When you take that imaginative leap, you're living so much in that world.
