'Free' is more of that 'familiarity breeds contempt' kind of thing. It's about saying 'Wait, I'm longing for something more than I have and I don't know what it is that I want, but I know I want it.' It has nothing to do with what I'm going through, personally.
You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.
It's no good running a pig farm badly for 30 years while saying, 'Really, I was meant to be a ballet dancer.' By then, pigs will be your style.
You were saying that once when visiting Yale, you were struck that unlike Pound, Williams's thinking was volatile, I mean, did not stay locked into a pattern of concepts that then defined his subsequent necessary behavior, whereas Pound did.
What I'm saying is that there are bargains right now, there are stocks right now that if you're shrewd enough, you will be able to buy them at the opening today and I you'll make money in a year from now.
I had this instinct and I just knew it. It was a very strange thing and as soon as I finished recording it, we were all in the studio saying we have something really special here.
Sorry, but there is no pleasure in finding new ways of saying the same stuff about projects which tanked.
On TV people look at your hair and then they look at your skin, and then they look at your clothes, and by the time they're listening to what you're saying, you're off the screen.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
James, that's a bad situation. I'm not saying it's not repairable, but it's pretty far. When you go from being in one of the best bands in the world to some cover band... as far as I'm concerned, he was playing down at the pub.
I remember saying in college that I would never do commercials.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
Those things which I am saying now may be obscure, yet they will be made clearer in their proper place.
It's not an anti-sex trip. Like, we're taking sex, which is probably another half of American entertainment, sex and violence, and we're projecting it, and we're saying this is the way everything is right now.
In the back of your mind, when you say you want to write music for the movies, you're saying that you want a big house, a big car and a boat. If you just wanted to write music, you could live in Kansas and do it.