I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.
I'm having this conversation with you now. I'm talking, but I'm thinking, feeling, smelling, and moving. Yet I'm concentrating on what you're saying. So that means there's more things going on in the body than just the present thing that the person's got you doing.
I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.
No one has to learn to spell to talk, right? You see a little kid holding a conversation with an adult. He probably doesn't know the words he's saying, but he knows where to fit them to make what he's thinking logical to what you're saying.
I see no marks of Wordsworths style of writing or style of thinking in my own work, yet Wordsworth is a constant presence when I write about human beings and their relations to the natural world.
In this room we're all here together, but there's probably a lot of different views, people sitting here thinking, I don't own any slaves, all the slaves are dead. Why am I responsible? My family were immigrants, too.
For some reason, on that sparkling afternoon last week, I actually saw the coal that was passing by and it set me to thinking how important coal was to our everyday lives when I was a little boy.
When a kid can understand that a word can mean two things, there's some real thinking going on. They have a vested interest in finding out what a word means, because it's the punch line to a joke.
I don't theorize too much. I sort of let the experience sink in, and I have to discover what the character is by doing it, and having those thoughts that she's thinking.
