Jules Shear Quotes

What Romantic terminology called genius or talent or inspiration is nothing other than finding the right road empirically, following one's nose, taking shortcuts.

The first idea is always the best.

I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.

Of course creativity is a mystery. We don't know what drives it or what constitutes it. It's one of those things, like genius, you know it when you see it but it's impossible to define.

Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.

My inspiration is endless; I can't define it. It is a constant flow and evolution. In general, I'm taking it from everywhere. People get nervous when they walk with me, as I'll see something and suddenly have to text it to myself.

I sometimes don't try to invent something. I wait for some kind of a direction - and it happens. I get an angle, for instance, and it just appears, and I say, 'Oh my God - that's it!'

I don't know, my music has always just come from where the wind blew me. Like where I'm at during a particular moment in time.

The most interesting things that happen in my books are usually the things that arise spontaneously, the things that surprise me.

There are no rules and regulations for perfect composition. If there were we would be able to put all the information into a computer and would come out with a masterpiece. We know that's impossible. You have to compose by the seat of your pants.

I would find myself laughing and wondering where these ideas came from. You can call it imagination, I suppose. But I was grateful for wherever they came from.

Success is fickle, but creativity is a gift.

And I don't have any specific steps to take because I don't start the same way every time. But there is a knowing when it's enough and you can leave it alone.

My goal is to think of nothing when I'm writing a song because too many influences could sabotage a potentially amazing song.

I'm definitely using different parts of myself, but I think when it comes down to words and melodies, I can't really force anything too much.

Chemistry is not anything an executive producer or writer can orchestrate or plan; you just hope for it.

You can't rush inspiration.

Melody is pure intuition. I don't use any thinking brain when I do that. That's totally in the zone.

It's funny, man, sometimes you record something that you plan on re-doing later, but then when you listen back to it, you decide to keep it because you realize that it's gonna be real tough to beat!

I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand - I use those words interchangeably - another appetite has formed. A lot of people try to think up ideas. I'm not one. I'd rather accept the irresistible possibilities of what I can't ignore.

Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it's never worked that way.

Everything that I've ever made in my life is from my instinct.

I think, like all big things, you don't know they're going to be a big thing when you start. You just kind of, like, play because it's fun, and it's interesting, and then it turns out to be way more important than you expected.

When I'm making a song, I try not to think about audience or genres. It's free-flowing. Natural.

It's gotta feel natural. I'm always into that, and after awhile, if I am working on a song too long and trying to make something out of it that it's not... it's best just to stop and move on.