Justin Chancellor Quotes

I'll have to get people to write songs for me right now until my own writing comes around.

You're really creative when you're in an environment that you don't know how to handle. So collaborating was like that for me. I think that was one of the reasons why I knew I was gonna get a challenging reaction.

I've figured out what to do so far, but it's always the next thing you come to where the man with the bucket of ice cold water is waiting - whoosh! in your face. That's why you work with directors who know what to tell you to do.

I think sometimes with new characters, you can kind of hit a creative valley, and it's important to recognize when you're in that valley so you can get back out and get back to that peak.

Despite a few really bad days we had quite a lot of fun making Low, especially when all the radical ideas were making sense and things were starting to click.

Each work seems to give me the most trouble at the time I'm working on it.

You can't really think about more than one movie at a time. You're thinking about it consciously, and the subconscious is working too, and if you cram too much into your head, you don't get any ideas in the shower.

When we write, we complement each other. We wrote six songs, Barry and I, while Robin was ill during the American tour, and they were terrible until Robin came back, and then everything worked out.

I don't know how to explain it, but when you're working on something constantly, and you're digging in deep, things kind of fall in, and you grab them, and you're like, 'That one!' and 'That thing!' and it starts to build something right.

When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.

There were points in my career where I thought, 'Maybe I'm done. Maybe I've written everything there is to write.' Now I've learned that it's just working itself out. You have to let it do it.

Writing is the hardest for me. It doesn't come as naturally as the other forms, and I feel far more dread during the process. Acting and voice acting are more mercurial and maybe come a little easier to me.

The communication within Sinsaenum is really, really cool. As extreme as the music is, you might not realize how much we respect each other and how much we coach each other and how well we communicate.

It's hard to chase a vibe and catch a vibe.

I have to get three pages done every day, and there's usually a point about 150 pages in where everything falls apart, where all the plans are for naught. The book has become something else, and I have a nervous breakdown, and then I submit to what the book has become, and I keep going, and that's a terrible and then a great time.

Any one thing can get in the way of you and your brain being comfortable and being inspired. It's the difference between a really big song and a song that never existed.

I don't remember what script it was, but at the Monday table read, the [opening] teaser didn't work.We went back and had to think of a new teaser, and [after] four hours, five hours, we weren't landing on anything.And it was probably Glen [Charles] who said, "What are we, cowards?" You had to do it, no matter how long it took.

Sometimes if I'm stuck on something, I'll have a drink, and it'll get me inspired and ready to keep going. But the trick to that, again, is that you have to drink responsibly! I've learned how to use it sometimes to help my creative process.

It's very hard sometimes when you can't crack something or can't solve something and you keep trying and trying and you know it's falling a little bit short. That's very hard, but then when you finally do it, it's very rewarding and the process is good too, I like working with people this way.

I think anytime you set out to start doing something, it's always a difficult thing. It's a theory of a blank sheet of paper, for an artist; It's a challenge to put yourself in that position in life, and even in your mind, to put the two together. But you have to, and so that's what you do. I tend to look at it as less than a problem than a process.

So when a good idea comes, you know, part of my job is to move it around, just see what different people think, get people talking about it, argue with people about it, get ideas moving among that group of 100 people, get different people together to explore different aspects of it quietly, and, you know – just explore things.

... it appears to me that problems, inherent in any writing, loom unduly large when one looks ahead. Though nothing is easy, little is quite impossible.

We can figure it out, it's not like we all have a disease.

When we point to obstacles we inhibit progress. When we offer solutions we advance.

Ideas come at any moment -- except when you demand them. Most ideas come while I'm physically active, at the gym, with friends, gardening, so I always carry pen and paper. My first draft is always written in longhand. But once the first dozen chapters, more like short stories, are written, then momentum builds until I can't leave the project until it's done.