Steve Toltz Quotes

The cliché of that sort of wasted, renegade, drugged-out musician of the '70s is kind of dead and gone now. And I suppose that a lot of people still keep relying on that, or some kind of image to perpetuate something that they think they're supposed to sound like. But that kind of takes you away from real inspiration and, you know, real artistic discovery of the individual.

Who said that artists should sell their soul, expose everything about themselves?

I feel like I try to write from an honest of a place as I can - without scaring people off too much, I guess.

A writer, or a beginning writer, is faced by the huge walls of self-consciousness. Most people think, "What if I say the wrong thing? What if I don't sound erudite and sophisticated? I'll be considered a fool." In time, with a lot of practice, you realize that's your foolishness is your gift.

If you're up on a stage, naked and solo and singing songs to people, there's not much place to hide, so you may as well confess what you want to confess and say what you want to say, whatever that is. Some songs just turn out as being more about me, and some are more through the eyes of other people, or third-person descriptions of people.

I realized in the early days I just didn't edit at all. But I think you become a little more cagey with your lyrics when you know more people are going to hear them and make assumptions about you as a person. Realizing that, you want to be a little more opaque.

Once I wrote 'Atmosphere,' I thought, 'This is my story; it's me and my life and what I've gone through to get to where I am.' I'm not the best singer, but still. All of my albums are personal, but putting myself out there and singing is one more thing that makes me vulnerable - one more thing that people can fire shots at.

But if I worried too much about publishers' expectations, I'd probably paralyze myself and not be able to write anything.

There have been times when I'm writing about things that are personally embarrassing. Like any human being, sometimes I can't help but wonder - 'What are the people I know going to think about this?' So I have to remind myself that all is permissible. Art has to be a free space. Language has to be a free space.

With music, you're really showing someone a piece of your soul. You're saying, 'This is mine. I wrote this, I made this, I'm performing this. This is how I'm presenting it to you.' There's something really scary about that, but there's also something next-worldly about it, too.

Whatever one considers art to be, there is in many people a hunger to express themselves creatively and to feel authentic in doing that.

Acting is largely about putting on masks, and music is about removing them.

Sometimes I would write something that was so private, people would say, 'Make it more universal.' I never liked that idea. I always thought the more personal a song was, the more people would want to hear it.

Writing is a socially acceptable form of getting naked in public

I really wouldn't censor myself. But because it was on such a slower scale, I would throw things out, and I indulged the personal stuff as little flashes of truth. Little in-jokes for anyone who was paying particular attention.

Most artists I know consider themselves to be phonies, along with the feeling that there's something that you're doing is essential, essential to communicate, and deeply, deeply real.

The life that I live and the experiences that I have always affect what comes out of me creatively. I think that's what makes music real.

I never wanted to grow a thicker skin; I felt a real sense of pride in my thin skin, and in a weird way, I still do, because it's my thin skin that allows me to empathize with other people. It's the thing that allows me to create vulnerable art. It's the thing that allows me to create other feelings and make songs that actually grab people and touch people. I feel like I've spent my life fighting that thicker skin because I don't want to become an embittered asshole.

An awful lot of filmmaking and playmaking is taken over by marketers and publicists, who set about to tell people what to think. And people feel safer that way. But it's not safe, and the whole wonderful thing that cinema and filmmakers can contribute is to go into the not-safe land of real life.

I think it's harder to make a classic now, not because of what people say, but because artists now are so concerned with what people say.

I never look at the internet because then you just have nothing else to do but just look. Most generally, and even myself as a consumer, you think you know what you want. But what's more interesting is figuring out what you don't want. I think the only way that I can do that is just to do what I think is right. That is the only real gesture of respect. Then people can react to the movie how they want to react.

Perhaps one would be wise when young even to avoid thinking of oneself as a writer - for there's something a little stopped and satisfied, too healthy, in that. Better to think of writing, of what one does as an activity, rather than an identity - to write, I write; we write; to keep the calling a verb rather than a noun; to keep working at the thing, at all hours, in all places, so that your life does not become a pose, a pornography of wishing.

I'm not an industry artist - I'm an artist in the industry.

It is precisely those artists and writers who are most inclined to think of their art as the manifestation of their personality who are in fact the most in bondage to public taste.

In my opinion, trying to guess what readers want is the wrong approach. You have to tell your story as best you can and as true to yourself as possible. You have to be honest and fair and vulnerable and foolish and brave, and not care what anyone thinks of it.