Kevin Spacey Quotes

We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design.

The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.

A lot of it's experimental, spontaneous. It's about knocking about in the studio and bumping into things.

While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows.

Some song ideas absolutely require a kind of rigid discipline, and others require absolute chaotic abandon. The form is only valid if you know how to un-form it. I don't mean to sound like an intellectual here!

When I do a take, I very often try things that I haven't planned to try to see if I can pull it off.

The apparatus has to serve our improbability and improvisation. Being good and playing the songs is not enough.

Miles Davis fully embraced possibilities and delved into it. He was criticized heavily from the jazz side. He was supposed to be part of a tradition, but he didn't consider himself part of a tradition.

The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.

I'm not able to go in with an act that I use month to month year to year all the time. It's constantly evolving and changing and that keeps me on my toes but certainly adds to the challenge.

This is the rock 'n' roll life, and you had to invent it as you went along. There was no textbook to say how you operate this machinery.

When I started 'Record Collection,' I had no idea that it would come out sounding the way that it did, and that's one of the best things about the creative process, taking turns with the things you didn't know.

What I want to happen is to be really creative, and to play something new in the improvisations, every time.

If the playwright knew every little thing about his play, why bother? There must be discovery all the time, otherwise why bother to do it?

For me, the movie's always evolving as I'm doing it. I throw things in as we shoot, and I take things out as we go. I want to create a whole life and then select the pieces that best sort of describe it later, you know? So there's a lot of wastage when I make a film.

There's got to be a backbone, there's got to be a skeleton to the whole way I perform, but you never want to hit the same note twice during a performance, I think. I think it's always got to be fresh so it doesn't bore me, and I always want to go out on edge.

The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.

I always treat each take as a rehearsal for the next take. That way you can find stuff and keep adding and playing until they tell me to stop.

I love to get to that place where I don't know what kind of music I'm doing; I don't know if it's any good. I don't know if it's anything. It's a big question mark. The idea is to have interesting results. That's my bottom line.

Producing a series is like being Lewis and Clark: You know where you're going, you just don't know how you're going to get there. When people say, 'You should create a bible for your show,' I say, 'You don't want a bible. It'll prevent you from making discoveries along the way.' And that's what happened on 'The X-Files.'

I free-form it, rock n' roll it. I'm a creature of risk, so I don't know how I'm going to explore a Beethoven symphony until I'm doing it.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

My idea of artistry has always been 'try everything until you find out what works.'

When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.

The music always takes us to different places. We'll just continue to play and see what doors open from there.