I want to say something very clearly. I understand that I'm a self-confident person who might come off with the wrong attitude sometimes, but I don't mean to. I just believe in certain things, and I know exactly what I want. I've always sacrificed things in order to become the best musician I could be.
All the champions - you go and ask Mike Tyson or Joe Louis, Rocky Marciano, Lennox Lewis and myself included, and I'm sorry for putting myself in line with all the other great names - but the champion's attitude is it doesn't matter who is in front of me, I am going to conquer this person and win the fight and knock the person out.
The trouble with Hollywood is that too many of the top people responsible for pictures are too comfortable and don't give a damn about what goes up on the screen so long as it gets by at the box office. How can you expect people with that kind of attitude to make the kind of great pictures that the world will want to see?
A big barrier to people getting help with online harassment is the general attitude either that it's not a real issue - that it's 'only' online - or that it's limited to someone saying they don't like you, and all of that stems from a basic misunderstanding of what we mean when we say 'online harassment.'
I'm not a person who writes really abstract things with oblique references. I look at abstraction like I look at condiments. Give me some Tabasco sauce, some ketchup, some mayonnaise. I love all of that. Put it on a trumpet. I've just got to have the ketchup and Tabasco sauce. That's my attitude about musical philosophy.
The fictionally correct have all the answers, and that's what's wrong with them. They're artistic technocrats. There's no dilemma so knotty, no question so baffling, that it can't be smoothly neutralized by dialing up the right attitude adjustment. Poor old Hemingway. If only he'd known.
One's appearance bespeaks dignity corresponding to the depth of his character. One's concentrated effort, serene attitude, taciturn air, courteous disposition, thoroughly polite bearing, gritted teeth with a piercing look - each of these reveals dignity. Such outward appearance, in short, comes from constant attentiveness and seriousness.
The enemies of acting are mood and attitude and other general homogenized disruptive entities. Whereas acting is about action - doing - and unless you can figure out a way to craft in an imaginative reality to which you don't submit, you're going to be out of control. You'll flip out. The job is to be surprised.
Theo van Doesburg wanted to teach in the Bauhaus in 1922. I refused, however, to appoint him since I considered him to be too aggressive and too rigidly theoretical: he would have wrought havoc in the Bauhaus through his fanatic attitude, which ran counter to my own broader approach.