I made three or four different fonts during 'Short Term 12' -' it was how I'd calm my mind between scenes. I have graph paper and gel pens, and I would do the alphabet: just do 'a' over and over again until I got it perfect and then go to 'b' and then 'c'.
I've had every chemo in the alphabet, most of them more than once. Some of them that aren't even in the alphabet, they're just numbers - clinical trials. But I bet if you added all those up, it would have to be like 60- or 70-something. I've had 23 bone marrow aspirations. Having one isn't fun and I've had 23. So that's been tough.
I think that I have less conviction than ever that poetry matters - that poetry changes or saves anything or anyone. But, in fact, that's tremendously freeing. If it doesn't matter much, the stakes are lower and you can't really fail. It's insurrection. It's a tiny alphabet revolution. A secret. A psalm.
What that book does for me is give me the tools in the same way that I had the tools when I learned the regular scales or the alphabet. If you give me the tools, the syntax, and the grammar, it still doesn't tell me how to write Ulysses.
There are only so many letters in the alphabet. When I talk to young musicians or authors and they ask for advice, I say, 'You gotta learn all the letters of your own personal alphabet. With music, you need to know all the different kinds of music and everything in and around your given instrument.'
I came up at a time in the late '60s, early '70s where music was without boundaries. You'd go into a music store, and the music was in alphabetical order. I hadn't heard of that word 'genre.'
After the turmoil of the Second World War, my family ended up in Russian-occupied East Germany. When I attended fourth grade, I had to learn Russian as my first foreign language in school. I found this quite difficult because of the Cyrillic alphabet, but as time went on, I seemed to do all right.
Our musical alphabet is poor and illogical.