But now, I think I have found a corner, a groove of what kind of stories I want to be part of and what type of characters I want to play. I have a soft corner for damaged people or those who are not supposedly quintessentially perfect but have the instincts to be protective.
More than influences, my music is based on instincts. I make music to match the script and the world of the film.
Yes, every venture is always filled with apprehensions. But if we were to conduct ourselves continuously on that aspect, then we would lose the most important reason to be in this profession: to challenge the art of and be part of what is commonly known as our creative instincts.
Who speaks to the instincts speaks to the deepest in mankind, and finds the readiest response.
With experience, you understand expectations, you understand consequences, but sometimes it gets a little bit hard, especially for me, that I'm a perfectionist - I want to analyse everything. And sometimes it's most important to just let go and trust your instincts. This is what I need to do more of.
When I was younger, I talked to the adults around me that I respected most about how they got where they were, and none of them plotted a course they could have predicted, so it seemed a waste of time to plan too long-term. Since then, I've always gone on my instincts.
Sometimes when you're going fast, your instincts can be very useful.
Like so many of my generation and those younger, I have spent most of my life in the E.U., and my instincts were naturally for reform from within.
I've never done fashion school or anything like that. But I have good instincts.
One of your jobs as a writer is to cut out the noise. All you have is your instincts and your process.
