I'll always work with my collaborator in the room so I have a reaction on a note-by-note basis. I know in my gut when something works for me, and I'll fight for it, but I'm a very easy re-writer.
There's a very devoted fan base that really loved 'T1' and 'T2' and felt burned by 'T3' and 'T4,' so when we said, 'We're going to do it again!' the reaction was, 'Whoa, whoa, whoa - what do you think you're doing?'
When I was younger, I was terrified to express anger because it would often kick-start a horrible reaction in the men in my life. So I bit my tongue. I was left to painstakingly deal with the aftermath of my avoidance later in life, in therapy or through the lyrics of my songs.
My own approach has always been to push intense emotions down and attempt to deal with them later. When I was younger, I was terrified to express anger because it would often kick-start a horrible reaction in the men in my life.
Egon Schiele is my favorite painter. There's just something about art - photography, painting, music, plays - whatever you see, sometimes there's a gut reaction that's more important or more visceral than what your brain is thinking about. You can't explain that reaction. It's like what happens when you fall in love.
The crisis of the 1930s and the populist reactions of that time must not be forgotten.
I am not like Hitchcock, directing the reaction of the public or the audience. I don't like that. I think this is some kind of fascism - 'You need to react like that.' No. No. It's not like this; everyone needs to react as he can.
The way I put together images is a reactive art.
The most important thing about being in wrestling is that you have to connect with the crowd, connect with the fans, and you either want them to love you, or to hate you. Either way, so long as they're reacting to what you're doing.
When it comes down to it, it's all about good music and what makes people react. That wins over everything else.
