There are a few musicians that I know who seem on the outside like very asocial or somewhat unemotional people, people who aren't capable of emotions, and people think they're very cold inside.
I was a jazz drummer, and it was my life for a while: what I lived and breathed every day.
There's something very particular about the kind of rage you feel when you're alone in a practice room by yourself, unable to master a simple thing like a rudiment.
I love the idea of thinking of cinema as not that far from music. A lot of my favourite movie makers, the way they move their cameras or the way they cut just feel very musical - even if the movies have no music in them at all.
I was in high school, and when you get to be 14, 15, you start to feel a little more like your own person so that you can assert your adulthood a little bit.
I remember being inspired myself when smaller films, whether it's 'Beasts' or 'Winter's Bone,' wound up in the Oscars lineup.
I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.
I think there is something to be said for not coddling people and not accepting good as good enough.
My dad is a big jazz fan, and that was the reason I first got into jazz.
In a weird way, I'm always going to ground myself. I'm an insecure kind of pessimist, but I'm always kind of waiting for the other shoe to drop.
People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.
Real practice means working on stuff you're not good at. Real practice is about butting your head against the wall repeatedly until you get it right.
