Best 74 quotes of Will Oldham on MyQuotes

All you do is you go back to the Maida Vale Studios at BBC in London, and it feels like you're in a spaceship. It feels like you're in 2001 or something like that. It's massive and well constructed and highly technologically advanced and occupied by these wise scientists, engineers, and producers. Listening to it, it just doesn't sound like me - that's a younger self that didn't know who he was or what he was doing. I can't identify with a nebulous cloud.

A record is something that isn't real or true. It's like cinema. It's a construction of something hyper-real and surreal and unreal all at the same time. You make a space that doesn't really exist. One of the big joys of being in this line of work is building the recorded versions of the songs.

As a kid you learn that there are thinkers and there are philosophers and there are theologian, and I'd hear little bits of the ideas that these people pursued or developed or created and I'd be really excited. Then I'll start to read it and I think, "Wait a minute, this is a rabbit hole. This isn't a gateway or a ticket to anything except itself.

As far as implying that we know what we're doing, that we have perspective enough - by diving fully into something it requires a lot of denial, and denial is always dangerous even if all of your intentions are good and all your preparations are good. When you make a choice you're denying an infinite number of other choices.

As it turns out, as an adult I can have a very unpleasant, fierce and unforgiving temper at times. But I don't think I had that when I was a kid.

At the same time, you don't want to be blindsided at some point because you've taken too much comfort from knowing nothing. So you try to keep a little store of practical knowledge. At a certain point you have to pretend that something is true in order to have a relationship with the world.

A vocal performance “Coming Together” is hard, but it's the kind of hard that if you work hard enough at it, you can do it and it feels great, because it was so hard. So we'll continue maybe even over the next couple of years to perform that and to expand our collaborative repertoire.

Every recording session and tour is a very valuable time to me in terms of getting to spend time with the musicians - whether they're friends and family or people I've just met - because I don't have a job where I get to interact with people everyday.

For a long time I've walked through this world with the desire, like in Rear Window, to look into other people's lives because I know that there is a way in which I am the same as so many of the strangers that I see.

For me, promotional thing about some new album coming out destroys a lot of the excitement of making records. Records, movies, books - they're not supposed to be like math books. The purpose of them is to kind of take us out of ourselves and give us some sort of alternate experience or respite. To try to maximize the relationship of listening to a record through promotion is like experiencing driving a car by reading about stimulus programs. It kind of defeats the purpose.

I'd like my records to reach as many people as possible, but I'm also thinking in terms of how I can keep from getting jaded or unhappy with the process.

I do an opening in 'The Glory of the World' play at BAM, and then I go up to the high balcony in the back and watch the bulk of the play, but then I have to leave my seat about seven to 10 minutes before the end of that final big scene...and it's a bummer.

I do not want a personal relationship with my fans. Or to do anything that encourages them to think they have one with me. They can have a personal relationship with my songs. That's fine, but they don't know me.

I don't know the reasons why something is intimidating to me or disgusting to me and I don't like feeling that way, either. I don't like it when something turns me off, on any level. So, its a matter of saying: Well, I can either sit here and reject, or I can do double-time embracing of something else just to reassure myself that I'm not against the world.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

I don't like the idea of being surrounded by hidden things; people you can't see in buildings and cars.

I don't think that word - the word pirate - has any real meaning. Or it's something that's had meaning imposed on it.

I don't usually read reviews. I usually read the interviews, just because I figure it's a good way to try to do them better if I ever have to do them again.

I feel like, for me, reading Thomas Merton is like “Wait a minute, this is a rabbit hole. This isn’t a gateway or a ticket to anything except itself”. When you're a ways into it, you're five pages in, 20 pages in, 30 pages in, it seems like one of the more oxymoronic undertakings you could attempt.

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

I felt so liberated when I first saw Charles Mee’s 'The Glory of the World' at BAM play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.

If I give a little hint or clue as to where my voice could be going, that would [be] read. Because people can listen closely, you know, you can sit with headphones or you just concentrate on music, you can just hear, sometimes, the desires of the voice itself.

I figure it's okay to make certain rules, whether or not people despise you for it at the time.

I gathered all the different Peel Sessions recordings together - I did six or seven of them over the years - and listened to all of them. These definitely have at least a superficial relationship to each other because they're all very spare.

I had a lot of time to myself, and I would listen to a lot of music, mostly music that I knew fairly well and had a relationship with. And I'd think, well, what is it that I've never been able to do that this person or people are able to do with this song? Why haven't I been able to do it, and what can they do that I wish I could do? And then I'd try to do that. I'd start each day getting into the songs, and I'd think about how I might get closer to this music that I love, but haven't been able to make before.

I have a mantra that kind of explains my feelings on this subject, which is, "The past is the present is the future." When you're recording something, you're making something that will exist in the future.

I have more respect for somebody who points at his ideal - in this case, the ideal of the pirate - and then becomes something that's more radical, more exciting, more subversive than a pirate could ever be.

I need to go someplace faraway that doesn't have telephones and doesn't have a record player and doesn't have movie theaters and people walking down the street in order to not do anything.

In the United States the government has become less important. So, it's democracy, but as each year passes it seems that the government plays less of a role in people's lives, and so they're living in whatever situation their employment imposes upon them more than they're living in a grand political system.

I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

I think everybody works from a defensive position, for the most part, in the film industry.

I think most great actors have their own life trajectory, the character motion doesn't have anything to do with their life motion.

I think records and music are more appropriate and more respectful of the human soul than the churches are. And more respectful of the needs of humans to communicate with the aspects of themselves that are neglected by language.

I think that America in general is piratical. Every time we accept a paycheck for doing almost nothing, allowing us to live above the poverty line, we're engaging in piracy.

I think that what trips up a lot of great musicians is that they become involved with too many things that aren't where their strengths lie.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

It's nice to be able to backtrack and not be embarrassed by the music you used to listen to.

It's O.K. to accept good fortune.

I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.

I've never done a video where I feel like the images have anything to do with my song, except in the most vague way possible, because I feel like the song is its own complete thing. But ideally, a song is a complete sphere like the Earth, where if you were an alien with a huge, huge finger, you could stick your finger into the middle of the ocean and make an impression on it. It’s not an impregnable sphere, but it is a sphere.

I want to be successful and I want people to hear the music and I want to make money at it, but if it isn't what you do, eventually it seems like that will cause you to not be able to do what you do. If you did that for a couple years, you would just become someone else, which is fine, I guess...but I don't want to become someone else. I want to do what I enjoy and what feels right.

I was really looking forward to doing the thing that I do - I basically appear just at the beginning and at the end of the 'The Glory of the World' play - but when I got to opening night, I started to get really sad that that was the last time I was going to see the play as a spectator without actually being in it.

I was worried before I saw the play 'The Seven Storey Mountain', thinking I don't really want to see a play about Thomas Merton. He probably wouldn't have either, ideally. Then it isn't. It's more about us and it's about our relationship to what he may or may not have thought about. It's its own thing completely.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

Making money is awesome and fun as hell, but they're saying, "Well, you're offered a whole lot of money to do this," and it's like, well, I do want the money, but I don't really do that - like headline a big festival or something like that. I could go there and do that, but it isn't really what I do. It feels weird to me.

My booking agent, of course, here and overseas, their tendency is to want to build on a certain kind of measurable success, and I was thinking yesterday, what I'd like to do is maybe start to compile a list of the best 200 to 500 capacity rooms around the world and just start going to them again and again and again.

My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.

My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.

On days where I feel the karma is in balance I'm not afraid of death. And when I feel it's weighing heavily on the negative side, then I get very scared and just think about eternal damnation and how unpleasant that would be.

Sometimes it will be for more money than I've ever been offered before. I mean, am I an idiot again for not doing that?