Quotes of All Topics . Occasions . Authors
I'm a dramatic, depressive person.
Love is the substance of human survival.
I think Kanye West is a hilarious writer.
Interpretive thinking, as an art form, is dying.
My humor is my creativity, and my skepticism is a gift.
I think that life is messy and that human beings are insane.
Music is chaos. When I write songs, I'm opening the door to madness.
Funny is a good foil. Humor is illuminating, and it also gives you power.
I think you only have to pull stunts if the content of your music is meaningless.
There's a lot of risk in putting what you suspect you really are into your music.
It's a vanity to think that a legitimate shamanistic experience can be purchased.
People who want to see things in stark dualities are not going to get much out of my music.
I'm not bamboozled by the fact that people are disgusted by me. I'm not my biggest fan either.
Laurel Canyon is kind of grotesque. It's this nature-themed place, and everybody is kind of angry.
I love the exhilaration of feeling a pull quote come out of your mouth. The words just taste better.
My music asks people to think critically, so how can I get upset when people think about me critically?
I've never taken the steps to be 'successful': I've never had a manager or signed to a publishing house.
I was like, 'Josh Tillman, you are not a songwriter. You are an ape. Stop thinking of yourself as a songwriter.'
I was kind of bored playing drums in a band. Which was depressing, because playing in the band was kind of a golden ticket.
I made a decision as a child that I would never let anyone tell me that I was invalid or inauthentic, or that my experiences were.
I was asked to audition for the second season of 'Stranger Things.' I didn't want that level of exposure. I don't want to be TV famous.
With sad music, or music that's perceived as sad, there's a sense of solidarity that can be really powerful. My songs are all joyful to me.
The main criticism people have of me is, 'Why are you trying so hard? This guy's exhausting.' Yeah, I am! That's my way of trying to get love.
My guiding principle when writing with other people is that it's not worth it to give someone a song unless it hurts for me to give them that song.
People think the world of music is so great, and it's just not. It's so boring, the way music is conceived and then declawed for public consumption.
There's a difference between art and entertainment. Entertainment is really about forgetting about your life, and art is about remembering your life.
I've engineered my life so that my only value in this world is in my writing, which is really dangerous, because if it's a failure, then my life is meaningless.
I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.
I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.
I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.
I've been writing a lot about my encounter with love. Which is the white stag as far as songwriting is concerned because love songs are so banal, and my experience with love is anything but that.
I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.
When I started with music, all I was looking for was to ensure I never had to live the life I grew up with. I wanted a foolproof exemption from pain and boredom. I wanted a life of constant amusement and leisure.
You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses.
People used to see things that disgusted them and say, 'I never want to see that again.' Now we've reached the point where we see things that are disturbing and revolting to us, but we want to see more and more of it.
When I was young, I had this contrarian thing, and my music for a long time was an extension of that. I didn't want to entertain people; I had too much vanity to be an entertainer. I think that some layers of vanity came off.
What a crazy coincidence that the teaching of Christ sees to be so compatible with late-era capitalism, suburban isolation, rampant consumerism. And so I am not ever surprised when I see evangelicals contort themselves to justify supporting Donald Trump.
J. Tillman was kind of an alter ego. There was a lot I didn't want people to know about my real life. With Father John Misty, I leave everything in: so much so that I lose sleep before these albums come out because there is always a line or two in there where I'm just like, 'This is not going to go down very well.'
My last album as J. Tillman, 'Singing Ax,' that was really a premeditated death rattle of the aesthetic precedent I had set. I realized I wasn't creating spontaneously; I was enforcing all these parameters. I was too self-loathing or something, and there was this obvious dissonance between my conversational voice and creative voice.