The last thing I want to become is one of those talking heads where everything is satiny smooth and you know what the next question is going to be
When Talking Heads started, we called ourselves Thinking Man's Dance Music.
This ain't no party, this ain't no disco, this ain't no fooling around.
I don't want the stage. I'm terrified of giving these talking heads some distraction, some excuse to jeopardize, smear, and delegitimize a very important movement.
I don't want to spend my entire life drawing talking heads. It seems like a waste of everyone's time.
I've had production offers with artists I really admire, and oftentimes that doesn't work out. Sometimes it does, but... For instance I was asked if I wanted to do a Talking Heads album back in the late '70s, early '80s, and I was already working on a different project and didn't have time, so I never got the opportunity to work with them.
By the time Talking Heads were starting, my feeling was to throw out everything and start from scratch onstage; strip it down to as close to zero as you can get and then you can make it yours.
The Islamophobia phobes, (ph) the writers and the editors and the talking heads who deny an existence of evil while blaming those who speak up. There no difference - different than the apologists for communism. As communism killed millions, they, they denied it.
I've seen my kids' work at school, and I think they're better than when I was young, 'cause I was brainwashed into anti-Communism. This is a much more interesting view of history than I've ever seen, and I hope to God it works. It's classic history, classically told. No talking heads. Just pure archival footage and a storyline.
After college, I shot a pilot for a show on Lifetime, which was basically House of Style for a TV lover. I think I got paid $1,500, and I was like, "Mom, I'm moving out! I made it!" I did two seasons of that, but I felt like a talking head and wanted to do more.
I know the American people. I've met a lot of them. I've met a lot more of them than any columnist has, or any talking head on TV has. And they're pretty sophisticated.
The US presidency will continue to represent the major power groups of the United States - big business and the military - regardless of who the talking head is.
There's always the question when you're making a documentary if the talking heads will work.
Politicians such as Michelle Bachmann, Rick Santorum and Newt Gingrich along with talking heads such as Bill O'Reilly, Glenn Beck and Anne Coulter are not the problem, they are symptomatic of a much more disturbing assault on critical thought, if not rational thinking itself.
The average American thinks billionaire investors are going to be right based on some talking head. They invest and they have no backup plan. Americans think these guys are giant risk-takers. The truth is they believe in taking as little risk as humanly possible, for the maximum amount of upside. They're looking for that spread of disproportionate risk-reward.
I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.
Life is a musical influence in my experience. But as far as actual music and actual bands, uh, I'll just look at my little collection here. Let's see. Bob Dylan, The Beatles, Pink Floyd, U2, The Talking Heads, Prince and the Revolution, Michael Jackson's Thriller was a huge one.
I hear all the time that 'unemployment is greatly reduced, but the people aren't feeling it.' When the media, talking heads, the White House and Wall Street start reporting the truth - the percent of Americans in good jobs; jobs that are full time and real - then we will quit wondering why Americans aren't 'feeling' something that doesn't remotely reflect the reality in their lives. And we will also quit wondering what hollowed out the middle class.
Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.
I'm a fan of Talking Heads going way back.
I can't think of any musician or producer who has influenced me more than Brian Eno. From when he was in Roxy Music, producing Devo, the Talking Heads and My Life in the Bush of Ghosts.
There are lots of guns and action in my drawings, and part of that is just to make them more interesting. Because you can go through a whole film and it's mostly talking heads and little else until the action scenes, and they're usually violence or physical stuff. Same with baseball, or any sport. Except I find pitching and batting are visually very striking.
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium. They're printing the comics so small that most strips are just talking heads, and if you look back at the glory days of comic strips, you can see that they were showcases for some of the best pop art ever to come out.
One of the most surreal moments in this election was after the third debate, when I heard a talking head say, Al Gore won on substance, on the issues. But you have to give the victory to Bush because he seems presidential.
So I make no effort to hide my pain. I don’t ever put it all on display like this—but for today and all the rest of the days of the trial, I must. My every flinch, every flicker of pain, will be magnified a hundred times over, then dissected by the pundits and talking heads. But I’m told it’s necessary; the world needs to see me vulnerable and wounded. I cannot appear not to care or to lack remorse, but that removes a crucial component of my self- defense mechanism and leaves me bleeding for all the world to see. I suppose that’s rather the point.
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