I was always interested in choreography - in making people think and feel something.
We know how hard we've worked, we know how our choreography makes us feel empowered. We have our voices, which are incredible and kind of surpass anything else.
Though farm chores and construction work are the most physically demanding jobs that I currently do, they feel like recess to me. And there's something really beautiful about work that feels like play.
I usually sing a lot on my mixtapes. I sing a lot on songs that just really aren't singles. Even my first single, 'My Last,' which I feel like is more pop than anything - I was originally singing the chorus on there. I'm used to that. I've always had fresh melodies.
The only time I waste is time I spend doing something that, in my gut, I know I shouldn't. If I choose to spend time playing video games or sleeping in, then it's time well spent, because I chose to do it. I did it for a reason - to relax, to decompress or to feel good, and that was what I wanted to do.
I want to be a part of bringing more visibility to the Christian music genre and give it some platforms that it may not have had before. I feel like, as blessed as we've been with Rascal Flatts, I might be able, through some of my own connections and avenues, to give them some visibility in arenas they've never had before.
I feel that Christian music is a subculture directed towards the Christians. It's not really being exposed to non-Christians and it's not really created for non-Christians, so non-Christians almost never hear any of this music.
There's those young girls that I once was, looking up to Mia Hamm, Christine Lilly, all those players, and I know how much of an effect they had on me. Knowing that, I feel like I'm in a position where I can really help be a positive influence in girls' lives.
A lot of my poems either have historical sequences or other kinds of chronological grids where I'm locating myself in time. I like to feel oriented, and I like to orient the reader at the beginning of a poem.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
Most of the secrets the CIA has are about people, not machines and systems, so I didn't feel comfortable with disclosures that I thought could endanger anyone.
I feel different than I did three years ago, in The Cider House Rules.
I'll never feel comfortable taking a strong drink, and I'll never feel easy smoking a cigarette. I just don't think those things are right for me.
The B-52s, you know, our songs are about volcanoes or lobsters. Cindy and I sing them like our lives depend on them. I feel very emotional when I'm singing 'Rock Lobster,' but I've wanted to sing more about my personal experience.
I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.
I love the comparison with Aaliyah and Timbaland, because Aaliyah is a legend, and there is a large cinematic feel to Timbaland's sound, but what I do is different.
Probably 90 percent of the stuff I make has inevitably been done before... Whether it's playing Hamlet, which has been on the go for 400 years, or pieces from the cinematic world that also have been essayed before, I feel released by that.
Life is unpredictable, and I feel, to some extent, lighting and cinematography should be a reflection of that.
I feel like I could be likened to an old hound circling on a rug for the last five years.
I don't like to sing things that just sound like they're going straight down the tubes, and they're circling the drain, and there's no hope. It doesn't feel good in any way to sing.
