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The thing all of us musicians are being

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taught

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is or all artists are being taught is

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find your voice. Right? I remember

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reading Keith Jared talking about this

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going, you know, everybody was telling

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him to find his voice and he's going,

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I got my voice. I was born with my, you

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know, with my my musical voice. And he

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was much more interested in

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what how what he what he can use it for,

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you know. So, I was I don't think I was

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born with it, but you know, through my c

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cultural influences, where I'm from, you

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know, what I listen to as a kid, you

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know, just the way I learned an accent.

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I have an accent. I have a voice, you

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know, and when I want to do the blues in

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the Louise, I can do the blues in, you

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know, it's it's still my voice. And if

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you know, stick with Ridley, if I want

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to go and do faux Roman music in

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Gladiator, you know, I can or faux

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Vagnerian music, it's it still sounds

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like me. Um, so rather than trying to

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find your voice, just acknowledge that

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it's there and just listen to it, you

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know? It's it's like recognize it. I

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remember having a some weird fight

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undoubtedly aboutuling which is where

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things usually get unstuck with me. Um,

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you know, with Gabinsky and my music

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editor Melissa coming in afterwards and

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going, you know, God was really pissed

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off. And he said, you know, he'd fire

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your sorry ass except for when you sit

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down and you play those moody chords,

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you know, and so no, and he's,

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you know, yes, don't fire me because

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I'll play some moody chords for you that

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might

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No, I don't play virtuistic, but I

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I have an aesthetic and I have a feel

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and you know

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what when my fingers land on the piano

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it's different than when somebody else's

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fingers land on the piano.

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I don't know if I believe in talent, you

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know. You know, people keep saying to

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me, "Oh, he's really talented or this

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guy is really talented or this woman is

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just an amazing talent." And then when I

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investigate a little bit further, it

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turns out it's just somebody who works

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really, really hard and really dedicated

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and makes their life about something

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they're passionate about. And at the

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same time, just being passionate about

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something doesn't mean you're any good

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at it. Um, you see it you see it all the

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time that that that you think you think

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somebody is a talent and they do

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something really remarkable and you go

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and what's the next thing you're going

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to do and there's sort of nothing. You

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know that happens time and time again

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where where people can create one great

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thing and then it stops and the whole

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point is it's not maybe so much about

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talent but it's about what's the next

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thing. The first thing, yeah, of course

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you're going to write the greatest album

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because you just, you know, like as a

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teenager, you know, when you join a

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band, you, you know, your first 17 years

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of experience is all going to get packed

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into that first song. And yeah, there

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should be enough material there to make

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something great. Or the first movie you

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make, of course, it's going to be great

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because there's all that, but it's the

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second movie which is tricky and the

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third movie which is tricky. And I think

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that's where the that that's where the

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talent part comes in in a funny way that

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um the talent to stay relevant, the

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talent to still have something to say,

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the talent to still um find something

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that moves people. The thing I notice

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about the people I work with that I

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think are talented is they usually do it

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despite everybody's good advice. you

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know, they grab something out of the air

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that nobody saw before. Um, if you say

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to them, "Don't do this," they'll figure

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out a way of doing it. Or if you say to

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them, "It's a bad idea. This is a

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terrible set of notes. A terrible set of

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notes. Don't play that." They'll play it

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and sort of con suddenly out of ugliness

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create incredible beauty. And it's that

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sort of recklessness which you know

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which I think it takes to

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manifest talent, you know. So

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write as well as you can. Write to the

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best of your ability, you know, and test

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the limits of your talent. because I

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have no idea if there's talent or if

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there's no talent. But I just see people

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constantly pushing beyond the boundaries

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that other people have imposed on them.

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One of the reasons, you know, I I I was

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fascinated by wanting to do this was

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because one of the first things that

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really got me interested in film was

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seeing the documentary about Van Hatsuk

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doing Fitzaldo, Burden of Dreams. And I

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remember going with a whole bunch of

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people and we're all watching this and

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they're all basically sitting there

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going, "Oh my god, look at this. This is

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just crazy behavior." you know, and then

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one thing after the other goes wrong and

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this guy is just plowing ahead making

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this movie against what was it? There

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was a war going on. Yeah. like

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everything was going wrong and all I

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kept thinking about was I want this is

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this is I want to hang out with people

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like that who are that passionate about

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things that are doing things you know

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that have the singular vision this laser

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beam focus you know all I know is the

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people that

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I come across that do great work are the

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people that ask the most questions and

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they are by nature inquisitive and they

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can be inquisitive about the the the

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weirdest things. I mean, you know, it's

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it's I mean, you can have a conversation

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about all sorts of things with Vera and

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the there there is a you know, like he's

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darting around all over the place and

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it's it's

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you get the sense that there is a a huge

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big uber super supra question that he's

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forever trying to ask, but he doesn't

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know what that question is. So he's

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looking at all these other little things

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that seem to feed into how to formulate

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the question, you know, and all the

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people I know, all the people I've

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worked with that are really good at what

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they do and that that keep making great

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music or making great films, that they

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have a childlike inquisitiveness

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about them, a childlike innocence about

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asking the question, asking whatever

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question it is. and suddenly finding

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great joy in in something that other

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people think is trivial. And despite

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look, this is this is a musician's life.

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A musician's life is really simple. It's

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everybody tells you not to do it and get

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a real job because everybody will tell

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you you can't survive. You can't earn

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any money at it. That you know, it's

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it's all over anyway. And then secretly

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and I I might be completely wrong. So

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this is supposed to be called

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masterclass as opposed to disaster

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class, right? But just for a moment

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imagine

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that with all the new technology that's

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being invented and all the progresses in

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medicine and science we make and the

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economy and everything else that all

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that stuff is it's all very well but

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it's not what I do. The only thing that

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I can find refuge in and the only thing

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that I can contribute to the world is

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tell your story. And I have a feeling

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that when all is said and done and we

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built the highest highrises and we built

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the fastest machines, there's still

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going to be room for somebody to tell

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you a story or somebody to write your

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piece of music. And

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I'm not a brain surgeon. I'm not a

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rocket scientist. But if I can tell you

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a story, if I can move you just with a

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couple of notes, I don't know if it's

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talent, but I didn't, you know, I didn't

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waste my time. And at the end of the

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day, I think that's what it's about is

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are you wasting your life or you're not

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wasting your life? And when I see Vanna

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Hatsuk in the jungle uh under brutal

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conditions and putting people into

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brutal conditions and

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I don't think anybody had a dull time.

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It wasn't boring what they were doing.

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You know, they weren't wasting their

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time.

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And I think that's there's a lot to be

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said for