If heartaches was commercials, we'd all be on TV.
John PrineRead
I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
Interpretation
This quote reflects the surprise and unpredictability of an artist's work being featured in unexpected places.
John Prine's quote illustrates the bittersweet reality of artistic creation, where an artist can find their work acknowledged in the public sphere, such as in films, without being notified in advance. It touches on the notion that while artists are compensated for their contributions, the lack of communication about such recognitions emphasizes the often solitary and uncelebrated journey of creation.
In practice
During a speech at an artist's gathering, one might use the quote to convey the unpredictable nature of creative success.
If heartaches was commercials, we'd all be on TV.
One time, I went to school, and they asked us all to find out where our roots were. It's goin' around the class, and the kids were going, 'I'm Swedish-German' or 'I'm English-Irish.' They got to me and I said, 'Pure Kentuckian.'
I just tried to come up with some honest songs. What I was writing about was real plain stuff that I wasn't sure was going to be interesting to other people. But I guess it was...I've never had any discipline whatsoever. I just wait on a song like I was waiting for lightning to strike. And eventually-usually sometime around 3 in the morning-I'll have a good idea. By the time the sun comes up, hopefully, I'll have a decent song.
I feel basically good about my career because it's remained constant. What I do has never been especially in vogue or gotten high on the charts. At the same time, I haven't had to stop performing any of my music because it aged in style.
You know that first love that leaves you? You never forget that, especially if you're a songwriter. I must have gotten nine songs out of that girl.
You get to thinking that because you've written 50 or 100 songs, you think maybe you know how to do it. But when they're not coming along, you're just as in the dark as you ever were. When they're coming along, there's nothing to it. Sometimes it's so easy, it's like you're a court stenographer.
When I watch a movie, someone's beauty isn't what engages me: it's what's going on internally. And I imagine it's what the audience thinks, too.
Dishonesty in trailers is more than a moral issue, it's a practical one. If you don't deliver in the film what you offered in the trailer, you'll get bad word-of-mouth.
It is in order to really see, to see ever deeper, ever more intensely, hence to be fully aware and alive, that I draw what the Chinese call 'The Ten Thousand Things' around me. Drawing is the discipline by which I constantly rediscover the world. I have learned that what I have not drawn, I have never really seen, and that when I start drawing an ordinary thing, I realize how extraordinary it is, sheer miracle.
Photography concentrates one's eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade. One can't catch that even with the sharpest lens.
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
Fashion is something you attach to yourself, put on, and through that interaction the meaning of it is born. Without the wearing of it, it has no meaning, unlike a piece of art. It is fashion because people want to buy it now, because they want to wear it now, today. Fashion is only the right now.
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