"I would have been a geologist"
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"I would have been a geologist" lands like a throwaway line, but from Sondheim it reads as a small act of self-defense. Here’s a composer synonymous with surgical lyricism and emotional complexity, casually gesturing toward a life of rocks and strata. The humor is in the mismatch: the man who mapped desire, regret, and social performance for a living pretending he could have opted for something solid, literal, and indifferent to human mess.
The subtext is classic Sondheim: craft over charisma, structure over myth. Geology isn’t the romantic scientist in a movie; it’s slow time, patient observation, systems that don’t care about applause. That’s the point. Sondheim’s work often feels engineered, built on counterpoint and constraint, and he bristled at the idea of the composer as pure inspiration. By fantasizing about geology, he’s poking at the showbiz expectation that art must come from a mystical inner wound. No, it can come from technique. From excavation. From looking closely.
Contextually, Sondheim was perpetually framed as Broadway’s intimidating genius, the guy who made the form smarter and less comforting. A line like this deflates the pedestal without denying the ambition. It suggests an alternate identity where he could still do what he actually did: study layers, track fault lines, and reveal pressure points. Only in his chosen field, the sediments are social, and the earthquakes happen in 11 o'clock numbers.
The subtext is classic Sondheim: craft over charisma, structure over myth. Geology isn’t the romantic scientist in a movie; it’s slow time, patient observation, systems that don’t care about applause. That’s the point. Sondheim’s work often feels engineered, built on counterpoint and constraint, and he bristled at the idea of the composer as pure inspiration. By fantasizing about geology, he’s poking at the showbiz expectation that art must come from a mystical inner wound. No, it can come from technique. From excavation. From looking closely.
Contextually, Sondheim was perpetually framed as Broadway’s intimidating genius, the guy who made the form smarter and less comforting. A line like this deflates the pedestal without denying the ambition. It suggests an alternate identity where he could still do what he actually did: study layers, track fault lines, and reveal pressure points. Only in his chosen field, the sediments are social, and the earthquakes happen in 11 o'clock numbers.
Quote Details
| Topic | Career |
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