Building walls isn't going to work in the long run. Some people are happy with the wall in Israel, but somebody will get a weapon someday and knock it over or something. Walls aren't the answer between countries, though.
You've got a big, big problem if you get caught up in what people say. If you're gonna live for what people say, you might as well lay down and forget it. Because it doesn't work that way.
Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
But we wanted to work in a way we never had, which was write everything together. We had to face each other in the same creative room, which gets tougher as you get older, because you don't want to be confrontational.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
You can't do a machine without knowing something about how it's going to work. As for the romantics, the costumes bored me and I don't enjoy doing period clothes.
I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
I know a lot of people feel like they get eaten alive by New York, but I feel it more as a father figure or something - this huge presence watching over me. I definitely feel better and work freer here.
We raised almost 2 million dollars at the last golf tournament that can be used for minority scholarships and Junior Golf programs. The payoff for the work we do is so much more valuable than the work we actually do for it.
What moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
I have just begun a work in which an important part is given to a large chorus and with it I want to use several of your instruments - augmenting their range as in those I used for my Equatorial - especially in the high range.
It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.
I'm part of a speech therapy course called the Maguire Programme. It isn't a cure; it's something you need to maintain and work on. I get days where I find things more difficult than others.
No one knows for sure if you can inherit a stammer, and so I worry that my baby might. It's why I want to work on my speech before he arrives. I don't want him to hear me stammer.
Then I decided I couldn't just crawl in the corner and die, so I started putting pen to paper and wrote some songs. I had no idea what for or who I was going to work with. I tried to find my way and direction.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
