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.
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.
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.
To praise it would amount to praising myself. For the entire content of the work... coincides almost exactly with my own meditations which have occupied my mind for the past thirty or thirty-five years.
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've grown up around cinema. Michael Kamen was a very, very close friend of mine, sort of my godfather. So I know how much work goes into it. You have to know what you're doing.
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.
If you want to grow a giant redwood, you need to make sure the seeds are ok, nurture the sapling, and work out what might potentially stop it from growing all the way along. Anything that breaks it at any point stops that growth.
My friends and neighbors were always fixing their cars. Soldiers who felt restless wanted to work on something, and they understood cars. Me, I like to look at cars but I was never really a mechanic.
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 have always believed that astrophysics should be the extrapolation of laboratory physics, that we must begin from the present universe and work our way backward to progressively more remote and uncertain epochs.
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.
I had sat in one day in Central Park with Bonnie and Delaney, and Duane was playing with them, so I asked if he wanted to work on an album. You never had to say to him how to play the guitar.
I just feel like bands always need to work harder than the hardest working band. You need to constantly be one-upping yourself and surprising yourself at how hard that you'll work and devote yourself to your craft.
I went to work with a guy named Matt Fuller, who was a Mothers fan, and low and behold, Arthur was working for him also. We worked together for about six months and decided to strike out on our own.
Race and class are rendered distinct analytically only to produce the realization that the analysis of the one cannot proceed without the other. A different dynamic it seems to me is at work in the critique of new sexuality studies.
I suppose all of us - we have the old Protestant work ethic of feeling guilty when you're not working, and getting a buzz from feeling like you're really busy. That's the reason to sort of carry on.
