A Quote by Kano
I'm just used to having so much control in music and in acting you have to give that up a bit. Sure, our voices are heard on set, but at the end of the day you can lose an argument. Whereas in music, if I feel the second verse needs to be changed I can change it. I find it really hard as an artist to give up some of that control.
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I just never, ever want to give up. Most battles are won in the 11th hour, and most people give up. If you give up once, it's quite hard. If you give up a second time, it's a little bit easier. Give up a third time, it's starting to become a habit.
I like owning my own narrative. It depends: I either give it all up, or I don't have any control. It's really hard to go halfway. Like with modeling, for example, I kind of give up all creative control, and that's just that. But when it comes to my own personal art, I'm very O.C.D. I see something a very certain way.
As an actor, you have to give up all control to the director. He's the boss, and has all the power. I'm a control freak, so that's really hard for me.
I'll say initially acting was my first love, and that's what I pursued. But then, so far as even my first day on a film set, and just watching how things were set up, I just said, 'I think I want to be in charge.' I am very much type-A. I am a bit of a control freak.
As an actor you don't control the end result. Because you're a director, you get to control the end result. I think for us, we really have to show up and participate and give. And then let go.
The thing is, if I try to talk about acting, I come off as moaning. But I'm privileged. I think it's all about control. Acting is vulnerable because you're not in control of anything. You have to give up a lot of your trust; it's up to somebody else what they do with what you've given them.
I like the process of giving control away [at the recording]. When you give it up to people, it's another intelligent organism that digests your information completely differently from how a machine digests information. It's like you're on a sailboat, and every time you can find out how to better adjust [the sail] to make it more precise. And it's interesting to see that the musicians have their own ideas. To use their intuitive power with their knowledge that they incorporate into the music. This is the moment you give away control, you give it to someone else's intuition.
Just as men must give up economic control when their wives share the responsibility for the family's financial well-being, women must give up exclusive parental control when their husbands assume more responsibility for child care.
I really like writing poetry and lyrics because it's one thing where I give up control. I don't feel like I need to be in control of it. I just sort of let it happen, and then I know when it's done. I know when it's finished.
Nothing's been changed overnight. It's like watching your cat grow: you see it every day, so you don't really see it change, you wake up one day and it's a bloody great thing. Your friends come round who you haven't seen for a couple months and they're like, "Oh my god, your cat's grown so much again." And I'm like, "Has it?" But when you're living it... I just find that my life has subtly changed bit by bit, so I don't ever really notice it too much.
The spiritual in my art is giving up control. My paintings are based on what I can do, and what I can do is not controlled. So I give up control, and that's the spiritual aspect of the work - taking what comes and relinquishing control. Although they look very controlled, they're really not, because it's all poured paint.
Unless you are prepared to give up something valuable you will never be able to truly change at all, because you'll be forever in the control of things you can't give up.
As an actor, you have to give up all control to the director. He's the boss and has all the power. I'm a control freak, so that's really hard for me. Then when you see a film later, it can be infuriating, really disappointing. I've been very lucky, though, and so many of my early experiences were great.
I can't always control my body the way I want to, and I can't control when I feel good or when I don't. I can control how clear my mind is. And I can control how willing I am to step up if somebody needs me.
I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
Control what you can control. Don't lose sleep worrying about things that you don't have control over because, at the end of the day, you still won't have any control over them.
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