A Quote by A. J. Jacobs
Paintings! They're like TV, but they don't move.
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I wanted to move between film and theater - I never felt like I fit into TV. And I'm very anti-TV, like, 'I'm never going to do TV,' but also, TV didn't want me either, so it was kind of perfect. And then, of course, cable happened, and suddenly it was like, 'Oh, I could do that kind of stuff.'
I'd like to do more TV; TV is completely different than working in movies in a lot of ways, it's like making a really compact movie. Because you don't have as much time, especially hour long shows, they move so quickly.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
Modern paintings often seem to have been made quickly, by comparison with the paintings of earlier centuries, and that seems to give us the license to look at them quickly - to consume them and move on.
I'd like to see technology to move beyond the hype and be considered part of infrastructure... the way you see access to water. I would like it to move away from apps and mobile money. So that everyone has their TV and their Wi-Fi, and it's just ubiquitous. I think that's where we should be headed.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
If you want to surf, move to Hawaii. If you like to shop, move to New York. If you like acting and Hollywood, move to California. But if you like college football, move to Texas.
As far as paintings go, I always think about what it's like to move them and hang them up and hope they don't drop. To me, that seems like a big gamble, but that comes from me not being a painter.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I like all paintings. I always look at the paintings, good or bad, in barbershops, furniture stores, provincial hotels. I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
Coming off 'Sopranos' and 'Mad Men,' I was starting to feel like I was being spoiled creatively. I wanted to move forward as a director in TV and get more involved in the process. After having those two great experiences, doing regular episodic TV wouldn't be quite the thrill.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
Occasionally, I like to select a mentor, a master, and let him guide me through a revision of one of my paintings... I try to move into his terrain, bringing my own ammunition... I do not believe... that this belittles my own personality.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
Obviously, doing TV and doing theater are completely different because they're two totally different mediums. On stage, you worry about your voice and how you move physically. On TV, something like an eye twitch is what they could be looking for from you because it's so contained.
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