A Quote by Adrian Tomine
I certainly wasn't consciously hiding my identity in the earlier work, though a lot of people have brought up the fact that I drew myself without eyeballs.
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I went to an art high school in Washington D.C., and I majored in visual art. When I started there, I was horrible - couldn't draw, couldn't sketch, couldn't do anything. I remember at one point I came to terms with the fact that I had to work my ass off to do well and that's exactly what I did. I drew and drew and drew, and it worked - I ended up getting the award for best artist and went on to apply to design school because I loved it so much. I think it really speaks to the idea that you can in fact excel at whatever you put your mind and your heart to.
I drew influence from Mike Leigh, Ruben Ostlund, a lot of Scandinavian filmmakers, Lukas Moodysson. I also drew influence from horror films and thrillers, which is something I would never think to do earlier in my career.
I have never sat down and studied the Bible, never consciously echoed its language, and am, in reality, as ignorant of it as most brought-up Christians. All of the Bible that I use in my work is remembered from childhood and is the common property of all who were brought up in English-speaking communities.
When I turned 50, I threw myself a big birthday party, and I looked seriously at what my life has been about. I recommend this to everybody. Ask yourself, "What have I done? How did I do it? Where'd I mess up? Where did I do well?" When I did this assessment of my life, I said to myself, "It was really good." I made a lot of people laugh, made a lot of people cry in a good way, brought a lot of joy to people, picked up a lot of garbage. And in all those years, I saw a lot. I went to foreign lands. I met interesting people. And I got it!
CNT was a good fit for 'Nashville,' and 'Nashville' was a great fit for CNT, and so timing was right. You know, they're investing more in scripted television - the show brought a lot of more eyeballs to CNT, eyeballs that are interested in country music - so, I mean, it couldn't have been a better fit.
I have a problem with the fact that when it's brought up, it's not really discussed. It's all that's brought up. So-and-so is an Arab American or a Palestinian or Muslim or a doctor with or without borders and there's really no meaningful entry into those hyphenations.
I've really come into my own as an artist. I'm much more sure of my identity and understand it much better, and have accepted the fact that I like to jump around a lot in terms of who I am and what kind of music I create, and that it is okay - in fact, that is my main identity, the fact that I do that.
There`s a certain attitude toward being presidential that is now going away and I think the other thing we`re seeing is really a moment where I think Republicans are waking up to the fact that they should have been doing this a lot earlier. They should have been trying to get under Donald Trump`s skin a lot earlier.
Certainly in the theatre, you never have to get up before 10 A.M., and when filming, though you do have to get up terribly early, you usually get to lie down a lot during the working day. I thought my semi-bedridden existence was a choice. But now I think that actually, in fact, I must always have been depressed.
Cooking is work that is traditionally done by working-class people. The work itself is not glamorous. It's repetitive, and it's a lot closer to factory work than art, whatever level you're doing it at. Certainly chefs are used to living like rock 'n' rollers to some extent, inasmuch as we get a lot of those fringe benefits without having to learn how to play guitar.
What does it mean to be an American today? The question of that is always pointing at now. It allows someone to say what lens that will be through. A lot of my work has been about identity in different ways. Part of that for me falls into the question of gender identity certainly but also about what it means to be an American theater artist.
The gospel has brought a new identity in Christ that then allows our work to no longer be the source of our identity but the rightful expression of it.
I've never modeled myself on anybody, but there are a lot of people whose work I really admire and attitudes I certainly subscribe to.
I've spent a lot of my early twenties focusing on other people as opposed to myself. Being madly in love with people and putting them first and not necessarily putting myself under a microscope. It's unsettling but I'm trying to be the kind of person that can be alone, at peace with himself. Making most recent album, I felt braver putting stuff into songs than I do bringing them up in conversation. Which makes no logical sense. Lyrically, there was a lot less hiding behind suns and moons and stars.
The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.
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