A Quote by Alan Bates
I have always tried to work according to what affects me, to a script that I like because it touches me in some way, without deliberately pursuing a commercial career or a particular image.
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I'm always sitting down and talking to people that are doing independent features. It depends on the project and the quotient of the people that are involved. There are a lot of different reasons [to do something], like a particular script that resonates with me, in a particular way. It may not so much even be about the part, but what the script has to say.
The older I get, the more and more I notice I'm like my father. It's funny, because when I was younger I tried to just back away from my father as much as I could, and some of the philosophies, some of the life lessons, some of the beliefs that he had within me are always constantly ongoing, and they're always prevalent in my life, whether it's trying to be every single thing that I can be in my sport or life or relationship or business, whatever avenue I'm pursuing.
I have deliberately tried to do a variety of roles during my career so that people aren't bored of me. I also believe I have never prompted my directors or my audience to say that I have let them down with my performance. Maybe that's what has worked for me.
I don't think I've ever tried to be something that I'm not. People do that for you. People try to pigeonhole you. People tried typecasting me, before they even saw me in anything else. I've never understood that. I was like, "Why don't you wait until my next project, before you start telling my what my career is going to look like, for the next 10 years?" I've never let it set me back because I always knew the world would try to do that for me, anyway.
I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.
For all my success with the Ramones, I carried around fury and intensity during my career. I had an image, and that image was anger. I was the one who was always scowling, downcast. I tried to make sure I looked like that when I was getting my picture taken.
My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.
When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.
They looked at me like I was some kind of threat. [Mick] Jagger really tried to put me down, but there was no way some crude, lippy guy was going to do a number on me. I was always able to squelch him. I found out that, if you stand up to Mick, he crumbles.
In my first film, we always tried to have a script and work in a normal way, but I was constantly changing things during shooting. Because I worked as a scriptwriter for 10 years, I understood that directors always wanted to change what was originally written, to improve on it.
For some reason, I deliberately allow for simple things like three chords to mystify me. It's kind of fun that way. Like Billy Gibbons' guitar sound isn't the way it is because he uses a quarter as a pick or anything as simple as that; it's because he's in touch with a different sector of the cosmos that we know nothing about.
I've always in some way tried to rebel against the norm, but there's always been a voice deep inside that pressures me to look my best, not leave the house without makeup, etc.
They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.
Each painting seems to have a very specific size it wants to be. I have even started a painting or two over just because I didn't like the feeling of the particular image at a particular size. The Parlor needed to be large because I wanted it to feel like a full-size room you could step into. Unfortunately for me, I paint the same way on an eight-foot canvas as I do on a five-inch miniature. I still use very tiny brushes and noodle every square inch. It took me nearly a year to paint The Parlor.
Julie always tried to stand beside me, or talk to me, or in some other way mortify me.
Despite my belief that somehow my work would get me where I wanted to be, there was still some kind of fathomless yearning. Yes, my career aspirations were always goading me. But partially, I think I tried to let those dreams replace or become the other yearning, to have that other form of value.
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