A Quote by Alison Mosshart
Painting is almost like a sport. It's like this action thing. When I do it, I'm really not thinking. The paintings are like a diary that I might not want to read again.
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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.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Each painting, I feel like I kind of might have gotten something. If I feel like I totally got it, there's probably something wrong and it's not finished. And if I really feel like I understand it then I'm done with these paintings and I'll have to do something else.
Don't tell girls they can be anything they want when they grow up. Because it would have never occurred to them that they couldn't. It's like saying, 'Hey, when you get in the shower, I'm not gonna read your diary.' 'Wait--are you gonna read my diary?' 'No! I said I'm not gonna read your diary. Go take a shower!'
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's, like, an action flick with a great director, then it's like, 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director, I don't know if that's the trajectory I want to take with what I'm doing.
I read things like theology, and I read about science, Scientific American and publications like that, because they stimulate again and again my sense of the almost arbitrary given-ness of experience, the fact that nothing can be taken for granted.
I read things like theology, and I read about science, 'Scientific American' and publications like that, because they stimulate again and again my sense of the almost arbitrary given-ness of experience, the fact that nothing can be taken for granted.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
I feel like it's almost a Renaissance thing, a painting, a modern version of a painting. I think it's important for Kim [Kardashian] to have her figure. To not show it would be like Adele not singing.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
I always kept a diary - not a diary like, 'Dear Diary, we got up at 5 A.M., and I wore the weird hair again and that white dress! Hi-yeee!' I'd just write.
If the jump is perfect, you come out, and you feel like you took a three-pointer in basketball or doing the perfect thing in whatever your sport is. You just get that adrenaline rush, a sense of satisfaction, like you want to do it again and again.
I made work specifically for them not to like. If you made paintings of flowers and someone says they hate it, it's like, "What do you mean? It's a flower!" But if you make a painting of your name and somebody says they hate it, it's like, "Well, why would you like a painting of my name anyway?"
If I was singing like somebody else, then it was almost like I was expressing myself like somebody else. So it was always a very original thing for me. It's my voice, it's my diary, it's the way I connect with people.
I know a lot of other actors that don't like to look at other references to their characters and things. But I like it. I always look at everything, I read all the books. I read Dieter's "Escape from Laos." I watched the documentary again and again and again. I recorded it just to listen to him a lot. I just don't suffer from feeling like I'm getting caught into an imitation. I just feel like I want to steal some good stuff if it's in there.
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