A Quote by Amy Sillman
I'm in this process of trying to create a free space. Like an open field, where figure and ground are in very ambivalent, complex relationships. On top of that, I also wanted to see if I could try to blurt something out, or make something completely immediate, that ends up fitting perfectly.
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I've never fallen into what I consider to be a trap of trying to figure out something analytically that could be a very popular film. I would hope my enthusiasm could match up with something with that potential.
I like to take things as they come and, as much as possible, not force anything. I think I could wind up somewhere completely different five years from now, something completely removed from acting - I could be perfectly content studying photography or English literature. At the same time, I love what I'm doing right now and could see doing this for a very long time.
Trying to make certain things on the Internet totally private unless you subscribe. It's not going to work. If you can figure out how to close something down, somebody can figure out how to open it up. That's art.
I am in a space now where I can try anything; and with Pink Floyd we've always been in a space where we were able to try out anything. I think we were very young then and we were very keen to experiment and try things out. It seems to me that this sort of experimenting is like working yourself towards something and trying to find what you like and what you want.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.
Relationships are very complex. It's very unusual to see something which is so 'complex portrayed on screen.
If you can make something genuine, then the ground is fertile for introducing something new. And that happened a few times in my life where I could sow the seeds and see something grow out of it.
I do believe that Instagram has put a stake in the ground and we're growing more quickly than anyone. Is there something in there we could do to make it a multi-billion dollar business? I think we can figure out something along the way.
I used to think--and given the way we ended up, maybe I still do--that all relationships need the kind of violent shove that a crush brings, just to get you started and to push you over the humps. And then, when the energy from that shove has gone and you come to something approaching a halt, you have to look around and see what you've got. It could be something completely different, it could be something roughly the same, but gentler and calmer, or it could be nothing at all.
If we're free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running from it.
Transcendental meditation is one particular form of mantra meditation that allows your mind to experience progressively abstract fields of awareness. And ultimately you settle down in the space between your thoughts. The space between your thoughts is pure consciousness, and it's a field of possibilities. It's a field of creativity. It's a field of correlation. It's also a field of uncertainty. It's also a field where intention actualizes its own fulfillment. So that meditation allows you to contact this field, which is very primordial - the ground state of our existence.
Every time you wanted to do something, you'd hope it would score. You'd keep trying and trying, and all of the sudden, something would come right out of left field, like 'The Wreck of the Edmund Fitzgerald.' No one had any idea about that one.
Often, some people dress something up to make it sound scientific, use scientific words, call themselves doctor something-or-other, and then you look them up, and they're trying to make it sound like something it's not. There's this entire field that's adding the word 'quantum' to everything. It doesn't even make sense in that context.
What I wanted to do was drown something enormous, like a Star Trek or Star Wars kind of space opera-type thing, but actually make it about someone who was just married to the wrong guy, and that guy just happens to be this amazing dictator, and she has to get her kids as far away as possible from this guy. So something that could almost be a TV movie, if you'd ground it and set it in Wisconsin or something like that, but to give it this enormous setting.
I think it's important to have confidence, but then it's also important to try to try something new, to leave your comfort zone to try to grow. That's why I'm trying to grow as an artist and trying to figure out what kind of artist I want to be.
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