A Quote by Barbara Kruger
I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
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If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
You make good work by (among other things) making lots of work that isn't very good, and gradually weeding out the parts that aren't good, the parts that aren't yours. It's called feedback, and it's the most direct route to learning about your own vision. It's also called doing your work. After all, someone has to do your work, and you're the closest person around.
I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D. I think you could probably dimensionalize some of my movies and they would make very good 3-D films.
We're always willing to look at ways NAFTA can work better. But it's a fine line between looking at ways to make it work better and actually starting to open the agreement. I think, if you actually opened the agreement, I think you would get into a negotiation that - that would never terminate.
I work a lot and I like to get out and work but the work I do to make the other work work I'm not very good at.
I think it would be great to make a $2 million or $3 million art movie where nobody would really have to go to it. I thought that would be a good project to work on . . . do something really artistic.
That is the trouble with many inventors; they lack patience. They lack the willingness to work a thing out slowly and clearly and sharply in their mind, so that they can actually "feel it work." They want to try their first idea right off; and the result is they use up lots of money and lots of good material, only to find eventually that they are working in the wrong direction. We all make mistakes, and it is better to make them before we begin.
It's true, I had a lot of offers from very good teams, but I decided Juventus because I think the project is very big, and they have very big aims, and I want to be a part of the big project here.
I think we're in a very exciting time - visually, I think we are. I've not got a crystal ball. I'm not saying I know what the future is at all. In some ways I'm getting quite pessimistic about the future, but in other ways I think it might get better. We are moving into very big changes.
A big part of winning is having lots of good luck. And I think a good competitor makes his own luck. That's why he is a winner. Luck to me is lots of determination lots of hard work, faith in myself, and in God.
Results? Why, man, I have gotten lots of results! If I find 10,000 ways something won't work, I haven't failed. I am not discouraged, because every wrong attempt discarded is often a step forward.
I think that no matter what you do, whether you rodeo, whether you work in an office, you work in the oilfield or you play music for a living, eventually if you do enough of it, the devil in the back of your head tries to turn it into work. You have to find new ways to make it new and make it exciting to keep that drive there.
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.
You're trying to tell me that everything you've done is for a good cause. You think that all this killing is worth it because of the results. I'm not sure I agree. Lots of people work for charity; lots of people want to change the world. But they don't have to behave like you.
I think there are a lot of writers who would never have an opportunity to make their work. Some presses rely heavily on the NEA. Translators cannot support themselves on translating. It would be isolating artistically. It would diminish experimental output. It would have a homogenizing effect on the work that was made.
You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work
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