A Quote by Carolina Maria de Jesus
When I am in the city I have the impression that I am in a living room with crystal chandeliers, rugs of velvet, and satin cushions. And when I'm in the favela I have the impression that I'm a useless object, destined to be forever in a garbage dump.
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I classify Sao Paolo this way: The Governor's Palace is the living room. The mayor's office is the dining room and the city is the garden. And the favela is the back yard where they throw the garbage.
I only saw fire and chandeliers and smoke. No people. Not the room. Not even a time frame. Do you know how many chandeliers there are in the south wing alone? What was I supposed to do? Tell everyone to avoid chandeliers forever?
I'm the kind of person who would have liked to have lived at the Plaza. I love crystal chandeliers and gold leaf, velvets and mirrors, Oriental rugs and marble.
Most people are walking around the city like corpses; they aren't alive enough to notice the trash. They come from other places and they see it as a big garbage dump. Do you want to live and work in a garbage dump? I don't. That's partly because I grew up in the most pristine environment possible - Hawaii, where it is sacrilege to leave your garbage on the ground.
I mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.
The first impression that I liked doing was an impression of Cheri Oteri's Barbara Walters impression on 'SNL.' I found that I could mimic that pretty well, and people got a kick out of that.
It wasn't the first film to show a kind of alternate vision of suburbia, but it left an indelible impression, I think, on everybody, and all films like that will forever be measured against 'Blue Velvet.'
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
I am told to just be myself, but as much as I have practiced the impression, I am still no good at it.
What I am after is the first impression - I want to show all one sees on first entering the room - what my eye takes in at first glance.
I haven't yet given everything: I am still full of energy. But I wanted to make it clear that I don't have to make unwarranted concessions to national governments or to parliament. I want to avoid the impression that I am doing things just to ensure that I am re-elected. That's not the case. I have had my career.
The organic gardener does not think of throwing away the garbage. She knows that she needs the garbage. She is capable of transforming the garbage into compost, so that the compost can turn into lettuce, cucumber, radishes, and flowers again...With the energy of mindfulness, you can look into the garbage and say: I am not afraid. I am capable of transforming the garbage back into love.
I don't think it is about stalling or curing: it's about reversing. Curing gives you the impression of immortality. Stalling gives you the impression that you'll be 85 forever, which is not great.
I've seen promotions rush things to market and not be strategic about it. The first impression is the lasting impression.
A good impression is great. But a bad impression is even better.
Nature, the sun itself, produces color effects... instantaneously. The impression of these evanescent visions is what we make desperate attempts to catch and fix by any means at hand. At such moments I am unconscious of materials, of style, of rules, of everything that intervenes between my perception and the object or idea perceived.
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