A Quote by Christian Marclay
These things I sample, or clip, are things that we share - music, films, sounds. It triggers a layer of participation from the audience as they recognize the material and remember it.
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You can't remove that layer of pain by just saying, "Okay, I'm not going to wallow in it." The only way to remove that layer of pain is to face what it says and to recognize it as the look in the mirror that it is, reflecting the things you did that you wish you hadn't done and the things you didn't do that you wish you had done.
You as an audience can look at these things as films, but I remember them as social experiences.
When I play that music live nowadays, there's a lot of things I feel I'd like to do - even things I don't think the audience is aware of, like layering subs underneath the kicks, and layering crisp hats underneath the muddy, trashy hats of the '90s. If I tried to play the music as it was next to my contemporary music, it just sounds like you're closing up half of the sonic spectrum.
People still talk about sampling as this new, progressive problem in music. There are technologies now where you can glean the polyphonic information out of a sample and then put that back in and then score it for five instruments. You don't need digital audio to sample; you can rewrite things.
A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.
There's music in my films but you seldom hear it. Very early I got the idea that the important things in films were people - the actors. They are the intermediary between the director and the audience. They make direct contact. People to people communication.
Audience participation can often inject a dose of adrenalin into your average dial-tone literary reading, especially if a handful of audience-members are mentally unhinged, and let's face it - you can always depend on at least one crackpot at these things.
Material goods consist of useful material things, and of all rights to hold, or use, or derive benefits from material things, or to receive them at a future time.
Movies alone have the hideous capacity to do everything for you. So in directing movies, you have to figure how to leave things out - because when you leave things out, you evoke the imaginative participation of the audience.
One of the best things about humans is we recognize patterns, so we get things like science, music, philosophy. One of the worst things is that we see patterns that are not there so we get things like racism, homophobia and Jerry Falwell.
I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
Real love is on the inside. It's somebody you have a common ground with, you share the same values, you share the same interests, you share the same humor, you share all those things that are things that will last you the rest of your life.
I just like music that sounds like music. Not like machines and computers and things that you design to make things sound slick and perfect.
A marveilous newtrality have these things mathematicall, and also a strange participation between things supernaturall and things naturall.
We're all about exploring new sounds, so we don't have any limits whatsoever about how we go about finding them. We do tend to sample human vocals or sample sounds, which allows you to create your own sound. That's not our only way obviously, but that's a way you can use a sound no one's used before; it's not a sound in the synth. There's a lot of that going on in our songs in general.
We like to categorize things into showy things and deep things, you know, and things that are high music - important music - and shallow music. And I think that's dangerous, because there's often a mix of both.
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