A Quote by Del Close
The kind of improv that I'm particularly addicted to is the kind that... aims at creating a momentary, fragmentary experience that has a totality to it. It's kind of like fireworks. It's the more ephemeral of art forms - once it's gone, it's gone, baby.
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Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
The thing about Snapchat is it is ephemeral, so you don't - it's not like a video that you post to YouTube and then everyone can see it. It's this video that you get to share this kind of very intimate experience again, this very kind of genuine experience with another person in a more one-on-one sort of way. And I really appreciate that.
As I get older, I'm more willing to take on more, I guess. I feel more comfortable kind of being different characters and kind of stretching it a little more. Like with The Visitation. At least for me, being an actor, I have to draw from human experiences, so it was kind of a stretch playing that role. Kind of supernatural... kind of like what I did in The Crow actually.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
Art can be a kind of therapeutic, or kind of a fantasy life, or wish fulfillment...o r creating this alternate universe. Art gives me the freedom to do that.
The cliché of that sort of wasted, renegade, drugged-out musician of the '70s is kind of dead and gone now. And I suppose that a lot of people still keep relying on that, or some kind of image to perpetuate something that they think they're supposed to sound like. But that kind of takes you away from real inspiration and, you know, real artistic discovery of the individual.
In a study we did of bereavement, we found that rather impressive numbers of widows and widowers had not simply gone back to their pre-loss functioning, but grown. This was due to a kind of increased existential awareness that resulted from this confrontation with the death of another. And I think it brought them in touch with their own death, so they began to experience a kind of preciousness to life that comes with an experience of its transiency.
Big train from Memphis, now it's gone gone gone, gone gone gone. Like no one before, he let out a roar, and I just had to tag along.
Well, it's kind of like that classic sort of trajectory in this kind of movie where there's conflict and they're estranged and they kind of grow to love each other but they don't show it. Then at the end - it's kind of like that. But I think the characters are more interesting than that.
Drawing creates its own kind of private space. Coupled with certain interests that I want to speak to in my art, it's really kind of a safe haven for me. Creating art is not only a comfort zone, but also a way of speaking to my passions.
There are two different kinds of spectacular fighters. One is a subtle counter puncher who shows the work like chess. It's kind of an art, sports art. The other kind is when a guy has blood on all his body. That's a second kind of spectacular fighter, and people enjoy both. Both kind of fighters need to be respected.
A forecasting game is a kind of simulation, a kind of scenario, a kind of teleconference, a kind of artifact from the future - and more - that enlists the participants as 'first-person forecasters.'
What the soul is doing is kind of walking through the forms, and so our experience of thinking isn't normally this kind of pure intuitive insight that intellect gets, and that intellect must get right, because it's always identical to its objects, it's always the same as the forms that it's thinking about.
I love performing. I love doing improv. It's a totally terrifying experience, but it's something that I've always felt so strongly about and that I'm kind of obsessed with. And just as an actor, it's a great exercise. It's a great playground, you know, to try things out and to work on your skills. Because the mandate of improv is kind of the same as acting: It's all about your scene partner, it's all about being present and in the moment and exploring together as a team, a collaboration.
If 'The Blacklist' taught me anything, it was kind of open-ended intrigue and leaving questions unanswered. Creating this kind of mystery by virtue of depriving the audience of these easy answers was what I was kind of into.
Because I believe psychedelics are a kind of higher dimensional sectioning of reality, I think they give the kind of stereoscopic vision necessary to hold the entire hologram of what's happening in your mind. The old paradigm is gone.
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