A Quote by Doug Aitken
We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
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The Opera House guidelines have from time to time been amended, whether it's for other sporting events or other causes. The guidelines have always been stretched in the part and the commercialisation of the Opera House has always been there.
Out-marriage is an issue religious groups have been wrestling with for some time. Of course men and women fall in love. Of course it's not always convenient to their respective cultural and spiritual norms.
If I hear a film clip, or I happen to see some image from a film - you go to a film festival, and they show some clip of the movies you've been in, most of the time I sit there and go, "Oh God, I should have... should have... that was terrible." But I think that's a natural part of this work, because really, your work is never over. Of course I can leave it alone and walk off the set and never think about it again when it's done. But your work is really ongoing all the time.
I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.
There are always forces at work in a society, which are really forces of censorship - either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film.
As a story teller I have always been fascinated with our legends, these can be re-told time and time again. And there is always an interested eye and ear for it.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
No, I'm not religious, I'm sorry to say. But I was once and shall be again. There is no time now to be religious." "No time. Does it need time to be religious?" "Oh, yes. To be religious you must have time and, even more, independence of time. You can't be religious in earnest and at the same time live in actual things and still take them seriously, time and money and the Odéon Bar and all that.
There are always forces at work in a society, certainly in America, which are really forces of censorship -either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film. And all art is fundamentally subversive, because it upsets people's perceptions, their notions about society. Therefore, art is dangerous, but good art is always making us reassess our thoughts and feelings about how we relate to other people. There are always people who fear that and want to suppress that.
All resistance is a rupture with what is. And every rupture begins, for those engaged in it, through a rupture with oneself.
I was always interested in myths growing up. So, first I got into some Roman myths, then I was interested in Norse, then Celtic, then I started spreading to all the other mythologies.
I have always been interested in how strange it is, when you date someone and break up, and then you both move on and continue your lives. What do you owe them, if anything, for that time intimate time spent together? What does that time mean, if anything?
I'm always interested in debunking myths if they are untrue. But it's also important to identify myths and how they function, what value they may have.
There's a reason why you attach the luck factor to your hard work. You work hard in every film, but there's always that one film that comes at the right time and does the best for you.
There is nothing so despicable as a secret society that is based upon religious prejudice and that will attempt to defeat a man because of his religious beliefs. Such a society is like a cockroach - it thrives in the dark. So do those who combine for such an end.
With each film, I get more and more involved and it's more and more time-consuming. Also, I like to break myths and people's preconceived ideas. My characters have always stood for something, have always had an opinion, although they've never really rebelled.
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