A Quote by Garry Winogrand
I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.
Related Quotes
We also ought to recognize that unpaid labor falls predominantly to women. The other thing I would do in countries like the U.S. is to show more men, even in TV ads, doing household work. Only two percent of ads show men doing chores, and yet we know they actually do several hours of it in real life. Those images affect young boys and girls.
There are two aspects to making movies: One is the feeling of wanting to push myself into stuff that I don't know how to do. Then there's the other impulse to try and earn a living. I want to be careful about not confusing those too much - not that those things can't have a healthy overlap. Plenty of people start out making work that isn't terribly commercial, and then make work that's more commercial but still good. You just want to watch out for that thing where you tell yourself that you're doing your best work when you're not.
I would say take any work you can get. Don't pass on something if it's a commercial. Take it. Work really does lead to other work. Especially if you're just starting out, work begets work.
My work is not generally in the commercial sector. However, I'm not worried by the commercial sector. I refuse to work in any other way except the way that I work.
Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.
Whatever work you do, you think are you doing this for the good of the nation? That's the basic training. The other basic training is discipline. Your life should be disciplined. The other thing they say is what work you get, do it well.
The operations were big ones, so I knew it'd take a lot of hard work. It's hard, you know? You're in the gym for hours on end doing strengthening exercises, and that's just so you are able to start running again. You can't even think about getting on the pitch to start with.
My father was a very good amateur pianist, and he had a collection of books on technique. One of the things he had was a small volume of exercises by Rudolf Ganz, in which Ganz mentions the pedagogical work of the Swiss composer, Émile-Robert Blanchet, who wrote a ton of polyphonic exercises for one-hand. These exercises were a great help for finger independence, which I acquired early on. This might have given me somewhat of an edge, a facility to be able to knock any obstacle that was in my way.
It's almost as if we have two lobes in our brain. There's the consumer and investor mode, and we're doing better and better at that lobe. But at the producer and seller mode, we have to work harder and harder. And the better we do as consumers and investors - the easier it is for us to choose something better, to exit every commercial relationship - the harder we have to work as sellers and producers. One follows from the other.
Well, it was strange, because the phone rang and a teaching job turned up that sounded interesting. And I always did my own work. The Animals and a lot of Public Relations were done while I was doing commercial work.
You should be proud of what you're doing, but not conceited. If you can't be proud of yourself, you're a failure. And discipline. To do anything in life you have to have discipline. To accomplish anything, you have a goal, challenge yourself, and work until you accomplish that goal. Practice what you preach.
One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.
I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.
There are 365 days in the year, and as a working actor, you might only work 17 of them. You might only need to do two ads and you can afford to live for the year, but it doesn't make for a very satisfactory or fulfilling life. The point isn't to not work - it's to work.
And then I think they asked me to work on Wish You Were Here, which was the next album coming up. And I didn't do anything for a long time. I had other projects, and I didn't get around to doing anything for a bit.
Coming out of Dallas and doing commercial work in Dallas - if you had improv background in Dallas, then you were instantly shot to the top of the list of commercial bookings because they loved improvisers because you could elevate the material.
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