A Quote by Gary Cole
If you're onstage and you're improvising and nothing's happening, people are racing for the door. But the director can go shopping later and pick up pieces and moments and insert them.
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When war ends, women are the first to pick up the pieces. Where there is no market place, they go door to door. When homes are destroyed, mothers and daughters haul stones to rebuild or plow fields together.
I invite people to just stop and be still. And in that you discover who you are, because once you discover who you are, you can stop fragmenting into pieces. I know that in any one day there are moments were there is nothing going on, but we link up what is happening from thought to thought without any space. We overlook the spaciousness that it is all happening in.
When you improvise on the spot, people are very reluctant to have soft moments or quiet moments or sad moments because they're trying to fill up the spaces. So they always go towards, "How come you're late?! You're supposed to have my shirt ready! You call this a dry cleaner?!" That's what happens. That's why improvising on the spot gets very dicey.
People aren't problems to be fixed. People are people, for us to walk alongside and journey with and help pick up the pieces with and, when they drop them again, to get back down and help them pick them up again. And that's real love - without condition and without expectation.
Transposons are just small pieces of DNA that randomly insert in the genetic code. And if they insert in the middle of the gene, they disrupt its function.
There's a lot of players that go to a city, pick up a check, go to practice, and just worry about what's happening in their households, and you can't blame them.
A good director creates a playground for actors, and lets them go. The trick for a good director is in casting properly, and creating the playroom, and then they'll get stuff that they don't expect, and can't even direct. All the audience wants to believe is that whatever is happening, it is happening for the first time. They want to see the people within the work exchanging dialogue and action in that moment. There are not a lot of actors that can do that.
Any actor who's onstage... at least this is what I do... I'm always using 120% on whatever the heck I'm doing. I have to make an impression with all the bursts of things I do in this show... taking the picture, shutting the door, opening the door... as long as I'm making people laugh at those moments, I feel like I'm accomplishing something.
Not only are we not using any programmed loops or computers onstage, we're also improvising with our instruments. We're playing our instruments probably more so than most people that I see play their instruments. I think we all sort of strive for that - we all want magical things to happen onstage. We don't say "mistakes" in this band, we call them "highlights."
I have one quote I very often read to myself, from a very good friend: 'Forget the people around you now; remember the little boy who was racing in go-karts, what you were dreaming of and what he wanted to achieve one day and what was his goal. Race for him.'. I fell in love with the sport, I love racing. The amount of satisfaction I get just going around in a Formula 1 car makes me smile. So if it is a bad day then you tend to come out and say it's horrible and you don't enjoy. But if you had to pick between that and doing nothing, you would always pick that.
At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.
I can go shopping and pick up some Bounty Towels, the three pack, I can go home and open those up and look at them and see more infinity than in the Buddha's best meditation. If I can't do that, that means I'm wrapped by the Buddha's best meditation.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
Artists are the people that no matter what, pick up the pen, pick up a paintbrush. They take the time to translate what is happening to create something that resonates deeply with the rest of the people that are caught in the middle of their own reality.
When I became director of the Metropolitan Museum of Art, it was stodgy, gray, run by elitists. I said, 'Hey, let's kick the thing around.' I wanted to attract young people to the museum. I said, 'Make it hospitable. I want them to come. I want them to make dates, pick up girls, pick up boys - either way; I don't care.'
Don't worry over what other people are thinking about you. They're too busy worrying over what you are thinking about them. If one dream should fall and break into a thousand pieces, never be afraid to pick one of those pieces up and begin again.
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