A Quote by Glenn Ligon
Artists such as Lorna Simpson, Zoe Leonard, Byron Kim and Stephen Andrews and I are around the same age, and I know them personally. The discussions I have had with them over the years have influenced the work that I have made throughout my career.
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About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
When artists find other artists that they love to work with, they more than likely will continue to work with them throughout their career.
You know, artists are influenced by other artists. We're all deeply influenced by what's around us; we don't make anything cold. Sometimes we think that we do. But within that, the most important part is that even though we're influenced, what are the levels of invention that we carry forth even as we've been influenced by something that's come before?
Please ignore rumors! I've had them for years and you have to just let them go over your head. Don't take them personally.
You know, I had a couple hundred jumps in my career, and I made most of them, but the ones they show over and over are the ones when I crashed.
Some years ago our Japanese counterparts asked us to resume the discussions of the issue and so we did meeting them halfway. Over the passed couple of years the contacts were practically frozen on the initiative of the Japanese side, not ours. At the same time, presently our partners have expressed their eagerness to resume discussions on this issue [the Kuril Islands].
I grew up with horses when I was a kid in Argentina. I like them. I respect them. I'm careful around them. You never know what they're going to do. They're endlessly interesting. I've had some good acting partners that were horses over the years.
It took them 13 years to get O. J. Simpson, but they got him. What goes around comes around.
Leonard de Vinci, for example, is a great artist, but he is living in the past. However, I don't feel John Cage and Matsuzawa Yutaka as artists who live in the past. Their ideas are still alive in our world because they express the very important concerns of our age. That is why I could trust them as "contemporary artists".
Before Kim Jong Il died, it wasn't like one day Kim Jong Un took over. Kim Jong Il made sure his son was known to the North Korean people and it was clear that he was the next heir. He prepared him for at least three years beforehand.
When you actually take the time to go over to somebody's office and personally thank them - whether their office is in a cockpit of an airplane, or in a break room - that's an actual manifestation of interest in them. You need to take the time to show the people around you who work for you that you're interested in them.
I never look back and think too much about my films. I've done some work I've been proud of over the years but which of them is my favourite I really don't know. I could say the last one. I've had little jumps in my career like Unforgiven possibly.
I first heard Trouble in 2008. At that time I was on my grind, trying to work with all the next-up artists. I had sent him a couple beats; he had done a couple songs. We was always around the same age.
I know that when I have had whatever run-ins I have had throughout my career, I have had them because I have done the things that I feel like I need to do to be the best, and that is why I am in this sport, that is what drives me.
A career is measured over the course of the years, not moments. Over good decisions, over successes, not moments, failures, missteps, or bad comments. I learned that I needed to take a step back and look at my career not in that one moment that made me feel really bad, but what I had done not even in the past one or two years or last one or two hires, but that that career is built over many, many, many, many successive quarters and years and good decisions - never, ever made in that one moment where you felt really bad.
I think it was in sixth grade, though, when I picked up my first Stephen King book, which was 'It,' that knocked me over and terrified me for years. Then I never went back. I had to own every Stephen King book and read them at least three times. They would terrify me completely, but I couldn't stop. That became my preferred source of fiction.
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