A Quote by Hans-Ulrich Obrist
I still remember my first Giacometti exhibition, and going back to the museum every day, whenever I could, to look again and again at these long, thin stick figures, so beautiful, so graceful. That, I think, was the moment I became really obsessed by art.
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I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.
When my sitcom 'Miranda' first became successful, I was so in the thick of working and I was so stressed that I didn't really enjoy the moment. You suddenly look back and go, 'Gosh, you've just got to enjoy every day.' And now I wake up and literally pinch myself every day.
I've wanted you from the moment I first saw you in the museum. Before that. I wanted every part of you from the first time I felt you, your presence. I want you in the sky, and against the earth. I want to kiss you again, I want to touch you, I want to feel you in my arms and I want to hear you gasping my name when I'm inside you. I want all that, and I want it badly. Every time I look at you, I want it. So you're going to have to become used to that, Rue. It won't change." (Christoff to Rue)
I long ago ran out of bookshelf space and so, like a museum with its art, simply rotate my books from the boxes to the shelves and back again.
When you look at a wall spotted with stains...you may discover a resemblance to various landscapes, beautiful with mountains, rivers, rocks, trees. Or again, you may see battles and figures in action, or strange faces and costumes, and an endless variety of objects which you could reduce to complete and well-drawn figures.
Falling out of balance doesn't matter, really and truly. How we deal with that moment and how we find our way back to center, every day, again and again - that is the practice of yoga...it's about trusting that you will find your way.
A still photograph is something which you can always go back to. You can put it on your wall and look at it again and again. Because it is that frozen moment. I think it tends to burn into your psyche. It becomes ingrained in your mind. A powerful picture becomes iconic of a place or a time or a situation.
You don't just find an empty museum and say, "I should do something here." I was looking for another kind of venue or exhibition format. I was trying to find a site where something could happen over a long period of time - something that could slowly transform itself and the place as it went. And I was also trying to stand out of the art-world system. Strangely enough, I stumbled on vacant museum.
Riches, prestige, everything can be lost. But the happiness in your heart can only be dimmed; it will always be there as long as you live, to make you happy again. Whenever you're feeling lonely or sad, try going to the loft on a beautiful day and looking outside. Not at the houses and the rooftops, but at the sky. As long as you can look fearlessly at the sky, you'll know that your pure within and will find happiness once more.
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
When I look at the directors that I really love, who really develop their films over time, they're almost always the ones who go back again and again and again at the same investigations. I think that when somebody has a theme they go after, it's fun to service that. It's like, "I know you now. I know what you go at." It helps you locate yourself a little bit quicker in their world.
As the years pass, I find that writers who were once central to me aren't anymore. I revered Yeats's poetry in college. I respect it now and am still ravished by certain lines, but I don't go back to him again and again. I do go back to Emily Dickinson again and again.
I know certainly, when one job draws to a close, that I feel I'm simply never going to work again. No one will ever want me for anything ever again. I think that's a vulnerable moment in every actor's life, and it happens every time you finish a film.
Every day is my best day...I'm not going to have this moment again.
When I'm writing the text for a book like 'Little White Rabbit,' I read it aloud, alone, in my studio, again and again and again - because the rhythm has to be exactly right. After I get my manuscript to the point where I think it is perfect, I begin to think about what I want the art to look like.
I'd play whenever I could get my hands on an electric guitar; I was trying to pick up rock'n'roll riffs and electric blues - the latest Muddy Waters. I'd spend hours and hours on the same track, back again, and back again.
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