A Quote by Hidetaka Suehiro
I think that my interest as a creator always comes first, so I'm wondering things like "Just how free is this world?" and "Where are the boundaries?"
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Everything has boundaries. the same holds true with thought. you shouldn't fear boundaries, but you also should not be afraid of destroying them. that's what is most important if you want to be free: respect for and exasperation with boundaries. what's really important in life is always the things that are secondary.
What is an artistic picture? An artistic picture is very simple. The creator is not the producer. The creator is not the star. The creator is the director, the person who realizes the picture, like a poet, like an artist. The creator of the picture is free to do whatever he wants, how he wants to do it. That is an artistic picture.
I think the biggest mistake you can make in creator owned work is having info-dumps like, "Here's how this world works!" it's just like someone playing dungeon master and boring me with the backstory of their fucking world. Just bring me into you story and get it cooking.
Whenever you're writing a book or creating a movie or a game, your first task is to get the reader to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic.
But as I pursued that dream of upward mobility preparing for college, things just didn't fit together. As I read Scriptures about how the last will be first, I started wondering why I was working so hard to be first.
I'm always just trying to get the work done so that I can be free - like, with the sense that, like, the real me has no interest in this? I just gotta do it for my boss. But the catch is that I'm never free, I never finish the work, so I don't know who this freewheeling employee with extracurricular interests is.
You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.
Whenever you're writing a book or creating a movie or a game, your first task is to get the reader/audience/player to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic. To do that, you need long threads - of history and culture.
Growing up, I was the odd bird. My interest in mathematics, my interest in the world, how I approach things from a scientific standpoint. You're always going to be looked at as a different bird.
I've always just wanted to tell stories, and create stuff, and I think "Creator" or "Director" would probably be the two words that I go to first.
Image and music always works together for me. I think they're equally important and I've always done things in a way that people remember them by, but I don't set out to just shock people...because that's very easy, a lot of people could do that, I just like to do things the way that makes me happy really. And sometimes that's too much for certain people, but, you know, I try to push the envelope to make the boundaries wider as far as what you can and can't do in music.
I'm here to break boundaries, man. That's all. I'm here to be the first so that the people after me don't have to think twice about expressing themselves and being free.
I've always had a desire to be provocative and to make people think, but it wouldn't be any challenge for me just to be shocking. That is where it begins for me, not where it stops. And I could be much more shocking. I think I've adopted a sense of subtlety. I don't sit around wondering how I can make myself even stranger to the world. I've simply evolved into the monster I created, and I'm quite happy with it.
It was easier for me to think of a world without a creator than of a creator loaded with all the contradictions of the world.
The pure mathematician, like the musician, is a free creator of his world of ordered beauty.
Now listen to the first three aims of the corporatist movement in Germany, Italy and France during the 1920s. These were developed by the people who went on to become part of the Fascist experience: (1) shift power directly to economic and social interest groups; (2) push entrepreneurial initiative in areas normally reserved for public bodies; (3) obliterate the boundaries between public and private interest -- that is, challenge the idea of the public interest. This sounds like the official program of most contemporary Western governments.
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