A Quote by James Dean
At times there seems to be a million ideas worth painting. However, there are days when it's a challenge to pull any idea together. On these days I go to my studio, leaf through an art history book, and tell myself that I am part of this great tradition.
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Do not let us speak of darker days, let us speak rather of sterner days. These are not dark days: these are great days-the greatest days our country has ever lived; and we must all thank God that we have been allowed, each of us according to our stations, to play a part in making these days memorable in the history of our race.
I go to my studio every day. Some days work comes easily. Other days nothing happens. Yet on the good days the inspiration is only an accumulation of all the other days, the nonproductive ones.
We have our great days and our bad days. No matter what bad day I go through or strike out four times in a row, I still want to have that great attitude and go after the game and go talk to the kids and not worry about the game and let them know that this is what matters.
You choose to be happy, and in life we have as many good days as bad days. I try to find and record those songs that pull you through the bad days, and keep you believing that the good days are just around the corner.
On 'Made In Chelsea' there are cameras in my face and some days I think, 'I can't go to filming today,' but I just have to dry my tears and pull myself together.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
I like the challenge of getting players to rise to certain levels, but that's the easy part. The biggest challenge is to get them to believe in what we're doing. They have to understand that it's O.K. to have good days and bad days.
I don't organize myself sufficiently to get an album of material together, book the studio, and go. I need to be kicked; I need to be forced physically to go in. That's how it works for me. I'll get a great idea in the house, and it'll stay there unless somebody comes and drags it out of me!
I'll look through a script, and if there's a lot of night shooting I tend not to want to do it. If there's huge party scenes and I'll go through a few pages and say "Well, at least I'm not in this," then the last page my character walks in and says something, I say, "Uh oh, that's going to be three days on the set sitting around drinking coffee at the craft-service table." Unless it's a great part. All in all if it's a great part you'll do it and I'll say, "Well, I'm gonna be on the set for three days."
You have to go through bad days to get to the great days you have in your career.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
Some days, obviously, I am like 'Today is not the day,' but you got to push through, especially when my aspirations are to be pro, you can't have any bad days.
I'm of two minds about doing any interviews these days. It seems a lot of the world is out to play gotcha with me. I guess they always go after people these days. It's sport.
My introduction to art history was like everybody else's. You see an art history book that has works by Rembrandt and Leonardo da Vinci and Michelangelo. Yes, these things are great. But I don't see a reflection of myself in any of these things I'm looking at.
I go into my workroom seven mornings a week. There will only be one or two mornings a week where it seems to be going well, but to earn those days you have to go through slow, slodgy days where your mind feels like porridge.
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