A Quote by Joe Lycett

Turns out it's bloody hard to make a sculpture that looks like a human head, so I've not bothered. Realism is for squares. — © Joe Lycett
Turns out it's bloody hard to make a sculpture that looks like a human head, so I've not bothered. Realism is for squares.
There are all these levels of pretension in LA. Every time you walk into a café or a bar or a restaurant in LA everybody turns around to see if you're famous. Everybody can seem like a celebrity. You can meet somebody who looks like Joe Schmoe and he turns out to be the head of HBO or something. Or you meet a person who just won an Oscar and he looks like he just won an Oscar. And it's a sprawling city, there's so many different parts to it.
Just look at the back of Donald Trump's head, any angle. There's some angles that his chin is just, what do I mean? I mean he's sculpted out of some kind of pudding, I think. It looks like his face is sort of melting slowly. I should talk because my face is melting quickly. He's some kind of bizarre sculpture. There's no one really who looks like that.
I heard Samoans have hard heads, but it turns out what Enzo Amore told me about Samoa Joe's head was true. His head is S-A-W-F-T.
Test cricket is bloody hard work, especially when you've got Sachin batting with what looks like a three metre wide bat.
As it turns out, what looks like science sometimes is not.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
Me, I want to bloody kick this moronic bloody world in the bloody teeth over and over till it bloody understands that not hurting people is ten bloody thousand times more bloody important than being right.
I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.
When I don't make any progress, it is because I have bumped into the wall of language. Then I draw back with a bloody head. And would like to go on.
The floor of ice cream parlor bothered me. It was black-and-white checkboard tile, bigger than supermarket checkboard. If I looked only at a white square, I would be all right, but it was hard to ignore the black squares that surrounded the white ones. The contrast got under my skin. The floor meant yes, no, this, that, up, down, day, night -all the indecisions and opposites that were bad enough in life without having them spelled out for you on the floor.
Good painting is the kind that looks like sculpture.
For real human beings, the only realism is an embodied realism.
He knows that there's no better way in the world to aggravate somebody who's trying to make it hard for you than by acting like you're not bothered.
The only politician anybody ever believed was Kennedy, anyway. Kennedy, Martin Luther King - civil rights always turns out in bloody war. Where's his dream now? When is a change going to come - as Sam Cooke said - for blacks in America? Anyone who does tell the truth gets a bullet in the head, y'know what I mean?
If you get trapped in your head and out of your body during the writing process, it's very easy to make wrong turns. You have to really be in touch with your heart rather than your head to write the novel you want.
One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.
This site uses cookies to ensure you get the best experience. More info...
Got it!