A Quote by Joel Meyerowitz
The thought for us [street photographers] was always: How much could we absorb and embrace of a moment of existence that would disappear in an instant? And, Could we really make it live as art? There was an almost moral dimension.
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If we could just trust the moment that we're in and live it in the way that you best can embrace it, it would be much better for all of us.
I thought I would make so much money and be the next Ray Leonard. Maybe it was farfetched, but I thought I could be a megastar. I could fight, and I had a lot of crossover appeal that was necessary to promote myself. I thought I'd make a ton of money and live off of it the rest of my life.
No one could say how long that life would last. Whatever has form can disappear in an instant.
Our music has always been instant reactive and I guess taking our time to absorb things and say what you really want to say could be much more offensive than anything we've ever done.
All of the good things that surround art - you have to embrace the idea that it could be a complete disaster. I think that's what gives it its artistic sparkle is that it really could crash and burn at any moment because you're going out on a limb and being very personal.
So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.
We've always wanted to do it, something you could dance to, and deep down we always thought we could bring something to the table if we could do it, but the live shows always made us pull back and be a rock band.
I always tried to make people laugh. I attribute that to - I come from a family of divorce. It was a way to distract myself from stuff. I always thought it was interesting that my brother and I existed in this really tight bond, and we would just take the piss out of pretty much everything. I knew I wanted to be an actor so it would be great if I could make people laugh while I was doing this, because I could be other characters and other people, and I could hide behind things. It was a great out for me, and a mode of expression.
Working with other people, it's hard to get them to make it sound like what you have in mind. Also, it's really expensive to get your tracks produced, so I thought if I could learn how to do it myself, I could make five albums in a month and it would be free, it would be me, and it would be everything that I'm doing.
Chess is one thing, but if we get to the point computers can best humans in the arts-those splendid, millennia-old expressions of the heart and soul of human existence-then why bother existing? to produce human art a computer would have to find, feel, absorb reality to the point it is overcome, to the point it sobs for release. A computer perhaps could replicate every possibility but could never transfer the energy art requires to exist in the first place.
We stand there for a moment, looking at each other, and in that instant I feel our connection so strongly it's as though it achieves physical existence, becomes a hand all around us, cupping us together, protecting us. This is what people are always talking about when they talk about god: this feeling, of being held and understood and protected. feeling this way seems about as close to saying a prayer as you could get.
I think it took us all by surprise. I mean, I knew that people in New Zealand would like [Hunt for the Wilderpeople], but no one really anticipated how much they would embrace it as it is. And it's playing widely in Australia now; they're running it as well. It's going to be interesting to see how it does it in the States, but I think if Sundance was any indication, I imagine it could do well.
Life is such unutterable hell, solely because it is sometimes beautiful. If we could only be miserable all the time, if there could be no such things as love or beauty or faith or hope, if I could be absolutely certain that my love would never be returned: how much more simple life would be. One could plod through the Siberian salt mines of existence without being bothered about happiness.
I thought I could make a sarcastic joke about it. But it's based on my own struggle with how much to give, how much it's really helping or not, and how foolish or not I feel. Giving sometimes backfires.
But where pain was, healing could come; where loneliness was, new relationships could be formed; where rejection was, new love could be found. It was a moment. And moments changed. She would have to live through the moment to get to the next.
What I realized the moment I got to Oxford was that someone like me could not really be part of it. I mean, I could make a success there, I could even be perhaps accepted into it, but I would never feel it was my place. It's the summit of something else. It's distilled Englishness.
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