A Quote by John Barton
The point of an experiment is not to arrive at a predetermined end point, to prove or disprove anything, but to deliver a poem that reveals much about the process taken.
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Given a conjecture, the best thing is to prove it. The second best thing is to disprove it. The third best thing is to prove that it is not possible to disprove it, since it will tell you not to waste your time trying to disprove it. That's what Gödel did for the Continuum Hypothesis.
I look back at the looks I've had over the years. I'm proud of myself that I had the courage to experiment with crazy hairstyles and some fashion things. Would I do it again? No. But that's part of the learning process and getting from point A to point B.
I think that I was being much more uptight about those things before. I feel like I really don't have to prove anything at this point other than what I'm doing.
Sometimes the only way I know how to work through something is by writing a poem. And sometimes I get to the end of the poem and look back and go, 'Oh, that's what this is all about,' and sometimes I get to the end of the poem and haven't solved anything, but at least I have a new poem out of it.
I very much use Bill Willingham's approach on 'Fables,' which is that rather than having an end point to a series, I have an end point for the various story lines.
When we define our happiness by some point in the future, it will never arrive. We'll keep waiting until tomorrow. If we allow impatience to govern us, we will miss the gift of the moment. We'll arrive at that point in time we expected to provide fulfillment and find it lacking.
I think a good poem should have some inscrutable part. You can't quite explain it. The poem can only explain itself to a certain limit and at that point you enter into a little bit of mystery. That for me is the perfect poem: to begin in clarity and to end in mystery.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
Everything that we love will, at some point, be taken away from us. If I think about everyone I love eventually being taken away from me by death, or simply by getting lost from each other in the world, it makes me value them much more now. And I'm much less likely to be indifferent. For me, indifference is the end of life.
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
From the point of ignition. To the final drive. The point of the journey is not to arrive.
Working improvisationally in my studio with dancers, it's completely different. We don't have any starting point; we don't have an end point. We don't have anything we are trying to show or do. The picture evolves from nowhere.
Bypasses are devices that allow some people to dash from point A to point B very fast while other people dash from point B to point A very fast. People living at point C, being a point directly in between, are often given to wonder what's so great about point A that so many people from point B are so keen to get there and what's so great about point B that so many people from point A are so keen to get there. They often wish that people would just once and for all work out where the hell they wanted to be.
There's not much point breaking records if, in the end, it doesn't mean anything.
Depending on the point in the game and what's necessary, if you can deliver the play, whatever that is - heck, if it's a screen - and you get a guy open, and he scores a big basket for you, that gives me as much of a charge as anything.
The Divine Comedy is a political poem and when you say poetry is not about - he's always quoted out of context, that "poetry makes nothing happen," that doesn't mean you shrug your shoulders and don't try to make anything happen. And Dante felt that poetry was engaged, there was a point of view; it's not my point of view, it's orthodox medieval Christianity, and I have my troubles with that. He didn't feel that you could just rule out so important a section of life - we care about these things, and it's out of caring about them that we write poetry.
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