A Quote by Johnny Depp
When I can focus on something like guitar or painting, I do. I started painting people I admire, like Kerouac, Bob Dylan, Nelson Algren, Marlon Brando, Patti Smith, my girl, my kids.
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I admire those old road dogs, Willie Nelson, Bob Dylan. That's their life.
But the people I admire have always been people like Marlon Brando, Jack Nicholson and Jack Lemmon.
I was in a movie with Marlon Brando. Now, I didn't have any scenes with Marlon Brando, but I had scenes with Martin Sheen and was around Dennis Hopper, who was a child actor in the studio system and was enamored of James Dean, as was Martin, and they were all sort of disciples of Brando.
Bob Dylan is great. I've been compared to him a lot. I think when people see a person on stage with a guitar they just think, 'Bob Dylan!'
Bob Dylan is great. Ive been compared to him a lot. I think when people see a person on stage with a guitar they just think, Bob Dylan!
I've worked with some of the best of them. Not just directors like Sam Peckinpah and David Lynch, but writers like Sam Shepard and singers like Bob Dylan, Willie Nelson, and Kris Kristofferson.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Remember crime against property is not real crime. People look at an oil painting and admire the use of brushstrokes to convey meaning. People look at a graffiti painting and admire the use of a drainpipe to gain access.
I think everyone mentions Bob Dylan, but he's someone I just admire so much as a songwriter. I think people write songs, and then there's Bob Dylan songs. He's one step ahead of just everybody else.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
I was probably 8 years old; my mom let me stay up one night. She's like, 'You have to see this movie.' It was 'A Streetcar Named Desire,' and it was on TV, and it was a big deal. And I saw Marlon Brando, and I was like, 'Oh, my God.' That's where it started.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Like the people that in the 60s or 70s claimed the "end of painting" - all they did was open up a whole new branch for painting. Happily, it doesn't work. It's not a reason for art. Closing something out is not a reason for something to exist.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
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