A Quote by Julian Barratt

With the 'Boosh,' we were trying to do this strange, weird thing that had its own language and visual style, and it wasn't really what the powers that be wanted. — © Julian Barratt
With the 'Boosh,' we were trying to do this strange, weird thing that had its own language and visual style, and it wasn't really what the powers that be wanted.
So I always respected the guys who were trying to do it on their own without taking a handout from a big organization. They were trying to create their own thing, the DIY style, which is sort of always been my style, kind of a makeshift survival mode and really just kind of forging your own path.
At WSX I think I was very much trying to figure it out on my own and we were creating our own style and our own thing. I can only speak for myself, I was not trying to be anything. I was not trying to be like anyone else.
You know, comments about style always seem strange to me - 'why do you work in this style, or in that style' - as if you had a choice in the matter... What you're doing is trying to stay alive and continue and not die.
It was a strange thing, to still be in love with your wife and to not know if you liked her. What would happen when this was all over? Could you forgive someone if she hurt you and the people you love, if she truly believed she was only trying to help? I had filed for divorce, but that wasn't what I really wanted. What I really wanted was for all of us to go back two years, and start over. Had I ever really told her that?
You should really stay true to your own style. When I first started writing, everybody said to me, 'Your style just isn't right because you don't use the really flowery language that romances have.' My romances - compared to what's out there - are very strange, very odd, very different. And I think that's one of the reasons they're selling.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
I spent ten years in London; I trained there. But because I started in English, it kind of feels the most natural to me, to act in English, which is a strange thing. My language is Spanish; I grew up in Argentina. I speak to my family in Spanish, but if you were to ask me what language I connect with, it'd be English in some weird way.
I mean, the thing about Guns N' Roses was that it wasn't trying to attach itself to the '80s, or anything that had to do with the '80s. It's just who we were at that time. We were doing what we wanted to do. That had really nothing to do with anything around us, except for the simple fact that we were rebelling against that stuff.
I've always been into dressing nicely. My dad's really into fashion, also. We'll always go out and buy stuff. He has his own style and I have my own style, but it's a shared thing. Same thing with my grandfather; he was really into his style, so it's just sort of been passed down, I think.
I'm a pretty strange guy, so it takes a pretty strange thing to make me think that somebody else is strange. I'm really looking forward to something strange happening to me, but it hasn't really happened yet. The strangest thing someone ever told me was that they were watching our show, and they said they should have worn diapers.
The funny thing is, nationalism only could have come about in Europe after the invention of printing. You could have this thing that was a book in a vernacular language, and you could imagine there were other readers of this book who you couldn't see, but they were a theoretical union of readers who all use the same language. That is kind of a prerequisite for a national fantasy. You need that thing, and it's a strange thing.
On of the reasons that I wanted to study literature was because it exposed everything. Writers looked for secrets that had never been mined. Every writer has to invent their own magical language, in order to describe the indescribable. They might seem to be writing in French, English, or Spanish, but really they were writing in the language of butterflies, crows, and hanged men.
It took a pretty drastic moment to shift my thinking towards visual arts. I got to a moment in my writing career when I wasn't trusting the language, I was really not trusting the written language, the English language. How do you work with a material that you don't have trust in? I had to step away from it and find another way of articulating and I had to do it without words.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
It's weird, I was such a survivor and so wanted to be a part of life while I was trying to snuff out the life that was inside of me. I had this duality of trying to kill myself with drugs, then eating really good food and exercising and going swimming and trying to be a part of life. I was always going back and forth on some level.
You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.
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