A Quote by Julian Schnabel
If I hung one of my paintings next to someone else's, I knew mine would kind of pop off the wall.
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I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
One morning, in cool blood, I slipped a noose about its neck and hung it to the limb of a tree; — hung it with the tears streaming from my eyes, and with the bitterest remorse at my heart; — hung it because I knew that it had loved me, and because I felt it had given me no reason of offence; — hung it because I knew that in so doing I was committing a sin — a deadly sin that would so jeopardize my immortal soul as to place it — if such a thing were possible — even beyond the reach of the infinite mercy of the Most Merciful and Most Terrible God.
I love bouncing my words off of someone else's, and the fact that writing a story with someone else guarantees you'll get something you never, ever would have written on your own.
I'm open to anything. I would love to play someone completely off the wall.
A man or a woman is said to be absorbed when the water has total control of him, and he no control of the water. A swimmer moves around willfully. An absorbed being has no will but the water's going. Any word or act is not really personal, but the way the water has of speaking or doing. As when you hear a voice coming out of a wall, and you know that it's not the wall talking, but someone inside, or perhaps someone outside echoing off the wall. Saints are like that. They've achieved the condition of a wall, or a door.
If I had taken a proprietary control of the Web, then it would never have taken off. People only committed their time to it because they knew it was open, shared: that they could help decide what would happen to it next.. and I wouldn't be raking off 10%!
There is something to the fact that when you're on stage or when you're playing someone else, you're able to transmute all the things inside you that maybe get a bit blocked by the wall of shyness, or the wall of anxiety, or [by] overthinking. They sort of fall away in that moment and channeled into something else.
My music is so mine, it's hard to turn it over to someone else. I have to be really involved in the production. It's like someone else taking care of your kids - if they don't treat them well, you're going to be pissed off. I'm actually co-producing [Backwoods] with my guitar player of 20 years, Kent Wells. We make a good combination... I think we're going to have a real good record.
What counts is art. painting, a kind of painting that is quite different from what everyone makes it out to be. But what kind? Will God or someone else give me the strength to breathe the breath of prayer and mourning into my paintings, the breath of prayer for redemption and resurrection?
His gaze burned into mine, like he could see past my eyes into parts of me no one had ever seen, and I knew I was seeing the same in him. No one else had ever seen him so vulnerable before, like if I pushed him away, he might crumble into pieces that could never be put together again. Yet there was strength, too. He was strong beneath that fragile need, and I knew that I could never fall with him next to me. If I tripped, he would catch me. If I lost my balance, he would find it.
A role is a role where I play someone else, but when it comes to paintings, it is me. It is unadulterated Shefali and there is no control and I can let go. I am unabashedly unapologetic about it. That is what is interesting about my paintings.
I would watch Gonzalez play and he mesmerized you. It would be like looking into the flame of a fire. You know you couldn't take your eyes off him because you never knew what he would do next.
When someone has to do work for me, I lose my mind. I can't help it, I'm a bit of a control freak. I've always wanted something that would depict slow-moving paintings, stunning artwork that also incorporates movement. It was hard letting someone else create that vision for me, but I love it.
I just always liked the company. The people who hung around her were amazing storytellers, whether it was actors or crew. They were just exciting people. And I knew that they were different when I would go see a friend or stay at someone else's house. It just wasn't as cool. So I always loved the theater, and that's where I started: at a theater up in Canada.
Audrey was the kind of person who when she saw someone else suffering tried to take their pain on herself. She was a healer. She knew how to love. You didn't have to be in constant contact with her to feel you had a friend. We always picked up right where we left off.
Herman slipped his hand into mine, and I thought, An average of seventy-four species become extinct every day, which was one good reason but not the only one to hold someone's hand, and the next thing that happened was we kissed each other, and I found I knew how, and I felt happy and sad in equal parts, because I knew that I was falling in love, but it wasn't with him.
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