A Quote by Julie Dillon
The main difference between commissioned work and work I do for myself is that if I'm doing for myself, I don't have to worry about sticking to an art description or working for a specific audience or project.
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I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.
Everything comes with hard work. You never get to stop working. I don't see myself ever getting comfortable enough to not have to worry about working.
The concept of who your audience is becomes more important than your site. Sometimes you can be commissioned to do a piece in Strasburg, and it works. Sometimes you're commissioned to do a piece somewhere else and it doesn't work, but then it moves to another city, the people embrace it, and becomes part of them. You just misjudged the needs of the people. Art is about giving people material and things to work with to fulfill whatever needs they have.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
I want to work for myself, and I do work for myself. I make plenty of money working for myself.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
I've always been scared of becoming something. I fear the fact of jailing myself in any circle or group of people or specific work or specific style of music. I guess it is because I don't want to close myself to other possibilities. But it is also because I witnessed people growing and starting to speak only to those who are similar to them. This makes me run away, people who don't experience difference anymore.
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.
I feel like, with myself, I ruined myself to the point where I wasn't functional enough to work for anybody, even myself. I wasn't working.
If you ask me about my success story, the secret is I know when to pull myself back. I don't overexpose myself; I give proper gaps whenever I can. I do not over spend myself, I keep myself busy in lot of activities. I really work hard; I work harder than others, by focussing on my fitness level and studying music.
I'm on a single track here - I work to direct what I want to see onstage. I basically have been feeding my own needs - to be working on a specific project at a specific time, and fortunately more often it works than fails.
The REAL American Dream is not about a garage full of new cars, winning the lottery, or retiring to a life of ease in Florida. It's about doing work that has meaning, work that makes a difference, and doing that work with people you care about.
I sense a real difference in my work from the time I was younger and single and more involved in the world of music and going out to bars and all that. There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.
I have always thought it was important to maintain some connection for myself to what it takes to make a song work by myself, to put a song across to an audience by myself.
I'm going from doing all of the work to having to delegate the work - which is almost harder for me than doing the work myself. I'm a lousy delegator, but I'm learning.
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