A Quote by Julie Mehretu
I don't ever work in a way where something is an illustration of an event, but when something is occurring at the same time I see it as very informed by that.
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Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time.
At the very beginning, it's a desire and that's not the same thing at all, because when you have the desire to do something, all the work you can do is a positive thing. It's not something that you calculate. An idea is something you work on to make it work and a desire is much deeper in a way. The immersion, it's classical, I watched a lot of movies.
I often say time is malleable, but the reception of an artwork is malleable too. When the culture changes, the view and the way you see that work, your perspective, changes. It's something that you can't control. It's sort of daunting and intimidating, but at the same time very fascinating, extremely fascinating.
We all live in the same house, we all must be part of the effort to hold down our little house. When you see something that is not right, not fair, not just... do something about it. Say something. Have the courage. Have the backbone. Get in the way. Walk with the wind. It's all going to work out.
I realized a very long time ago, that I was never going to be the guy who, 'Oh, you look so big, let's push him in the main event and see,' or, 'Oh, this guy's got the best physique ever, let's put him in the main event and see.' It was always going to be the hard way.
There's something about my films; they're informed by my sensibility. I have the same preoccupations, the same interests... there's just something in the nuance, and so you always know it's a film of mine whether I sign my name to it or not.
You see something for the first time, you experience something for the first time, you feel something for the first time, it's much harder. I think that it's painful, but at the same time I think it should be the way to experience the world.
When something goes wrong in our lives we often ask ourselves "Who was present?" and if there was ever a singular person that was present in whatever the event was when something changed our lives. If we can't get beyond that event, we become obsessed with it or it changed our life in a way that we can't make sense of. We often seek out that person because that was the last time our lives made sense.
I think it's something that really speaks in your head - a very strong melody. But at the same time, if the song doesn't have some kind of edge to it, if there isn't something a little off about it or something very intense or loud or abrasive in some way, it just comes off as a stupid pop song.
I'm very practical as a person as well, and I think that's where I get confidence from. As impulsive and spontaneous as I am, I'm still very practical. I always have been. I work out my pros and cons, and then I make an informed decision on whether I should do something or not. I really believe if you're going to do something, you have to do it 100 percent; otherwise it's better not to do it.
No one in my family or my circle of friends had ever had to confront something like this. Jamie was seventeen, a child on the verge of womanhood, dying and still very much alive at the same time. I was afraid, more afraid than I'd ever been, not only for her, but for me as well. I lived in fear of doing something wrong, of doing something that would offend her. Was it okay to ever get angry in her presence? Was it okay to talk about the future anymore?
When something is discovered by people in movie theaters, it's discovered by people who are all together, and there's a sort of feeling of an event about it. And when it's on video, it's like something is being discovered in the library or something. It's like having a second life in public libraries. It's just like individuals, and it's less of a... We can't participate in it the same way.
If I see something in somebody, if it's something similar in my shot, I feel like it's the same type of thing in life. People who tell you what to do all the time or have all the answers for you, it's like, 'OK, whatever.' But if you've gone through something in life, you can speak to something a little more.
I try to present something that is full of time. Not timeless, but full of time. I never like a work where we try to update it, but it's still not interesting to see a work that is dated. If one is successful, then a work can be full of time. And time is very complex.
Mindfulness is the direct application of Buddhist teachings to a physical event, a way of doing or accomplishing something, or a way of thinking and viewing something.
I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.
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