A Quote by Lars von Trier
You could say that when you introduce humour to your work, you also step back a little from it. You create a distance.
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You could say that when you introduce humour to your work, you also step back a little from it. You create a distance
When you work with a major label they create their own message for you and a lot of the time that works great, or at least it did back in the 90's but now it doesn't work, so I think as an artist if you learn your own business, like anybody would when they want to start a little restaurant - they'd figure it out and then build it and they work hard - then it could be your own little business that you grew to as big as you want it to be but you had much more control with how to communicate it and how it's cared for.
I worked next to an elephant. And considering that she could step on your toes, it's a good idea to keep a certain distance. It's also a good idea to befriend the trainer.
If you are writing something, you automatically create a certain distance. It can be very little. Even within the same city you imaginatively have a certain distance from your subject, and at the same time, you have to have a connection.
My humour and my work ethic definitely come from my Scottish side, and I have to say the sense of humour doesn't really translate when I'm in America.
All I had done for five years was work 18 hours a day all over the world. I needed to step back and distance myself from it.
I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.
They say when you really love someone, you should be willing to set them free. So that is what I am doing. I will step back and you will move on. I will let you go. ... Your happiness means everything to me. I will listen for your voice in the distance. I will look at the moon. I will keep you in my pocket. I will carry your smile with me everywhere, like a warm and comforting glow.
My best advice for mental training is simply to create good habits, in order to build a sense of security and calm around you. Also, you could try to distance yourself emotionally from the whole situation. In my case, I just look at it objectively: We are two guys going inside a cage to work. That's it. Try to de-escalate the pressure. Take a couple of deep breaths. Don't hype things up. And stay positive, even if you're fighting for your life.
Every now and then go away, have a little relaxation, for when you come back to your work your judgment will be surer. Go some distance away because then the work appears smaller and more of it can be taken in at a glance and a lack of harmony and proportion is more readily seen.
This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion
When everything is added up, the frequent blows weighted against the sporadic triumphs, this is I have to say not just a vocation, it's a great gift. But you also know this, for your work, for your passion, every day is a rededication. Painters, dancers, actors, writers, filmmakers. It's the same for all of you, all of us. Every step is a first step. Every brush stroke is a test. Every scene is a lesson. Every shot is a school. So, let the learning continue.
But back to your question, it was a wonderful experience with the Art Ensemble, and I keep in contact and sort of follow what's going on, but it was also very important to make this step, you may say this leap of faith.
I realized [using my own voice] is what creates the performance in the performance art and that's what helps creates the distance for the viewers, like the distance that I get when I step back.
Sometimes when you're looking at your own work, you can't really see, and it's only when you step back a little bit later that you think, 'Oh, that's completely in line with everything else I've done.'
Sometimes when you're looking at your own work, you can't really see, and it's only when you step back a little bit later that you think, "Oh, that's completely in line with everything else I've done".
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