A Quote by Lawrence Halprin
Then I sit down, work at it, because now I have a convincing feeling about what that place wants to be, you see? And it's not just me. Me and my talent comes in taking that consensus and then making something wonderful out of it - a work of art.
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I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.
Everyone is coming from a place of fear and my feeling is stop being so afraid. If something doesn't work then that's fine at least then you know it doesn't work. Don't worry so much about it not working, you can always fix that.
Every now and then you'll say something that didn't quite work. But the important thing is, as a comic, you try to learn why it didn't. And then you adjust and figure out how to either make it work or just abandon it because it's just not funny.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
Someday you'll find the place It's the place where love takes over hate Then you'll see all the things you do Affect everyone around you Then you'll see there's no fear at all You held my hand, we took down that wall As I looked at you with nothing to say Now I understand why you pushed me away I looked far and now I see That the only one I needed was me
As an academic I feel I should intellectualize and theoretically analyze when all I really want to do is let the work take me somewhere, manipulate me, and then rough me up a bit. When it comes right down to it, I only want to spend time with work that makes me think and teaches me something while making my body react.
There are two aspects to making movies: One is the feeling of wanting to push myself into stuff that I don't know how to do. Then there's the other impulse to try and earn a living. I want to be careful about not confusing those too much - not that those things can't have a healthy overlap. Plenty of people start out making work that isn't terribly commercial, and then make work that's more commercial but still good. You just want to watch out for that thing where you tell yourself that you're doing your best work when you're not.
If you labor heavily upon a work of art, then part of what you are saying is, 'This is a heavy work of art.' If you happen to be trying to say something about lightness, then the art should be light as well.
Characters simply come and find me. They sit down, I offer them a coffee. They tell me their story and then they almost always leave. When a character, after drinking some coffee and briefly telling her story, wants dinner and then a place to sleep and then breakfast and so on, for me the time has come to write the novel.
I'm sort of a pressure writer. If somebody says, "Stan, write something," and I have to have it by tomorrow morning, I'll just sit down and I'll write it. It always seems to come to me. But I'm better doing a rushed job because if it isn't something that's due quickly, I won't work on it until it becomes almost an emergency and then I'll do it.
I had no idea what effect something blockbustering would have. To me, it was just a job that I was trying to do the best I could. We had shot the first five shows before it went on the air. Then, it was this firecracker hit, and people were recognizing me, so it was just nuts. It was overwhelming, insane, wonderful and scary all at the same time. It's really peculiar that people see you on television and then think they have a personal relationship with you. So, they want to touch you, and grab you, and sit down and have lunch with you. It's strange, and you never get used to that.
The secret of making something work in your lives is first of all, the deep desire to make it work; then the faith and belief that it can work; then to hold that clear definite vision in your consciousness and see it working out step by step, without one thought of doubt or disbelief.
I get very surprised and shocked because there is so much prejudice against me as a celebrity, instead of them looking at the quality of my work. Just look at the work. Forget about who I am. But there is so much perception in the art business that blurs that insight. The work speaks, so just look and then judge from there.
Sometimes I go for days without speaking to a soul. I think, “I should make that call", but I put it off. Because there’s something pleasurable about not talking. But then I love talking, so it’s not that. But sometimes it can be nice. It’s not like I sit here philosophizing, because I’ve no talent for that. It’s just this thing about silence that’s so wonderful.
I wish I was back at WSFA making twelve dollars a week. At least then, if someone come to see me, I'd know they were coming to see me. Now I reckon they just want something from me.
My work is nice, natural, it's never "been there done that," my work remains very interesting without losing my soul - because it's really me, and I am always honest with myself. I don't care what's in or out, I just listen to myself. And it's very nice to able to work like that. At the beginning people might have wondered what I was doing, but now they know my line, my evolution, I'm respected for that and that's a wonderful feeling.
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