A Quote by Leonardo DiCaprio
When I was 14, I was on the cover of 'Bop' and 'Tiger Beat.' Every two months, I would see a new kid's face, and I remember saying, 'This is not something that lasts very long.'
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I've never been on the cover of 'Tiger Beat' magazine, let's put it that way. But that's not why you go see Primus. You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is.
I read 'Tiger Beat' and 'Bop' from the time I was 9, 10, 11 years old. I loved movies. I saw 'E.T.' seven times. I used to yell at people who called me when 'L.A. Law' was on because they should know better. So I just have been so in love with the business of Hollywood since I can remember.
I have to remember for every kid saying something awful, there's a kid saying something great.
All I want to say to people, man, is, "Yo, you see me walking down the street and I got a little bop in my walk, don't think because I've got a bop in my walk I'm trying to be all that. The bop in my walk is because I'm just like you, man. I bop when I walk." Know what I'm saying? I'm proud. If you see me smiling, standing straight up, gold around my neck, it's not because I'm conceited. It's because I'm proud of what I achieved. I made this. I worked hard for this. That's all this is about.
This book will take you two days to read. Did you even see the cover? It’s mostly pink. If you’re reading this book every night for months, something is not right.
I was 14 in Barcelona, and when I initially went there, I didn't see my mum for six months and my dad for four months. Australia is far from Spain, but I don't remember how long or how short the days felt. I think what was most difficult for my parents was that if anything went wrong, they couldn't say, 'OK, we'll be there in a couple of hours.'
Usually, you can live very well for two, three months, then you're in trouble. Every coach, I think, is like this. For two months, you're happy because you have time, and after two months, you miss adrenaline.
It's just music. It's trying to play clean and looking for the pretty notes. The beat in a bop band is with the music, against it, behind it. It pushes it. It helps it. Help is the big thing. It has no continuity of beat, no steady chug-chug. Jazz has, and that's why bop is more flexible.
When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.
I first went to 'Rocky Horror' when I was 14, and nothing was the same after that. For about two months afterwards, I would watch that movie in my bed every night.
I love archival films very much. I spent thousands of hours watching archive footage. Every time I see it, I see something. Sometimes I think I know this footage, but two years later, I see it again, and I see something new.
This can't last. This misery can't last. I must remember that and try to control myself. Nothing lasts really. Neither happiness nor despair. Not even life lasts very long.
As a kid, I was a dancer in Dick Whittington, Snow White and Cinderella. When I was 14, I played Baby Bear. I had a big head on, and you couldn't see my face. My mum was very disappointed.
Every time I'm in the studio, I always think of my professor in undergrad. He was like, "There are so many artists in the world. If you're going to be an artist, make sure you have something to say. Don't just be an artist and put out bullshit. Have something to say." I guess that would be my philosophy and something I think about all the time. Every day when I'm in the studio I hear him and I see him. I remember him saying it in class. So that's something that I always want to make sure I have: I'm saying something with the work.
I don't have any great love for Chicago. What the hell, a childhood around Douglas Park isn't very memorable. I remember the street fights and how you were afraid to cross the bridge 'cause the Irish kid on the other side would beat your head in. I left Chicago a long time ago.
Sometimes you spend nine months, 10 months, a year writing a piece that you will hear two years later or something like that, and you never see anybody. It's a very different sort of metabolic.
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