A Quote by Marcel Duchamp
All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.
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My painting and writing has always been parallel. That's why probably where my colleagues have done 300 films, I have done only about a 100, out of which I'd say at least 30-35 films I am even proud of.
Because this exact leaf had to grow in that exact way, in that exact place, so that precise wind could tear it from that precise branch and make it fly into this exact face at that exact moment. And, if just one of those tiny little things had never had happened, I'd never have met ya. Which makes this leaf the most important leaf in human history
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
Basically, I’m not interested in doing research and I never have been... I’m interested in understanding, which is quite a different thing. And often to understand something you have to work it out yourself because no one else has done it.
Each time I undertake to reread Virginia Woolf, I am somewhat baffled by the signature breathlessness and relentlessly "poetic" tone, the shimmering impressionism, so very different from the vivid, precise, magisterial (and often very funny) prose of her contemporary James Joyce.
It is very hard to say the exact truth, even about your own immediate feelings – much harder than to say something fine about them which is not the exact truth.
I've always been interested in Vietnam, feel it's a seminal event in our nation's history, and have explored it over the years - but I hadn't been interested in doing a documentary about it. I felt there had been a lot done about Vietnam, and didn't know if I could add anything new to the discussion.
I've been interested in terrorism from the very beginning. My first novel is about that, too, and I think one reason I've been so interested in terrorism is because I have a deep interest - one of my deepest interests - in image culture and how it works. And terrorism is an epiphenomenon of image culture.
"Connected" is the triumphal cry these days. Connection has made people arrogant, impatient, hasty, and presumptuous... I don't doubt that instant communication has been good for business, even for the publishing business, but it has done nothing for literature, and might even have harmed it. In many ways connection has been disastrous. We have confused information (of which there is too much) with ideas (of which there are too few). I found out much more about the world and myself by being unconnected.
The triumph of science has been mainly due to its practical utility, and there has been an attempt to divorce this aspect from that of theory, thus making science more and more a technique, and less and less a doctrine as to the nature of the world. The penetration of this point of view to philosophers is very recent.
I wasn't interested in sport or anything obvious, so I didn't stand out. I was interested in music, but I couldn't read music, so I wasn't allowed to do the GCSE. I was interested in painting, but no one's interested in a 16-year-old boy who's interested in painting. I wanted to get out of school very, very quickly.
I've always been very interested in the visual aspect of what I do.
The life and soul of science is its practical application, and just as the great advances in mathematics have been made through the desire of discovering the solution of problems which were of a highly practical kind in mathematical science, so in physical science many of the greatest advances that have been made from the beginning of the world to the present time have been made in the earnest desire to turn the knowledge of the properties of matter to some purpose useful to mankind.
I'd always been interested in maritime history, especially the great liners. I'd have done a book about the Titanic if it hadn't already been done to death by James Cameron and Celine Dion.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
That's an aspect of this business which can be very frustrating and aggravating. Most of what is written about you is wrong and so much of what does get printed is often about personal things that you don't want to have other people read about.
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