A Quote by Margaret Fuller
Very early, I knew that the only object in life was to grow.
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Back in the early 1960s, when I was eight or nine. Some neighborhood boys and I saw a disc-shaped, windowless object that hovered, silent, then simply vanished. My parents said, "That's very nice" and ignored it, but I knew what I'd seen, and it was life-changing.
I do remember how it was to be poor. I do remember that in my early years, we had to grow and raise all of our food, even our animals. And I remember in my early life, we didn't even have electricity. So it was very, very hard times then.
The man who succeeds above his fellows is the one who early in life clearly discerns his object, and towards that object habitually directs his powers.
I knew very early that somehow I would sing and draw and paint my whole life.
I knew from an early age that people didn't see the different sides of me. I formulated a kind of bi-cultural identity quite early, and I was always very comfortable with it, but I knew people didn't quite see that.
As we grow older, the memories of early life brighten, those of maturity and senescence grow dim and confused.
Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).
The early years of my life were very, very traumatic. It was scary, because any child knew that death was sort of lurking around Europe as far as Jews were concerned.
I knew from a very early age, that what I saw on tv had nothing to do with real life. So I wanted to make a record of real life. That included having a camera with me at all times.
This idea of the world expecting you to remain an ingenue forever - it's a very short shelf life if you're going to commit to that as your career, and I knew that early.
Even from a very early age, I knew I didn't want to miss out on anything life had to offer just because it might be considered dangerous.
Sometimes, she thought, life makes you grow up early. And some people never grow up at all.
Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
A life cycle can be imposed on an object. An object can be very energetic and active, and then it has a dying phase and a phase of decomposition.
The idea that boxing lends itself to cinema so well is because it's usually a morality play - good against evil, insecurity and triumph, fear strikes out, so the audience can really get drawn into the drama of it. Also, it was sensual and very primal. I think subliminaly we do two things - life is a fight, life is a struggle and we understand that from our early, early, early ancestors, and life is a race.
We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.
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