A Quote by Marilyn Nelson
Back when I was in college, people used to talk about the alienation of the artist, not ever quite fitting in any place.
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People talk about alienation in the city. Diners are a place where you feel comfortable, an extension of your house.
Remember, I'm the guy who didn't want the referendum - I wouldn't have had it if I'd been prime minister. But you have to respect how people voted because this was partly about political alienation, so if the response to political alienation is to ignore it, that's a recipe for more political alienation.
I don't think I've ever made any conscious decision to be a comic artist, but to me there's something quite anarchic about comedy.
I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.
Whatever happened to books? Suddenly everybody's talking about these 100-hour movies called 'Breaking Bad'. People are talking about TV the same way they used to talk about novels back in the 1980s. I like to think I hang out with some pretty smart people, but all they talk about is 'Breaking Bad.'
It's not about being upset about the things you might have said or done yesterday, which is quite appropriate at the moment. It's about looking forward rather than looking back. I hate people who look back on the past or talk about what might have been.
A lot of talent, a lot of the currency that movies used to have, has spilled over into TV. People talk about TV the way they used to talk about movies and, as much as I hate to say it, the way they used to talk about books.
I used to get recognized quite often as being a 'Soul Train' dancer. Quite often, which was great at times but sometimes was not so great. Especially, back at college, it was not so great. It was pretty tough.
The Giant Swing is a throwback. I used it prior to WWE quite a bit. One of the days, I thought about bringing it back. It connected with the crowd. I've been doing it ever since.
I pray not to be such a whiny, self-obsessed baby, and give thanks that I am not quite as bad as I used to be (talk about miracles). Then something comes up, and I overreact and blame and sulk, and it feels like I haven't made any progress at all. But it turns out I'm less of a brat than before, and I hit the reset button much sooner, shake it off, and get my sense if humor back.
After having the sex change, it was about getting married and fitting in and blending into society, so to speak. When I had jobs, people would say, 'Don't talk about that.' It really made people uncomfortable.
Fitting people with books is about as difficult as fitting them with shoes.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
I never think in terms of alienation; it's the others who do. Alienation means one thing to Hegel, another to Marx and yet another to Freud; so it is not possible to give a single definition, one that will exhaust the subject. It is a question bordering on philosophy, and I'm not a philosopher nor a sociologist. My business is to tell stories, to narrate with images - nothing else. If I do make films about alienation - to use that word that is so ambiguous - they are about characters, not about me.
I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.
I think any information about any type of art form, it's always the right time. But since the last one, I could see there were many things about the culture of DJing that we don't really talk about. We don't really look at how the music is made, how it's conceptualized, how it's put together. We talk about the equipment and the software, but we don't talk about the reasons why we put the music together in the first place.
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