A Quote by Marina Abramovic
Most artists create foundations where they put their own work. Here I'm not putting my own work. I'm just creating the chambers.
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I have some scripts, I'm putting a couple of projects together with people I want to work with. I think that's the most exciting part, when you can hopefully create your own content and find the people that you love that you get to work with.
I feel that every professional is the art school for the next guy. I feel that maybe a lot of the dynamism in my own work, having been felt by the rest of the artists, they'll react to it and put elements of that in their own work, feeling that it'll help it.
Trying to make your own sound is hard. When I was producing for other artists, I could just produce and write songs as a normal songwriter, and almost make them generic. The artists themselves, whoever is singing that song, can put their own twist on it. When it came to my own material, I had to really dig deep, because I was just writing generic stuff. It sounded like everybody else, like Justin Timberlake, like Usher. I never wanted to sound like someone, that's when you know it's not going to work.
Working on camera is a different ballgame in the sense that it's far more intimate work, but the basics and the foundations of being able to create something that isn't necessarily your own instincts - is a character that you have inside your head - whether you're talking about television or film or theater, that still has to be the grounding work.
Most artists are brought to their vocation when their own nascent gifts are awakened by the work of a master. That is to say, most artists are converted to art by art itself. Finding one's voice isn't just an emptying and purifying oneself of the words of others but an adopting and embracing of filiations, communities, and discourses. Inspiration could be called inhaling the memory of an act never experienced. Invention, it must be humbly admitted, does not consist in creating out of void but out of chaos. Any artist knows these truths, no matter how deeply he or she submerges that knowing.
Most solo artists go out on their own and put their name on the record. I prefer to create little alternative universes.
The whole point was just to be yourself, no matter what that was. You didn't have to fit into a certain punk-rock cliché. Create whatever your compelled to create. People were putting out their own records, and it just seemed natural to put out my own magazine. When I was really young, I started making magazines and little books, just folded-over pieces of typing paper, so when I discovered punk rock, it really blew my mind. I played in bands and stuff, but making my own zines seemed like an inherent part of that scene.
I always wanted to create this community that would come and tell their own story, shoot it - and watch them. The idea is to not have one entity who creates the work, the project, and another entity who consumes it; the idea is people create their own work, like somebody cultivating his garden.
Norman Rockwell spent his career painting pictures that helped people understand their own feelings...pictures that enriched their own experiences and celebrated their own lives. But the art establishment branded him an 'illustrator', a sentimental one at that. Real artists, they said were doing art for art's sake, not for the sake of the bourgeois public. Real artists were putting swiggles, smears or daubs of paint on the canvas. They were doing 'innovative' and 'creative' work. If they were hideous and grotesque; we know that's what life really is!
I'm just in the business of creating; creating new work inspires you to create new work. It's kind of funny.
When I work on my own stuff - and I think this is true for anybody - but when you work on something that you just completely own, you are trying to stay as true to your own storytelling voice as you can.
American television constantly tries to co-op British comedy and create their own version of it. Most of the time it doesn't work; obviously, in the case of 'The Office,' it did. But a lot of times, it doesn't really work.
The translator ... Peculiar outcast, ghost in the world of literature, recreating in another form something already created, creating and not creating, writing words that are his own and not his own, writing a work not original to him, composing with utmost pains and without recognition of his pains or the fact that the composition really is his own.
In this day and age, when there are so many people creating work online and writing their own shows, I wouldn't tell another actor, 'If you can do anything else go do that.' I would tell them to figure out the story they want to tell, to figure out what artists inspire you and why, and then figure out a way you can create that for yourself.
I think we're in a time and place, the last 20 plus years, and certainly now, it's only more so, where it's just about us creating a body of work. Creating hopefully our own scene.
In England, there's a lot of people producing their own work and becoming producers and filmmakers, so they're not constantly waiting around. It can be very scarce for work, so it's important to create the work.
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