A Quote by Marty Stuart
If you look back into the Superlatives' body of work, we've always included instrumentals.
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Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.
If you take a look back at my body of work in the ring, I'm so happy that I had that NXT run... It sucks that my in-ring career came to an end, but I'm glad that I had that full-year body of work.
It's funny: when you make a film, you always look back, and there are always crucial decisions that get made. You look back, and at the time they don't seem like it, but you look back, and you see they were absolutely fundamental.
I think it's important for anyone who is artistic to look back on their body of work and be critical. Maybe the Beatles can look back and say everything was perfect, but we've come up with hundreds and hundreds of dishes, and anyone who is honest with themselves has to realize that every single one wasn't an absolute, unequivocal home run.
The producing side is always a hard thing for me. I look at Flying Lotus and see producers dropping instrumentals, and I think I should do it myself. I just try to be an artist for myself. That way, it's a lot easier.
You go back to look over the body of my work, and there are no archetypal villains in my books.
The bad news is, I have worked less than I have liked. The good news is, I can look back on my body of work and feel truly proud of the work I have done.
I know I dressed way too provocatively when I look back. I was in that weird phase of feeling suddenly like my body was a woman's body and not a kid's body.
I've always been interested in people that you wouldn't see otherwise. If you look back at my books, photographs, and films-and since I'm doing this retrospective I've been forced to look back-the work is always about a small group of people who are somewhat isolated, and who you would never see if I didn't film or photograph them.
Backbends are not poses meant for expressionism. Backbends are meant to understand the back parts of our bodies. The front body can be seen with the eyes, but the back body can only be felt. That's why I say these are the most advanced postures, where the mind begins to look at the back.
If you look at my body of work, there's always a dark side to my characters. They've always got a skeleton in the closet; they've always got a subtext.
Your body is just a vessel for who you are as a person. And until you work on what you give back to the world, it doesn't matter what you look like on the outside.
I don't think I ever expected anything like an Oscar ever, to tell you the truth. That is not my motivation when I do these roles. I really am motivated by being able to work with great people and create a body of work that I can look back and be proud of.
The body becomes the carrier for the work. It's not really about the physical body; it really becomes the apparatus that carries and moves the work. I don't really consider the body as much; I look at it as a tool.
My body back at the Playboy mansion was the most important thing in life back then because we were in the spotlight every minute. We had to look good. The girls who gained the weight, those were the girls who didn't get the work.
I find 12 P.M. as the best time to work out. During training, I do two body parts a day: chest-back, back-triceps or chest-biceps so that my body doesn't get used to a pattern.
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