A Quote by Paul Laffoley
Look at all the stuff the Existentialists did. You can start with [Pablo] Picasso, you know, and then Francis Bacon and other guys like that. What they were doing is depicting suffering. And that's exactly what a demon is, he's pretending that he isn't. So he can get more people down there. You know, misery loves company, that's the whole thing. So that's basically the pitch that I'm working on.
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I will never get tired of looking at works by Pablo Picasso. I will never get tired of looking at work by Francis Bacon or Henry Moore or Francisco Goya. You cannot tire of the work these people have made because you can look it over and over again - the same thing - and always see something different.
The whole "misery loves company" thing never applies more than when you're breaking up. The thought that the other person is doing fine is simply too much to bear.
I went to London to do the stuff. I was like "What am I going to do? What's going to happen?" But then once you start working, you forget all that and you start enjoying what you're doing. Once you enjoy the process, you know that people are going to do the same thing. If you don't enjoy it and just do it like a job, then it's going to be feel that way. That's my theory of doing a movie.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.
I think what Pope Francis is saying is that nobody's perfect, you know? And so someone like Joe Biden, you know, where - you know, when he was running for president, people were - there were some bishops that were like don't let him have the Eucharist. And Pope Francis is saying that's not the point of this.
I've worked in an office. People are sitting down doing their stuff, or pretending to do their stuff, and they're bored. I've heard a car tire screech and 30 people went to the window. That was a piece of excitement in their day, that a car might have had to stop quickly, you know. You don't need dinosaurs, you know.
My major regret in life is not going to university, though not for the qualification I would have gained. People I know who went there have a working method where they sit down and get something done; they know how to start and get on with things. I will do anything to avoid getting on with stuff.
A writer has to take all the risks of putting down what he sees. No one can tell him about that. No one can control that reality. It reminds me of something Pablo Picasso was supposed to have said to Gertrude Stein while he was painting her portrait. Gertrude said, “I don’t look like that.” And Picasso replied, “You will.” And he was right.
Throughout my life, there are four people I've met who were truly original people. The other three were Groucho Marx, Jim Morrison and Pablo Picasso.
Throughout my life, there are four people I've met who were truly original people. The other three were Groucho Marx, Jim Morrison, and Pablo Picasso.
Forget being the best of anything. That's the fruit of the action, and you do the work -they say- for the doing, not the fruit. You can never really know how it's gonna turn out in the world but you know if you enjoy doing it. And ideas start flowing and you start getting, you know, excited about stuff. Then you're having a great time in the doing and that's what it's all about. If you don't enjoy the doing, then do something else.
I'm all about doing things myself because I find it hard to trust other people. Not trust, but I know exactly what I want to do, and I know exactly how it's supposed to look.
Generally, I like people's trunk projects, the things they were working on before anyone knew who they were. I think when people run out of their trunk items and they start doing stuff just to do a film next year, the quality goes down, the interest goes down. Maybe it feels commercial or something.
By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
We used to rehearse and that's where the roots of Dream Theater formed. Y'know, we used to play cover songs and jam to [Iron] Maiden and stuff but we were writing songs and it was this metal, loud style and we'd constantly get knocks on our door, because the rehearsal rooms were right next door to each other, and these jazz guys would be like, "Can you guys turn it down a little?"
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