A Quote by Peter Hook
I am always working on new material with my production partner Phil Murphy in our guise as Man Ray; we do a lot of soundtrack work & some great collaborations.
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In 1978 I decided not to work with Man Ray as an act of self-discipline. I didn't want to rely on him. Man Ray hated not working, though. He would come into my studio, see me drawing or working on photographs, and just slump down at my feet with a big sigh. Fortunately for both of us the year ended. Polaroid had invented a new camera, the twenty-by-twenty-four, and I was invited to Cambridge, Mass., to experiment with it. Naturally, I took Man Ray and we were working again.
You can't be a great mum and work the whole time necessarily; those two things aren't ideal. We have an awful lot to work on and to debate about in relation to our working lives, because it isn't working for a lot of people, particularly for a lot of women.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
I go on at least 2-3 auditions a week in the pursuit of more work. So I'm constantly working on material and constantly honing and trying to perfect a craft that is never perfectible - it's always new, and it's always different. It's always a work in progress.
Working with the Kinks, there always seemed to be some kind of automatic process at work. Ray and I had this telepathy happening for a long time, where one of us always knew what the other could do with something.
I have the soundtrack for 'A Clockwork Orange,' which is kind of cool. I guess I don't really end up buying a lot of modern soundtracks. Another soundtrack I love is from a French movie called 'Betty Blue.' it has some really melancholy piano work.
I am working on current material, a new album, and that is all still my main motivation of going out and working. We haven't gotten rid of all the new stuff in favor of the old.
My work participates in that really quick and easy and inexpensive material that's part of our culture. In that way, my work engages the means of production that we live with, even while it's classical and embodies some things from a very long time ago.
I like auditioning. I like working on material. I just love working. I like the chance to work on material. Sometimes it helps to not be going into a room cold and to know people. I've spent a lot of years getting to know people in the business, and that really helps. It depends. You can have some pretty terrible auditions.
I would like to see myself with some successful albums, and I'd love to be working with new artists as well as continuing to release my own material. I'd also like to be settled in a lovely place with a lovely partner and gorgeous mini ginger Jess!
As much as I have done collaborations over the years, I am actually kind of a reluctant partner.
I was and still am a massive fan of [Murphy] Cillian's work - always have been. Obviously he's a great deal older than me, so I've sort of grew up watching Cillian's work. But I'm very much a fan.
I am notoriously hard on myself in terms of working on new material and while I am critical of my performance on the Led Zeppelin material, I am way more critical of my own stuff. I'm pretty hard on myself.
Of my three daughters and one daughter-in-law, they all work. They all work, some of them full-time, some of them part-time. But they're still there as moms. And when they come home and take over that responsibility, they need a shared partner, and that partner is that partner for life. And I'm talking about, of course, the father.
I always collect images, maybe because I was working with historic material - but even if I were working with contemporary material, I would do the same thing. I keep a kind of index of them while I'm working. I find them incredibly useful, not so much to illustrate a time, but to give some sense of the feeling of a time.
Puff always does great collaborations, it's just you need that flair to make it work.
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