A Quote by Philippe Perrin
Especially when I first really started to work with Kenneth and Franklin, who had been in space already. And so, they were able to talk about space and tell me a few things about how things would really happen.
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It's the balance I'm trying to find - not being disconnected but giving myself some space to be in my world. I feel like I'm surrounded by friends of mine who are very different from one another but all care about similar things. We talk about this a lot, and I think that's probably the main thing - being surrounded by good people is the best way to stay in a solid head space. You want to be able to talk about these things, and be able to think things through and feel things through. That's helpful for me.
I always wanted to have a young female artist that would tell me the truth about life and not only talk about the good things or the things that were exciting or interesting but also talk about the things that people in general are skeptical to talk about- the bad things that do happen. A good 50% of our lives is things that are happening that we're not necessarily super thrilled about and I feel like that's missing from pop music a lot of the time so my main goal is to be truthful about everything and not just specific things.
One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
When I was a kid, I was a bit of a space geek. I loved the space program and all things NASA. I would read books about our solar system; I had pictures of the Space Shuttle on my bedroom wall. And yes, I even went to Space Camp.
Just coming to terms with the fact that I got to play April Wheeler [Revolutionary Road] and Hanna Schmitz [The Reader] in one year, let alone in my lifetime. I'm very, very aware of how rare that is as an opportunity for any one person. I can't tell you how much I've been able to take away from these experiences creatively. I really, really learned so much about acting, about myself... all of those things. It's difficult to talk about the actor's process without sounding like an arrogant asshole but they really were very challenging.
I've been going through a lot of... stuff. I need some space, which people were very kind enough to give me, and I feel really gracious about that. Nobody forces me to do things or say things or do interviews.
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.
The bandstand is an incredible space. It is really a sacred space. One of the things that is really sacred about it is that you have no opportunity to think about the future, or the past.
Two years ago, China tested an anti-satellite weapon that actually caused quite a bit of controversy and one of the controversies is that by blowing up a satellite, you are creating more space debris which is a hazard to satellites and spacecraft in lower Earth orbit and if they had been a partner, you'd have to do an experiment, and if they had been a partner in the international space station, would they have really done that test? They would have really thought twice about creating that tension between the countries and potentially endangering a project that they were a part of.
I had this thing where I only wanted to work on original material, no adaptations, and obviously, that changed. I really wanted to have the resources and have the space and the time to tell stories that I've really cared about. I've kind of changed my approach, but I've gotten to do that, to tell stories that I really care about.
Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
In a way, it [my style] is an homage. But I didn't really know about it at first. But then when I started living in Berlin in the early '90s, I started getting ID and Dazed and Confused. I was shocked how close things were to my work.
One of the coolest things to me about living in space was it really caused me to think about how the human body and mind can adapt to completely different environments.
When I started working at NASA and understanding what the capabilities really were of the space station and the space program, one of the biggest draws for me was the ability to do experiments in space. We can do a number of experiments where gravity is actually a variable.
Why is there space rather than no space? Why is space three-dimensional? Why is space big? We have a lot of room to move around in. How come it's not tiny? We have no consensus about these things. We're still exploring them.
I've had a lot of girls reach out to me about struggling with body image. I've only been able to write back to a few of them, but I've been able to write and have correspondence with a few of them and really talk about what I think they should do or if I think they should ask for help.
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