A Quote by Phillip Lim
I always try to appreciate the most fleeting moments. The idea of the acrobats constantly tumbling and trying to adjust - I think that is what we do with aesthetics. It is a cyclical rhythm
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Like everybody else, I've got dark and light, trying to hold onto the civilized part and use it successfully. I'm sure that includes competition, but not in a way that I can recognize. Most of the games I like have more to do with the process of the game or the aesthetics. Racing's really about the aesthetics for me, not particularly the idea of coming in first - though I certainly appreciate a champion, and I like watching people do something really well.
We're not always in the position that we want to be at. We're constantly growing, we're constantly making mistakes, we're constantly trying to express ourselves and trying to actualize our dreams.
This idea of perpetual happiness is crazy and overrated, because those dark moments fuel you for the next bright moments; each one helps you appreciate the other.
I think, the more of a student I am, the better it will be for my work because it means once you have too many accolades you don't try harder. I would never allow myself to think that I don't have to try harder. I like the idea of always learning, always trying to do better. The word "master" sits uneasy on my terms.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
In the beginning, I had to trust that these acrobats were great at what they did and that they wouldn't come crashing down on my head. But our company is the best of the best; they can do everything. That's been the most exciting part of the show-incorporating the magic and the acrobats and the singing and dancing to make our Pippin.
When we say we have patterns, there is a cyclical movement to everything. Our psychological and emotional processes also have become cyclical largely because of a very strong attachment and involvement with physical process, and physical process has to be cyclical; only then we exist. Without out cyclical movement there'll be no physical existence.
Honestly, when you're writing you try to stay on the story, on the character's mind, trying to throw stuff at them. There is danger, and the scares have to kick in the right places with the drama. And you try not to do too much to try to create those moments. Those moments create themselves.
I describe it ( the new aesthetics) 'radically': I say aesthetics = human being. That is a radical formula. I set the idea of aesthetics directly in the context of human existence, and then I have the whole problem in the hand, them I have not a special problem, I have a "holography" (reacting on a former suggestion of the public as a slight joke, fh) I don't know exactly what a holography is.. (1973
As much as I try to be present, it just doesn't really feel like reality. It feels like a fleeting thing. There's a million other incredibly wonderful girls that are much more talented than me that are out there all the time. So I'm just trying to appreciate it for what it is. But I don't want it to take on that feeling of pressure, because I don't know where that's gonna get me.
What is the use of aesthetics if they can neither teach how to produce beauty nor how to appreciate it in good taste? It exists because it behooves rational human beings to provide reasons for their actions and assessments. Even if aesthetics are not the mathematics of beauty, they are the proof of the calculation.
I think I'm constantly trying to grow as a pitcher. You start going out there, you're learning stuff, you're finding different ways to try to get guys out. Trying to be creative.
I always thought if I could just put something in words perfectly enough, people would get the idea, and it would change things. That's a harmless conceit. With people, too, you constantly think, 'If I'm nice to people and treat them well, they'll appreciate it and behave better.' They won't, but it's still not a bad way to live.
I always knew I wanted to do a Western. And trying to think of what that would be, I always figured that if I did a Western, it would have a lot of the aesthetics of Spaghetti Westerns, because I really like them.
I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend's young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
I don't know much about the music business, but for just general advice for someone trying to create things, as simple as this sounds, I think the best thing you can do is constantly try to improve upon your work. Always focus on that first and foremost, and leave everything else (marketing, image) completely secondary. Obviously, easier said than done when you're trying to make a living, but if you can move along those lines and earnestly try to make things that you really enjoy it can only benefit you in the long run.
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