A Quote by Phillipa Soo

There is a certain vulnerability to creating art and putting it out in the world for the first time, but again, there's a kind of thrill to that as well. — © Phillipa Soo
There is a certain vulnerability to creating art and putting it out in the world for the first time, but again, there's a kind of thrill to that as well.
Drawing creates its own kind of private space. Coupled with certain interests that I want to speak to in my art, it's really kind of a safe haven for me. Creating art is not only a comfort zone, but also a way of speaking to my passions.
In comic books, every character exists in this comic book world, and the wrestlers were the same thing. They were responsible for creating that world and putting it out there - having the confidence to go forward and do that and behave in a certain way.
I have managed not to finish certain books. With barely a twinge of conscience, I hurl down what bores me or doesn't give what I crave: ecstasy, transcendence, a thrill of mysterious connection. For, more than anything else, readers are thrill-seekers, though I don't read thrillers, not the kind sold under that label, anyway. They don't thrill; only language thrills.
I don't like that we repeat a certain expression over and over again because I think it narrows the way that we look on the world. I also think that there is a certain responsibility if you work with moving images because it's so strong in creating behaviour; it's so strong in creating the way that we look on the world, so for me it's very important that I create images that I have an experience of or is something that I think exists in the world and not just in cinema.
When I'm in the middle of a book it can go up from there. When you're putting in those hours, the real world kind of fades and the world you're creating becomes almost more real to you than the outside world.
Modern art is childish - not childlike, remember, childish; not innocent but stupid, insane, pathological. We have to get rid of this trend. We have to create a new kind of art, a new kind of creativity. We have to bring to the world again what Gurdjieff calls objective art.
There's vulnerability - so I have to make sure the audience is certain that I know what I'm doing. There's vulnerability there because my heart is open, but at the same time I definitely have a lot of "weapons" at my disposal. I have all the language, I have all of the moment - I have all of that to spar with somebody, to take anything on.
My focus is creating more - creating a DJ set, but also creating the feeling that it's a certain type of production that's happening using multiple decks. I'm layering tracks together, but I'm kind of doing the same thing that I would do in a recording studio.
Art can be a kind of therapeutic, or kind of a fantasy life, or wish fulfillment...o r creating this alternate universe. Art gives me the freedom to do that.
There's this kind of almost - kind of a weird kind of elitism that says well maybe - maybe certain people in certain parts of the world shouldn't be free; maybe it's best just to let them sit in these tyrannical societies. And our foreign policy rejects that concept. And we don't accept it. And so we're working.
Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)
Peace is a certain resistance to the terrible satisfactions of war. It’s a commitment to living with a certain kind of vulnerability to others and susceptibility to being wounded that actually gives our individual lives meaning.
Revenge tries to solve the problem of vulnerability. If I strike back, I transfer vulnerability from myself to the other. And yet by striking back I produce a world in which my vulnerability to injury is increased by the likelihood of another strike. So it seems as if I'm getting rid of my vulnerability and instead locating it with the other, but actually I'm heightening the vulnerability of everyone and I'm heightening the possibility of violence that happens between us.
Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.
When you get the ideas, that's a thrill; when you're writing the book and it's corning out well, that's a thrill; when you finish it and other people read it, that's a thrill. There are going to be reviews, of course; not everyone's going to love it. You feel sort of naked and vulnerable in a way. That's just a minor part of the process, really. If you can't take that part, you shouldn't be in the business. But there are so many joys to writing.
Creator and reader are partners in the invisible creating something out of nothing, time and time again.
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