A Quote by PJ Harvey
I think it does surprise me a bit when people have a very fixed idea of what I'm like, based upon the work that I do, which is something that is very separate.
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I'm very fortunate, and the movies that I've made, even from the very beginning, have been very eclectic. The thing for me is: Am I emotionally engaged in the idea? Is there something special about it? Does it capture my imagination? So everything that I do is simply something that turns me on. And I have the good fortune to be able to make bigger movies and television that ostensibly pay for the other ones. I don't mean literally finance the movies. But they allow me to work on things for very little pay. I do these things because I love them.
My position hasn't changed over the years. Which is that online voting is a very unsafe idea and a very bad idea and something I think no technological breakthrough I can foresee can ever change.
I could never adjust to the separate waiting rooms, separate eating places, separate rest rooms, partly because the separate was always unequal, and partly because the very idea of separation did something to my sense of dignity and self-respect.
I think the idea of embracing the process, creating something, no matter how thin it is, that you can call a starting point - whether it's a word or it's an idea, or it's a little piece of narrative that you might base a film on - starting that journey of making the work. That's also something that every individual does very differently.
The thing is, it's very dangerous to have a fixed idea. A person with a fixed idea will always find some way of convincing himself in the end that he is right
To be a good human being is to have a kind of openness to the world, an ability to trust uncertain things beyond your own control, that can lead you to be shattered in very extreme circumstances for which you were not to blame. That says something very important about the condition of the ethical life: that it is based on a trust in the uncertain and on a willingness to be exposed; it’s based on being more like a plant than like a jewel, something rather fragile, but whose very particular beauty is inseparable from that fragility.
It's always a surprise to me when someone comes up to me and appreciates my work. I have a very limited body of work, so I feel very lucky to have gathered such an audience. I'm very thankful to them. I'm extremely grateful to them for showing such love.
It is not merely the likeness which is precious... but the association and the sense of nearness involved in the thing... the fact of the very shadow of the person lying there fixed forever! It is the very sanctification of portraits I think - and it is not at all monstrous in me to say that I would rather have such a memorial of one I dearly loved, than the noblest Artist's work ever produced.
The whole press thing and who you are in the media, or what you have to project yourself to be, it feels very much like another person. People say to me, "Oh, your life must be changing," and I'm like, "Uh, I guess?" For me, it's such a gradual change, and I don't see it from the outside like everybody else does. It's weird, I see my face on a bus or online or somebody has my picture as their picture on Twitter and it's all a bit weird and I feel very disconnected from it and very much, "I guess that's me." It's very surreal.
I think that [Jay] Gould's separate compartments was a purely political ploy to win middle-of-the-road religious people to the science camp. But it's a very empty idea. There are plenty of places where religion does not keep off the scientific turf.
I've met people who've dismissed me, and then they find out that they like my work, and suddenly their attitude changes toward me. And I think that's very funny and very human. But it's also very unattractive.
I think you can have your career and still bring to your family something very, very special. There are some people who are born mothers, who don't want to work and just want to stay at home, and that's fantastic, but for me it was something very difficult.
Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.
I like the connection with fans and people who have been supportive of me. And I love the idea of real feedback and a two-way street, which is very, very modern.
This is something I realized after stepping away from women's fashion for the last five years. When you are inside, it is such a tiny group of people who think that this is the most important thing in the world. But when you get a little bit of distance, someone will say to you something like, "Don't you think that shoe is blah?" And I will be like, "What shoe? I don't know what you're talking about." It is very, very inside.
People love fact-based songs, which is a very funny idea.
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