A Quote by Robert Hilburn
As soon as I started working at the 'Los Angeles Times,' people warned me not to get too close to artists because it could make it difficult to review their work, and you can never really tell if the 'friendship' is genuine.
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I started doing [acting] for a living, no one really warned me about the amount of traveling I would do. I always thought everything was shot in Los Angeles.
I have one rave 'New York Times' review framed next to a flop 'Los Angeles Times' review. And it's for the same show. These people watched the same show. That's what happens. They love it, they hate it.
I have one rave New York Times review framed next to a flop Los Angeles Times review. And it's for the same show. These people watched the same show. That's what happens. They love it, they hate it.
I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
I had some difficult times when I first moved to Los Angeles when people would tell me I was saying things wrong. I felt different although my mum kept reminding me it was OK to be different.
Los Angeles has been great to me, and I have a home there, and I'm so lucky I get to do what I do for a living. But I did not go down to Los Angeles really even with the intention of staying.
I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.
I don't like talking about my work at all. I find it very difficult. I never know what to say. It's too close to me, and there's so many things happening unconsciously while I'm working that I'm not aware of, and people will point these things out to me, and I'll say, "That's interesting." But I don't know what to make of it.
England never felt claustrophobic for me at all. I think it would feel more difficult for me if I lived in mainland Europe. America I think is really easy because Los Angeles has film stars everywhere and musicians and Santa Barbara a lot of people have homes there even if they don't live there. You are kind of inconsequential, no one cares.
I love Los Angeles. I love Seattle, too, which is where we have our home. But the notion of spending a lot of time in Los Angeles has been exciting to me for years. The community down there is great.
I felt really lucky in that I've gotten to know some of my favorite artists; I get to tell them how important they are to me. But that doesn't always make me want to work with people. I feel like if I'm going to work with somebody, it's because I feel like I actually have something to add to them.
Moving to Los Angeles and working in places like Hawaii, you get to experience a true melting pot. It's really nice to be around people who are multiethnic.
I started out a die-hard New Yorker but really grew to love working in Los Angeles. Even though I originally wanted to do theater, TV presented more opportunities for me, which led me out west.
I started studying herbalism and edible plants that existed in the wild. And then I realized, "Okay, cool. I know how to make a fire with sticks and I know how to build a shelter, but I live 90 percent of my life in an urban environment, so these skills aren't really going to help me because there aren't trees that grow in Los Angeles that I can just take a branch and make fire out of, because that wood isn't conducive for that. So I started learning urban survival skills.
Artists are all giving so much of ourselves to the work and the people and the press and the media and Twitter and all that now. For me, being able to create from a genuine place is really difficult lately because there's so much going on all the time, but when all that stuff gets quiet, you can explore your ideas without any ego or mental chatter.
Yesterday, the Pentagon warned U.S. reporters that they should get out of Baghdad as soon as possible because the U.S. could attack at any time. Then the Pentagon added, 'Whatever you do, don't tell Geraldo.'
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