A Quote by Robert Irwin
If you wanted to watch me work, it would be totally boring. It would look like a Warhol film where nothing happens. I sit for 24 hours, then I scratch myself.
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I used to say, as an assistant, I would go in and close my door for three hours after practice and just watch film. Now it seems like I'm in a meeting and then another and then another for three hours that have nothing to do with basketball. It's just different.
I give myself 24 hours after a loss. After that, I'm totally on to the next game. But for 24 hours, I'm not a happy man.
As a child, I would watch my mom get ready for work and just sit there for hours watching her transform. However, it wasn't until much later on that I really started to dabble in makeup myself.
I have a few methods that I use. One of them that kind of works but is a bit a boring is that I lock myself in the studio and I have four hours to work and come up with stuff. If nothing's sticking in four hours, then I can stop.
I like '24.' But I have to wait until it comes out, then watch it all in 24 hours. You really let yourself go in that one day; you just eat crisps and wander around madly ranting.
When I was a kid--10, 11, 12, 13--the thing I wanted most in the world was a best friend. I wanted to be important to people; to have people that understood me. I wanted to just be close to somebody. And back then, a thought would go through my head almost constantly: "There's never gonna be a room someplace where there's a group of people sitting around, having fun, hanging out, where one of them goes, 'You know what would be great? We should call Fiona. Yeah, that would be good.' That'll never happen. There's nothing interesting about me." I just felt like I was a sad little boring thing.
I really don't like watching myself and for the most part I will never watch myself. I worked with Kevin Smith on Yoga Hosers and I really respected the way that he directed. He told me, "It's very important to watch yourself." So he would direct by going, "Hey come over to the screen and watch this scene." And so it was very uncomfortable for me to have to watch myself but then he talked me through the process of that and it was very helpful.
A plate of food hits the table, lands right in front of you. One of two things happens. Either you sit up and look at it and react to it, or nothing happens. If nothing happens then that restaurant is stuck in mediocrity forever.
I wanted my first film to be something where I was surrounded by an amazing cast. I wanted to do something that was completely unexpected, totally out of the box, something that would blow people's minds, that the last thing on the planet earth they would ever think I would do would be it.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
Somehow Annie Flanders from the SoHo News heard I was doing pictures and was headed to Paris. She saw my worked, liked it, and asked me to take pictures for her paper while I was there, but told me I would first have to buy a real camera - 35-millimeter. I got a little book that taught me how to load film. I read it on the flight to Paris. Hours later, I found myself at the top of the Eiffel Tower with Yves Saint Laurent and Andy Warhol. It's all been downhill since then.
If God would concede me His omnipotence for 24 hours, you would see how many changes I would make in the world. But if He gave me His wisdom too, I would leave things as they are.
You would measure time the measureless and the immeasurable. You would adjust your conduct and even direct the course of your spirit according to hours and seasons. Of time you would make a stream upon whose bank you would sit and watch its flowing.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.
I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn't planned; it was realism. Over the years, the work has changed for me. I know that I have wanted to repeat myself, but I can't. I've been lost a lot of times, but then I'd just get an idea and photograph it. Once I'd started, I'd know exactly what would go down and how it would end. So I just quit doing it, because it loses all interest for me when you know what's going to happen.
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