A Quote by Robert Wilson
My method is much like choreography. I don't sit at a table. I work in a room with people.
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Everybody is welcome to come to dinner, but there's going to be the adult table and the kids' table. Whiny people who want to throw food and make noise and interrupt and be rude and act like children, they can sit at the kids' table.
In such a fast-paced world, gathering people around a table to share a meal allows everything to slow down. I would ask people to sit at least once a week around a table and just enjoy each other's company. Give them the time to talk, laugh, and fill their bellies. It seems like a small thing, but it can bring so much joy to so many people.
My untidy habits drive me to follow the slash-and-burn principle. Work on a virgin table until the mess becomes unbearable, then move on to a clean table in a clean room - or, on a beautiful summer day like this, one of the five tables dotted around the garden. Trash that table and move on again.
It's hard enough to sit at a table and talk to most people as it is. But we can go to some town, and there's 300 people we've never met before, and by the third song, we're connecting with everyone in that room.
Now, metaphorically, I sit at any table that I want. I can sit with the jocks, I can sit with the gang members, I can sit with the politicians, I can sit with the CEOs. My brand can fit anywhere.
Actually, I don't even like parties. I would much prefer a room with four friends who sit around and have dinner. I detest nightclubs. And I don't like places where the noise is so loud you can't talk to people.
You couldn't get me to go travel around and sit in a hotel room again. I have no interest in doing that. So everybody's happy. I am, at 74. Some people like doing it, but I never was much for that, anyway. It's a lot of work. So the only thing I miss about all of it is the camaraderie of the tour, but that doesn't offset the rest of it.
Well, one thing that I like to do is treat the audience as if they're already kind of at the table - they're already a part of the conversation. They don't need the 101 explanation. It's as if bringing a stranger to the table to sit down with these people who are already acting as peers or friends and opening up and just sharing their stories.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I would sit at the table with the black kids during lunch, and we'd do our banter back and forth. But occasionally, I'd get up and I'd go sit down with the white kids and chat with them and what not. Of course, because I come from the black table they would look at me like, 'Why are you here?'
I knew that if I could put a table in a room with not much light and a couple of chairs, I could have a real conversation. And I know that people... like to eavesdrop on a conversation.
It seems like I always had to work harder than other people. Those nights when everybody else is asleep, and you sit in your room trying to play scales.
The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.
The dining room in my old house was truly magnificent, but by far the worst room for conversation. I'd get up from the table, a very long table, and somebody would always say, Paul, I never got to talk to you.
A dining room table with children's eager hungry faces around it, ceases to be a mere dining room table, and becomes an altar.
There was so much going on. I remember a very interesting dinner in the studio of [Robert] Rauschenberg. He had convinced Sidney Janis, Leo Castelli, and a third big gallery man to serve us, the artists, at the table. So they were dressed up as waiters, we were sitting at the table, and they were only allowed to sit down at the end of the table for the cognac. This is not possible now.
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