A Quote by Robert Wilson
I think it's just my nature. I can't work on one thing. I have to work on many things.
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I am oblique; I think that has to do with my own nature. I like trying to do things which work on many levels, because I think it is terribly important to give an audience a lot of things they might not get as well as those they will, so that finally the film does take on a texture and is not just simplistic communication.
One thing I've discovered is that I never think of something that didn't work out as just "something that didn't work out." I think so often with investigative work, things that initially look like failures wind up leading to your biggest stories.
I'm just a music fan. I like pretty much all types of music, and I feel like I can get something out of everything. It just makes work a lot more fun whenever you're working on different things all the times and usually once I work with a band I usually will want to work with them again, just because we become good friends. That sometimes is the only bad thing, is that I work with bands that I already know. That's not really the best thing in the world because I should always be keeping my eyes out on other things.
I try to combine my work with my family, that's what I aspire to. I don't say that's the only thing. It's not all work and family, because otherwise you would be saying no to the many other things in life and there are many other things.
I've always looked at filmmaking as a lifestyle. There is no decision of when you go to work. It's a way of life: you're thinking about scripts; you see things and think, 'That could be interesting'... I don't think about my work as, 'Today I'll work on this, this and that.' It just comes to me.
I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
In terms of work I've always had a Bad Attitude in that I won't work anywhere which requires me to work strict hours or follow a dress code. I don't know if that's an Asperger's thing or not, I think it's just being reasonable.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
I think there are some things in music that work and don't work. That's learned from counterpoint and rhythm and theory, and they don't work if you don't want them to work.
You have one life, and it can't be just about work because you lose out on so many amazing years of your life if you just work, work, and work.
It is just so satisfying to create work that is beyond the framework of language. I think for me that when I make art, I allow myself the opportunity to think with my hands as well. The thing about writing is that you're constantly grappling with every word, because it is removed from the consideration of words in many ways, it can just allow you to move through the art. I discover things in the act of making.
The thing I enjoy most about campaigning is getting to have so many conversations with members. The downside is it takes away from the work of the union. I think that the work of the members is the most important thing.
I think the biggest thing is just making sure that you do the work that you connect with, personally, and that you do work where you can really bring something to the table. It's just about being truthful to yourself.
You think you've made something really great, but there's a reason why it's not resonating the way some previous work did. But it's not that easy to just replicate. Some people think, "Oh, just go do that thing you used to do before." But it just doesn't work like that. It's a lot more mysterious or slippery.
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
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