A Quote by Rodrigo Santoro
In Brazil, when you say you're going to be an artist you always get that point of view that this is a crazy career and you might not make it. In my case, it kind of happened.
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From the point of view of the employer, it is in any case simply an item of cost, to be reduced to a minimum if it cannot be eliminated altogether, say, by automation. From the point of view of the workman, it is a "disutility"; to work is to make a sacrifice of one's leisure and comfort, and wages are a kind of compensation for the sacrifice.
When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.
But if you have a point of view and you're an artist or a writer, it's kind of crazy to not take advantage of that, especially if you can do something that's entertaining as well. I've done a number of things like that over the years.
People ask me, 'What happened in your life that might have pushed you as an artist to get to where you are today?' I always felt a little on the outside. And as such, you're always observing things. So, I'd be kind of re-creating these things in my mind, and I think drawing it was a way to deal with that.
Craziest thing I've done for love is getting married. I think it's crazy. I think it's crazy, crazy, crazy. I'm never going to say I wouldn't do it again but I have to make sure it's love and not settling for the 'I have to do this by a certain age,' which is kind of what I did.
At the end of the day, if it looks like you're not going to get paid, you might be willing to compromise to make sure that budget actually comes out. It's not all about your extreme point of view.
One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.
My point of view when I make a book or I make a movie is to see the humanistic point of view. The point of view of the daily life of normal people.
I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.
I'm very confident in my point of view. 'Cause I think that that's all you can really have. I'm never really going to know what anybody else is going through, so it's just kind of your job to be expressive with your point of view.
We're at a time now where there's a lot more "I'll do whatever it takes" attitude. I'm not going to say or do what you want me to say or do just because it might help me or be the politically correct thing to do to help my career. And that may have hurt me sometimes. I think about different collaborations that have been brought my way - it might have meant I'd get to be on TV to do certain things, but I've said, "No. It doesn't make sense. I'm not doing it." And other people might jump at the opportunity.
With cab drivers, I always say I'm from Brazil. I don't say I'm from Israel. It's happened more than once that someone is blaming me for the government's policy. And I say, 'Listen, I live here. I'm a musician. I don't call the shots.'
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
You push so far past the normal boundaries of what’s O.K. in society. I’m always fully aware of, ‘You can’t do this’… When someone really believes in what they’re saying, but it’s crazy, it’s like my favorite thing on earth… [But] Crazy’s just crazy and there’s nowhere to go. You can have a point of view, it can be very strange, but we have to know your reasoning.
You kind of notice what's going on in your body, and you can kind of feel a certain tightening, or fear, which is something that, as an artist, I've kind of befriended. I can pretty much count on it for anything that I engage in - that thing like, "Am I going to be able to pull this off?" Well, what am I gonna do with this feeling? The more nervous you get, the more worried you get about it. So you pay attention to what you might need.
There’s no “correct path” to becoming a real artist. You might think you’ll gain legitimacy by going to university, getting published, getting signed to a record label. But it’s all bullshit, and it’s all in your head. You’re an artist when you say you are. And you’re a good artist when you make somebody else experience or feel something deep or unexpected.
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