A Quote by Romeo Santos
Once an artist makes his personal life public, he can't close that door.
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Now the expectation is that, once the public decides that the artist is gentrified, the public demands that the artist stop growing. And [the public] actually puts all their energy into reasserting or re-establishing what the artist has long ago left behind. Because that's what they want. The source of creativity, the gift that's been given, be damned.
Leonard [Nimoy] was such a teacher for me. He was one of the most fully realized human beings I have ever known on every level - in his personal life with his personal relationships and his love for his wife and his evolution with his family. Then as an artist, as an actor, as a writer, as a poet, and as a photographer. He never stopped.
There is a schizophrenic nature in modern politics. A leader is expected to have a religious faith but he is not supposed to let it influence him in his duties. Somehow, the truths that determine everything else about his existence are not allowed to influence how he conducts himself in public life. Not only that, his principles are usually considered so personal that the public is not even allowed to know for certain what they are. This passes for noble statecraft in our time. It was once thought cowardice.
Every artist - even if they do Superman, they do Batman, and things like that - they are speaking about his life. Every person, every artist makes his life an artwork.
The worst of prison life, he thought, was not being able to close his door.
I think it can be a good idea to know what you do well and use that to open the door for yourself. Once you open the door, close it behind you, and start to make changes.
An artist carries on throughout his life a mysterious, uninterrupted conversation with his public.
We don't live with the community of yesteryear. And we don't enjoy the public services Europeans do. So we turn to the market. Once we do, we find that service providers raise the standards of personal life, so that we come to feel we need them to live our 'best' personal lives.
The only time the private parts of someone's life are relevant is when they're affecting public performance. And just because someone is a public person doesn't mean that any part of his or her private life is open to scrutiny. If someone is doing his or her job, you have to have enough empathy to understand that we all have personal problems.
In older Hollywood movies, a character will make an entrance, close a door, light a cigarette, sit down, have a drink. In Jean-Luc's movies, you were doing everything at once, and sometimes you wouldn't shut the door all the way.
Life has a way of doing that; one minute everything makes sense, the next, things change. People get sick. Families break apart, your friends could close the door on you.
I have spent so long erecting partitions around the part of me that writes - learning how to close the door on it when ordinary lfe intervenes, how to close the door on ordinary life when it's time to start writing again - that I'm not sure I could fit the two parts of me back together now.
An artist cannot get along without a public; and when the public is absent, what does he do? He invents it, and turning his back on his age, he looks toward the future for what the present denies.
When Life knocks at the door no one can wait,
When Death makes his arrest we have to go.
I do not comment on my client's personal lives in the media. As for Luke, he did so once, a long time ago when he was an inexperienced, young actor and now with maturity and hindsight, he has learned not to engage the press in his personal life again.
There is no communication with any public whatsoever. The artist can ask no question, and he makes no statement; he offers no information, and his work cannot be used. It is the end product which counts.
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