A Quote by Steve Erickson
The notion of artistic responsibility begs questions with no satisfactory conclusions, the most inevitable and ineffectual being that we should just keep thinking and talking about it, given that the alternative - a governmental body monitoring the movies we make and see - is unacceptable.
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Always keep absorbing art and looking at paintings and reading books and watching movies in other languages, just getting to know the world at hand and the world of the past. It's important to keep absorbing the world and keep engaging with it, and often that means not thinking about movies and thinking about other things.
Here's what we should be doing. We should be monitoring every mosque. We should be monitoring social media. We've got about three million Muslims in the United States.
People think that talking is a sign of thinking. It isn't, for the most part' on the contrary, it's a mechanical dodge of the body to relieve oneself of the strain of thinking, just as exercising the muscles helps the body to become temporarily unconscious of its weight, its pain, its weariness, and the foreknowledge of its doom.
Scratch the surface of any cynic, and you will find a wounded idealist underneath. Because of previous pain or disappointment, cynics make their conclusions about life before the questions have even been asked. This means that beyond just seeing what is wrong with the world, cynics lack the courage to do something about it. The dynamic beneath cynicism is a fear of accepting responsibility.
When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.
I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.
Since I see technology as being an extension of the human body, it's inevitable that it should come home to roost.
I'm not thinking about what needs to be on the radio. I'm not thinking about anything other than - I'm just going to let this music come out of me and not have any sort of preconceived notion of what I should do. I'm just going to do it.
It wasn't that I hated being asked a bunch of questions. I had nothing against questions. I just didn't like listening to them, because some questions take forever to make sense. Sometimes waiting for a question to finish is like watching someone draw an elephant starting with the tail first. As soon as you see the tail your mind wanders all over the place and you think of a million other animals that also have tails until you don't care about the elephant because it's only one thing when you've been thinking about a million others.
Most of our songs were just talking about what we had seen in the ghetto. We weren't thinking, 'Oh, this is going to be large and we'll have gold records.' We were thinking it would be local and we'd make a couple of bucks.
What is the world that is to be given up? It is here. I am carrying it all with me. My own body. It is all for this body that I put my hand voluntarily upon my fellow human beings, just to keep it nice and give it a little pleasure. It is all for the body that I injure others and make mistakes.
I don't see my movies. When you ask me about one of my movies, it just goes in my memory because maybe sometimes I confuse one for another. I think all movies are like sequences, which is the body of my work.
Showing a real human body and a woman who is looking at her body without shame - that alone is a radical notion. Showing a young woman who is honest about what she is experiencing and letting us into her most intimate, darkest thoughts, all of that is just promoting something that we don't get to see about young women.
Lena Dunham or Miranda July, those people are sort of thinking about their work in a slightly different way than I do, where their whole body is a seed of what they're creating. I can't imagine watching Miranda's movies with anybody else playing her role, she's so integral. But for me, it feels more like every story is really individual. If I thought of something else, or thought it should be my body representing it, I'd fold my body into it. But most of the time I'm writing to get something out of my body.
The main thing for me is just the length of time it takes to make a movie. It's at least a year of just talking about it, talking about it with yourself or your director or your other castmates or the press, so you just want to make sure it's a film that although you initially feel this pull or this drive to it, you don't really have the answers to why you're drawn to it. But it's more about not knowing the answers to certain questions but wanting to go on the journey of discovery to find the answers.
I want people to see my movies. My talent, my sensibilities are what people want to see in the movies... While I have the talent to make the kind of movies people want to see I want to continue to do that, keep making big pictures and make what I love. I’m really just making the films I want to see. There’s not a strategy.
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