A Quote by Sue Tompkins
I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.
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There is something about the live performance of an orchestra that makes it very different to a film. With a film, you can rewrite it in a way with the material you have, and in rehearsals, you're really trying out different things. In an orchestra, you can't do that. They separate as soon as the performance factor comes into play.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
I don't think I gave a good enough performance to be nominated for it. I thought I gave a fine performance, but those things are supposed to be about giving an extraordinary performance.
I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.
Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.
I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.
This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.
I can tell you there will be a performance centre in India. There will be a performance centre in the Middle East. There will, more than likely, be a performance centre in Latin America. We will be replicating this process around the globe, all over.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
What I love about analogue is it really forces you to go for a performance. I hear these young bands play perfect and they've been manipulated so much that there's not much personality to them. It's taken away some of the rawness and immediacy you get from a human performance.
I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.
Performance art is really about the sociology of the artist, where ideas come from, and the confluence of those ideas.
Speaking for myself, but [Kriota] probably [agrees], I don't do different things because I have to, but certainly my career's taken a lot of twists and turns because things work out for a while and then something shifts and they don't. I went into illustration as a way of supporting my comics career. Then I got really interested in performance and I knew that was always going to be more of a hobby, but that's something I've kept doing.
Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
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