A Quote by Tavares Strachan
I don't really feel pressure. I'm so distracted by what we're doing; I'm doing this four-acre project, it's just absorbing all my attention. Before you know it we're onto the next project, and so on and so forth.
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I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
There's a big difference in doing a play or doing any project that not a lot of people see and then a project that you know everyone will see. There is more pressure, performance anxiety per se. And then when you do and what you love is really put to test.
When I said yes to doing 'Queen's Gambit,' I was feeling burned out on directing and movie-wise wasn't sure what my next big project was going to be. So I said yes to doing this very different type of project that required a different skill set from me, sort of just to shake things up, if anything.
After 'Peepshow,' I really don't know what my next project will be. But I would like to keep on doing theater. I think I could do that forever.
After Peepshow, I really dont know what my next project will be. But I would like to keep on doing theater. I think I could do that forever.
I have no idea what the next project will be and if there's a next project. I don't even know if we're all going to be here tomorrow, but I'm pretty optimistic.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
It's really easy to project this whole ideology of what being an artiste is, and I'm just not down with intellectualizing it. I just think, if you feel like doing something, then do it.
I think it is important to be present in the places where you are working. It is not only about doing a project, but following the project through its construction.
When I do photo shoots for men's magazines, I don't do lingerie, I don't do skimpy bikinis because I feel like, for young women, setting the standard of you can be sexy as hell, but you don't have to have your ass hanging out. Just me personally, I just don't feel that its necessary to project sexy. I feel like I can project that from the inside out. I can wear something a little sexy, but I don't need to take it to that next level.
I've been really lucky that I've kind of gotten to flow from project to project, because I find it's very important that when you're on a project, you are so invested in it.
The pressure is always there to do my best. I feel happy that I have an audience that looks forward to my next project. I have to make sure that I deliver.
We try to organize the world, which isn't organized the way our brains want to organize it. We tell stories about the people in our lives, we project ideas onto them. We project relationships with people, we make our lives into stories. I don't think we can avoid doing that.
You know, when you see yourself on a big screen, I tend to watch from behind my hands. There is absolutely the regret. You always get that at the end of every project. That's what's great about theater: at least every night you get the chance to go out and re-offend. I'm endlessly disappointed, which is what propels me into the next project, probably, not to repair the damage but to kind of hopefully keep developing. Otherwise there's no reason to keep doing it, is there?
I'm doing a collaborative project with another artist, Mary Hamill. My project is to gather the oral history of war widows, starting with the women of my village, Kop Nymit.
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