A Quote by Vicky Krieps
Actors actually have a feeling, like a sixth sense. They are like mediums. But it only works - you can only become this medium or this vessel to transport emotions and images and feelings - if you are not too full of yourself. Otherwise, there wouldn't be space for a story to live inside of you or a world to evolve in you and around you.
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I can only gaze with wonder and awe at the depths of and heights of our psychic nature. Its non-spatial universe conceals an untold abundance of images which have accumulated over millions of years of living development and become fixed in the organism....Beside this picture I would like to place the spectacle of the starry heavens at night, for the only equivalent of the universe within is the universe without; and just as I reach this world through the medium of the body, so I reach that world through the medium of the psyche.
The writer works on the inside and the critic works on the outside. I don't know what it looks like on the outside, sometimes. It's not that I'm not interested-it's not where I live. I live inside the story.
When you ignore your belly, you become homeless. You spend your life trying to erase your own existence. Apologizing for yourself. Feeling like a ghost. Eating to take up space, eating to give yourself the feeling that you have weight here, you belong here, you are allowed to be yourself -- but never quite believing it because you don't sense yourself directly.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
In the past, if you did film, you couldn't do stage, and if you did film, you certainly didn't do television. You had to pick what you wanted to be. Now it seems like we can bounce around, not only between genres, but between mediums, and I like that. I like change and I like a good story.
I have to learn to ignore my feelings. Not just the feeling of hunger and the feeling of full, but the feeling of embarrassment, too. I have to remember that this is only weird if I make it weird.
People don't become inured to what they are shown - if that's the right way to describe what happens - because of the quantity of images dumped on them. It is passivity that dulls feeling. The states described as apathy, moral or emotional anesthesia, are full of feelings; the feelings are rage and frustration.
First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.
People sometimes say that you must believe in feelings deep inside, otherwise you'd never be confident of things like 'My wife loves me'. But this is a bad argument. There can be plenty of evidence that somebody loves you. All through the day when you are with somebody who loves you, you see and hear lots of little tidbits of evidence, and they all add up. It isn't purely inside feeling, like the feeling that priests call revelation. There are outside things to back up the inside feeling: looks in the eye, tender notes in the voice, little favors and kindnesses; this is all real evidence.
Do the stuff that only you can do. The urge, starting out, is to copy. And that's not a bad thing. Most of us only find our own voices after we've sounded like a lot of other people. But the one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live as only you can. The moment that you feel that, just possibly, you're walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That's the moment you may be starting to get it right.
We live in the world of images, but we also live in the world of the Internet, of zapping and where people move. You can make little videos on your phone. I love very composed images, but the idea of moving pictures with a story, with a plot is quite interesting, too.
I like to use light as a material, but my medium is actually perception. I want you to sense yourself sensing - to see yourself seeing.
We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.
I'm not comfortable with words. I love images ,and I love sounds, and I love feelings. I like the idea of intuition. I think a lot of things in life are understood that way. But you internalize these things; they don't really pop out. Certain things are built inside - little areas of understanding. I feel that I live in darkness and confusion, and I'm trying, like we all are, to make some sort of sense of it.
It is important to understand, not intellectually but actually in your daily life, how you have built images about your wife, your husband, your neighbor, your child, your country, your leaders, your politicians, your gods-you have nothing but images. The images create the space between you and what you observe and in that space there is conflict, so what we are going to find out now together is whether it is possible to be free of the space we create, not only outside ourselves but in ourselves, the space which divides people in all their relationships.
So, how to stay inside the world of entertainment without actually getting another job? I felt the only logical answer was to become a novelist. So I wrote the first book - driven by some very real feelings of desperation - and it worked.
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