A Quote by Wylie Dufresne
It's just about asking why. We as cooks historically have been very, very technically proficient but not technically informed as to why we do what we do. Modernist cuisine is about that knowledge.
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A lot of my video work is super lo-fi on purpose. I'm not trying to become technically super proficient. The only thing I'm interested in becoming technically proficient on is my alto saxophone.
I know people who prepare their roles in such a way that they technically look ahead and memorize their gestures, and then they stick to it. Those that are technically proficient enough can make it seem natural, but they do that and don't really take in what other people are doing.
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable.
Homophobia is very, very difficult to root out, to extricate. That's why we have to bear witness. That's why we have to be so public about it, and that's why we can't just play footsie with it.
Chefs have only been able to work in restaurants, high-end cuisine. Why? Why haven't they been able to find other scenarios? For those chefs who want to do avant-garde cuisine, should they be finding their income in a restaurant? These are the kind of questions we are asking ourselves. So the new scenario will allow them to do whatever they want to do, whenever they want to do it.
I am so not technically proficient at all.
I'm not technically proficient enough to attempt all kinds of music.
You can imagine over very long timescales, perhaps far beyond the multi-decade time scale, we might be able to ask very deep questions about why we feel the way we feel about things, or why we think of ourselves in certain ways - questions that have been in the realm of psychology and philosophy but have been very difficult to get a firm mechanistic laws-of-physics grasp on.
One respect in which I'm very much my father's son is how I feel about Joyce. 'Ulysses' is very much about daily life, when you get into this other guy's life and you learn about the things he cares about, and why he cares about them. And then, very indirectly, very subtly, you learn why politics has impacted his life, too.
You become technically proficient whether you want to or not, the more you take pictures.
Chefs have only been able to work in restaurants, high-end cuisine. Why? Why haven't they been able to find other scenarios? For those chefs who want to do avant-garde cuisine, should they be finding their income in a restaurant?
I actually don't think there is any difference between French and American cuisine. French cuisine was always about discipline, about ingredient, about creativity, but also about simple. I see America as very similar in these rights.
As a director, I have to do everything. As an actor, I'm just worried about one role, that's it. As a director, everything is important. Everything is something you have to be very detailed and specific about in telling a story. So for me, the job is far greater than just being the actor, there's a lot more responsibility creatively, technically.
How did I get into the world? Why was I not asked about it and why was I not informed of the rules and regulations but just thrust into the ranks as if I had been bought by a peddling shanghaier of human beings? How did I get involved in this big enterprise called actuality? Why should I be involved? Isn't it a matter of choice? And if I am compelled to be involved, where is the manager—I have something to say about this. Is there no manager? To whom shall I make my complaint?
At least I like to keep it the same. That's why I've got all the same friends. That's why I go back to Leeds as much as possible. I don't know if you know much about England, but Yorkshire is a very sobering place. In the North. It's very gritty. Old mining villages. And people don't really care about celebrities up there. And it's great. And that's why I get back there whenever I can. 'Cause it keeps me very grounded, and it keeps my life very normal, whatever that is.
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