A Quote by Aksel Hennie
I wanted to study painting and become a painter, but I had a huge flip-over in my life when I was about 18 or 19. I was part of a criminal environment; I got arrested and convicted, and I had to start thinking in a new way.
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Once you start to look at the gospels one by one, you realize that followers of Jesus were trying to understand what had happened after he was arrested and killed. They knew Judas had handed him over to the people who arrested him.
I finally got the dad I always wanted and then he left. At 18, 19 years old, I was really upset and had to work through that.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
Writing New People I was thinking a lot about the era that I came of age - the 90's. Brooklyn, in particular, this moment when I lived there. The sense of possibility. I was also trying to find a way to write about Jonestown. I had read about it a lot and I had the sense that the story could really start to drive one over the edge.
I got into university to study graphic design, and I got into drama school as well, so I had the choice whether I wanted to go down the sensible route or if I wanted to become an actor.
I didn't miss training because it had become so painful for me. I filled the void pretty quickly as I went straight into coaching and it was great; I had to start learning all over again, and then when I went into TV I knew nothing about it so I had to start from the very beginning.
I went on to Cincinnati. I had got a taste of the big cities and them bright lights. I stayed there until I was about 18 or 19 and then I went on to Detroit.
I had an idea when I was 18 or 19 to start tutoring people, like the way that people get tutored in saxophone or guitar, but for production. I really enjoyed it, but I don't have time for that any more.
I had always wanted to belong, and I had been thinking that this was going to get solved when I had money, and instead, I had no idea how I wanted to live my life. And no one teaches you what to do after you achieve financial independence. So I had to confront that.
Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it - not use it as a means to painting but use painting as a means to photography.
I was very interested in being a painter. I had facility, I had talent, and I loved painting and printmaking, and I was quite serious about it.
Martin Scorsese was one of the few who had not been an assistant. Most of the guys had been an assistant and worked their way up. But I had seen an underground picture he had made in New York, a black-and-white film. I had done a picture for American International, about a Southern woman bandit, the Ma Barker story, and it was very successful, and I had left to start my own company, and they wanted me to make another one.
I think that New York liberated me in the sense that I moved here when I was 18, so it was a fresh perspective on life. I had been living in L.A. my whole life and I had never lived anywhere else, so being away from family and really making a name for myself was huge for me.
When I was a kid, I would watch the grands prix. Everyone dreamt of becoming a race driver, while I only started thinking about it when I was 18 or 19. Only at that age did I seriously start thinking about this job. Before then, I would change ideas from one second to the next.
I wanted to be a painter when I was a kid. And then, I had to make a living. I had a child when I was in high school, so I kind of had that work phase in my life.
Journeys become very good metaphors. They always have the character put into circumstances that reveal him. If I had based my characters in New York and had them just sitting and thinking about life, it would be like what contemporary U.S. fiction is about. That is very heavy, literally, for me. It doesn't become mainstream enough because the pages don't turn themselves.
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