A Quote by Alice Lowe
In film, you're painting a canvas. I got really excited about that.
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For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
I grew up on a farm with only two TV channels. I didn't grow up around much culture. When I got excited about painting, I never really got further than what would have been in a modern art history textbook.
I wanted to be a car mechanic and I wanted to race cars and the idea of trying to make something out of my life wasn't really a priority. But the accident allowed me to apply myself at school. I got great grades. Eventually I got very excited about anthropology and about social sciences and psychology, and I was able to push my photography even further and eventually discovered film and film schools.
On Phantom... I listened to the music while I was reading the script. And it had just blown me away. I really... I was so excited about it. It's been a long time since I really got so excited about something.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
I got really excited about finding new ways of using video, and the immediacy is different, in a way, than painting and photography. The creativity comes with the editing. You can layer and cut and paste. I really love that it's like another form of making my smaller collages but in video form.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.
For me, preparing the canvas takes longer than painting. The actual painting takes about half an hour.
If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
We're an industry obsessed with the storytelling side of things, the content. And then we got obsessed with the canvas. Is it going to be on television? Is it print? And now the canvas is mobile. But what we really need to think about is the context. The context is where and when the person is consuming it - location, time of day.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
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