A Quote by Jai Courtney
If I had the chance to spend a day with Werner Herzog, I would want there to be a canoe involved. I want to be down in Patagonia or something, and kill some kind of wild beast and skin it and gut it and cook it. And then turn its fur into some kind of layer of warmth. And then trek through the hills.
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Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. "Ah, you worked with Werner - how was it? How did he direct you?" I was Fassbinder's actor.
Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. 'Ah, you worked with Werner - how was it? How did he direct you?' I was Fassbinder's actor.
If you want to make pictures and enjoy making them, you better go out and make something that a lot of people want to see. And then they'll turn you lose and let you make what you want. And then maybe you can do some of the things that you want to do. But as a beginner, you haven't got a chance.
On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.
Some weeks, I'll go super-hard at practice for two straight days, but then the third day, something happens away from basketball, and I'll lose focus. I'll say, 'I just want to get through practice. I don't want to conquer it today.' But then I'll go home and realize I missed a chance to get better, and it'll bother me.
We were both into motocross. My dad would wake me up at 6:30 on weekends, brew some coffee and make some sandwiches for us. Then we'd spend the day racing together. I know he had this reputation as being wild and irresponsible, but I never saw any of that.
I never want to turn something down because I'm afraid to do it, because of some idea of image or whatever. That was never anything I set out to do. In fact, the opposite, I always want to confuse people in terms of any kind of image and be unpredictable in any kind of movie I make.
I think, then, there's the sort of, like, political dimension to lyrics. One of the problems that I've had with my output as a lyric writer is that I look back at it and there's some turn-of-phrases and some images and some kind of montage-y kinds of things I'm really proud of. But it kind of bums me out that people have told me again and again that they don't really understand what I'm trying to say.
I took a dozen of our top managers to Argentina, to the windswept mountains of the real Patagonia, for a walkabout. In the course of roaming around those wild lands, we asked ourselves why we were in business and what kind of business we wanted Patagonia to be. A billion-dollar company? Okay, but not if it meant we had to make products we couldn't be proud of. And we discussed what we could do to help stem the environmental harm we caused as a company. We talked about the values we had in common, and the shared culture that had brought everyone to Patagonia, Inc., and not another company.
Grab a guitar, put some kind of strings on it, a banjo string, then a violin string, then a guitar string, tune it any way you want, and make some noise, and see what you get. And work on it until you get something that you think is interesting. That's all there is to art for me.
It’s a trifle. It’s got all of these layers. First there’s a layer of ladyfingers, then a layer of jam, then custard, which I made from scratch, then raspberries, more ladyfingers, then beef sauteed with peas and onions, then a little more custard, and then bananas, and then I just put some whipped cream on top!
I love New York very much, and it was very important for me to spend my 20s in New York City. You're exposed to so much here, whether it's other people or just the grind of it and how hard you have to work. I think it forces you to define yourself: what kind of person do you want to be? What kind of woman do you want to be? And then inevitably, what kind of actress do you want to be?
Places I've lived since then had to have some kind of uniqueness and character about them. And logically Key West, and then Down Island. So, all of that stuff sort of had it's roots in New Orleans and went crazy.
I find that I end up liking songs if I really have an idea of something I wat to write about-some problem in my life or something I want to work through; if I don't have something like that at the root of the song, then I think I end up not caring about it as much. I gravitate towards some kind of concept or idea or situation that I want to write about. Very often I have to write, rewrite and come at it from an opposite angle...and I end up writing the opposite song that I thought I was going to write.
I was a really, really serious kid. And a really kind of controlling kid. Like I had things that, now, people would say are like - there's a name for many disorders as we know - but I would say, "If I pick this rubber band, then this will happen." It was that kind of want to control things, which I think all kids have to some extent.
Activism isn't something you just kind of get involved in and then turn your back on it.
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