A Quote by Eva Hesse
I would like the work to be non-work. This means that it would find its way beyond my preconceptions...It is the unknown quantity from which and where I want to go. As a thing, an object, it accedes to its non-logical self. It is something, it is nothing.
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Do nothing that you would not like God to see. Say nothing you would not like God to hear. Write nothing you would not like God to read. Go no place where you would not like God to find you. Read no book of which you would not like God to say, "Show it to Me." Never spend your time in such a way that you would not like to have God say, "What are you doing?
If I had to write a rough draft, all the way through and then go back and start over, I probably would just stop writing. I wouldn't find that interesting. I would feel that I had committed so many things to the paper that I couldn't easily undo because one thing leads to the next, the interconnectedness, the sequences would make it very hard to change something that simply didn't work.
If the land was divided among all the inhabitants of a country, so that each of them possessed precisely the quantity necessary for his support, and nothing more; it is evident that all of them being equal, no one would work for another. Neither would any of them possess wherewith to pay another for his labour, for each person having only such a quantity of land as was necessary to produce a subsistence, would consume all he should gather, and would not have any thing to give in exchange for the labour of others.
In the future, the idea would be to create work for myself, as a way to work up into my 80s if nothing else. But also, I want to cast my friends in things or people I saw who weren't working and I'd be like, 'Why aren't you working, I don't understand - I'll write you a role in something.'
[Kepler] had to realize clearly that logical-mathematical theoretizing, no matter how lucid, could not guarantee truth by itself; that the most beautiful logical theory means nothing in natural science without comparison with the exactest experience. Without this philosophic attitude, his work would not have been possible.
You come to work knowing you're going to do good work without any doubt. You can go where you need to go and nothing is wrong and you pick the rightnesses out. If something doesn't work, you let them go, but you don't hold onto those wrongnesses. You just hold onto the rightnesses, so it's a playing field that anyone would want and feel much more comfortable with.
The only thing I can hope the viewer will get from the work is something about the structure of the work. It would be asking too much, I think, for them to get my exact intention. But if - through the construct of language, the way things are juxtaposed - there is some sort of disruption of the way you would normally go about reaching photographic images... if that is happening, that's fine.
People are most shocked and most in disbelief that I go to the office every day. I have a job. When I'm not acting on a movie, I go to work, first thing in the morning. I'm at work at 8 o'clock in the morning, and I get home from work at 7 o'clock at night. I treat my job like a job, and I work at it. I think people would probably be most surprised, if I ever calculated up the number of hours I work on an average week and published that. If it was ever documented, I think people would be shocked to find out.
Making art now means working in the face of uncertainty; it means living with doubt and contradiction, doing something no one much cares whether you do, and for which there may be neither an audience nor reward. Making the work you want to make means setting aside these doubts so that you may see clearly what you have done, and thereby see where to go next. Making the work you want to make means finding nourishment within the work itself.
I'm really grateful for all of the things I've had to learn along the way, you know? I don't know if I would want to say anything to my younger self. That way, you know, it really means something. If you have to go through it all, it really means something.
I would love the opportunity to work in Chicago. It would be like a dream come true, if I could work there on something like the way ER was filmed.
My advice to an aspiring actor would be to never stop learning or working for what you want. Nothing comes easy, ever, if you want something, you have to work for it. By working for it I mean work on your craft, learn from people who have something to teach. It's just like anything else, practice makes perfect.
Fear kills, want to kill. Fear is destructive. Love is creative energy. When you love you would like to create - you may like to sing a song, paint, write poetry, but you would not take a bayonet or an atom bomb and go rushing off madly to kill people who are absolutely unknown to you, who have done nothing, who are as unknown to you as you are to them.
You didn't question - kind of like, you would go to college. You would wear a tie to work. You would, you know, you would work for 40 years. And then you would play golf for three years, and then you would die. That was how I was raised.
And there are always people who find their lives have become so unsupportable they believe the best thing they could do would be to hasten their transition to another plane of existence.' 'They kill themselves, you mean?' said Bod. [...] 'Indeed.' 'Does it work? Are they happier dead?' 'Sometimes. Mostly, no. It's like the people who believe they'll be happy if they go and live somewhere else, but who learn it doesn't work that way. Wherever you go, you take yourself with you.
My tips for any budding actors would be to go out and see as much as you possibly can. Find the people you want to work with and be ready to hopefully make them want to work with you.
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