A Quote by Cory Monteith
I see the people in the tabloids, the ones that get bad press, who have kind of gone off the edge, and I try to study them so that I don't do that. It seems like they lost focus at some point - that's the one thing they all have in common.
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I start out making my paintings for me. I don't see it as a form of communication. Until, of course, after they are done and I want people to see them. And want them to be recognized. But while I am making them I just try to get lost in them. Kind of like it's a prayer.
I think there is some truth to publicity stunts that might get you press like that. It's so hilarious because now every time I walk by the tabloid stands and look at the tabloids it makes me kind of wonder like what's really going on.
It kind of hit me at some point during the process that most people in the film business - not just the executives, the people who make them, too - tend to come from pretty upper-class backgrounds. If they go work a job, it's to have that experience, that sort of thing. After they graduate college, they have time to go visit Europe and take some time off and get their heads together. That kind of thing, I sure didn't have.
I kind of like social media, and I like hearing from people. I don't like the ugly stuff, but there are some people - smart people - who have a very different perspective, and I'll get a backlash from them. And this isn't necessarily a bad thing.
Some people will go to the opening of an envelope. They live their lives in the public eye and get off on it, they need it. They need that kind of adoration. If their name isn't in the tabloids once a week they feel like a failure.
If I try to figure out what people want and give it to them, it's a failure. If I try to please people and figure out what's going to get me from point A to point B, I fail. But I think if I do what I want to do, in the long run, maybe not tomorrow, but at some point, I think it'll pay off and it'll at least feel honest.
What I found was when I started my first study, and then in subsequent studies, is here you have people under some kind of duress, or I chose to study them because they represented some kind of historical event, as it impacted on them or as they helped to create it.
I know that some of the folks in the press are uptight about this [moving the press corps out of the West Wing ], and I understand. What we're - the only thing that's been discussed is whether or not the initial press conferences are going to be in that small press - and for the people listening to this that don't know this, that the press room that people see on TV is very, very tiny. Forty-nine people fit in that press room.
Maybe I'd never see him again... maybe he'd gone for good... swallowed up, body and soul, in the kind of stories you hear about... Ah, it's an awful thing... and being young doesn't help any... when you notice for the first time... the way you lose people as you go along ... the buddies you'll never see again... never again... when you notice that they've disappeared like dreams... that it's all over... finished... that you too will get lost someday... a long way off but inevitably... in the awful torrent of things and people... of the days and shapes... that pass... that never stop.
There's a lot of focus on kids like Macaulay Culkin or others who had bad situations at some point in their careers and not enough focus on the people who do good like Natalie Portman or Claire Danes. It's hard for children to have these full-time jobs with all this responsibility.
It seems like we are moving towards something, some kind of point and it is probably going to be an important point in our development or dissolution. That is what everybody seems to be thinking.
So many rich people, when they get into philanthropy, they have one thing they like, or several things they focus on. They pick a disease or a college or some kind of non-profit. They produce good results through that cause, but also they get recognized; there's some sort of monument to what they did.
I've played people that are on the line of evil and good, but that's life. We are always playing with the good and the bad. I see them as people. I don't see them as caricatures. I try to not make them caricatures. Maybe I fail, but I try to see what' behind them. Would I play the hero? A superhero? I don't think so. But, I play good guys. There are some there, but you have to look.
My idea of a good picture is one that's in focus and of a famous person. People are only glamorous if you don't see them. Like the movies used to make people years ago. There is something about people on screen that makes them so special; when you see them in person, they are so different and the whole illusion is gone.
I've tried to tell people that the reason I don't really get excited over good press is that I don't want to get agitated over bad press. I don't wanna get too high on good press, too low on bad press. It's just not a healthy way to engage with my own feelings about my music.
Being in darkness and confusion is interesting to me. But behind it you can rise out of that and see things the way the really are. That there is some sort of truth to the whole thing, if you could just get to that point where you could see it, and live it, and feel it. I think it is a long, long, way off. In the meantime there’s suffering and darkness and confusion and absurdities, and it’s people kind of going in circles. It’s fantastic. It’s like a strange carnival: it’s a lot of fun, but it’s a lot of pain.
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