A Quote by Sarah Morris
I think the films and the paintings erase each other. The paintings are extremely slow and constantly going on in the studio - they're constantly regenerating themselves in this slow, monotonous way that's a physical struggle and can be a pain in the ass. They're all based on very specific math and diagrams. And the films, when I'm making them, are very fast, very collaborative, with a lot of improvisation.
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I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.
Having such a diverse cast and crew is what makes the 'Fast & Furious' films so unique to all the other studio tent pole films that just have a very singular look to them.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
I did sit in cinemas as a kid looking at English and American movies thinking, "Wouldn't it be great if the characters were like real people?" And the worst thing is films are constantly advertising themselves, drawing attention to their style of things. But actually I make films that I think are extremely sophisticated and cinematic. But you don't want the audience thinking about the bloody film. You want them to think about what's going on, and believe in it. Be flies on the wall, you know?
I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.
I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
I am very invested in the physical activity and the decision-making that is involved with making paintings - nothing else is quite like it.
Seeing Cubism paintings at the Beaubourg makes me very happy and also old films.
Seeing Cubism paintings at the Beaubourg makes me very happy and, also, old films.
When I was young, I was too slow. I thought I must learn to run fast by practicing to run fast, so I ran 100 meters fast 20 times. Then I came back, slow, slow, slow.
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