The child is the father of man.
Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
My father had wanted to be a commercial artist. He got as far as being a photographer in the army in World War II, but he was always a Sunday painter. At a certain point, he gave me his oil paints and I messed around with them, having no idea what I was doing.
If my work is pornography, so what? I don't have any moral compunction about pornography. Any feelings I have about it are purely stylistic. . . I don't see why it should be excluded as a serious subject.
Once established, a successful style looks like an inevitability - maybe that's the definition of a successful style - but there's often the time when it looks like anything but.
I have a terrible confession to make, sort of like those people who say that they've been mispronouncing a word all their life: I've never read Ways of Seeing all the way through. I'm sure I carried it around with me in art school.
What great comedians, great comic writers, great comic actors do is that they just read the headlines with the right eyebrow position and it's funny.
Every actor has a natural animosity toward every other actor, present or absent, living or dead
I enjoy feeling physically strong, so maybe I'd like to be able to lift a building and launch it at someone.
And sometimes we cling because the memory is so painful that we can't stop visiting it and hoping to make it come out differently. The risk of letting go is that we have to confront our own selves and our own possibilities.
Never ask what sort of computer a guy drives. If he's a Mac user, he'll tell you. If not, why embarrass him?