You just Sanisa in the death overs. He is simply the best in the world.
I think of myself as a kind of reporter; I report on the nature of certain events. I think of art as a report on civilization at a certain time.
Monsters exist because we create them, through war and violence, and distortion, and the way we handle people and so on.
Artists are part of the information process. . . Visual history is important in providing a record of what is going on - levels of intention, levels of confidence, levels of aggression or control.
I am trying to make some kind of connection to what is going on in the world, to make some sort of contact. And I use the instruments that our modern world offers, these extraordinary instruments of photography and film and computers.
The freeze of a photographic gesture, the fix of an action, how an arm twists, how a smile gets momentarily stabilized or exaggerated - to try to get some of this is important. . . The photofix inflects the almost literal shaping of a figure, changes of movement or potential movement, and a sense of occurrence or event.
Over the years a photo-mania developed. At times, photographic images have signaled a way forward and gotten me out of a bind.
I always wanted the actors to feel really free to leave the words behind if they weren't working, reword lines, if they felt like there was impulse they wanted to follow, if it was taking the scene out of order or adding something, that you should always feel free to do that.
What we are after is the root and not the branches. The root is the real knowledge; the branches are surface knowledge. Real knowledge breeds 'body feel' and personal expression; surface knowledge breeds mechanical conditioning and imposing limitation and squelches creativity.
Granting such immunity undermines the constitutional protections Americans trust the Congress to protect.
The avantgarde are people who don't exactly know where they want to go, but are the first to get there.