I went into my own black-out period which lasted two or three years where the canvases would simply build up until they'd get like stone and it was always just a gray mess. The image wouldn't emerge, but I worked pretty regularly. I was fighting to find I knew not what, but I could no longer stay with what I had.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and. . . that almost seems like something I don't quite choose. It chooses me.
I know everything, you see,' the old voice wheedled. 'The beginning, the present, the end. Everything. You now, you see the past and the present, like other low creatures: no higher faculties than memory and perception. But dragons, my boy, have a whole different kind of mind. ' He stretched his mouth in a kind of smile, no trace of pleasure in it. 'We are from the mountaintop: all time, all space. We see in one instant the passionate vision and the blowout.
We are afraid of love because Love is a small death. Love requires that we should surrender, and we don't want to surrender at all. We would like the OTHER to surrender, we would like the other to be a slave. But the same is the desire from the other side: man wants the woman to be a slave; and of course the woman also wants the same, the SAME desire is there. Their methods of enslaving each other may be different, but the desire is the same.