Jerry Saltz Quotes
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
Quotes to Explore
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It is up to African leaders to show their will and political courage in order to assure that this new pan-African institution becomes an efficient instrument and not a place for endless discussions.
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People get TV deals by doing something in their grandmother's basement. It is definitely the wave. Everybody is trying to do all that stuff. I mean, the Internet is the only reason that I've gotten work is because I've somehow created a line and people have seen it. And then I've been asked to auditions.
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The fundamental importance of the subject of molecular diffraction came first to be recognized through the theoretical work of the late Lord Rayleigh on the blue light of the sky, which he showed to be the result of the scattering of sunlight by the gases of the atmosphere.
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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Sometimes when you do interviews, it gets twisted up.
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Today's kids aren't taking up arms against their parents; they're too busy texting them.
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A lot of my creative energy is spent coming up with a concept that, once I get it, I feel like it writes itself.
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I've experienced poverty and plenty, and there's a lesson to be learned when you're brought up in poverty.
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The real being of language is that into which we are taken up when we hear it - what is said.
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I work with all these amazing voice actors that do a kajillion voices.
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You can't live in a dialect without tremendous work. Like any muscle, accents and voices and languages are all formed out of the muscles that we have in our mouths and faces and tongues.
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When you're a standup comic, you get up and you try stuff, and you're always kind of seeing how far you can push things.
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I remember driving the tractor on our farm, and Tim McGraw would be on the radio. I'd find myself walking out of class, singing his songs. And then Tim ended up playing my father in 'Friday Night Lights.' It was surreal.
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It's physically hard for me to work. I start to break down, physically. My joints start. I get weepy eyes. I don't sleep well. I was never a hard worker, I guess. So the voiceover work ethic is really great for me - couple days a month, two hours a day.
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I first moved to Denver to work with a group called YWAM, 'Youth With a Mission.' I was a kid - I was 18 - and did some work with homeless people. Really, trying to convert people is sort of an awful position to find yourself in, so I quickly, on my own, grew out of religious ideas.
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I grew up on a tiny little island.
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I think it just helps to be very aware that fundamentally, there are no adults. Everyone is making it up as they go along. You have to find your own path, picking, choosing, taking and discarding as you see fit.
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War is society's dirty work, usually done by kids cleaning up failures perpetrated by adults.
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When I see a film I've finished, it's like another person made it. Like another mind.
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I can take a grandfather clock to pieces and put it back together again.
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All humanity inspires me. Every passer-by is my unconscious sitter; and as strange as it may seem, I really draw folk as I see them. Surely it is not my fault that they fall into certain lines and angles.
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In some ways, you can think of end-to-end encryption as honoring what the past looked like.
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If you think broadly about business, population size is a very important factor.
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Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
