My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
Therefore, when I considered this carefully, the contempt which I had to fear because of the novelty and apparent absurdity of my view, nearly induced me to abandon utterly the work I had begun.
I don't like gross monetary inequities. I firmly believe that the wrong people and the wrong professions are being rewarded, and rewarded absurdly, and that the hardest work the obscenely rich do is ensuring that they preserve their privileges, status symbols, and bloated bank accounts.
There's no telling how many guns we have in America - and when one gets used in a crime, no way for the cops to connect it to its owner. The only place the police can turn for help is a Kafkaesque agency in West Virginia, where, thanks to the gun lobby, computers are illegal and detective work is absurdly antiquated.
From infancy, I have relied on the fiercely sweet spirits of black men; and this is abundantly clear in my work.
The economics of being a playwright are abysmal. I like to think of the work I do out in Hollywood as a way to actually make a life in the theater easier.
As a civil servant in charge of the government's Strategy Unit, I brought in many people from outside government, including academia and science, to work in the unit, dissecting and solving complex problems from GM crops to alcohol, nuclear proliferation to schools reform.
I'm not qualified for anything. I've had lots of little jobs, like picking grapes and being a tax man. I can't imagine not writing, because I've done it since I was five or six. Maybe I'd work in academia. That's always what the plan was.
In the academic world, most of the work that is done is clerical. A lot of the work done by professors is routine.
In my early teens, I was working in a Wimpy Bar and delivering cab company cards to make cash. I also ran a tuck shop at school. I struggled academically because of being dyslexic. When I saw other families and what they had, it inspired me. I thought, 'I can get that, too, if I work hard.'
I've always been incredibly proud of both of my parents and proud of the work I had done privately as a person, professionally and academically.
The dry academic tomes I wrote very early in my career were earnest reflections of the research I conducted, the analysis I applied and the conclusions I drew. And they had few readers, mostly other academics. I learned along the way and started including more and more stories in my work.
Academics, who work for long periods in a self-directed fashion, may be especially prone to putting things off: surveys suggest that the vast majority of college students procrastinate, and articles in the literature of procrastination often allude to the author's own problems with finishing the piece.
In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
Our minds work in real time, which begins at the Big Bang and will end, if there is a Big Crunch - which seems unlikely, now, from the latest data showing accelerating expansion. Consciousness would come to an end at a singularity.
The computer is a mechanism for acceleration: it accelerates economic activity, and this is eating up the world. It's eating up resources, it's processing, it's manufacturing, it's distributing, it's consuming. That's what the computer's real work does, and it does that 24/7, 365 days a year, non-stop, just to satisfy our own narrow needs.
Thematically, most of my work deals with transition, our culture's constant acceleration, and emotional connection and disconnection through technology.
Any acceleration constitutes progress, Miss Glory. Nature had no understanding of the modern rate of work. From a technical standpoint the whole of childhood is pure nonsense. Simply wasted time. An untenable waste of time.
I think I don't sing as hard as I used to sing. I used to kind of hit the accelerator a lot back in my youth, but now it's just being able to control it, and not work it so hard and use more of an emotional or sub textual kind of approach to singing.
What is so weird is that young people who want to be 'celebrities' do not want to put in the hard work. They don't want to do the training, go to drama school, read Shakespeare, try different accents and study technique. They just want to be famous. It is not just in England; it's the same in America and all over Europe.
