It just, um, starts feeling correcter and correcter until it's done.
Sean O'Hagan, The Guardian, 25 February 2007 source ↗
The question
How do you know when a piece of work is finished?Originally asked
The Creative Independent, to working artists, its interview series
A repeated process question in The Creative Independent, asked across visual art, music, writing, performance, and mixed media.
You answer as yourself. Nobody on FLAPSS answers as anybody else.
It just, um, starts feeling correcter and correcter until it's done.
Sean O'Hagan, The Guardian, 25 February 2007 source ↗
I had this sort of…vibe in my head that I wanted to get onto the page. It wasn’t even an image, not even that concrete. It was almost like a song that I couldn’t hear. The spirit of a book that wasn’t yet written, but wanted to be. I felt that way for Jell-O Girls, too. It was an energy I wanted to translate. I knew Aesthetica had come together when I saw and felt the vibe on the page. I don’t know if this makes sense, but I think now, after going through this process of channeling the vibe into a book twice, that there’s no way to force it. It’s a matter of time.
I don’t think any of my plays are done right now.
It’s so weird. I feel like that’s so tough. You just know, you do. I feel like if I could explain that, I’d probably be better at writing songs or something. If I knew the trick to it, then I would just do it every time and just always land the dismount. I don’t think that every song I write is the song, but it’s part of the practice of staying in your expression and your expressiveness and just trying to find the nerve and hit the nerve well every time. You know when you hit the nerve, it’s like hitting a funny bone or on your knee when they’re doing the reflex thing at the doctor. It’s like you just know when you hit it and you know when you’re not hitting it.
At a basic level, I think something is successful if I think I got myself anywhere new at all.
I don’t know if that is true. There have been 110 or more years of cinema, and it’s impossible for any one of us to make a film that can’t be compared to something that has come before. To me Blue Velvet is Blue Velvet and Rear Window is Rear Window. You could say that Sunset Boulevard or Rear Window has conjured an idea for me, but even though I love them or am inspired by them, life is a 24/7 movie. Ideas come out of that all the time. It’s hard to say it’s cinema that conjures ideas. It’s altogether.
The studios are superreluctant to give final cut. They have so much money riding on these things, so they want a committee to go and rule the roost.
Most people, these days, they don’t even believe in reincarnation. They’d say, you only go around once.
I dream to keep on getting ideas and working.
To me, the greatest master that ever walked the earth. Maybe some could be as great, but none could be greater.
And yet I can’t tell you, for no one can prove what happens on the other side. It’s like anybody’s guess until it happens. You can say, I believe this would happen, but you can’t prove it.
Laura Parnes, Brett Story, Leelee Kimmel, Ja’Tovia Gary, Alan Cumming, Jim Findlay
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