take me anywhere anywhere anywhere don't care.
hello.
been working my butt off. boring life ostensibly. leaving to frankfurt in t-minus 12 days.
choice a) not say anything to work and stop showing up || choice b) give them notice like, now.
plane-ft.lauderdale-montreal-frankfurt-train-den haag. living off scraps, taking germany by storm, working on a little dutch, and finding my way to dreamy barcelona which i have highly romanticized already. life should be an epic romance. fuck anything else.
trains trains trains. i love trains. countryside speeding past, surrounded by strangers.
i've decided my true professional inspiration is tilda swinton.
"When I was very young, I was on a train going back to my school. I was extremely unhappy. And it suddenly occurred to me that none of the people in the carriage would be able to tell how desperate I felt. And it was like an epiphany to realize that I had no idea what was going on behind the faces of the people in the carriage with me. I began to fantasize about what was going on for them. You can never, ever know what’s going on for somebody else. However explicit they may think they’re being, they’re still choosing what to say to you. There’s stuff they’re not able to say to you. There’s stuff they’re not able to show you. There’s stuff that even if they’d like to show you there’s no way you can ever see or know about them. And I find that fascinating. This is something I love about screen performance. I find in the cinema particularly a depth, because of the scrutiny that it can afford you. It can go so close, molecularly close, right up to an unwatched face, someone who you know is not aware that they’re being scrutinized. And it can give you access to that wonder about what’s going on inside their minds."
"I’m intrigued by the idea of pressures that people put themselves under (and are put under by society) to fix themselves in a single identity and not transform. I’m interested to take that position and place it within a story where that identity is challenged-where a precipice, if you like, is presented to that person. You transform, or you fail or you fall. You either change or you know you will perish, as it were. Maybe because I am a performer; maybe because I am an artist; maybe because I’m a freak, I don’t know. But it’s always occurred to me that transformation is inevitable and constantly available. And it’s never occurred to me to hang on to any identity for dear life and fight off anything else."
"I just imagine that [my transformation is] still around the corner ahead of me. I don’t feel any less shy, to be honest with you. I don’t feel any less solitary. I don’t know. It doesn’t feel like a completed work. But I feel that I’m beginning to get the hang of working with it all and, you know, just trying to figure it out. I think ducking and diving is possibly the best the best way to describe my attitude to that. I’m just trying to keep moving. What do they say about sharks?"
been working my butt off. boring life ostensibly. leaving to frankfurt in t-minus 12 days.
choice a) not say anything to work and stop showing up || choice b) give them notice like, now.
plane-ft.lauderdale-montreal-frankfurt-train-den haag. living off scraps, taking germany by storm, working on a little dutch, and finding my way to dreamy barcelona which i have highly romanticized already. life should be an epic romance. fuck anything else.
trains trains trains. i love trains. countryside speeding past, surrounded by strangers.
i've decided my true professional inspiration is tilda swinton.
"When I was very young, I was on a train going back to my school. I was extremely unhappy. And it suddenly occurred to me that none of the people in the carriage would be able to tell how desperate I felt. And it was like an epiphany to realize that I had no idea what was going on behind the faces of the people in the carriage with me. I began to fantasize about what was going on for them. You can never, ever know what’s going on for somebody else. However explicit they may think they’re being, they’re still choosing what to say to you. There’s stuff they’re not able to say to you. There’s stuff they’re not able to show you. There’s stuff that even if they’d like to show you there’s no way you can ever see or know about them. And I find that fascinating. This is something I love about screen performance. I find in the cinema particularly a depth, because of the scrutiny that it can afford you. It can go so close, molecularly close, right up to an unwatched face, someone who you know is not aware that they’re being scrutinized. And it can give you access to that wonder about what’s going on inside their minds."
"I’m intrigued by the idea of pressures that people put themselves under (and are put under by society) to fix themselves in a single identity and not transform. I’m interested to take that position and place it within a story where that identity is challenged-where a precipice, if you like, is presented to that person. You transform, or you fail or you fall. You either change or you know you will perish, as it were. Maybe because I am a performer; maybe because I am an artist; maybe because I’m a freak, I don’t know. But it’s always occurred to me that transformation is inevitable and constantly available. And it’s never occurred to me to hang on to any identity for dear life and fight off anything else."
"I just imagine that [my transformation is] still around the corner ahead of me. I don’t feel any less shy, to be honest with you. I don’t feel any less solitary. I don’t know. It doesn’t feel like a completed work. But I feel that I’m beginning to get the hang of working with it all and, you know, just trying to figure it out. I think ducking and diving is possibly the best the best way to describe my attitude to that. I’m just trying to keep moving. What do they say about sharks?"