I saw 'Taxi Driver,' and 'Taxi Driver' kind of saved my life. The scene where Robert De Niro is looking at himself in the mirror saying, 'You talkin' to me? You talkin' to me? Who the hell else are you talkin' to?' That's the scene that changed my life by changing my attitude about acting.
Animals have a much better attitude to life and death than we do. They know when their time has come. We are the ones that suffer when they pass, but it's a healing kind of grief that enables us to deal with other griefs that are not so easy to grab hold of.
Gardening is not trivial. If you believe that it is, closely examine why you feel that way. You may discover that this attitude has been forced upon you by mass media and the crass culture it creates and maintains. The fact is, gardening is just the opposite - it is, or should be, a central, basic expression of human life.
An attitude to life which seeks fulfillment in the single-minded pursuit of wealth - in short, materialism - does not fit into this world, because it contains within itself no limiting principle, while the environment in which it is placed is strictly limited.
I think failure is nothing more than life's way of nudging you that you are off course. My attitude to failure is not attached to outcome, but in not trying. It is liberating. Most people attach failure to something not working out or how people perceive you. This way, it is about answering to yourself.
I've reached a point in my life where it's the little things that matter... I was always a rebel and probably could have got much farther had I changed my attitude. But when you think about it, I got pretty far without changing attitudes. I'm happier with that.
Becoming emancipated at 14, my life wasn't normal. I didn't have to go to school, so I didn't. I was rebellious by nature. I spent my 20s focusing on my company, Flower Films, and producing movies. Now that I'm almost 30, I would like to try other things in lie. I'm crazy about photography, and I want to take an art history class.
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.