What I've discovered is that in art, as in music, there's a lot of truth-and then there's a lie. The artist is essentially creating his work to make this lie a truth, but he slides it in amongst all the others. The tiny little lie is the moment I live for, my moment. It's the moment that the audience falls in love.
What is it they want from the man that they didn't get from the work? What do they expect? What is there left when he's done with his work, what's any artist but the dregs of his work, the human shambles that follows it around?
He was the only person caught in the collapse, and afterward, most of his work was recovered too, and it is still spoken of, when it is noted, with high regard, though seldom played.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art.
Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.
But the nature of my main work in chemistry can be better represented by more than 280 English publications, of which roughly 200 concern the theory of chemical reactions and related subjects.
I had therefore, no hesitation in giving all the information I had, even though occasionally I tried to concentrate mainly on giving information about the results of my own work.
