Wednesday, November 3, 2010

Lawyers, Guns and Money

here's what/who the show was all about, our boys pee-wee and john, they guided us through, inspired our long days and nights, and in the end, due to a clerical error with the press release, took credit for the entire show.

here is the aforementioned press release:
An interview with two major collaborators towards the show, John Wayne and Paul Reubens:

Interviewer: The sheer odds against us finding the two of you on one sheet of paper are stupendous. 
John Wayne: Well, I don't favor talkin to vermin but i'll talk to you just this once.
I: I welcome the honor. 
Paul Reubens: Well, here's the thing. I totally, during interviews, a lot of the time, lie. I make stuff up.
I: Perfect. So where do we begin? Perhaps your subject. Where do you come from and how do you work?
JW: I stick to simple themes. Love. Hate. No nuances. I stay away from psychoanalyst's couch scenes. Couches are good for one thing...I've always followed my father's advice: he told me, first to always keep my word and, second, to never insult anybody unintentionally. If I insult you, you can be goddamn sure I intend to. And, third, he told me not to go around looking for trouble. (pours himself a whiskey)
PR: I love that story.
I: What I enjoy about reading and viewing your work is that you have the ability to connect with the common man in a way that we can understand it.
JW: I made up my mind that I was going to play a real man to the best of my ability. I felt many of the western stars of the twenties and thirties were too goddamn perfect. They never drank or smoked. They never wanted to go to bed with a beautiful girl. They never had a fight. A heavy might throw a chair at them, and they just looked surprised and didn`t fight in this spirit. They were too goddamn sweet and pure to be dirty fighters. Well, I wanted to be a dirty fighter if that was the only way to fight back. If someone throws a chair at you, hell, you pick up a chair and belt him right back. I was trying to play a man who gets dirty, who sweats sometimes, who enjoys kissing a gal he likes, who gets angry, who fights clean whenever possible but will fight dirty if he has to. You could say I made the western hero a roughneck. Maybe I can give some poor bastard a little hope by being honest.
PR: I love that story, too. For me, I really think it's the same for me as it is for them. I've always felt like a kid, and I still feel like a kid, and I've never had any problem tapping into my childhood, and my kid side. And I think that's a very universal thing, I don't think it's unique to me at all. People I've talked to in their 60s, 70s, 80s, and 90s have all told me "You know, I still feel 20." So I don't expect that I'm going to be any different.
I: What is the contrast between the intent of your work and the perception of your work?
JW: I can't help this stupid look. I couldn't hit a wall with a sixgun, but I can twirl one. It looks good.
PR: I model myself after a Jimmy Cagney sort of role. That's pretty much what I'm closest to. Spencer Tracy maybe. I was a serious actor in the James Dean kind of school. 
I: That's funny because your image is not that right now.
PR: Well I had a different image and I had a different image of myself. 
I: You seem to have a great sense of humor.
PR: I seem to, yes.
JW: Get off your horse and drink your milk. I never trust a man that doesn't drink.
I: Are you a romantic?
JW: I wouldn't make it a habit, calling me that, son. I am a demonstrative man, a baby picker-upper, a hugger and a kisser--that's my nature. I don't act. I react.
I: Well, we all react every day to thousands of images, inundated to the point that we have become visually ambivalent. How do you break through the numbness and complacency?
Well, I don`t care much about images...(sip) I couldn't hit a wall with a sixgun, but I can twirl one. It looks good.
I: Can you give us some insight into what to expect for your upcoming exhibition?

JW: Well, we do exactly what we started out to do. So, you have something in it - you have action and you have scenic shots that you can split up the scenes. You give them action, you give them a scene, give them some scenery, give them some action, give them a scene. And there's less monotony. Let's face it, if there's monotony in everything and particularly if you have to explain a story, there has to be a lot of narration. So, all these things help to make a show more entertaining.
PR: Don't you love that story? I worked with some amazing people. It's just one of those things that happens every once in a while, and it's a lot of fun, because you're working with great people and it's very casual and relaxed. You don't put the makeup on, and you don't worry about what you look like. It was a really remarkable situation—they were completely open to what we were trying to do. They liked what we were doing, and understood it, and they'd go along with almost anything. But to answer your question, I never viewed the adult “version” of the show as solely for adults. I tried to make it so that the act carried over. And if a kid had seen the original version and caught something, he might be able to laugh at something dirty because he caught the reference. And if a kid didn’t know, it flew right over his head. I always designed things to be dou ble entendres so it could be appreciated either way. I never really viewed it as, “Oh, this is the adult version, and this is the kid’s version.” In fact, when we were doing the adult version, I tried to make it for kids. And as soon as we had a kids’ show, I tried to add enough stuff to make adults remain interested in it. I think the show we are working on for this is much more geared for adults.
I: How do you feel about people’s reaction to your work?
My sister was so freaked that she burst into tears right before the show and she had to be like put in an isolation booth. She didn't make it, but I did. I was like, after this drive? You gotta be kidding. Try to axe me from the show. Forget it.
I: How would you define the type of atmosphere and experience you are trying to create for the viewer/participant?
 If you've got them by the balls their hearts and minds will follow.
PR: I meant to do that.
How does, or should, the word “passion” relate to an artist?
JW: God damn! I'm the stuff men are made of! Healthy, lusty sex is wonderful!
I: What do you feel is the most important element of your pictures? Is it your subjects, is it the process or is it your vision and concepts?
JW: You talk too much, think too much...too much...Where did you find these peckerwoods? (stomps off)
PR: I'd like to have a little informal chat with you, okay? Now look, you guys know that I really like you, right? Good, and I'm sure you'll understand what I'm about to say. The show is a place where we can all play. Now you know that you're welcome to come over and play any time that you want... but, for now, I think that the best thing for each of you to do is to go home, and reflect... on what I just told you.

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