When it comes to giving a professional response, it is quite different to the work and investigation that goes on in the studio. I can only work realizing that there are no ideal situations. When these are given it is because one is part of something exceptional.
There are obviously indispensable things we need to count on, but it is this internal tension between adapting and surviving that makes a difference when it comes to creativity. It is far easier to conclude and profess from the monastery. And that is fine.
The question is how to do it from the pigsty.
From spaces on the street, where cunning rules. You want to do a certain job, under whatever circumstances, but very often it never goes beyond the attempt and the approximation, in hope that it will flourish and not be diluted by the scene’s need for the ordinary.
¿How is it that an artist can give sense to what he does, without having to endure a purpose?
I believe that retreating from the demanding purpose is also what the audience looks for. This is what enables both to coexist.
There are no guarantees of what can be achieved, but although one’s surroundings may set one off track over and over again, that is where we are heading. This may sound like a “Conquest of the Useless”, as reads the title of Herzog’s book, but thus humanity has yet lost the fire of astonishment.