Joe W Horner -
Studying BA Fine Art at Chelsea College of Art and Design.
Contact: Joe_horn_91@hotmail.com
Links:
flickr
![thelabmagazine:
WILLEM DAFOE
INTERVIEW BY WES ANDERSONPHOTOGRAPHY BY JAKE CHESSUMASSISTED BY DAVID ROSENZWEIG & DOMINIC NEITZSTYLING BY MARK HOLMESGROOMING BY AMY KOMOROWSKI AT CELESTINE AGENCY
PHOTOGRAPHED AT SUN STUDIOS, NEW YORK CITY
—-
WES ANDERSON—There’s a very dance-like aspect to this work [plays] that is often the opposite of movies, which are generally about naturalism. You’ve always had this other part of your acting life – a whole range of experiences – that allows you to use all your muscles.
WILLEM DAFOE—I think I trust my body more than anything else. When I’m in movement I’m happiest, so I think even in movies I’m attracted to things that require me to be pretty physical and sometimes adopt a performance style that isn’t naturalistic or isn’t filled with manner and normal psychology. Those are often the movies I appreciate more and I think you have a greater possibility of tapping into what’s great about movies that way. Movie language is not about close-ups or naturalistic acting; it’s about a series of pictures and sounds and rhythms that you can really play with on a big old screen, whereas in TV they’re much more dependent on writing and psychological timing.
WA—I can definitely see that. When we did The Life Aquatic together, I feel like the overview of the whole thing is not realistic at all, it’s a complete fantasy, but I still think with movies moment to moment you’re looking to make it feel like it’s really happening.
WD—Yes, you’re not just doing abstract moving, so the way you connect with anything is you give a psychological motivation to it. I guess what I’m talking about is the language of everyday gesture and manner and charm, and it’s nice to get away from that in movies because I think there’s a better world to be had.
WA—Definitely. The exciting thing in movies is figuring out if there’s another way to do this that we’ve never thought of or that we’ve never seen.
WD—For me the best thing about movies is the shift of seeing. It’s not so much to reassure you what you already know but to remind you of what you’ve forgotten or kick-start your imagination in a way you didn’t think of before, whether it’s a fantasy or a gritty realistic style of movie.
(Excerpt from Issue 05)
Enjoy more of this on thelabmagazine.com, coming summer 2012!](http://24.media.tumblr.com/tumblr_m4g974zhR51rn4y9zo1_1280.jpg)
WILLEM DAFOE
INTERVIEW BY WES ANDERSON
PHOTOGRAPHY BY JAKE CHESSUM
ASSISTED BY DAVID ROSENZWEIG & DOMINIC NEITZ
STYLING BY MARK HOLMES
GROOMING BY AMY KOMOROWSKI AT CELESTINE AGENCYPHOTOGRAPHED AT SUN STUDIOS, NEW YORK CITY
—-
WES ANDERSON—There’s a very dance-like aspect to this work [plays] that is often the opposite of movies, which are generally about naturalism. You’ve always had this other part of your acting life – a whole range of experiences – that allows you to use all your muscles.
WILLEM DAFOE—I think I trust my body more than anything else. When I’m in movement I’m happiest, so I think even in movies I’m attracted to things that require me to be pretty physical and sometimes adopt a performance style that isn’t naturalistic or isn’t filled with manner and normal psychology. Those are often the movies I appreciate more and I think you have a greater possibility of tapping into what’s great about movies that way. Movie language is not about close-ups or naturalistic acting; it’s about a series of pictures and sounds and rhythms that you can really play with on a big old screen, whereas in TV they’re much more dependent on writing and psychological timing.
WA—I can definitely see that. When we did The Life Aquatic together, I feel like the overview of the whole thing is not realistic at all, it’s a complete fantasy, but I still think with movies moment to moment you’re looking to make it feel like it’s really happening.
WD—Yes, you’re not just doing abstract moving, so the way you connect with anything is you give a psychological motivation to it. I guess what I’m talking about is the language of everyday gesture and manner and charm, and it’s nice to get away from that in movies because I think there’s a better world to be had.
WA—Definitely. The exciting thing in movies is figuring out if there’s another way to do this that we’ve never thought of or that we’ve never seen.
WD—For me the best thing about movies is the shift of seeing. It’s not so much to reassure you what you already know but to remind you of what you’ve forgotten or kick-start your imagination in a way you didn’t think of before, whether it’s a fantasy or a gritty realistic style of movie.
(Excerpt from Issue 05)
Enjoy more of this on thelabmagazine.com, coming summer 2012!
This work by Daniel Lober really caught my eye and i found very novel to me. The way in which having pictures of hot air balloons placed with a persons behind that has a very similar look to the balloon itself.
Punch (2011) - Joe Horner
The outcome of this to me had a real impact seeing the work causes me to remember the pain that I felt in the action. However I am unsure whether of it’s audience would feel the same feeling and emotions. I will have to research this to find out evaluate my findings.
