There will be boots on the ground if there's to be any hope of success in the strategy.
Architecture does not change anything. It's always on the side of the wealthy. The important thing is to believe that it can make life better.
It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve - the curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman.
My work is not about "form follows function," but "form follows beauty" or, even better, "form follows feminine. "
The architect's role is to fight for a better world, where he can produce an architecture that serves everyone and not just a group of privileged people.
What attracts me are free and sensual curves. The curves we find in mountains, in the waves of the sea, in the body of the woman we love.
Today, architecture is invention. It isn't enough to just be rational - It must also be beautiful.
Stability was overrated. Crises and adventures, on the other hand, could actually teach you something.
I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.
Cautionary tales were fantastic in the '70s.
It is easy to see the faults of others. . . it is hard to see our own.