My strength as a TV writer was my total lack of interest in television.
Some of the most important stories don't lend themselves to television treatment.
The films, the music, the telly that I like is always a little bit more on the margins.
I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.
I'm a late-night host that doesn't want to be tied down by time or television or even hosting.
I've always felt that I was a bit of an outsider to the British children's-book illustration scene, because I don't work in line and wash.
Sometimes magnificent visual art takes root in the humblest of soils. Advertisements painted on old barns, tattoos, fruit crate labels, hot rod embellishments - all these media and many other non-galleried forms have hosted and fostered esthetic delights that satisfy any rigorous definition of art.
I don't think that my kind of journalism has ever been universally popular. It's lonely out here.
Bloggers and other flavors of lone wolf are publishing heart-wrenching photo-essays from the front line of the recovery effort. Newspapers and TV networks? They're writing about the temperature of the water in some part (they don't specify which) of some damaged reactor, illustrating it with video screen grabs of machinery they don't understand enough to explain.
I'm trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.
I've got my own TV stuff on the go, and it's all a bit oddball - it's one-offs, and I can do what, when, and how I want it, really. I don't have any scripts or people telling me to do stuff twice.
I think people like watching edgy things.
I talk about weird stuff. What I do only works at night, only on the radio.
I'd rather do spontaneous and silly work like ThunderAnt than have somebody's film on my shoulders.
