Dr. Peter Weller

Plus, he's a violent dude. I have to give a paper on him at the Mediterranean Society in about two weeks. Oh, really? But the thing is that you go to Caravaggio, you can go to, you know, Rembrandt derives out of him. And then I go to, like, I said, well, look, man, you know, I told Vittoria, I said, really, if you want to ask, really, my favorite of favorites might be...

Plus, he's a violent dude. I have to give a paper on him at the Mediterranean Society in about two weeks. Oh, really? But the thing is that you go to Caravaggio, you can go to, you know, Rembrandt derives out of him. And then I go to, like, I said, well, look, man, you know, I told Vittoria, I said, really, if you want to ask, really, my favorite of favorites might be...

Plus, he's a violent dude. I have to give a paper on him at the Mediterranean Society in about two weeks. Oh, really? But the thing is that you go to Caravaggio, you can go to, you know, Rembrandt derives out of him. And then I go to, like, I said, well, look, man, you know, I told Vittoria, I said, really, if you want to ask, really, my favorite of favorites might be...

Hans Hoffman, the New York school guy, or Larry Rivers. Because I was deeply into New York school guys. And he just nods his head. He's like blowing me off. And I say, who's yours? He says, look, have you been to Padua? I said, no. I've never been to Padua at this time. 1991 or two, whatever that was. He says, you've been going to Italy for how long? I said, 10 years.

Hans Hoffman, the New York school guy, or Larry Rivers. Because I was deeply into New York school guys. And he just nods his head. He's like blowing me off. And I say, who's yours? He says, look, have you been to Padua? I said, no. I've never been to Padua at this time. 1991 or two, whatever that was. He says, you've been going to Italy for how long? I said, 10 years.

Hans Hoffman, the New York school guy, or Larry Rivers. Because I was deeply into New York school guys. And he just nods his head. He's like blowing me off. And I say, who's yours? He says, look, have you been to Padua? I said, no. I've never been to Padua at this time. 1991 or two, whatever that was. He says, you've been going to Italy for how long? I said, 10 years.

He says, you've never been to Padua? Padua. I said, no. He says, you've never seen Giotto? I said, who? He says, Giotto. And Giotto and Padua. I said, okay. So Metta Boy knew who it was. Because Metta Boy's school. Jean Moreau knew who it was. Because she's smart, right? I didn't know who the F he was talking about.

He says, you've never been to Padua? Padua. I said, no. He says, you've never seen Giotto? I said, who? He says, Giotto. And Giotto and Padua. I said, okay. So Metta Boy knew who it was. Because Metta Boy's school. Jean Moreau knew who it was. Because she's smart, right? I didn't know who the F he was talking about.

He says, you've never been to Padua? Padua. I said, no. He says, you've never seen Giotto? I said, who? He says, Giotto. And Giotto and Padua. I said, okay. So Metta Boy knew who it was. Because Metta Boy's school. Jean Moreau knew who it was. Because she's smart, right? I didn't know who the F he was talking about.

And he said the very first one, you know, by three, seven frames of narrative movie in depth, spatial height, width, depth, color. Feeling passion, tears, the first real attempt at spatial perspective in a narrative in a movie that goes around a 20-meter church, in front of which is Giovanni Pisano. You know who he is? No. No. He says, well, he's the first.

And he said the very first one, you know, by three, seven frames of narrative movie in depth, spatial height, width, depth, color. Feeling passion, tears, the first real attempt at spatial perspective in a narrative in a movie that goes around a 20-meter church, in front of which is Giovanni Pisano. You know who he is? No. No. He says, well, he's the first.

And he said the very first one, you know, by three, seven frames of narrative movie in depth, spatial height, width, depth, color. Feeling passion, tears, the first real attempt at spatial perspective in a narrative in a movie that goes around a 20-meter church, in front of which is Giovanni Pisano. You know who he is? No. No. He says, well, he's the first.

Him and his dad were the first realist medieval sculptors. They go to Siena. I go, yeah, once. He says, so you don't know Giotto, and you don't know Pisano, and you don't know. I said, no. He says, well, you know, then Peter, he takes his Versace scarf. If I could do an invitation, he flips it over his shoulder. He goes, we cannot talk about art. Oh, my God. What a diva. It blows me. Diva.

Him and his dad were the first realist medieval sculptors. They go to Siena. I go, yeah, once. He says, so you don't know Giotto, and you don't know Pisano, and you don't know. I said, no. He says, well, you know, then Peter, he takes his Versace scarf. If I could do an invitation, he flips it over his shoulder. He goes, we cannot talk about art. Oh, my God. What a diva. It blows me. Diva.

Him and his dad were the first realist medieval sculptors. They go to Siena. I go, yeah, once. He says, so you don't know Giotto, and you don't know Pisano, and you don't know. I said, no. He says, well, you know, then Peter, he takes his Versace scarf. If I could do an invitation, he flips it over his shoulder. He goes, we cannot talk about art. Oh, my God. What a diva. It blows me. Diva.

I chase the guy down to a corner. Oh, my gosh. He wanders away. And I say, se potenzioso. You're pretentious, man. He goes, no, tu se potenziosissimo. You're super pretentious. Como tutti americani. You know, to Rembrandt. And you can say Cy Twombly. You can say Jackson Pollock. You can drop, you know, all of the New York school guys. You can say Rothko. But all of these people source Giotto.

I chase the guy down to a corner. Oh, my gosh. He wanders away. And I say, se potenzioso. You're pretentious, man. He goes, no, tu se potenziosissimo. You're super pretentious. Como tutti americani. You know, to Rembrandt. And you can say Cy Twombly. You can say Jackson Pollock. You can drop, you know, all of the New York school guys. You can say Rothko. But all of these people source Giotto.

I chase the guy down to a corner. Oh, my gosh. He wanders away. And I say, se potenzioso. You're pretentious, man. He goes, no, tu se potenziosissimo. You're super pretentious. Como tutti americani. You know, to Rembrandt. And you can say Cy Twombly. You can say Jackson Pollock. You can drop, you know, all of the New York school guys. You can say Rothko. But all of these people source Giotto.

They all source Giotto. Picasso. All of them. Cara, Rembrandt, Caravaggio. They all say it, Peter. So if you do not know Giotto, you don't have any context. You don't know what you're talking about. Because you're like all the Americans I know, the movie guys who can drop all these hot names, you know, Warhol or whatever. But even Warhol knows who Giotto was and studied Giotto. So who are you?

They all source Giotto. Picasso. All of them. Cara, Rembrandt, Caravaggio. They all say it, Peter. So if you do not know Giotto, you don't have any context. You don't know what you're talking about. Because you're like all the Americans I know, the movie guys who can drop all these hot names, you know, Warhol or whatever. But even Warhol knows who Giotto was and studied Giotto. So who are you?