Dr. Peter Weller

We walked Venice soup to nuts, man. We discovered Venice. We got up at 7 every day, walked it one way, walked the other, walked it one way, walked the other for 10 days. And you know something? I turned to him at the end of it. We're going up to Paris for New Year's. I said, Brian, I'm spending every Christmas here, man.

This is the most freeing, inviting, historical, weird, and inspiring place ever. And we went to Padua to see what Vittorio did. And those days you could smoke a cigar and walk over to the cappuccino. What are we going to see here? And Brian, you know, he's a photographer. And I'm a movie guy. And we walk in the front door. Nowadays it's hermetically sealed. It's been restored.

This is the most freeing, inviting, historical, weird, and inspiring place ever. And we went to Padua to see what Vittorio did. And those days you could smoke a cigar and walk over to the cappuccino. What are we going to see here? And Brian, you know, he's a photographer. And I'm a movie guy. And we walk in the front door. Nowadays it's hermetically sealed. It's been restored.

This is the most freeing, inviting, historical, weird, and inspiring place ever. And we went to Padua to see what Vittorio did. And those days you could smoke a cigar and walk over to the cappuccino. What are we going to see here? And Brian, you know, he's a photographer. And I'm a movie guy. And we walk in the front door. Nowadays it's hermetically sealed. It's been restored.

You've got 15 minutes. That's it. But this is something that da Vinci talks about. These are frescoes that Michelangelo sources. This is like... You know, it's true that everybody has sourced them. Vittorio Storo is correct. There's not a painter of the Western world that hasn't gone to there.

You've got 15 minutes. That's it. But this is something that da Vinci talks about. These are frescoes that Michelangelo sources. This is like... You know, it's true that everybody has sourced them. Vittorio Storo is correct. There's not a painter of the Western world that hasn't gone to there.

You've got 15 minutes. That's it. But this is something that da Vinci talks about. These are frescoes that Michelangelo sources. This is like... You know, it's true that everybody has sourced them. Vittorio Storo is correct. There's not a painter of the Western world that hasn't gone to there.

And this critic that came out about five years ago said, Giotto in the Cappella Scrovegni is the one event of Western art that you can't impugn. You cannot even criticize it. You can't even go there with, well, you know, as far as texture. Or one of these hoity-toity pretentious pieces of bullshit that people gauge art now. Because that is a jump off place. That's Neil Armstrong going to the moon.

And this critic that came out about five years ago said, Giotto in the Cappella Scrovegni is the one event of Western art that you can't impugn. You cannot even criticize it. You can't even go there with, well, you know, as far as texture. Or one of these hoity-toity pretentious pieces of bullshit that people gauge art now. Because that is a jump off place. That's Neil Armstrong going to the moon.

And this critic that came out about five years ago said, Giotto in the Cappella Scrovegni is the one event of Western art that you can't impugn. You cannot even criticize it. You can't even go there with, well, you know, as far as texture. Or one of these hoity-toity pretentious pieces of bullshit that people gauge art now. Because that is a jump off place. That's Neil Armstrong going to the moon.

You're going to criticize that? You're going to, well, you know, if I was Neil Armstrong, you know what I would have said. But that's what art critics do and art enthusiasts. That's not for me. And I know what I like. But to quote Gerns Gombrich, you don't know what you like. You like what you know. First of all, you've got to admit naivete.

You're going to criticize that? You're going to, well, you know, if I was Neil Armstrong, you know what I would have said. But that's what art critics do and art enthusiasts. That's not for me. And I know what I like. But to quote Gerns Gombrich, you don't know what you like. You like what you know. First of all, you've got to admit naivete.

You're going to criticize that? You're going to, well, you know, if I was Neil Armstrong, you know what I would have said. But that's what art critics do and art enthusiasts. That's not for me. And I know what I like. But to quote Gerns Gombrich, you don't know what you like. You like what you know. First of all, you've got to admit naivete.

And second of all, you've got to have somebody take you by the hand and walk you through.

And second of all, you've got to have somebody take you by the hand and walk you through.

And second of all, you've got to have somebody take you by the hand and walk you through.

And, you know, if you don't have somebody walking you through history for weirdos, it's always going to be weird.

And, you know, if you don't have somebody walking you through history for weirdos, it's always going to be weird.

And, you know, if you don't have somebody walking you through history for weirdos, it's always going to be weird.

But the thing is, if somebody walks you through and goes, look, see this here before? They're trying. See this fresco here from ancient Rome? Yeah. They had it down. It's lost. They're trying here in the Middle Ages. They can't do it. Okay, how come this guy can't?