Nicolas Cage

what you're calling metatextual, I would call the art synthesis concept that I was dabbling in, where I could pull from other art forms and have them inform my performance.

And I like to take from places, whether it's in film performance, like you mentioned, Bruce Lee, or whether it's in

graphic art or any other art, Stockhausen.

We were talking about Pünke and Steemann, I think.

In this case, and I will let, you know, I did it again.

I felt that the Wild at Heart performance was more Hall-an, not...

Stanislavski, Warholian in that Warhol would take these icons and do these marvelous collages with them.

I thought, well, why not do that with film performance?

And David Lynch being David Lynch, the great American surrealist was really up for that.

Which brings me to Spider Noir.

So we'll circle.

I can get there now or I can circle back.

Go for it.

Just go where you're going.

Well, so Duchamp's shovel started this idea, I think, in pop art of taking a utilitarian tool and isolating it and we could regard it as fine art.

And then you had Warhol doing that with the soup cans.

And then I looked at all that.

And then I looked at Lichtenstein.

And Lichtenstein utilized the – or embraced a mass utility in the comic strip –

And broke it down all the way to the little printing press dots that you see from the printing press, and he threw it into a still life.