PRINTER.

Huell>> WHAT IS THIS?

>> THEY WERE INDIVIDUAL PAINTINGS AT ONE TIME, BUT THEN I PUSHED THEM TOGETHER TO MAKE SOMETHING, AND THEN WE MADE THIS PHOTOGRAPH.

WE MADE THAT -- YOU SEE THAT PHOTOGRAPH WHERE THE PAINTING IS IN -- Huell>> I SEE, IN FRONT OF -- >> OF THIS, YEAH.

Huell>> I'VE GOT YOU.

>> THEN I THINK THERE IS ONE WHERE WE HAVE A FAMILY OF PAINTINGS.

Huell>> AH.

>> MOTHER PAINTING, FATHER PAINTING, AND LITTLE BABY PAINTING.

Huell>> THREE PAINTINGS IN FRONT OF THIS WHOLE BACKDROP HERE.

>> I THOUGHT IT MADE IT LOOK QUITE DIMENSIONAL, DIDN'T IT?

Huell>> THAT'S ONE OF YOUR FAVORITE THINGS TO DO, ISN'T IT, IS TO PLAY WITH THE DIMENSIONS OF THINGS?

>> WELL, THAT'S WHAT WE'RE DOING IN THESE, HERE.

Huell>> WHAT IS THIS ALL ABOUT HERE?

>> THESE ARE GROSCH PAINTINGS, THEY PLAY WITH SPACE A BIT LIKE THESE DO, ACTUALLY.

Huell>> THESE ARE NEW, AREN'T THEY?

>> THESE ARE RECENT, I'M WORKING ON THEM, ACTUALLY, THEY'RE VERY NEW.

Huell>> FOR THOSE WHO WOULD BE INTERESTED IN HOW YOU GO ABOUT DOING SOMETHING LIKE THAT, DO YOU JUST -- WHERE WOULD YOU SIT IN HERE TO DO THIS WORK?

>> AT THESE TABLES HERE.

Huell>> DOWN HERE?

>> YEAH.

Huell>> SO YOU'VE GOT ONE IN PROGRESS RIGHT HERE?

SO YOU WOULD SIT OR STAND?

>> I STAND, ACTUALLY, I STAND AT THE TABLE, I WORK HERE, THEN I PIN THEM UP, NOW, FROM A DISTANCE, OF COURSE, THEY LOOK DIFFERENT.

Huell>> LET'S TURN AROUND AND TAKE A LOOK AT THE WALL OVER THERE, BECAUSE THAT'S QUITE A SHOT, BECAUSE YOU LIKE THE PERSPECTIVE OF SEEING THEM BACK HERE.

>> SOME SEEM TO HAVE MORE SPACE EVEN NOW.

IF YOU LOOK AT THE SECOND ROW, THE ONE, TWO, THREE, 4TH ONE ON, IT'S QUITE THREE-DIMENSIONAL, ISN'T IT?

Huell>> YEAH.

>> IT'S PHYSICAL.

BEING ABLE TO LOOK AT THEM FROM THIS DISTANCE, I MEAN, THAT'S WHAT STUDIOS ARE ABOUT.

IT MAKES A LOT OF DIFFERENCE.

Huell>> LOTS OF LIGHT IN HERE.

THIS IS A VERY -- >> WELL, THE WINDOWS FACE NORTH SO THE SUN NEVER COMES IN AND WE GET A CONSTANT LIGHT.

OTHERWISE, I WOULD HAVE TO START MOVING THE SUN COME IN, AND START MOVING THE PICTURES AROUND.

THAT'S WHY THEY HAVE ARTISTS' STUDIOS WITH NORTH WINDOWS.

Huell>> I NOTICE THAT YOU HAVE GOTTEN INTO FAXES AND MACHINES THAT DUPLICATE AND -- >> ODDLY ENOUGH, IN THE LAST FEW WEEKS THIS STUDIO HAS BEEN REALLY LOW-TECH.

THERE HAS BEEN CHALK AND PAPER AND BRUSH AND PAINT, VERY, VERY LOW-TECH, REALLY.

THIS IS THE HIGH-TECH DEPARTMENT.

I HAVE DECIDED -- SOMETIMES WE USE IT, I HAVE WORKED ON THE COMPUTER BUT I HAVE REALLY DECIDED THAT YOU ONLY NEED -- ALWAYS NEED A BIT OF LOW-TECH, YOU ALWAYS NEED A PAIR OF SCISSORS, IT SEEMS TO ME.

YOU CAN DO BETTER THINGS IF YOU DO THAT, IT SEEMS TO ME.

IT'S AN INTERESTING NOTION THAT THE HIGH TECH, YOU HAVE TO COMBINE IT WITH LOW-TECH THINGS.

Huell>> I THINK YOU HAVE CHANGED A LITTLE BIT ON THAT BECAUSE WHEN I LAST TALKED TO YOU, YOU WERE REALLY INTO THE COMPUTERS AND THE COMPUTER-GENERATED GRAPHICS AND ALL THAT SORT OF STUFF.

>> IT IS FASCINATING, BUT I POINT OUT, OF COURSE, IT'S ALL DEPENDENT, THEN, ON PRINTING, AND I'M VERY INTERESTED IN PRINTING.

PRINTING IS FASCINATING.

BUT THOSE PICTURES ON THAT WALL THERE COULD NOT BE PRINTED, BECAUSE THE KIND OF COLOR THAT'S ON THAT PAPER, IT'S NOT LIKE A PRINTING.

AN OCEAN SHORE IS NOT REPRODUCABLE IN THE KIND OF PROCESSES WE HAVE NOW.

PROBABLY, NEITHER ARE THE DRAWINGS.

THEY'RE TOO SUBTLE.

NOW, THIS IS A PARADOX, REALLY -- I SPENT THE LAST FEW YEARS DEEPLY CONCERNED ABOUT HOW IT REPRODUCES OR WHETHER IT WAS A REPRODUCTION OR AN ORIGINAL OR NOT.

BUT IN THE END, THE LIMITATIONS OF IT ARE THE LIMITATIONS OF PRINTING, AND THE LIMITATIONS OF PRINTING ARE SOMEWHAT -- YOU SIMPLY CAN'T MOVE INTO THAT.

Huell>> YOU'RE KNOWN, AMONG MANY OTHER THINGS, FOR YOUR COLORS, FOR THE BRIGHTNESS OF WHAT YOU DO, SO THAT'S VERY IMPORTANT.

>> I LOVE COLOR, YEAH.

MY POINT ABOUT COLOR, WELL, IT'S LIKE TELEVISION.

IT'S ALL THE SAME COLOR OTHER EVEN WHEN YOU SWITCH THE CHANNELS, IT'S PRETTY MUCH -- UNFORTUNATELY, COLOR IS NOT REALLY BEING USED IN IT PROPERLY, I THINK.

I DON'T THINK IT'S USED IN THE THEATER THAT MUCH, REALLY -- WE DID, I MEAN, WE DO USE IT A GREAT DEAL, BUT NOT MANY PEOPLE USE COLOR LIKE THAT.

I POINT OUT IN THE THEATER YOU CAN HAVE UNBELIEVABLE COLOR EXPERIENCES BECAUSE YOU GET REAL PIGMENTS ON A BOARD OR SET OR SOMETHING, WHERE THE COLORED LIGHT PROJECTED ONTO THAT, IN THE CINEMA ALL YOU CAN HAVE IS THE COLORED LIGHT PROJECTED ONTO WHITE, WHATEVER COLOR YOU'RE GOING TO GET, SO THERE IS A CERTAIN LIMITATION OF COLOR.

IN THE THEATER, LESS SO.

TELEVISION HAS A CERTAIN LIMITATION OF COLOR, REALLY, AND IF YOU LIKE IT, AND WHAT IT DOES, YOU TEND TO LOOK FOR IT ELSEWHERE OR TRY AND MAKE THE TV COLOR BETTER.

Huell>> DO YOU THINK THAT'S POSSIBLE?

YOU KNOW, ELECTRONICALLY, YOU CAN MAKE THINGS -- >> TRY GOING CLOSE UP TO THOSE PICTURES.

THE COLOR IS EXTREMELY VIVID TO BEGIN WITH.

Huell>> NO DOUBT ABOUT IT, THE COLORS HERE JUST STANDING HERE LOOKING AT THEM, ARE VERY, VERY BRIGHT.

WHICH ONE WOULD YOU WANT -- >> LET'S TRY THIS ONE OR THIS ONE.

Huell>> LOUIE, LET'S LOOK CLOSELY AT THESE TWO, AND AS WE WATCH THIS AT HOME, WE'LL SEE WHETHER THE COLORS COME OUT AS BRIGHTLY AS THEY ARE.

HERE IS ANOTHER ONE RIGHT NEXT TO IT, LOUIE.

>> IF YOU CAN LOOK VERY SUBTLEY, BECAUSE YOU CAN'T SEE THIS ON THE CAM REMARKS BUT THERE IS A DIFFERENT BETWEEN THIS COLOR THERE AND THAT COLOR THERE.

THIS IS PRINTED.

IT'S A THIN FILM.

THIS IS PHYSICAL.

I MEAN, YOU ARE TALKING ABOUT SOMETHING THAT CAN'T BE SEEN ON THE SCREEN BECAUSE WE'RE BACK TO THE THIN FILM.

IT'S NOT ENOUGH.

I THINK IT'S TIME THAT THE PICTURE WAS IMPROVED ON TELEVISION, I DO THINK SOMEHOW OR OTHER THEY NEED A SHARPER PICTURE, ONLY BECAUSE YOU CAN THEN SEE MORE TEXTURES.

IT MAKES THE WORLD VERY TEXTURELESS.

Huell>> DO YOU THINK THAT HIGH DEFINITION IS COMING?

>> I HAVE SEEN IT YEARS AGO, A DEMONSTRATION OF IT, AND IT DID LOOK BEAUTIFUL TO ME, I MEAN, IT MADE THINGS LOOK -- JUST MORE VARIETY, BECAUSE THERE IS ALL THAT MARVELOUS TEXTURE OUT THERE THAT THE EYE CAN DELIGHT IN, YOU SEE.

Huell>> WHAT DO YOU THINK ABOUT 3-D, THAT SORT OF THING?

>> 3-D?

Huell>> HAVE YOU EVER BEEN TO ONE OF THE MOVIES WHERE YOU PUT THE GLASSES ON?

>> THE REASON THEY FAIL IS VERY SIMPLE.

THEIR ARITHMETIC WAS WRONG, THEY ADDED UP WRONG, BECAUSE ACTUALLY, WHAT YOU ARE WATCHING NOW IS THREE-DIMENSIONAL ON TELEVISION BECAUSE YOU'VE GOT THIS DIMENSION, THIS DIMENSION, AND LINEAR TIME PASSING, WHICH IS ANOTHER DIMENSION.

THAT'S THREE.

WHAT THEY WERE TRYING TO DO WAS MAKE FOUR-DIMENSIONAL MOVIES, WHICH IS LIKE THIS EXPERIENCE HERE, NOW.

WELL, WHAT WOULD HAPPEN IF THEY SUCCEEDED?

YOU WOULD NEVER KNOW WHERE YOU WERE, WOULD YOU?

IT'S AN IMPOSSIBILITY; IT'S AN ABSURD NOTION.

HOLLYWOOD, UNFORTUNATELY, HAS WASTED YEARS AND YEARS THINKING THEY WOULD GET A MORE VIVID PICTURE BY THESE MEANS.

WELL, YOU WON'T, ACTUALLY, OR NEVER WOULD.

IT NEVER DID.

IT NEVER TURNED OUT RIGHT.

IT IGNORES THE SURFACE OF THE SCREEN AS WELL, WHICH YOU SEE, TRYING TO PRETEND IT'S NOT THERE, YOU HAVE TO BE HONEST ABOUT THE SCREEN, TO BEGIN WITH.

IF YOU DO, YOU CAN THEN MAKE A NEW KIND OF PICTURE.

NOT JUST THE TECHNOLOGY THAT'S NOW AVAILABLE BUT WHAT WE KNOW ABOUT SEEING AND THINGS.

THERE ARE WAYS TO MAKE EXCITING NEW ONES, OH, YEAH, IT'S COMING.

Huell>> YOU HAVE DONE SO MANY THINGS -- AND I'M NEVER CEASED TO BE AMAZED AT WHAT YOU GO INTO NEXT.

ARE YOU ON THE VERGE OF MAKING A FULL-BLOWN HOLLYWOOD MOVIE?

FEATURE FILM?

>> NO.

I MEAN -- SIMPLY BECAUSE I -- YOU KNOW, I DON'T KNOW ANY -- PEOPLE HAVE ASKED ME WHY DON'T YOU WORK IN SHOW BUSINESS?

MY REAL ANSWER HAS BEEN THERE IS TOO MANY PEOPLE INVOLVED, AND WHO IS IN CHARGE?

I HAVE WORKED IN THE THEATER, I HAVE WORKED IN THE THEATER, AND THAT I ACCEPT, YOU KNOW, CERTAIN POINTS THE CONDUCTOR IS IN CHARGE, I ACCEPT THE LIMITATIONS OF IT, BUT MOVIES, I MUST ADMIT, I WANT TO BE IN CHARGE.

IF I DO SOMETHING.

SO I'LL WAIT UNTIL I'M READY, AND THEN USE THE CAMERAS.

I MEAN, I THINK YOU DO HAVE TO MAKE AN EXCITING NEW SPACE ON THE CINEMA SCREEN, WHICH I THINK IS POSSIBLE.

IT IS POSSIBLE, AND IT OPENS UP, THEN, NEW NARRATIVES, NEW STORIES, NEW WAYS OF ACTUALLY TELLING A STORY, LIKE MOVIES DID WHEN THEY WERE INVENTED.

THEY FOUND NEW WAYS TO TELL A STORY, BUT WE ARE A BIT TIRED OF THAT, I THINK, THAT LOOK, NOW.

Huell>> I THINK, TOO, KNOWING YOU AS I DO, THAT YOU WOULD BE QUITE FRUSTRATED BY THE PACE AT WHICH MOVIES ARE MADE.

IT'S VERY LABORIOUS.

>> YES, IT IS PRETTY BORING.

Huell>> YOU WOULD GO CRAZY AFTER A COUPLE OF WEEKS.

>> YOU SEE, I'M INTERESTED IN -- I AM INTERESTED IN A LOST -- AS I SAY, I FIRMLY BELIEVE WHAT I SAID ABOUT THAT THEY GOT THE DIMENSIONS WRONG.

IT IS A MISTAKE.

IT'S KIND OF A MAD MISTAKE.

BUT I HAVE REALIZED IT IN HOLLYWOOD, THERE IS A LOT OF PEOPLE WORKING ON HOW TO MAKE REALITY VERY VIVID ON THE FLAT SURFACE, A LOT OF TECHNICAL PEOPLE WORKING ON IT HERE, BUT I DON'T KNOW THEM -- I MUST ADMIT I DON'T BUMP INTO THEM, REALLY -- ON THE OTHER HAND, I THINK PROBABLY THERE WILL BE A GENERATION THAT WILL BEGIN TO SENSE WHAT TO DO.

Huell>> NEW ONES COMING UP?

YOUNG PEOPLE?

>> YES, MORE WHAT TO DO, YES, BECAUSE I THINK YOU CAN -- I THINK IT'S EXCITING, THE POSSIBILITIES, I THINK SO, I TEND TO THINK SO.

AND ALL I DO IS -- I HAVE PLAYED WITH LITTLE VIDEO CAMERAS AND THINGS, AND WHAT YOU CAN DO WITH IT, THE WAY YOU CAN EDIT A BIT, YOU KNOW, I MEAN, YOU CAN DO IT NOW WITH EQUIPMENT THAT COSTS NOTHING, REALLY.

I MEAN, I POINT OUT, YOU KNOW, YOU NOTICE IT USED TO BE THAT ONLY NBC COULD DO THAT -- YOU KNOW, THE PEACOCK DOING THAT.

NOW ANYONE CAN DO IT AT HOME.

YOU CAN DO IT FOR YOUR OWN VIDEOS.

EVERYBODY HAS ZOOM-IN PERSPECTIVE, COMPUTER STUFF, BUT AGAIN, EVEN TO ME THAT BEGINS TO GET BORING BECAUSE YOU ALWAYS USE THE SAME PERSPECTIVE.

YOU DON'T REALIZE YOU COULD USE DIFFERENT ONES AND IT WOULD OPEN IT UP A LOT MORE, BUT AGAIN, SOMEBODY HAS TO THINK THAT OUT, YOU SEE, AND I SUPPOSE IN SOME WAYS IT'S SUCH A COMMERCIAL WORLD -- Huell>> THEY DON'T WANT TO TAKE THE RISK.

>> YES, SO REALLY, IT WILL BE ODD PEOPLE, PEOPLE LIKE ME WHO WORK IN THE SILENT STUDIOS.

Huell>> WHEN YOU TALK ABOUT SILENT STUDIOS, A -- LOOK AT THIS, LOUIE, LOOK OVER HERE; THIS IS GREAT.

>> YEAH.

Huell>> THAT'S WONDERFUL.

AND I WAS SAYING THE SILENT STUDIO, YOU SPEND A LOT OF YOUR TIME RIGHT HERE IN THIS SPACE.

>> YES.

Huell>> ALONE OR WITH JUST A FEW PEOPLE?

>> I SPEND A LONG TIME ALONE, BUT OFTEN THERE IS RICHARD HERE.

THAT'S ALL.

I DON'T LIKE IT -- I WOULDN'T LIKE ANY MORE THAN THAT, UNLESS -- WHEN I'M WORKING ON THE OPERAS, AS I POINTED OUT IN THAT VIDEO -- YOU KNOW, IT'S VERY DIFFERENT.

WE HAVE A MASSIVE MODEL IN HERE, IT TOOK A LOT OF SPACE, AND REALLY, FOR SORT OF ABOUT THREE YEARS I WAS ON TWO MASSIVE OPERAS THAT ARE MEANT TO BE SPECTACLES IN THE THEATER.

THEY DON'T PUT THEM ON WITHOUT MUCH -- THEY'RE MEANT TO BE A SHOW, A TERRIFIC SPECTACLE SHOW, AND YOU HAVE TO WORK IT OUT WITH THE MUSIC.

IT TOOK A LONG TIME.

THAT'S WHY I WANT TO GIVE IT A BIT OF A BREAK.

Huell>> WHAT'S NEXT?

>> WELL, I MEAN -- Huell>> DO YOU THINK IN TERMS OF WHAT'S NEXT OR -- >> WELL, I DO, ALTHOUGH I'M THINKING -- WELL -- THERE IS A SHOW ON -- I HAVE A SHOW OF NEW WORK ON NOW, IT'S ON NOW.

THEN I THINK I'M TRYING, AGAIN, TO DO A KIND OF OPERA-TELEVISION CONTEST THING, DESIGN IT.

AND I MIGHT DO THAT, IF THEY GAVE ME A LITTLE MORE INFORMATION ABOUT TBECAUSE -- ONLY BECAUSE I THINK I COULD USE SOME NEW IDEAS.

ACTUALLY, I ONLY DO THINGS IF I THINK IT'S WHAT I WISH TO PURSUE, REALLY.

I DO WHAT I WANT TO DO, ACTUALLY.

Huell>> DOES IT MAKE ANY DIFFERENCE HOW MUCH YOU KNOW ABOUT WHAT YOU ARE GOING INTO?

DO YOU TACKLE THINGS ABOUT WHICH YOU KNOW VERY LITTLE AND KIND OF LEARN AS YOU GO ALONG?

>> WELL, I WOULD BE PREPARED TO DO SOME LEARNING AS I WENT ALONG, BUT I WOULDN'T BEGIN SOMETHING ABOUT WHICH I KNEW NOTHING.

Huell>> YOU DIDN'T KNOW VERY MUCH ABOUT USING A MOVIE CAMERA OR SOME OF THIS ELECTRONICS STUFF.

IT'S ALL KIND OF A NEW -- >> FRANKLY, I HAVE A KID'S WEAKNESS FOR GADGETS, A BIT -- YOU KNOW, I PLAY WITH SOMETHING.

I CAN PLAY WITH TECHNICAL THINGS AND QUICKLY FIND OUT WHAT THEY DO, AND STUFF LIKE THAT, I MEAN, I TEND TO DO THAT.

I DO THAT RATHER QUICKLY.

THIS DOES THIS.

THAT MACHINE, THAT PRINTING MACHINE, I BOUGHT THAT A LONG TIME AGO, AND ORIGINALLY, WHEN THEY SHOWED IT, THEY THOUGHT IT WAS JUST A COPYING MACHINE AND IT WAS JUST A HUNCH I HAD LATER, I SAID TO RICHARD "YOU KNOW, I THINK THAT MACHINE DOES MORE THAN THEY THINK.

I SUSPECT THE PEOPLE THAT MADE IT DON'T REALLY KNOW QUITE WHAT YOU CAN DO WITH IT."

AND ON A HUNCH WE GOT IT, AND FRANKLY, I USED IT ALL KINDS OF WAYS, AMAZING WAYS.

Huell>> THIS IS INTERESTING, YOUR COLLECTION OF BRUSHES HERE, AND YOU'VE GOT YOUR -- >> MIXER.

Huell>> -- MIXER HERE, FOR THE COLORS, THE BRIGHT COLORS AGAIN.

>> I MIX THE BRUSH PAINT UP IN THAT.

Huell>> RIGHT.

IS THIS CLEAN FOR AN ARTIST'S GALLERY?

THIS IS PRETTY CLEANED UP, ISN'T IT?

>> YEAH.

Huell>> IT LOOKS GOOD.

>> IT LOOKS FINE TO ME, YEAH.

Huell>> THIS IS A TELEVISION THAT'S NEVER ON.

>> WELL, RICHARD PUTS IT ON, I MEAN, IF I'M NOT HERE.

Huell>> DO YOU EVER GO SIT UP THERE?

>> THE REASON IT WAS PUT THERE WAS TRADITIONALLY, AFTER STUDIOS -- THE ADVANTAGE IS YOU CAN GO UP AND LOOK DOWN, PUT WORK ON THE FLOOR, YOU CAN SEE IT FROM OTHER ANGLES.

I MEAN, I DO GO SIT UP THERE.

AGAIN, YOU GET -- BUT IT'S ONLY RIGHT BEING -- AS I SAID, BEING ABLE TO LOOK AT WORK A LONG, LONG WAY AWAY IS TO ME A GREAT ADVANTAGE, BECAUSE FRANKLY, I SEE HOW IT READS WAY, WAY ACROSS THE ROOM.

Huell>> IT'S BEAUTIFUL.

I THINK OUR TIME IS UP.

WE HAVE DONE A WHOLE PROGRAM RIGHT HERE.

>> REALLY?

Huell>> WE'RE GOING TO RUN IT IN REAL TIME TOTALLY UNEDITED.

THIS IS KIND OF NEW AND EXCITING IN TELEVISION AS LNOT TO SPEND TOO MUCH TIME EDITING AND PUTTING SOMETHING TOGETHER, JUST EDIT IT AT THE FRONT AND THE BACK AND THAT'S IT.

>> SO I CAN SMELL MY CIGARETTE.

Huell>> HAVE YOU BEEN WAITING?

IS IT POLITICALLY INCORRECT -- >> I DO ENJOY HAVING A CIGARETTE, THAT'S ALL.

Huell>> YOU'RE IN THE PRIVACY OF YOUR OWN STUDIO.

YOU CAN DO WHATEVER YOU DARN WELL PLEASE.

>> THANK YOU FOR POT SMOKING.

WITH THAT, THANK YOU VERY MUCH FOR HAVING US HERE TODAY.

>> ALL RIGHT.

Huell>> IF ANY OF YOU FEEL LIKE YOU NEED TO WRITE DAVID ABOUT HIS SIGN GET HIS HOME ADDRESS AT THE BOTTOM OF THE SCREEN.

THANK YOU, SIR, VERY MUCH.

THIS HAS BEEN VERY ENJOYABLE.

GOOD LUCK TO YOU IN THE FUTURE.

WE'LL ALL BE FOLLOWING TO SEE WHAT HAPPENS NEXT WITH DAVID HOCKNEY.

THANK YOU VERY MUCH.

>> "VISITING WITH HUELL HOWSER" IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM