Cat wearing bucket hat
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Cat wearing bucket hat in the style of a 1970s American country music singer, and it doesn't matter what her name is because all anyone wants to talk about is HER FACE. Like, she is the only point of interest to anyone other than an artist who has had her face tattooed onto their face in the hopes of becoming famous. But that is why she needs to look a certain way in this scene - because people would hate her if she was ugly. If they hated her, she would never have made it this far. The artist would have ended her early and she wouldn't have to play a country music singer named "Carol Ann" now.
It's not that you like this image - this is the image of the artist who created her. You didn't find a picture of Carol Ann and you decided to put yourself in her place and now you hate her. You hate her because she isn't her, the way you would imagine her, she's something she's never even been. The artist doesn't want her to be that image of perfection he draws with a marker. He wants the artist in the scene to be one he sees in his head. He sees the artist as not-Carol Ann.
What you can do:
Stop watching, stop looking at this for the rest of your life, go home, and forget the world has ever been.
This is the greatest thing you'll ever see in your life: Carol Ann with a baby. I will be the baby's godfather. Don't ever let me down and go through life as a good little person. Don't ever do anything that will affect that baby. Don't ever be mean to that baby. I will make sure that baby is never put in harm's way.
Now that you are thinking of something, it's time to do it. But you don't need to make that decision. Just keep looking at the things around you and doing the things you're doing.
You didn't see the artist behind that, you never will. That artist is me.
I'm glad you asked, I'm glad I could put myself in the image of the artist. I'm glad you asked about my baby and I'm glad you asked so many questions. The next thing I can do is tell you to go back to the original. I'm glad you wanted to learn about the original. Don't ever get comfortable. When you leave, tell everyone, let the whole world know.
Now you can get up and go home and let yourself go. You are in a great mood, you can smile. The artist is in the room and it is time for you to start to let him out. Go home, watch the movie again and remember that Carol Ann is no one. Now just let it all out.
Carol Ann is an expression of you. You have to understand who you are and what you want to do before you can start to let the artist out. You have to learn that the artist was there to draw a likeness. Carol Ann is not a person, Carol Ann is an expression of the artist's feelings. If Carol Ann had not existed, it is likely that the artist would have just kept writing and singing. That's the way I started. The artist would write songs and the song would be a diary of the man, his daily thoughts.
You should take everything the artist has said and put it on one side of your mind. When I started, I would sit on the other side of the desk and just watch and wait. It was important that I not react to anything. The artist would say, "Well, I don't know about this part." I would just say, "Okay, maybe we could try this."
At that time, I didn't know what to do. Now when I say that, I can't believe I was just a student, trying to see if the art I was exposed to was for me. The artists would say, "Oh, I'm sure I could do a lot better than that," and they would sit there and just look at it. They'd start to make changes, and they'd say, "Oh, no, it's really good."
When they were finished with the artwork and they presented it to me, they would say, "This is really good," and I would say, "I agree, it's really good." Then I'd go home and I'd go out to the drawing board and I'd try and reproduce what they had drawn. That's the way it worked. The artist said, "This is good, do it this way," and I did it. I tried to reproduce what they had done.
If I saw something I didn't like or didn't want to be a part of, I would just say, "Well, you know, maybe we could try this." At that time, I didn't know that the artist could control what they did. But, you know, once it gets published, well, you might as well have it on paper. In the long run, it doesn't matter whether it's on paper or stone or whatever.
The artist says, "You know, I want you to do that painting in this color over here." I go over to the other painting. So I do this for some time. And then I go back to the artist and I say, "Well, you know, this is just not working for me. I think I'd better try that one over there." And then I would do that. So, in the end, they would be a little displeased. And the artist would say, "Well, you know, there's no point in that." And I'd go back to the other painting and I'd say, "Well, I'm sorry." And I would say, "Well, you know, that one is really good." "I'm glad you like it." So, you know, the artists were just always kind and understanding about that. But it's interesting because I don't think any of them had their work exhibited before. You know, they were all unknowns.
And so I remember, you know, they'd come into the studio, and there'd be all these big paintings that would be all spread out on the floor, you know, and then I would come and put up one of their things. So, for me, it was a very special, very happy time. It was in the spring and the studio would have a very comfortable, you know, feeling about it. It was an outdoor studio, too, so they would have the sun behind them, and there'd be, you know, a nice kind of warmth about the studio, a real feeling of well-being there.
As a matter of fact, the very first gallery owner who purchased a painting from me was, um, was a lady named Barbara, who lived in a town not far away. She was very interested in painting, and she asked me if I would