The Journey - My Father In His Own Words by Laurence Fuller

As it happens, I agree with Gilbert, one of the contributors to Oscar Wilde's famous dialogue, The Critic as Artist, who argues that higher criticism is 'the record of one's own soul'. He goes on to describe it as 'the only civilized form of autobiography, as it deals not with the events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind'.

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The Spiritual In Our Time & The Ruskin Lecture by Laurence Fuller

It seems we are faced with increasing divisions in the West, that in one sense allow for greater individuality then ever before and yet what we give up is any sense of unity. In researching a film about my father this last two years, I looked back at the revolutionary 60s and how far away from that united utopia they envisioned we now find ourselves. It could be said that this idea of connectedness is just an illusion and what politicians are all fighting for is a feeling that rests beneath all their rhetoric.

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Road To The Well wins at Long Beach Indie & the Q&A by Laurence Fuller

Watching DeNiro's brutally vulnerable monster staggering with understanding and determined to pursue his creator to the ends of the earth, I received a text from the director Jon Cvack with the brilliant news the Road To The Well won the top prize of Best Of The Fest at the Long Beach Indie Film Festival. This film has gone from strength to strength on the festival circuit since it's premier at Dances With Films, since it has been accepted into a number of major film festivals and up for awards competition in all of them including San Diego Film Festival coming up. All this was not without the blood and sweat of all involved, stitched together by the unlikely leadership of Jon Cvack. It was brilliant to get the five of us Jon, Micah, Marshall, Tim and I all in the same room for the Q&A at Long Beach for fifteen minutes or so we had the floor and the stories of forging this dark little monster began to spill out of our respective laboratories of memory.

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Long Beach Indie Film Festival: ROAD TO THE WELL by Laurence Fuller

The last time I was in Long Beach I was on route to Catalina to join my mother as she searched for inspiration for her latest series of paintings amongst the coastal life of Catalina. Perspective is a very important part of her work so we went up in helicopter to search for whales and then underneath the surface in a submarine to see the fishes, then out on a boat to search for sea lions. Painting as with acting begins with a stimulus which grows into its manifested form with time and cultivation. Though that stimulus is qualitative and its cultivation must be considered to produce a great work of art.

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LONDONS CALLING: Freudian Dreams by Laurence Fuller

"To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself" if this old adage of John Berger's from Ways Of Seeing is true, then Lucian Freud's subjects are certainly Naked. And all that space that exists with the naked form before a dissecting eye, masterfully encouraged where in all that grotesque interchange does beauty exist. There is an undercurrent of danger and spontaneity when a person is naked in the presence of another.

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LONDONS CALLING: RAW BACON by Laurence Fuller

Why do we find sexuality a taboo subject in our culture? It is what creates life and yet can be a destructive force for many, a primordial unity for others and for all there is an element of sacrifice. The French call it La Petite Mort (The Little Death), Marcelle Hanselaar's series of etchings by this name have been were an early influence on me. I feel much of life comes down to this tiny demise, figurative painting by the London School in particular Bacon and Freud capture this so well. 

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London Calling at The Getty Museum: Introduction by Laurence Fuller

London Calling at the The Getty Museum feels not only like a significant moment in my life but in the cultural life of this city, everything I've loved about art since I was a boy crossing the pond from London to Los Angeles, perhaps I'm in the right city after all. This exhibition not only marks a legacy of masterpieces painted within our time but for me it sheds light on the growing ecosystem of brilliant artists working in Los Angeles emerging just below the mainstream, who uphold this legacy for the next generation.

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Suicide Squad & Comic-Con SDCC 2016 by Laurence Fuller

With so much controversy surrounding the release of Suicide Squad, I was watching how Jared Leto’s performance played out and would be received amongst all the noise, personally I thought it was one of the best performance I’ve seen on film so far this year. For my part I believe that performances in films should be judged based on the the quality and impact of the work as appose to the size of the budget, this goes both ways. Having only had leading roles in independent films, it would be very easy for me to sit back and judge a Studio extravaganza from an artistic high ground, and certainly in some cases I can, but not all.

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Hollywood North Film Festival & Unreasonable Passions by Laurence Fuller

Having had incredibly passionate beliefs of my own, that at the time of my having them felt overwhelmingly real, especially when in the grips of a character. It’s like my entire world gets reframed, but I love that feeling, I’ve become addicted to it over time. A kind of violent self destruction of my own identity that’s I’ve come to love. But I don't know that growing up and accepting the way things are is a kind of inevitably, because I don't think everyone comes to the same conclusions.

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Dances With Films: Death, Pleasure & Friendship by Laurence Fuller

This is much the same problem that Hamlet wrestles with, just before this clip I was talking about the comparisons between Classical theatre and American cinema. Apparently soon after this I was also talking about whether or not to commit suicide, "To Be or not To Be" made sense at the time. My meaning was the existential/nihilistic questions being posed in the characters journey, discussions between myself and the director Jon Cvack were focused on the way that Satre or Camus would take on such problems. Camus believed the only real philosophical question worth asking was wether or not to commit suicide.

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Road To The Well premier @ Dances With Films Festival & the subjectivity of research by Laurence Fuller

Today the announcement came out that Road To The Well will be premiering at TLC Chinese Theatre as part of Dances With Films. I reflected on the first moment I was offered the part, and preparing to play an American for a full feature. I think it would have been impossible if I hadn't lived in Los Angeles for three years prior to shooting, I considered the subjectivity of research. Much like the difference between academia and spiritual experience.

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Skin In Water & Rebels at Newport Beach Film Festival by Laurence Fuller

The week leading up to Newport Beach Film Festival I was looking at purchasing some art with my friend Matthew Crowley, we were steeped in exhibitions, print auctions and discussions about the political economy of art. I directed Mattie in a play in London called "Things We Want" in the year before I moved to Los Angels and his performance was brilliant, we went for the spontaneous and the ambiguous, jumped out the window when it came to a fixed position, much like my approach to life in general.

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Australia by Laurence Fuller

I went out to Australia to seek rejuvenation and new lands within myself. The trip back got me thinking about the nature of identity, as I reconnected with old friends and reinstated myself within the family unit again I noticed my Australian accent getting stronger, old phrases coming back into my vocabulary. All these things made me reconsider the nature of craft, as a separate theory from the human animal impossible. Belief is not a digested 'system' that lies dormant once learnt, but something that grows and shifts with the person.


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The Antipodes & I by Laurence Fuller

I made my first trip to Australia in 1982, and I went again in 1984, and 1985. These journeys have had deep and still continuing effects on my attitudes to art, landscape, and indeed nature itself. They have also changed my life in more personal ways. In one sense, at least, these Australian lectures chronicle my antipodean transformations.

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Requiem for Philip Seymour Hoffman by Laurence Fuller

Two years ago today, I was sat at a cafe on Sunset Blvd reading a script, when one of the greatest actors in history walks in, he wore a checkered shirt, was unshaved and probably hadn't showered that morning. I went to the bathroom to work up the courage to tell him how much his work had affected me and my life, when I got back he was gone. Two weeks later he died of an overdose. I was so heartbroken I had not expressed myself to one of my heroes when I had the chance, I sat down and wrote this poem for Philip Seymour Hoffman

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Auerbach’s Kerygma by Peter Fuller by Laurence Fuller

In honor of the Frank Auerbach's major retrospective currently on at the TATE in London, which runs until March 2016, I'm publishing here some of my father's articles on Auerbach. During the 80s Peter referenced Auerbach as one of the best British of the 20th Century. It was because Auerbach looked out at the world, transformed it with his imagination into a beautiful experience unique only to him and gave us a window to that experience on the canvas "The Aesthetic Dimension".

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DESTINATION by Laurence Fuller

With 2016 knocking on the door, I've been considering the nature of Destiny. I've realized coming to LA and being so invested in the communities out here which has pushed me and forced me to grow beyond what I ever expected. Now stepping back and taking much of this past year to work on my own passion projects in between auditioning for studio projects, (which is not a passtime I intend to slow, as I've had to reassure my colleagues), however forging my own vision which is becoming stronger and stronger with the passing days.

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