[sweet violin and piano waltz]
-The middle of the year,
around June or
something like that, he'd
have his Tectonic Exhibit.
So I'd go to his home, and
I'd see all these wonderful
renderings
tacked up on the wall.
Well, it's the shear
the volume is enough
to overwhelm a person.
[jaunty music]
The room was cold,
somewhat damp, and there
really was no lighting.
That's another thing:
there's no lighting in the room,
and you really had
to have a torch or something
go out or a flashlight or
something to see
the things properly.
And after all, when you go in to
see something, and it's half
in the dark, you're [laughing]
half in the dark too!
[dramatic, percussive music]
-9 a.m. to 9 p.m.,
door open to the public.
-1 p.m. to 2 p.m., arrival
of adjutants escorted in
golden chariots leading floats.
-Close of official programm
by the playing of
America by a US Marine Band
followed by an escort....
-Half-hourly playing of
"No More Alone"....
-This program is
wholly idealistic as
we should like it to be.
A day scintillating and ringing
with altruism.
[cheery music]
-When you look at one
of these renderings
by Rizzoli, which are described
as a particular person he knew,
you immediately think
what was it that he was
trying to convey about this
person, you know?
And was it just meant to be
a dedication and a simple
acknowledgement of
their importance
in his life, or was it
really that he was
trying to produce some sort of
transliteration where this
person became this building?
I think that these buildings
were meant to be these people.
-He has a little
portrait of me,
and I shudder to think
[chuckling] of what
I must have looked like.
I was so young.
And he has this
sort of like a tower.
And I think he had
a few other little
reminiscences about me.
This funny little
language--Cadewir--Cadewir
that I had dug up,
which is based really on
just Latin, and I substituted
Latini zed letters and
so forth from English.
-Rizzoli is a
very ordinary person.
He's interested in
being an architect.
He wants to write novels.
He's not interested in
disordering his senses.
He doesn't want to
have visions, and yet
these visions
come to him unbidden.
He hears voices, but he
doesn't want to hear them.
And I think he
suffers very much
from these visions.
And yet there they are,
and they're a
very important part of his work.
-Art comes to
you really when
you need it, when there's
no other way to handle
your feelings, your emotions,
some way to release that.
-Looking at the Achilles
tendency: laughing out loud
and feeling a kindred spirit.
Art: escalator to
the stars, to heaven.
