I quickly found the first scene to be a beast to tackle. Ken has just come in to begin his job and I don't give him even a minute before I start to test him. I immediately begin proding him, seeing what I can get out of this fresh meat. Derrick and I discussed the idea that I go through a lot of assistants and I've stopped really caring about who they are. It's more a matter of seeing how long they can put up with me before eventually wearing out. This all-in type of introduction is my way of seeing if he's even worth my time.
However, Ken proves to be more apt than I initially assume. Throughout the scene as I weave and wind through stories and ramblings, there are moments of actual artistic insight that I impart upon him. At one point when Ken asks "How do you know when [the painting]'s done?" to which I reply "There's tragedy in every brush stroke." Though all he responds with is "Ah" that small response shows me that he gets it. I reward him with a drink, something I only do one other time during the show.
From that point on I realize Ken may actually be of more worth to me. Though I say that I don't really care about his opinion, I still use it as a sounding board, as basic feedback from at least a relatively intelligent viewer. I ask him what he sees, provoking him to think further into the paintings and eventually just using the opportunity to go into another long winded story where I can show off.
As the scene ends, I reveal that my life's goal has been to create a temple-like place so that the viewers of my murals can spend time in reverence to let the paintings move and do their work.
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