Tetragrammaton

Tetracketam.

Tetracketamater.

I used to make movies a lot in the 90s, and I would travel a lot.

And I was very lonely, and I felt very unmoored.

And I think part of what gave me a feeling of purpose and comfort outside being on a movie

set, which you never know what days you're going to work or not work, and so you can end up

being alone, you know, in a hotel room or in an apartment for a long time, is that I would

try to crack a city because I love food. I love art. You know, my dad was a painting major

at Tulane and then he went into TV and he instilled like this obsessive love for fine art and food.

I got a lot for my dad.

So I remember I was doing, I was really young and I was doing this movie in Paris.

That wasn't very good.

And I didn't have a lot of money.

And the concierge sort of gave me some recommendations of where to

eat and what to see and they were really terrible and expensive and I wasted my small paycheck

and I was really upset and I thought you know this is terrible like clearly this guy is getting a kickback from somewhere. And how does one find the cool stuff? Like, how do you find, you know, the great vintage store? This is obviously way pre-internet. And how do you find, like, the best, you know, rotisserie chicken place in Paris? And how do you even, how do you do that? So during my time

off, I would walk around Paris with a notebook and discover and find things and keep notebooks full of

notes. And I would, you know, if I saw a really cool looking girl somewhere, I would stop her on the street and say, like, where do you

have coffee and where do you shop? And I just started keeping notes. And that's where this idea

of curation or making things from the point of view of getting right to the best of the best

and saving everybody time,

...