Champagne for my real friends, real pain for my sham friends.
Most-quoted character in Love is the Devil: Study for a Portrait of Francis Bacon (1998): in 15 of its 18 quotes
Most scenes with: George Dyer (6)
I watch him while he's sleeping. A prisoner of dreams. Fighting the battle he's always going to lose. But I'm powerless to help him as I'm powerless to help myself. So I watch and wait.
More lines from Francis Bacon
4 quotesSubmitting entirely to the service and pleasure of the dominant partner. This I find a catharsis, in that all responsibility is relinquished, every move is dictated. No decisions are you're own, who exists solely for the service and pleasure of another man.
What mad misfortunes make his eyes blaze with despair? I dream of some tough lover. Big as the Universe, his body blemished by shadows. He'll crush me, naked, in gloomy bars between his golden thighs. A mundane yob transformed into an archangel. Is my lover to be my assassin? Or I his? Loneliness - my only true companion - will always rival any lover. Its greedy desire... always drive a wedge between me and any contender for my company. And I question myself; do I possess some inner destructive demon?
This painful inability to sustain relationships. The selfishness my work demands leaves no room for an emotional self. Can tenderness ultimately only manifest itself in the motion of a brush? Even this remains invisible. The visceral reach, running fingertips along the curved notches of a spine. The line of a femur, the curl of tendon into muscle. The smell. To violate, to desecrate, to examine a person from the inside, eroticizing the white shirt cuff glimpsed beneath a dark suit. The girth, the solids, the sack of flesh, just offal bags. Ruminating intestines. Fine wines filled and swilled with rich food, trying to create some distance between myself and some dead lover.
Scenes with Francis Bacon
10 scenesAnd who might you be? Well, you're not much of a burglar, are you?
Take your clothes off, come to bed... and you can have whatever you want.
You actually make money out of painting?
Mmm.
Not something I ever really thought about. I mean, there were some pictures of my mum's but they weren't really for looking at, they were just... just sort of there.
Yes. That is interesting, George.
Nothing like your's, obviously.
Obviously.
Our time together has given me a whole new energy. Not just for the work, but moment's like these. You may well become a subject for a painting.
That would be fantastic. I always wanted a picture of me.
A man being measured for a suit is not the similar to his being measured for the old wooden box.
It feels like a bloody coffin. It's **** hot in here, Francis.
Yes it is hot, George. Mr Dyer will arrange to collect the suit and I think we're going to have some shirts and some appropriate ties.
Hold on! Hold on! Don't go over board. I mean, I feel so...
So clothed?
Come on, I want you to meet my friends. Now, we can have a drink. God knows I need one.
What? You're mates?
The Colony is a refuge for lost souls, no longer in possession of living bodies.
Can't we just go to the pub?
No.
Everybody, this is George. This is Muriel, Isabel, the beautiful Henrietta, and Deakin. Introduce yourselves. George is a little shy.
Hello...
So... who's Arthur and who's Martha?
Oh, piss off, Deakin! I'm really sick of it!
I'll talk to you after you've had a shave...
I'm Daniel Farson. Tonight, on Hungry Eye, it gives me great pleasure to welcome Britain's greatest living painter, Francis Bacon.
Good evening.
Francis Bacon, your work is known internationally as some of the most challenging and powerful of the post war years, you've resisted the abstract movements which have dominated those years and have championed the importance of the figure in modern art. Why is the figure so important to you?
Well, its difficult to describe really. One can only talk about one's instincts and avoid the rest.
I do it with a chance. Brush stroke, which locks the magic in place.
George has qualities. A combination of amorality and innocence. And note that I say innocence and not ignorance.
[pours champagne on Deakin's head]
What about Paris?! Am I still coming?!
A man that killed the thing he loved and so he had to Dyer! Of course you're coming! You are the exhibition!
It's like the floor in the Japanese pot, that's what makes it so superb. There's no beauty without the wound. Lucifer was the most beautiful angel, that was his fatal flaw. Too much like their creator, darling. I just like to make one picture that would annihilate all the rest. A violent fusion or the past or the present. Concentrated into a single, raw sliced open nerve.
The portraiture of you're pain.
No. [laughs]
No. The tenderness is so visible in every brush stroke. The paintings of George are like exquisite love poems. That's the irony of the George pictures. I mean, you seem to put more into the work than into the relationship itself. And ultimately you suffer just as much.
Look, why don't you just go, George. I got to get on with this.
I'm going, I... I'm going. Anyway, when you gave me the keys, it was meant to mean I could live here.
What's past is past.
You call yesterday the past?
George, I am a painter! This is a studio! That is a painting! You are in the way!
But it's a painting of me! Or anyone would bloody well notice.
Oh, well thank you for the critique, George! I feel much better! Now I know where I stand! Now, after that enlightening discussion, will you just piss off!



