resnick: '48.asslof: i was studying with bill de kooning the summer before milton returned from paris. and bill thought of milton as his best friend and his most interesting artist friend, the person he could talk with most. and he kept saying, "wait till you meet milton. you got to meet milton." and that fall, when milton got back from paris, one day, i was in bill's studio and milton came, and we met. resnick: but i could see pat, you know, was special. passlof: i'm, perhaps, overly romantic. you can see that the figures are moving, but i'm actually restraining myself. you can imagine what they would be doing. they would be flying off the paint if i wasn't. but i think intensity depends on restraint, preventing things from moving. and we all learned that a little bit inhe so-called abstract expressionist period when everything was going very fast. resnick: the difference between us -- i like to waste my paint. right. she never wastes her paint. i waste it. it's on the floor. pat can have a tube o