In my ideal world there would be 99% unemployment for actors, and I would be the 1% that's employed. I hear about somebody getting a job at Starbucks and I get jealous.
Actual violence has no attraction for me at all.
There was a big drive when I was at art school to make you aware of the economy of meaning - after all, this was still during the tail end of minimalism. Being responsible for everything you put in your picture, and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.
What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.
In some ways Holy Smoke is about people's journey to the heart.
I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.
Between 18 and 26 I acted professionally, on the stage and a little bit on television. Acting is okay, but it's quite pressurized. Then I went to England - I wanted to reinvent myself.
We need to forget what we think we are, so that we can really become what we are.
The only pressure I ever feel is the pressure I put on myself. . . I'm over it. Now I go out there and I enjoy what I do.
The confidence in another man's virtue is no light evidence of a man's own, and God willingly favors such a confidence.
Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.