My body is my journal, and my tattoos are my story.
At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.
Creativity and the world of the imagination - the beauty of what we see as a child and the kind of play that we experience as a child - can be a way for us to survive tough times.
Im always interested in looking - historically - at how theater can animate history and how all of that can make us engage with our lives in an enriching way.
The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director. . . I believe it's actually radical to think about the audience.
For me, the reason why people go to a mountaintop or go to the edge of the ocean is to look at something larger than themselves. That feeling of awe, of going to a cathedral, it's all about feeling lost in something bigger than oneself. To me, that's the definition of spectacle.
I grew up with a beautiful gold harp sitting in our living room. My older sister played it.
I'm not a big fan of TV. It's an unavoidable situation being Ozzy Osbourne, people want you to go on chat shows, and I'm not good at it. I don't feel comfortable doing it.
I don't know how people will remember this series [of the Twilight Saga] at all. It's crazy how intense people are.
The condition of truth, is to allow suffering to speak. Which means attend to suffering of the least of these, of the orphan, the widow, the poor, the working people, the gay brother, the lesbian sister, the transgender, the black people.
We're not so poor that we have to spend our wilderness or so rich that we can afford to.