From day one, my mantra has been - and will continue to be - that as a government we were there to serve the people, not the other way around.
I get my highs from using my eyes.
Each work has to be done as intensely as possible.
The effort of painting from life has cost my models a great deal of physical discomfort, and cost me a great deal of money in model fees. . . I have wanted to make the camera obsolete. . . because, in my reading about early 20th century art, I found that the most frequently used argument made in favor of abstraction was that the camera made realist painting obsolete.
Look slowly and hard at something subtle and small.
Only the mature artist who works from a model is capable of seeing the body for itself, only he has the opportunity for prolonged viewing.
It is what is painted between the outlines that makes the difference between merely competent painting and really meaningful art.
I don't really look at other people's moves because, when I'm on the field, I'm not going to remember them. It's just something that has a lot to do with instinct and vision and all those running back aspects you have. You put them all into a basket, and you just use them on the field and go out there and make plays.
All I've tried to do as an actor is follow the good writing. That's been my main drive. It's not always possible, so when you do come upon it, like when I came upon this, you realize pretty quickly this is something you need to be involved with.
'Dog Days' was recorded with pens and the wall, and half a stolen drum kit that was out of tune, in what was basically a cupboard. The only instrument I could really play was my voice, so we just layered everything a hundred times. It was enthusiasm over skill.
The discovery of nuclear reactions need not bring about the destruction of mankind any more than the discovery of matches.