I don't try Sin. I do. Remember that.
I try to eat fruit and be healthy.
I try to be athletic.
There is one appointed supreme executioner. Truly, trying to take the place of the supreme executioner is like trying to carve wood like a master carpenter. Of those who try to carve wood like a master carpenter, there are few who do not injure their hands.
I don't feel like my work is impersonal - it is, in many ways, a reflection upon me - but that's ultimately not the point. I'd rather each piece be seen as part of a larger experience, and that each installation be approached as a point of departure. As open as I am trying to keep things in my practice, I want the audience's experience to be as well. That's what keeps things existing.
On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.
The ideas of non-duality and mindfulness that I address in my works are things I try to practice in my daily life. Both in and outside of the studio, it's about trying to be fully present, to accept things as they are, to frame your experience in terms of a continually unfolding moment. I feel like that's directly reflected in my formal approach: utilizing a literal use of materials, emphasizing the more ephemeral aspects of the artistic process, and so on.
Notes are tricky in an audition, because I find, more often than not, my instinct is right. If they have a preconceived notion about the role and it goes against my instinct, unless it makes sense to me, it often throws off what I'm trying to do. Though sometimes they have an insight that I don't because they've been living with the script. I don't have one feeling or another about notes, but it is always a little bit of a red alert when I get one in an audition.
From the time I became an actor my whole approach was to try to do as many different things as possible. It never occurred to me that I might be typecast.
You have to take a wheelbarrow full of money and roll out and try to make a movie out of it. But you run out of money eventually, and then it becomes painful and it becomes a struggle and time will kill the enthusiasm!
Ultimately, the wisest course for anybody who's afflicted with same-gender attraction is to strive to extend one's horizon beyond just one's sexual orientation, one's gender orientation, and to try to see the whole person.
For 15 years I was a complete arsehole to a dozen people. I said I would try and make it right with those people, and anybody that gave me an audience, I was there.
I will spend the rest of my life trying to earn back trust and apologize to people.
I'm not trying to justify myself, or say I'm not sorry, or not contrite.
If you're trying to hide something, you wouldn't keep getting away with it for 10 years. Nobody is that clever.
I feel like my endurance is actually better. Especially trying to get down to 140, I was experiencing body cramps.
I'm in full transparency here of "Yeah, I'm trying to find my financing."
When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.
I don't really enjoy working in TV, to be completely honest, even though it's incredibly lucrative, I'm just terrified of not being satiated in a myriad of different ways. It's amazing that I get to create every day, as an actor, or a director, or a writer, and I get to do it in a variety of different genres and worlds and characterizations. I think that's the great privilege of what we do, we get to make believe. I get to go to so many different places, try on different occupations, take on different points of view. That's what's always been sort of alluring.
I get really restless if I'm not working. I generate or try to generate my own stuff. I'm constantly on the prowl for working with the people I love and respect.
He wanted to tell her that everything he had done he had done because he was broken, because watching her die had destroyed him, but there was no way to say it that didn’t sound like he was trying to pin the blame outside himself
I'm always going to want to be part of music. But who's to say? This whole thing for me in the first place just kind of happened without trying. I think about things like acting and all that, but I'm not going to force it on myself. I'm kind of shy, believe it or not.
Obviously I've got to work hard to have my own label, but it all benefits me in a different kind of way. I can say "No," and nobody's going to be pissed off or breathe down my neck. I can draw the line and take breaks when I want to. I try not to. And getting to develop other artists is something I've always wanted to do.
I'll have ideas in my head of what I want to say, but I need a beat to inspire me. So I would just say something as simple as, "Can you try something at 103 BPM with a reversed hi-hat and use an electric piano?" And then it just grows from that.
I'm always trying to create something that the fans won't expect.
