I had my first screen-acting class in March 2015, and I was, like, 18, turning 19, so it's a risk trying to get into acting when you're that 'old,' in inverted commas.
If you like my novels, I commend your good taste.
When I play characters, I like playing people who just comment on stuff, stand around and talk.
I've had shows where, afterwards, people have commented or hoped I would talk more about something in politics or that I would make a joke about Mitch McConnell or something like that.
I went into photography because it seemed like the perfect vehicle for commenting on the madness of today's existence.
Patriarchy doesn't just make men out to be ogres. Women buy into the patriarchy as well, and women make those comments as well, like, 'Boys will be boys.' Women have to undo that stuff, too.
Valentine's Day itself, like most holidays in the modern era, has been heavily influenced by commercialism that focuses on the appeal of romantic fantasies.
The so-called commercialism includes elements like story, plots, rhythms and large big scenes.
With country, it's hard to penetrate the thick layers of commercialism that have been applied like shellac coatings over the real thing.
I like the idea that people hear my stuff, and if it's commercially successful, that's a good sign that it's being heard.
To make films like 'X-Men' work commercially - and also have some class - is one of the hardest things there is to do. I want to be seen to be able to cross lots of genres and still be 'fair dinkum,' as we say in Australia, which means genuine and true and, well, unique.
I like independent movies, documentaries. There's not a lot of movies that are commercially made that I dig.
Saying the Tech Bloom is not commercially driven is like saying Mother Teresa had an interest in the poor.
Commercials were too phony for me. I just didn't like selling products I didn't believe in.
I've got a nice collection of paintings - a Basquiat, a black-and-white Warhol that's like a Rorschach test, and I commissioned Takashi Murakami to do a ten-foot joint for me. It's almost like the explosion in Hiroshima with his famous skeleton head. There's a wall above my fireplace reserved for it.
There's still a lot I need to do as a player, as a musician, as a sound creator. I have commissioned 170 pieces: that's still not enough, there are still lots and lots of composers I would like to approach. When I see a composer and I see a performer, I think to combine those forces.
I'd like to be the commissioner of tennis, but do I want to get into politics? Sometimes I have delusions of grandeur that that would be an interesting, good thing. I'm talking about actual politics, like being a congressman, but then I see how unbelievably nasty it really is, and maybe I'm not quite knowledgeable enough to actually do it.
I don't like to commit myself about heaven and hell - you see, I have friends in both places.
It is most pleasant to commit a just action which is disagreeable to someone whom one does not like.
It's like an act of murder; you play with intent to commit something.
