Sometimes you do a sound installation, and the first day or two it is very exciting. Then you are hearing this every day for a month, and it becomes like a torture.
I have much to learn from my daughter Sofia. Her minimalism exposes my limitations: I'm too instinctive and operatic, I put too much heart into my work, I get lost sometimes in bizarre things - it's my Italian heritage.
Corruption is a disease, and sometimes it's institutionalized. It takes years to remove it. But I want to remove it.
We've all seen 'Network' and 'Wag the Dog,' but we were somehow insulated by the fact that those were just movies, fictions, and we could rest easy that the Real News doesn't operate that way. Well, it does - sometimes.
As an outsider, you observe what everyone is saying. Insiders are sometimes too insulated, listening to voices in their own little group.
The violent rioting that is sometimes now being called protesting - it makes the emotions so high that you almost cannot see the insults and injuries that are the people are suffering.
I must have a prodigious quantity of mind; it takes me as much as a week sometimes to make it up.
It sometimes seems that intense desire creates not only its own opportunities, but its own talents.
We are told that talent creates its own opportunities. But it sometimes seems that intense desire creates not only its own opportunities, but its own talents.
Sometimes people think it's what you say when you're in a huge group that makes you a leader. But sometimes it's the one-on-one conversations you have with guys individually, just getting to know them. I think I've done that a lot. Not intentionally - it just happens.
I want the camerawork to fit the narrative and tell the story from the point of view of the character, but sometimes, to be interacting with the sensations of the story, you almost become like a ghost, you know? Like, someone that is floating, observing, not really judging what's going on.
I find interesting characters or lessons that resonate with people and sometimes I write about them in the sports pages, sometimes I write them in a column, sometimes in a novel, sometimes a play or sometimes in nonfiction. But at the core I always say to myself, 'Is there a story here? Is this something people want to read?'
I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.
The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.
Sometimes I've made mistakes and not really listened to my instincts, and I've done a project, and I've been disappointed with the consequence, I think, as a consequence of not listening to whatever part of me it is that, at its base, is interested in telling interesting stories.
The interesting thing about history sometimes. is that you know these people existed, and you knew what jobs they did, but you don't know much about them as people, so you actually have to make them up.
I don't cover my scenes. We approach it visually. Sometimes we go out of our way to do awkward blocking so that we can tell whatever the emotional heartbeat is of that scene in the most interesting way possible.
Interestingly enough, not all feelings result from the body's reaction to external stimuli. Sometimes changes are purely simulated in the brain maps.
I am sometimes accused of being a dictator because I provoked the extraordinary elections by nominating the interim government. Can you imagine any dictator who provokes free elections in his own country?
I eat a light but sustaining dinner before the show: a bunch of greens and some non-gluten quinoa or rice. I'll have a snack at intermission. I'm trying so hard not to have meals after the show because it's so late, but sometimes I just want a big bowl of pasta.
