The spiritual aspect of my work has more to do with the sense that things in the world can be perceived and accepted as being in some respect alive. I try to approach everything that I photograph with this sense of wide-eyed awe.
And I am an optimistic person. I guess if you want to try to find something to be pessimistic about, you can find it, no matter how hard you look, you know?
Improvisation sometimes seemed more like jazz than acting, like verbal jazz, with the actors playing a theme back and forth, and then introducing another theme, incorporating it, somehow trying to work their way all together to a meaning of some kind, or at least a conclusion.
I'd probably go to see Saturn first-thing and see as close to those rings as I can get and see if I can fly by one of them and try and put one of my hands through them.
Whoever knows he is deep tries to be clear, but whoever wants to seem deep to the crowd tries to be obscure. For the crowd supposes that anything it cannot see to the bottom must be deep: it is so timid and goes so unwillingly into the water.
I truly understand that there is a lesson in everything that happens to us. So I tried not to spend my time asking "Why did this happen to me?" but trying to figure out why I had chosen this.
You have to expose part of yourself to create a character deep enough for readers to care about. You try not to because it's hard and at times shameful, but then when you read those pages over and you see they have no life to them so you throw them away and force yourself to be more honest. So I suppose the answer is I see myself in all my characters, in their best moments and in their worst.