We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
The warnings about global warming have been extremely clear for a long time. We are facing a global climate crisis. It is deepening. We are entering a period of consequences.
What the world wants, what the world is waiting for, is not Modern Poetry or Classical Poetry or Neo-Classical Poetry - but Good Poetry. And the dreadful disreputable doubt, which stirs in my own skeptical mind, is doubt about whether it would really matter much what style a poet chose to write in, in any period, as long as he wrote Good poetry.
Life is too mysterious to try to map it out. I've certainly lived long enough to know it will take you places you never thought it would take you - and some of those places are kind of wonderful.
I live in L.A. and I do have wonderful friends; I moved there when I was 19 so I developed a close knit group of friends, none of whom are actors, none of which are Australian, but I couldn't do it long term.
But I was too restless to watch long; I'm too Occidental for a long vigil. I could work at a problem for years, but to wait inactive for twenty-four hours - that's another matter.
I make no effort to predict the course of general business or the stock market. Period. However, currently there are practices snowballing in the security markets and business world which, while devoid of short term predictive value, bother me as to possible long term consequences.