An artist must possess Nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.
What I do is very spiritual to me. I can't really connect with things unless they are spiritual in nature, so I have to make acting spiritual for myself, and each role a spiritual journey for me.
I'm a real nature lover, so whenever possible, I like to get to the beach or get to a forest or get somewhere there's fresh air. Apart from that, I'm a film addict and a DVD freak.
I started studying what the nature of a monument is and what a monument should be. And for the World War III memorial I designed a futile, almost terrifying passage that ends nowhere.
When you're in nature, when you're going to bed when the sun goes down and getting up when the sun rises, and you get into that rhythm, your body just really responds positively to it.
Things have a way of moving to the left, and then they move back to the right before somebody finds themselves in the center. That seems to be the nature of the creative world. It's not stagnant. I don't get upset about it.
When I feel a little confused, the only thing to do is to turn back to the study of nature before launching once again into the subjects closest to heart.
I'm an actor that likes to go to work. I like going to work every day. I'm a worker by nature. I'm not someone who does one film a year and feels satisfied by that.
I am no fashion diva - I grew up on the beaches in South Africa and am a nature girl that spends a lot of time outdoors. Fashion speaks to me through an occasion.
The nature of my work is my subjectivity meshed with other people's subjectivity. So there's a correspondence with that... Even if you write about me, it will reflect on you; everything is a kind of weird collaboration.
I'm a big fan of 'National Geographic', the magazine and the channel. Anything to do with the natural world. For years, when I was younger, I was convinced I would be a nature photographer, but that didn't pan out.
It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality is more important than the feeling for pictures.
You know that book 'Quiet: the Power of Introverts in a World That Can't Stop Talking', by Susan Cain? That's like my manifesto. The older I get, the more I think I could be a hermit.
I understand the power of the Internet, but I can't say that I'm there. I'm old-fashioned and living in a different century. I don't know. I just don't really understand the craze of it.
I know there are nights when I have power, when I could put on something and walk in somewhere, and if there is a man who doesn't look at me, it's because he's gay.
We all know the power of film; we all know there's almost nothing more powerful than to see people on film that look and talk like you, like we do.
I think empathy is a beautiful thing. I think that's the power of film though. We have one of the most powerful, one of the greatest communicative tools known to man.
Some people are in positions of power, and when incentives go haywire, we are all human and it's easy to make mistakes. I am not saying everybody is Bernie Madoff.
He's really sort of the devil. He's completely emotionally detached. He has no empathy. You find that in psychopaths. It's about power with Voldemort. It's an aphrodisiac for him. Power makes him feel alive.
I think books, novels and autobiographies have a power to touch people far more personally than films do, so there's a bit more of a responsibility when you then dramatise it.
When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.
