I always take a story that's kind of out there, like an urban myth. I take some possibility that people imagine, that they are familiar with, and try to turn it into a story.
I read mostly Irish, African, Japanese, South American, and African writers. You can count on Scandinavian literature for a certain kind of darkness, a modern mythic style.
We are searching for some kind of harmony between two intangibles: a form which we have not yet designed and a context which we cannot properly describe.
I sculpted for four or five years. Mostly for my own amusement, I decided to do a picture book, and that was kind of a turning point.
As a kid, I really wanted to have my own show. But when you grow up in poverty, people tell you nothing is possible. So I kind of gave up on that dream.
All I really want to be is boring. When people talk about me, I'd like them to say, Carol's basically a short Bill Bradley. Or, Carol's kind of like Al Gore in a skirt.
In its heyday, the blazer had come to symbolise a kind of conventional decency. Yacht club commodores and school bursars wore blazers. People who played bowls wore blazers.
You can almost judge how screwed up somebody is by the kind of toilet paper they use. Go in any rich house and it's some weird coloured embossed stuff.
Transformation is something that obsesses me. What is the soul? Is there a difference between something like a soul and something like a self? Is our identity something we construct, or is it organic and natural? There are all kinds of theories.
Growing up, me and my brother, we were kind of exact opposites. We were completely yin and yang. He was more rough and tumble, and I just wanted to play with my girlfriends.
All action takes place, so to speak, in a kind of twilight, which like a fog or moonlight, often tends to make things seem grotesque and larger than they really are.
The workings of the human heart are the profoundest mystery of the universe. One moment they make us despair of our kind, and the next we see in them the reflection of the divine image.
It's very difficult for me to dislike an artist. No matter what he's creating, the fact that he's experiencing the joy of creation makes me feel like we're in a brotherhood of some kind... we're in it together.
I have four or five ideas that just keep floating around and I want to kind of just let one - like a beautiful butterfly, let it land somewhere.
I think we typically, as Northerners, stereotype what the South is in so many negative ways. We kind of forget all the beautiful things that they contribute to make this country a country.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.
Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.
It's my personal opinion, and I'm not espousing it to anybody else, I think your immune system and how healthy you are determines how you react to any excess of any kind.
I'm never getting too lonely because it's the kind of disease where you might sit in front of the TV with three bags of biscuits, rather than communicate with the world.
I wanted to do pretty much a purely boy story, yes. The girls are kind of the bad guys in 'Marble Season', although that wasn't my intention. It's also a world without adults.
I knew that I did not want to go to that juvenile diversion program because I had an intuitive sense that it would turn me irrevocably into the kind of character that I was now only rehearsing to be.
