But the answer to how to live is to stop thinking about it. And just to live. But you're doing that anyway. However you intellectualise it, you still just live.
Being able to draw means being able to put things in believable space. People who don't draw very well can't do that.
I'm a bit claustrophobic, I don't like crowds, I live by the sea - that's what I see when I come out of my house in Bridlington.
Television is becoming a collage - there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.
East Yorkshire, to the uninitiated, just looks like a lot of little hills. But it does have these marvelous valleys that were caused by glaciers, not rivers. So it is unusual.
I see the iPad as a wonderful new drawing medium, but I am at a loss as to how to make it pay.
I worked in the NHS as a hospital orderly during my national service, and people thought it was a noble service. But over the years it's lost its humanity.
Social issues have been used to distract Americans from their own self interests since Nixon's southern strategy, and now people are paying the price.
George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
When developing an idea, I remind myself not to start with compromise. I envision the ideal manifestation of the idea, as if I had no limits in resources, materials, or permission.
I used to hang out with Salvador Dali a lot. He was such a nice man. I really liked his wife Gala, too. People say that she was tricky, but she was never difficult with me.
I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.
The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.
No, ramen's not good for you. But in Japan, our favorite thing to do after drinking all night, especially in Sapporo where it's freezing cold, is to go to the ramen place at two, three in the morning.
For an artist, a good place to be is you have some kind of influence and power to get things done, but in your essence you remain a nomad or a soldier facing a difficulty to be overcome.
You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
I went to Montreal. My first gig went very badly. They just weren't laughing at anything. I found out they were a load of Christians, and it was a gig to raise money for a new church roof.
As an actor, we're unemployed a lot, so I'm familiar with the stress of trying to get a gig, and sometimes you take shows that you don't really want to do to keep the money coming in.
It's not worth it, it's not about money, especially when you're dealing with a culture. It should be about elevating the idea of what we are and who we are as people in the cinema, and that kind of stuff keeps dragging us back down.
People do more important jobs than acting in film that should be recognised, but for some reason it's big money, so people are elevated in status. If I was a bus driver, I'm sure you wouldn't be interviewing me.
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
