Every performer should learn a little bit of everything. Most performers today only play the guitar.
I don't know anything about the afterlife because I haven't been there yet.
The hardest thing to do is something that is close to nothing.
I hate repetition. Even when I am home and have to buy milk, I go a different way each time to avoid having a habit of anything. Habits are really bad. So to me it is really important to live in what I call the spaces in-between. Bus stations, trains, taxis or waiting rooms in airports are the best places because you are open to destiny, you are open to everything and anything can happen.
I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
I've always asked myself since I was young, what is my duty on this planet? What am I there for? Just to hang around? Everybody must have some purpose.
If you're a baker, making bread, you're a baker. If you make the best bread in the world, you're not an artist, but if you bake the bread in the gallery, you're an artist. So the context makes the difference.
You can't live a healthy life on a sick planet.
Are you willing to give and be poured out until you are used up and exhausted-not seeking to be ministered to, but to minister?
The truth is that trout fishermen scheme and lie and toss in their sleep. They dream of great dripping trout, shapely and elusive as mermaids, and arise cranky and haggard from their fantasies. They are moody and neglectful and all of them a little daft. Moreover they are inclined to drink too much.
It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.