I was a lousy waiter, dealing with people and having people in your face like that.
The most important thing for me is the image, not the thought.
There are things which are without answers, and there is nobody who can explain them. Either we feel them and sense them, or not. Sometimes we just give up and carry on.
Art is not some sort of guideline for understanding. It's a thing unto itself.
What I know is that I am honest about my films, and my films are honest about reality. The stories themselves dictate the way that they should be told.
When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.
Observing life, living through it. As you experience life some events call upon you to suffer through them and that's what brings inspiration.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
Sex outdoors is great. I'm not an exhibitionist, but I love the possibility that people might be able to see.
I know a lot of athletes and models are written off as just bodies. I never felt used for my body.
Because you're responsible for [children]. You are there to protect them, not possess them. I tell them, "Watch me and you might learn something. "