It's hard to kill that father-son bond.
For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.
There was a big drive when I was at art school to make you aware of the economy of meaning - after all, this was still during the tail end of minimalism. Being responsible for everything you put in your picture, and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.
What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.
In some ways Holy Smoke is about people's journey to the heart.
I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.
Between 18 and 26 I acted professionally, on the stage and a little bit on television. Acting is okay, but it's quite pressurized. Then I went to England - I wanted to reinvent myself.
A timely and incisive look into the history, politics, and future of the Muslim Brotherhood by the foremost expert on Islamism in Egypt. Carrie Rosefsky Wickham has constructed a detailed account of how the Brotherhood confronts the challenges before it, and why and when it embraces change. Everyone concerned with the future of Egypt should read this book.
If the guys on the bench were as good as the guys you have out there, they'd be out there in first place.
Extreme views are never just; something always turns up which disturbs the calculations formed upon their data.
Good advice is never as helpful as an interest-free loan.