I haven't seen 'The Exorcist,' but I've seen a lot of pictures of the girl in it. So now I don't actually want to see it. She scares me so much. I don't know what it is, but even though it's quite old now, it still has the best and scariest make-up I've ever seen in my life.
I look at old pictures of me... and I don't feel like I'm that guy anymore, but then I look at pictures of me now, and I'm not quite sure I'm this guy.
I have always loved taking pictures. When I was young, I would carry a small camera with me on the sets.
I used to look back at pictures and cringe but actually I'm quite proud that I've had fun with fashion and don't always look perfect. The only regret I have is when I look at something I wore when I was very young and it obviously looks like it belonged to someone else.
I grew up without a television, so when I went to L.A., it was sort of, you know, a lot to take in, but it actually suited me more than where I was from, so I sort of had that 'home away from home' feeling, and L.A. is definitely home now.
I now require this of all pictures, that they domesticate me, not that they dazzle me. Pictures must not be too picturesque. Nothing astonishes men so much as common-sense and plain dealing. All great actions have been simple, and all great pictures are.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
I do mostly Southern landscapes. I do beautiful old barns that are falling down, and beautiful trees reflecting in the water. My lovely wife Dorothy and I travel quite a bit, so I take pictures of different things that inspire me to come home, when I come home here in North Carolina, into my art studio and paint these things.
On things she had to pack before leaving her home in advance of a forest fire, 1996. Childhood pictures and pictures of my life. Do you know how many pictures that is? Not just this life; I have pictures from 13,000 lives.
I'm 47 now, and I'm at that stage where I'm still young but I'm not young. I'm not old but I'm getting old, and I have stuff at home that reminds me of people and places.
For me, as a writer who comes from quite a naturalistic tradition, British screenwriting is quite delicate, quite small, and rarified in a way.
I've been fascinated by Machiavelli since I was very young. I've always felt that he had a bad rap from history, and that he was actually a person quite unlike what we now think of as Machiavellian. He was a republican. He disliked totalitarian government.
One of my favorite Finals was actually Detroit vs. Los Angeles, because it was home and home for me, personally. It was like my childhood home and my second home.
I was quite nauseous every day at school - I had some real stomach problems. The thing that saved me was sitting in church and trying to get into these statues and windows and colors. Truly, it transported me. And I can see it now in my own work - my pictures have kind of that look.
Now here I am playing a passionate young Irishman who would die for what he believes in.
Somebody was saying to Picasso that he ought to make pictures of things the way they are-objective pictures. He mumbled that he wasn't quite sure what that would be. The person who was bullying him produced a photograph of his wife from his wallet and said, "There, you see, that is a picture of how she really is." Picasso looked at it and said, "She is rather small, isn't she? And flat?"