A Quote by Marina Abramovic
It's very important that young artists push boundaries, because sometimes you have this urge to do something - like the impulsive and dangerous urges I had as a child - and if you don't follow through with it you might miss out on a developmental experience.
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Even from a very early age, I knew I didn't want to miss out on anything life had to offer just because it might be considered dangerous.
Every day, I'm trying to push the boundaries creatively, and sometimes it does push the boundary too far, and that's what I had to learn.
Often, especially young artists, you feel like you should be doing something. And I think that can be very destructive because creativity is about connecting with the stuff that's deep inside you and making something out of that.
Sometimes I wish I was one of those artists like David Bowie. They're not putting their private lives out there; it's about show and entertainment. But an alter ego is very dangerous for me. Because I am the guy who will become lost in that.
Jesus offered a single incentive to follow himto summarize his selling point: 'Follow me, and you might be happy-or you might not. Follow me, and you might be empowered-or you might not. Follow me, and you might have more friends-or you might not. Follow me, and you might have the answers-or you might not. Follow me, and you might be better off-or you might not. If you follow me, you may be worse off in every way you use to measure life. Follow me nevertheless. Because I have an offer that is worth giving up everything you have: you will learn to love well.'
Because addiction is a developmental problem, the developmental stage is important, things like employment are important, things like having a sense of purpose, meaning and hope are important, and this is why there's been so many spiritual cures for addiction, because those things often give people a sense of meaning and purpose.
I was a very, very old child. Sometimes you meet a child who seems more like an adult. I think I was that type of child because I had a nearly fatal kidney disease when I was 9 years old.
Sometimes when you're making a film and something happens during a scene that you've just thought of, it can be missed if the wrong lens is on or if you're shooting in the wrong direction but this [performance capture] doesn't miss a thing. So, you might do something that's genius - very rarely, admittedly - but it doesn't miss it.
I think a lot of people miss out on opportunities, they miss out on achieving their dream, and they miss out on doing what they love to do because they're allowing something else, something outside of them and outside of God, to dictate what their life's going to look like.
In personal conversations between director and actor, the male directors that I've worked with are just as emotional. Maybe it's because I had to start having very intimate conversations with adult men at a very young age in order to get the work, but I'm really comfortable with dudes. I mean, we push boundaries in this business in terms of getting to know people.
I think it's good to have a balance. Everything I write about, it's not something I necessarily might have went through, there's songs where I might have an idea, sometimes it might be a melody or something that I like, I make up a story to go with that melody. But I do think it's most important to have honest songs.
I had never done a 90-minute play with no intermission, so it is a bit like you get onto the train and you don't get off until it's over - and it's over very quickly, so don't miss a moment of it. That experience is very rare and specific so don't miss a minute, because there aren't very many minutes of it.
Image and music always works together for me. I think they're equally important and I've always done things in a way that people remember them by, but I don't set out to just shock people...because that's very easy, a lot of people could do that, I just like to do things the way that makes me happy really. And sometimes that's too much for certain people, but, you know, I try to push the envelope to make the boundaries wider as far as what you can and can't do in music.
I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to follow these stories that were morbid.
I think it's important to keep things private, and there are certain boundaries I feel very particular about drawing. It may seem fastidious, but my experience of talking to the press is that I need those boundaries to remain very clear.
I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.
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