A Quote by Oz Perkins
I was going for the idea that a time can also be a location. You can revisit a time of year, in the same way you can go back to a house that you used to live in.
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One of my favorite stories growing up was A Wrinkle in Time. I loved that book. I still remember the image, so strongly, of all the kids coming out of their house at the same time, they're all bouncing a ball at the same time, and they all go back in at the same time. A Wrinkle in Time moved me deeply.
There is this strange fog of being a young man that I would refer to as soft time. Time does not go forward there. It's a series of doors that kind of wind back into one another, like a series of doors in the upper floor of a house. You revisit the same lessons over and over again, or you choose to ignore them.
I've been to Sardinia about 10 times because my wife, my daughter and I used to go every year with another family. We rented the same house each time in Villasimius in the southern part of the island, and always went to the same two beaches and same three restaurants.
If I don't have time to live my life well the first time, when am I going to find the time to go back and live it over?
I always felt that organized religion was just basically a theological insurance scam where they're saying if you spend time with us, guess what, you're going to live forever, you're going to go to some other plain where you're going to be so happy, you'll just be happy all the time, which is also kind of a scary idea to me.
I was actually the head of the violin after-school club. And then I was also the head of the dance club, the popping club. So one day, just by coincidence, we had to hold the two clubs at the same time. I had to go back and forth. And that's when the idea came up for dancing and playing violin at the same time.
I was never conscious of filming except for when I was location scouting. In a way, that is the most important part of the entire process - and the most private. I'm so used to doing that alone. Unlike every other part, it's just me, alone, on location.It's very hard to describe what I'm looking for - something that feels both familiar and strange at the same time. It's not enough for it just to be strange or mysterious, it also has to feel very ordinary, very familiar, and very nondescript.
The idea of going back to college scares me, and I didn't even go. I went to college for one year, two semesters. If you add up the total time, I probably didn't even go one semester.
People never grasp the fact that they're going to have to go through the same thing again. They get to the sort of five-year stretch or the seven-year itch or whatever these tension points are that seem to be organic, built in, like the tide coming in and going out. It's like every time the tide goes out you quit--you move your house or something.
The way I was brought up in improv was that any idea you have is not as good as your partner's idea, so if I see someone else initiating at the same time I am, I just defer to them because I assume their idea is going be better. And hopefully, they're doing the same with me.
Christmas used to be my favorite time of year. But as an adult, it's a time of year where it's like, do I have to go through this again?
I've made a point of trying not to play the same part, and of moving between theatre and film and TV. The idea is that by the time you come back, you have been away for a year and people have forgotten you. If you like having time off, which I do, that's a good career strategy.
After we finished touring 'Ignore The Ignorant' we had this perfect idea that we were going to take a couple of years off, that was the plan. Because we thought we were definitely going to take time off, I was going to go back to college, that was what I was going to do. Because the whole idea of it was that I have spent ten years in this band and not even realised that that amount of time has passed.
I want to go back to the child I used to be, and to read with the same naiveté [the Pentateuch]. I want to leave science aside and go back to the pure perception offered to me in the text that is waiting there for me year after year.
Music has to be treated in the same way as set design, casting, or choice of location - it has to start at the same time.
Where I went off, you can get back on the track by going through the support race pitlane, but you have to go through a gate. I know this as I did the same thing in 2001 and the gate was open that year. Somebody closed it this time. Next year, I'll make sure it's open again...
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