I was not particularly bright, I wasn't very athletic, I was a little too tall, odd, funny looking, I was just really weird as a kid.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
When I was a kid, and I was odd, the default assumption was that I was odd, not that I was gay. Now when a kid is odd in a Greensburg, gay or straight, the default assumption is gay.
I still feel I am that 14-year-old kid, hungry and trying to find a way through life. That's what I'm trying to develop, trying to be good at something through boxing. But I feel like that young kid who's trying and trying.
I'm very conscious of the fact the directing career has taken some odd turns. Maybe there's enough bulk where I'm now pigeonholed in the 'eclectic box.'
Being resourceful and creating is a big part of my Lithuanian culture. My grandfather is part of who I am, too. He was a professional wrestler. He had a very functional, very slick, long frame.
When I'm writing, I'm trying to access my subconscious and turn off my conscious brain. I use my conscious for research, but when I'm actually writing, I'm trying to get into a place where I'm tapping into the deeper, darker elements of what's going on.
I don't like the camera. I get very self-conscious with it and then spend way too much time not looking self-conscious instead of being free, as I do on stage, to do my work.
I was a very insecure, self-conscious kid, and as an artist even more so.
I'm definitely a fan of dance music. I guess we really call it 'dance' music because music seems to have become very functional. For years, people were trying to be everything. Now, musicians are becoming very specific.
I think my voice worked out fine, but it was a lot of work for me. And I was very self-conscious about it. I was a bit self-conscious about writing lyrics too.
Doubting what you see is a very odd experience. And doubting what you remember is a little less odd than doubting what you see. But it's also a pretty odd experience, because some memories come with a very compelling sense of truth about them, and that happens to be the case even for memories that are not true.
It would have been very easy to play to the gallery, but I took a conscious decision not to do that. Safer not to be too popular. You can't fall too far.
If actors are trying to convey, in a smart way, the context of the scene, that becomes too self-conscious.
I always get self-conscious about what I look like in a film, but less so if I'm a character very far removed from who I am. Then I just worry about the performance, and that's equally an odd experience.
As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.