A Quote by Raf Simons
And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.
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But I just love that music scene so much, and I enjoy really being around those artists and watching them even more than I do performing, because they are a whole group of people that do it because they love music.
I'm in a wonderful position now because the rise of the whole Houston scene, the scene that we've been doing for years that people really didn't embrace a long time ago and now they're embracing it. It's good to be in the middle of that during the uprising.
I don't mind being labeled as a political songwriter. I've chosen to do that. What really annoys me is being dismissed as a political songwriter. That really pains me, because life isn't all about love; it's not all about politics, either. It's a beautiful mixture of events that absolutely baffle you, and you think, "Why can't I do something about that?", whether those events are in your bedroom, or out there in the wide world. In our daily lives we engage with them at different times, and I'm trying to write about the whole human experience, or my perspective on it anyway.
A lot of what 'Funny Girl' is about, for me, is the experience feeling very happy doing a certain thing with a certain group of people. That partly came about because of having really positive experiences writing movies.
A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me." C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.
I've never been from a certain group. I've always reserved a space for myself where I'm unattached to any group, but the part of Judaism that I really take away, that means something to me, is the part about community.
Really good acting is not about dialogue. It's really just about small moments that really make the whole entire scene and the intention completely different than even maybe what the characters are saying. Two characters could be saying, "I hate you, and I don't want to be with you anymore!" But yet somehow, their toes are just inching more, you know, closer to each other. So a really big thing about acting is really just with your body.
I'm not an intimate of Donald Trump, but I have great instincts about people, and I have fairly good skill at sizing people up, and it's not phony. You can tell when somebody's talking to you and not really hearing you. I've been around powerful people ask me what I think about things, and I can tell they're not really listening. They just asked, to ask, try to score points that way. Trump listens. But you don't get the impression that he's listening from a position of indecisiveness, indecision or confusion. I've never met anybody with the energy this guy's got, either.
I like a lot of hardcore, but it's just a genre about which I don't have much to say. It's kind of a thing where, unless you're active in the hardcore community, what could you have to say of value about it? It resists criticism because it's not just a style but an entrance into several different worlds of ideas- political, philosophical, societal. The music is really only part of the whole scene. In that sense, the music doesn't change much because it shouldn't: It needs to be there as a signal that you're entering into a certain discursive mode, maybe.
I really just enjoy listening to talk [to John Hurt and Charlotte Rampling]... not even about acting or anything. It's interesting because I felt really connected to all these people very easily. They're all very open emotionally, like we're in the scene together, so you never feel like anyone's acting.
I'm incredibly proud to have been nominated in the past and it really means a lot to me because I do work very hard when I'm making a film and I do really do absolutely give my all. To get that kind of pat on the back, it's really amazing and also never something that I anticipated would possibly happen to me, ever. So I am very, very proud to have been there before. And, you know, the nice thing about nominations is that, same as awards, no one can actually take them away from you and I'm proud of that.
It's been kind of extreme - people either love it or they don't like it at all - and I think that's a good thing. It's my first art project where there's not a middle ground. I find it very interesting. But the negative feedback hasn't at all kept me from doing it, obviously. Because I haven't really gotten any negative feedback that I feel is really warranted.
I love photography - I fell in love with photography, I think, because it was my own thing, it wasn't something I needed other people's permission to do. So, it was really freeing for me actually to be able to not be a famous person and just to take pictures.
Being an actor really, really strengthens me as a director. There's just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.
I like most of the places I've been to, but I've never really wanted to go to Japan, simply because I don't really like eating fish, and I know that's very popular out there in Africa, but the whole thing just doesn't appeal to me.
Photography for me has been tremendously good, because I'm not a very sociable person. I'm happy reading or sitting in the library or going for walks. So photography has brought me in contact with people and made me understand people in a way that I probably wouldn't have done if I hadn't been a photographer. And so I'm grateful for that, really.
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