I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.
I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.
It's a real comfort zone for me to feel alien.
Art is good for my soul precisely because it reminds me that we have souls in the first place.
Most of us live our whole lives without having an adventure to call our own.
If we don't accept loneliness, then capitalism wins hands down. Because capitalism is all about trying to convince people that you can distract yourself, that you can make it better. And it ain't true.
I would rather be handsome for an hour than pretty for a week.
This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.
I'm from the same planet as David Bowie.
How do we identify ourselves, and how do we settle into other people's expectations for our identity?
Anybody knows who lives with animals, they teach you more about what it is to be a good human than most people: patience, goodheartedness, enthusiasm, presence, forgiveness, focus, restfulness, honesty.
I'm really interested in the idea of long, long life and transformation and immortality.
I'm interested in that whole question of where we wear our identity and how can we see it.
Do you want a list of what my dogs taught me? Patience, perspective, joy, loyalty, the simplicity and presence of their joy. That's a really great daily reminder, bad stuff happens, difficult stuff happens and you take them out onto the beach and you go "OK, now I see". You tell them the current political situation in the world and they go "should we go for a walk?" And you go, right, that's the correct answer.
As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.
In my house, a hot dog is a dog that's really hot.
Even beyond sexuality, I'm generally interested in identity.
You can sit next to somebody on the underground, and you can look at them quite intensely, but you can never, ever know what they're wearing under their clothes.
Sexuality is, of course, a great way of having a conversation between people.
Daily absorption in the physical actualities of nature is life as I need it to be: it means I am connected to such large things - sky, sea, hill, the vagaries of weather, the undeniable needs of animals - that I can disappear as a subject of interest, I can exist without self-consciousness. The city is a challenge for me, however thrilling a few days prove, for its insatiable overstimulation and the rarity of quiet. The city makes people bigger than they need to be.
I live a soldier's life when I'm working. That's how it feels to me, except I've got a slightly greater chance of survival.
There's nothing I'm particularly keen to hide about my humanity.
I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
It was just me, naked as underneath my clothes right now, as all of you are.
I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.
