Part of my strength as an actor comes from what I've learned all these years: when you play a villain, you try to get the light touches; when you play a hero, you try to get in some of the warts.
My icons do not raise up the blessed savior in elaborate cathedrals. They are constructed concentrations celebrating barren rooms. They bring a limited light.
A piece of wall can be visually disintegrated from the whole into a separate triangle by plunging a diagonal of light from edge to edge on the wall; that is, side to floor, for instance.
Realizing this, I knew that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.
Yes, and there were changes of light on landscapes and changes of direction of the wind and the force of the wind and weather. That whole scene is too important in Homer to neglect.
I came here as a man of visions. I was sent here as a man of visions, like a second Noah. I'm not a Noah but I'm here as a second Noah. I'm here as a red light is in the street.
There might've been wires, but I have this ability to make myself light. Well you know what, in ballet, when you kind of lift yourself here, it's all up in the head.
I am certainly not arguing for the de facto autonomy of the individual work, even though there is much to be said for making the attempt to see it in that light as one facet of the reception process.
