I want paint to work as flesh.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
The painter's obsession with his subject is all that he needs to drive him to work.
We live trapped, between the churned-up and examined past and a future that waits for our work.
It was fantastic to work in Cornwall partly because my family live there so I was able to do lots of visiting and eat lots of cake. They live all over Cornwall and all over Devon.
I had a feeling it was gonna work out because not only did I enjoy the music and hit it off with the guys, but I was into theatrical rock and was willing to wear makeup and do anything to make it.
I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.
It's what I learn from the great actors that I work with. Stillness. That's all and that's the hardest thing.
I can only be so long without work before I start getting antsy.
I don't get off on romantic parts. But I often think if I had had my dental work done early on, well, maybe.
Most of the time it's the role. Sometimes it's the story and sometimes it just the paycheck. It's the little movies that come out as stories or the fact that I have work to go out, you know what I'm saying, you can only be out so long without work, you start getting antsy.
I hope my work has inspired young artists. I have always tried to maintain my freedom as an artist and I feel it is one of the main reasons I have been successful.
I don't believe that wishing works. I think we get the things we work for.
I wanted to have the opportunity to travel to Vietnam and Sydney, and have the chance to work there.
I've been grateful enough, smart enough to take the work with Ian McKellen in Gods And Monsters.