It's amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.

I put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.

If you listen, you learn; if you talk, you don't.

As Beckett said, it's not enough to die, one has to be forgotten as well.

Each day, as you get older, there is a new perspective on life. It's a progression of some sort.

Society is constantly recalibrating, redefining what it considers to be moral and immoral.

Life is full of ironies and paradoxes.

I never had any ambition to be a star, or whatever it is called, and I'm still embarrassed at the word.

Pretending to be other people is my game and that to me is the essence of the whole business of acting.

The only concession you can make is to what you believe is right.

Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.

That is all very senseless, but this senselessness has a pretty mouth, and it smiles.

The only true end of love is spiritual growth or human evolution.

But I don't think Art's an Einstein - he likes tugging ears, biting people and burping too much to be a genius.

Just don't waste time trying to change what you can't.

There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.

Racing is a very selfish, self-centred, self-glorifying thing. My wife's life for 14 years was centered around me. It was all about me. It was all for my ego.

It just seems to me that from the Republican perspective, there's so much focus on how bad the other side is, as opposed to their running on their own trajectory within the issues.

Hidan: That was pitiful! What happened there, buddy? Kakuzu: You should talk. I wasn't the one who fell for a shadow clone! Hidan: Ahaha, right. You saw that?

The point at which the photograph ceases to function as a metaphor is the point at which it is free to propose an experiential model.