When I am asked about influences, I always say I bow down to Fred Astaire, because when you look at him dancing you never look at his extremities, do you? You look at his centre. What you never see is the hours of work that went into the routines, you just see the breathtaking spirit and freedom.

I try not to think of myself in any category, and I don't ever really try to imagine myself competing with another actor. I just know I want to do the things that I would want to see, and I know the things that turn me on, whether it's on the stage, or it's a play or a film. I just kind of want to keep doing my own thing.

I was a little press writer when the National Endowment for the Arts came to my rescue and gave me an award. I couldn't buy a light bulb. Almost more than the money, the awards are important because they show that someone believes in you.

If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.

But fantasy kills imagination, pornography is death to art.

The eye speaks with an eloquence and truthfulness surpassing speech. It is the window out of which the winged thoughts often fly unwittingly. It is the tiny magic mirror on whose crystal surface the moods of feeling fitfully play, like the sunlight and shadow on a still stream.