The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
Money is a sort of instinct. It's a sort of property of nature in a person to make money. It's nothing you do. It's no trick you play. It's a sort of permanent accident of your own nature; once you start, you make money, and you go on. . . But you've got to begin. . . You've got to get in. You can do nothing if you are kept outside. You've got to beat your way in. Once you've done that, you can't help it!
Civil disobedience has an honourable history, and when the urgency and moral clarity cross a certain threshold, then I think that civil disobedience is quite understandable, and it has a role to play.
One of the things I advised Donald Trump to do was to make sure that, before he commits to certain courses of action, he has really dug in and thought through how various issues play themselves out.
Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
Every time you play you have energy within you - universal energy. That's the energy that keeps everything together - the planets, the galaxies. Everything.
I don't care if it's rap, metal, whatever. You still should play Beatles records mixed with Limp Bizkit mixed with Foghat mixed with Creedence Clearwater Revival, stuff like that.
I do not want actors and actresses to understand my plays. That is not necessary. If they will only pronounce the correct sounds I can guarantee the results.